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
Meu Erro
Os Paralamas Do Sucesso Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Você não quis escutar
Agora não peça
Não me faça promessas
Eu não quero te ver
Nem quero acreditar
Que vai ser diferente
Que tudo mudou
Você diz não saber
O que houve de errado
E o meu erro foi crer
Que estar ao seu lado bastaria
Ah meu Deus era tudo que eu queria
Eu dizia o seu nome
Não me abandone
Mesmo querendo
Eu não vou me enganar
Eu conheço seus passos
Eu vejo seus erros
Não há nada de novo
Ainda somos iguais
Então não me chame
Não olhe pra trás
Você diz não saber
O que houve de errado
E o meu erro foi crer
Que estar ao seu lado bastaria
Ah meu Deus era tudo que eu queria
Eu dizia o seu nome
Não me abandone jamais oh oh
Mesmo querendo
Eu não vou me enganar
Eu conheço seus passos
Eu vejo seus erros
Não há nada de novo
Ainda somos iguais
Então não me chame
Não olhe pra trás
Você diz não saber
O que houve de errado
E o meu erro foi crer
Que estar ao seu lado bastaria
Ah meu Deus era tudo que eu queria
Eu dizia o seu nome
Não me abandone jamais
Não me abandone jamais
Não me abandone jamais
Não me abandone jamais
The lyrics to Os Paralamas Do Sucesso's song "Meu Erro" convey a sense of regret and frustration towards a failed relationship. The singer expresses their desire to communicate their feelings, but the other person refuses to listen to them. Despite wanting to believe that things will change, the singer acknowledges that they cannot ignore the other person's mistakes and cannot trust them again. The repetition of "não me abandone jamais" ("don't ever abandon me") at the end highlights the singer's fear of being left alone and their desperation for the relationship to work.
There is a sense of longing and resignation in the lyrics, as if the singer knows that it is time to move on, but is still holding onto hope for reconciliation. The phrase "o meu erro foi crer que estar ao seu lado bastaria" ("my mistake was believing that being by your side would be enough") emphasizes the disappointment the singer feels in realizing that love alone cannot fix a relationship that is fundamentally broken.
Overall, the song's lyrics capture the complexities of love and relationships, and the pain of coming to terms with a failed romance.
Line by Line Meaning
Eu quis dizer
I wanted to say
Você não quis escutar
You didn't want to listen
Agora não peça
Now don't ask
Não me faça promessas
Don't make promises to me
Eu não quero te ver
I don't want to see you
Nem quero acreditar
Nor do I want to believe
Que vai ser diferente
That it's going to be different
Que tudo mudou
That everything has changed
Você diz não saber
You say you don't know
O que houve de errado
What went wrong
E o meu erro foi crer
And my mistake was to believe
Que estar ao seu lado bastaria
That just being by your side would be enough
Ah meu Deus era tudo que eu queria
Oh my God, it was all I wanted
Eu dizia o seu nome
I would say your name
Não me abandone
Don't leave me
Mesmo querendo
Even though I want it
Eu não vou me enganar
I won't fool myself
Eu conheço seus passos
I know your steps
Eu vejo seus erros
I see your mistakes
Não há nada de novo
There's nothing new
Ainda somos iguais
We're still the same
Então não me chame
So don't call me
Não olhe pra trás
Don't look back
Não me abandone jamais oh oh
Don't ever leave me, oh oh
Não me abandone jamais
Don't ever leave me
Não me abandone jamais
Don't ever leave me
Não me abandone jamais
Don't ever leave me
Lyrics © Sony/ATV Music Publishing LLC
Written by: Herbert Lemos De Souza Vianna
Lyrics Licensed & Provided by LyricFind
Marcos Vinicius
A qualidade dessa música é absurda, essa banda é top demais, e o tanto que o Herbert Vianna é foda pra C@***LHO 👏🏼👏🏼👏🏼👏🏼👏🏼
Humberto Tito
Ouvir os Paralamas do Sucesso é sinal de bom gosto.
Yara Gabrielle Amaral Ribeiro
Humberto Tito , meu ex namorado me traiu e me largou, enviei pra ele, essa música!
MaryAnne Sousa
Com certeza super concordo com você!muito bacana
danielle coutinho
Eu era so uma criança e ja gostava deles ❤😮 porque ouvia meu pai escutando aprendi a amar ❤❤❤❤❤
Gi
Ai ! bateu uma saudades da infância que chegou doer 😢
Thiago F. Santos
Paralamas é bom pq o baixo é sempre audível, em toda música, amo essa peculiaridade deles ☺
Filósofo Ney Sarrando Anitta
Mas isso acontece em todas as bandas dos anos 80. É uma peculiaridade do new wave, não de banda A ou B.
Alessandro Mateus
Tive a alegria de ir aí show dele aqui em Feira de Santana em outubro de 2022 , foi sensacional, vida longa ao PARALAMAS DO SUCESSO.
Michael Aparecido
Isso sim é música de verdade