Three young guys who had in common their love for rock, reggae and ska - He… Read Full Bio ↴Three young guys who had in common their love for rock, reggae and ska - Herbert Vianna, Bi Ribeiro and João Barone - formed the group Paralamas at the beginning of the 80’s inspired by the sonority of groups as The Police, The Beat and The Specials, that used to recycle the rhythms created in Jamaica.
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
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
Ela Disse Adeus
Os Paralamas Do Sucesso Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Ela disse adeus (now the deed is done as you blink she is gone)
(Let her get on with life)
(Let her have some fun)
Ela disse adeus (now the deed is done as you blink she is gone)
(Let her get on with life)
(Let her have some fun)
Ela disse adeus, e chorou
Já sem nenhum sinal de amor
Ela se vestiu, e se olhou
Sem luxo, mas se perfumou
Lágrimas por ninguém
Só porque, é triste o fim
Outro amor se acabou
Ele quis lhe pedir pra ficar
De nada ia adiantar
Quis lhe prometer melhorar
E quem iria acreditar?
Ela não precisa mais de você
Sempre o último a saber
Ela disse adeus (now the deed is done as you blink she is gone)
(Let her get on with life)
(Let her have some fun)
Ela disse adeus (now the deed is done as you blink she is gone)
(Let her get on with life)
(Let her have some fun)
Disse adeus, e chorou
Já sem nenhum sinal de amor
Ela se vestiu e se olhou
Sem luxo mas se perfumou
Lágrimas por ninguém
Só porque é triste o fim
Outro amor se acabou
Ele quis lhe pedir pra ficar
De nada ia adiantar
Quis lhe prometer melhorar
E quem iria acreditar?
Ela não precisa mais de você
Sempre o último a saber
Ela disse adeus (now the deed is done as you blink she is gone)
(Let her get on with life)
(Let her have some fun)
Ela disse adeus (now the deed is done as you blink she is gone)
(Let her get on with life)
(Let her have some fun)
Ela disse adeus (now the deed is done as you blink she is gone)
(Let her get on with life)
(Let her have some fun)
Ela disse adeus (now the deed is done as you blink she is gone)
(Let her get on with life)
(Let her have some fun)
Ela disse adeus (now the deed is done as you blink she is gone)
(Let her get on with life)
(Let her have some fun)
(Now the deed is done as you blink she is gone, let her get on with life)
(Let her get on with life)
(Let her have some fun)
Ela disse adeus (now the deed is done as you blink she is gone)
(Let her get on with life)
(Let her have some fun)
Já sem nenhum sinal de amor
Ela se vestiu, e se olhou
Sem luxo, mas se perfumou
Lágrimas por ninguém
Só porque, é triste o fim
Outro amor se acabou
Ele quis lhe pedir pra ficar
De nada ia adiantar
Quis lhe prometer melhorar
E quem iria acreditar?
Ela não precisa mais de você
Sempre o último a saber
Ela disse adeus (now the deed is done as you blink she is gone)
(Let her get on with life)
(Let her have some fun)
Ela disse adeus (now the deed is done as you blink she is gone)
(Let her get on with life)
(Let her have some fun)
Disse adeus, e chorou
Já sem nenhum sinal de amor
Ela se vestiu e se olhou
Sem luxo mas se perfumou
Lágrimas por ninguém
Só porque é triste o fim
Outro amor se acabou
Ele quis lhe pedir pra ficar
De nada ia adiantar
Quis lhe prometer melhorar
E quem iria acreditar?
Ela não precisa mais de você
Sempre o último a saber
Ela disse adeus (now the deed is done as you blink she is gone)
(Let her get on with life)
(Let her have some fun)
Ela disse adeus (now the deed is done as you blink she is gone)
(Let her get on with life)
(Let her have some fun)
Ela disse adeus (now the deed is done as you blink she is gone)
(Let her get on with life)
(Let her have some fun)
Ela disse adeus (now the deed is done as you blink she is gone)
(Let her get on with life)
(Let her have some fun)
Ela disse adeus (now the deed is done as you blink she is gone)
(Let her get on with life)
(Let her have some fun)
(Now the deed is done as you blink she is gone, let her get on with life)
The song "Ela Disse Adeus" by Os Paralamas Do Sucesso is about a woman who has decided to end a relationship and move on with her life. The lyrics describe how she says goodbye and cries without any sign of love left, and then dresses up and puts on perfume even though she doesn't have any luxuries. The singer acknowledges that the ending of a relationship is sad, but encourages the man to let her go and find happiness.
The second part of the song addresses the man's desire to keep her and make promises to improve, but the singer points out that it's too late and she doesn't need him anymore. The final chorus repeats the message that the man needs to let her go and allow her to have some fun and move on with her life.
Overall, this song is a poignant reflection on the end of a relationship and the importance of letting go and allowing each other to move on.
Line by Line Meaning
Ela disse adeus
Now the deed is done as you blink she is gone
(Let her get on with life)
Let her move on and live her life
(Let her have some fun)
Let her enjoy herself and have some fun
Disse adeus, e chorou
She said goodbye and cried
Já sem nenhum sinal de amor
Already without any sign of love
Ela se vestiu e se olhou
She got dressed and looked at herself
Sem luxo mas se perfumou
Without luxury but put on perfume
Lágrimas por ninguém
Tears for no one
Só porque é triste o fim
Just because the end is sad
Outro amor se acabou
Another love is over
Ele quis lhe pedir pra ficar
He wanted to ask her to stay
De nada ia adiantar
It wouldn't help anything
Quis lhe prometer melhorar
He wanted to promise to do better
E quem iria acreditar?
And who would believe him?
Ela não precisa mais de você
She doesn't need you anymore
Sempre o último a saber
Always the last to know
Lyrics © Sony/ATV Music Publishing LLC
Written by: Herbert Lemos De Souza Vianna
Lyrics Licensed & Provided by LyricFind
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Diego Campos
Ela disse adeus
(Agora o fato está acabado)
(Enquanto você pisca, ela se vai)
(Deixe-a seguir com a vida)
(Deixe-a se divertir)
Rodrigo Limeira
👏👏👏👏
Talita Leão
0
Klevio Souza
Obg
Maria eunice Rosa campos
Obrigada por ter traduzido está parte a letra, pois estudo inglês. God bless you Diego.
Jonathan Ramiro
Nem todo herói usa capa
Rafael Francisco
Como não vi muitos aqui, vou deixar o comentário de um homem que sofre por isso.
Você é foda cara🤝, eu sei como é difícil lidar com esses sentimentos principalmente quando você vê que acabou, sei como é complicado ter alguém que era tão próximo e de repente ela vai embora te deixando sozinho com os seus demônios, eu sei que como é se arrepender por erros que você cometeu quando estava tão próximo e pensar que você poderia mudar tudo, eu sei como o refrão "ela disse Adeus" te machuca. Mas independente disso é independente do que digam, você é incrível e vai aguentar tudo isso, mesmo que se sinta em um poço sem volta, você vai se levantar, eu sei que é difícil, mas tente caminhar com suas próprias pernas e tente ser feliz assim, sem depender de ninguém pra se sentir bem, não se perca nessa escuridão e continue sendo você, brilhe com suas próprias cores e eu tenho certeza que alguma hora você irá encontrar alguém que irá brilhar junto contigo como um céu estrelado. 🌹👍🏽
Rafael Francisco
@Rodrigo Gaia Por nada cara, melhoras 🤝
Rodrigo Gaia
Obrigado mano
Ingrid Arenas
Que prazeroso ouvir essa música aliviada, porque passou.