Roberto Martins

Roberto Martins was the author of many classics from the Golden Age group of the Brazilian track, recorded by lots of the best interpreters of the time. His first tracks were created when he was 15. Leonel Faria documented the tracks “Regenerado” and “Segredo” for the very first time in 1933. Francisco Alves documented “Vou Navegar” as well as the traditional “Favela” (with Valdemar Silva) in 1935. Carlos Galhardo documented many of his tracks for Columbia, including “O Rei Vagabundo” (1936). Francisco Alves documented “O Que É Que Você Quer Mais” (with Nássara) and Castro Barbosa documented “Cadê O Pandeiro?” (with Valfrido Silva) in 1937. From 1937 to 1945, Martins was a tempo participant in the Simon Bountman orchestra. Francisco Alves documented “Quem Bateu Na Minha Porta?,” created with Ataulfo Alves and Orlando Silva in 1938. Within the next season, he had written the masterpiece “Dá-me Tuas Mãoperating-system” with Mário Lago. For the carnival of 1940, he wrote “Meu Consolo É Você” (documented by Orlando Silva, getting his initial big strike) and “Cai-Cai” with Nássara, the last mentioned, having been contained in 12 international films, getting an all-time carnival basic, also if it just achieved third put in place the annual municipal competition of that season. In the same season, Martins had written “Tra La Lá,” documented by Gilberto Alves, and within the next season he had written “Cowboy perform Amor” (with Wilson Batista), documented with the Anjos perform Inferno. In response towards the hit from the carnival of 1941, “Nós, Operating-system Carecas,” Martins had written “Nós, Operating-system Cabeleiras” in 1942, documented by Castro Barbosa. In the same season, he had written “Renúncia” (with Mário Rossi), documented by Nelson Gonçalves. In 1943, he had written “Roberta” and “Beija-me,” documented respectively by Anjos perform Inferno and Ciro Monteiro. In 1944, he had written “Cecília” and “Bodas de Prata,” documented respectively by Gilberto Alves and Carlos Galhardo. In 1945 he had written “Sinfonia dos Tamancos,” documented by Gilberto Alves; another season, “Cableão dos Puxa-Sacos” (with Frazão), by Anjos perform Inferno; in 1947, “A Marcha Dos Gafanhotos” (with Frazão), by Albertinho Fortuna; in 1948, “Cadê Zazá” (with Ari Monteiro), by Carlos Galhardo; in 1949, got the last strike with “Pedreiro Valdemar” (with Wilson Batista), by Blecaute. Founding the União Brasileira de Compositores, Martin became consumed in the next years by the task created there, but continuing to write tracks sporadically.