Three young guys who had in common their love for rock, reggae and ska - He… Read Full Bio ↴Three young guys who had in common their love for rock, reggae and ska - Herbert Vianna, Bi Ribeiro and João Barone - formed the group Paralamas at the beginning of the 80’s inspired by the sonority of groups as The Police, The Beat and The Specials, that used to recycle the rhythms created in Jamaica.
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
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
Vamo Bate Lata
Os Paralamas Do Sucesso Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Vamo batê lata, tonel, garrafa d'agua
Vamo batê no pulso da artéria da rua
Vamo batê palma até de madrugada
Vamo pr'aquela praça da verdade nua
Vamo de tamanco pro cubano
No aperto do abraço do suvaco do pão
Quatro sete sete cinco meia
No batuque samba funk da alegria arrastão
Tá desorientada, você não sabe nada
Moleque de rua e a nova língua de Brown
Pega no meu braço, aperta minha mão
Vamo no balanço funk do lotação
Di di diz
Vamo de tamanco pro cubano
No aperto do abraço do suvaco do pão
Quatro sete sete cinco meia
No batuque samba funk da alegria arrastão
Vamo de tamanco pro cubano
No aperto do abraço do suvaco do pão
Quatro sete sete cinco meia
No batuque samba funk da alegria arrastão
Vamo batê lata, tonel, garrafa d'agua
Vamo batê no pulso da artéria da rua
Vamo batê palma até de madrugada
Vamo pr'aquela praça da verdade nua
Vamo de tamanco pro cubano
No aperto do abraço do suvaco do pão
Quatro sete sete cinco meia
No batuque samba funk da alegria arrastão
Tá desorientada, você não sabe nada
Moleque de rua e a nova língua de Brown
Pega no meu braço, aperta minha mão
Vamo no balanço funk do lotação
Vamo de tamanco pro cubano
No aperto do abraço do suvaco do pão
Quatro sete sete cinco meia
No batuque samba funk da alegria arrastão
Vamo batê palma até de madrugada
Vamo batê no pulso da artéria da rua
Vamo batê palma até de madrugada
Vamo pr'aquela praça da verdade nua
Vamo de tamanco pro cubano
No aperto do abraço do suvaco do pão
Quatro sete sete cinco meia
Tá desorientada, você não sabe nada
Moleque de rua e a nova língua de Brown
Pega no meu braço, aperta minha mão
Vamo no balanço funk do lotação
Di di diz
Vamo de tamanco pro cubano
No aperto do abraço do suvaco do pão
Quatro sete sete cinco meia
No batuque samba funk da alegria arrastão
Vamo de tamanco pro cubano
No aperto do abraço do suvaco do pão
Quatro sete sete cinco meia
No batuque samba funk da alegria arrastão
Vamo batê lata, tonel, garrafa d'agua
Vamo batê no pulso da artéria da rua
Vamo batê palma até de madrugada
Vamo pr'aquela praça da verdade nua
Vamo de tamanco pro cubano
No aperto do abraço do suvaco do pão
Quatro sete sete cinco meia
No batuque samba funk da alegria arrastão
Tá desorientada, você não sabe nada
Moleque de rua e a nova língua de Brown
Pega no meu braço, aperta minha mão
Vamo no balanço funk do lotação
Vamo de tamanco pro cubano
No aperto do abraço do suvaco do pão
Quatro sete sete cinco meia
No batuque samba funk da alegria arrastão
Vamo batê palma até de madrugada
The song "Vamo Batê Lata" by Os Paralamas Do Sucesso is a high-energy celebration of street music and culture. The lyrics describe a lively procession through the city, with a diverse group of people drumming on cans, barrels, and water bottles, clapping their hands, and dancing to the rhythm of samba, funk, and other popular genres. The singer invites the listener to join in the fun and let go of their inhibitions, even if they feel lost or disoriented in this unfamiliar environment.
The chorus repeats the phrase "Vamo de tamanco pro cubano, no aperto do abraço do suvaco do pão, quatro sete sete cinco meia, no batuque samba funk da alegria arrastão," which can be roughly translated as "Let's go with clogs to the Cuban, in the tight embrace of the bread's armpit, four seven seven five six, in the samba-funk beat of the joyous procession." This verse has some playful and cryptic references, such as the number sequence that might be a phone number or an address, or the Brazilian slang expression "suvaco do pão," which means crowded place but literally translates as "bread's armpit." Overall, the song celebrates the diversity and creativity of the street culture and encourages people to participate and contribute to this collective expression.
Line by Line Meaning
Vamo batê lata, tonel, garrafa d'agua
Let's make music with cans, barrels, and water bottles
Vamo batê no pulso da artéria da rua
Let's beat the pulse of the street
Vamo batê palma até de madrugada
Let's clap our hands until dawn
Vamo pr'aquela praça da verdade nua
Let's go to that square of naked truth
Vamo de tamanco pro cubano
Let's go with wooden shoes to the Cuban
No aperto do abraço do suvaco do pão
In the tight embrace of the bread armpit
Quatro sete sete cinco meia
Four seven seven five and a half
No batuque samba funk da alegria arrastão
In the drumming samba-funk of joyous procession
Tá desorientada, você não sabe nada
You're disoriented, you don't know anything
Moleque de rua e a nova língua de Brown
Street kid and Brown's new language
Pega no meu braço, aperta minha mão
Hold my arm, squeeze my hand
Vamo no balanço funk do lotação
Let's groove to the funk beat on the crowded bus
Lyrics © Sony/ATV Music Publishing LLC
Written by: HERBERT VIANNA
Lyrics Licensed & Provided by LyricFind
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Jefferson Soliguetti
Ai vem o Fausto Silva e diz " Errrrrrrrrrooooooooooouuuuuuuuu!!!!!!!!"
Alice Tavares
Poxa, vim sedenta para ouvir este álbum, mas, MAIS UM EGANADOOO
charles araujo
Algo de errado nao está certo
Allan Jose Muller Gatto
DVD ESTÁ TOTALMENTE MUITO CARO
Roberto Rodrigues
esse nao é o vamo bate lata kkkkk
Renato de Oliveira Teixeira
Cara, loirinha bombril não é desse albúm...
Sebastião donizeti rita Junior
Ao vivo?
Elen de Aguiar
Não que isso mude algo, mas esse não é o cd ao vivo... esse é o do 9 luas...
Gilberto David Filho
Na boa. Valeu a intenção de quem publicou isso aqui. Mas o Álbum "Vamo Batê Lata" dos Paralamas não tem nada a ver com o que está tocando. Quero pedir a quem colocou essa publicação aqui que faça novamente. Se precisar de ajuda, conte comigo. "Loirinha Bombril" do 9 Luas. Mas tô afinzasso agora de ouvir a íntegra do álbum "Vamo Batê Lata" e não posso porque tem um vídeo de alta "audição" e que quem pôs não refaz a IDÉIA! Falando sério, brincando e fazendo um pedido.
Admilson Mauricio Da Silva
Nem percebi. Parabéns por avisar.