Spain-born and Venezuela-raised Soledad Bravo continues to be among the leaders from the nueve cancion (“brand-new song”) movement that swept coming from latin America within the ’70s and ’80s. Although similarly proficient at performing traditional and well-known songs, Bravo produced her greatest influence being a protest vocalist. Based on Billboard, “her tone of voice is an remarkable device.” The Diario, a paper in Madrid, promises “her tone of voice captivates you, the number is indeed wide and its own strength is definitely amazing.” Bravo, who inherited her politics convictions from her dad, emigrated to Venezuela with her parents at age seven. While going to the Liceo Rafael Urdaneta, she started singing with an organization. She continuing to sing while learning architecture, mindset and literature in the Central College or university of Venezuela. Soon after her graduation in 1967, Bravo was employed to perform each morning on a tv program Buenos Dias. She continued to be on this program for a long time. Her debut recording, Soledad Bravo Canta, released in 1968, included her interpretation of Carlos Puebla’s tribute to Che Guevera, “Hasta Siempre.” Between 1969 and 1976, Bravo continuing to spotlight the tracks of Latin America, liberating three commercially effective albums and touring throughout Peru, Argentina, Chile and Mexico. In 1972, Bravo documented a double-album, En Vivo, offering songs from the Spanish Civil battle. Four years later on, she was asked to execute in Spain. An appearance on Spanish tv, with accompaniment by flamenco guitarist Manolo Sanlucar, helped to create her a nationally known designer. Through the four years that she continued to be in Spain, Bravo documented many albums including one with Spanish poet Rafael Alberti in 1977, along with a collection of tracks from the Spanish Jews, Cantos Sefardies, that received a Grand Prix Du Disque honor in France. Switching her focus on the tropical repertoire, Bravo journeyed to NY to record Caribe, made by salsa musician Willie Digestive tract. Four years later on, she documented a self-titled recording with accompaniment by Eddie Gomez, Airto Moreira, Paquito D’Rivera, Jorge Dalto, Ray Barreto, Yomo Toro and Spyro Gyra.