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.
Nadie
Andrés Calamaro Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
A veces nadie es demasiado poco.
A veces nadie está entero.
A veces alguien está roto.
Y si es como yo creo
a mí no me importa nadie.
Nadie puede hablar tranquilo, nadie.
Nadie es igual que todos.
Y a mí no me importa nadie.
Y si es como yo creo
a mí no me importa nadie.
Y si es como yo creo
a mí no me importa nadie.
A veces nadie es muy poco.
A veces nadie está entero.
A veces alguien está roto.
The lyrics to Andrés Calamaro's song Nadie explore the complexities of the concept of 'nobody' or 'nada' in Spanish. The song suggests that 'nobody' can mean many different things; sometimes it represents too little, other times too much. Sometimes people hide behind the idea of 'nobody', unable to speak freely, and sometimes the absence of someone can leave a void that cannot be filled. However, the chorus of the song states that, regardless of the meaning, the singer doesn't care about 'nobody'. This implies a sense of detachment or disillusionment with people or society.
There is a sense of ambiguity in this song, which is reflected in the varied interpretations that the listener may have. 'Nadie' could refer to a person or people, society, or even the existential concept of nothingness. The song could be interpreted as a critique on the nature of society and the politics of modern life, or it could simply be a meditation on personal detachment and distance. The lyrics are left open to interpretation, and they can be interpreted in many different ways, depending on the listener's own experience and perspective.
Line by Line Meaning
A veces nadie es muy poco.
Sometimes being alone or having nobody around is not quite enough.
A veces nadie es demasiado poco.
Sometimes, having nobody around is not enough to satisfy one's desire for companionship.
A veces nadie está entero.
At times, someone who appears to be alone may actually be incomplete, lacking something essential in their life or feeling incomplete as a person.
A veces alguien está roto.
Conversely, sometimes someone who has others around them appears shattered or fundamentally broken in some way.
Y si es como yo creo a mí no me importa nadie.
Regardless of whether the above statements are true, the artist is indifferent to the presence or absence of other people in his life because he is content with his own company.
Nadie está bien escondido.
No one can truly hide from others, as their true nature will always eventually be revealed.
Nadie puede hablar tranquilo, nadie.
Even in moments of solitude, one cannot speak their true feelings or thoughts freely.
Nadie es igual que todos.
No one is completely alike, and everyone possesses unique quirks, traits, and characteristics that set them apart from one another.
Y a mí no me importa nadie.
The artist is reinforcing his indifference to other people in his life.
A veces nadie es muy poco.
Reiterating the idea that sometimes being alone is not enough for some people.
A veces nadie está entero.
Restating that sometimes other people, even if present, cannot fill the void one feels within themselves.
A veces alguien está roto.
Reiterating the idea that someone who seems to have everything may be dealing with deeper issues or emotional pain.
Contributed by Jeremiah B. Suggest a correction in the comments below.
Nosotros FJ
que temazooo!! el salmon siempre poniendo su quebranto en las liricas
Cadete del espacio
el Salmom sound sistem