Caifanes -founded in 1987, is a rock band that achieved fame throughout th… Read Full Bio ↴Caifanes -founded in 1987, is a rock band that achieved fame throughout the late 80’s and early 90’s in Latin America and gained recognition in the U.S. The band formed in Mexico City - Mexico and its original lineup consisted of Saúl Hernández (vocals & guitar), Sabo Romo (bass guitar), Alfonso André (drums) and Diego Herrera (keyboards and saxophone). Argentinean guitarist Alejandro Marcovich joined in 1989. Caifanes are considered to be one of the most important Latin American Rock groups to emerge from Mexico and an important reference point in the Latin American Rock Music (Rock en Español) genre. Caifanes’ style can be described as a hybrid of British new wave, Progressive Rock, Latin based rhythms mixed with the and deep, somber, uniquely Mexican lyrics and vocal style of Saúl Hernández.
The name Caifanes is derived from 1940’s Mexican Pachuco (zoot suiter) slang "Cai fan" , it’s equivalent in English would be something like, “cool dude.” The word has also been used to describe the proverbial Mexican Pachuco, delinquent, or outsider.
Early Years:
The seeds of what was to later become Caifanes was planted in 1984 in the band Las Insolitas Imágenes de Aurora (Aurora's Unusual Images), a band that included Saúl Hernández, Alfonso André and Alejandro Marcovich. According to Marcovich, this project started out as a side project for the purpose of performing as a party band for the filming of his brother’s Carlos film projects. (Carlos Marcovich went on to direct various videos for Caifanes).
At the time, both Hernández and Marcovich were playing in different bands. The members enjoyed the experience of playing in "Insolitas" and decided to continue. As the seriousness of the project grew, the band began to play in different spots in Mexico City like Rockotitlán, High Tower, and El Jabalí. In May of 1986, Insolitas recorded a live demo performed at Rockotitlán. By then the band had developed a strong cult following in Mexico City.
"Insólitas" broke up in 1986. Saúl and Alfonso reformed as Caifanes with bass player/producer Sabo Romo and Diego Herrera on keyboards and sax.
Caifanes’ first live show was April 11, 1987, in Rockotitlán. Expectations were high, the building was filled to capacity and many people were left outside. Their popularity began to grow throughout Mexico City. By late 1987 Caifanes had carved a niche for themselves as a dark contrast to the corporate pop/rock and light ballads that dominated Mexican radio and television during the 1980’s. At times the image and the sound were considered radical for a very conservative Mexican music industry. Between December 28, 1986 and January 3, 1987 Juan Aceves produced a four song demo for the band using "free" studio time at night at Arco Studio (where Aceves was chief engineer). The demo was showcased in independent radio program Espacio 59 (Space 59), a show that promoted up and coming rock bands. With the demo under their arms Caifanes approached CBS Mexico. According to sources, Caifanes’ were not treated nicely. The musical director at the time shunned them for dark new wave attire and said, “You look like fags.” At the time, Caifanes’ sound and look was influenced by British post-punk groups such as The Cure and The Jesus and Mary Chain. They dressed in black suits and sported frizzly hair and makeup. This was too radical for the Mexican CBS executives. Upon hearing the demo of “Sera Por Eso?” (Is It Because of That?), the CBS executive uttered these words, “At CBS, our business is to sell records, not coffins.”
Nevertheless, the movement of Rock en Español (Spanish rock) or rock en tu idioma (Rock in your language) was too strong to ignore by record execs. The flood of groups from Spain and Argentina forced Mexican labels to take a second look at up-and-coming Mexican bands. Caifanes received a big break when Ariola records invited them to open for Argentinean rocker Miguel Mateos’ Mexico City show. The show brought Cafaines to the attention of Miguel Mateos’ producer Oscar "Cachorro" Lopez. Oscar fell in love with the band and took them to the studio to record a demo. Lopez would be instrumental in their signing to RCA-Ariola and would go on to produce their first two albums.
Caifanes’ debut album, the self-titled Caifanes (also known as Mátenme Porque Me Muero, or Volumen I) was released in August 1988 by RCA-Ariola. The LP was preceded by an EP made up of three songs. This was in order to test the market. The immediate sale of 300,000 copies of the EP cemented the bands appeal. The first single “Mátenme Porque Me Muero” ("Kill Me Because I'm Dying") became a minor hit in Mexico City. With the release of their first album Caifanes became notable trendsetters in and around central Mexico. The first three singles garnered sufficient radio play. In December of 1988 Caifanes released a cover of Cuban folk singer Guillermo Rodriguez Fiffe’s classic tropical dance song, “La Negra Tomasa,” (Black Girl Tomasa) as a maxi Single es: La negra Tomasa. The song was a massive hit in Mexico and introduced Caifanes to a wider audience nationally and abroad.
Mexico’s Most Important Band:
By 1989 Caifanes had emerged as one of the hottest rock acts to come from central Mexico. In June Caifanes played two sold out shows at Mexico’s Auditorio Nacional (National Auditorium), a 10,000 person venue – a first for a Mexican rock band.
In late 1989 Caifanes began to record their second album in New York City. The record was produced by Oscar Lopez who was aided by Gustavo Santaolalla and Daniel Freiberg. El Diablito (The Little Devil) was released in July of 1990 through BMG Records. The most notable change for the band was the addition of former Insolitas guitarist Alejandro Marcovich. Marcovich’s textural guitar work considerably changed Caifanes’ sound and cemented the “classic” Mexican rock sound that Caifanes became famous for. “La Celula Que Explota” (The Exploding Cell), with its brushes of mariachi and bolero guitars and a crescendo of mariachi trumpets became both a signature of the band as well as a massive hit. Hernandez’ lyrics and somber vocals complemented Marcovich’s lyrical playing. The haunting “Sombras en Tiempos Perdidos” (Shadows in Times Lost) and the ethereal “De Noche Todos Los Gatos Son Pardos” (All Cats Are Dark at Night), give the album a most sublime imprint.
By this time Caifanes along with Maná, Fobia, Maldita Vecindad y los Hijos del Quinto Patio, La Lupita, and Cafe Tacuba helped to move Mexican Rock toward a wider audience and catapulted the Rock En Español movement of the 1990’s.
In 1992, Caifanes released El Silencio (The Silence). Recorded in Wisconsin and produced by the prolific guitarist Adrian Belew, of King Crimson fame, "El Silencio" further cemented the Caifanes sound and had and a more direct guitar driven sound. “No Dejes Que” (Don’t Let It...”), “Estás Dormida” (You’re Asleep), “Debajo de Tu Piel” (Under Your Skin), and the soaring “Nubes” (Clouds) would go on to become Mexican rock staples. The influence of Belew, who also played guitar on the album, was felt strongest in “Hasta Morir” (Until Death), “Tortuga” (Turtle), and “Vamos a Hacer un Silencio” (Lets Make a Silence). With its string of hits, its multi-ethnic hybrid of rock and traditional Mexican music, El Silencio is considered to be on of Caifanes’ best albums and one of the most influential records of the Rock En Español genre.
Caifanes toured extensively in support of the album. By this time, the group had started to make inroads into Central and South America as well as in the United States. In August of 1992 Caifanes sold out the Hollywood Palladium. In 1993 Caifanes became the first Mexican rock group to sell out Mexico City's Palacio de los Deportes (Sports Palace).
By late 1993 Caifanes became a three piece with the exit of Romo and Herrera. Federico Fong and Stuart Hamm filled in on bass and Yann Zaragoza played the keyboard. No one knew what to expect of Caifanes after the loss of two founding members. 1994’s El Nervio Del Volcán (The Volcano’s Nerve), released by BMG exceeded the expectations of both critics and fans alike. El Nervio showed Caifanes at the height of their power. With a heavier more progressive sound, "El Nervio" highlighted the musician’s virtuosity as well as their tight playing and arrangements. Signature elements, Marcovich’s staccato guitar work, Alfonso’s polyrythmic drumming and Hernandez’s brooding and haunting vocal style were even more prominent. “Afuera” the first single seamlessly fused distinct rock grooves with an ethnic inspired guitar solo. “Aquí no es así” (“It’s Not Like That Here”), and "Ayer Me Dijo Un Ave" (“A Bird Told Me Yesterday”) became radio favorites. “Aviéntame” (Throw Me), is as dynamic and powerful as the best American and British prog and alternative acts.
1994 was a stellar year for Caifanes, who were at the height of their popularity. Caifanes along with Maná was one of Mexico's premier stadium rock acts, selling out stadiums in Mexico and large venues throughout Latin America and the United States. At this time Caifanes had cemented their reputation as one of the most important Mexican rock bands of all time. They were a staple in Latin MTV, Rock en Español radio and appeared regularly at music festivals. In 1994, Caifanes opened up for The Rolling Stones in Mexico City and participated in Peter Gabriel's WOMAD festival.
Breakup:
1995 would mark the end of Caifanes. According to various sources, Hernández and Marcovich’s relationship was strained. On the 18th of August 1995 Caifanes played their final show in the Mexican city of San Luis Potosí. A legal scuffle over the name “Caifanes” ensued forcing Saúl Hernández to choose the name Jaguares (Jaguars) for his new project, which built on the legacy of Caifanes, as it was not too much of a radical departure of the Caifanes sound. Hernández was joined by former Caifanes and Insolitas drummer Alfonso André.
Reunion:
On December 14th, 2010, it was announced by Twitter that the band would be reuniting for the Vive Latino festival and the Coachella Festival of 2011, after a reconciliation between Hernández and Marcovich.
Some of Caifanes' Guest Musicians and Collaborators:
Chucho Merchán (bass), Federico Fong (bass), José Manuel Aguilera (guitar), Stuart Hamm (bass), Gustavo Cerati (guitar), Adrian Belew (guitar), Yann Zaragoza (keyboards), Cecilia Toussaint (backing vocals).
Studio Albums:
Caifanes or, (Mátenme Porque Me Muero / Volumen 1) (1988)
El Diablito or, Volumen 2 (1990)
El Silencio (1992)
El Nervio Del Volcán (1994)
The name Caifanes is derived from 1940’s Mexican Pachuco (zoot suiter) slang "Cai fan" , it’s equivalent in English would be something like, “cool dude.” The word has also been used to describe the proverbial Mexican Pachuco, delinquent, or outsider.
Early Years:
The seeds of what was to later become Caifanes was planted in 1984 in the band Las Insolitas Imágenes de Aurora (Aurora's Unusual Images), a band that included Saúl Hernández, Alfonso André and Alejandro Marcovich. According to Marcovich, this project started out as a side project for the purpose of performing as a party band for the filming of his brother’s Carlos film projects. (Carlos Marcovich went on to direct various videos for Caifanes).
At the time, both Hernández and Marcovich were playing in different bands. The members enjoyed the experience of playing in "Insolitas" and decided to continue. As the seriousness of the project grew, the band began to play in different spots in Mexico City like Rockotitlán, High Tower, and El Jabalí. In May of 1986, Insolitas recorded a live demo performed at Rockotitlán. By then the band had developed a strong cult following in Mexico City.
"Insólitas" broke up in 1986. Saúl and Alfonso reformed as Caifanes with bass player/producer Sabo Romo and Diego Herrera on keyboards and sax.
Caifanes’ first live show was April 11, 1987, in Rockotitlán. Expectations were high, the building was filled to capacity and many people were left outside. Their popularity began to grow throughout Mexico City. By late 1987 Caifanes had carved a niche for themselves as a dark contrast to the corporate pop/rock and light ballads that dominated Mexican radio and television during the 1980’s. At times the image and the sound were considered radical for a very conservative Mexican music industry. Between December 28, 1986 and January 3, 1987 Juan Aceves produced a four song demo for the band using "free" studio time at night at Arco Studio (where Aceves was chief engineer). The demo was showcased in independent radio program Espacio 59 (Space 59), a show that promoted up and coming rock bands. With the demo under their arms Caifanes approached CBS Mexico. According to sources, Caifanes’ were not treated nicely. The musical director at the time shunned them for dark new wave attire and said, “You look like fags.” At the time, Caifanes’ sound and look was influenced by British post-punk groups such as The Cure and The Jesus and Mary Chain. They dressed in black suits and sported frizzly hair and makeup. This was too radical for the Mexican CBS executives. Upon hearing the demo of “Sera Por Eso?” (Is It Because of That?), the CBS executive uttered these words, “At CBS, our business is to sell records, not coffins.”
Nevertheless, the movement of Rock en Español (Spanish rock) or rock en tu idioma (Rock in your language) was too strong to ignore by record execs. The flood of groups from Spain and Argentina forced Mexican labels to take a second look at up-and-coming Mexican bands. Caifanes received a big break when Ariola records invited them to open for Argentinean rocker Miguel Mateos’ Mexico City show. The show brought Cafaines to the attention of Miguel Mateos’ producer Oscar "Cachorro" Lopez. Oscar fell in love with the band and took them to the studio to record a demo. Lopez would be instrumental in their signing to RCA-Ariola and would go on to produce their first two albums.
Caifanes’ debut album, the self-titled Caifanes (also known as Mátenme Porque Me Muero, or Volumen I) was released in August 1988 by RCA-Ariola. The LP was preceded by an EP made up of three songs. This was in order to test the market. The immediate sale of 300,000 copies of the EP cemented the bands appeal. The first single “Mátenme Porque Me Muero” ("Kill Me Because I'm Dying") became a minor hit in Mexico City. With the release of their first album Caifanes became notable trendsetters in and around central Mexico. The first three singles garnered sufficient radio play. In December of 1988 Caifanes released a cover of Cuban folk singer Guillermo Rodriguez Fiffe’s classic tropical dance song, “La Negra Tomasa,” (Black Girl Tomasa) as a maxi Single es: La negra Tomasa. The song was a massive hit in Mexico and introduced Caifanes to a wider audience nationally and abroad.
Mexico’s Most Important Band:
By 1989 Caifanes had emerged as one of the hottest rock acts to come from central Mexico. In June Caifanes played two sold out shows at Mexico’s Auditorio Nacional (National Auditorium), a 10,000 person venue – a first for a Mexican rock band.
In late 1989 Caifanes began to record their second album in New York City. The record was produced by Oscar Lopez who was aided by Gustavo Santaolalla and Daniel Freiberg. El Diablito (The Little Devil) was released in July of 1990 through BMG Records. The most notable change for the band was the addition of former Insolitas guitarist Alejandro Marcovich. Marcovich’s textural guitar work considerably changed Caifanes’ sound and cemented the “classic” Mexican rock sound that Caifanes became famous for. “La Celula Que Explota” (The Exploding Cell), with its brushes of mariachi and bolero guitars and a crescendo of mariachi trumpets became both a signature of the band as well as a massive hit. Hernandez’ lyrics and somber vocals complemented Marcovich’s lyrical playing. The haunting “Sombras en Tiempos Perdidos” (Shadows in Times Lost) and the ethereal “De Noche Todos Los Gatos Son Pardos” (All Cats Are Dark at Night), give the album a most sublime imprint.
By this time Caifanes along with Maná, Fobia, Maldita Vecindad y los Hijos del Quinto Patio, La Lupita, and Cafe Tacuba helped to move Mexican Rock toward a wider audience and catapulted the Rock En Español movement of the 1990’s.
In 1992, Caifanes released El Silencio (The Silence). Recorded in Wisconsin and produced by the prolific guitarist Adrian Belew, of King Crimson fame, "El Silencio" further cemented the Caifanes sound and had and a more direct guitar driven sound. “No Dejes Que” (Don’t Let It...”), “Estás Dormida” (You’re Asleep), “Debajo de Tu Piel” (Under Your Skin), and the soaring “Nubes” (Clouds) would go on to become Mexican rock staples. The influence of Belew, who also played guitar on the album, was felt strongest in “Hasta Morir” (Until Death), “Tortuga” (Turtle), and “Vamos a Hacer un Silencio” (Lets Make a Silence). With its string of hits, its multi-ethnic hybrid of rock and traditional Mexican music, El Silencio is considered to be on of Caifanes’ best albums and one of the most influential records of the Rock En Español genre.
Caifanes toured extensively in support of the album. By this time, the group had started to make inroads into Central and South America as well as in the United States. In August of 1992 Caifanes sold out the Hollywood Palladium. In 1993 Caifanes became the first Mexican rock group to sell out Mexico City's Palacio de los Deportes (Sports Palace).
By late 1993 Caifanes became a three piece with the exit of Romo and Herrera. Federico Fong and Stuart Hamm filled in on bass and Yann Zaragoza played the keyboard. No one knew what to expect of Caifanes after the loss of two founding members. 1994’s El Nervio Del Volcán (The Volcano’s Nerve), released by BMG exceeded the expectations of both critics and fans alike. El Nervio showed Caifanes at the height of their power. With a heavier more progressive sound, "El Nervio" highlighted the musician’s virtuosity as well as their tight playing and arrangements. Signature elements, Marcovich’s staccato guitar work, Alfonso’s polyrythmic drumming and Hernandez’s brooding and haunting vocal style were even more prominent. “Afuera” the first single seamlessly fused distinct rock grooves with an ethnic inspired guitar solo. “Aquí no es así” (“It’s Not Like That Here”), and "Ayer Me Dijo Un Ave" (“A Bird Told Me Yesterday”) became radio favorites. “Aviéntame” (Throw Me), is as dynamic and powerful as the best American and British prog and alternative acts.
1994 was a stellar year for Caifanes, who were at the height of their popularity. Caifanes along with Maná was one of Mexico's premier stadium rock acts, selling out stadiums in Mexico and large venues throughout Latin America and the United States. At this time Caifanes had cemented their reputation as one of the most important Mexican rock bands of all time. They were a staple in Latin MTV, Rock en Español radio and appeared regularly at music festivals. In 1994, Caifanes opened up for The Rolling Stones in Mexico City and participated in Peter Gabriel's WOMAD festival.
Breakup:
1995 would mark the end of Caifanes. According to various sources, Hernández and Marcovich’s relationship was strained. On the 18th of August 1995 Caifanes played their final show in the Mexican city of San Luis Potosí. A legal scuffle over the name “Caifanes” ensued forcing Saúl Hernández to choose the name Jaguares (Jaguars) for his new project, which built on the legacy of Caifanes, as it was not too much of a radical departure of the Caifanes sound. Hernández was joined by former Caifanes and Insolitas drummer Alfonso André.
Reunion:
On December 14th, 2010, it was announced by Twitter that the band would be reuniting for the Vive Latino festival and the Coachella Festival of 2011, after a reconciliation between Hernández and Marcovich.
Some of Caifanes' Guest Musicians and Collaborators:
Chucho Merchán (bass), Federico Fong (bass), José Manuel Aguilera (guitar), Stuart Hamm (bass), Gustavo Cerati (guitar), Adrian Belew (guitar), Yann Zaragoza (keyboards), Cecilia Toussaint (backing vocals).
Studio Albums:
Caifanes or, (Mátenme Porque Me Muero / Volumen 1) (1988)
El Diablito or, Volumen 2 (1990)
El Silencio (1992)
El Nervio Del Volcán (1994)
No Dejes Que...
Caifanes Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Cuando veo a través del vaso
Veo a través del tiempo
Donde los sentidos se dislocan
Donde los temores se evaporan
Y aprovecho para desdoblarme
Para salir del vaso
Con las paredes veo tu rostro
Con la memoria busco tu rostro
Y no sé por qué
No me importa saber por qué
No dejes que
Nos coma el diablo amor
Que se trague tu calor
Que eructe mi dolor
No dejes que
Nos coma el diablo amor
Que se trague tu calor
Que eructe mi dolor
Cuando veo a través del humo
Me voy volando y tu eres mi guía
Entre los mundos nos haremos viejos
Donde algún día estaremos tranquilos
Y no sé por qué
No me importa saber porqué
No dejes que
Nos coma el diablo amor
Que se trague tu calor
Que eructe mi dolor
No dejes que
Nos coma el diablo amor
Que se trague tu calor
Que eructe mi dolor
Y no sé por qué
No me importa saber por qué
No dejes que
Nos coma el diablo amor
Que se trague tu calor
Que eructe mi dolor
No dejes que
Nos coma el diablo amor
Que se trague tu calor
Que eructe mi dolor
No dejes que
Nos coma el diablo amor
Que se trague tu calor
Que eructe mi dolor
Veo a través del tiempo
Donde los sentidos se dislocan
Donde los temores se evaporan
Y aprovecho para desdoblarme
Para salir del vaso
Con las paredes veo tu rostro
Y no sé por qué
No me importa saber por qué
No dejes que
Nos coma el diablo amor
Que se trague tu calor
Que eructe mi dolor
No dejes que
Nos coma el diablo amor
Que se trague tu calor
Que eructe mi dolor
Cuando veo a través del humo
Me voy volando y tu eres mi guía
Entre los mundos nos haremos viejos
Donde algún día estaremos tranquilos
Y no sé por qué
No me importa saber porqué
No dejes que
Nos coma el diablo amor
Que se trague tu calor
Que eructe mi dolor
No dejes que
Nos coma el diablo amor
Que se trague tu calor
Que eructe mi dolor
Y no sé por qué
No me importa saber por qué
No dejes que
Nos coma el diablo amor
Que se trague tu calor
Que eructe mi dolor
No dejes que
Nos coma el diablo amor
Que se trague tu calor
Que eructe mi dolor
No dejes que
Nos coma el diablo amor
Que se trague tu calor
Que eructe mi dolor
The song “No Dejes Que…” by Caifanes, is a beautiful and poetic expression of deep love and a fear of losing it. The lyrics express a desire to connect with the past and with memories, it is as if the singer is looking through a glass or a mirror to see a time when love was strong and alive. The idea of seeing through the vaso (glass) suggests a sense of clarity and truth that can be found when one looks beyond the surface. The lyrics evoke a sense of longing, as if the singer wants to go back to the past and retrieve a love that has been lost.
The lines, “No dejes que nos coma el diablo amor” (Don't let the devil love eat us) express a fear of losing the love that they have. “El diablo amor” (the devil love) is a metaphor that suggests that love can be destructive and all-consuming. The fear of losing oneself in love is a common theme in many songs, but the way it is expressed in “No Dejes Que…” is unique and powerful.
Overall, the song is a powerful expression of love, longing, and fear. The lyrics capture the essence of what it means to love deeply and fear losing that love. The metaphorical language and poetic phrasing add to the beauty and power of the song.
Line by Line Meaning
Cuando veo a través del vaso
When I look through the glass
Veo a través del tiempo
I see through time
Donde los sentidos se dislocan
Where the senses dislocate
Donde los temores se evaporan
Where fears evaporate
Y aprovecho para desdoblarme
And I take the opportunity to unfold
Para salir del vaso
To get out of the glass
Con las paredes veo tu rostro
With the walls, I see your face
Con la memoria busco tu rostro
With my memory, I search for your face
Y no sé por qué
And I don't know why
No me importa saber por qué
I don't care to know why
No dejes que
Don't let
Nos coma el diablo amor
The devil of love doesn't consume us
Que se trague tu calor
Don't let it consume your warmth
Que eructe mi dolor
Don't let it belch out my pain
Cuando veo a través del humo
When I see through the smoke
Me voy volando y tu eres mi guía
I fly away and you are my guide
Entre los mundos nos haremos viejos
Between the worlds, we'll get old
Donde algún día estaremos tranquilos
Where someday we'll be calm
No dejes que
Don't let
Nos coma el diablo amor
The devil of love doesn't consume us
Que se trague tu calor
Don't let it consume your warmth
Que eructe mi dolor
Don't let it belch out my pain
Y no sé por qué
And I don't know why
No me importa saber por qué
I don't care to know why
No dejes que
Don't let
Nos coma el diablo amor
The devil of love doesn't consume us
Que se trague tu calor
Don't let it consume your warmth
Que eructe mi dolor
Don't let it belch out my pain
No dejes que
Don't let
Nos coma el diablo amor
The devil of love doesn't consume us
Que se trague tu calor
Don't let it consume your warmth
Que eructe mi dolor
Don't let it belch out my pain
Lyrics © Peermusic Publishing
Written by: Alfonso Hernandez Estrada
Lyrics Licensed & Provided by LyricFind
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@goku-xl7ve
letra de la cancion
Cuando veo a través del vaso
Veo a través del tiempo
Donde los sentidos se dislocan
Donde los temores se evaporan
Y aprovecho para desdoblarme
Para salir del vaso
Con las paredes sudo tu rastro
Con la memoria busco tu rostro
Y no sé por qué
No me importa saber por qué
No dejes que
Nos coma el diablo, amor
Que se trague tu calor
Que eructe mi dolor
No dejes que
Nos coma el diablo, amor
Que se trague tu calor
Que eructe mi dolor
Cuando veo a través del humo
Me voy volando y tú eres mi guía
Entre los mundos nos haremos viejos
Donde algún día estaremos tranquilos
Y no sé por qué
No me importa saber por qué
No dejes que
Nos coma el diablo, amor
Que se trague tu calor
Que eructe mi dolor
No dejes que
Nos coma el diablo, amor
Que se trague tu calor
Que eructe mi dolor
Y no sé por qué
No me importa saber por qué
No dejes que
Nos coma el diablo, amor
Que se trague tu calor
Que eructe mi dolor
No dejes que
Nos coma el diablo, amor
Que se trague tu calor
Que eructe mi dolor
No dejes que
Nos coma el diablo, amor
Que se trague tu calor
Que eructe mi dolor
@jetta_mk6
Cuando veo a través del vaso" - Es un termino común el ver a través de un vaso vacío cuando terminas un trago en una cantina, aquí yo interpreto que la reflexión y experiencia que narra la canción sucede cuando el autor se embriaga en una cantina.
"Veo a través del tiempo" - Al estar alcoholizado, llegan recuerdos del pasado.
"Donde los sentidos se dislocan" - El momento del éxtasis, cuando dos amantes se reúnen. Esta recordando un amor del pasado.
"Donde los temores se evaporan" - Una experiencia pura, no manchada ni opacada por temores, pudieran ser prejuicios o miedo a mostrar esos sentimientos a los demás.
"Y aprovecho para desdoblarme, para salir del vaso" - Al recordar aquellos recuerdos o momentos del romance, vuelve en sí... a la cantina, a verse en la realidad de estar alcoholizado y recordando.
"Con las paredes sigo tu rastro..." - Al ver alrededor sigue buscando a ese amor perdido.
"Con la memoria busco tu rostro..." - La memoria evoca al recuerdo de la amante a la cual no ha podido olvidar a pesar de los años.
"Y no sé por qué..." - Algo pasó, se perdieron el uno al otro, sin embargo. El cargo de no comprender que fue lo que paso.
"No me importa saber por qué". - No importa la razón o el motivo, el amor se perdió. Ya no importa saber el por qué.
"No dejes que..., nos coma el diablo amor, que se trague tu calor, que eructe mi dolor" - Le canta a la amante perdida, arrepentido por haber permitido que los sentimientos negativos acabaran con la chispa del amor, que los problemas y/o discusiones terminaran opacando el gran amor que alguna vez existió entre los dos, a modo de dolor le pide a la amante en el pasado, que no permita que ocurriera lo que... terminó pasando y acabando con su amor.
"Cuando veo a través del humo..." - Después de un incendio hay humo, cuando pasó la tempestad, cuando todo se tranquilizo (evocando a un futuro alterno, el cual "podría" haber sucedió en vez de la realidad cruel que destino al fracaso a los amantes).
"Me voy volando y tú eres mi guía" - Todo su ser regresa a la persona a la cual amaba, finalmente el amor es tan fuerte, que sigue reconociendo que es por ella y para ella que sigue siendo.
"Entre los mundos nos haremos viejos, donde algún día estaremos tranquilos" - El amor eterno es para siempre, él se veía envejeciendo y finalmente... hasta el día que estamos tranquilos, es decir cuando morimos.
"Y no sé porque, no me importa saber porque. No dejes que... nos coma el diablo amor" - Sigue lamentándose por que en el cruel presente, se perdieron uno al otro.
@DanyZeroTwo002
Es natural escucharla en la madrugada con tus audífonos a todo volumen viendo el cielo despejado y recordar tus años de juventud
@JuanJuarezGarcia-bu7wf
completamente normal bro❤
@IvanVargas-ri7kh
Recuerda Bro , el presente es el mejor momento de aquí a la eternidad si somos dignos
@lizzethsalinas9143
Así es ahorita mismo me acorde de un ex... 🙈
@IvanVargas-ri7kh
@@lizzethsalinas9143 para que lo dejaste entonces para hacer sufrir a tu actual pareja hermana mía , el presente es lo mas importante
@ivanjimenez4030
Por favor jóvenes no dejen morir estos grandes de la música
@yeseniamurillo8082
Jamas!!
@cesartapia1256
Tengo 13 y esto es una joya
@AEWAXX
Prometido
@manuelpenalba3385
El regueton no llega a este nivel de verdadera musica cuidare esta musica hasta cuando pueda la pasare a mis hijos