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.
Séptimo Hijo Varón
Andrés Calamaro Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Soy el 7º hijo varón, nací con luna llena.
No sé si tirarme por el balcón con mi nena.
El martes me tomé un avión, rompí muchos espejos.
El martes me tomé un avión, rompí muchos espejos.
Podría volver a ser el que fui, pero queda lejos.
Varón varón, y una alpargata.
Varón, varón, dónde están mis balas de plata.
...y una alpargata.
...mis balas de plata.
Shut me baby en Mar del Plata.
Varón varón, y una alpargata.
Varón, varón, mis balas de plata.
I want the seven, give me the seven eleven
Gonna seven in the seven eleven.
The lyrics of Andrés Calamaro's song "Séptimo Hijo Varón" depict the singer as the seventh son born under a full moon. The repetition of the line "Soy el 7º hijo varón, nací con luna llena" (I'm the seventh son born under a full moon) emphasizes the special nature of his birth. However, the singer seems to be struggling with his identity and contemplating drastic choices. He mentions his partner, suggesting a possible dilemma in their relationship, stating "No sé si tirarme por el balcón con mi nena" (I don't know if I should throw myself off the balcony with my girl). This line reflects the singer's internal conflict and confusion.
The lyrics continue to portray the singer as a person who is prone to bad luck and accidents. The line "El martes me tomé un avión, rompí muchos espejos" (On Tuesday, I took a plane, I broke many mirrors) implies a series of unfortunate events and displays a sense of recklessness in the singer's actions. While mentioning his past self, he laments the distance he feels from who he used to be, stating "Podría volver a ser el que fui, pero queda lejos" (I could go back to being who I was, but it's far away).
The mention of an alpargata (a type of traditional Spanish espadrille) and silver bullets in the following lines, "Varón varón, y una alpargata. Varón, varón, dónde están mis balas de plata" (Male male, and an espadrille. Male, male, where are my silver bullets), adds a touch of folklore and mysticism to the lyrics. The repetition of "Varón varón" further emphasizes the masculinity and perhaps the expectations or pressures associated with being a "seventh son" figure.
Overall, the lyrics of "Séptimo Hijo Varón" capture a sense of restlessness, uncertainty, and internal conflict within the singer, expressing a desire for a different kind of life or a return to a former self.
Line by Line Meaning
Soy el 7º hijo varón, nací con luna llena.
I am the seventh male child, born under a full moon.
No sé si tirarme por el balcón con mi nena.
I am unsure whether I should jump off the balcony with my girl.
El martes me tomé un avión, rompí muchos espejos.
On Tuesday, I took a plane and broke many mirrors.
Podría volver a ser el que fui, pero queda lejos.
I could become who I once was, but it seems far away.
Varón varón, y una alpargata.
Male male, and a straw sandal.
Varón, varón, dónde están mis balas de plata.
Male, male, where are my silver bullets.
Esta noche ya cené pero no me acuerdo a quién me comí.
Tonight, I already had dinner but I don't remember who I devoured.
...y una alpargata.
...and a straw sandal.
...mis balas de plata.
...my silver bullets.
Shut me baby en Mar del Plata.
Shut me, baby, in Mar del Plata.
Varón varón, y una alpargata.
Male male, and a straw sandal.
Varón, varón, mis balas de plata.
Male, male, my silver bullets.
I want the seven, give me the seven eleven
I desire the seventh, give me the seven eleven.
Gonna seven in the seven eleven.
I'm going to revel in the seventh at the seven eleven.
Lyrics © O/B/O APRA AMCOS
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