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
Capitão de Indústria
Os Paralamas Do Sucesso Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Em outra vida ou lugar
Estou cansado demais
Eu não tenho tempo de ter
O tempo livre de ser
De nada ter que fazer
É quando eu me encontro perdido
Nas coisas que eu criei
Eu não vejo além da fumaça
O amor e as coisas livres, coloridas
Nada poluídas
Ah, Eu acordo prá trabalhar
Eu durmo prá trabalhar
Eu corro prá trabalhar
Eu não tenho tempo de ter
O tempo livre de ser
De nada ter que fazer
Eu não vejo além da fumaça
Que passa e polui o lar
Eu nada sei
Eu nao vejo além disso tudo
O amor e as coisas livres, coloridas
Nada poluídas
Eu acordo prá trabalhar
Eu durmo prá trabalhar
Eu corro prá trabalhar
Eu não tenho tempo de ter
O tempo livre de ser
De nada ter que fazer
É quando eu me encontro perdido
Nas coisas que eu criei
E eu não sei
Eu não vejo além da fumaça
O amor e as coisas livres, coloridas
Nada poluídas
Ah, Eu acordo prá trabalhar
Eu durmo prá trabalhar
Eu corro prá trabalhar
The lyrics of "Capitão De Indústria" by Os Paralamas Do Sucesso talk about the singer being stuck in a monotonous routine of work and not having time to enjoy life. He sometimes thinks about a different life or place where things are not so controlled, and he can be free to do and be whatever he wants. However, he is tired and drained, and he has no time to spare to do things he loves. He is lost in the things he has created, but he doesn't know what to do.
The song also talks about the pollution and smoke surrounding the singer, and how it affects his ability to see beyond it. He cannot see love and free and colorful things because everything is polluted around him. The singer wakes up, sleeps, and runs to work, but he has no time to be himself, to have free time, to do nothing. He feels lost in the things he has created and cannot see beyond the smoke and pollution.
Overall, "Capitão De Indústria" portrays a sense of dissatisfaction and frustration with the monotony of work and the values of modern society that prioritize efficiency and productivity over personal freedoms and happiness.
Line by Line Meaning
Eu às vezes fico a pensar
At times I ponder
Em outra vida ou lugar
About another life or place
Estou cansado demais
I am too tired
Eu não tenho tempo de ter
I don't have time to have
O tempo livre de ser
The free time to be
De nada ter que fazer
To have nothing to do
É quando eu me encontro perdido
That's when I find myself lost
Nas coisas que eu criei
In the things I created
E eu não sei
And I don't know
Eu não vejo além da fumaça
I don't see beyond the smoke
O amor e as coisas livres, coloridas
Love and free, colorful things
Nada poluídas
Not polluted
Eu acordo prá trabalhar
I wake up to work
Eu durmo prá trabalhar
I sleep to work
Eu corro prá trabalhar
I rush to work
Que passa e polui o lar
That passes and pollutes the home
Eu nada sei
I know nothing
Eu nao vejo além disso tudo
I don't see beyond all this
O amor e as coisas livres, coloridas
Love and free, colorful things
Eu acordo prá trabalhar
I wake up to work
Eu durmo prá trabalhar
I sleep to work
Eu corro prá trabalhar
I rush to work
Eu não tenho tempo de ter
I don't have time to have
O tempo livre de ser
The free time to be
De nada ter que fazer
To have nothing to do
É quando eu me encontro perdido
That's when I find myself lost
Nas coisas que eu criei
In the things I created
E eu não sei
And I don't know
Eu não vejo além da fumaça
I don't see beyond the smoke
O amor e as coisas livres, coloridas
Love and free, colorful things
Nada poluídas
Not polluted
Eu acordo prá trabalhar
I wake up to work
Eu durmo prá trabalhar
I sleep to work
Eu corro prá trabalhar
I rush to work
Lyrics © OBO APRA/AMCOS
Lyrics Licensed & Provided by LyricFind
@iagomelo2733
Eu às vezes fico a pensar
Em outra vida ou lugar
Estou cansado demais
Eu não tenho tempo de ter
O tempo livre de ser
De nada ter que fazer
É quando eu me encontro perdido nas coisas que eu criei
E eu não sei
Eu não vejo além da fumaça
O amor e as coisas livres, coloridas
Nada poluídas
Ah, eu acordo pra trabalhar
Eu durmo pra trabalhar
Eu corro pra trabalhar
Eu não tenho tempo de ter
O tempo livre de ser
De nada ter que fazer
Eu não vejo além da fumaça que passa e polui o ar
Eu nada sei
Eu não vejo além disso tudo
O amor e as coisas livres, coloridas
Nada poluídas
Eu acordo pra trabalhar
Eu durmo pra trabalhar
Eu corro pra trabalhar
Eu não tenho tempo de ter
O tempo livre de ser
De nada ter que fazer
É quando eu me encontro perdido nas coisas que eu criei
E eu não sei
Eu não vejo além da fumaça
O amor e as coisas livres, coloridas
Nada poluídas
Ah, acordo pra trabalhar
Eu durmo pra trabalhar
Eu corro pra trabalhar
@raquelcamargo2639
Já chorei ouvindo essa música. Ela retrata a angústia de quem não tem o tempo livre de ser...
@susanecristinacoelho1664
Essa música foi lançado em 96/97, tinha 16 anos eu não entendia direito o q essa música dizia, porém como uma fã dos Paralamas nunca questionei simplesmente amei esse som. Hoje com meus 40 anos eu entendo perfeitamente e vejo que sou a personagem dessa relíquia kkkk o tempo é fundamental para o amadurecimento do ser humano.
@viniciuscerqueira9808
Isso mesmo minha querida,essa música foi bem desse período mesmo,meus 11 anos na época e curtindo muito esse sucesso dos Paralamas.
@edcarlamelo849
Faço de suas palavras, as minhas. 😂😢
@ogostosao9104
Música lançada em 1972, na novela Selva de Pedra.
@susanecristinacoelho1664
@@ogostosao9104 sim na voz de Djalma Dias, a do versão dos Paralamas foi em 1996, e muito melhor por sinal, o que não desmerece a voz sensacional do Djalma Dias...
@ailtonaraujo9481
Exatamente isso que eu veijo
@jennifercris5873
hoje eu trabalhando 04/03/21 escutei essa canção reflexiva da vida na radio nova Brasil fm! que me fez ainda sentir orgulho da nossa música 👏👏
@soraiapaula2010
Hoje eu fiz uma prova para concurso público e caiu a letra dessa música na prova de língua portuguesa. Achei tão interessante que não resisti e tive que ouvir. Sensacional.
@cristianopedro5013
Euuuu escuto essa música pra ir trabalhar, pra trabalhar e na volta do trabalharrr!!! Kkkk