Three young guys who had in common their love for rock, reggae and ska - Herbert Vianna, Bi Ribeiro and JoÃ£o Barone - formed the group Paralamas at the beginning of the 80âs inspired by the sonority of groups as The Police, The Beat and The Specials, that used to recycle the rhythms created in Jamaica.Stimulated by the talent and the interest in the rising phenomenon of the Brazilian Rock, soon they had recorded their first LP âCinema Mudoâ (1983) and had become a success with songs such as âVital e sua Motoâ and âPatrulha Noturnaâ.The second LP âO Passo do Luiâ (1984), consolidated the initial pull with the hits âÃculosâ, âSkaâ and âMeu Erroâ, 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 âSelvagemâ (1986), that gave new routes to the Brazilian Rock 80âs 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 âSelvagemâ, social (âAlagadosâ) and politics criticism (âSelvagemâ) coexisted with good mood (âMelÃ´ do Marinheiroâ), a tribute to Tim Maia (âVocÃªâ) and a partnership with Gilbert Gil (âA Novidadeâ).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 âSelvagemâ 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 âDâ (1987), with the participation in the keyboards of JoÃ£o Fera and George Israel (sax), as special invited.In the following year a new successful LP âBora Boraâ. The hits âO Becoâ, âUns Diasâ and âQuase um Segundoâ extended the series of influences and added brass instruments to the sound of Paralamas.The following LP âBig Bangâ (1989) would consolidate the new sonorous format in exciting songs as âPerplexoâ and lyric ones as âLanterna dos Afogadosâ, as well as a bossa-nova âNebulosa do Amorâ.To turn the decade, the trio released the compilation âArquivoâ with their hits of the 80âs, the rerecording of their first hit âVital e sua Motoâ and also the new song âCaleidoscÃ³pioâ.The first half of the 90âs would be dedicated to the experiment and the conquest of the Latin American market. The album âOs GrÃ£osâ (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 âSeverinoâ (1994), considered by many revewers the âSgt. Pepper's of 80âs generationâ 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 âParalamasâ, 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 âSeverinoâ baptized âDos Margaritasâ.But the excellent tour of âSeverinoâ 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 âVamo BatÃª Lataâ â Paralamas Ao Vivoâ (1995). Attached there was a four track bonus CD. The explosion of one of tracks âUma Brasileiraâ, a Herbert and Carlinhos Brown partnership, with the special participation of Djavan, led the trio back to the mega success. A second song âLuiz InÃ¡cio (300 picaretas)â 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 âUma Brasileiraâ 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: âNove Luasâ (1996) â with the tracks âLourinha Bombrilâ (awarded with the best video of the year, best edition and direction in the MTV Video Music Brazil (VMB) and âBusca Vidaâ (best video of the year in the VMB) â and âHey Na Naâ (1998) â with the tracks âEla Disse Adeusâ (five awards in the VMB: best video of the year, best pop video, best direction, photograph and direction of art) and âO Amor nÃ£o Sabe Esperarâ with the participation of Marisa Monte. The video âDepois da Queda o Coiceâ 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 âMTV Unpluggedâ. 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 (âBora Boraâ, âVai Valerâ and âTrem da Juventudeâ) with homage to Chico Science and the group LegiÃ£o Urbana, the new song âSincero Breuâ and âUm Amor Um Lugarâ, 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 âUnpluggedâ tour was extended until the end of 2000, when the trio released the compilation âArquivo 2â, that brought the unpublished âAonde quer que eu vÃ¡â, 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 âLongo Caminhoâ, 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 Herbertâs fight for survival in the hospital Copa DâOr, 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 guitarBi Ribeiro:bassJoÃ£o Barone:DrumsRead more on Last.fm. User-contributed text is available under the Creative Commons By-SA License; additional terms may apply.