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
O Amor Dorme
Os Paralamas Do Sucesso Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
E encrespa o mar
Eu ainda te espero chegar
Vem a noite
Cai seu manto escuro devagar Eu ainda te espero chegar
Não telefone, não mande carta
Não mande alguém me avisar
Não vá pra longe, não me desaponte
Ficar só é a própria escravidão
Ver você é ver na escuridão
E quando o sol sair
Pode te trazer pra mim
Abro a porta, enfeito a casa
Deixo a luz entrar
Eu ainda te espero chegar
Escrevo versos
Rosas e incenso para perfumar Eu ainda te espero chegar
Estar só é a própria escravidão
Ver você é ver na escuridão
E quando o sol sair
Tudo vai brilhar pra mim
O Amor Dorme by Os Paralamas Do Sucesso is a song that speaks to many people, particularly those who have ever waited for someone to arrive, as the song's lyrics center around waiting for someone special. The song's opening lyrics speak of the east wind blowing lightly and the sea becoming rougher, while the singer waits for their loved one to arrive. As night falls, the darkness spreads slowly, yet the singer still waits for their loved one's arrival. The singer wants this person to come knocking on their door, not to phone, write a letter, or send someone to inform them of their arrival.
As the song progresses, the singer speaks of love and loneliness, saying that being alone is a form of bondage. They also remark that seeing their loved one is like a glimpse in the dark, and that when the sun comes up, everything will be clearer, brighter, and make more sense. In preparation for their arrival, the singer writes verses, adorns their house with decorations, and burns incense to give it a pleasant aroma. Everything is ready for their arrival, but what's most essential is an embrace from the person they've been waiting for.
This song is a testament to patience and the longing that one can feel when waiting for someone special. It's an excellent platform for self-reflection and a way of honoring the love that one feels for another. O Amor Dorme conveys a universal message about the power of love, and the things one is willing to do for someone they care for.
Line by Line Meaning
Sopra leve o vento leste
The gentle east wind blows
E encrespa o mar
And ruffles the sea
Eu ainda te espero chegar
I'm still waiting for you to arrive
Vem a noite
Night comes
Cai seu manto escuro devagar
Its dark veil falls slowly
Não telefone, não mande carta
Don't call, don't send a letter
Não mande alguém me avisar
Don't send someone to tell me
Não vá pra longe, não me desaponte
Don't go far, don't disappoint me
O amor não sabe esperar
Love doesn't know how to wait
Ficar só é a própria escravidão
Being alone is its own slavery
Ver você é ver na escuridão
Seeing you is like seeing in the dark
E quando o sol sair
And when the sun rises
Pode te trazer pra mim
It may bring you to me
Abro a porta, enfeito a casa
I open the door, decorate the house
Deixo a luz entrar
I let the light in
Escrevo versos
I write verses
Rosas e incenso para perfumar
Roses and incense to perfume
Estar só é a própria escravidão
Being alone is its own slavery
Ver você é ver na escuridão
Seeing you is like seeing in the dark
E quando o sol sair
And when the sun rises
Tudo vai brilhar pra mim
Everything will shine for me
Lyrics © EMI Music Publishing, Sony/ATV Music Publishing LLC
Written by: HERBERT LEMOS DE SOUZA VIANNA
Lyrics Licensed & Provided by LyricFind
lamasmoreira
Anos 80/90 foram mágicos, especialmente na música.
As melhores bandas e artistas brasileiros se formaram, internacionalmente grandes músicos.
Legião, Paralamas, Titãs, Barão, Cazuza, Capital Inicial, Ira, Ultraje, Zero, Blitz, Lobão, Lulu Santos, Sempre Livre, Nenhum de Nós, Biquini, Djavan...
Aha, Dire Straits, Supertramp, simply red, the police, Elton John, INXS, Tears for fears...
Também no cinema, como ET, curtindo a vida adoidado, os Goonies, os garotos perdidos, de volta para o futuro, os caça fantasmas, top gun, eu quero ser grande, um tira da pesada, maquina mortífera, indiana jones, o feitiço de áquila...
Séries, Anos incríveis, miami vice, tv pirata, caverna do dragão, anjos da lei, macgyver, a gata e o rato, armação ilimitada, os gatões, Friends
Divertíamos mesmo com um Atari com um botão só, ou jogando 'botão', cartas, assassino, mês, adedanha, pique...
Lindas lembranças, das férias na casa da avó, encontro com amigos, festinhas dançando 'música lenta', as primeiras descobertas, o primeiro beijo, porre, aventuras, etc.
Impossível traduzir nesse espaço todas as lembranças, mas sem dúvida essa música esteve presente contribuindo para que esses anos fossem incríveis.
Jo Meirelles
"...ficamos nós dois entre sonhos, de amores novos e antigos, te vejo no escuro, o silêncio da sala que às vezes visito..." os amores ficam em algum lugar dentro de nós. Herbert Viana eu amo as suas músicas.
Fátima Nayma
Música 🎶 linda, suave e diz tudo sobre um amor que acaba e volta D+ 💜💜💜
Fausto Silva
Fátima Nayma ura...na verdade ele disse q nenhum amor acaba, apenas dorme nas lembranças... é verdade... eitaaaaah
lamasmoreira
Anos 80/90 foram mágicos, especialmente na música.
As melhores bandas e artistas brasileiros se formaram, internacionalmente grandes músicos.
Legião, Paralamas, Titãs, Barão, Cazuza, Capital Inicial, Ira, Ultraje, Zero, Blitz, Lobão, Lulu Santos, Sempre Livre, Nenhum de Nós, Biquini, Djavan...
Aha, Dire Straits, Supertramp, simply red, the police, Elton John, INXS, Tears for fears...
Também no cinema, como ET, curtindo a vida adoidado, os Goonies, os garotos perdidos, de volta para o futuro, os caça fantasmas, top gun, eu quero ser grande, um tira da pesada, maquina mortífera, indiana jones, o feitiço de áquila...
Séries, Anos incríveis, miami vice, tv pirata, caverna do dragão, anjos da lei, macgyver, a gata e o rato, armação ilimitada, os gatões, Friends
Divertíamos mesmo com um Atari com um botão só, ou jogando 'botão', cartas, assassino, mês, adedanha, pique...
Lindas lembranças, das férias na casa da avó, encontro com amigos, festinhas dançando 'música lenta', as primeiras descobertas, o primeiro beijo, porre, aventuras, etc.
Impossível traduzir nesse espaço todas as lembranças, mas sem dúvida essa música esteve presente contribuindo para que esses anos fossem incríveis.
Fausto Silva
lamasmoreira ura bixo....falou tudo...o loco...esqueceu de mencionar os perdidos na noite.... é verdade.... eitaaaaah
Guilherme Candido
Saudação a todos os fãs dos Paralamas!
camila paoli
Linda a letra dessa música, eu amo a sensibilidade que transmite 💕💕
Marcio Campos
Sofri muito nessa época, mas adoro essa música!!
Thiago thiago
E eu. Representa uma fase muito difícil pra mim. Descreveu completamente a maneira como eu via amor e relacionamentos. Ainda bem q passou. Mas o amor pela música ficou.
Tatiana Pinheiro
Oh música linda!