 Carlos do Carmo's career thrived in the 1970s, when he released several of his most well-known songs and collaborated with a number of opponents to the Estado Novo regime, such as Fernando Tordo, Paulo de Carvalho and the poet Ary dos Santos.Following the Carnation Revolution, fado saw its place as the Portuguese national music threatened by the emergence of "canção de intervenção", a term encompassing Portuguese protest songs.Fado also started to lose exposure on the radio and on television; according to musicologist Rui Vieira Nery, Carlos do Carmo was an exception to this trend, because of his connection to "sectors of the democratic opposition".