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
Vai Valer
Os Paralamas Do Sucesso Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Num pulo a colmeia inteira vinha
Se eu tocasse a moda dos sete, a pedra das nove
Às cinco eu vejo aquela estrelinha
Pintassilgo do mato, oito pés do coco
Silêncio, um carro e acaba-se a folia
Indigente cantando eu viro de lado e abraço
Vai valer, então
Vai valer
Se eu deixasse mais claro, era claro
Eu jogo cacos pro alto e faço uma figura
Que vista de longe já houve quem visse de tudo
E os traços do rosto de uma santa
Mas eu não desisto e dobro os cabos e portos
Espero que ainda esteja viva
Não vou, permaneço fiel às idéias
E peço à colmeia alguma garantia
Vai valer, então
The lyrics of "Vai Valer" by Os Paralamas Do Sucesso are rich with metaphors and imagery that convey a sense of longing, perseverance, and hope. The first stanza speaks to the power of music to summon and unify creatures of all kinds, including bees and stars, while the second stanza seems to deal with the challenge of communicating clearly and making oneself understood amidst chaos and confusion.
In the first stanza, the lyrics suggest that the singer possesses a certain charisma, a musical gift that allows them to gather and captivate listeners. The line "Se eu tocasse a moda dos sete, a pedra das nove" refers to a specific musical style known as "moda de viola" that originated in rural Brazil and is characterized by the use of a specific tuning and lyricism that often deals with rural life and customs. The reference to the "pedra das nove" suggests that the singer is skilled enough to improvise and create new melodies on the spot. The image of the "estrelhinha" (little star) adds a touch of mysticism and wonder to the scene, as if the singer is capable of channeling celestial energy through their music.
However, the second stanza introduces a note of frustration and doubt. The metaphor of "jogar cacos pro alto e fazer uma figura" (throwing shards in the air and making a figure) suggests a sense of futility and chaos, as if the singer is trying to make sense of a broken world without the proper tools or support. The reference to the "traços do rosto de uma santa" (the features of a saint's face) adds a layer of religiosity and reverence, as if the singer is seeking guidance and inspiration from a higher power. The line "Eu não desisto e dobro os cabos e portos" (I don't give up and bend the cables and ports) suggests that the singer is determined to persevere and overcome their obstacles, no matter how difficult or daunting.
Overall, "Vai Valer" is a song that celebrates the power of music to transcend boundaries and bring people together, even in the face of adversity and uncertainty.
Line by Line Meaning
Se eu saísse correndo, gritando, cantando
If I ran out screaming and singing, the entire beehive would come in one jump.
Num pulo a colmeia inteira vinha
The whole beehive would come in one jump.
Se eu tocasse a moda dos sete, a pedra das nove
If I played the mode of seven or the stone of nine.
Às cinco eu vejo aquela estrelinha
At five I see that little star.
Pintassilgo do mato, oito pés do coco
Bush finch, eight coconut feet.
Silêncio, um carro e acaba-se a folia
Silence, a car and the revelry ends.
Indigente cantando eu viro de lado e abraço
Homeless singing, I turn around and embrace.
Com todo o embalo dessa linha
With all the momentum of this line.
Vai valer, então
It will be worth it then.
Vai valer
It will be worth it.
Se eu deixasse mais claro, era claro
If I made it clearer, it would be clear.
Eu jogo cacos pro alto e faço uma figura
I throw shards up in the air and make a figure.
Que vista de longe já houve quem visse de tudo
From afar, some have seen it all.
E os traços do rosto de uma santa
And the features of a saint's face.
Mas eu não desisto e dobro os cabos e portos
But I don't give up and I bend the cables and ports.
Espero que ainda esteja viva
I hope she's still alive.
Não vou, permaneço fiel às idéias
I won't go, I stay faithful to my ideas.
E peço à colmeia alguma garantia
And I ask the beehive for some guarantee.
Lyrics © Sony/ATV Music Publishing LLC
Written by: Herbert Lemos De Sou Vianna
Lyrics Licensed & Provided by LyricFind
Ricardo Silva
a musica "vai valer"gravada no ano 1991,no album os graos,foi uma melodia na voz do herbert vianna,no entanto,arranjo nessa canção é linda no fundo ouvimos violino e outros instrumentos q comteplam a obra de arte,portanto,vale a pena ouvir e vai valer por toda vida.
Humberto Tito
Do álbum "Os grãos", bom demais, de 1991.
Allan França
música mística... mas bonita
Santa Adelaide Rodrigues
👏👏👏😁🌞💪🎶