“More than a singer I am a musician, I play voice”
Paulo de Carvalho is an unavoidable name in Portuguese music in recent decades. Making his professional career outside the system, he has not always seen his work recognized or his condition as a musician-composer or singer-songwriter valued.
“SILENCE IS A FORM OF CENSORSHIP”
To the Portuguese people he owes the main successes of his career.
It was he who chose them leaving behind many opinion makers:
A Casa da Praia
E Depois do Adeus
Gostava de Vos Ver Aqui
Nini dos Meus Quinze Anos
Dez Anos
Prelúdio (Mãe Negra)
Um Beijo à Lua
Os Meninos de Huambo
Mulher é vida
O Fado
O Cacilheiro
Lisboa Menina e Moça
Os Putos
O Homem das Castanhas
Hino do Voluntariado
Sida Aparecida
In 1965 he founded the Sheiks, the most popular Pop group of the 60s in Portugal, where he sang and played drums. At the same time, he practices football at S.L. Benfica, a youth class. He is part, as founder or guest, of some of the most important musical groups of that time, “Flú”, “Banda-4”, “Thilo’s Combo”, etc…, where he learns and strengthens respect for the music profession.
“THIS WAS MY SCHOOL OF LIFE AND MUSIC”
As an interpreter, he has traveled many paths and been in several experiences.
Two-time winner at the R.T. P. da Canção (Portugal – 1974 and 1977).
Performance awards at the Slanchey Briag Festivals in Bulgaria, Sopot (Poland) and Belgium.
2nd place in Viña Del Mar, (Chile – 1980).
Participation in the last Rio de Janeiro International Festival (Brazil – 1972) and the OTI Festival, (Spain).
Concerts in Spain, France, Germany, Holland, Belgium, United Kingdom, Canada, USA, Brazil, Macau, Senegal, Ivory Coast, Angola, Guinea-Bissau, Cape Verde, etc. 1993 “Música D’Alma” was his first contribution in the field of Lusophony. Also part of this musical and record project were Tito Paris (Cape Verde), Filipe Mukenga
(Angola), Vicente Amigo (Spain), among others.
“MUSIC IS FOR MIXING”
In fact, it was cultural concerns that led him, in 1985, to use FADO, (song of Lisbon, his land), as a way of combating the globalization that has been affecting the lesser known “Small-Big” cultures.
“THE MUSIC I MAKE TODAY I CALL ETHNO-URBAN”
His first fado album, “Desculpem Any Coisinha”, provokes great controversy in the Portuguese music scene, but it is the biggest sales success of his career.
At the age of 30, he is honored by Casa da Imprensa on the Grande Noite do Fado.
He records an old fado CD with the participation of the London Philharmonic Orchestra, entitled “Alma”, which he considers a study disc in the fado area for the future.
As AUTHOR-COMPOSER he has over 300 songs written, and is a member of the S.P.A.
Collaborations with poets, writers and musicians such as J.C. Ary dos Santos, F. Assis Pacheco, Ivan Lins, Dulce Pontes, Joaquim Pessoa, Virgílio Massingue, Mafalda Veiga, Maria Barroso, Ana Zanatti, Simone de Oliveira, Alda Lara, Né Ladeiras, Isabel Ruth, Maria Rosa Colaço among others.
He composes songs for many professional colleagues: Carlos do Carmo, Simone de Oliveira, Sara Tavares, Martinho da Vila, Anabela, Vasco Rafael, Lena D’Água, Mariza. He produced and composed Adelaide Ferreira’s first album, during an experience as A.R. Nacional in an independent publishing house, “A Nova”.
He confesses that it gives him special pleasure to compose for many people connected to the fado area (singers and singers), which are very important in the popularization of this type of music.
“SOMETIMES THE RADIO PASSES PORTUGUESE MUSIC”
As a citizen and musician he has collaborated in the dignification of his profession, participating in hundreds of solidarity events, from fundraising campaigns or
public calls for attention: Timor, Mozambique, Angola, to the CERCIS, whose group he has been part of since his formation.
He was also in the foundation of cooperatives such as “Toma Lá Disco” (record production), or was part of “Cantar Abril”, “U.P.A.V.” (Artistic Production). “Sida Aparecida”, is the first song in Portugal that speaks directly of this scourge that has hit humanity. The copyright was offered to the National Commission for the Fight Against AIDS.
Shows to suppress the most pressing needs of needy citizens or organizations of the most varied types are also part of his life: fire brigades, hospitals, specific patients’ organizations, etc.
“WE AT MUSIC, WE ALWAYS SERVE FOR EVERYTHING AND WE NEVER SAY NO”
It has had a very active participation in the consolidation of democracy in Portugal. It was, in fact, a song sung by himself, “E Além do Adeus”, which served as the first password in the April 25, 1974, Carnation Revolution.
Paulo de Carvalho – THE VOICE, as they call it, but more importantly, the Author, the Composer and the Citizen.
