Biography
In 1931 Silvino Neto turned his focus to music, performing tangos over the airwaves of Rádio Educadora Paulista. Using the stage name Pablo Gonzales, he appeared on multiple stations throughout São Paulo. Composition entered his work in 1932, when he narrowed his singing to Brazilian music. The following year brought several valses from his pen, among them “Uma Saudade a Mais... Uma Esperança A Menos” and “Que Importa Para Nós Dois a Despedida,” both later captured with notable success by Orlando Silva; “Valsa Dos Namorados” and “Adeus... Cinco Letras Que Choram,” both of which Francisco Alves turned into hits; and further examples.
By 1934 he was appearing with numerous ensembles, including those led by Osvaldo Borba, Gaó, Martinez Grau and Eduardo Patané. That same year he joined Alvarenga e Ranchinho to form the trio Os Mosqueteiros da Garoa, which quickly found favor with audiences. In 1936 he concluded his phase as a romantic singer. Employed at Rádio São Paulo, he relocated to Rio after his father’s death in 1937. On 4 January 1938 he debuted at Rádio Nacional in the role of humorist, launching a string of comedy programs that consistently drew large audiences.
He cut “Senhorita Pimpinela” in 1940 and, six years afterward, “Entrou Areia” and “Essa é Fina.” Several popular revues featured him, among them Fogo No Pandeiro (1945, alongside Dercy Gonçalves), Confeti Na Boca (1948, again with Dercy Gonçalves), Passo Da Girafa (1949, with Mara Rúbia), “A Borracha é Nossa” (1949, with Eros Volúsia), and both “Não Vou No Golpe” and “Bonde do Catete” (1955). In 1950 he ran for councilman in the then Federal District of Rio de Janeiro and captured the top spot. Returning to radio in 1953, he remained at Mayrink Veiga through 1956. He then ceased nationwide tours yet continued occasional radio and television appearances. Orlando Silva recorded his “Sóror Maria” and “Cristo Redentor” in 1955; Ângela Maria recorded “Fantasma Da Felicidade”; and for Carnival 1961 Dircinha Batista recorded “O Rio Será Sempre O Rio” and “Saudade Da Saudade,” Anestésio recorded “A Fome É Nossa,” and Nuno Roland recorded “Amanhã Chorarei Por Mim.”
By 1934 he was appearing with numerous ensembles, including those led by Osvaldo Borba, Gaó, Martinez Grau and Eduardo Patané. That same year he joined Alvarenga e Ranchinho to form the trio Os Mosqueteiros da Garoa, which quickly found favor with audiences. In 1936 he concluded his phase as a romantic singer. Employed at Rádio São Paulo, he relocated to Rio after his father’s death in 1937. On 4 January 1938 he debuted at Rádio Nacional in the role of humorist, launching a string of comedy programs that consistently drew large audiences.
He cut “Senhorita Pimpinela” in 1940 and, six years afterward, “Entrou Areia” and “Essa é Fina.” Several popular revues featured him, among them Fogo No Pandeiro (1945, alongside Dercy Gonçalves), Confeti Na Boca (1948, again with Dercy Gonçalves), Passo Da Girafa (1949, with Mara Rúbia), “A Borracha é Nossa” (1949, with Eros Volúsia), and both “Não Vou No Golpe” and “Bonde do Catete” (1955). In 1950 he ran for councilman in the then Federal District of Rio de Janeiro and captured the top spot. Returning to radio in 1953, he remained at Mayrink Veiga through 1956. He then ceased nationwide tours yet continued occasional radio and television appearances. Orlando Silva recorded his “Sóror Maria” and “Cristo Redentor” in 1955; Ângela Maria recorded “Fantasma Da Felicidade”; and for Carnival 1961 Dircinha Batista recorded “O Rio Será Sempre O Rio” and “Saudade Da Saudade,” Anestésio recorded “A Fome É Nossa,” and Nuno Roland recorded “Amanhã Chorarei Por Mim.”