One of the most important background figures of Brazilian pop in the 80's, arranger/producer/composer/instrumentalist Robson Jorge, together with his partner Lincoln Olivetti (with whom he became acquainted in the mid-70's), defined the sound of the genre with, on the positive side, his appreciation for soul music, and, on the negative one, with his tendency for making artists as diverse as 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 sound very much like the same. While Olivetti took most of the fame, Jorge was perhaps the mastermind of the duo, having doubtlessly influenced Tim Maia, but being obscured by his own problems with booze (which would finally conduce to his precocious demise). The rare Robson Jorge (1977) is a testimony of his good intentions. As a composer he had success with "Eu e Ela" (with Mauro Motta/Lincoln Olivetti, recorded by Roberto Carlos), "Eu Preciso Te Esquecer" (with Mauro Motta, a bug hit of the 70's in Cláudia Telles' interpretation, also recorded by Bukassa), "Tudo Bem", "Fim de Tarde" (with Mauro Motta), "Eva", "Rio Babilônia" (the theme of the homonymous film, re-recorded recently by J. Quest), and "Aleluia" (all with Olivetti). Some of his compositions in partnership with the latter were released in Robson Jorge e Lincoln Olivetti (1982).
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