Stimulated by the talent and the interest in the rising phenomenon of the Brazilian Rock, soon they had recorded their first LP “Cinema Mudo” (1983) and had become a success with songs such as “Vital e sua Moto” and “Patrulha Noturna”.
The second LP “O Passo do Lui” (1984), consolidated the initial pull with the hits “Óculos”, “Ska” and “Meu Erro”, but it was in the presentation during the Rock in Rio Festival in January 1985, that they were definitely consecrated after their two concerts only for the power of their music, not for any scenic artifice.
After having toured throughout Brazil (more than 150 shows), Paralamas made a stop and released the revolutionary “Selvagem” (1986), that gave new routes to the Brazilian Rock 80’s generation. They abandoned the first influences and started to mold a personal sonority recognized and approved by the youth that bought more than 750 thousand copies of the album. In “Selvagem”, social (“Alagados”) and politics criticism (“Selvagem”) coexisted with good mood (“Melô do Marinheiro”), a tribute to Tim Maia (“Você”) and a partnership with Gilbert Gil (“A Novidade”).
At this time they made the first incursions in Latin America, initiating a work that would lead them to be the most recognized act of the Brazilian music in the decade of 90 in countries as Argentina, Chile, Uruguay and Venezuela. The “Selvagem” success also gave them the right to be the first group of their generation to participate of the Montreux Jazz Festival, in 1987, when they took advantage to also perform at the Olympia in Paris.
The concert in Montreux was recorded and became the LP and video “D” (1987), with the participation in the keyboards of João Fera and George Israel (sax), as special invited.
In the following year a new successful LP “Bora Bora”. The hits “O Beco”, “Uns Dias” and “Quase um Segundo” extended the series of influences and added brass instruments to the sound of Paralamas.
The following LP “Big Bang” (1989) would consolidate the new sonorous format in exciting songs as “Perplexo” and lyric ones as “Lanterna dos Afogados”, as well as a bossa-nova “Nebulosa do Amor”.
To turn the decade, the trio released the compilation “Arquivo” with their hits of the 80’s, the rerecording of their first hit “Vital e sua Moto” and also the new song “Caleidoscópio”.
The first half of the 90’s would be dedicated to the experiment and the conquest of the Latin American market. The album “Os Grãos” (1991, with songs of minor popular appeal, was not a sales success, but it did not affect the band itself. Herbert, Bi and Barone spent three months in London with the producer Phil Manzanera recording “Severino” (1994), considered by many revewers the “Sgt. Pepper's of 80’s generation” of the Brazilian Rock. In despite of that, the radios did not play the album and the exit for Paralamas was the airport.
In 1992, they released in the Latin American countries the compilation “Paralamas”, with versions in Spanish of their hits, what opened for them the markets that they had been visiting repeatedly since 1986. They started being each time more requested for shows, due to the great success of the Spanish version of “Severino” baptized “Dos Margaritas”.
But the excellent tour of “Severino” throughout Brazil confirmed that Paralamas does not need to have a song on the hit parades to attract the audience, so they decided to release “Vamo Batê Lata” – Paralamas Ao Vivo” (1995). Attached there was a four track bonus CD. The explosion of one of tracks “Uma Brasileira”, a Herbert and Carlinhos Brown partnership, with the special participation of Djavan, led the trio back to the mega success. A second song “Luiz Inácio (300 picaretas)” would lead the band to the politician news after being forbidden to play it in a show in Brasilia, under allegation that the song wounded the honor of the noble members of the Chamber House. The song referred to a declaration of the current Brazilian president, at the time a Federal Deputy, that in the National Congress there were some honored men and 300 tramps. Herbert detonated the political class at that time.
In 1995, Paralamas initiated a pull in the MTV Video Music Brazil that would take them to gather up 11 prizes up to 1999. In that year, the video “Uma Brasileira” got the awards for the best pop video and the video of the audience.
From there on Paralamas sailed in the rhythm of success with two more studio albums: “Nove Luas” (1996) – with the tracks “Lourinha Bombril” (awarded with the best video of the year, best edition and direction in the MTV Video Music Brazil (VMB) and “Busca Vida” (best video of the year in the VMB) – and “Hey Na Na” (1998) – with the tracks “Ela Disse Adeus” (five awards in the VMB: best video of the year, best pop video, best direction, photograph and direction of art) and “O Amor não Sabe Esperar” with the participation of Marisa Monte. The video “Depois da Queda o Coice” gained the VMB for the best edition.
In 1999, it was the time for a project that they have dreamt of during the entire decade, the album “MTV Unplugged”. Instead of making a revision of their career through the successes, they opted by a repertoire dominated by significant songs that had not received the due attention (“Bora Bora”, “Vai Valer” and “Trem da Juventude”) with homage to Chico Science and the group Legião Urbana, the new song “Sincero Breu” and “Um Amor Um Lugar”, recorded before by Fernanda Abreu. The CD sold more than 500 thousand copies and gained the Latin Grammy for the best Brazilian rock album.
The victorious “Unplugged” tour was extended until the end of 2000, when the trio released the compilation “Arquivo 2”, that brought the unpublished “Aonde quer que eu vá”, a Herbert Vianna and Pablo Sergio Valle partnership, one of the great composers of the Brazilian Popular Music (MPB).
At that time, Paralamas announced a six month stop for vacations and a reformulation in the sound of the group, after almost two decades of career. The plans pointed to a new rock album and, primordially, in trio.
This CD was recorded and is titled “Longo Caminho”, but the tragic accident that Herbert suffered on February 4th 2001, left the Brazilian music in mourning. The fall of the small plane in the Angra dos Reis Bay, Rio de Janeiro, when he was on the way to Dado Villa Lobos home, killed his wife, Lucy Needham Vianna and it left him between life and death. The entire country followed Herbert’s fight for survival in the hospital Copa D’Or, in Copacabana, Rio de Janeiro.
It has been a difficult journey since then due to the sequels of the accident: Herbert is in a wheel chair and has not recovered the cerebral functions fully yet, but all that has not incapacitated him for music and in October 2002, he started the rehearsals with the complete band in his home studio. The result was so good that it led gradually to the new CD, with the repertoire composed before the accident.
The Band:
Herbert Vianna:vocals and guitar
Bi Ribeiro:bass
João Barone:Drums
A Lhe Esperar
Os Paralamas Do Sucesso Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Onde a nuvem beija o mar
Onde fica o fim do mundo
Onde o escuro é mais profundo
Eu estou a lhe esperar
Onde a pálpebra aconchega
Onde já fechou o bar
Na virada da vereda
Eu estou a lhe esperar
Água venha, água vá
Arda lenha, cave pá
Chova chuva, vire curva
Gire roda, quebre mar
Mude moda, sangre ringue
Pia pingue, ferva chá
Rua muro, role pedra
Mude lua de luar
Vou estar numa parada dessa
Estrada a lhe esperar
Eu estou a lhe esperar
Todo dia, toda hora, em qualquer lugar
Eu estou a lhe esperar
Todo dia, toda hora, em qualquer lugar
Eu estou a lhe esperar
Quando é que você vai chegar?
In the song A Lhe Esperar by Os Paralamas Do Sucesso, the lyrics depict a scene where the singer is waiting for someone at the edge of the world, where the wind meets the sea and the darkness is deeper than anywhere else. The singer declares that they will be waiting for the person they address the song to, at different intersections and corners, no matter where or when. The song is a promise to be there for the person, whenever they decide to show up, and to endure everything that may come their way, from changing weather and moods, to the challenges of life.
The phrase "A Lhe Esperar" translates to "Waiting for You" in English, and the song carries a sense of longing, uncertainty, and hope. The waiting may be difficult, but the singer asserts that they will be there, no matter what, in a steadfast and unwavering way. The lyrics use vivid imagery, such as the clouds kissing the sea and the street corners and alleys in the city, to ground the song in a specific place and time, while also evoking a sense of mystery and wonder.
Overall, A Lhe Esperar is a poignant and heartfelt love song that conveys a sense of devotion and commitment through its simple yet powerful lyrics and melody.
Line by Line Meaning
Lá onde o vento vai dar
I am waiting for you at a place where the wind takes me.
Onde a nuvem beija o mar
It's a place where the clouds touch the sea.
Onde fica o fim do mundo
It's where the world ends, and beyond that, nothing exists.
Onde o escuro é mais profundo
The darkness is the deepest at that place.
Eu estou a lhe esperar
I am waiting for you there.
Onde a pálpebra aconchega
It's a place where eyelids find comfort.
Onde já fechou o bar
It's a place where the bar has already closed.
Na esquina da alameda
It's at the corner of a broad avenue.
Na virada da vereda
It's at the intersection of a narrow path.
Água venha, água vá
Water comes and goes.
Arda lenha, cave pá
Wood burns, and shovels dig.
Chova chuva, vire curva
Rain falls, road twists and turns.
Gire roda, quebre mar
Wheels turn, waves break.
Mude moda, sangre ringue
Fashions change, fights happen.
Pia pingue, ferva chá
Taps drip, tea boils.
Rua muro, role pedra
Streets run alongside walls, stones roll.
Mude lua de luar
Even the moon changes.
Vou estar numa parada dessa
I will be waiting for you at one of these stops.
Estrada a lhe esperar
I will be waiting for you on the road.
Todo dia, toda hora, em qualquer lugar
Every day, every hour, anywhere, I am waiting for you.
Quando é que você vai chegar?
When are you going to arrive?
Lyrics © Warner/Chappell Music, Inc.
Written by: ARNALDO ANTUNES, ARNOLPHO LIMA FILHO
Lyrics Licensed & Provided by LyricFind
Felipe Wenzel
Ninguém no Brasil mistura rock e reggae com a mesma qualidade que Os Paralamas. Maior banda do país!
Felipe Silva
Tem razão!
Fernando Henrique
A lhe esperar, é felicidade pura.... Pela música, pelo vídeo, pelo astral.... O que esperar, senão tudo isso??? É Paralamas!!!!!!
Rodriggo Misquita
Matematica Paralamica: Hebert+BI+Barone= Paralamas = Vinho + tempo = Melhor qualidade ou seja quanto mais passa o tempo melhor vai ficando apesar de que quando ja estava novo ja era muito bom. Paralamas e rock de verdade são assim, nao tem idade nem perde o valor ''nutricional'' ao passar do tempo, musica de verdade não perece.
MENOR BOM PJL
Música perfeita pprt, paralamas é muito foda
nostalgia pura😍😍
PAULO RENEE
Incrivelmente perfeita
Angélica Lyra
QQ coisa q eles fazem é assim... MARAVILHOSO! Linda música (nada de novidade...) e clipe LINDOOOOOOOOOOOOOOOO
Andrei de Los Santos
I really love this song.
Marli Reis
Que música bacana 😍😃😻😃😃!
maria Izabel Januário Alves
Que banda fofa