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
Mensagem De Amor
Os Paralamas Do Sucesso Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Já não tem mais
Tanta importância
Do muito que eu li
Do pouco que eu sei
Nada me resta
A não ser a vontade de te encontrar
Nem que seja só para estar
Ao teu lado só pra ler
No teu rosto
Uma mensagem de amor
Oh oh
Mensagem de amor
A noite eu me deito
Então escuto a mensagem no ar
Tambores runfando
Eu já não tenho
Nada pra te dar
A não ser a vontade de te encontrar
E o motivo eu já nem sei
Nem que seja só para estar
Ao teu lado só pra ler
No teu rosto
Uma mensagem de amor
Uma mensagem de amor
No céu estrelado
Eu me perco
Com os pés na terra
Vagando entre os astros
Nada me move
Nem me faz parar
A não ser a vontade de te encontrar
E o motivo eu já nem sei
Nem que seja só para estar
Ao teu lado só pra ler
No teu rosto
Uma mensagem de amor
Uh uh
Uma mensagem de amor
Uma mensagem de amor
Oh oh
The lyrics of Os Paralamas Do Sucesso's song Mensagem De Amor convey a sense of longing and searching for love. The first verse speaks about how books no longer hold the same level of importance as they once did, and despite all that the singer has read and learned, nothing is left for them except the desire to find and be with the person they love. The chorus emphasizes this desire, stating that even just being next to their loved one and seeing a message of love on their face would be enough. The second verse speaks about the singer's isolation and emptiness, but again emphasizes that the only thing that matters to them is finding their loved one. The final verse conveys a sense of displacement and wandering, with the singer searching for their love among the stars.
In the song, the words "mensagem de amor" (message of love) are repeated several times throughout the chorus, emphasizing the theme of the song. The use of repetition creates a sense of urgency and importance, and the fact that the message of love is seen on the loved one's face rather than being expressed through words, makes it all the more special. The use of metaphors, such as the stars and the message in the air, adds a poetic quality to the lyrics and makes the longing for love feel all the more significant.
Line by Line Meaning
Os livros na estante
The books on the shelf
Já não tem mais
No longer hold the same importance
Tanta importância
As they once did
Do muito que eu li
Despite all that I've read
Do pouco que eu sei
And all that I know
Nada me resta
Nothing remains
A não ser a vontade de te encontrar
Except for the desire to find you
E o motivo eu já nem sei
And even the reason for that is unclear
Nem que seja só para estar
Even if it's just to be
Ao teu lado só pra ler
By your side just to read
No teu rosto
On your face
Uma mensagem de amor
A message of love
Oh oh Mensagem de amor
Oh oh, a message of love
A noite eu me deito
At night I lay down
Então escuto a mensagem no ar
And then I hear the message in the air
Tambores runfando
Drums rumbling
Eu já não tenho
I no longer have
Nada pra te dar
Anything to give you
No céu estrelado
In the starry sky
Eu me perco
I get lost
Com os pés na terra
With my feet on the ground
Vagando entre os astros
Wandering among the stars
Nada me move
Nothing moves me
Nem me faz parar
Nor makes me stop
Uh uh Uma mensagem de amor
Uh uh, a message of love
Uma mensagem de amor
A message of love
Oh oh Uma mensagem de amor
Oh oh, a message of love
Lyrics © Sony/ATV Music Publishing LLC
Written by: Herbert Lemos De Souza Vianna
Lyrics Licensed & Provided by LyricFind
rockosur
Mensaje De Amor
Os Paralamas do Sucesso
Los libros en el estante
Ya no tienen tanta importancia
Lo mucho que leí
Lo poco que sé
Nada ya queda
Sino las ganas de encontrarte
La razón ya ni la sé
Talvez sea para estar
A tu lado
Y leer en tu rostro
Un mensaje de amor
En la noche me duermo
Y escucho
Un mensaje en el aire
Tambores vibrando
Ya no tengo nada para darte
Sino las ganas de encontrarte
La razón ya ni la sé
Talvez sea sólo estar
A tu lado
Y leer en tu rostro
Un mensaje de amor
Renato Colucci
Marcelo Sussekind na produção e Carlos Savalla na técnica e engenharia de som, elevaram o sarrafo e tornaram a sonoridade desse álbum quase que inigualável na década de 80, ouçam esse álbum com um bom fone de ouvido e conseguíram captar a obra de arte da engenharia de áudio, um clássico, melhor álbum dos Paralamas
Danilo Costa
Paralamas do sucesso transcende as barreiras do tempo
Matheus Coelho
Isso é rock n roll pra caralho irmao que som foda!
Rubens Oliveira De Araujo
Pra mim e a melhor do Paralamas , uma das melhores do Rock Nacional . Não canso de ouvir.
Genival Vieira
Rubens Oliveira De Araujo concordo
Genival Vieira
Melhor época onde música era musica
Blog Vermelho
E essa musica nao foi hit acho que nem foi lançado como
Single e deveria ter sido
Ronald Teles
Ouvindo e estudando para o vestibular de medicina..ano em que passei,álbum icônico.
Vanessa Dávilla
Que top, parabéns 👏👏❤️
Rodrigo M
Stewart Coppeland on the drums! kkkkk Melhor álbum do Paralamas, uma das melhores músicas do Herbert, um dos melhores bateristas do Brasil. Não tinha como não gostar dos Paralamas em 1984/1985.