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
Lourinha Bombril
Os Paralamas Do Sucesso Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Olha como ela samba
Olha como ela brilha
Olha que maravilha
Essa crioula tem o olho azul
Essa lourinha tem cabelo bombril
Aquela índia tem sotaque do Sul
A cozinheira 'tá falando alemão
A princesinha 'tá falando no pé
A italiana cozinhando o feijão
A americana se encantou com Pelé
Häagen-dazs de mangaba
Chateau, canela-preta
Cachaça made in Carmo dando a volta no planeta
Caboclo presidente
Trazendo a solução
Livro pra comida, prato pra educação
Para e repara
Olha como ela samba
Olha como ela brilha
Olha que maravilha
Essa crioula tem o olho azul
Essa lourinha tem cabelo bombril
Aquela índia tem sotaque do Sul
Essa mulata é da cor do Brasil
A cozinheira 'tá falando alemão
A princesinha 'tá falando no pé
A italiana cozinhando o feijão
A americana se encantou com Pelé
Häagen-dazs de mangaba
Chateau canela-preta
Cachaça made in Carmo dando a volta no planeta
Caboclo presidente
Trazendo a solução
Livro pra comida, prato pra educação
Para e repara
Olha como ela samba
Olha como ela brilha
Olha que maravilha
Häagen-dazs de mangaba
Chateau canela-preta
Cachaça made in Carmo dando a volta no planeta
Caboclo presidente
Trazendo a solução
Livro pra comida, prato pra educação
Para e repara
Olha como ela samba
Olha como ela brilha
Olha que maravilha
In "Lourinha Bombril," Os Paralamas do Sucesso celebrate the multicultural and diverse beauty of Brazil. The song opens by urging the listener to "stop and look" at how the woman in question dances and glitters - she is a marvel. From there, the lyrics describe a variety of women who represent different regions and ethnicities of Brazil. There is a dark-skinned woman with blue eyes, a "Lourinha" (blonde woman) with hair that shines like Bombril (a brand of steel wool), an Indigenous woman with a southern accent, and a "mulata" (mixed-race) woman who embodies the colors of Brazil. The women are all unique in their appearance but join together as a symbol of Brazil's diverse beauty.
The second half of the song introduces a variety of images and ideas that represent Brazil's cultural richness. The cook is speaking German, the "princesinha" is dancing naturally, and the Italian is cooking beans - showing how people of different backgrounds have come together to create a unique culture. Mention is made of Häagen-dazs ice cream made with the Brazilian fruit "mangaba", Chateau wine infused with black cinnamon, and cachaça from Carmo that can be found all around the world. A "caboclo" (person of mixed Indigenous and European ancestry) president is referenced as the one who will bring solutions, and the importance of both food and education is emphasized with the line "book for food, plate for education."
Overall, "Lourinha Bombril" celebrates the diverse and multicultural nature of Brazil, highlighting the beauty of its people and the richness of its cultures and traditions.
Line by Line Meaning
Pára e repara
Stop and watch
Olha como ela samba
Look how she sambas
Olha como ela brilha
Look how she shines
Olha que maravilha
Look what a wonder
Essa crioula tem o olho azul
This black woman has blue eyes
Essa lourinha tem cabelo bombril
This fair-skinned girl has Brillo hair
Aquela índia tem sotaque do Sul
That Indian woman has a southern accent
Essa mulata é da cor do Brasil
This mixed-race woman has the color of Brazil
A cozinheira tá falando alemão
The cook is speaking German
A princesinha tá falando no pé
The little princess is dancing samba
A italiana cozinhando o feijão
The Italian is cooking beans
A americana se encantou com Pelé
The American fell in love with Pelé
Häagen-dazs de mangaba
Mangaba Häagen-Dazs
Chateau canela-preta
Black cinnamon Chateau
Cachaça made in Carmo dando a volta no planeta
Cachaça made in Carmo going around the planet
Caboclo presidente
Indigenous president
Trazendo a solução
Bringing the solution
Livro pra comida, prato pra educação
Books for food, dishes for education
Pára e repara
Stop and watch
Olha como ela samba
Look how she sambas
Olha como ela brilha
Look how she shines
Olha que maravilha
Look what a wonder
Häagen-dazs de mangaba
Mangaba Häagen-Dazs
Chateau canela-preta
Black cinnamon Chateau
Cachaça made in Carmo dando a volta no planeta
Cachaça made in Carmo going around the planet
Caboclo presidente
Indigenous president
Trazendo a solução
Bringing the solution
Livro pra comida, prato pra educação
Books for food, dishes for education
Pára e repara
Stop and watch
Olha como ela samba
Look how she sambas
Olha como ela brilha
Look how she shines
Olha que maravilha
Look what a wonder
Lyrics © Sony/ATV Music Publishing LLC
Written by: Diego Jose Blanco, Fernando Javier Luis Hortal, Herbert Lemos De Souza Vianna
Lyrics Licensed & Provided by LyricFind