Andres Calamaro is one of the most popular Argentinian pop-rock songwriters… Read Full Bio ↴Andres Calamaro is one of the most popular Argentinian pop-rock songwriters. A songs craftsman, as he likes to consider himself.

Born Aug 22, 1961 in Buenos Aires, Argentina, he began his professional musical career at the age of 17 playing keyboards in Raíces.
In 1981 he incorporated to one of the main bands of the Argentinean '80s rock scene: Los Abuelos de la Nada. Although the band was led by the brilliant Miguel Abuelo, Calamaro composed most of the band's hits, like "Mil Horas," "Así es el calor," "Sin gamulán" and "Costumbres Argentinas."

In 1984 he made his solo debut with Hotel Calamaro. The album was a bizarre mix of styles and musicians, and didn't gain public or press support.

In 1985 he left Los Abuelos de la Nada and registered his second album Vida Cruel. Inspite of the important musicians and guests, such as Luis Alberto Spinetta and Charly García, the album was a disappointment: both commercially and artistically. But if as a songwriter the luck was out of reach, he had an intense and successful work as a producer of bands like Los Enanitos Verdes, Los Fabulosos Cadillacs and Don Cornelio y la zona. He also worked and collaborated with many artists of different styles and genres, a constant attitude through his whole career. The third album Por Mirarte showed Calamaro in a better shape with an established band. Released in 1988 it contains some outstanding songs such as "Con los dientes apretados" and "Me olvidé de los demás," while others like "Cartas sin Marcar" and "Loco por tí" helped the album to get popular.

When Calamaro released in 1989 Nadie Sale Vivo de Aquí, Argentina was living it's worst economical crisis: few albums were released. The album title suggest it all: Nobody comes out alive from here. The LP production was paralyzed, and the few that could make it were almost ignored. That was Calamaro's case. This situation lead the singer to settle in Spain, following a road taken by many Argentinean rockers. Out there in Spain he met Ariel Rot y Javier Infante, former members of Tequila. They formed Los Rodríguez in 1991, a pop-rock band that was very popular in Spain and Latin America: Calamaro's songs began to be popular like in the early '80s: the hit maker was on the road again. Curiously, from Spain, he was conquering Argentina. While being part of the band he didn't release any new solo material, just Grabaciones Encontradas 1 y 2, a couple of CDs that contained unreleased and rare material from the '80s.

After the split of Los Rodríguez, Calamaro returned to his solo career recording Alta Suciedad in 1997, an album produced by Joe Blaney. This album brought him the commercial success that seemed to fail in his previous solo efforts, and sold 300.000 copies just in Argentina. That is certainly a huge amount for the country's small market. No doubts, that album helped him to be placed between the star legends of the national rock scene. Before that album Calamaro was considered an important character, appreciated by other musicians, but not a main one. After he broke up with his spanish girlfriend he released in 1999 the double CD Honestidad Brutal. Recorded when he was 37, it contained 37 songs of despair, love loss, drugs and regret. It was not as successful at the previous album, but showed a new Calamaro: desperate, decadent and often elegant at the same time, with a new and raw lyrical approach. El Salmon followed in spring 2001.
Calamaro's next proyect, El Cantante, was released in 2005. A delicious mixture of tango, rock n'roll and flamenco guitars (mostly played by spanish prodigy El Niño Josele).
After a break, he returned to the stages with a tour full of classics that gave birth to a live album called El Regreso on 2005, recorded with members of Bersuit Vergarabat as a backing band. This album was very well received for the charts as well as for the critics, wich lead him to different awards. One year later, on 2006, Andres published a new album from the roots of tango with the collaboration of guitarrists Niño Josele and Juanjo Dominguez. On 2007 El palacio de las flores was published, although it was recorded on 2006. The album had the collaboration and musical influence of argentine composer Lito Nebbia and was also recorded on his studio. This was the return to a classic Calamaro album with new songs and hits.

Ciudadano Pesado
Andrés Calamaro Lyrics

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Ciudadano pesado
Ciudadano pesado
Ciudadano pesado
Ciudadano pesado
Ciudadano pesado
Ciudadano pesado
Ciudadano pesado
Hoy engordó 2 gramos

Ciudadano pesado
En la ciudad de los esclavos
Ciudadano pesado
A caballo regalado no se le mira el costado
Ciudadano pesado
Porque esta es la soga del ahorcado
Ciudadano pesado
Hoy empezó una vida sano
Ciudadano pesado
Ciudadano pesado
Ciudadano pesado
Y la yerba de ayer secándose al sol
Ciudadano pesado
Y la yerba de ayer secándose al sol
Ciudadano pesado
Y la yerba de ayer secándose al sol
Ciudadano pesado
Ciudadano pesado
Ciudadano pesado
Ciudadano pesado
Ciudadano pesado

Sin futuro ni presente, ni presente ni pasado
Ciudadano pesado

Overall Meaning

The lyrics of "Ciudadano Pesado" by Andrés Calamaro depict the life of a heavy citizen in a city full of slaves. The repetition of "Ciudadano pesado" throughout the song emphasizes the weight and burden this person carries. The line "Hoy engordó 2 gramos" suggests that this person is constantly struggling with their weight and possibly their health.

The following line "A caballo regalado no se le mira el costado" translates to "When given a free horse, don't look at its side" implying that despite any issues or flaws this person may have, they must be grateful for what they have. The lyrics then shift to "Porque esta es la soga del ahorcado" which translates to "Because this is the hangman's rope," possibly implying that their current lifestyle is a trap that they cannot escape from.

The song then highlights a moment of hope with the line "Hoy empezó una vida sana" but quickly returns to the repetitive chorus of "Ciudadano pesado." The final lines describe the past fading away with "Y la yerba de ayer secándose al sol" which translates to "Yesterday's herb drying in the sun" and ends with "Sin futuro ni presente, ni presente ni pasado" which means "Without a future or present, nor present or past," indicating a feeling of hopelessness and being stuck in place.

Overall, this song is a commentary on the struggle of finding hope and purpose in a life weighed down by societal pressures and expectations.

Line by Line Meaning

Ciudadano pesado
Heavy citizen