Probably one of the most important history numbers of Brazilian play the 80’s, arranger/maker/composer/instrumentalist Robson Jorge, regarding his partner Lincoln Olivetti (with whom he became acquainted in the mid-70’s), defined the audio from the genre with, around the positive part, his gratitude for spirit music, and, around the bad one, along with his inclination for making performers as diverse while Tim Maia, Caetano Veloso, Guilherme Arantes, Jorge Ben, Gilberto Gil, Gal Costa, Rita Lee, Luís Melodia, Maria Bethânia, Adriana, Fagner, Hyldon, Zizi Possi and Marina Lima to audio like the same. While Olivetti required a lot of the popularity, Jorge was possibly the mastermind from the duo, having doubtlessly affected Tim Maia, but becoming obscured by his personal issues with booze (which would finally conduce to his precocious demise). The uncommon Robson Jorge (1977) is usually a testimony of his great intentions. Like a composer he previously achievement with “European union e Ela” (with Mauro Motta/Lincoln Olivetti, documented by Roberto Carlos), “European union Preciso Te Esquecer” (with Mauro Motta, a insect hit from the 70’s in Cláudia Telles’ interpretation, also documented by Bukassa), “Tudo Bem”, “Fim de Tarde” (with Mauro Motta), “Eva”, “Rio Babilônia” (the theme from the homonymous film, re-recorded lately by J. Mission), and “Aleluia” (all with Olivetti). A few of his compositions together with the second option had been released in Robson Jorge e Lincoln Olivetti (1982).