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
Uns Dias
Os Paralamas Do Sucesso Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Rasga a noite, passa rente
E leva tanta gente
Que eu até perdi a conta
Eu nem te contei uma novidade, quente
Eu nem te contei
Numa onda diferente
E provei tantas frutas
Que te deixariam tonta
Eu nem te falei
Da vertigem que se sente
Eu nem te falei
Que eu te procurei
Pra me confessar
Eu chorava de amor
E não porque sofria
Mas você chegou já era dia
E não estava sozinha
Eu tive fora uns dias
Eu te odiei uns dias
Eu quis te matar
In Os Paralamas do Sucesso's song "Uns Dias", the singer is singing to someone that they have been away for some time and have experienced a different side of life. The Orient Express is used as a metaphor for this different experience, as it tears through the night and takes so many people, including the singer who loses count. The singer expresses that they haven't told the person they are singing to everything about their time away and that they have tried different things and tasted different fruits, some of which would make the other person dizzy.
The singer then reveals that they were looking for the person they are singing to, as they wanted to confess their love for them. However, when they found the person, they were already with someone else, causing the singer to feel furious and want to kill the person. The song explores themes of jealousy, longing, and experiencing different things. The lyrics have a dream-like quality to them, with the Orient Express representing a journey through life and the things we experience along the way.
Line by Line Meaning
O expresso do oriente
A metaphorical reference to a fast-moving train or lifestyle.
Rasga a noite, passa rente
The train or lifestyle moves quickly and close to everything, making a lasting impact.
E leva tanta gente
That lifestyle attracts many people who want to experience it too.
Que eu até perdi a conta
The number of people who take part in this lifestyle is too numerous to count.
Eu nem te contei uma novidade, quente
I have some exciting news to share with you.
Eu nem te contei
I haven't even told you yet.
Eu tive fora uns dias
I was away for a few days.
Numa onda diferente
I was experiencing a different kind of lifestyle or activity.
E provei tantas frutas
I tried so many new things.
Que te deixariam tonta
It was so overwhelming that it would leave you feeling dizzy.
Eu nem te falei
I haven't even told you yet.
Da vertigem que se sente
The feeling of dizziness and disorientation that comes with trying so many new things.
Eu nem te falei
I haven't even told you yet.
Que eu te procurei
I was looking for you.
Pra me confessar
I needed to confess something to you.
Eu chorava de amor
I was crying out of love for you.
E não porque sofria
I wasn't crying because I was in pain or suffering, but out of love.
Mas você chegou já era dia
You arrived when it was already morning, too late to hear what I wanted to confess.
E não estava sozinha
You weren't alone when you arrived, which made me jealous.
Eu tive fora uns dias
I was away for a few days.
Eu te odiei uns dias
I hated you for a few days.
Eu quis te matar
I wanted to kill you in my anger and jealousy.
Lyrics © Sony/ATV Music Publishing LLC
Written by: HERBERT VIANNA
Lyrics Licensed & Provided by LyricFind
@ViniciusFiocco
Imagine vc ligar a TV na Globo, domingo a noite, e dar de cara com essa música. Caramba, os anos 80 deve ter sido foda
@deisequatroni8700
❤️
@massacruz1
Eu vi rs...
@klruz3841
Foi
@luciahelena9239
Foram os melhores, e eu vivi cada ano 😍😍😍😍
@ddjesus1991
Eu nasci em 91, mas fico me imaginando a mesma coisa
@alexsandrosouzadossantos5568
Me lembro de uma excursão da escola em que fui, flertando uma mina chamada lilian e no rádio do ônibus tocou essa perola.
Sdd eterna!!!
@jijiinternauta4822
alexsandro souza dos santos Vc falou em Lilian... Tem uma música dos Titãs q se chama Lilian, acho q vc vai gostar e lembrar ainda + da sua Lilian aí.
@diogomichels4519
Show :D
@rareh299
Altas horas me trouxe aqui ❤