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.
Paraísos perdidos
Andrés Calamaro Lyrics
Jump to: Overall Meaning ↴
Llegamos al punto en que...
Donde estarán esas manos cortadas?
Donde estarán esas manos cortadas?
Días de tormenta, Días de chicle de menta
You'll come running back
You'll come running back
You'll come running back
Uhhh...lo que no existe más
Un día bueno es como un día sin luz...y vos...
Me das todo lo que puedo pedir
Cuanta pasión contenida, cuantas cosas en común
Para romperte el mate
Tus ojos se hacen querer
Vos me das todo lo que puedo pedir
shhhhh shhhhh goos shit men, good shit men
No sé que funeral quiero
¡¡¡pero lo quiero YA!!!
The lyrics in Andrés Calamaro's song "Paraísos perdidos" evokes a sense of nostalgia and longing throughout. The opening line, "I like the sunrise," sets the tone for a reflection on past experiences and feelings. The line "Llegamos al punto en que..." suggests a turning point or realization reached in life, perhaps indicating a moment of deep contemplation or a revelation of lost opportunities.
The repeated question "Donde estarán esas manos cortadas?" conveys a sense of searching or questioning for something that has been lost or forgotten. This imagery of "cortadas" or cut hands could symbolize broken connections or severed relationships that are now being mourned or longed for. The mention of "Días de tormenta, Días de chicle de menta" juxtaposes contrasting feelings or memories, hinting at both stormy days and sweet moments of distraction or nostalgia.
The repetition of "Sammy sammy sammy sammy davis" adds a playful and rhythmic element to the lyrics, referencing the iconic entertainer Sammy Davis Jr. This inclusion of a famous figure from the past further enhances the theme of reminiscing and looking back on lost paradises or moments. The repeated lines "You'll come running back" emphasize a desire for something or someone to return, reflecting a sense of yearning or hope for reconciliation or a second chance.
The lines "Un día bueno es como un día sin luz...y vos..." express a sense of dependency or appreciation for a significant person in the singer's life. The contrast drawn between a good day without light and the presence of this person suggests their importance and impact on the singer's emotional landscape. The lyrics "Me das todo lo que puedo pedir" reinforce this gratitude and sense of fulfillment found in the relationship, highlighting the depth of connection and understanding shared between them.
The imagery of "Cuanta pasión contenida, cuantas cosas en común" hints at a shared intensity and familiarity between the singer and the person they address, suggesting a powerful bond that may be both comforting and challenging. The mention of breaking a "mate" alludes to a traditional South American ritual of sharing mate tea, symbolizing the breaking of barriers or the vulnerability needed to truly connect with someone. The line "Tus ojos se hacen querer" captures the allure and magnetism of the other person's gaze, indicating a deep emotional connection and attraction that transcends words.
The lyrics "No sé que funeral quiero ¡¡¡pero lo quiero YA!!!" convey a sense of urgency and longing for closure or resolution. The mention of a funeral could symbolize the need to mourn or let go of something in order to move forward, highlighting the singer's desire to confront and address unresolved feelings or conflicts. The abrupt and impassioned tone of these lines underscores the emotional intensity and complexity woven throughout the song, portraying a raw and honest exploration of longing, regret, and ultimately, a search for lost paradises.
Lyrics © O/B/O APRA AMCOS
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