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.
Noite De Terror
Roberto Carlos Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
eu logo foi dormir
soprava um vento forte
e eu nao mas pude mais sair
pensei com meus botoes
um bom livro eu vou ler
e um trago de uísque
que é para me aquecer
me aconteceu
uma mao gelada
em meu ombro bateu
gritar eu quis
porém a voz nao me saiu
e o livro que eu lia
até de minhas maos sumiu
tremi de cima a baixo sem sair do lugar
quando de repente eu ouvi alguém falar
bem junto de mim
esse alguém me falou bem assim
eu sou o frankstein
tomou contra de mim
tamanha tremedeira
mais nada quis ouvir
pois corri pela ladeira
mas de repente entao
voltou-se o panorama
quando dei por mim
eu estava em minha cama
alguém bate a porta vou logo ver quem é
deve ser meu broto pois fantasma nao dá pé
mas quando a porta abri
fiquei logo a temer
senti por todo o corpo um frio percorrer
fiquei no chao colado
com o cabelo arrepiado
maior foi meu pavor
pois nao era meu amor
e esse alguém que eu vi
me falou novamente assim
voltei
tomou contra de mim
tamanha tremedeira
mais nada quis ouvir
pois corri pela ladeira
mas de repente entao
voltou-se o panorama
quando dei por mim
eu estava em minha cama
alguém bate a porta vou logo ver quem é
deve ser meu broto pois fantasma nao dá pé
mas quando a porta abri
fiquei logo a temer
senti por todo o corpo um frio percorrer
fiquei no chao colado
com o cabelo arrepiado
maior foi meu pavor
pois nao era meu amor
e esse alguém que eu vi
me falou novamente assim
voltei
The lyrics of Roberto Carlos's Noite De Terror depict a scene of suspenseful horror. The song opens with the singer trying to escape the cold, blustery night by resorting to reading a good book and having a drink of whiskey. Suddenly, a cold hand touches his shoulder, causing the book to fall from his hands and rendering him unable to scream. A voice identifies itself as Frankenstein and proceeds to send shivers down the singer's spine. The singer tries to escape from the entity, but he finds himself reliving the same terrifying encounter repeatedly; even the appearance of his loved one at the door does not offer him any relief, as it turns out to be Frankenstein again.
The lyrics are a powerful representation of the fear and uncertainty that plague the human mind. The singer is caught in a cycle of terror, unable to break free from the grip of his fears. Roberto Carlos's haunting lyrics and the eerie, atmospheric music combine to create a vivid depiction of horror and psychological distress.
Line by Line Meaning
fazia noite fria
The night was cold
eu logo foi dormir
I went to sleep right away
soprava um vento forte
A strong wind was blowing
e eu nao mas pude mais sair
And I couldn't leave anymore
pensei com meus botoes
I thought to myself
um bom livro eu vou ler
I'll read a good book
e um trago de uísque
And have a sip of whiskey
que é para me aquecer
To warm myself up
mais uma coisa vejam
One more thing, you see
me aconteceu
Happened to me
uma mao gelada
A cold hand
em meu ombro bateu
Touched my shoulder
gritar eu quis
I wanted to scream
porém a voz nao me saiu
But my voice wouldn't come out
e o livro que eu lia
And the book I was reading
até de minhas maos sumiu
Disappeared from my hands
tremi de cima a baixo sem sair do lugar
I trembled all over without moving
quando de repente eu ouvi alguém falar
When suddenly I heard someone speak
bem junto de mim
Right next to me
esse alguém me falou bem assim
This someone spoke to me like this
eu sou o frankstein
I am Frankenstein
tomou contra de mim
Came at me
tamanha tremedeira
Such trembling
mais nada quis ouvir
I didn't want to hear anything else
pois corri pela ladeira
So I ran down the street
mas de repente entao
But suddenly
voltou-se o panorama
The situation changed
quando dei por mim
When I realized
eu estava em minha cama
I was in my bed
alguém bate a porta vou logo ver quem é
Someone knocks on the door, I go to see who it is
deve ser meu broto pois fantasma nao dá pé
It must be my sweetheart because a ghost can't walk
mas quando a porta abri
But when I opened the door
fiquei logo a temer
I was immediately afraid
senti por todo o corpo um frio percorrer
I felt a chill run through my whole body
fiquei no chao colado
I was glued to the floor
com o cabelo arrepiado
With my hair standing on end
maior foi meu pavor
My fear was even greater
pois nao era meu amor
Because it wasn't my love
e esse alguém que eu vi
And this someone that I saw
me falou novamente assim
Spoke to me again like this
voltei
I'm back
tomou contra de mim
Came at me
tamanha tremedeira
Such trembling
mais nada quis ouvir
I didn't want to hear anything else
pois corri pela ladeira
So I ran down the street
mas de repente entao
But suddenly
voltou-se o panorama
The situation changed
quando dei por mim
When I realized
eu estava em minha cama
I was in my bed
alguém bate a porta vou logo ver quem é
Someone knocks on the door, I go to see who it is
deve ser meu broto pois fantasma nao dá pé
It must be my sweetheart because a ghost can't walk
mas quando a porta abri
But when I opened the door
fiquei logo a temer
I was immediately afraid
senti por todo o corpo um frio percorrer
I felt a chill run through my whole body
fiquei no chao colado
I was glued to the floor
com o cabelo arrepiado
With my hair standing on end
maior foi meu pavor
My fear was even greater
pois nao era meu amor
Because it wasn't my love
e esse alguém que eu vi
And this someone that I saw
me falou novamente assim
Spoke to me again like this
voltei
I'm back
Contributed by Eli Y. Suggest a correction in the comments below.
Velha aprendiz
Hozana de Arapiraca AL
OI SENHOR
ROBERTO CARLOS
BOM DIA☀
Gostei de ouvir essa canção desejo tudo de bom para o senhor e sua família
🌴🏡💕👫👪👬💕
🌴🌴🌴🌴🌴🌴🌴🌴🌴
🎵🎶🎵🎶🎵🎶🎵🎶🎵
🎸🎶🎸🎶🎸🎶🎸🎶🎸
Nair Moraes
Gosto muito dessa fase da carreira de Roberto Carlos.....divertida....letra e ritmos alegres....descontraído.....
Essa música é muito gostosa de ouvir.....
marcos garcia
0:2 Esse berro, nas antigas vitrolas, quando reduzida a rotação de 33 para 16 rpm, ficava glorioso. A redução da velocidade de reprodução para 0:25 dá uma idéia aproximada do que acontecia.
Igor Maxwel
Esse Getúlio Côrtes fazia umas músicas bem "cômicas" para RC gravar nessa época... Essa, "O Feio", "O Gênio", "O Brucutu", "Pega Ladrão", etc, depois no fim da década de 1960 o compositor mudou seus rumos líricos de acordo com o que se ocorria... Longa vida a ele!
Vilagran & Delavy - Oficial
Um dos melhores álbuns do Roberto, época que ele cantava Rock, e tocava guitarra.
nana
Tenho 21 anos e lembro de quando era criança e minha avó coloca o disco pra tocar e essa era minha música favorita ❤
Pedro Cardoso
Gostei dessa sua Foto...!! Uma Moça LINDA você heinn.... então.... EU Amo tbm à fase Rock "roll do Roberto...!! Tenho DISCOS RAROS dele aqui sabe, os antigos são os Melhores... tenho DISCOS da década de 60 e 70..! Da década de 80 pra frente ELE fez MUITA música Chata e fraca na minha opinião... más Amo
O Som dele em 60 e 70! Tenho 33 anos e Sou apaixonado por música de Qualidade..! Rs rs..
Marcos Quevedo
Demais! 👑
Sonia Regina Cesar Ribeiro Chieus
Essa canção lembra minha adolescência...quando eu morria de medo de fantasmas kkkk
Ana Lourencz
minha infância resumida em ter medo dessa música quando meu pai cantava
André Malki
o único defeito da música é que ela acaba muito rápido, aí eu tenho q dar play de novo kkkkk