Paulinho da Viola (born Paulo César Batista de Faria on November 12, 1942) … Read Full Bio ↴Paulinho da Viola (born Paulo César Batista de Faria on November 12, 1942) is a Brazilian guitar, cavaquinho and bandolin player, known for his sophisticated harmonies and soft, gentle singing voice.

Born in Rio de Janeiro to a family deeply rooted in the samba tradition, Paulinho met and befriended much of Rio's samba elite as a child. His father was a guitar player and musicians like Pixinguinha and Jacob do Bandolim would often come to his house for rehearsals, which Paulinho watched for hours on end. After the rehearsals, Paulinho would pick up his father's guitar and strum the few chords he knew. Later, as a teenager, he was frequently seen at jams at Jacob do Bandolim's house, quietly and attentively observing the older, more experienced musicians. He began writing his own songs as a teenager, but never considered a career as a professional musician until he met poet Hermínio Bello de Carvalho in 1964. By then, Paulinho was working as a teller at a bank in Rio de Janeiro, and recognised Hermínio from the jam sessions at Jacob do Bandolim's house. The two became close friends and soon began writing music together. The first song they wrote together was Duvide-o-dó, recorded by singer Isaurinha Garcia. He then began performing his own songs at a restaurant in Rio, owned by samba legend Cartola and his wife.

He got his famous nickname in 1965, when he was a member of the samba group A Voz do Morro (the voice of the hills), alongside Zé Keti and Oscar Bigode. After their first recording session, a publicist from the record label reportedly told him "'Paulo César' is not a samba name!". Zé Keti and journalist Sérgio Cabral eventually came up with the nickname "Paulinho da Viola" (something to the lines of "Guitar Paul").

By the 1970s, Paulinho was at the most prolific stage of his career, releasing an average of one album per year. He was already a household name in samba, choro and MPB circles and broadened his audience by touring all over Brazil and also playing at festivals in Europe and the USA. His productivity and popularity had waned by the mid-80s, when he decided to focus more on his songwriting. In 1996 he regained notoriety after releasing the much-acclaimed album Bebadosamba, in which he once again joined forces with Hermínio Bello de Carvalho and Elton Medeiros, his early songwriting partners. He still lives in Rio de Janeiro and performs around Brazil.

Retiro
Paulinho da Viola Lyrics

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Meu tempo às vezes se perde
Em coisas que não desejo
Mas não repare esse lado
Pois meu amor é o mesmo
Nos momentos de carinho
Eu me desligo de tudo
Nos braços de quem se ama
É fácil esquecer o mundo

Às vezes eu me retiro
E nada me faz sentido
Só há um canto na vida
Aonde eu me refugio
Afasta as sombras que eu vejo
Nos teus olhos tão aflitos
Você conhece minh'alma
E quando quer me visita

Meu tempo às vezes se perde
Em coisas que não desejo
Mas não repare esse lado
Pois meu amor é o mesmo
Nos momentos de carinho
Eu me desligo de tudo
Nos braços de quem se ama
É fácil esquecer o mundo

Às vezes eu me retiro
E nada me faz sentido
Só há um canto na vida
Aonde eu me refugio
Afasta as sombras que eu vejo
Nos teus olhos tão aflitos

Você conhece minh'alma
E quando quer me visita

Overall Meaning

The lyrics of "Retiro" by Paulinho da Viola reflect on the complexities of the singer's emotions and the refuge they find in love. The first paragraph suggests that sometimes the singer's time gets lost in things they do not desire, perhaps alluding to distractions or obligations that take away from what truly matters. However, they ask the listener not to pay attention to this side of them, as their love remains constant. In moments of tenderness, they detach themselves from everything and find solace in the arms of their loved one, making it easy to forget the outside world.

The second paragraph continues the theme of retreating from the world, expressing that there are moments when nothing makes sense to the singer, except for a particular place or feeling where they can find refuge. This retreat seems to be a necessary escape to distance oneself from the shadows and burdens that afflict their lover's eyes. The singer acknowledges that their lover understands their soul and can visit them whenever they desire.

The repetition of the first paragraph in the third paragraph reinforces the idea that sometimes the singer's time is consumed by things they do not desire. However, they once again assure that their love remains unchanged. They emphasize that in moments of affection, they disconnect from everything and can easily forget the world when embraced by their loved one.

The final paragraph restates the concept of retreating, highlighting that there is only one place in life where the singer finds solace. This place is where they can distance themselves from the shadows they observe in their lover's troubled eyes. The singer acknowledges that their lover knows their soul intimately and can visit them whenever they need each other.

Overall, "Retiro" communicates a sense of longing for emotional and mental escape, finding solace in the arms of a loved one, and the deep connection between two souls who understand each other. The song explores the importance of taking time for oneself and the power of love to provide a refuge from the complexities of life.

Line by Line Meaning

Meu tempo às vezes se perde
Sometimes, I lose track of time

Em coisas que não desejo
In things that I don't desire

Mas não repare esse lado
But please don't mind this side of me

Pois meu amor é o mesmo
Because my love remains the same

Nos momentos de carinho
In moments of tenderness

Eu me desligo de tudo
I disconnect myself from everything

Nos braços de quem se ama
In the arms of the one I love

É fácil esquecer o mundo
It's easy to forget the world

Às vezes eu me retiro
Sometimes, I withdraw

E nada me faz sentido
And nothing makes sense to me

Só há um canto na vida
There is only one corner in life