Successful both with the bands Illés and Fonográf and in his solo career, writing lyrics for singers like Zsuzsa Koncz or for rock operas like István, a király, he was a major figure of the Hungarian music scene in the 60s–90s.

The band, which previously gained its Budapest-wide fame from small club concerts playing Italian and English hits (like ones from The Hurricanes, The Shadows and The Beatles) recorded its first albums Long Tall Sally and Little Richard/Chapel.

[4] Bródy wrote coded lyrics that – embedding the possibility of multiple interpretations – criticised the communist regime, turning their increasingly crowded events to implicit protests.

By 1972, Illés was increasingly under the pressure due to both passive state harassment, and the huge fan base, which demanded a more popular style compared to their original artistic goals.

Fonográf was also a virtually a workshop with numerous collaborators, notably Zsuzsa Koncz and Judit Halász, while the members also developed their own projects with the group's backing.

Bródy's relationship with Szörényi soured after the first democratic elections in 1990 when they began to support rival political parties, restricting their joint artistic work to the few last concerts of Illés and Fonográf.

[6] His first album, Hungarian Blues, released in 1980, contained songs that were dominant throughout his later career: mellow, critical, ironical ballads about general life in the 80s, and after 1990, the disappointment in the newly democratized country.