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.
Expulsado del Paraíso
Andrés Calamaro Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Como no se presentó,
supongo que no sería para tanto,
lo digo con mi mejor sonrisa de amianto,
con la mano que le falta al manco de Lepanto.
¡Que espanto!
Y a Juan Domingo
dónde estarán esas manos cortadas...
Ya me reduje a mi forma mínima.
Ya soy piel y huesos y sesos y corazón
de tanto pedir perdón
una herida que sangra en un charco de sangre
de saliva y sangre,
ahora que soy la más mínima expresión
te muestro mi última canción
de mi re-re-re-re-re-selección
de canciones entre montones.
Recuerdo una noche en el taxi con Polo
y lo que me decía una ex old lady
"te vas a quedar solo"
In the lyrics of Andrés Calamaro's song "Expulsado del Paraíso," the singer reflects on his current state of being expelled from paradise. The first stanza suggests that the singer did not present himself as he should have, implying that whatever happened was not as significant as it may seem. This is emphasized with a metaphorical smile of asbestos, a material known for its strength and resistance to damage, and a reference to the missing hand of a famous Spanish general, the manco de Lepanto. The use of the word "espanto" (horror) strengthens the sense of astonishment or shock associated with these circumstances.
The lyrics then shift to a mention of Juan Domingo, whose severed hands are being questioned about their whereabouts. This could be a reference to an historical figure or someone close to the singer, but the ambiguity allows for various interpretations. This line could symbolize the loss or absence of power and control, reflecting a sense of helplessness or resignation.
In the subsequent stanza, the singer describes reducing himself to his most basic form - just skin, bones, brains, and heart. This could symbolize a state of vulnerability or emotional rawness, possibly driven by a constant need to apologize. The wound mentioned here can be seen as a metaphorical representation of a deep emotional pain or guilt that is bleeding into a pool of blood, saliva, and more blood. The repetition of "sangre" (blood) emphasizes the intensity and saturation of these emotions.
As the song progresses, the singer emphasizes his current state of being reduced to the most minimal expression of himself. This could imply a sense of insignificance, as if he has lost his individuality and is only a fraction of what he once was. In this vulnerable state, he presents his final song, highlighting the multitude of songs he has written throughout his career.
The lyrics conclude with a recollection of a night in a taxi with someone named Polo and a former lover who warned him that he would end up alone. This encounter could represent a moment of introspection and self-reflection, where the singer contemplates the validity of this statement and wonders about his own future. The mention of being left alone adds an air of uncertainty and solitude to the overall narrative.
Overall, "Expulsado del Paraíso" delves into themes of loss, vulnerability, and self-reflection. The lyrics highlight the singer's journey from a seemingly significant event to a diminished state of being, ultimately leading to introspection about the possibility of ending up alone.
Line by Line Meaning
Expulsado del paraíso.
I have been expelled from paradise.
Como no se presentó,
Since he didn't show up,
supongo que no sería para tanto,
I suppose it wasn't that important,
lo digo con mi mejor sonrisa de amianto,
I say it with my best asbestos smile,
con la mano que le falta al manco de Lepanto.
With the hand missing from the one-armed man of Lepanto.
¡Que espanto!
What a fright!
Y a Juan Domingo
And to Juan Domingo
dónde estarán esas manos cortadas...
where are those cut hands...
dónde estarán esas manos cortadas...
where are those cut hands...
Ya me reduje a mi forma mínima.
I have reduced myself to my minimum form.
Ya soy piel y huesos y sesos y corazón
I am now skin, bones, brains, and heart
de tanto pedir perdón
from so much apologizing
una herida que sangra en un charco de sangre
a wound bleeding in a pool of blood
de saliva y sangre,
of saliva and blood,
ahora que soy la más mínima expresión
now that I am the most minimal expression
te muestro mi última canción
I show you my last song
de mi re-re-re-re-re-selección
from my re-re-re-re-re-selection
de canciones entre montones.
of songs among piles.
Recuerdo una noche en el taxi con Polo
I remember a night in the taxi with Polo
y lo que me decía una ex old lady
and what an ex old lady told me
"te vas a quedar solo"
"you will end up alone"
Lyrics © O/B/O APRA AMCOS
Lyrics Licensed & Provided by LyricFind