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
Trac Trac
Os Paralamas Do Sucesso Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Ao menos para mim
Tomo comprimidos e sigo sem dormir
Vejo tantos portos, não há onde atracar
Já não existem laços, alguém cortou
Trac, trac, trac
Todos os perfumes, todo aquele lugar
Todas as misérias e tudo mais que há
Cada móvel velho e cada anoitecer
Yeah, yeah, yeah...
Dáme tu amor, solo tu amor
(Solo dáme tu amor)
Dáme tu amor, solo tu amor
Poucas garantias há para nós dois
Nada neste mundo tem tanto valor
Todos os vizinhos parecem saber
E lançam seus olhares sobre eu e você
Yeah, yeah, yeah...
Veio todo mundo, a Rádio e a TV
Veio o comissário, anjos do céu também
Todos querem algo, sangue ou não sei quê
Em todo Universo nada lhes dá mais prazer
Yeah, yeah, yeah...
Dáme tu amor, solo tu amor
(Solo dáme tu amor)
Dáme tu amor, solo tu amor
Dáme tu amor, solo tu amor
(Solo dáme tu amor)
Dáme tu amor, solo tu amor
Não, não passa o tempo
Ao menos para mim
Eu tomo comprimidos e sigo sem dormir
Vejo tantos portos, não há onde atracar
Já não existem laços, alguém cortou
Trac, trac, trac
Dáme tu amor, solo tu amor
(Solo dáme tu amor)
Dáme tu amor, solo tu amor
Dáme tu amor, solo tu amor
(Solo dáme tu amor)
Dáme tu amor, solo tu amor
Dáme tu amor, solo tu amor
(Solo dáme tu amor)
Dáme tu amor, solo tu amor
The lyrics to Os Paralamas Do Sucesso's song "Trac-Trac" paint a picture of someone who feels lost and disconnected. The opening lines suggest that time is not moving on for the singer, as they struggle to sleep and take pills to keep themselves going. They describe seeing many ports but not having anywhere to dock, and no longer feeling any connections or ties to anything or anyone. The repeated "Trac, trac, trac" adds a sense of tension and unease to the lyrics, as if something is coming to an end or being cut off.
The second verse shifts to a more desperate plea for love, with the singer asking for their love to be the only thing that matters. They describe feeling like everyone is watching and judging them, and not having any security or value in their life. The third verse introduces even more people and entities wanting something from them - the radio, TV, a commissioner, and even angels - and the singer feels like they are being used for others' pleasure.
Overall, the song paints a picture of someone who feels disconnected and unwanted, seeking love and connection in a world that seems to only want to exploit and use them. The repeated "Dáme tu amor, solo tu amor" ("Give me your love, only your love") throughout the song serves as a mantra for the singer's desire to be loved and valued.
Line by Line Meaning
Não, não passa o tempo
The time doesn't go by, at least not for me
Ao menos para mim
Not even for me
Tomo comprimidos e sigo sem dormir
I take pills and keep awake
Vejo tantos portos, não há onde atracar
I see so many ports without a place to dock
Já não existem laços, alguém cortou
No more ties, someone cut them
Trac, trac, trac
The sound of scissors cutting
Todos os perfumes, todo aquele lugar
All the scents, that whole place
Todas as misérias e tudo mais que há
All the miseries and everything else there is
Cada movimento do sol sobre você
Every movement of the sun over you
Cada móvel velho e cada anoitecer
Every old piece of furniture and every sunset
Yeah, yeah, yeah...
Yeah, yeah, yeah...
Dáme tu amor, solo tu amor
Give me your love, only your love
(Solo dáme tu amor)
(Only give me your love)
Poucas garantias há para nós dois
There are few guarantees for both of us
Nada neste mundo tem tanto valor
Nothing in this world has as much value
Todos os vizinhos parecem saber
All the neighbors seem to know
E lançam seus olhares sobre eu e você
And they look at us
Veio todo mundo, a Rádio e a TV
Everybody came, the radio and the TV
Veio o comissário, anjos do céu também
The commissioner came, angels from heaven too
Todos querem algo, sangue ou não sei quê
Everybody wants something, blood or I don't know what
Em todo Universo nada lhes dá mais prazer
In the whole universe, nothing gives them more pleasure
Dáme tu amor, solo tu amor
Give me your love, only your love
(Solo dáme tu amor)
(Only give me your love)
Dáme tu amor, solo tu amor
Give me your love, only your love
(Solo dáme tu amor)
(Only give me your love)
Não, não passa o tempo
The time doesn't go by, at least not for me
Ao menos para mim
Not even for me
Eu tomo comprimidos e sigo sem dormir
I take pills and keep awake
Vejo tantos portos, não há onde atracar
I see so many ports without a place to dock
Já não existem laços, alguém cortou
No more ties, someone cut them
Trac, trac, trac
The sound of scissors cutting
Dáme tu amor, solo tu amor
Give me your love, only your love
(Solo dáme tu amor)
(Only give me your love)
Dáme tu amor, solo tu amor
Give me your love, only your love
(Solo dáme tu amor)
(Only give me your love)
Dáme tu amor, solo tu amor
Give me your love, only your love
(Solo dáme tu amor)
(Only give me your love)
Contributed by Nolan B. Suggest a correction in the comments below.
@user-vw8pv1mg4p
@@classecaotica1686
Ok. Pode ter mesmo. Mas antes tinha muitas bandas boas no mainstream e no underground. Agora, no underground, são poucas bandas e pouquíssimas boas. Além do que, não há mais uma mentalidade geral da juventude de mudança da situação, seja política e cultural. Os jovens escutam coisas que são trabalhadas pelos ultra ricos donos das gravadoras. Eles aprenderam há muito tempo como cooptar artistas e a transmitir as mensagens que eles, ultra ricos, querem. E quem quer ter independência em seu trabalho vai pro underground mas, como você sabe, não atingem a maioria dos jovens.
Arte não é só pra você se expressar ou curtir como espectador. Também serve pra enxergar além do habitual e mudar as coisas.
Você e eu garimpamos... Mas isso não muda nada...
Só o individual é pouco.
E "o homem coletivo sente a necessidade de lutar."
Abraços.
@angelo378
Cara, pra quem nasceu e cresceu nos anos 1980 e 1990 no Rio de Janeiro e tinha seus 15-20 anos e tava sempre no centro, assistir a essas imagens é uma coisa maravilhosa e nostálgica ao mesmo tempo. Reconheço todas as ruas, sou remetido a um tempo que não volta mais. A clipe é maravilhoso, a música é melhor ainda.
@paulinhodedada1684
Ta parecendo a cidade de Santos
@GenesisHenriquedaSilva
Eu tinha uns 7/8 anos...q nostalgia legal ❤️😍
@gbr1472
Verdade verdadeira, o que eu mais gosto nesse clipe são as imagens do CENTRO DO RIO, a parte que eu mais gosto nesse estado. OBS: a música é boa e o grupo FODA!!!!!
@abreu8045
@@paulinhodedada1684 o centro da cidade do Rio parece o centro de Santos mesmo.
@mvramos
Verdade. Moro fora há muitos anos, esse clipe deu uma saudade danada do centro do Rio dos anos 90 - apenas nostalgia mesmo, porque sempre foi muito abandonado.
@augustosilva9688
Chega dá um frio na barriga ao ouvir essas músicas , sâo boas demais.
@LUIZ7490
Eu já fico triste, pois o cenário atual está muito ruim. Tanto nacional quanto internacional.
@williandalsoto806
@@LUIZ7490 Ou sua mente está fechada ou não procuras no lugar certo. Existem mais artistas/bandas sendo publicados do que nunca, tem muita gente legal por aí.
@LUIZ7490
@@williandalsoto806 Concordo William (Fazia parte de uma banda alternativa) mas ainda sim o cenário é horroroso.