Paulo Diniz knew success in the '70s with compositions and interpretations soaked with the freewheeling spirit of those times, a mixture of post-1968 protest with the joyous character of Bahian music. "Quero Voltar Pra Bahia" ("I Wanna Go Back to Bahia"), a nostalgic tribute to Caetano Veloso who was exiled in London at the time, was recorded by several other interpreters, including Fagner. Diniz also had his "Símbolo de Paz" recorded by Elizeth Cardoso; "Pingos de Amor" by several interpreters, including Araketu, Kid Abelha, Neguinho da Beija-Flor and Sula Miranda; "Chega" by Simone; "Um Chope Pra Distrair" by Emílio Santiago; and "Canseira" by Clara Nunes. Having gone very early to Recife (Pernambuco), where he spent a poor and difficult childhood, Paulo Diniz worked as a crooner and drummer in nightclubs, also performing as an actor and speaker at Rádio Jornal do Comércio. In 1964, he went to Rio de Janeiro to work as a speaker for Rádio Tupi. After awhile, he succeeded in singing in the Jovem Guarda style, recording his first album in 1966 with "O Chorão" (Edson Mello/Luís Keller). In 1967, he released his LP Brasil, Brasa, Brasileiro and started to write songs with a more focused approach and then recording his biggest hits three years later with "Um Chope Pra Distrair" and "Quero Voltar Pra Bahia," both in collaboration with Odibar, on the album Quero Votar Pra Bahia. Paulo Diniz (1971) had two other hits, "Pingos de Amor" (Odibar/Diniz) and "O Meu Amor Chorou" (Luiz Marçal Neto). After 1973, he dedicated himself to put music to poems by Carlos Drummond de Andrade (having a hit the next year with "E Agora, José?"), Augusto dos Anjos, Manoel Bandeira, and Gregório de Matos. In 1978, he had success with "Me Leva Morena" (with Marconi Norato/Juhareiz Correya) and "Severina Cooper (It's Not Mole Não)" (Accioly Neto), from the LP É Marca Ferrada. ~ Alvaro Neder