Charly García took the band under his wing after dissolving Serú Girán, and the Abuelos played in García's 1982 Christmas concert. García also drafted López, Melingo and Calamaro for his band, in parallel with their work for the Abuelos. The 1983 debut album included many compositions by Abuelo-López, and a reggae hit by Calamaro's former partner Gringui Herrera, Tristezas de la ciudad (City blues).
For their 1983 album, Vasos y Besos, Melingo wrote his own reggae hit: Chala-man, Bazterrica contributed No se desesperen (Don't despair), and Calamaro chimed in with Mil horas (A thousand hours).
The band became popular with rockers and more pop-oriented audiences. Especially, Calamaro was favored by teenage girls looking for an "edgier" idol than balladeer Alejandro Lerner. The album sold a solid 160,000 records, and was presented in a six-month country-wide tour.
Record executives arranged to send the band to Ibiza for the recording of their 1984 album, Himno de mi Corazón (Hymn of my heart). The album became a sales hit as expected. Later that year, Melingo, who was also working with García and another band (Los Twist), called it quits and was replaced by Alfredo Desiata.
By early 1985, the band's spirits were damaged due to Bazterrica's cocaine addiction, which eventually had him fired from the band, and the rivalry between Abuelo and Calamaro for top billing.
About that time, Calamaro wrote what would be his last mega-hit with the band: Costumbres argentinas (Argentine habits). Sensing that the band was on the verge of dissolution, the band recorded a live album in the Opera theater in Buenos Aires on May 1985. For the occasion, Gringui Herrera replaced Bazterrica, Juan del Barrio reinforced Calamaro in keyboards, and Melingo played some songs as a guest musician.
The band played one last gig on October 1985, in the Vélez Sársfield stadium, to fulfill their contractual obligation to the "Rock and Pop" festival which featured INXS. The crowd reacted badly to the band's evident lack of motivation (the pouring rain and the badly mixed sound did not help), and Abuelo was hit in the face by a bottle hurled from the field. The band played the remainder of their set with Abuelo visibly bleeding.
With the band dissolved, Abuelo started playing small venues, harking back to his roots of poetry-influenced songwriting. Late in 1986, he drafted Polo Corbella, Kubero Díaz, and sax player Willy Crook to form a new Abuelos band, which recorded Cosas mías in 1987 with relative success.
In late 1987, following gallbladder surgery, Miguel Abuelo was diagnosed with AIDS; terminally ill, he died from cardiac arrest a few days after his 42nd birthday, in March 26, 1988. That was the end of the Abuelos as a band; the remaining members reunited several times, with different formations. Notably, Miguel's son Gato played with Calamaro, Bazterrica and Corbella in a 1997 re-union.
The rights to the Abuelos de la Nada name were offered by Abuelo's widow Krisha Bogdan to Kubero Díaz, who refused out of respect. At some point during 2001, it was reported that Bogdan and Gato were fighting in court over the rights to the name and to Miguel Abuelo's unpublished recordings.
Tristeza De La Ciudad
Los Abuelos de la Nada Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
por favor no vuelvas.
Hoy no quiero verte aquí, no, no.
No sigas con esto más.
La gente que camina por la calle
te lo agradecerá infinitamente.
No. No, no...No, no.
No, no...No, no.
No sigas con esto más.
Tristeza de la ciudad.
Por favor no vuelvas.
Hoy no quiero verte aquí. Ni allá.
No sigas con esto más.
La gente que camina por la calle
te lo agradecerá infinitamente.
No. No, no...No, no.
No sigas con esto más.
No, no...No, no.
No sigas con esto más.
The song "Tristeza De La Ciudad" by Los Abuelos de la Nada expresses the sadness and melancholy that the city brings. The singer begs for the city's sadness to not return, pleading for it to stay away. The song speaks to the city as though it's a person, saying that today, the singer does not want to see it. The lyrics express a desire for the city's sadness to end, for it to stop continuing with its melancholy atmosphere. The singer mentions that the people walking on the street will infinitely appreciate the city's absence.
The repetition of "No, no" throughout the song emphasizes the singer's plea for the city's sadness to end. The overall message of the song is that the singer is tired of feeling the weight of the city's sadness and wants to see it leave.
Line by Line Meaning
Tristeza de la ciudad
The sadness of the city
por favor no vuelvas.
Please don't come back.
Hoy no quiero verte aquí, no, no.
Today, I don't want to see you here, no, no.
No sigas con esto más.
Don't continue with this anymore.
La gente que camina por la calle
The people who walk along the road
te lo agradecerá infinitamente.
Will endlessly thank you.
No. No, no...No, no.
No. No, no...No, no.
No sigas con esto más.
Don't continue with this anymore.
No, no...No, no.
No, no...No, no.
No sigas con esto más.
Don't continue with this anymore.
Tristeza de la ciudad.
The sadness of the city.
Por favor no vuelvas.
Please don't come back.
Hoy no quiero verte aquí. Ni allá.
Today, I don't want to see you here. Nor there.
No sigas con esto más.
Don't continue with this anymore.
La gente que camina por la calle
The people who walk along the road
te lo agradecerá infinitamente.
Will endlessly thank you.
No. No, no...No, no.
No. No, no...No, no.
No sigas con esto más.
Don't continue with this anymore.
No, no...No, no.
No, no...No, no.
No sigas con esto más.
Don't continue with this anymore.
Contributed by Kylie J. Suggest a correction in the comments below.
Agustin Serra
Tristeza de la ciudad
por favor no vuelvas.
Hoy no quiero verte aquí, no, no.
No sigas con esto más.
La gente que camina por la calle
te lo agradecerá infinitamente.
No. No, no...No, no.
No sigas con esto más.
No, no...No, no.
No sigas con esto más.
Tristeza de la ciudad.
Por favor no vuelvas.
Hoy no quiero verte aquí. Ni allá.
No sigas con esto más.
La gente que camina por la calle
te lo agradecerá infinitamente.
No. No, no...No, no.
No sigas con esto más.
No, no...No, no.
No sigas con esto más.
MrDiegonyx
Este tema y Chalaman fueron los primeros temas de reggae que escuché en mi vida. El proceso se completó años más tarde con la banda de cierto pelado, italiano él, de la zona de Hurlingham. Sí, ése. Gracias a ambas bandas por su contribución a mi educación musical, sin Uds. no hubiera sido lo mismo, muchachos
Leandro Correa
aguante luca prodan haciendo reggae
Lucas cocilobo
En realidad el primer reggae argentino lo toco donalds con una base jamaiquina
Salud Y Mucho Más HD
Gracias por el dato.
Analigia Ore
A mis 14 años primer tema que escuche en un boliche y me rompio la cabeza y lleno el corazon, los ame
Paul R. Alpoim
"Los Abuelos"... sentimiento y talento argentino, ...! Melancolia, lucidez ,poesia, talento y musica. Miguel por siempre !!
SebastiánLinardi
Que impresionante, hace mas de 20 años que los escucho y los sigo y sigo escuchando. Solo agradecimiento y nostalgia positiva para tan excelente epoca de mi vida, Abuelos de la Nada, nunca mas una banda asi como tampoco un Negro Olmedo, un Tato. un Porcel, pareciera que las cosas buenas solo pertenecen al pasado y lo lamento tanto.
Celeste Celeste
Esta es musica para toda la vida en pocas palabras..
Juan Medina
Lo bueno es q esta todo esto en youtube Bro! 👍🏻
George Pinazzo Maquera
que genialidad ! rock argentino es muy bueno , saludos desde Perú , la música esta muy genial,me alegro el dia .