A few years later, in the late '60s, Carlos (counseled by his advisers) changed his style to become the most successful romantic artist in Brazil. Having written (always with Erasmo Carlos) some of the most beautiful songs in this style (such as "Detalhes," "Sua Estupidez," "Jesus Cristo," "Debaixo dos Caracóis dos Seus Cabelos," etc.), Carlos accumulated virtually all possible accomplishments as a highly successful artist, including a solid international career with awards like the Grammy and top positions on Billboard's Latin charts. Though the adherence to a worn-out sentimental formula proved to be affective in commercial terms (more than 70 million albums sold in his career), it ultimately led him to be known, in the '80s and '90s, as a cheesy artist by youngsters and part of the adult listeners. Nevertheless, the mid-'90s witnessed a resurgence of Jovem Guarda talents through tributes of new rockers and Carlos reached the 21st century uncontestedly enjoying his absolute title: the King.
Roberto Carlos was from a lower-middle-class family. At six, he lost one of his legs and began using a prosthesis. At nine, he debuted on his home city's local radio. In 1955, he moved to Niterói (Rio de Janeiro) and then to Lins de Vasconcelos (a suburb of Rio de Janeiro), where he started to get into rock through Bill Haley, Elvis Presley, and Little Richard, at the same time he met Carlos Imperial, also from his hometown, who, as a TV and radio producer, would be of considerable importance to Carlos's early professional years. Two years later, Carlos performed at TV Tupi, singing "Tutti Frutti" (R. Penniman/J. Lubin/D. La Bostrie). In that period, he was scheduled to open a Bill Haley show at the Maracanazinho (Rio), when he became acquainted with Erasmo Carlos (then Erasmo Esteves). In 1958, Carlos met the "Matoso gang," as were known the future artists Tim Maia, Jorge Ben, and the same Erasmo Esteves, among others, who would meet at Matoso Street at Tijuca (a neighborhood of Rio). Carlos, Erasmo, and Tim Maia (together with Edson Trindade, Arlênio Lívio, and José Roberto "China") formed the group the Snacks (later the Sputniks), playing balls and performing on TV (including at Carlos Imperial's Clube do Rock on TV Continental, where Carlos was already a regular). The group was soon dissolved due to the incompatibility between Carlos and Maia.
After working as an extra in several films such as Agüenta o Rojão and Minha Sogra é da Polícia (in which they backed up Cauby Peixoto on one song), Carlos and Erasmo played together in Erasmo's quartet the Snakes until Carlos was called by Imperial to take Carlos Lyra's place in the Os Terríveis band that played Elvis Presley covers on TV shows and live performances contracted by Imperial.
Soon, Carlos left the band to try to become a bossa nova artist. Strongly influenced by João Gilberto in that period, Carlos often tried to "sit-in" at the famous temples Plaza nightclub and the clubs of the Beco das Garrafas, but to no avail. A testimony of his ephemeral and unaccomplished bossa nova phase is Carlos' first album, with "João e Maria" and "Fora do Tom" (both by Imperial). In August 1960, a new release was launched, again in the bossa vein, "Brotinho Sem Juízo" and "Canção do Amor Nenhum" (again, both by Imperial). At the same time, Carlos would participate regularly in shows presented by Imperial, Os Brotos Comandam (TV Continental and Rádio Guanabara) and Festa de Brotos (TV Tupi). In 1961, in the same year in which Carlos recorded his first LP (a derivation toward boleros and ballads, Louco por Você) that earned some acceptance at the time (3,500 copies sold in one year), he accepted the suggestion of the record company CBS and changed his style to youth music, starting to write songs with the composer/lyricist who would become his most important collaborator: Erasmo Carlos. The duo's first hit was Carlos' rendition for an Erasmo version of "Splish Splash" (Bobby Darin), having as the B-side another classic written by them, "Parei na Contramão." The album was recorded and launched in 1963 as Carlos' fifth 78 rpm, accompanied by Renato e seus Blue Caps. It sold 7,500 copies, a modest amount today, but it represented a considerable selling then and the milestone of a new time.
In 1964, the LP É Proibido Fumar (backed by the Youngsters) had hits with the title track (by Carlos/Erasmo) and with Erasmo's version of "Road Hog" (Gwen/John D. Loudermilk), "O Calhambeque." It sold almost 12,000 copies in 18 months and was considered high-selling then, but still behind the leader Carlos Alberto (a bolero singer), who was selling more than twice as much. Nevertheless, Carlos' nationwide success was ascending, with more and more invitations for TV and radio shows and CBS wanting to take him to Argentina. That year, Carlos recorded the same repertory in Spanish, also backed by the Youngsters, and the album Es Prohibido Fumar was released by the end of 1964 in Argentina. It was planned to also be distributed in Brazil, but as the military government considered anything in Spanish (the language of Fidel Castro and Che Guevara) dangerous to the country, the album was simply taken out of the catalog by the recording company.
In 1965, Carlos was elected the King for the first time by direct vote of the audience in a contest promoted by Antônio Aguillar on his Reino da Juventude show. Later, the title would be confirmed at the highly popular Chacrinha show and it would be his for life.
In the same year, Roberto Carlos Canta Para a Juventude broke all records established by the singer until then, by far surpassing Carlos Alberto and his Amor Perdido. Carlos' album reached fifth place according to IBOPE (a most-accredited public opinion research institute), however, it quickly fell several positions. In fact, he would only have an album at number one of the top parade by the end of the year, with his next LP. Until then, his rising success would sell over 20,000 copies of the double single with "História de um Homem Mau" (reaching fourth place on the charts) and 50,000 copies of his single "Não Quero Ver Você Triste",
On September 5, Roberto Carlos opened the legendary show Jovem Guarda as the main host and also featuring Vanderléa and Erasmo Carlos by his side. The show gave the name and directives to the first musical scene produced especially for Brazilian youth, representing a major cultural/behavioral/commercial breakthrough. After the show debut, Carlos' popularity reached levels unimagined until then. Scoring hits in Argentina and Brazil, Carlos became the best-seller for CBS. A double single with "A Garota do Baile," Carlos reached number two in November, behind the Beatles' "Help!" But his album Jovem Guarda, also launched in November, took only one week to push "Help!" out of number one on the Brazilian charts, selling almost 200,000 copies in one year. "Quero Que Vá Tudo Pro Inferno" became a nationwide hit and with the exception of brief periods of time, it reigned absolute at number one on the top parade during the entire first semester of 1966. After performing in Argentina, Uruguay, and Paraguay — countries in which the Spanish version of "O Calhambeque" continued to have success — Carlos went to Europe in April 1966, singing in Portugal (where "Calhambeque" and "Quero Que Vá Tudo Pro Inferno" were in first place on Lisbon charts). Returning to Brazil, he soon departed for a tour that started in South America, then Central and North America, where he sang in Los Angeles, Miami, and New York, then Europe (London, Paris, Berlin, and Lisbon). Roberto Carlos, released in December 1966 and went right to number one in the second week (remaining there until April 1967), sold 300,000 copies in less than a year. Also in 1967, Carlos starred the feature film Roberto Carlos em Ritmo de Aventura (whose soundtrack sold 300,000 copies, staying at number one from December 17 until June 1968; the film also broke all box-office records until then); won fifth place at the III FMPB (Festival of Brazilian Popular Music of the TV Record, São Paulo) with "Maria, Carnaval e Cinzas," by Luís Carlos Paraná (reaching number one as a single in November); participated in the MIDEM Festival in Cannes, France; and won the Chico Viola trophy for the songs "Quero Que Vá Tudo pro Inferno" and "Esqueça" and for the LP Jovem Guarda. In June of the same year, Carlos departed for a series of shows in Europe, Africa, Asia, and the U.S. In Italy, he participated in the Venice Song Festival.
In 1968, Carlos left Jovem Guarda, which due to his absence would soon cease to exist. His departure was a result of a mature decision to migrate from a youth idol profile to that of a romantic singer. In the same year, Carlos won the San Remo Festival (XVIII Festival della Canzone Italiana) with "Canzone Per Te" (Sergio Endrigo) and starred the film O Diamante Cor-de-Rosa (also a box office success), opening his own show Roberto Carlos à Noite (TV Record) on March 15. As a romantic singer, Carlos had several hits in the 1970s that still had his creative impetus, such as "Sua Estupidez," "As Flores do Jardim de Nossa Casa," "Jesus Cristo," "Amada Amante," "Detalhes," "Debaixo dos Caracóis dos Seus Cabelos," "A Montanha," "A Proposta," "Além do Horizonte," "Olha," "Amante à Moda Antiga," and "A Ilha" (all with Erasmo), along with "Como Vai Você?" (Antônio Marcos/Mário Marcos), and two songs written by Caetano Veloso especially for him, "Como Dois e Dois" and "Muito Romântico." In that decade, Carlos also consolidated his international career doing regular shows in the U.S., Europe, and Latin America. In the year of 1970, he did his first show at the prestigious Canecão, which would be the first of his highly successful annual seasons at the most important Carioca hall in terms of media resonance. In the early '70s, Carlos became the top record-selling Brazilian artist, a position he would keep for many consecutive years. After 1976, his albums were selling over 1,000,000 copies. His 1977 album Roberto Carlos, with "Falando Sério," sold 2.2 million copies. His 1978 show also beat all records, with 250,000 spectators in six months throughout Brazil, while the album with "Café da Manhã," "Força Estranha," and "Lady Laura" sold 1.5 million copies.
In the '80s, Carlos also started to record in English and French (he had already recorded albums in Spanish, Italian, and, naturally, Portuguese), having won the Globo de Cristal trophy, awarded by CBS to Brazilian artists who sell more than five million copies outside Brazil. At the same time, his albums continued to break records in his country. "Caminhoneiro" (1984) was aired 3,000 times in a single day, another record soon beaten by his own "Verde e Amarelo" (1985), with 3,500 spins. In 1986, he had success at Radio City Music Hall (New York, NY) and, two years later, won the Grammy as the Best Latin American Pop singer. In 1989, his Sonrie reached first place on Billboard's Latin chart.
In the 1990s, Roberto Carlos became the first Latin American artist to sell more albums than the Beatles (in 1994, having by then sold over 70 million copies of his albums). In the mid-'90s, with the retro Jovem Guarda wave, Carlos, who was worn out among the younger generations who had only known his romantic and sentimental hits directed at a middle-aged audience, had his importance recuperated by young rockers such as Cássia Eller, Chico Science & Nação Zumbi, Barão Vermelho, and Skank, who recorded Rei, a tribute to him with his old Jovem Guarda hits.
In 1998, his second wife Maria Rita discovered she had cancer (she would die in 1999), which shattered his peace of mind. Trying to keep on with his career, Carlos continued to record and perform after one year of reclusion. In 2001, he broke his contract with Sony (ex-CBS), the recording company through which he had released a vast majority of his albums, due to commercial reasons related to his wife's demise.
Aquela Casa Simples
Roberto Carlos Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Que eu tivesse cuidado
E não sofresse com as coisas desse mundo
Que eu fosse um bom menino
Que eu trabalhasse muito
Que o nome do meu pai soubesse honrar
E nunca fosse um vagabundo
Deus te abençoe, te guarde
Se mantenha sempre em sua companhia
E eu te olhei nos olhos, eu te beijei a mão
Eu disse amém
E o meu abraço fez você ouvir meu coração
Vida minha, vida minha
E andando pela rua meu pai bem junto a mim
Olhava com ternura
A lágrima molhar meu paletó de brim
Toda a minha bagagem num banco da estação
Era de amor, coragem
As bênçãos do meu pai, a fé e um violão
E na cidade grande tristeza e alegria
Uma saudade imensa
E a solidão que eu ainda não conhecia
E o tempo foi passando e então eu compreendi
Cada palavra sua
Naquela manhã do dia em que eu parti
Vida minha, vida minha
Vida minha, vida minha
E veio a primavera e as flores do jardim
Enchiam de perfume
As cartas que chegavam de você pra mim
Mas hoje com sorrisos podemos recordar
Mas sempre que me lembro
A emoção e dá vontade de chorar
Vida minha, vida minha
Vida minha, vida minha
Recordações
The lyrics of Roberto Carlos's song "Aquela Casa Simples" tell a story of love, guidance, and longing for home. The singer remembers a simple house where someone, possibly a parent or a mentor figure, gave them advice to be cautious and not suffer from the hardships of the world. They were told to be a good person, work hard, honor their father's name, and never become a vagabond. In the early morning, before daybreak, the person blessed the singer and asked them to always stay in God's company. The singer looked into their eyes, kissed their hand, and responded with "amen," expressing their deep love and appreciation. Their embrace conveyed the message of their heart.
As the singer walked through the streets, their father accompanied them and observed with tenderness as tears wet their simple jacket. The singer's baggage, in this case, represents love, courage, blessings, faith, and a guitar. They journeyed to the big city, where they experienced both sadness and joy, a profound longing, and a loneliness they had not yet known. As time passed, they began to understand the significance of the words spoken to them that morning when they left. Each word from their loved one carried weight, and even though they could now smile, the memories still evoke the desire to cry.
The song captures the bittersweetness of leaving home, the longing for guidance and love, and the realization of the wisdom shared. It highlights the importance of cherishing the advice and lessons bestowed upon us, even as we grow and experience new things. "Aquela Casa Simples" beautifully portrays the journey of life, filled with love, memories, and the desire to return to where we belong.
Line by Line Meaning
Naquela casa simples você falou pra mim
In that humble house, you spoke to me
Que eu tivesse cuidado
That I should be careful
E não sofresse com as coisas desse mundo
And not suffer from the things of this world
Que eu fosse um bom menino
That I should be a good boy
Que eu trabalhasse muito
That I should work hard
Que o nome do meu pai soubesse honrar
That I should honor my father's name
E nunca fosse um vagabundo
And never be a lazy person
Ainda não era dia e você me dizia:
It was still not daybreak and you said to me:
Deus te abençoe, te guarde
God bless you, protect you
Se mantenha sempre em sua companhia
Always stay in His presence
E eu te olhei nos olhos, eu te beijei a mão
And I looked into your eyes, I kissed your hand
Eu disse amém
I said amen
E o meu abraço fez você ouvir meu coração
And my hug made you hear my heart
Vida minha, vida minha
My life, my life
E andando pela rua meu pai bem junto a mim
And walking down the street my father right by my side
Olhava com ternura
Looked at me with tenderness
A lágrima molhar meu paletó de brim
The tear wetting my brim jacket
Toda a minha bagagem num banco da estação
All my baggage on a train station bench
Era de amor, coragem
It was made of love, courage
As bênçãos do meu pai, a fé e um violão
The blessings of my father, faith, and a guitar
E na cidade grande tristeza e alegria
And in the big city, sadness and joy
Uma saudade imensa
An immense nostalgia
E a solidão que eu ainda não conhecia
And the loneliness that I had not yet known
E o tempo foi passando e então eu compreendi
And time passed, and then I understood
Cada palavra sua
Each of your words
Naquela manhã do dia em que eu parti
On that morning of the day I left
Vida minha, vida minha
My life, my life
E veio a primavera e as flores do jardim
And spring came, and the flowers in the garden
Enchiam de perfume
Filled the air with fragrance
As cartas que chegavam de você pra mim
The letters that arrived from you to me
Mas hoje com sorrisos podemos recordar
But now we can remember with smiles
Mas sempre que me lembro
But whenever I remember
A emoção e dá vontade de chorar
The emotion makes me want to cry
Vida minha, vida minha
My life, my life
Recordações
Memories
Lyrics © O/B/O APRA AMCOS
Lyrics Licensed & Provided by LyricFind
Patricia Pino
todos quienes fuimos humildes, nos enseñaron a tener valores, y ellos te hicieron Grande porque jamás olvidaste tu raíz.
En nuestra casa humilde, tus palabras oí
Que tuviese cuidado y no sufriese con las cosas de este mundo,
Que yo fuese un buen chico, que trabajase mucho,
Que al nombre de mi padre hiciese honor
Y nunca fuese un vagabundo
Aun no era día, cuando tú me decías,
Dios te bendiga y guarde se mantenga en tu compañía
Yo te mire a los ojos, la mano te bese,
Te dije amen y en un abrazo te hice oír latir mi corazón
Vida mía, vida mía
Mi padre junto a mí, me acuerdo su emoción,
Veía que las lágrimas mojaban mi chaqueta de algodón
Y todo mi equipaje, en aquella estación,
Era de amor coraje mi fe, mi guitarra, y su bendición
Y en la gran ciudad, tristeza y alegría,
Una nostalgia inmensa y la soledad que aun no conocía
Y el tiempo fue pasando, y entonces comprendí,
Cada palabra tuya en la mañana de aquel día en que partí
Vida mía, vida mía, vida mía, vida mía,
Llego la primavera, las flores del jardín,
Llenaban de perfume aquellas dulces cartas que llegaban de ti
Y hoy entre sonrisas, podemos recordar,
Y siempre que me acuerdo la emoción me da, deseos de llorar
Vida mía, vida mía, vida mía, vida mía, recordaciones
Raquell José
"E andando pela rua
Meu pai bem junto a mim
Olhava com ternura
A lágrima molhar meu paletó de brim
Toda a minha bagagem
Num banco da estação
Era de amor, coragem
As bênçãos do meu pai, a fé e um violão.."
Que música é essa?!!
Roberto Carlos conta a sua história de vida, que é igual a nossa numa canção singela, porém rica nos detalhes...
E são esses detalhes que vem encontrar as nossas lembranças , remexer nossas emoções e
o mais incrivel, essa canção singela, do tipo inocente, nos faz orgulhosos daquilo que nos tornamos...
Graças a Deus !
1° Dia de uma semana branda pro autor dessa beleza, e pra nós...
Travassos Travassos
Canção perfeita, feita para refletir sobre a vida. Que sentimento profundo exala dessa música. Fortes lembranças 😢😢😢.
Zoraide Pinter
Roberto Carlos sempre foi um sofredor por amor. Ama em excesso e sofre por isso. Grande cantor.
José Luis Nunes Martins
Uma das músicas mais lindas de todos os tempos!! Que letra! Que melodia! Que voz! Que sentimento! Parece um filme musical que se desenrola aos nossos ouvidos!!!
Juraci Jurema
Concordo com vc !!!!!
Luiz Carlos
Isso mesmo!!
maria amélia lima de sousa
Amo essa música, me tras de volta a um passado lindo.Saudades.
Djacir Oliveira
Pra quem é órfão de pai e mãe essa música passa um filme na vida da gente, solidão tristeza e saudade alguns dos sentimentos que castigam a gente a meus pais Mariano e Tereza.
Walmir Almeida
Lembro-me de uma entrevista em que RC disse que ele teve que recomeçar muitas e muitas vezes a gravar essa canção porque ele em uma certa parte ele começava a chorar.....bem! não era pra menos nê.
Aldemir Sousa
Canção lindissima que fica na mesma linhagem de Traumas, A Estação, O Divâ, A Janela, e o Roberto com a mesma interpretação de sempre com sua voz suave que dà um tchan na música.
Fabio Ricardo
Também A Estação