Flaca
Andrés Calamaro Lyrics
Flaca no me claves
Tus puñales
Por la espalda
Tan profundo
No me duelen
No me hacen mal
Lejos
En el centro
De la tierra
Del amor
Donde estaban
Quedarán
Entre el no me olvides
Me dejes nuestros abriles olvidados
En el fondo del placard
Del cuarto de invitados
Eran tiempos dorados
De un pasado mejor
Aunque casi me equivoco
Y te digo poco a poco
No me mientas
No me digas la verdad
No te quedes callada
No levantes la voz
Ni me pidas perdón
Aunque casi te confieso
Que también he sido un perro compañero
Un perro ideal que aprendió a nadar
Y a volver al hogar
Para poder comer
Flaca no me claves
Tus puñales
Por la espalda
Tan profundo
No me duelen
No me hacen mal
Lejos
En el centro
De la tierra
Las raíces
Del amor
Donde estaban
Quedarán
Lyrics © Sony/ATV Music Publishing LLC
Written by: Andres Calamaro
Lyrics Licensed & Provided by LyricFind
To comment on specific lyrics, highlight them
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 Read Full BioAndres 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.
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 Read Full BioAndres 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.
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Jeferson Jesus Bereche Sernaque
Flaca no me claves
Tus puñales
Por la espalda
Tan profundo
No me duelen
No me hacen mal
Lejos
En el centro
De la tierra
Las raíces
Del amor
Donde estaban
Quedarán
Entre el no me olvides
Me dejes nuestros abriles olvidados
En el fondo del placard
Del cuarto de invitados
Eran tiempos dorados
De un pasado mejor
Aunque casi me equivoco
Y te digo poco a poco
No me mientas
No me digas la verdad
No te quedes callada
No levantes la voz
Ni me pidas perdón
Aunque casi te confieso
Que también he sido un perro compañero
Un perro ideal que aprendió a nadar
Y a volver al hogar
Para poder comer
Flaca no me claves
Tus puñales
Por la espalda
Tan profundo
No me duelen
No me hacen mal
Lejos
En el centro
De la tierra
Las raíces
Del amor
Donde estaban
Quedarán
Aldo Espinoza Flores
Aqui la letra amigos
Flaca no me claves
Tus puñales
Por la espalda
Tan profundo
No me duelen
No me hacen mal
Lejos
En el centro
De la tierra
Las raíces
Del amor
Donde estaban
Quedarán
Entre el no me olvides
Me dejes nuestros abriles olvidados
En el fondo del placard
Del cuarto de invitados
Eran tiempos dorados
De un pasado mejor
Aunque casi me equivoco
Y te digo poco a poco
No me mientas
No me digas la verdad
No te quedes callada
No levantes la voz
Ni me pidas perdón
Aunque casi te confieso
Que también he sido un perro compañero
Un perro ideal que aprendió a nadar
Y a volver al hogar
Para poder comer
Flaca no me claves
Tus puñales
Por la espalda
Tan profundo
No me duelen
No me hacen mal
Lejos
En el centro
De la tierra
Las raíces
Del amor
Donde estaban
Quedarán
Antonio Fleitas
Flaca no me claves
Tus puñales
Por la espalda
Tan profundo
No me duelen
No me hacen mal
Lejos
En el centro
De la tierra
Las raíces
Del amor
Donde estaban
Quedarán
Entre el no me olvides
Me dejes nuestros abriles olvidados
En el fondo del placard
Del cuarto de invitados
Eran tiempos dorados
De un pasado mejor
Aunque casi me equivoco
Y te digo poco a poco
No me mientas
No me digas la verdad
No te quedes callada
No levantes la voz
Ni me pidas perdón
Aunque casi te confieso
Que también he sido un perro compañero
Un perro ideal que aprendió a nadar
Y a volver al hogar
Para poder comer
Flaca no me claves
Tus puñales
Por la espalda
Tan profundo
No me duelen
No me hacen mal
Lejos
En el centro
De la tierra
Las raíces
Del amor
Donde estaban
Quedarán...
yelipza diaz morales
Flaca no me claves
tus puñales
por la espalda
tan profundo
no me duelen
no me hacen mal
Lejos
en el centro
de la tierra
las raíces
del amor
donde estaban
quedarán
Entre el no me olvides
me dejes nuestros abriles olvidados
en el fondo del placard
del cuarto de invitados
eran tiempos dorados
de un pasado mejor
Aunque casi me equivoco
y te digo poco a poco
no me mientas
no me digas la verdad
no te quedes callada
no levantes la voz
no me pidas perdón
Aunque casi te confieso
que también he sido un perro compañero
un perro ideal que aprendió a nadar
y a volver al hogar
para poder comer
Flaca no me claves
tus puñales
por la espalda
tan profundo
no me duelen
no me hacen mal
Lejos
en el centro
de la tierra
las raíces
del amor
donde estaban
quedarán
Davoo Xeneize
Miércoles, 5 de agosto, 11 de la mañana, más de 130 días de cuarentena, viendo que el rock va muriendo cada día más. Me vine a refugiar en este groso.
Arepa e huevo
preguntame
BRYAN MARIANI
va muriendo como vos en Madrid!
Miguel angel Moraga servela
más de 20 años escuchando estos temas
el rock nunca muere
Ruben Dario Fernandez Ibars
El rock nunca muere....depende de vos si te alejas
PaletaHD
te llamaste a alguna de las pibas del video? davo
Mariel garcia
Está canción sonaba de fondo, cuando por cosas de la vida, entramos a un local... No era el más agradable en apariencia. Pero se me hizo que no podía existir otro lugar en el que quisiera estar, mientras acabábamos nuestros té. Eran las 2:00am.
Está canción sonaba cuando la veía hablar de su padre, de su patria, y mi corazón casi lloraba de alegría porque en medio de tanta guerra que anunciaban nuestras historias, la vida nos había hecho coincidir, en ese rincón del mundo, opaco, sin ninguna gracia en especial...
Sonaba esta canción cuando se inclinó hacia mi y puso si cabeza en mi hombro. Y fui feliz.
Ottoniell Siani
@Mariel garcia de donde era
Mariel garcia
@Juliojerez Jerez sabíamos que nuestras vidas no estarían cerca la una de la otra durante mucho tiempo. Con el paso de los días volvimos varias veces al mismo lugar opaco, descolorido. En el fondo creo que buscábamos un refugio desconocido. Lejos de lo que éramos, sobretodo, de lo que nunca seríamos.
Al mes de esto, ella volvió a su país, y yo volví al mío.
No volvimos a hablar
sergio sal
Muy bonito