Pedro Luís was acknowledged within the mid-’90s as a fresh skill in Brazilian pop music, getting rap, funk, and hip-hop affects to samba and maracatu. His music had been documented by Fernanda Abreu (“Tudo Vale a Pena”), Ney Matogrosso (“Fazê o quê?” and “Miséria no Japão,” contained in Olhos de Farol), Lenine, Ed Motta (“Birinaite”), O Rappa (“Miséria S/A”), Cidade Negra (“Cidade em Movimento”), and Adriana Calcanhotto (“Mão e Luva”). His group Pedro Luís e a Parede acquired some national achievement, also taking part in the worldwide scene backing japan pop musician Miyazawa Kazufumi while touring Tokyo and Osaka and documenting Afrosick. Astronauta Tupy, the band’s initial album, marketed 50,000 copies, 10,000 which had been bought by Japanese viewers. “Pena de Vida” remained in japan Best 50 for weeks. In 1999, Pedro Luís e a Parede performed in the Free of charge Jazz Celebration (Rio de Janeiro RJ and São Paulo SP). The next year the music group performed in Paris, France, at Euro Disney, the Café L’Opus, and La Fête de la Musique. With Marcos Leite’s choral group Cobra Coral, Pedro Luís performed in it Globo celebrations of 1980 and 1981. As well as Cazuza and Bebel Gilberto, he performed within the play Pára-Quedas perform Coração. In 1981 he was a support vocalist in Chico Buarque’s present, Canta Brasil. He also participated in the forming of the Brazilian rock and roll movement that started within the ’80s, playing in its temple, the Circo Voador (Rio) with Banda Voadora from its inception in 1982. Being a musician of the group Paris 400, he supported the theatrical group Asdrúbal Trouxe o Trombone, out which emerged several associates of Blitz, which also was important in Brazilian rock and roll. His “Sambock” acquired considerable airing on the Fluminense FM (Maldita). In 1984 Luis created the punk music group Urge, which documented an independent recording in 1981. He started to become observed for his are guitarist and musical movie director for Arícia Clutter.