Manu Chao Lyrics, Song Meanings, Videos, Full Albums & Bios

Me gustas tú
by Manu Chao

Qué hora son mi corazón
Te lo dije bien clarito
Permanece a la escucha

Permanece a la escucha
Doce de la noche en La Habana, Cuba
Once de la noche en San Salvador, El Salvador
Once de la noche en Managua, Nicaragua

Me gustan los aviones, me gustas tú
Me gusta viajar, me gustas tú
Me gusta la mañana, me gustas tú
Me gusta el viento, me gustas tú
Me gusta soñar, me gustas tú
Me gusta la mar, me gustas tú

Qué voy a hacer
Je ne sais pas
Qué voy a hacer
Je ne sais plus
Qué voy a hacer
Je suis perdu
Qué horas son, mi corazón

Me gusta la moto, me gustas tú
Me gusta correr, me gustas tú
Me gusta la lluvia, me gustas tú
Me gusta volver, me gustas tú
Me gusta marihuana, me gustas tú
Me gusta Colombiana, me gustas tú
Me gusta la montaña, me gustas tú
Me gusta la noche, me gustas tú

Qué voy a hacer
Je ne sais pas
Qué voy a hacer
Je ne sais plus
Qué voy a hacer
Je suis perdu
Qué hora son, mi corazón

Me gusta la cena, me gustas tú
Me gusta la vecina, me gustas tú
Me gusta su cocina, me gustas tú
Me gusta camelar, me gustas tú
Me gusta la guitarra, me gustas tú
Me gusta el regae, me gustas tú

Qué voy a hacer
Je ne sais pas
Qué voy a hacer
Je ne sais plus
Qué voy a hacer
Je suis perdu
Qué horas son, mi corazón

Me gusta la canela, me gustas tú
Me gusta el fuego, me gustas tú
Me gusta menear, me gustas tú
Me gusta la Coruña, me gustas tú
Me gusta Malasaña, me gustas tú
Me gusta la castaña, me gustas tú
Me gusta Guatemala, me gustas tú

Qué voy a hacer
Je ne sais pas

Qué voy a hacer
Je ne sais plus
Qué voy a hacer
Je suis perdu
Qué horas son, mi corazón

Qué voy a hacer
Je ne sais pas
Qué voy a hacer
Je ne sais plus
Qué voy a hacer
Je suis perdu
Qué horas son, mi corazón

Qué voy a hacer
Je ne sais pas
Qué voy a hacer
Je ne sais plus
Qué voy a hacer
Je suis perdu
Qué horas son, mi corazón

Qué horas son, mi corazón
Qué horas son, mi corazón
Qué horas son, mi corazón
Qué horas son, mi corazón
Qué horas son, mi corazón

Radio reloj
Cinco de la mañana
No todo lo que es oro brilla
Remedio chino e infalible

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Manu Chao (⋆ 21 June 1961 in Paris, France) is a French/Spanish rock, reggae, punk and ska artist; well-known in the Paris alternative music scene before his international success with the band Mano Negra (active 1988-95). Well-known songs are 'Me Gustas Tu', 'Bongo Bong', 'Clandestino', 'Mr Bobby', and 'Je Ne'taime Plus'. Manu is one of the world's largest selling artists, but is less known in the English-speaking world. Much of his lyrics are about global political and social issues, but also about love, world's lifestyles, and music. Read Full BioManu Chao (⋆ 21 June 1961 in Paris, France) is a French/Spanish rock, reggae, punk and ska artist; well-known in the Paris alternative music scene before his international success with the band Mano Negra (active 1988-95). Well-known songs are 'Me Gustas Tu', 'Bongo Bong', 'Clandestino', 'Mr Bobby', and 'Je Ne'taime Plus'. Manu is one of the world's largest selling artists, but is less known in the English-speaking world. Much of his lyrics are about global political and social issues, but also about love, world's lifestyles, and music.

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Manu Chao (born José-Manuel Thomas Arthur Chao on 21 June 1961 in Paris, France) is a singer of French and Spanish (Basque, Galician) origin.

Heavily influenced by the UK rock scene, particularly The Clash, The Jam and Dr. Feelgood, Chao and other musicians formed the Spanish/English rockabilly group Hot Pants in the mid-1980s. The group released a demo entitled "Mala Vida" in 1984, which received plenty of local critical praise but otherwise gained them little attention. By the time the group released their first album in 1986 the Parisian alternative music scene had taken flight, and Manu, his brother Antoine Chao, and friends such as Alain from Les Wampas formed Los Carayos to incorporate this sound with the rockabilly and punk styles of Hot Pants. Los Carayos remained a side project of the artists for eight years, releasing three albums in the first two years followed by a final album in 1994.

Manu Chao had been a well-known member of the Parisian alternative music scene, in bands such as Hot Pants and Los Carayos. In 1987, Chao, his brother Antoine Chao and their cousin Santiago Casariego founded the band Mano Negra, which met with success in France first with the hit single Mala Vida and then Mexico, Central and South America, where the band toured. The band split in 1995.

Chao sings in French, Spanish, Arabic, Galician, Portuguese, English, Italian, and Wolof, sometimes mixing them in the same song. He is one of the world's largest selling artists, but is less known in the English-speaking world.

Chao's music has many influences: rock, French chanson, Spanish-American Salsa, Reggae, Ska and Algerian rai. These influences were obtained from immigrants in France, his Iberian roots and his travels in Latin America following the disbanding of Mano Negra. Many of Chao's lyrics are about political issues (e.g., immigration, global social justice, conflict, and a strongly leftist critique of exploitative economic globalization) but they are also about love, lifestyles in different parts of the world, and music itself, which is hopeful for the future and at the same time dramatic. Chao is openly critical of the Bush administration in the US. He has many followers among the European left and the anti-globalization movement.

The influence of Manu Chao in Latin Rock or "Rock en Español" was crucial not only for the development and rise of new Latin bands that tried to emulate his eclectic style, but also for the self-knowledge of Latin America as a united culture. After the Latin America tour and travels, Manu Chao lyrics were more often written in Spanish than were the Mano Negra lyrics. His songs also took the lyrics or chords of some popular tunes like "El preso" from "Fruko y Sus Tesos" (in "Desaparecido") or "La Verdolaga" a traditional Colombian cumbia (in "Por el Suelo").

Manu Chao's music does not follow a logical textual narrative, but in its eclectic construction it invokes a deeper understanding of its subject than any literal form could. He sings songs about the people of the streets, the outer provinces, and the marginalised; he sings with the forgotten and uncounted billions, the underclass, and in so doing, he speaks about the fragility of human kind. His music is a bridge, exploring the common ground and means of mutual understanding that are available to us, exponating the idea that beyond superfluous differences in cultural identity, we are all the same.