Noted lyricist Ronaldo Bastos is well known mainly for his partnerships with Milton Nascimento. But he also became a competent maker — through his label Dubas Música, he was responsible for the albums Clube da Esquina 2 (Milton Nascimento) and Amor de Índio (Beto Guedes), having becoming granted for his productions for these composers and in addition for his work with Nana Caymmi and Toninho Horta. Bastos published lyrics for a number of additional composers like Lulu Santos (“Um Certo Alguém”), Marina Lima, Edu Lobo, Toninho Horta, Caetano Veloso, João Donato, Djavan, Tom Jobim, and Beto Guedes. Ney Matogrosso documented his “Olhos de Farol” (with Flávio Henrique) on his recording of the same name. Bastos also experienced success composing interpretations which were documented by Gal Costa (“Nada Mais,” of Stevie Wonder’s “Recently”), Beto Guedes (“Quando Te Vi,” best-known from your Beatles’ “Right up until THERE IS You”), and Sarah Vaughan (“Nothing at all Will Be SINCE IT Was,” of his and Milton’s “Nada Será Como Antes”). Everything started in the past due ’60s, when Bastos became close friends with Milton Nascimento in Rio de Janeiro, which companionship was the genesis from the Clube da Esquina, because the band of composers, who have been mainly from your Minas Gerais condition, became known. The very first music the duo published was “Três Pontas,” accompanied by “Fé Cega, Faca Amolada,” “Nada Será Como Antes” (that was also documented by Elis Regina), and “Cravo e Canela” (which was documented by Caetano Veloso for his Araçá Azul).