In 1986 a group of friends who used to get together to play music, became L… Read Full Bio ↴In 1986 a group of friends who used to get together to play music, became LOS PERICOS, the first REGGAE Rock band in Argentina.
Their first record, “LOS PERICOS” released in 1988 was the best selling album of the year, obtaining Triple Platinum Award for its 180 thousand units sold.
One year later, they recorded KING KONG, produced by Herbert Vianna (OS PARALAMAS DO SUCESSO). Immediately after, they launched Maxi ANFITREU, a vinyl disc that impacted because of its unique style.
In 1990 LOS PERICOS launched their third studio record RAB A DAB STAIL and they went on tour, performing several live concerts around Argentina, highlighting the two shows at the LUNA PARK Stadium in Buenos Aires.
Their 4th album, BIG YUYO, was launched in 1993. In it PERICOS, showed a strongly predominant musical sound reflecting their own identity with songs such as: ME LATE, WAITIN, HACE LO QUE QUIERAS, etc. They caused a surge of popularity across Latin America countries chartering successfully.
That same year LOS PERICOS were invited to participate in the 6th INTERNATIONAL FESTIVAL REGGAE SUNSPLASH Edition, taking place annually in JAMAICA.
In 1994 they performed again in the INTERNATIONAL FESTIVAL REGGAE SUNSPLASH and closed the WORLD BEAT NIGHT. Rita Marley invited them to the TUFF GONG RECORDS studios, where BOB MARLEY used to record.
That July, they enthusiastically embarked on a tour through the United States including the cities of Miami, New York, Los Angeles, Chicago and Boston, after finishing the recording of their 5th album in that country.
With the released of PAMPAS REGGAE, tours across Latin America and the sales of their records continued to increase.
Their sales reached more than one million copies worldwide.
Their 6th album, YERBABUENA, was released simultaneously in every country of LATIN AMERICA, the UNITED STATES and SPAIN.
In March 1997, PERICOS was the only Latin America band invited to participate in the reggae tribute to The Police and recorded, together with STEWART COPELAND: DARKNESS, included in Regatta Mondatta album. They also participated in the latin tribute to The Police: Outlandos D´America.
On the 28th of December 1997, they celebrated their 10 years anniversary with a free live outdoor concert, supported by the GOBIERNO DE LA CIUDAD DE BUENOS AIRES, for more than 120,000 people.
1998 started with a couple of shows across Central America and Venezuela with a live concert in MARGARITA ISLAND for 140,000 people and a performance with a record audience of 180,000 people at the FESTIVAL EXPERIENCIA ROJA in CARACAS.
By mid July they started recording their next album at their own studio, ROBLEDO SOUND MACHINE. They travelled again to Caracas, but this time to the 50th anniversary celebration of the UNIVERSAL HUMAN RIGHTS DECLARATION (at La Carlota Airport), organised by AMNESTY INTERNATIONAL.
On 27th of November 1998, they released MYSTIC LOVE and the videoclip of its first cut, SIN CADENAS.
The presentation of MYSTIC LOVE was on AUGUST 31st and September 1st at the OPERA THEATRE, both performances were absolutely SOLD OUT without having the opportunity to add shows due to the theatre’s lack of available dates.
In November they started the 5th Mystic Love Tour including the cities of NEW JERSEY, QUEENS, MANHATTAN and MONTREAL. That was the first time an Argentinean band reached this Canadian City and obtained stunning reviews in TORONTO, where they presented a very hot show in spite of low temperature.
At the beginning of 2000, LOS PERICOS gave a show at RIVER PLATE STADIUM celebrating THE NEW MILENIUM for an audience of 75,000 people.
LOS PERICOS began mixing a new album, a tribute to the 1008 shows performed until such time, called: 1000 VIVOS.
During 2001 they continued with their shows across the continent and were invited to close the 2001 VIVE LATINO edition.
In 2004, the Argentinean band with 17 years of successful path, surprised its fans by changing their vocal scheme; with Juanchi Baleiron switching from lead guitar to vocals.
With a completely fresh approach, fuelled by the beginning of a new stage of change and challenge, they presented a live show with a more compact scheme, reinforcing their reggae-rock format.
More than two million records were sold and 1600 live shows performed, rocketing LOS PERICOS as one of the MOST IMPORTANT BANDS in the history of LATIN REGGAE/ROCK.
In August 2005 the band released its new album called "7" with performances across Latin America.
In 2006 the band went on one of its most important tours. They performed in México, Uruguay, Ecuador, Puerto Rico, USA, Venezuela, Canadá, Bolivia, Colombia, Chile, Salvador and Perú; more than 140 shows in a year.
2007 starts with the Argentinean summer tour , performing in this country’s most popular vacation destinations. In April they returned to Mexico for the Reggae Music Fest featuring Pato Banton in their set. During May they closed the International Festival of Veracruz, and had a show for 50,000 in Caracas Venezuela.
PERICOS is currently working on new material to be released this November.
Their first record, “LOS PERICOS” released in 1988 was the best selling album of the year, obtaining Triple Platinum Award for its 180 thousand units sold.
One year later, they recorded KING KONG, produced by Herbert Vianna (OS PARALAMAS DO SUCESSO). Immediately after, they launched Maxi ANFITREU, a vinyl disc that impacted because of its unique style.
In 1990 LOS PERICOS launched their third studio record RAB A DAB STAIL and they went on tour, performing several live concerts around Argentina, highlighting the two shows at the LUNA PARK Stadium in Buenos Aires.
Their 4th album, BIG YUYO, was launched in 1993. In it PERICOS, showed a strongly predominant musical sound reflecting their own identity with songs such as: ME LATE, WAITIN, HACE LO QUE QUIERAS, etc. They caused a surge of popularity across Latin America countries chartering successfully.
That same year LOS PERICOS were invited to participate in the 6th INTERNATIONAL FESTIVAL REGGAE SUNSPLASH Edition, taking place annually in JAMAICA.
In 1994 they performed again in the INTERNATIONAL FESTIVAL REGGAE SUNSPLASH and closed the WORLD BEAT NIGHT. Rita Marley invited them to the TUFF GONG RECORDS studios, where BOB MARLEY used to record.
That July, they enthusiastically embarked on a tour through the United States including the cities of Miami, New York, Los Angeles, Chicago and Boston, after finishing the recording of their 5th album in that country.
With the released of PAMPAS REGGAE, tours across Latin America and the sales of their records continued to increase.
Their sales reached more than one million copies worldwide.
Their 6th album, YERBABUENA, was released simultaneously in every country of LATIN AMERICA, the UNITED STATES and SPAIN.
In March 1997, PERICOS was the only Latin America band invited to participate in the reggae tribute to The Police and recorded, together with STEWART COPELAND: DARKNESS, included in Regatta Mondatta album. They also participated in the latin tribute to The Police: Outlandos D´America.
On the 28th of December 1997, they celebrated their 10 years anniversary with a free live outdoor concert, supported by the GOBIERNO DE LA CIUDAD DE BUENOS AIRES, for more than 120,000 people.
1998 started with a couple of shows across Central America and Venezuela with a live concert in MARGARITA ISLAND for 140,000 people and a performance with a record audience of 180,000 people at the FESTIVAL EXPERIENCIA ROJA in CARACAS.
By mid July they started recording their next album at their own studio, ROBLEDO SOUND MACHINE. They travelled again to Caracas, but this time to the 50th anniversary celebration of the UNIVERSAL HUMAN RIGHTS DECLARATION (at La Carlota Airport), organised by AMNESTY INTERNATIONAL.
On 27th of November 1998, they released MYSTIC LOVE and the videoclip of its first cut, SIN CADENAS.
The presentation of MYSTIC LOVE was on AUGUST 31st and September 1st at the OPERA THEATRE, both performances were absolutely SOLD OUT without having the opportunity to add shows due to the theatre’s lack of available dates.
In November they started the 5th Mystic Love Tour including the cities of NEW JERSEY, QUEENS, MANHATTAN and MONTREAL. That was the first time an Argentinean band reached this Canadian City and obtained stunning reviews in TORONTO, where they presented a very hot show in spite of low temperature.
At the beginning of 2000, LOS PERICOS gave a show at RIVER PLATE STADIUM celebrating THE NEW MILENIUM for an audience of 75,000 people.
LOS PERICOS began mixing a new album, a tribute to the 1008 shows performed until such time, called: 1000 VIVOS.
During 2001 they continued with their shows across the continent and were invited to close the 2001 VIVE LATINO edition.
In 2004, the Argentinean band with 17 years of successful path, surprised its fans by changing their vocal scheme; with Juanchi Baleiron switching from lead guitar to vocals.
With a completely fresh approach, fuelled by the beginning of a new stage of change and challenge, they presented a live show with a more compact scheme, reinforcing their reggae-rock format.
More than two million records were sold and 1600 live shows performed, rocketing LOS PERICOS as one of the MOST IMPORTANT BANDS in the history of LATIN REGGAE/ROCK.
In August 2005 the band released its new album called "7" with performances across Latin America.
In 2006 the band went on one of its most important tours. They performed in México, Uruguay, Ecuador, Puerto Rico, USA, Venezuela, Canadá, Bolivia, Colombia, Chile, Salvador and Perú; more than 140 shows in a year.
2007 starts with the Argentinean summer tour , performing in this country’s most popular vacation destinations. In April they returned to Mexico for the Reggae Music Fest featuring Pato Banton in their set. During May they closed the International Festival of Veracruz, and had a show for 50,000 in Caracas Venezuela.
PERICOS is currently working on new material to be released this November.
La Ciénega Blvd.
Los Pericos Lyrics
Jump to: Overall Meaning ↴
Salgo por la noche a caminar
Al boulevard, boulevard, boulevard
Vuelta a la cultura estimulante
Del boulevard, boulevard, boulevard
Postales de Pompeya
Figuras chinas y hasta un caf irlands
Cancin de nochebuena de una morena
Silbando en su vaivn
Para mi que nadie te vuelve a mirar
En el silencio de la oscuridad
Para mi que nadie te vuelve a mirar
Se esconden en las sombras por algo ilegal
Para mi que nada pero nadie te vuelve a mirar
Si escuchan la sirena que puede llegar
Para mi que nada pero nadie te vuelve a mirar
Si ven a la patrulla que vuelve a pasar
Cada uno tiene su vision
La ma la perd en un callejon
Vuelta a la cultura estimulante
Del boulevard, boulevard, boulevard
Un loco en su historia
Y dos amantes contra la pared
Discuten sus memoria
Y me preguntan algo que no se
Paseando y mirando una bola de fuego
Cada uno en la calle atiende su juego
Miradas esquivas, miradas cercanas
Violines sonando hasta la madrugada
Rpida comida se cuece en la esquina
Necesito dulces en esta salida
Chicas morenas, chicas coloradas
Junto a sus galanes esperando en la entrada
Vuelta a la cultura estimulante
Del boulevard, boulevard, boulevard
Vuelta a la costumbre estimulante
Del boulevard, boulevard, boulevard
Paseando y mirando una bola de fuego
Cada uno en la calle atiende su juego
Miradas esquivas, miradas cercanas
Violines sonando hasta la madrugada
Rpida comida se cuece en la esquina
Necesito dulces en esta salida
Chicas morenas, chicas coloradas
Junto a sus galanes esperando en la entrada
Veo cruzando a la torre inglesa
Junto a un pabellon de la Madre Teresa
Donde quedara
Al boulevard, boulevard, boulevard
Vuelta a la cultura estimulante
Del boulevard, boulevard, boulevard
Postales de Pompeya
Figuras chinas y hasta un caf irlands
Cancin de nochebuena de una morena
Para mi que nadie te vuelve a mirar
En el silencio de la oscuridad
Para mi que nadie te vuelve a mirar
Se esconden en las sombras por algo ilegal
Para mi que nada pero nadie te vuelve a mirar
Si escuchan la sirena que puede llegar
Para mi que nada pero nadie te vuelve a mirar
Si ven a la patrulla que vuelve a pasar
Cada uno tiene su vision
La ma la perd en un callejon
Vuelta a la cultura estimulante
Del boulevard, boulevard, boulevard
Un loco en su historia
Y dos amantes contra la pared
Discuten sus memoria
Y me preguntan algo que no se
Paseando y mirando una bola de fuego
Cada uno en la calle atiende su juego
Miradas esquivas, miradas cercanas
Violines sonando hasta la madrugada
Rpida comida se cuece en la esquina
Necesito dulces en esta salida
Chicas morenas, chicas coloradas
Junto a sus galanes esperando en la entrada
Vuelta a la cultura estimulante
Del boulevard, boulevard, boulevard
Vuelta a la costumbre estimulante
Del boulevard, boulevard, boulevard
Paseando y mirando una bola de fuego
Cada uno en la calle atiende su juego
Miradas esquivas, miradas cercanas
Violines sonando hasta la madrugada
Rpida comida se cuece en la esquina
Necesito dulces en esta salida
Chicas morenas, chicas coloradas
Junto a sus galanes esperando en la entrada
Veo cruzando a la torre inglesa
Junto a un pabellon de la Madre Teresa
Donde quedara
La Ciénega Blvd. is a song by Los Pericos that explores the nightlife and culture of the famous boulevard. The lyrics depict the singer going out at night to walk along the boulevard, immersing themselves in its stimulating and vibrant atmosphere. The boulevard is described as a place of diverse and intriguing sights, such as Chinese figures, an Irish café, and even a night song by a brunette who whistles as she sways. It seems like a place where different cultures converge and where people can escape reality for a while.
The chorus suggests a sense of loneliness or anonymity that the singer feels on the boulevard. They believe that no one looks at them anymore in the silence of the darkness. They note that people hide in the shadows, possibly engaged in something illegal, and that sirens and patrols pass by without anyone paying attention. Despite the lively and bustling nature of the boulevard, there is an underlying sense of isolation and detachment from others.
The song also touches upon personal experiences and memories. The singer mentions losing their vision in an alley, perhaps symbolizing losing sight of their own dreams or aspirations. They observe a crazy person with their own story and two lovers having a discussion against a wall, questioning them about something they don't know. It portrays a mix of surreal and everyday moments that add to the colorful tapestry of the boulevard.
Overall, "La Ciénega Blvd." by Los Pericos is a vivid portrayal of the nightlife, culture, and solitude that can be found on this famous boulevard. It captures both the exciting and lonely aspects of this vibrant urban setting.
Lyrics © O/B/O APRA AMCOS
Lyrics Licensed & Provided by LyricFind
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