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
Vulcão Dub / Fui Eu
Os Paralamas Do Sucesso Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Os carros passam - vêm e vão
Eu dobro a esquina, eu vou na onda
Pego carona na multidão
Você olhou, fez que não me viu
Virou de lado, acenou com a mão
Pegou um táxi, entrou, sumiu
Vai ver que a confusão
Fui eu que fiz fui eu
Há algo errado no paraíso
É muito mais que contradição
Sou eu caindo num precipício
Você passando num avião
Você olhou, fez que não me viu
Foi como se eu não estivesse ali
Desligou a luz, deitou, dormiu
Nem pensou em se divertir
Vai ver que a confusão
Fui eu que fiz fui eu
The opening lines of Os Paralamas Do Sucesso's song Vulcão Dub / Fui Eu paint a picture of a busy, bustling urban environment. The singer of the song is walking barefoot on the scorching asphalt, while cars whiz by in every direction. The first verse talks about how the singer goes with the flow, catching a ride in the midst of the crowd. In the second verse, the singer sees someone they know, but that person ignores them. The singer is left feeling alone and helpless, abandoned by the person they thought could help them. The chorus states that the confusion and problems in the singer's life are all a result of their own actions.
The lyrics of Vulcão Dub / Fui Eu are a commentary on the chaos of modern urban life, where people can feel lost and disconnected despite being surrounded by crowds of people. The singer's bare feet on the hot pavement represent their vulnerability in this harsh environment, while the passing cars symbolize the constant motion and change of the city. The person who ignores the singer is a reminder of how easily people can be overlooked in such a crowded place. Ultimately, the chorus implies that the singer's problems are of their own making and that they need to take responsibility for their actions.
Line by Line Meaning
Os pés descalços queimam no asfalto
My bare feet burn on the hot pavement
Os carros passam - vêm e vão
The cars pass by, coming and going
Eu dobro a esquina, eu vou na onda
I turn the corner and go with the flow
Pego carona na multidão
I catch a ride with the crowd
Você olhou, fez que não me viu
You looked but pretended not to see me
Virou de lado, acenou com a mão
You turned away and waved your hand
Pegou um táxi, entrou, sumiu
You got a taxi, got in, and disappeared
Deixou o resto de mim no chão
You left the rest of me on the ground
Vai ver que a confusão
Maybe the confusion was
Fui eu que fiz fui eu
caused by me, yes it was me
Há algo errado no paraíso
There's something wrong in paradise
É muito mais que contradição
It's much more than contradiction
Sou eu caindo num precipício
I am falling off a cliff
Você passando num avião
You flying away on a plane
Foi como se eu não estivesse ali
It was as if I wasn't there
Desligou a luz, deitou, dormiu
You turned off the light, laid down, and slept
Nem pensou em se divertir
You didn't even think to have fun
Vai ver que a confusão
Maybe the confusion was
Fui eu que fiz fui eu
caused by me, yes it was me
Contributed by Nicholas G. Suggest a correction in the comments below.
@victortibiano2398
Todos de acordo que o João Barone é o melhor baterista do país?
@alanrosa5242
Eu diria até da América Latina
@davidmoraes2312
Sem dúvidas
@dyegodeoliveirapaulo4308
João Barone tira muita onda na bateria! Pqp!!!👏🏽👏🏽
@alias1410
Ele é muito monstro.
@sandroandrade6688
Esse início do acústico dos Paralamas do sucesso é o melhor de todos. Já chega com o pé na porta e mostrando o que esperar desse show.
@joseigorpereiradasilva426
Antes do Paralamas acústicos na minha visão era violão, baixolao e batera. Mais quando vi toda essa parafernália achei o máximo! Viva Paralamas!
@eliasereis
Sonzeira deliciosa. Muito som, muita música, muita diversão e muita beleza.
@WILLIchilli
Um dos melhores discos dos Paralamas; até parece um álbum de inéditas.
@liviodavi587
Lado B dos caras. Sao foda.