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
Cinema Mudo
Os Paralamas Do Sucesso Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Ai ai ai ai ai
Uô le bo le ô ô ô ô ô ô
Uô le bo le ô ô ô ô ô ô
Amor sem palavras
Cinema mudo
Não falo nada, você sabe tudo
Ai ai ai ai ah
A noite chega
Me dá um toque
Melancolia não dá ibope
Ô, ô, ô, ô, ô, ô, ô, ô
Eu tenho que aprender a dizer
Tudo que eu sinto por você
Eu tenho que aprender
Num desses seriados de TV
Uô le bo le ô ô ô ô ô ô
Uô le bo le ô ô ô ô ô ô
Uô le bo le ô ô ô ô ô ô
Uô le bo le ô ô ô ô ô ô
Amor sem palavras
Cinema mudo
Não falo nada, você sabe tudo
Ô, ô, ô, ô, ô, ô, ô, ô
Ai ai ai ai ah
A noite chega
Me dá um toque
Melancolia não dá ibope
Ô, ô, ô, ô, ô, ô, ô, ô
Eu tenho que aprender a dizer
Tudo que eu sinto por você
Eu tenho que aprender
Num desses seriados de TV
Ai ai ai ai ah
Uô le bo le ô ô ô ô ô ô
Uô le bo le ô ô ô ô ô ô
Uô le bo le ô ô ô ô ô ô
Uô le bo le ô ô ô ô ô ô
Uô le bo le ô ô ô ô ô ô
Uô le bo le ô ô ô ô ô ô
Uô le bo le ô ô ô ô ô ô
Uô le bo le ô ô ô
The lyrics of Os Paralamas Do Sucesso's song "Cinema Mudo" describe the struggles of expressing one's feelings in a relationship, using the metaphor of silent movies. The phrase "Amor sem palavras" (love without words) suggests that the singer is unable to fully communicate their affection, perhaps due to shyness or fear of rejection. The line "Não falo nada, você sabe tudo" (I don't say anything, you know everything) implies that the other person is aware of the singer's emotions even without verbal confirmation, reinforcing the idea of a deep, intuitive connection between them.
The second verse sees the singer admitting their difficulty with expressing themselves and vowing to learn how to do so, comparing it to a TV show where characters learn life lessons. The use of the phrase "Melancolia não dá ibope" (melancholy doesn't sell) suggests that the singer wants to move beyond the angst of unexpressed emotions and make their feelings known, perhaps to ensure a more satisfying relationship.
Overall, "Cinema Mudo" is a poignant song about the complexities of communication and the importance of speaking up for oneself in matters of the heart.
Line by Line Meaning
Uô le bo le ô ô ô ô ô ô
Repetitive chant to evoke a feeling of passion and anticipation
Ai ai ai ai ai
Expression of a deep feeling of love and desire
Amor sem palavras
Love that is so strong, words are not needed to express it
Cinema mudo
A metaphor for the silent communication between two people in love
Não falo nada, você sabe tudo
Even though there are no spoken words, the other person knows exactly how the artist feels
Ô, ô, ô, ô, ô, ô, ô, ô
Repetition of the chant to emphasize the strength of the emotions
A noite chega
Nighttime arrival signifies a time of intimacy and closeness
Me dá um toque
A request for physical touch to express love without words
Melancolia não dá ibope
Sadness and melancholy are not desirable, and love should be expressed in a positive way
Eu tenho que aprender a dizer
The realization that verbal expression of love is important
Tudo que eu sinto por você
The singer wants to express all the emotions they feel for the other person
Num desses seriados de TV
The artist recognizes that TV shows have examples of how to express love verbally
Lyrics © Sony/ATV Music Publishing LLC
Written by: Herbert Lemos De Sou Vianna
Lyrics Licensed & Provided by LyricFind
Fabio Zampieri
"...Melancolia não dá ibope". Muito Bom !!!!!!!!!!!!
Letra:
Uô le bo le ô ô ô ô ô ô
Amor sem palavras
Cinema mudo
Não falo nada você sabe tudo
Ô, ô,ô, ô
A noite chega
Me dá um toque
Melancolia não dá Ibope
Ô, ô,ô ô
Eu tenho que aprender a dizer tudo que eu sinto por você
Eu tenho que aprender
Num desses seriados de TV
Maria Oliveira
Sou grata por ter nascido no tempo que as músicas tinha letra,! Ouu tempo lindo. Anos 80,90,2000 só gratidão por tanto! 👏👏💖🥰❤😊
PALMEIRENSE DESDE 1993
A preferida do meu falecido pai. Que Deus o tenha!
Elenildo Paixao
Rock ou não , eu me lembro que no ano de 1989 , teve um grupo que tocou essa música num baile de carnaval e a galera foi pura vibração com essa música .
Wanderson Ribeiro
Isso que é música de verdade
Vinicius Spindola
Isso que é música de verdade
Adriana Pereira
Melhor Época Da Minha Adolescência
Vinicius Spindola
Melhor Época Da Minha Adolescência
Jurandir almeida da silva
essa é uma obra prima nacional........essa musica me traz muita recordação do meu falecido irmão - falecimento acontecido em dezembro/99 - tragicamente aos 33 anos!! Ele era um grande fã dos Paralamas!!! esteja com Deus my brother
Windows 10
Incrível o fato de Os Paralamas não terem levado um prêmio Grammy
Danilo S. da silva
Manera mesmo essa música merecidamente anos 80