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
Depois Da Queda O Coice
Os Paralamas Do Sucesso Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
o selo do castigo
pra uns só traz a foice
pra outros traz alívio
dançando toda noite
bem rente ao precipício
depois de tanto açoite
a dor virou teu vício
E levou tuas palavras
palavrões não almofadas
como os que preferem Gil e Brown
no momento em que se dança
até onde a vista alcança
já não se vê bem nem mal
And all there is to say: "Hey, na, na, na!"
depois da noite o sonho
na luz de um outro dia
sem peso algum no bolso
nenhuma garantia
sorrindo a contragosto
e a história é repetida
nas marcas do teu rosto
nas voltas de tua vida
que levou tuas palavras
palavrões não almofadas... etc.
The lyrics of "Depois Da Queda O Coice" by Os Paralamas Do Sucesso speak about dealing with the aftermath of a fall, which could bring either punishment or relief depending on the individual's circumstances. The song talks about dancing dangerously close to the edge of a cliff, as if daring fate to harm the singer. The phrase "depois da queda, o coice" means "after the fall, the kick", suggesting that even if one survives a crisis, there might still be consequences to face.
The song's tone is somewhat resigned and melancholy, with the singer acknowledging that pain has become addictive to them, and that their words have lost their power in the process. The line "palavrões não almofadas" roughly means "swear words are not cushions", hinting at the futility of using profanity as a coping mechanism. The reference to Brazilian musicians Gilberto Gil and Carlinhos Brown suggests that even in the darkest moments, music can be a source of healing and strength, as long as it's not used as an escape. In the end, the song implies that the singer is still haunted by the past, but that they're willing to face their reality with a forced smile and a brave face, embracing the circularity of life.
Line by Line Meaning
Depois da queda, o coice
After a setback, comes another disappointment
o selo do castigo
It feels like punishment
pra uns só traz a foice
For some, it brings death
pra outros traz alívio
For others, it brings relief
dançando toda noite
Dancing all night long
bem rente ao precipício
Living on the edge
depois de tanto açoite
After being beaten so much
a dor virou teu vício
The pain became an addiction
E levou tuas palavras
And took away your words
palavrões não almofadas
Words that are not comforting
como os que preferem Gil e Brown
Like those who prefer Gil and Brown's music
no momento em que se dança
When one is dancing
até onde a vista alcança
As far as the eye can see
já não se vê bem nem mal
One can no longer distinguish good from bad
And all there is to say: "Hey, na, na, na!"
And all that's left to say is 'Hey, na, na, na!'
depois da noite o sonho
After the night, the dream
na luz de um outro dia
In the light of another day
sem peso algum no bolso
Without any money in your pocket
nenhuma garantia
No guarantee
sorrindo a contragosto
Forced to smile
e a história é repetida
And the story repeats itself
nas marcas do teu rosto
In the marks on your face
nas voltas de tua vida
In the twists and turns of your life
Lyrics © EMI Music Publishing
Written by: HERBERT LEMOS DE SOUZA VIANNA
Lyrics Licensed & Provided by LyricFind
@GracielaPaciencia
QUEM ESTÁ OUVINDO DURANTE A QUARENTENA?
@zungaezzaet
Não sei bem se é o melhor albun dos Paralamas, mas que esse albun é bom pra cacete eu não tenho duvida!!!
@LuSalvaro
Hey Na Na é perfeito!
@Fredvsl
Bons tempos...pena que não voltam mais
@Optikus76
Felipe Bi Ribeiro + Herbert Vianna + João Barone (antes: Vital Dias) = Paralamas do Sucesso
Letrão!!!
@gearsofart
Esse album pra mim eh o melhor deles,,,infelizmente nao eh mt tocando em shows =/ alias tirando uma musica.
@ORLANDO771461
!!!BUENA CANCIÓN DE OS PARALAMAS DO SUCESSO, EL PORTUGUÉS ES INCREÍBLE Y ESO QUE ES EL IDIOMA DEL BAILE Y LA BUENA VIBRA. COMO DIJE NO NECESITAS HABLAR INGLÉS PARA TRIUNFAR EN OTROS PAÍSES COMO PORTUGAL O MACAU EN DONDE TIENES QUE HABLAR ESTE MISMO IDIOMA COMO EN ESTA MISMA CANCIÓN!!!
@rockosur
Este tema tiene una onda muy de Fito Páez. No se si es de el, pero podría hacer un cover. Le saldria bueno
@MrLucas2981
Bala demais...
@sergio3l
quase todos os dias vejo este clipe!!! PErfomance simples mais Foda