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 Beco
Os Paralamas Do Sucesso Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Eu tava preparado
Descobri mil maneiras de dizer o leu nome
Com amor, ódio, urgência
Ou como se não fosse nada
No beco escuro explode a violência
Eu tava acordado
Ruínas de igrejas, seitas sem nome
Liberdade vigiada
No beco escuro explode a violência
No meio da madrugada
Com amor, mm ódio, urgência
Ou como se não fosse nada
Mas nada perturba o meu sono pesado
Nada levanta aquele corpo jogado
Nada atrapalha aquele bar ali na esquina
Aquela fila de cinema
Nada mais me deixa chocado, nada!
The song "O Beco" by Os Paralamas Do Sucesso explores the themes of violence, passion, and urban decay. The lyrics describe a dark alleyway where violence is rampant, but the singer is seemingly unfazed by it. He claims to have discovered a thousand ways to say his lover's name, whether with love, hate, urgency, or indifference. The references to ruined churches and nameless cults suggest a sense of moral decay, and the idea of "vigilant freedom" hints at a society where people are free in name only, living under constant surveillance and control.
Despite the violence that surrounds him, the singer maintains a sense of detachment and apathy. He sleeps soundly, unfazed by the body lying in the alley, and is unaffected by the sights and sounds of the city. The repetition of "nada" (nothing) in the last line of each stanza reinforces this sense of detachment and nihilism.
Overall, the song paints a bleak portrait of life in the city, where violence and decay are the norm and even love and passion are tinged with despair and indifference.
Line by Line Meaning
No beco escuro explode a violência
Acts of violence occur frequently in a dimly lit alleyway.
Eu tava preparado
I was mentally prepared to face the dangers of the alleyway.
Descobri mil maneiras de dizer o seu nome
I have found countless ways of expressing your name, whether it be with love, hate, or urgency, or as if it meant nothing at all.
Com amor, ódio, urgência ou como se não fosse nada
With emotion or indifference, I can express your name in a variety of ways.
Ruínas de igrejas, seitas sem nome
The alleyway is littered with the remains of destroyed churches and unknown cults.
Paixão, insônia, doença
Passion, insomnia, and sickness are present in the alleyway.
Liberdade vigiada
Freedom is constantly monitored and restricted in the alleyway.
No meio da madrugada
All of this happens in the early morning hours.
Mas nada perturba o meu sono pesado
Despite the chaos around me, I am able to sleep undisturbed.
Nada levanta aquele corpo jogado
The lifeless body lying on the ground does not stir.
Nada atrapalha aquele bar ali na esquina
The nearby bar continues to operate without interruption.
Aquela fila de cinema
Even the line outside the movie theater is unaffected.
Nada mais me deixa chocado, nada!
I am no longer surprised by anything that happens in the alleyway.
Lyrics © Sony/ATV Music Publishing LLC
Written by: Felipe De Nobrega Ribeiro, Herbert Lemos De Sou Vianna
Lyrics Licensed & Provided by LyricFind
@laurahacklr5991
No beco escuro explode a violência
Eu tava preparado
Descobri mil maneiras de dizer o teu nome
Com amor, ódio, urgência
Ou como se não fosse nada
No beco escuro explode a violência
Eu tava acordado
Ruinas de igrejas, seitas sem nome
Paixão, insônia, doença e liberdade vigiada
No beco escuro explode a violencia
No meio da madrugada
Com amor, com ódio, urgência
Ou como se nao fosse nada
Mas nada perturba o meu sono pesado
Nada levanta aquele corpo jogado
Nada atrapalha aquele bar ali na esquina
Aquela fila de cinema
Nada mais me deixa chocado
Nada!
Fonte: Musixmatch
Compositores: Felipe De Nobrega Ribeiro / Herbert Lemos De Sou Vianna
@OmarSardano
Visiten el nuevo video:
https://www.youtube.com/watch?v=4JiGScBiWbg
Otro canal con los mejores 12"
@fernandobrito5746
Ouvi com 16 anos, agora tô 50 e não adianta! VOU CONTINUAR OUVINDO!
@universoescolar94
Essa música é a mais marcante dos Paralamas pra mim. Lembra demais a minha infância. Banda fodástica!!!
@mumi8377
Qué te pasa? No la llames así respeta. Es lo mejor de lo mejor así como lo es Messi. Y según yo es la mejor canción de ellos, paz
@walterfc2436
"Nadie es profeta en su tierra"... Gran banda brasileña que fue suceso fuera de Brasil. Paralamas, Herbert Viana.... Marcaron nuestra adolescencia y hoy seguimos escuchando con mucha admiración esta banda y los inmensos artistas que tienen!! Abrazos desde Uruguay 🇺🇾!!!!
@antoniocarmodasilva7318
Isto sim é MUSICALIDADE 🇧🇷
@FabioOliveira-re3ok
Essa música fez parte da novela Bebê a Bordo, ótima música !!!
@glaucofernando9154
Era a música tema... hehehe
@Marcos-qt7vl
❤
@marcelodejesusxavier7545
Me lembro como se fosse hj quando ouvi essa música pela primeira vez eu tinha 13 anos eu ainda escuto como o tempo passa rápido né