Lola Lola
La Charanga Habanera y David Calzado Biography: • Sergio David Calzado was … Read Full Bio ↴La Charanga Habanera y David Calzado Biography: • Sergio David Calzado was born in Havana, in 1959 and began studying classic violin when he was eleven years old. Music was already rooted in his family environment since he is Sergio Calzado`s son, the prominent singer who is well-known for his performance with the "Fajardo y sus Estrellas" group. David Calzado studied this instrument at the National School of Art in Cuba for nine years. He started his professional life as member of the Pancho "El Bravo" orchestra while acting as musical producer of important soloists in the country. From 1981 to 1987 he formed part of the violin section in the Ritmo Oriental Orchestra where he made his debut as arranger of pieces that became very popular during that decade. His work in this important orchestra was decisive for his professional development. La Charanga Habanera was created in 1988 when a group of ten young graduates from the most important Cuban schools of music, David Calzado among them, decided to set in motion the initiative of a French businessman, Bernard Lion, to create an orchestra using the typical format of the charanga and perform the Cuban traditional music, especially that of the 1940`s and 1950`s. Once the group was created, they signed a contract with the Sporting Club of Monaco, in Montecarlo, to make quarterly presentations for a five-year period. At the beginning, the orchestra was led by Gerardo Aguillón and then by José Picallo. During its first stage, the genre repertoire of La Charanga included the mambo, danzón, bolero, guaracha, cha cha chá and instrumental pieces from the international repertoire. In Monaco, the orchestra shared the stage with artists of the stature of Whitney Houston and Lola Flores, Frank Sinatra and Tina Turner. At that time, young David Calzado was performing at the Tropicana Orchestra in Cuba as First Violin while working with La Charanga Habanera and as arranger and recording producer. Initially, the Orchestra only met to rehearse during summer and during its performances in Montecarlo until 1990 when they decide to consolidate and stabilize their work as a formally constituted orchestra. It was then when David Calzado became the head of the orchestra. It was also the transition time from the traditional music to the dancing popular music. The orchestra"s first presentations were at the Charanga Festival and in "La Tropical", the most popular dancing hall in Cuba. At that time, the orchestra was made up by three violins, cello, flute, saxophone, piano, bass, trumpet, viola, pailas and congas. In December 1992, they decide to start again but from a widely-renovated Charanga Habanera whose members wanted to become the Cuban dancers` favorite orchestra. Then, David Calzado devised a new format by eliminating one of the violins and the cello and introducing the keyboard, bongos and another trumpet thus producing a much more modern sound and transforming the performing style. That same year they performed at the Boulevard de los Sueños in Viña del Mar, Chile. Back in Cuba, the orchestra regularly performed at the Caribe Cabaret in the Habana Libre Hotel as guests of Santiago Alvarez, the famous choreographer and art director. In 1993, they traveled to Europe to participate in the Helsinki, Tenerife and Las Palmas carnivals. In 1994, the orchestra launched its new sonority with "Me sube la fiebre" record (EGREM label) which includes songs from important composers as, for example, "Me sube la fiebre" by Giraldo Piloto; "Extraños ateos" by Leonel Limonta; "El pregón del chocolate" by Isaac Delgado; "Te la voy a liquidar" and "Para el llanto" by Manolín, the "Médico de la Salsa", among others. Virtually all its songs became hits: "Me sube la fiebre" reached the first places according to audience surveys made in 24 radio stations throughout the country. This record engendered a passion for the Timba in Cuba and La Charanga Habanera consecrated itself in the most important scenarios of this genre. In 1995, few months after the launching of its first record on the market, the Spanish Magic Music label launched the CD "Hey you, loca" which meant the world recognition of the orchestra and its timba style. They tour across Europe and performed at the most outstanding festivals in that continent sharing the stage with artists like Tito Puente. In Cuba, thousands of followers of the new "charanguero" concept crowded the places where they performed. Songs like "Quítate el disfraz", "Mi Estrella" and "Hey you, loca" itself became such hits that the album was granted the "Best Dancing Record in Cuba" award that same year. In 1996, they made an extensive tour across Europe which included Spain, France (the orchestra became the sensation of the New Morning in Paris), Italy, Switzerland, the United Kingdom, the Netherlands, Germany and Sweden with the purpose of launching a new phonogram entitled "Pa`que se entere La Habana" which was recorded in Costa Rica. Once again, songs like "Nube pasajera", "La superturística" and "Yuya la Charanguera" reached the top places. In 1997, the compact disc entitled "Tremendo Delirio" was launched and La Charanga hit the headlines again with "No estamos locos", "Un disparo en la mirada", "Lola, Lola" and "Hagamos un Chen". According to both dancers and critics this record was one of the best in that genre in Cuba as well as a challenge to Latin musical creation since it combines the so-called "hard salsa" with the eroticism, sensuality and energy exuded by the members of La Charanga Habanera. In 1998, the orchestra was crowned again with an international hit during its presentation in MIDEM, the "Cuban Night" held at the Great Auditorium of the Palais des Festivals in Cannes where they ravaged the audience and confirmed once more that La Charanga Habanera constituted the most ingenious Cuban music proposal of that time. In Cuba, the audience followed La Charanga en masse to crowded places like El Palacio de la Salsa (The Salsa Palace), La Cecilia and the Salón Rosado in La Tropical, the salsa centers or the Mella Theater and the Ramón Font Sport Hall. During this stage, although the group preserved its name, it was no longer holding the charanga format, since it eliminated the flute and the violins. The pailas with bass drum and cymbal were added and the brass section was finally made up by three trumpets and one saxophone, thus creating a sort of symbiosis between the son, the typical charanga and jazz-band. Under the leadership of David Calzado and with the incorporation of young talents, La Charanga Habanera soon managed to place itself in the most impenetrable and competitive market of the salsa world in the 1990`s: Cuba. During these years, many groups mushroomed and penetrated the popular preference, but La Charanga revolutionized the Cuban music and became the main target of both the media and the public. Their success lied on the fact that this orchestra constituted a new proposal which combined the broad potentialities of its members "singers and instrumentalists alike- with a well-structured choreography executed by all musicians who display versatility and expressiveness on stage thus breaking every predetermined canon of this kind of orchestra. On the other hand, David Calzado "strategist by nature and with a sharp instinct to attain success- has wisely selected the themes with very good nose: the orchestra"s repertoire has an explicit philosophical-popular sense and the daily life becomes his great theme. Likewise, David Calzado has engaged in the selection of the wardrobe and the scenic architecture, thus becoming a very special director. Other characteristic elements of La Charanga include the use of the African harpsichord which adds a greater freedom of performance and accelerated polyrhythmic marked by the bass and the keyboard in what is known as contratumbao, as well as the introduction of rap, funk and hip-hop elements. Besides, it is worthwhile mentioning the role played by the singers in the success of this orchestra. Since its inception, the orchestra has had important vocalists, namely, Luis Alberto Leyva, Mario Jiménez "Sombrilla", Leo Vera, Michel Maza and Danny Lozada, some of whom have had later on a successful career as soloists or leaders in other groups. That is why La Charanga Habanera is also considered as a school of music and an orchestra-producing orchestra. The orchestra is advancing rapidly in its career with records like "El Charanguero Mayor", edited in the year 2000 and "Chan Chan Charanga" (2001), and is once again at the top of popularity. In the year 2003, a new record-breaking event took place with the launching of "Soy cubano, soy popular" on the market and one of its themes, "El Boni está", became a true hit and its video clip the dancers` favorite one. Themes originally performed by La Charanga have been included in the repertoire of prominent international artists like the Spanish group Ketama, Omar Hernández, Yanko and the Puerto Rican singer Danny Rojo, among others. David Calzado`s show-orchestra has received the Cubadisco Awards, Lucas Awards and has been nominated for the Latin Grammy; it has also made countless international tours and has received many acknowledgements both in Cuba and abroad. Today, this orchestra is still the favorite of the overwhelming majority of the audience for its always young image and its talented instrumentalists and singers and for its dynamic sound closely associated with the most aggressive timba born of the authentic spirit of the 1990`s. La Charanga Habanera is an indispensable orchestra that has to be taken into consideration whenever we speak of the history of dancing popular music in Cuba. • La Charanga Habanera y David Calzado Discography : CD ""Charanga Habanera, Volumen I"", DOM, 1988. CD ""De La Habana a Montecarlo, 1989 CD ""Me sube la fiebre"", EGREM, 1994 CD ""Hey you, loca"", Magic Music, 1995 CD ""Pa´que se entere La Habana"", Magic Music, 1996 CD ""Tremendo delirio"", Magic Music, 1997 CD ""Live at Disco Azúcar"", 1998 CD ""El Charanguero mayor"", Karlyor, 2000 CD ""Live US Tour"", 2000-2001 CD ""Chan Chan Charanga"" (Tiene de Cuba, tiene melao), Karlyor, 2001. CD ""Soy cubano, soy popular"", EGREM, 2003. CD ""Charanga light"", EGREM, 2004. CD ""El ciclón de La Habana"", Unicornio, 2005.

Lola Lola
Charanga Habanera Lyrics


Jump to: Overall Meaning ↴  Line by Line Meaning ↴

oye, Michel
te lo dije
que Lola estaba tan dura
pero tan dura
que tú no podías con ella
que Lola no era Mireya
eh?
coro 1: Lola Lola
tú estás muy buena
pa' un toque de bola

Sombrilla: oye, Lola está
como dicen los viejos
pa comer y pa' llevar
oíste?

coro: Lola, Lola

Sombrilla: vaya!

(introducción de los metales)

Michel: Ay! Lolita de mi vida
esta vez si te he perdido
dando, dando, dando vueltas
como un lobo mal herido
yo quiero dar un jonrón
sobre el terreno de tú corazón
pero no aprendí bien la lección
querida

coro: ay Lola, Lolita
adiós Lolita de mi vida

Michel: yo te prefiero compartida
que borrarte de mi vida
no me queda otra salida

coro: ay Lola, Lolita
adiós Lolita de mi vida

Michel (con coro): porque el jonrón no siempre sale
en el juego todo vale
lo importante es quien lo gane

coro 1: Lola Lola
tú estás muy buena
pa' un toque de bola

Michel: oye, David
tú decías que Lola, no
y Lola sí? Sí... ¿por qué no?

coro 1: Lola Lola
tú estás muy buena
pa' un toque de bola

MIchel: tú estás muy buena y no lo puedo negar
tú estás durísima, estelar
como una paladar

coro 1: Lola Lola
tú estás muy buena
pa' un toque de bola

Michel: deja la bola que corra, que corra
que sentimiento me sobra
y yo te voy a liquidar

coro 1: Lola Lola
tú estás muy buena
pa' un toque de bola

MIchel: pa' tocar la bola de tú corazón
pa' tirarme en plancha izquierdo
y convertirlo en un batazo de jonrón

coro 1: Lola Lola
tú estás muy buena
pa' un toque de bola

MIchel: ay Lola, Lolita

(metales)

coro 1: Lola Lola
tú estás muy buena
pa' un toque de bola

coro: Lola
Michel: sirvió o no sirvió
coro: Lolita
Michel: yo creo que sí

coro 1: Lola Lola
tú estás muy buena
pa' un toque de bola

coro: Lola
Michel: vaya
coro: Lolita
Michel: ahhhh

coro: Lola
Michel: sirvió o no sirvió
coro: Lolita

coro: Lola
Michel: Lolita
coro: Lolita
Michel: eh

coro: Lola, Lola
Sombrilla: ay, qué rico
qué sabroso, así

coro 2: vamo' a chocar la bola con Lola
¡qué necesidad!
vamo' a chocar la bola

Michel: yo pongo el bate
y tú la pelota

coro 2: vamo' a chocar la bola con Lola
¡qué necesidad!
vamo' a chocar la bola

Michel con coro: a chocarla
mírala cómo se va

coro 2: vamo' a chocar la bola con Lola
¡qué necesidad!
vamo' a chocar la bola

Michel: pero que chócala
chócala que chócala

coro 2: vamo' a chocar la bola con Lola
¡qué necesidad!
vamo' a chocar la bola

MIchel: porque mi Lola se mantiene

coro 2: vamo' a chocar la bola con Lola
¡qué necesidad!
vamo' a chocar la bola

(metales)
Michel: ésto esta bueno... rico

coro 2: vamo' a chocar la bola con Lola
¡qué necesidad!
vamo' a chocar la bola

(bloque)

Sombrilla: vamos!

coro 3: 'tá buena pa' chocarla
se va! mírala como se va
a chocarla
se va!
y ... buena está

(metales)

coro 3: 'tá buena pa' chocarla
se va! mírala como se va
a chocarla
se va!
y ... buena está

(metales - bloque)

Sombrilla: oye, fue tremendo
lo del menor de la salsa, caballero
con su novia que se llama Lolita
se la pasaba todo el día que
que si Lola por aquí
oye, que si Lola por allá
repite el coro qué!

coro 4: que si Lola por aquí
Sombrilla: eh?
coro: que si Lola por allá
Sombrilla: di tú
coro: que si Lola por aquí
Sombrilla: ahhhh
coro: que si Lola por allá

Sombrilla: oye
y fue tremendo
porque mi novia
mira, se llama Rosita
está gordita
pero es mía
y por eso yo le canto
este coro que dice así
escucha bien... oye!

coro 5: Rosa, Rosa
Sombrilla: ahí
tú estás muy buena
pa' una caldosa
Sombrilla: pa' una caldosa que esté bien riquita
una caldosa que esté sabrosita, mamá

coro 5: Rosa, Rosa
Sombrilla: ahhh
tú estás muy buena
pa' una caldosa
Sombrilla: por eso
coro: pa' la caldosa de Quique y Marina
o pa' la caldosa que venden en la esquina
Sombrilla: eh?

coro 5: Rosa, Rosa
tú estás muy buena
pa' una caldosa
Sombrilla: ah bueno
coro: pa' la caldosa de Quique y Marina
o pa' la caldosa que venden en la esquina
Sombrilla: dice

coro: Lola, Lola (bloque)
Sombrilla: ay! qué rico
qué sabroso! así!

coro 2: vamo' a chocar la bola con Lola
¡qué necesidad!
vamo' a chocar la bola
(metales)

coro 2: vamo' a chocar la bola con Lola




¡qué necesidad!
vamo' a chocar la bola

Overall Meaning

The lyrics to "Lola Lola" by Charanga Habanera are about a woman named Lola who is described as being "dura" or tough to handle, but also very attractive. The song is sung from the perspective of a man named Michel who is trying to win Lola's affection, but is struggling to do so. He compares his efforts to hitting a home run in a baseball game, but admits that he hasn't learned his lesson when it comes to love.


Throughout the song, Michel and the chorus continue to sing Lola's praises, referring to her as "Lolita" and saying that she is "durísima" or stellar. The song also includes playful references to other women, including the singer Sombrilla's girlfriend, Rosita.


Line by Line Meaning

oye, Michel
Listen, Michel


te lo dije
I told you


que Lola estaba tan dura
that Lola was so tough


pero tan dura
but so tough


que tú no podías con ella
that you couldn't handle her


que Lola no era Mireya
that Lola wasn't Mireya, eh?


coro 1: Lola Lola
Chorus 1: Lola Lola


tú estás muy buena
you're very hot


pa' un toque de bola
for a touch of the ball


Sombrilla: oye, Lola está
Sombrilla: listen, Lola is


como dicen los viejos
as the old folks say


pa comer y pa' llevar
to eat and to take away


oíste?
did you hear?


coro: Lola, Lola
Chorus: Lola, Lola


vaya!
wow!


(introducción de los metales)
(introduction of the brass instruments)


Michel: Ay! Lolita de mi vida
Michel: Oh! Lolita of my life


esta vez si te he perdido
this time I have truly lost you


dando, dando, dando vueltas
going round and round


como un lobo mal herido
like a badly wounded wolf


yo quiero dar un jonrón
I want to hit a home run


sobre el terreno de tú corazón
on the field of your heart


pero no aprendí bien la lección
but I didn't learn the lesson well


querida
my dear


coro: ay Lola, Lolita
Chorus: oh Lola, Lolita


adiós Lolita de mi vida
goodbye Lolita of my life


Michel: yo te prefiero compartida
Michel: I prefer you shared


que borrarte de mi vida
than erasing you from my life


no me queda otra salida
I have no other way out


coro: ay Lola, Lolita
Chorus: oh Lola, Lolita


adiós Lolita de mi vida
goodbye Lolita of my life


Michel (con coro): porque el jonrón no siempre sale
Michel (with chorus): because the home run doesn't always happen


en el juego todo vale
in the game, anything goes


lo importante es quien lo gane
the important thing is who wins it


coro 1: Lola Lola
Chorus 1: Lola Lola


tú estás muy buena
you're very hot


pa' un toque de bola
for a touch of the ball


Michel: oye, David
Michel: listen, David


tú decías que Lola, no
you used to say that Lola, no


y Lola sí? Sí... ¿por qué no?
and Lola, yes? Yes... why not?


coro 1: Lola Lola
Chorus 1: Lola Lola


tú estás muy buena
you're very hot


pa' un toque de bola
for a touch of the ball


MIchel: tú estás muy buena y no lo puedo negar
Michel: you're very hot and I can't deny it


tú estás durísima, estelar
you're extremely tough, stellar


como una paladar
like a palate


coro 1: Lola Lola
Chorus 1: Lola Lola


tú estás muy buena
you're very hot


pa' un toque de bola
for a touch of the ball


Michel: deja la bola que corra, que corra
Michel: let the ball run, run


que sentimiento me sobra
because I have plenty of feeling


y yo te voy a liquidar
and I'm going to defeat you


coro 1: Lola Lola
Chorus 1: Lola Lola


tú estás muy buena
you're very hot


pa' un toque de bola
for a touch of the ball


MIchel: pa' tocar la bola de tú corazón
Michel: to touch the ball of your heart


pa' tirarme en plancha izquierdo
to slide into the left field


y convertirlo en un batazo de jonrón
and turn it into a home run hit


coro 1: Lola Lola
Chorus 1: Lola Lola


tú estás muy buena
you're very hot


pa' un toque de bola
for a touch of the ball


MIchel: ay Lola, Lolita
Michel: oh Lola, Lolita


(metales)
(brass instruments)


coro 1: Lola Lola
Chorus 1: Lola Lola


tú estás muy buena
you're very hot


pa' un toque de bola
for a touch of the ball


coro: Lola
Chorus: Lola


Michel: sirvió o no sirvió
Michel: did it work or not?


coro: Lolita
Chorus: Lolita


Michel: yo creo que sí
Michel: I think so


coro 1: Lola Lola
Chorus 1: Lola Lola


tú estás muy buena
you're very hot


pa' un toque de bola
for a touch of the ball


coro: Lola
Chorus: Lola


Michel: vaya
Michel: wow


coro: Lolita
Chorus: Lolita


Michel: ahhhh
Michel: ahhhh


coro: Lola
Chorus: Lola


Michel: sirvió o no sirvió
Michel: did it work or not?


coro: Lolita
Chorus: Lolita


coro: Lola
Chorus: Lola


Michel: Lolita
Michel: Lolita


coro: Lolita
Chorus: Lolita


Michel: eh
Michel: eh


coro: Lola, Lola
Chorus: Lola, Lola


Sombrilla: ay, qué rico
Sombrilla: oh, how delicious


qué sabroso, así
how tasty, like this


coro 2: vamo' a chocar la bola con Lola
Chorus 2: let's hit the ball with Lola


¡qué necesidad!
what a necessity


vamo' a chocar la bola
let's hit the ball


Michel: yo pongo el bate
Michel: I'll put the bat


y tú la pelota
and you the ball


coro 2: vamo' a chocar la bola con Lola
Chorus 2: let's hit the ball with Lola


¡qué necesidad!
what a necessity


vamo' a chocar la bola
let's hit the ball


Michel con coro: a chocarla
Michel with chorus: let's hit it


mírala cómo se va
look how it goes


coro 2: vamo' a chocar la bola con Lola
Chorus 2: let's hit the ball with Lola


¡qué necesidad!
what a necessity


vamo' a chocar la bola
let's hit the ball


Michel: pero que chócala
Michel: but hit it


chócala que chócala
hit it, hit it


coro 2: vamo' a chocar la bola con Lola
Chorus 2: let's hit the ball with Lola


¡qué necesidad!
what a necessity


vamo' a chocar la bola
let's hit the ball


MIchel: porque mi Lola se mantiene
Michel: because my Lola stays strong


coro 2: vamo' a chocar la bola con Lola
Chorus 2: let's hit the ball with Lola


¡qué necesidad!
what a necessity


vamo' a chocar la bola
let's hit the ball


(metales)
(brass instruments)


Michel: ésto esta bueno... rico
Michel: this is good... delicious


coro 2: vamo' a chocar la bola con Lola
Chorus 2: let's hit the ball with Lola


¡qué necesidad!
what a necessity


vamo' a chocar la bola
let's hit the ball


(bloque)
(block)


Sombrilla: vamos!
Sombrilla: let's go!


coro 3: 'tá buena pa' chocarla
Chorus 3: she's good to hit


se va! mírala como se va
she's going! look how she goes


a chocarla
to hit her


se va!
she's going!


y ... buena está
and ... she's good


(metales)
(brass instruments)


coro 3: 'tá buena pa' chocarla
Chorus 3: she's good to hit


se va! mírala como se va
she's going! look how she goes


a chocarla
to hit her


se va!
she's going!


y ... buena está
and ... she's good


(metales - bloque)
(brass instruments - block)


Sombrilla: oye, fue tremendo
Sombrilla: hey, it was amazing


lo del menor de la salsa, caballero
what the salsa youngster did, sir


con su novia que se llama Lolita
with his girlfriend named Lolita


se la pasaba todo el día que
he spent all day saying


que si Lola por aquí
that if Lola is here


oye, que si Lola por allá
hey, that if Lola is there


repite el coro qué!
repeat the chorus, what!


coro 4: que si Lola por aquí
Chorus 4: if Lola is here


Sombrilla: eh?
Sombrilla: huh?


coro: que si Lola por allá
Chorus: if Lola is there


Sombrilla: di tú
Sombrilla: you said


coro: que si Lola por aquí
Chorus: if Lola is here


Sombrilla: ahhhh
Sombrilla: ahhhh


coro: que si Lola por allá
Chorus: if Lola is there


Sombrilla: dice
Sombrilla: he says


coro: Lola, Lola (bloque)
Chorus: Lola, Lola (block)


Sombrilla: ay, qué rico
Sombrilla: oh, how delicious


qué sabroso! así!
how tasty! like this!


coro 2: vamo' a chocar la bola con Lola
Chorus 2: let's hit the ball with Lola


¡qué necesidad!
what a necessity


vamo' a chocar la bola
let's hit the ball


coro 2: vamo' a chocar la bola con Lola
Chorus 2: let's hit the ball with Lola


¡qué necesidad!
what a necessity


vamo' a chocar la bola
let's hit the ball




Contributed by Leo C. Suggest a correction in the comments below.
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Comments from YouTube:

@pelukin2008

Recuerdo que tenía 14 años y nos metiamos unas rumbas en el Cole allá en sjl !!! Que rumbas !!🇵🇪🇵🇪🇵🇪🇵🇪

@vaneaguisava127

Cómo adoooro ésta canción!!! Mi adolescencia al 100% harta salsa rica!!!

@w3s1t0

cómo te gusta chocar la bola bandida

@dominiclebilebi6469

Yo tengo casi 23 años y aun recuerdo a estw grupo y manolito , estos.grupos cubanos marcaron un hito en la historia del peru a finales de los 90 aun con heridas de terrorismo y pobre en ese entonces la gente.rumbeaba de lo.mejor en todos los conos , yo ya me rumbie con estos.grupos por alla por el años 2009 2010 porque aca lima nunca pasaron ni pasaran de moda estos grandes grupos , saludos desde Lima Peru para todos los latinos de un salsero chalaco ayayay ....

@davidguevaraoficial1707

Dominic Lebi Lebi los chalacos aprendieron a rumbear salsa cubana el la Rica Vicky ,eran puro Hector Lavoe nomas

@davidguevaraoficial1707

Dominic Lebi Lebi los chalacos aprendieron a rumbear salsa cubana en La Rica Vicky,eran puro Hector Lavoe nomas

@MilagrosCristinaSotoDiaz

Por la edad que tienes, eras muy pequeñ@ en aquel entonces. La charanga habanera fue un éxito rotundo con Michel Maza, muchos recuerdos guardados en mi corazón.

@ALEXISGNFR

mierda al timbalero con 10 años o que volaaaaa?

@josephandre196

Dominic opino igual que tú yo tengo 24 años este año me voy pa los 25 años yo disfrute de estos grupos en el 2005 2007 esas épocas que no volverán charanga habanera maolito y su trabuco dan den explosión habana

@Abemcue

Me gusto la charanga habanera desde los 4 años que mi papa escuchaba pura salsa cubana y hasta el dia de hoy! Buenos recuerdos tengo 30 años y estos temas los pongo siempre en casa y en cualquier tono que vaya la pido 😎

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