Joaquín Sabina, is the second son of Adela Sabina del Campo and Jerónimo Martinez Gallego, which was a policeman. He attended a Carmelite primary school and he started writing his firsts poems and composing music at 14 years old. He was part of a band called Merry Youngs which imitated singers such as Elvis Presley, Chuck Berry or Little Richard.
In 1968 he enrolled in the University of Granada, but went into exile in London, using a fake passport, to avoid Francisco Franco's persecution. In London, he collaborated with other young artists in theater and cultural events.
In 1975, he started composing songs and singing at local bars. When the dictatorship ended in 1977 he returned to Spain and enrolled in the military.
In 1978 his first album, Inventario (Inventory), debuted with the number-one hit single Pongamos que hablo de Madrid (Let's say I'm talking about Madrid).
Afterwards, he released Malas compañías (The Wrong Crowd) and a live album called La mandrágora (The Mandragora), which caused much controversy due to the racy content of its lyrics. Spain was just coming out of the dictatorship, and Sabina's favorite topics have always been deemed "morally inappropriate" by some: the homeless, prostitutes, drunks, and Robin Hood-styled thieves. He is very much anti-stablishment.
In 1983 he released Ruleta Rusa (Russian Roulette) and two years later, Juez y parte (Judge and Jury). His political views led him to take part in the anti-NATO movement. He later published Joaquín Sabina y Viceversa.
In 1987 he released Hotel, dulce hotel (Hotel, Sweet Hotel), which sold a large number of records in Spain. That success followed with his next album El hombre del traje gris (The Man in The Gray Suit), and followed with a successful tour of South America.
In 1990 he released Mentiras piadosas (White Lies) and two years later Física y química (Physics and Chemistry), which led to another successful tour of the Americas.
His later albums Esta boca es mía (These Lips are Mine), Yo, mi, me contigo (I, Me, With You) and 19 días y 500 noches (19 Days and 500 Nights), won him recognition and multiple platinum albums.
After recovering from a stroke, he returned to the stage in 2002 with Dímelo en la calle (Let's Take It Outside). He later released a double album called Diario de un peatón (Diary of A Pedestrian), which included both his previous album and 12 new songs, along with a book illustrated by him.
In 2005 his new record Alivio de luto (Mourning Relief), put him in track to being one of the biggest names in Spanish musical stardom. The album comes with a DVD that includes interviews, music videos, acoustic versions of the songs and some home-made recordings.
Viudita De Clicquot
Joaquín Sabina Lyrics
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A los veinte escapé por las malas del pie del altar
A los treinta fui de armas tomar sin chaleco antibalas
Londres fue Montparnasse sin gabachos Atocha con mar
A los cuarenta y diez naufragué en un plus ultra sin faro
Mi caballo volvió solo a casa, ¿qué fue de John Wayne?
Me pasé de la raya con tal de pasar por el aro
Nunca suple templar la guitarra que embrida mi potro
Cuando el dealer me dijo que si no le dije que no
La hormiguita murió, la cigarra se murió con otro
Yo aposté por las fichas caídas de tu dominó
Allons enfants de la patrie
Maldito mayo de París
Vendí en Portobello los clavos de mi cruz
Brindé con el diablo a su salud
Se llamaba Rebeca la gringa que empató conmigo
Me sacaba la lengua en lugar de enseñarme a besar
Me compró una tormenta después de robarme el abrigo
Con la espalda mojada no hay nada peor que soñar
Negocié tablas al ajedrez: tu alfil por mis peones
Abrevé en los pezones con sal de la mujer de Lot
Antes de que tiñera noviembre mis habitaciones
Descorché otra botella con la viudita de Clicquot
Allons enfants de la patrie
Maldito mayo de París
Vendí en Portobello los clavos de mi cruz
Brindé con el diablo a su salud
Allons enfants de la patrie
Maldito mayo de París
Vendí en Portobello los clavos de mi cruz
Brindé con el diablo a su salud
Brindé con el diablo a su salud
Mi manera de comprometerme fue darme a la fuga
The lyrics of Viudita de Clicquot, a song by Joaquín Sabina, are a reflection of the artist's tumultuous life and his quest for freedom. The first verse refers to his childhood, where he felt restrained and unable to fly. At the age of twenty, he escaped the restraints of marriage by eloping, and by thirty, he was ready to take on the world without fear. The second verse talks about the artist's mid-life crisis. At forty, he lost his bearings and felt lost in the world. He wonders what happened to John Wayne, his childhood hero, and why his horse returned home without him. Despite his failures, he still believes that life is worth living and that clothes are of little importance.
The third verse is a reflection on Sabina's vices and how they have affected his life. He talks about his love for gambling and how he lost everything betting on his lover's luck. He also talks about living life to the fullest, even if it means dabbling in drugs and excess. The fourth verse talks about his encounters with women and how they have shaped his life. He reminisces about a gringa who taught him more than just kissing and how she betrayed him by stealing his coat. He also talks about his bisexuality, trading a bishop for his pawns at a game of chess, and how he took pleasure in the wife of Lot. The song ends with the artist raising a toast to the devil, a nod to his rebellious nature.
Line by Line Meaning
A los quince los cuerdos de atar me cortaron las alas
At the age of fifteen, my sensible guardians clipped my wings.
A los veinte escapé por las malas del pie del altar
I fled from the altar at twenty without any ceremony.
A los treinta fui de armas tomar sin chaleco antibalas
At thirty, I was ready for anything without the precautionary armor.
Londres fue Montparnasse sin gabachos Atocha con mar
London was like Montparnasse without Frenchmen, Atocha with a sea.
A los cuarenta y diez naufragué en un plus ultra sin faro
At forty, I was shipwrecked without a lighthouse.
Mi caballo volvió solo a casa, ¿qué fue de John Wayne?
My horse returned home alone, whatever became of John Wayne?
Me pasé de la raya con tal de pasar por el aro
I crossed the line in order to toe the line.
Con 60 qué importa la talla de mis Calvin Klein
What does the size of my Calvin Klein matter at sixty?
Nunca suple templar la guitarra que embrida mi potro
Tuning the guitar can never substitute for taming my wild spirit.
Cuando el dealer me dijo que si no le dije que no
When the dealer offered, I didn't refuse.
La hormiguita murió, la cigarra se murió con otro
The ant died, the cicada died with someone else.
Yo aposté por las fichas caídas de tu dominó
I bet on the tiles fallen from your dominoes.
Se llamaba Rebeca la gringa que empató conmigo
The American girl who drew with me was named Rebecca.
Me sacaba la lengua en lugar de enseñarme a besar
She stuck her tongue out instead of teaching me how to kiss.
Me compró una tormenta después de robarme el abrigo
She bought me a storm after stealing my coat.
Con la espalda mojada no hay nada peor que soñar
There is nothing worse than dreaming with a wet back.
Negocié tablas al ajedrez: tu alfil por mis peones
I negotiated a draw in chess: your bishop for my pawns.
Abrevé en los pezones con sal de la mujer de Lot
I drank from the nipples with Lot's wife's salt.
Antes de que tiñera noviembre mis habitaciones
Before November tainted my rooms.
Descorché otra botella con la viudita de Clicquot
I uncorked another bottle with the little widow of Clicquot.
Allons enfants de la patrie
Let us go, children of the homeland.
Maldito mayo de París
Damn May in Paris.
Vendí en Portobello los clavos de mi cruz
I sold the nails of my cross at Portobello market.
Brindé con el diablo a su salud
I toasted the devil to his health.
Brindé con el diablo a su salud
I toasted the devil to his health.
Lyrics © Warner Chappell Music, Inc.
Written by: Antonio Perez Garcia De Diego, Benjamin Prado Rodriguez, Francisco Jose Lopez Varona, Joaquin Ramon Sabina
Lyrics Licensed & Provided by LyricFind