Along with Raul Seixas, Renato Russo and Os Mutantes, Cazuza, both while fronting Barão Vermelho and at solo career, is considered one of the best exponents of Brazilian rock music.

Influenced since early childhood by the strong values of Brazilian music, he had a special preference for the sad, dramatic overtones of Cartola, Lupicinio Rodrigues, Dolores Duran, and Maysa.

In late 1974, a vacation in London, England, acquainted him with the music of Led Zeppelin, Janis Joplin and The Rolling Stones, and he soon became a great fan.

It was also in this same year that Cazuza was infected with the AIDS virus, precipitating his desire to leave the band to obtain a greater freedom in composition and expression, both musically and lyrically.

After he left the band, Cazuza's music began to diversify, incorporating elements of the blues in songs such as "Blues da Piedade" (Blues of Compassion), "Só as mães são felizes" (Only Mothers Are Happy) and "Balada da Esplanada" (Ballad of the Esplanade), which was based on a poem of the same name by Oswald de Andrade; showcasing increasingly intimate lyrics, like those in "Só se for a Dois" (Just the two of us), as well as opening itself up to influences from Brazilian pop music with interpretations of Cartola's "O Mundo é um Moinho" (The World is a Windmill), Raul Seixas's "Cavalos Calados" (Silent Horses) and Caetano Veloso's "Esse Cara" (This Guy).

"Exagerado" (Exaggerated), "O Tempo não Pára" (Time Doesn't Stop), and "Ideologia" (Ideology) were his greatest hits and proved to be a great influence on subsequent Brazilian musicians.