Roberto Carlos (born April 19, 1941 in Cachoeiro de Itapemirim, Espírito Sa… Read Full Bio ↴Roberto Carlos (born April 19, 1941 in Cachoeiro de Itapemirim, Espírito Santo, Brazil) initiated a major revolution of customs in Brazil in the '60s. Reaching success in a period coinciding with the youth movement started by the The Beatles that was taking over the world, Carlos was the leader of Jovem Guarda ("Young Guard") . He led the TV show that became a generic denomination of a musical style and what was a definitive change of face to the Brazilian phonographic market and of the very art of marketing itself (with the advent of an aggressive merchandising of the JG's top figures, including films, clothes, etc.), encompassing deep behavioral/gestual/language influences widespread through his entire generation. His light music, derived from British pop, and his (and his partner's Erasmo Carlos) lyrics (happy, humorous, and full of fashionable youth slang and naïve though unexpectedly sexual) were deeply contrasting to the serious MPB, with its somber images and protest songs. After all, Brazil was living in a dark period of the military dictatorship, or the "years of lead" as they became known.

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.

Todas as Nossas Senhoras
Roberto Carlos Lyrics

Jump to: Overall Meaning ↴ Line by Line Meaning ↴

Quando eu me sinto aflito Nossa Senhora da Paz
Me dá sua mão me acalma, tranquilidade me trás
Se uma lágrima me rola e o pranto eu não contenha
Choro nas escadarias de Nossa Senhora da Penha
Nossa Senhora de Fátima, peço que alegria tenha

Se o perigo me preocupa eu tenho fé não me alarmo
Tenho meu escapulário nossa Senhora do Carmo

Senhora dos navegantes, da boa viajem me guia
Devo os ares, terra e mares me ampara me auxilia
Me livra das tempestades Nossa Senhora da Guia

Minha mãe Nossa Senhora somos todos filhos seus
Todas as Nossas Senhoras são a mesma mãe de Deus

Minha mãe Nossa Senhora somos todos filhos seus
Todas as Nossas Senhoras são a mesma mãe de Deus

Sou romeiro e no seu dia, na multidão mãe querida
Me ajoelho e rezo nossa senhora aparecida
Nossa Senhora da Glória, de Lurdes, de Nazaré
Virgem santa da saúde, da boa nova e da fé
Minha mãe tanta bondade hoje eu sei bem o que é

Nossa Senhora das Graças, da Confiança e da Luz
Senhora da Lampadosa rogai por nós a Jesus
Virgem esposa imaculada do espírito santo adorável
Mãe rainha e vencedora três vezes admirada
Nossa Senhora do Brasil, do seu corpo inseparável

Senhora da Rosa Mística, das Dores, da Conceição
De Guadalupe, Médio Glori e do nosso coração

Minha mãe Nossa Senhora somos todos filhos seus
Todas as Nossas Senhoras são a mesma mãe de Deus

Minha mãe Nossa Senhora somos todos filhos seus
Todas as Nossas Senhoras são a mesma mãe de Deus

Minha mãe Nossa Senhora somos todos filhos seus
Todas as Nossas Senhoras são a mesma mãe de Deus

Minha mãe Nossa Senhora somos todos filhos seus
Todas as Nossas Senhoras são a mesma mãe de Deus

Overall Meaning

The lyrics of Roberto Carlos's song Todas as Nossas Senhoras talk about the different Virgin Marys that exist in the Catholic faith and how they provide comfort and support in times of need. The singer mentions different Virgin Marys and their associated virtues, such as Nossa Senhora da Paz (Our Lady of Peace), who provides calm and tranquility, and Nossa Senhora da Guia (Our Lady of Guidance), who guides and protects in times of danger.

The refrain of the song repeats the phrase "Minha mãe Nossa Senhora somos todos filhos seus / Todas as Nossas Senhoras são a mesma mãe de Deus" which roughly translates to "My mother the Virgin Mary, we are all her children / All of the Virgin Marys are the same mother of God." This emphasizes the unity of the different Virgin Marys and their role as a mother figure to all who seek comfort in their faith.

Through the lyrics, Roberto Carlos celebrates the important role that the Virgin Mary plays in the lives of Catholics and highlights how she is a source of strength and comfort for many who turn to her in times of need.

Line by Line Meaning

Quando eu me sinto aflito Nossa Senhora da Paz
When I feel distressed, I turn to Nossa Senhora da Paz for peace.

Me dá sua mão me acalma, tranquilidade me trás
She gives me her guidance and brings me calmness and tranquility.

Se uma lágrima me rola e o pranto eu não contenha
If a tear falls from my eye and I can't hold back my crying,

Choro nas escadarias de Nossa Senhora da Penha
I cry on the stairs of Nossa Senhora da Penha.

Nossa Senhora de Fátima, peço que alegria tenha
I ask Nossa Senhora de Fátima for happiness.

Se o perigo me preocupa eu tenho fé não me alarmo
If danger worries me, I have faith and don't get alarmed.

Tenho meu escapulário nossa Senhora do Carmo
I wear my scapular of Nossa Senhora do Carmo.

Senhora dos navegantes, da boa viajem me guia
Nossa Senhora dos navegantes guides me on my journeys.

Devo os ares, terra e mares me ampara me auxilia
She supports and helps me on land, air, and sea.

Me livra das tempestades Nossa Senhora da Guia
Nossa Senhora da Guia protects me from storms.

Minha mãe Nossa Senhora somos todos filhos seus
We are all children of Nossa Senhora, my mother.

Todas as Nossas Senhoras são a mesma mãe de Deus
All Nossas Senhoras are the same mother of God.

Sou romeiro e no seu dia, na multidão mãe querida
As a pilgrim on her special day, I am among the beloved crowd of my dear mother.

Me ajoelho e rezo nossa senhora aparecida
I kneel and pray to Nossa Senhora Aparecida.

Nossa Senhora da Glória, de Lurdes, de Nazaré
Nossa Senhora da Glória, de Lurdes, de Nazaré.

Virgem santa da saúde, da boa nova e da fé
She is the holy virgin of health, good news, and faith.

Minha mãe tanta bondade hoje eu sei bem o que é
My mother, so full of kindness, now I understand what it means.

Nossa Senhora das Graças, da Confiança e da Luz
Nossa Senhora das Graças, of trust and light.

Senhora da Lampadosa rogai por nós a Jesus
Lady of Lampadosa, pray for us to Jesus.

Virgem esposa imaculada do espírito santo adorável
Immaculate spouse of the beloved Holy Spirit, the virgin is adorable.

Mãe rainha e vencedora três vezes admirada
Mother, queen, and victor, three times revered.

Nossa Senhora do Brasil, do seu corpo inseparável
Nossa Senhora do Brasil, inseparable from her body.

Senhora da Rosa Mística, das Dores, da Conceição
Lady of the Mystic Rose, of Sorrows, of the Conception.

De Guadalupe, Médio Glori e do nosso coração
From Guadalupe, Médio Glori, and our heart.