agents in his workplace in Hospital de São José, on the accusation of belonging to an illegal political party opposing the government. He was kept imprisoned for 18 months. During his time in prison, he composed music in his head. According to some sources, people in the prison thought that Paredes was going insane, walking around his cell pretending to play the guitar, when in fact he was composing. After his release from prison, he was suspended from his job in the hospital and worked for some years as a delegate of medical propaganda. After the Carnation Revolution in Portugal, like others who had been political prisoners during the Estado Novo regime, Paredes was seen as a hero. He disliked this status and preferred not to talk about his time in prison, saying that there were people who suffered more than him. He was reinstated to his previous job in the Hospital de São José shortly after the revolution. Paredes remained a member of the Portuguese Communist Party until his death. Music career 1950s and 1960s Paredes' first release was a self-titled EP in 1957. He was accompanied by Fernando Alvim on the classical guitar. After this first record, the musical partnership between Paredes and Alvim would last for more than 20 years. During the 1960s, Paredes composed the soundtracks for numerous Portuguese films. He composed the soundtrack for the 1963 film Os Verdes Anos, directed by Paulo Rocha. The piece "Canção Verdes Anos", which is part of this soundtrack and was also included in his first studio album, became one his most recognizable works. He also composed the soundtracks for the film Fado Corrido (1964), by Jorge Brum do Canto, the film Mudar de Vida (1966), by Paulo Rocha, and contributed to the soundtrack of several short-films: Rendas de Metais Preciosos (1960), by Cândido Costa Pinto; P.X.O. (1962), by Pierre Kast and Jacques Valcroze; As Pinturas do Meu Irmão Júlio (1965), by Manoel de Oliveira; Crónica do Esforço Perdido (1966), by António de Macedo; À Cidade (1968) and The Colombus Route (1969), by José Fonseca e Costa; and Tráfego e Estiva (1968), by Manuel Guimarães. In theatre, he collaborated with José Cardoso Pires and Fernando Gusmão in 1964, with Carlos Avillez in the play Bodas de Sangue and performances of García Lorca's The House of Bernarda Alba by Teatro Experimental de Cascais. His first studio album, Guitarra Portuguesa, was