Biography
Fausto Nilo has penned lyrics for more than three hundred tracks that found their way onto recordings. Among the many successes are “Amor nas Estrelas,” written with Roberto de Carvalho and later taken up by Nara Leão; four Simone vehicles—“Pão e Poesia” with Moraes Moreira, “Pequenino Cão” with Caio Sílvio, “Um Desejo Só Não Basta” with Francisco Casaverde, and “Você É Real” with Piska; “Retrato Marrom,” a Rodger Rogério collaboration cut by Ney Matogrosso; “Chorando e Cantando,” shaped with Geraldo Azevedo and delivered by Elba Ramalho; “Bloco do Prazer,” again with Moraes Moreira and voiced by Gal Costa; “Pedaço de Canção,” another Moreira piece; “Flor da Paisagem,” co-authored with Robertinho do Recife and recorded by Amelinha; “Cartaz,” also with Francisco Casaverde; “Lua no Leblon,” crafted alongside Lisieux Costa and performed by Fagner; the pair “Zanzibar” and “Zero,” both written with Armandinho and rendered by A Cor do Som; “Tudo com Você,” a Lulu Santos song the artist himself released; “Dona da Minha Cabeça” and “Você se Lembra,” each made with Geraldo Azevedo and issued under Azevedo’s name; “A Lua e o Mar” together with “Eu Também Quero Beijar,” both fashioned with Pepeu Gomes and cut by the guitarist; and finally “Pedras que Cantam,” a Dominguinhos composition the accordionist recorded.
Nilo’s introduction to the vernacular traditions of Northeastern Brazil began in childhood, guided by a grandfather devoted to the cantadores. During the 1970s he entered the circle of Pessoal do Ceará—Fagner, Rodger Rogério, Belchior, Teti, Petrúcio Maia, Ricardo Bezerra, and Manassés—several of whom, Fagner among them, began setting his poems to music. The first such effort to reach the public was “Fim do Mundo,” a 1972 Marília Medalha release on which Fagner also collaborated. In 1976 Nilo formed a lasting alliance with Moraes Moreira that produced numerous successes, among them “Santa Fé,” the theme that opened the telenovela Roque Santeiro, plus “Meninas do Brasil,” “Coisa Acesa,” “Bateu no Paladar,” and additional titles. Once Simone’s version of “Pequenino Cão” became a major hit, Nilo’s services as lyricist were widely sought; subsequent interpreters include Maria Bethânia, Ednardo, Chico Buarque, Baby Consuelo, Caetano Veloso, Zé Ramalho, and Cidade Negra. His sole album as a performer, Esquinas do Deserto, appeared in 1997.
Nilo’s introduction to the vernacular traditions of Northeastern Brazil began in childhood, guided by a grandfather devoted to the cantadores. During the 1970s he entered the circle of Pessoal do Ceará—Fagner, Rodger Rogério, Belchior, Teti, Petrúcio Maia, Ricardo Bezerra, and Manassés—several of whom, Fagner among them, began setting his poems to music. The first such effort to reach the public was “Fim do Mundo,” a 1972 Marília Medalha release on which Fagner also collaborated. In 1976 Nilo formed a lasting alliance with Moraes Moreira that produced numerous successes, among them “Santa Fé,” the theme that opened the telenovela Roque Santeiro, plus “Meninas do Brasil,” “Coisa Acesa,” “Bateu no Paladar,” and additional titles. Once Simone’s version of “Pequenino Cão” became a major hit, Nilo’s services as lyricist were widely sought; subsequent interpreters include Maria Bethânia, Ednardo, Chico Buarque, Baby Consuelo, Caetano Veloso, Zé Ramalho, and Cidade Negra. His sole album as a performer, Esquinas do Deserto, appeared in 1997.