Raúl Alberto Antonio Gieco, better known as León Gieco (born on November 20… Read Full Bio ↴Raúl Alberto Antonio Gieco, better known as León Gieco (born on November 20, 1951 in a farm near Cañada Rosquín on northern Santa Fe, Argentina) is a pop-folk music composer and interpreter. He characterises for mixing popular folkloric genres with so-called Argentine rock, and for lyrics with social and political connotations.
Biography
Gieco started working at the early age of 8. With his own money he bought a guitar, and soon started playing at school at patriotic holiday commemorations, and with Los Nocheros folkloric music group. He also played with a rock band called Los Moscos, that soon gained some popularity within the neighbouring towns. They played songs of The Beatles, the Rolling Stones and Spencer Davis Group, when they won a concourse to play at Channel 5 of Rosario in 1965.
When he was 18 he went to Buenos Aires to try his luck. There he became acquainted with Litto Nebbia, and specially with Gustavo Santaolalla, who fixed him some chances to play in opening acts for better known musicians.
He got to play with different people, including David Lebón, and in the Buenos Aires Rock Festival in 1971, 1972, and 1973. That year his first album was released, recorded independently with Santaolalla during the previous two years. Its main song was En el país de la libertad ("In the country of freedom"), and the record acquired certain recognition; he is called "the Argentine Bob Dylan".
A year later, the second LP La Banda de los Caballos Cansados, followed the same style of trying to "understand the destiny of the peoples, the reason of injustice" (entender el destino de los pueblos, el por qué de las injusticias).
León had a series of concerts with a stable group of musicians, as well as other presentations with the Porsuigieco supergroup formed with Raúl Porchetto, Charly García, Nito Mestre and María Rosa Yorio. They had a relative success and released an eponymous record in 1976.
At the same time, he continued to play with his other group, and had a contract for two shows, but the breakup of the band forced him to make those shows all by himself. The audience seemed to like the one-man show, and Gieco decided to continue his path alone. In 1976 he released El Fantasma de Canterville. The record suffered a great deal of censorship from the military government; he had to change the lyrics of six songs and remove other three altogether. Nevertheless, the record was a success and he had concerts not only around Argentina but also on other countries of South America. Two years later he edited IV LP, with one of his most famous songs: Sólo le pido a Dios ("I only ask of God"). Because of the political situation in Argentina, he moved to Los Angeles for a year.
In 1981 he had a concert in Buenos Aires alone on stage, with a guitar, harmonic, and charango. He then released Pensar en nada ("To think about nothing"). That same year he started a 3-year, 110,000-kilometre-long series of independent concerts all over Argentina, playing for a total of 420,000 people.
In 1985 he went to Moscow for the 12th World Youth and Students' Festival alongside Juan Carlos Baglietto and Litto Nebbia representing Argentina.
He gathered material from the different places he visited in Argentina during the 1981-1983 tour, and recorded in Buenos Aires with various autochthonous musicians the first volume of De Ushuaia a La Quiaca ("From Ushuaia to La Quiaca") in 1985. The following De Ushuaia a La Quiaca 2 and De Ushuaia a La Quiaca 3 where recorded in a mobile studio in different locations of the country.
He had concerts in Germany with good friend Mercedes Sosa, and upon his return to Argentina he had another tour around the country during 1986. In 1987 he returned to Germany for seven concerts, including that of Berlin's Political Song Festival.
When he returned, he performed for free in two concerts: for 40,000 spectators at the National Flag Memorial in Rosario, and for 35,000 in Buenos Aires. At Boca Juniors Stadium he did a concert with Pablo Milanés and Chico Buarque, and guest musicians Mercedes Sosa, Fito Páez, Nito Mestre, Juan carlos Baglietto and Sixto Palavecino. At the end of the year he went on a World Tour that included countries such as Mexico, Peru, Brasil, Sweden, Germany and Denmark.
Again, in 1988, he performed in Germany and Austria. Back in Argentina he participated in the final concert of the Amnesty International tour at River Plate Stadium, with Charly García, Peter Gabriel, Bruce Springsteen, Sting, and others.
After eight years of touring, Semillas del corazón of 1989 marked his return to the studio. That same year he performed at the Teatro Ópera in Buenos Aires with United States' folk legend Pete Seeger, material that was edited in the 1990 Concierto en vivo. The following year, Seeger asked him to joint a tour that took him to Washington, Boston and New York City. There he played with David Byrne, whom he had already known in Buenos Aires shortly before.
In 1992 he played with Milton Nascimento, Mercedes Sosa, Os Paralamas do Sucesso, Gilberto Gil and Rubén Rada at the inauguration of the Latin American Parliament in São Paulo. He also released Mensajes del Alma ("Messages of the Soul").
In 1994 he edited Desenchufado ("Unplugged"), an ironic name mocking the popular MTV unplugged concerts, with a recompilation of old songs. Even though the 1997 Los Orozcos had a few songs that did not follow Gieco's folkloric past, the rest of the disc had his style, and many guest musicians participated in the recording, among them Mercedes Sosa, Ricardo Mollo (Divididos), Santaolalla and Ricardo Iorio.
Also in 1997 he participated in the 20 year memorial concert for the Mothers of the Plaza de Mayo, with bands such as Divididos, Las Pelotas, La Renga, Los Piojos, and Attaque 77.
Discography
* León Gieco (1973)
* La Banda de los Caballos Cansados (1974)
* El fantasma de Canterville (1976)
* IV LP (1978)
* Siete años (1980)
* Pensar en nada (1981)
* Corazón americano / El gran concierto (1985)
* De Ushuaia a La Quiaca 1 (1985)
* De Ushuaia a La Quiaca 2 (1985)
* De Ushuaia a La Quiaca 3 (1985)
* Semillas del corazón (1989)
* Ayer y hoy (1989)
* Concierto en vivo con Pete Seeger (1990)
* Mensajes del alma (1992)
* Desenchufado (1994)
* Orozco (1997)
* En el país de la libertad (1999)
* De Ushuaia a La Quiaca 4 (1999)
* 40 obras fundamentales (2000)
* Bandidos rurales (2001)
* Por partida doble (2001)
* El vivo de León (2003)
* De Ushuaia a La Quiaca (re-edition) (2005)
* Por favor, perdón y gracias (2005)
Biography
Gieco started working at the early age of 8. With his own money he bought a guitar, and soon started playing at school at patriotic holiday commemorations, and with Los Nocheros folkloric music group. He also played with a rock band called Los Moscos, that soon gained some popularity within the neighbouring towns. They played songs of The Beatles, the Rolling Stones and Spencer Davis Group, when they won a concourse to play at Channel 5 of Rosario in 1965.
When he was 18 he went to Buenos Aires to try his luck. There he became acquainted with Litto Nebbia, and specially with Gustavo Santaolalla, who fixed him some chances to play in opening acts for better known musicians.
He got to play with different people, including David Lebón, and in the Buenos Aires Rock Festival in 1971, 1972, and 1973. That year his first album was released, recorded independently with Santaolalla during the previous two years. Its main song was En el país de la libertad ("In the country of freedom"), and the record acquired certain recognition; he is called "the Argentine Bob Dylan".
A year later, the second LP La Banda de los Caballos Cansados, followed the same style of trying to "understand the destiny of the peoples, the reason of injustice" (entender el destino de los pueblos, el por qué de las injusticias).
León had a series of concerts with a stable group of musicians, as well as other presentations with the Porsuigieco supergroup formed with Raúl Porchetto, Charly García, Nito Mestre and María Rosa Yorio. They had a relative success and released an eponymous record in 1976.
At the same time, he continued to play with his other group, and had a contract for two shows, but the breakup of the band forced him to make those shows all by himself. The audience seemed to like the one-man show, and Gieco decided to continue his path alone. In 1976 he released El Fantasma de Canterville. The record suffered a great deal of censorship from the military government; he had to change the lyrics of six songs and remove other three altogether. Nevertheless, the record was a success and he had concerts not only around Argentina but also on other countries of South America. Two years later he edited IV LP, with one of his most famous songs: Sólo le pido a Dios ("I only ask of God"). Because of the political situation in Argentina, he moved to Los Angeles for a year.
In 1981 he had a concert in Buenos Aires alone on stage, with a guitar, harmonic, and charango. He then released Pensar en nada ("To think about nothing"). That same year he started a 3-year, 110,000-kilometre-long series of independent concerts all over Argentina, playing for a total of 420,000 people.
In 1985 he went to Moscow for the 12th World Youth and Students' Festival alongside Juan Carlos Baglietto and Litto Nebbia representing Argentina.
He gathered material from the different places he visited in Argentina during the 1981-1983 tour, and recorded in Buenos Aires with various autochthonous musicians the first volume of De Ushuaia a La Quiaca ("From Ushuaia to La Quiaca") in 1985. The following De Ushuaia a La Quiaca 2 and De Ushuaia a La Quiaca 3 where recorded in a mobile studio in different locations of the country.
He had concerts in Germany with good friend Mercedes Sosa, and upon his return to Argentina he had another tour around the country during 1986. In 1987 he returned to Germany for seven concerts, including that of Berlin's Political Song Festival.
When he returned, he performed for free in two concerts: for 40,000 spectators at the National Flag Memorial in Rosario, and for 35,000 in Buenos Aires. At Boca Juniors Stadium he did a concert with Pablo Milanés and Chico Buarque, and guest musicians Mercedes Sosa, Fito Páez, Nito Mestre, Juan carlos Baglietto and Sixto Palavecino. At the end of the year he went on a World Tour that included countries such as Mexico, Peru, Brasil, Sweden, Germany and Denmark.
Again, in 1988, he performed in Germany and Austria. Back in Argentina he participated in the final concert of the Amnesty International tour at River Plate Stadium, with Charly García, Peter Gabriel, Bruce Springsteen, Sting, and others.
After eight years of touring, Semillas del corazón of 1989 marked his return to the studio. That same year he performed at the Teatro Ópera in Buenos Aires with United States' folk legend Pete Seeger, material that was edited in the 1990 Concierto en vivo. The following year, Seeger asked him to joint a tour that took him to Washington, Boston and New York City. There he played with David Byrne, whom he had already known in Buenos Aires shortly before.
In 1992 he played with Milton Nascimento, Mercedes Sosa, Os Paralamas do Sucesso, Gilberto Gil and Rubén Rada at the inauguration of the Latin American Parliament in São Paulo. He also released Mensajes del Alma ("Messages of the Soul").
In 1994 he edited Desenchufado ("Unplugged"), an ironic name mocking the popular MTV unplugged concerts, with a recompilation of old songs. Even though the 1997 Los Orozcos had a few songs that did not follow Gieco's folkloric past, the rest of the disc had his style, and many guest musicians participated in the recording, among them Mercedes Sosa, Ricardo Mollo (Divididos), Santaolalla and Ricardo Iorio.
Also in 1997 he participated in the 20 year memorial concert for the Mothers of the Plaza de Mayo, with bands such as Divididos, Las Pelotas, La Renga, Los Piojos, and Attaque 77.
Discography
* León Gieco (1973)
* La Banda de los Caballos Cansados (1974)
* El fantasma de Canterville (1976)
* IV LP (1978)
* Siete años (1980)
* Pensar en nada (1981)
* Corazón americano / El gran concierto (1985)
* De Ushuaia a La Quiaca 1 (1985)
* De Ushuaia a La Quiaca 2 (1985)
* De Ushuaia a La Quiaca 3 (1985)
* Semillas del corazón (1989)
* Ayer y hoy (1989)
* Concierto en vivo con Pete Seeger (1990)
* Mensajes del alma (1992)
* Desenchufado (1994)
* Orozco (1997)
* En el país de la libertad (1999)
* De Ushuaia a La Quiaca 4 (1999)
* 40 obras fundamentales (2000)
* Bandidos rurales (2001)
* Por partida doble (2001)
* El vivo de León (2003)
* De Ushuaia a La Quiaca (re-edition) (2005)
* Por favor, perdón y gracias (2005)
Sólo le pido a Dios
León Gieco Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Solo le pido a Dios
Que el dolor no me sea indiferente
Que la reseca muerte no me encuentre
Vacía y sola sin haber hecho lo suficiente
Solo le pido a Dios
Que lo injusto no me sea indiferente
Que no me abofeteen la otra mejilla
Después que una garra me arañó esta suerte
Solo le pido a Dios
Que la guerra no me sea indiferente
Es un monstruo grande y pisa fuerte
Toda la pobre inocencia de la gente
Es un monstruo grande y pisa fuerte
Toda la pobre inocencia de la gente
Solo le pido a Dios
Que el engaño no me sea indiferente
Si un traidor puede más que unos cuantos
Que esos cuantos no lo olviden fácilmente
Solo le pido a Dios
Que el futuro no me sea indiferente
Desahuciado está el que tiene que marchar
A vivir una cultura diferente
Solo le pido a Dios
Que la guerra no me sea indiferente
Es un monstruo grande y pisa fuerte
Toda la pobre inocencia de la gente
Es un monstruo grande y pisa fuerte
Toda la pobre inocencia de la gente
Es un monstruo grande y pisa fuerte
Toda la pobre inocencia de la gente
Que el dolor no me sea indiferente
Que la reseca muerte no me encuentre
Vacía y sola sin haber hecho lo suficiente
Solo le pido a Dios
Que lo injusto no me sea indiferente
Que no me abofeteen la otra mejilla
Solo le pido a Dios
Que la guerra no me sea indiferente
Es un monstruo grande y pisa fuerte
Toda la pobre inocencia de la gente
Es un monstruo grande y pisa fuerte
Toda la pobre inocencia de la gente
Solo le pido a Dios
Que el engaño no me sea indiferente
Si un traidor puede más que unos cuantos
Que esos cuantos no lo olviden fácilmente
Solo le pido a Dios
Que el futuro no me sea indiferente
Desahuciado está el que tiene que marchar
A vivir una cultura diferente
Solo le pido a Dios
Que la guerra no me sea indiferente
Es un monstruo grande y pisa fuerte
Toda la pobre inocencia de la gente
Es un monstruo grande y pisa fuerte
Toda la pobre inocencia de la gente
Es un monstruo grande y pisa fuerte
Toda la pobre inocencia de la gente
The lyrics to León Gieco's song Sólo Le Pido A Dios (I Only Ask of God) express his desire for compassion and justice in the face of pain and injustice. He asks that he not become indifferent to the pain he experiences, and that he does not die feeling empty and unfulfilled. Gieco also asks that he not become indifferent to injustice, that he not turn the other cheek when faced with hostility, and that he not forget the harm done to him or to others. He further asks that he not become indifferent to war, recognizing it as a monster that crushes the innocent and deprives them of their humanity. Finally, Gieco implores that he not become indifferent to deceit, and that he not forget the struggles of those who have been forced to flee their homes and embrace new cultures.
Line by Line Meaning
Solo le pido a Dios
I only ask of God
Que el dolor no me sea indiferente
that pain may never be indifferent to me
Que la reseca muerte no me encuentre
that dry death may never find me
Vacío y solo sin haber hecho lo suficiente
empty and alone, without having done enough
Que lo injusto no me sea indiferente
that injustice may never be indifferent to me
Que no me abofeteen la otra mejilla
that they may not slap my other cheek
Después que una garra me arañó esta suerte
after a claw scratched this fate of mine
Que la guerra no me sea indiferente
that war may never be indifferent to me
Es un monstruo grande y pisa fuerte
it is a large monster and it treads heavily
Toda la pobre inocencia de la gente
all the poor innocence of the people
Que el engaño no me sea indiferente
that deception may never be indifferent to me
Si un traidor puede más que unos cuantos
if a traitor can do more than a few
Que esos cuantos no lo olviden fácilmente
may those few not forget it easily
Que el futuro no me sea indiferente
that the future may never be indifferent to me
Desahuciado está el que tiene que marchar
condemned is the one who has to leave
A vivir una cultura diferente
to live in a different culture
Lyrics © O/B/O APRA AMCOS
Written by: Leon Gieco
Lyrics Licensed & Provided by LyricFind
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@lambertinomar8709
Esta canción de Gieco, junto con la del agujero, me parece de las mejores que ha compuesto, en su provechosa carrera. León, nunca fue el típico rockero argentino, alocado y hedonista, como el gran Charly García, Calamaro y otros tantos, identificados con la música británica o norteamericana. Por el contrario, a Gieco se le vincula más a personalidades como Mercedes Sosa o Atahualpa Yupanqui...
De ahí, creo, la justificación de la siguiente estrofa:
"Solo le pido a Dios
Que el futuro no me sea indiferente
Desahuciado está el que tiene que marchar
A vivir una cultura diferente..."
Nótese qué la utilización aquí de la palabra "desahuciado" con su enorme gravedad, no es gratuita ni debe dejarnos indiferentes. Expresa, el profundo sentimiento de arraigo de León, a la gran Patria de San Martín, Manuel Belgrano, Sarmiento o Mariano Moreno... Al igual que "la negra" Sosa, él adora a su tierra, y la sola idea de pensar en tener que abandonarla, le produce el mayor dolor, como una enfermedad terminal que le deja "desahuciado". Impresiona semejante sensibilidad. Y creo que es esta sensibilidad, la que ha hecho de él ese gran artista en que se convirtió. Y no sólo Mercedes ha cantado esta extraordinaria canción, también, la popular Ana Belén en España ha hecho una versión de gran éxito en su momento. Y aún así, León nunca ha querido pisar España.
🇦🇷
@EduardoPerez-ql2yf
SEÑOR TE PIDO QUE ACOJAS MI PEDIDO QUE NO ME PERMITAS MORIR SIN HABER CUMPLIDO TODOS TUS DESEOS Y QUE LA VIOLENCIA QUE VIVIMOS EN ESTOS MOMENTOS NO ME ATROPELLEN BAJO MI INOCENCIA Y GRACIAS SEÑOR POR DARME LA SEGUNDA OPORTUNIDAD
@MeixnerQuest
La canción "Solo le pido a Dios" es una de las composiciones más populares del cantautor argentino León Gieco. La letra de la canción es una súplica a Dios por paz, justicia y libertad en un mundo que a menudo se encuentra en un estado de violencia y conflicto.
Al escuchar esta canción, me lleva a reflexionar sobre la importancia de la fe y la esperanza en momentos difíciles. En momentos de incertidumbre y desesperación, a menudo recurrimos a la oración y la súplica a una fuerza superior para que nos ayude a encontrar una solución a nuestros problemas.
Pero también me hace reflexionar sobre nuestra responsabilidad como seres humanos para trabajar juntos para lograr un mundo más justo y pacífico. A menudo, es fácil dejar todo en manos de Dios, pero también debemos ser proactivos en nuestros esfuerzos por hacer del mundo un lugar mejor para todos.
En última instancia, la canción "Solo le pido a Dios" nos recuerda la importancia de mantener la fe en los tiempos difíciles, pero también nos llama a la acción para trabajar juntos y lograr un mundo mejor.
@silvamarcelo1703
Sos un capo hermano ❤
@lucasromero3701
Excelentes palabras. Hay que entrar en acción con Fe.
@gabrielasaldivia7923
Una canción que debiera ser una Filosofía de Vida... No importa qué religión tengas. Un mensaje inmortal!
@ferminkorkostegisaizar5146
Guztiz ados. Erlijioek bildu ordez etsai bihurtu gaituzte eta zoritxarrez. Agnostiko baten eskutik. Ondo izan fKS Hernani, 2021-04-22
@Amg.principal
La canción no es religiosa
@matiasmoran4661
Coincido Gabriela ! 👍🏻👍🏻
@maf3173
Al fin alguien que está acorde conmigo... este debería ser un evangelio mas de cualquier libro religioso...
@emymontesano4111
asi es ! , Con tanta religion hipócrita , esta cancion deberian cantar, hermosísima