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.

Los Aviones
Andrés Calamaro Lyrics

Jump to: Overall Meaning ↴ Line by Line Meaning ↴

Es tarde se hizo de día
Menos mal, que está nublado
Se acabó todo lo que había
Aun queda un cigarro mojado
Se acabó todo lo que había
Aun queda un cigarro mojado

Porque quiero dormir

Y soñar con ella
Mientras por afuera
Pasan los aviones

No quiero que se termine
No quiero que me abandones
No quiero que se termine
No quiero que me abandones

Me olvidé de avisar
No te voy a llamar
Ni una sola vez en cuatro días
O si no, mujer, voy a hacer
Cualquier cosa que me digas
O si no, mujer, voy a hacer
Cualquier cosa que me digas

Porque quiero dormir
Y soñar con ella
Mientras por afuera
Pasan los aviones
No quiero que se termine
No quiero que me abandones
No quiero que se termine

No quiero que me abandones
No quiero que me abandones

Overall Meaning

The song "Los Aviones" by Andrés Calamaro is a melancholic piece that speaks of the passage of time and the intense pain of losing someone. The song's title, "Los Aviones", translates to "The Airplanes", and is used as a metaphor for the time that passes and how life continues to move forward, even when we're heartbroken.

As the first verse begins, we hear the singer expressing relief that day has broken, suggesting that a long and difficult night has come to an end. Despite the daylight, however, the singer points out that the clouds obscure the sun, perhaps suggesting that even though it might be morning, it doesn't necessarily mean that things will be brighter or happier. The singer is struggling to come to terms with the end of a relationship, as evidenced by the phrase "Se acabó todo lo que había" (Everything that was has ended) and the damp cigarette that he's left with, as though he's trying to cling to something that has already slipped away.

The chorus of the song features the repeated refrain, "No quiero que se termine, no quiero que me abandones" (I don't want it to end, I don't want you to leave me), showing how desperate the singer is to hold onto something that they know is slipping away from them. The latter half of the song sees the singer struggling with how to move forward, acknowledging that they've forgotten to call their partner and that they're willing to do anything to make them stay.

Overall, "Los Aviones" is a poignant and raw portrayal of heartache and the mourning process, represented by the passing of time and airplanes flying overhead.

Line by Line Meaning

Es tarde se hizo de día
The night has lengthened into day

Menos mal, que está nublado
Luckily, it's cloudy outside

Se acabó todo lo que había
Everything that was, is gone

Queda un cigarro mojado
All that remains is a wet cigarette

Porque quiero dormir
Because I want to sleep

Y soñar con ella
And dream about her

Mientras por afuera
While outside

Pasan los aviones
The airplanes pass by

No quiero que se termine
I don't want it to end

No quiero que me abandones
I don't want you to leave me

Me olvidé de avisar
I forgot to let you know