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
De Música Ligeira
Os Paralamas Do Sucesso Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Eu despertei e ainda sonhava
Algum tempo atrás escrevi numa carta
Que nunca escolhi
As armas do amor
E daquele amor de música ligeira
Nada nos livra
Não lhe enviarei
Mentiras e rosas
Nem penso evitar
O toque secreto
E daquele amor de música ligeira
Nada nos livra
Nada mais resta
E daquele amor de música ligeira
Nada nos livra
Nada mais resta
E daquele amor de música ligeira
Nada nos livra
Nada mais resta
Nada mais resta
Nada mais resta
Nada mais resta
The lyrics of the song "De Música Ligeira," by Os Paralamas Do Sucesso, tell the story of a love that once burned brightly but has now fizzled out. The opening lines describe the feeling of being enveloped by the warmth of a lover's embrace, but the singer is still asleep and dreaming. This is contrasted with the lines that follow, which reference a letter the singer apparently wrote in the past, in which they declared that they would never choose "the weapons of love" - a phrase that suggests a certain wariness or resistance to fully engaging with love.
The chorus of the song repeatedly states that "nothing remains" of the "light music" love that once existed between the two lovers. The singer declares that they will not send "lies and roses" in a feeble attempt to revive the relationship, nor will they avoid the "secret touch," which suggests that despite the overall melancholic tone of the song, the memory of the relationship still holds some significance for the singer.
Overall, "De Música Ligeira" is a poignant meditation on the fleeting nature of love and the inevitability of its passing. The song paints a picture of a relationship that was once full of passion and intensity but has now burned out, leaving behind only memories and regrets.
Line by Line Meaning
Ela deitou seu calor se espalhava
She laid down her warmth and it spread around
Eu despertei e ainda sonhava
I woke up and still dreamed
Algum tempo atrás escrevi numa carta
Some time ago, I wrote in a letter
Que nunca escolhi As armas do amor
That I never chose the weapons of love
E daquele amor de música ligeira
And from that love of light music
Nada nos livra
Nothing saves us
Nada mais resta
Nothing else remains
Não lhe enviarei Mentiras e rosas
I won't send you lies and roses
Nem penso evitar O toque secreto
Nor do I plan to avoid the secret touch
E daquele amor de música ligeira
And from that love of light music
Nada nos livra
Nothing saves us
Nada mais resta
Nothing else remains
E daquele amor de música ligeira
And from that love of light music
Nada nos livra
Nothing saves us
Nada mais resta
Nothing else remains
E daquele amor de música ligeira
And from that love of light music
Nada nos livra
Nothing saves us
Nada mais resta
Nothing else remains
Nada mais resta
Nothing else remains
Nada mais resta
Nothing else remains
Lyrics © Peermusic Publishing
Written by: Gustavo Adrian Cerati, Hector Juan Pedro Bosio
Lyrics Licensed & Provided by LyricFind
Maraiza Aparecida
Letras
Ela deitou seu calor se espalhava
Eu despertei e ainda sonhava
Algum tempo atrás escrevi numa carta
Que nunca escolhi
As armas do amor
E daquele amor de música ligeira
Nada nos livra
Nada mais resta
Não lhe enviarei
Mentiras e rosas
Nem penso evitar
O toque secreto
E daquele amor de música ligeira
Nada nos livra
Nada mais resta
E daquele amor de música ligeira
Nada nos livra
Nada mais resta
E daquele amor de música ligeira
Nada nos livra
Nada mais resta
Nada mais resta
Nada mais resta
Nada mais resta
Fonte: LyricFind
Mario Alberto Quintero Caro
De musica ligeira
Ela deitou seu calor se espalhava
Eu despertei e ainda sonhava
Algum tempo atrás escrevi numa carta
Que nunca escolhi
As armas do amor
E daquele amor de música ligeira
Nada nos livra
Nada mais resta
Não lhe enviarei
Mentiras e rosas
Nem penso evitar
O toque secreto
E daquele amor de música ligeira
Nada nos livra
Nada mais resta
E daquele amor de música ligeira
Nada nos livra
Nada mais resta
E daquele amor de música ligeira
Nada nos livra
Nada mais resta
Nada mais resta
Nada mais resta
Nada mais resta
HOSTEL CANASVIEIRAS
con toso o respeito a este grupo que admiro muito aqui mando A letra verdadeira da musica para q na proxima nao faca otra parodia o frabrique a propria letra.
Ella durmió
Al calor de las masas
Y yo desperté
Queriendo soñarla
Algún tiempo atrás
Pensé en escribirle
Que nunca sortie
Las trampas del amor
De aquel amor
De musica ligera
Nada nos libra
Nada mas queda
No le enviaré
Cenizas de rosas
Ni pienso evitar
Un roce secreto
De aquel amor
De musica ligera
Nada nos libra
Nada mas queda
Nada mas queda
Nada mas queda
Nada mas queda
a letra nao ten nada a ver o rumo da estoria, vamos buscar os terminos e conta a mesma historia!
Sergio De Sanctis
Os paralamas y Soda Stereo. Dos bandas que comparten influencias como The Police y a dos genios que te hacían volar con sus letras.
Brasil y Argentina unidos en esta canción!
Excelente!!!
Adrian Gendarmeria
GRANDES OS PARALAMAS!!!!!! suena muy bien en portugues como en castellano!!!!!!! . Musica de idolos tocada por idolos !!!!!!
Lucas Vito
A versão dos Paralamas é uma tradução e a do Capital é um Plágio mas nada pejorativo nesse adjetivo...
Me Dicen El Tano
Os paralamas do sucesso: THE POLICE BRAZILEIROS...
JOHNNY
La verdad es que la gran influencia del rock latino son los smiths, en la sonoridad, vestimenta, álbuns etc
Igor Albert Canavarro
@Lucas Vito Lucas, o Dinho Ouro-Preto falou em diversas entrevistas que A sua maneira foi uma reinterpretação da canção do Soda Stereo. Tem nada de plágio!
Gabriel Borges
Herbert arregaça nesse solo! Melhor versão da música original, disparada!
csojuniors
Muito top o solo, muita expressão.....
Allan Carlos
O solo além de ser muito bom mesmo, a continuação na modulação ficou show!
Rafa Dias
Na minha ignorância pensava que essa música fosse dos paralamas conheci primeiro essa versão, depois ouvi a original do soda , e o paralamas executou de uma forma honrosa esta obra prima