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 Novidade
Os Paralamas Do Sucesso Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Na qualidade rara de sereia
Metade o busto de uma deusa Maia
Metade um grande rabo de baleia
A novidade era o máximo
Do paradoxo estendido na areia
Alguns a desejar seus beijos de deusa
Ó mundo tão desigual
Tudo é tão desigual
Oh oh oh oh oh oh
De um lado este carnaval
De outro a fome total
Oh oh oh oh oh oh
E a novidade que seria um sonho
O milagre risonho da sereia
Virava um pesadelo tão medonho
Ali naquela praia, ali na areia
A novidade era a guerra
Entre o feliz poeta e o esfomeado
Estraçalhando uma sereia bonita
Despedaçando o sonho pra cada lado
Ó mundo tão desigual
Tudo é tão desigual
Oh oh oh oh oh oh
De um lado este carnaval
De outro a fome total
Oh oh oh oh oh oh
A novidade era o máximo
Do paradoxo estendido na areia
Alguns a desejar seus beijos de deusa
Outros a desejar seu rabo pra ceia
Ó mundo tão desigual
Tudo é tão desigual
Oh oh oh oh oh oh
De um lado este carnaval
De outro a fome total
Oh oh oh oh oh oh
The lyrics of "A novidade" by Os Paralamas do Sucesso address the issue of inequality and paradoxes in the world. The singer of the song comes across a novelty, a half-maia goddess and half-whale creature that caused a stir on the beach. Some were attracted to her beauty and goddess-like features, while others saw her as a potential meal due to her whale-like tail. The lyrics depict how the very thing that brought wonder and amazement to one person can bring dread and hunger to others. The theme of inequality is further explored, highlighting the stark contrast between those who can afford to enjoy life's pleasures, like the carnival on one side, and the destitute ones who experience total famine and hunger on the other. "A novidade" then takes a dark turn, with the novelty that once inspired awe and admiration turning into an instrument of war and violence, pitting the poet against the hungry, and shattering the dream for everyone.
The song's poignant message about inequality and the paradox of human desires is conveyed through simple yet impactful lyrics. The narrative plays on the common theme of transformative creatures like mermaids and underscores how the same characteristics that make us unique can lead to our undoing. The chorus's repetition also stresses the stark contrast between the carnival and the famine, signaling the magnitude of the issue. The song ultimately reveals how a simple novelty can expose the deep-rooted problems of society, thus acting as a mirror to reflect on the world's reality.
Line by Line Meaning
A novidade veio dar à praia
A new thing came to the beach
Na qualidade rara de sereia
In the rare quality of a mermaid
Metade o busto de uma deusa Maia
Half the bust of a Mayan goddess
Metade um grande rabo de baleia
Half a great whale's tail
A novidade era o máximo
The new thing was the greatest
Do paradoxo estendido na areia
Of the paradox extended on the sand
Alguns a desejar seus beijos de deusa
Some desiring her goddess kisses
Outros a desejar seu rabo pra ceia
Others desiring her tail for dinner
Ó mundo tão desigual
Oh world so unequal
Tudo é tão desigual
Everything is so unequal
De um lado este carnaval
On one side this carnival
De outro a fome total
On the other total hunger
E a novidade que seria um sonho
And the new thing that would be a dream
O milagre risonho da sereia
The mermaid's joyful miracle
Virava um pesadelo tão medonho
Became a nightmare so frightful
Ali naquela praia, ali na areia
There on that beach, there on the sand
A novidade era a guerra
The new thing was war
Entre o feliz poeta e o esfomeado
Between the happy poet and the hungry
Estraçalhando uma sereia bonita
Tearing apart a beautiful mermaid
Despedaçando o sonho pra cada lado
Shattering the dream on each side
Ó mundo tão desigual
Oh world so unequal
Tudo é tão desigual
Everything is so unequal
De um lado este carnaval
On one side this carnival
De outro a fome total
On the other total hunger
A novidade era o máximo
The new thing was the greatest
Do paradoxo estendido na areia
Of the paradox extended on the sand
Alguns a desejar seus beijos de deusa
Some desiring her goddess kisses
Outros a desejar seu rabo pra ceia
Others desiring her tail for dinner
Ó mundo tão desigual
Oh world so unequal
Tudo é tão desigual
Everything is so unequal
De um lado este carnaval
On one side this carnival
De outro a fome total
On the other total hunger
Lyrics © Sony/ATV Music Publishing LLC
Written by: Felipe De Nobrega Ribeiro, Herbert Lemos De Sou Vianna, Sebastiao Goncalves Pimenta, Gilberto Gil
Lyrics Licensed & Provided by LyricFind
@danisilva7753
Os Paralamas do Sucesso

A novidade veio dar a praia
Na qualidade rara de sereia
Metade o busto de uma deusa maia
Metade um grande rabo de baleia
A novidade era o máximo
Um paradoxo estendido na areia
Alguns a desejar seus beijos de deusa
Outros a desejar seu rabo pra ceia
O mundo tão desigual
Tudo é tão desigual
O, o, o, o...
De um lado esse carnaval
De outro a fome total
O, o, o, o...
E a novidade que seria um sonho
O milagre risonho da sereia
Virava um pesadelo tão medonho
Ali naquela praia, ali na areia
A novidade era a guerra
Entre o feliz poeta e o esfomeado
Estraçalhando uma sereia bonita
Despedaçando o sonho pra cada lado
Ô Mundo tão desigual...
A Novidade era o máximo...
Ô Mundo tão desigual...
@helivanOliveira
Fico arrepiado só de saber que Gilberto Gil ouviu o instrumental 4 vezes pelo telefone em em menos de 1 hora escreveu a letra e mandou pra os caras. Pense num cara foda!
@mariaalvessilva2681
GIL é gênio
@sergiogomes7198
Sim, é hipócrita, mas é um ótimo artista!
@raphaelsilva5455
@Sérgio Gomes o assunto é gil artista
@user-mi2bo9sh3n
@@sergiogomes7198 🐂🐂
@sergiogomes7198
@@raphaelsilva5455 Quem definiu qual é o assunto?
@yurimendonca8986
Falta de mais bandas desse nível, banda que é lenda viva, graças a Deus.
@simonea.3742
Que banda maravilhosa,que homem guerreiro e inspirador.Essa música é tão atual,lembrei dela depois da tragédia que acometeu SP ontem,na periferia com o desmoramento de um barranco com casas,um pai perde seu filho e teve de ser amparado por voluntários e bombeiros.O mundo precisa de pessoas como nós,com amor e empatia,se compadecer com a dor do próximo e ajudar,ensinem aos seu filhos e preguem Corintios 13,eu não religiosa,sou ecumenica,mas Amor é que tem faltado nos dias de hoje...
@jcam4552
Janeirão 2020... É ouvir e curtir moçada... 🤘💙
@Rafael10267
Lembrei dessa canção olhando pra tudo que está acontecendo nesse país !!
Um país tão abençoado !
Tão lindo !