Probably one of the most successful “caipira” (hillbilly) performers from the ’30s and ’40s, Raul Torres still left 456 interpretations recorded on a lot more than 200 78 rpm information and six LPs. Torres was the initial caipira musician to record associated with an orchestra (around 1960 with Maestro Poly as orchestrator). A flexible interpreter and composer, he was regarded the Ambassador from the Embolada for his mastery of the genre, having his biggest strikes with “Pisei no Rabo perform Tatu” (1933) and “Sururu no Galinheiro” (1934). A few of his biggest strikes (as interpreter and/or songwriter) had been “Jacaré no Caminho,” “Não Zanga Comigo” (Nair Mesquita), “Boi Amarelinho,” “Meu Cavalo Zaino,” “Saudades de Matão” (lyrics), and “Moda da Mula Preta.” Torres also documented 39 songs along with his partner, João Pacífico, many of them all-time strikes like “Chico Mulato,” “Cabocla Teresa,” “A Mulher e o Trem,” “Cadê Minha Morena,” “Zero Mourão da Porteira,” “Pingo D’Água,” and “Perto perform Coração” (even when this partnership is known as spurious by some). His traditional “Mestre Carreiro” was interpreted within the film Sertão em Festa (Osvaldo de Oliveira, 1970) by Tião Carreiro e Pardinho. Around 1950, all performers from the caipira genre acquired already documented Torres’ compositions, therefore did contemporary superstars like Leandro e Leonardo and Chitãozinho e Xororó. Tonico e Tinoco, perhaps one of the most essential duos from the genre, documented Torres’ songs therefore often that Warner released the Compact disc Tonico e Tinoco Recordando Raul Torres. The kid of poor Spanish emigrants, being a guy Torres was a normal on the Negro’s batuques and congadas of his hometown, a conspicuous impact in his afterwards function. He debuted on the air in 1927 on Rádio Educadora Paulista and Rádio Cruzeiro perform Sul, per year where he also documented his first record (for Brasilphone) with two of his music, the embolada “Segura o Coco, Maria” as well as the samba “Verde e Amarelo.” Torres participated beneath the pseudonym of Bico Doce, 3 years later, within the historical independent creation — the initial one in Brazil — noticed by Cornélio Pires for Columbia, interpreting “Galo sem Crista,” “Gavião de Penacho,” “Que Moça Bonita,” and “Reculutamento.” Along with his group Raul Torres e sua Embaixada, Torres performed in Paraguay in 1935. With the affects received for the reason that nation, he released the Paraguayan lifestyle to caipira music. Torres also stated he was the very first Brazilian to create rasqueados. He’d go back to Paraguay in 1944 and 1950. Along with his achievement, he also became a requested musician in Rio de Janeiro, where he performed with the best performers of that time period: Lamartine Babo, Francisco Alves, Sílvio Caldas, Jaime Vogeler, Noel Rosa, and Moreira da Silva, amongst others. In 1935, his batucada “A Cuíca Tá Roncando” became the Carioca Carnaval strike of the entire year and was honored in Portugal. Six years later on, the track became the name of the theater present staged by Araci Cortes and Oscarito’s business. In 1937, Torres started a successful relationship along with his nephew, Antenor Serra, (the Serrinha), documenting, among other strikes, “Cigana,” “Meu Cavalo Zaino,” and “Boiada Cuiabana.” The duo split up in 1942 because of constant disagreements. Immediately after that, Torres and Florêncio (João Baptista Pinto) began a very important duo. Each of them (who got already documented two songs jointly in 1932) and an accordion participant (José Rielli, changed by Castelinho, who was simply changed by Emílio Rielli Filho) got the very effective show Operating-system Três Batutas perform Sertão at Rádio Record. The trio documented the record O Maior Patrimônio da Música Sertaneja just a couple times before Torres passed away in 1970.