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
Romance Ideal
Os Paralamas Do Sucesso Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
e eu pagando pelos erros
Que eu nem sei se eu cometi
Ela é só uma menina
e eu deixando que ela faça
O que bem quiser de mim
Se eu queria enlouquecer
É tudo o que eu quis
Se eu queria enlouquecer
Esse é o romance ideal
Não pedi que ela ficasse,
ela sabe que na volta
Ainda vou estar aqui
Ela é só uma menina
e eu pagando pelos erros
Que eu nem sei se eu cometi
The song "Romance Ideal" by Os Paralamas Do Sucesso is about a man who is infatuated with a girl and is willing to pay for his mistakes, even though he is not sure what they are. The man believes that this girl is the perfect opportunity for him to go crazy and live out his ideal romance. He allows her to do whatever she wants with him, and he will still be there for her when she returns.
The song has a playful and carefree tone, which reflects the singer's desire to live in the moment and go with the flow. He is ready to let go of his inhibitions and commit himself fully to this girl, even if he is unsure where it may lead. The repeated line "Ela é só uma menina" (She's just a girl) emphasizes the innocence and youthfulness of the girl and the man's willingness to go along with her.
Overall, the song speaks to the thrill and excitement of youthful romance, where one is willing to take risks and live in the moment without worrying about the future.
Line by Line Meaning
Ela é só uma menina
The person being talked about is a young girl.
e eu pagando pelos erros
The person singing is facing consequences for mistakes that may or may not be theirs.
Que eu nem sei se eu cometi
The singer is uncertain if they actually made the mistakes they are being punished for.
Ela é só uma menina
Reiteration of the fact that the subject of the song is a young girl.
e eu deixando que ela faça
The singer is allowing the girl to do whatever she wants to them.
O que bem quiser de mim
The girl has complete control over the singer's actions.
Se eu queria enlouquecer
The singer wants to go crazy.
Essa é minha chance
This is an opportunity for the singer to lose control.
É tudo o que eu quis
This is the singer's ultimate desire.
Se eu queria enlouquecer
Reiteration that the singer wants to go crazy.
Esse é o romance ideal
This situation is the perfect romance for the singer.
Não pedi que ela ficasse,
The singer did not ask the girl to stay.
ela sabe que na volta
The girl knows that the singer will be waiting for her to come back.
Ainda vou estar aqui
The singer will still be present and available when the girl returns.
Ela é só uma menina
Reiteration that the subject of the song is a young girl.
e eu pagando pelos erros
The singer is still facing the consequences for mistakes that they are unsure of committing.
Que eu nem sei se eu cometi
The singer is still uncertain of their involvement in the mistakes they are being punished for.
Lyrics © O/B/O APRA AMCOS
Written by: HERBERT VIANNA
Lyrics Licensed & Provided by LyricFind
Hayanne Guedes
Ela é só uma menina
E eu pagando pelos errosque eu nem sei se cometi
Ela é só uma menina
E eu deixando que ela façao que bem quiser de mim
Se eu queria enlouquecer essa é a minha chance
É tudo que eu quis
Se eu queria enlouquecer
Esse é o romance ideal
Não pedi que ela ficasse
Ela sabe que na volta
Ainda vou estar aqui
Ela é só uma menina
E eu pagando pelos erros
Que eu nem sei se cometi
Se eu queria enlouquecer essa é a minha chance
É tudo que eu quis
Se eu queria enlouquecer
Esse é o romance ideal
Junior Vinil
Toquei essa canção a uma menina em 1988..em uma pizzaria em poa namoramos noivamos e separados até hoje quando falamos..toco romance ideal e volta o mesmo sentimento..incrível o poder de uma música
Brasil Caipira
Olha ela respondendo 💚
Marcia Piraine
Eu era só uma menina....jamais vou esquecer aquele menino lindo com o violão na mão tocando essa música pra mim...foi amor à primeira vista. Mas o destino nos mostrou caminhos diferentes e hoje moramos quase mil km de distância, mas essa música nos remete aqueles anos dourados de nossa juventude.
Almiro Neto - Músicas
Desejo da noite: Eles no palco, eu na platéia e "Romance Ideal" no repertório.
Essa sempre me faz chorar. SEMPRE! Que música, meus amigos... Que letra... E que somzera do caralho!!!
O poder dessa música é SURREAL...
Eu, amante dos sopros, me desmonto fácil com essa, mesmo com ""tão pouco""!!!!
Enrico Goncalves
Eu queria somente abraçar todos e agradecer por essa obra prima
JP Correia
Sempre é difícil escolher uma canção de uma banda com tantas, mas a estrutura dessa música é sensacional.. Tem a levada e a alma dos Paralamas!
Luiz Gustavo
Um dos melhores solos de guitarra do Hebert , sem dúvidas !!!
Marcos Vieira
Concordo com vc
Alexandre Giannini
Concordo, ele faz parecer fácil mas é lenha pra tocar rs
Dablio Efe
Essa música tem poucos registros ao vivo, e ela é maravilhosa 👏👏👏👏