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.

Varón dijo La Partera
Andrés Calamaro Lyrics

Jump to: Overall Meaning ↴ Line by Line Meaning ↴

ue compromiso dieron el primer aviso
y yo con el alma por el piso
esperando poder levantarme otra vez.
Con el segundo aviso por poco piso
el poncho de un amigo.
¿Quién?
Y el tercer aviso llega tarde
cuando no hay remedio

para el toro, no puede parar...
No se cansó de luchar
No se cansó de luchar
Varón dijo la partera
Varón dijo la partera
Varón dijo la partera
Varón dijo la partera
Varón dijo la partera

Varón dijo la partera
Varón dijo la partera

Overall Meaning

In Andrés Calamaro's song "Varón dijo La Partera," the lyrics describe a situation of turmoil and struggle. The first stanza talks about a commitment that brought the first warning, which impacts the singer deeply, leaving them feeling disheartened and knocked down. They express their hope to be able to get back up again. The second stanza references a second warning that nearly floors them, but a friend's poncho provides some comfort. The singer asks who could have done this to them.

The third stanza takes a more ominous turn as it mentions a third warning that arrives too late, when there is no more remedy for the 'toro' or the struggle. The toro may refer to a metaphorical bull, symbolizing the challenges or conflicts the singer faces. The phrase "no puede parar" suggests that the struggle is intense and unstoppable.

The recurring line "No se cansó de luchar" which translates to "He did not get tired of fighting" creates a powerful statement. Despite the setbacks and hardships faced, the singer persists in their fight, refusing to give up. This resilience is highlighted by the repetition of the line throughout the song, emphasizing the strength and determination of the singer.

In the last part of the song, the phrase "Varón dijo la partera" is repeated multiple times. This phrase translates to "The midwife said it's a boy." This line adds a touch of irony and contrast to the overall sense of hardship in the song. While the singer battles through struggles, the mention of a baby being born provides a glimmer of hope or perhaps a reminder of new beginnings. It could also symbolize the singer's belief in the life cycle and the idea that even during difficult times, new opportunities can emerge.

Overall, "Varón dijo La Partera" depicts a challenging journey filled with setbacks and warnings. Yet, the singer's resilience and refusal to give up shine through, offering a message of perseverance in the face of adversity.

Line by Line Meaning

ue compromiso dieron el primer aviso
They gave the first warning commitment

y yo con el alma por el piso
and me with my soul on the floor

esperando poder levantarme otra vez.
waiting to be able to rise again

Con el segundo aviso por poco piso
With the second notice, I almost fell

el poncho de un amigo.
the poncho of a friend

¿Quién?
Who?

Y el tercer aviso llega tarde
And the third notice comes late

cuando no hay remedio
when there's no remedy

para el toro, no puede parar...
for the bull, it can't stop...

No se cansó de luchar
He didn't get tired of fighting

Varón dijo la partera
A boy, said the midwife