Roberto Carlos (born April 19, 1941 in Cachoeiro de Itapemirim, Espírito Sa… Read Full Bio ↴Roberto Carlos (born April 19, 1941 in Cachoeiro de Itapemirim, Espírito Santo, Brazil) initiated a major revolution of customs in Brazil in the '60s. Reaching success in a period coinciding with the youth movement started by the The Beatles that was taking over the world, Carlos was the leader of Jovem Guarda ("Young Guard") . He led the TV show that became a generic denomination of a musical style and what was a definitive change of face to the Brazilian phonographic market and of the very art of marketing itself (with the advent of an aggressive merchandising of the JG's top figures, including films, clothes, etc.), encompassing deep behavioral/gestual/language influences widespread through his entire generation. His light music, derived from British pop, and his (and his partner's Erasmo Carlos) lyrics (happy, humorous, and full of fashionable youth slang and naïve though unexpectedly sexual) were deeply contrasting to the serious MPB, with its somber images and protest songs. After all, Brazil was living in a dark period of the military dictatorship, or the "years of lead" as they became known.
A few years later, in the late '60s, Carlos (counseled by his advisers) changed his style to become the most successful romantic artist in Brazil. Having written (always with Erasmo Carlos) some of the most beautiful songs in this style (such as "Detalhes," "Sua Estupidez," "Jesus Cristo," "Debaixo dos Caracóis dos Seus Cabelos," etc.), Carlos accumulated virtually all possible accomplishments as a highly successful artist, including a solid international career with awards like the Grammy and top positions on Billboard's Latin charts. Though the adherence to a worn-out sentimental formula proved to be affective in commercial terms (more than 70 million albums sold in his career), it ultimately led him to be known, in the '80s and '90s, as a cheesy artist by youngsters and part of the adult listeners. Nevertheless, the mid-'90s witnessed a resurgence of Jovem Guarda talents through tributes of new rockers and Carlos reached the 21st century uncontestedly enjoying his absolute title: the King.
Roberto Carlos was from a lower-middle-class family. At six, he lost one of his legs and began using a prosthesis. At nine, he debuted on his home city's local radio. In 1955, he moved to Niterói (Rio de Janeiro) and then to Lins de Vasconcelos (a suburb of Rio de Janeiro), where he started to get into rock through Bill Haley, Elvis Presley, and Little Richard, at the same time he met Carlos Imperial, also from his hometown, who, as a TV and radio producer, would be of considerable importance to Carlos's early professional years. Two years later, Carlos performed at TV Tupi, singing "Tutti Frutti" (R. Penniman/J. Lubin/D. La Bostrie). In that period, he was scheduled to open a Bill Haley show at the Maracanazinho (Rio), when he became acquainted with Erasmo Carlos (then Erasmo Esteves). In 1958, Carlos met the "Matoso gang," as were known the future artists Tim Maia, Jorge Ben, and the same Erasmo Esteves, among others, who would meet at Matoso Street at Tijuca (a neighborhood of Rio). Carlos, Erasmo, and Tim Maia (together with Edson Trindade, Arlênio Lívio, and José Roberto "China") formed the group the Snacks (later the Sputniks), playing balls and performing on TV (including at Carlos Imperial's Clube do Rock on TV Continental, where Carlos was already a regular). The group was soon dissolved due to the incompatibility between Carlos and Maia.
After working as an extra in several films such as Agüenta o Rojão and Minha Sogra é da Polícia (in which they backed up Cauby Peixoto on one song), Carlos and Erasmo played together in Erasmo's quartet the Snakes until Carlos was called by Imperial to take Carlos Lyra's place in the Os Terríveis band that played Elvis Presley covers on TV shows and live performances contracted by Imperial.
Soon, Carlos left the band to try to become a bossa nova artist. Strongly influenced by João Gilberto in that period, Carlos often tried to "sit-in" at the famous temples Plaza nightclub and the clubs of the Beco das Garrafas, but to no avail. A testimony of his ephemeral and unaccomplished bossa nova phase is Carlos' first album, with "João e Maria" and "Fora do Tom" (both by Imperial). In August 1960, a new release was launched, again in the bossa vein, "Brotinho Sem Juízo" and "Canção do Amor Nenhum" (again, both by Imperial). At the same time, Carlos would participate regularly in shows presented by Imperial, Os Brotos Comandam (TV Continental and Rádio Guanabara) and Festa de Brotos (TV Tupi). In 1961, in the same year in which Carlos recorded his first LP (a derivation toward boleros and ballads, Louco por Você) that earned some acceptance at the time (3,500 copies sold in one year), he accepted the suggestion of the record company CBS and changed his style to youth music, starting to write songs with the composer/lyricist who would become his most important collaborator: Erasmo Carlos. The duo's first hit was Carlos' rendition for an Erasmo version of "Splish Splash" (Bobby Darin), having as the B-side another classic written by them, "Parei na Contramão." The album was recorded and launched in 1963 as Carlos' fifth 78 rpm, accompanied by Renato e seus Blue Caps. It sold 7,500 copies, a modest amount today, but it represented a considerable selling then and the milestone of a new time.
In 1964, the LP É Proibido Fumar (backed by the Youngsters) had hits with the title track (by Carlos/Erasmo) and with Erasmo's version of "Road Hog" (Gwen/John D. Loudermilk), "O Calhambeque." It sold almost 12,000 copies in 18 months and was considered high-selling then, but still behind the leader Carlos Alberto (a bolero singer), who was selling more than twice as much. Nevertheless, Carlos' nationwide success was ascending, with more and more invitations for TV and radio shows and CBS wanting to take him to Argentina. That year, Carlos recorded the same repertory in Spanish, also backed by the Youngsters, and the album Es Prohibido Fumar was released by the end of 1964 in Argentina. It was planned to also be distributed in Brazil, but as the military government considered anything in Spanish (the language of Fidel Castro and Che Guevara) dangerous to the country, the album was simply taken out of the catalog by the recording company.
In 1965, Carlos was elected the King for the first time by direct vote of the audience in a contest promoted by Antônio Aguillar on his Reino da Juventude show. Later, the title would be confirmed at the highly popular Chacrinha show and it would be his for life.
In the same year, Roberto Carlos Canta Para a Juventude broke all records established by the singer until then, by far surpassing Carlos Alberto and his Amor Perdido. Carlos' album reached fifth place according to IBOPE (a most-accredited public opinion research institute), however, it quickly fell several positions. In fact, he would only have an album at number one of the top parade by the end of the year, with his next LP. Until then, his rising success would sell over 20,000 copies of the double single with "História de um Homem Mau" (reaching fourth place on the charts) and 50,000 copies of his single "Não Quero Ver Você Triste",
On September 5, Roberto Carlos opened the legendary show Jovem Guarda as the main host and also featuring Vanderléa and Erasmo Carlos by his side. The show gave the name and directives to the first musical scene produced especially for Brazilian youth, representing a major cultural/behavioral/commercial breakthrough. After the show debut, Carlos' popularity reached levels unimagined until then. Scoring hits in Argentina and Brazil, Carlos became the best-seller for CBS. A double single with "A Garota do Baile," Carlos reached number two in November, behind the Beatles' "Help!" But his album Jovem Guarda, also launched in November, took only one week to push "Help!" out of number one on the Brazilian charts, selling almost 200,000 copies in one year. "Quero Que Vá Tudo Pro Inferno" became a nationwide hit and with the exception of brief periods of time, it reigned absolute at number one on the top parade during the entire first semester of 1966. After performing in Argentina, Uruguay, and Paraguay — countries in which the Spanish version of "O Calhambeque" continued to have success — Carlos went to Europe in April 1966, singing in Portugal (where "Calhambeque" and "Quero Que Vá Tudo Pro Inferno" were in first place on Lisbon charts). Returning to Brazil, he soon departed for a tour that started in South America, then Central and North America, where he sang in Los Angeles, Miami, and New York, then Europe (London, Paris, Berlin, and Lisbon). Roberto Carlos, released in December 1966 and went right to number one in the second week (remaining there until April 1967), sold 300,000 copies in less than a year. Also in 1967, Carlos starred the feature film Roberto Carlos em Ritmo de Aventura (whose soundtrack sold 300,000 copies, staying at number one from December 17 until June 1968; the film also broke all box-office records until then); won fifth place at the III FMPB (Festival of Brazilian Popular Music of the TV Record, São Paulo) with "Maria, Carnaval e Cinzas," by Luís Carlos Paraná (reaching number one as a single in November); participated in the MIDEM Festival in Cannes, France; and won the Chico Viola trophy for the songs "Quero Que Vá Tudo pro Inferno" and "Esqueça" and for the LP Jovem Guarda. In June of the same year, Carlos departed for a series of shows in Europe, Africa, Asia, and the U.S. In Italy, he participated in the Venice Song Festival.
In 1968, Carlos left Jovem Guarda, which due to his absence would soon cease to exist. His departure was a result of a mature decision to migrate from a youth idol profile to that of a romantic singer. In the same year, Carlos won the San Remo Festival (XVIII Festival della Canzone Italiana) with "Canzone Per Te" (Sergio Endrigo) and starred the film O Diamante Cor-de-Rosa (also a box office success), opening his own show Roberto Carlos à Noite (TV Record) on March 15. As a romantic singer, Carlos had several hits in the 1970s that still had his creative impetus, such as "Sua Estupidez," "As Flores do Jardim de Nossa Casa," "Jesus Cristo," "Amada Amante," "Detalhes," "Debaixo dos Caracóis dos Seus Cabelos," "A Montanha," "A Proposta," "Além do Horizonte," "Olha," "Amante à Moda Antiga," and "A Ilha" (all with Erasmo), along with "Como Vai Você?" (Antônio Marcos/Mário Marcos), and two songs written by Caetano Veloso especially for him, "Como Dois e Dois" and "Muito Romântico." In that decade, Carlos also consolidated his international career doing regular shows in the U.S., Europe, and Latin America. In the year of 1970, he did his first show at the prestigious Canecão, which would be the first of his highly successful annual seasons at the most important Carioca hall in terms of media resonance. In the early '70s, Carlos became the top record-selling Brazilian artist, a position he would keep for many consecutive years. After 1976, his albums were selling over 1,000,000 copies. His 1977 album Roberto Carlos, with "Falando Sério," sold 2.2 million copies. His 1978 show also beat all records, with 250,000 spectators in six months throughout Brazil, while the album with "Café da Manhã," "Força Estranha," and "Lady Laura" sold 1.5 million copies.
In the '80s, Carlos also started to record in English and French (he had already recorded albums in Spanish, Italian, and, naturally, Portuguese), having won the Globo de Cristal trophy, awarded by CBS to Brazilian artists who sell more than five million copies outside Brazil. At the same time, his albums continued to break records in his country. "Caminhoneiro" (1984) was aired 3,000 times in a single day, another record soon beaten by his own "Verde e Amarelo" (1985), with 3,500 spins. In 1986, he had success at Radio City Music Hall (New York, NY) and, two years later, won the Grammy as the Best Latin American Pop singer. In 1989, his Sonrie reached first place on Billboard's Latin chart.
In the 1990s, Roberto Carlos became the first Latin American artist to sell more albums than the Beatles (in 1994, having by then sold over 70 million copies of his albums). In the mid-'90s, with the retro Jovem Guarda wave, Carlos, who was worn out among the younger generations who had only known his romantic and sentimental hits directed at a middle-aged audience, had his importance recuperated by young rockers such as Cássia Eller, Chico Science & Nação Zumbi, Barão Vermelho, and Skank, who recorded Rei, a tribute to him with his old Jovem Guarda hits.
In 1998, his second wife Maria Rita discovered she had cancer (she would die in 1999), which shattered his peace of mind. Trying to keep on with his career, Carlos continued to record and perform after one year of reclusion. In 2001, he broke his contract with Sony (ex-CBS), the recording company through which he had released a vast majority of his albums, due to commercial reasons related to his wife's demise.
A few years later, in the late '60s, Carlos (counseled by his advisers) changed his style to become the most successful romantic artist in Brazil. Having written (always with Erasmo Carlos) some of the most beautiful songs in this style (such as "Detalhes," "Sua Estupidez," "Jesus Cristo," "Debaixo dos Caracóis dos Seus Cabelos," etc.), Carlos accumulated virtually all possible accomplishments as a highly successful artist, including a solid international career with awards like the Grammy and top positions on Billboard's Latin charts. Though the adherence to a worn-out sentimental formula proved to be affective in commercial terms (more than 70 million albums sold in his career), it ultimately led him to be known, in the '80s and '90s, as a cheesy artist by youngsters and part of the adult listeners. Nevertheless, the mid-'90s witnessed a resurgence of Jovem Guarda talents through tributes of new rockers and Carlos reached the 21st century uncontestedly enjoying his absolute title: the King.
Roberto Carlos was from a lower-middle-class family. At six, he lost one of his legs and began using a prosthesis. At nine, he debuted on his home city's local radio. In 1955, he moved to Niterói (Rio de Janeiro) and then to Lins de Vasconcelos (a suburb of Rio de Janeiro), where he started to get into rock through Bill Haley, Elvis Presley, and Little Richard, at the same time he met Carlos Imperial, also from his hometown, who, as a TV and radio producer, would be of considerable importance to Carlos's early professional years. Two years later, Carlos performed at TV Tupi, singing "Tutti Frutti" (R. Penniman/J. Lubin/D. La Bostrie). In that period, he was scheduled to open a Bill Haley show at the Maracanazinho (Rio), when he became acquainted with Erasmo Carlos (then Erasmo Esteves). In 1958, Carlos met the "Matoso gang," as were known the future artists Tim Maia, Jorge Ben, and the same Erasmo Esteves, among others, who would meet at Matoso Street at Tijuca (a neighborhood of Rio). Carlos, Erasmo, and Tim Maia (together with Edson Trindade, Arlênio Lívio, and José Roberto "China") formed the group the Snacks (later the Sputniks), playing balls and performing on TV (including at Carlos Imperial's Clube do Rock on TV Continental, where Carlos was already a regular). The group was soon dissolved due to the incompatibility between Carlos and Maia.
After working as an extra in several films such as Agüenta o Rojão and Minha Sogra é da Polícia (in which they backed up Cauby Peixoto on one song), Carlos and Erasmo played together in Erasmo's quartet the Snakes until Carlos was called by Imperial to take Carlos Lyra's place in the Os Terríveis band that played Elvis Presley covers on TV shows and live performances contracted by Imperial.
Soon, Carlos left the band to try to become a bossa nova artist. Strongly influenced by João Gilberto in that period, Carlos often tried to "sit-in" at the famous temples Plaza nightclub and the clubs of the Beco das Garrafas, but to no avail. A testimony of his ephemeral and unaccomplished bossa nova phase is Carlos' first album, with "João e Maria" and "Fora do Tom" (both by Imperial). In August 1960, a new release was launched, again in the bossa vein, "Brotinho Sem Juízo" and "Canção do Amor Nenhum" (again, both by Imperial). At the same time, Carlos would participate regularly in shows presented by Imperial, Os Brotos Comandam (TV Continental and Rádio Guanabara) and Festa de Brotos (TV Tupi). In 1961, in the same year in which Carlos recorded his first LP (a derivation toward boleros and ballads, Louco por Você) that earned some acceptance at the time (3,500 copies sold in one year), he accepted the suggestion of the record company CBS and changed his style to youth music, starting to write songs with the composer/lyricist who would become his most important collaborator: Erasmo Carlos. The duo's first hit was Carlos' rendition for an Erasmo version of "Splish Splash" (Bobby Darin), having as the B-side another classic written by them, "Parei na Contramão." The album was recorded and launched in 1963 as Carlos' fifth 78 rpm, accompanied by Renato e seus Blue Caps. It sold 7,500 copies, a modest amount today, but it represented a considerable selling then and the milestone of a new time.
In 1964, the LP É Proibido Fumar (backed by the Youngsters) had hits with the title track (by Carlos/Erasmo) and with Erasmo's version of "Road Hog" (Gwen/John D. Loudermilk), "O Calhambeque." It sold almost 12,000 copies in 18 months and was considered high-selling then, but still behind the leader Carlos Alberto (a bolero singer), who was selling more than twice as much. Nevertheless, Carlos' nationwide success was ascending, with more and more invitations for TV and radio shows and CBS wanting to take him to Argentina. That year, Carlos recorded the same repertory in Spanish, also backed by the Youngsters, and the album Es Prohibido Fumar was released by the end of 1964 in Argentina. It was planned to also be distributed in Brazil, but as the military government considered anything in Spanish (the language of Fidel Castro and Che Guevara) dangerous to the country, the album was simply taken out of the catalog by the recording company.
In 1965, Carlos was elected the King for the first time by direct vote of the audience in a contest promoted by Antônio Aguillar on his Reino da Juventude show. Later, the title would be confirmed at the highly popular Chacrinha show and it would be his for life.
In the same year, Roberto Carlos Canta Para a Juventude broke all records established by the singer until then, by far surpassing Carlos Alberto and his Amor Perdido. Carlos' album reached fifth place according to IBOPE (a most-accredited public opinion research institute), however, it quickly fell several positions. In fact, he would only have an album at number one of the top parade by the end of the year, with his next LP. Until then, his rising success would sell over 20,000 copies of the double single with "História de um Homem Mau" (reaching fourth place on the charts) and 50,000 copies of his single "Não Quero Ver Você Triste",
On September 5, Roberto Carlos opened the legendary show Jovem Guarda as the main host and also featuring Vanderléa and Erasmo Carlos by his side. The show gave the name and directives to the first musical scene produced especially for Brazilian youth, representing a major cultural/behavioral/commercial breakthrough. After the show debut, Carlos' popularity reached levels unimagined until then. Scoring hits in Argentina and Brazil, Carlos became the best-seller for CBS. A double single with "A Garota do Baile," Carlos reached number two in November, behind the Beatles' "Help!" But his album Jovem Guarda, also launched in November, took only one week to push "Help!" out of number one on the Brazilian charts, selling almost 200,000 copies in one year. "Quero Que Vá Tudo Pro Inferno" became a nationwide hit and with the exception of brief periods of time, it reigned absolute at number one on the top parade during the entire first semester of 1966. After performing in Argentina, Uruguay, and Paraguay — countries in which the Spanish version of "O Calhambeque" continued to have success — Carlos went to Europe in April 1966, singing in Portugal (where "Calhambeque" and "Quero Que Vá Tudo Pro Inferno" were in first place on Lisbon charts). Returning to Brazil, he soon departed for a tour that started in South America, then Central and North America, where he sang in Los Angeles, Miami, and New York, then Europe (London, Paris, Berlin, and Lisbon). Roberto Carlos, released in December 1966 and went right to number one in the second week (remaining there until April 1967), sold 300,000 copies in less than a year. Also in 1967, Carlos starred the feature film Roberto Carlos em Ritmo de Aventura (whose soundtrack sold 300,000 copies, staying at number one from December 17 until June 1968; the film also broke all box-office records until then); won fifth place at the III FMPB (Festival of Brazilian Popular Music of the TV Record, São Paulo) with "Maria, Carnaval e Cinzas," by Luís Carlos Paraná (reaching number one as a single in November); participated in the MIDEM Festival in Cannes, France; and won the Chico Viola trophy for the songs "Quero Que Vá Tudo pro Inferno" and "Esqueça" and for the LP Jovem Guarda. In June of the same year, Carlos departed for a series of shows in Europe, Africa, Asia, and the U.S. In Italy, he participated in the Venice Song Festival.
In 1968, Carlos left Jovem Guarda, which due to his absence would soon cease to exist. His departure was a result of a mature decision to migrate from a youth idol profile to that of a romantic singer. In the same year, Carlos won the San Remo Festival (XVIII Festival della Canzone Italiana) with "Canzone Per Te" (Sergio Endrigo) and starred the film O Diamante Cor-de-Rosa (also a box office success), opening his own show Roberto Carlos à Noite (TV Record) on March 15. As a romantic singer, Carlos had several hits in the 1970s that still had his creative impetus, such as "Sua Estupidez," "As Flores do Jardim de Nossa Casa," "Jesus Cristo," "Amada Amante," "Detalhes," "Debaixo dos Caracóis dos Seus Cabelos," "A Montanha," "A Proposta," "Além do Horizonte," "Olha," "Amante à Moda Antiga," and "A Ilha" (all with Erasmo), along with "Como Vai Você?" (Antônio Marcos/Mário Marcos), and two songs written by Caetano Veloso especially for him, "Como Dois e Dois" and "Muito Romântico." In that decade, Carlos also consolidated his international career doing regular shows in the U.S., Europe, and Latin America. In the year of 1970, he did his first show at the prestigious Canecão, which would be the first of his highly successful annual seasons at the most important Carioca hall in terms of media resonance. In the early '70s, Carlos became the top record-selling Brazilian artist, a position he would keep for many consecutive years. After 1976, his albums were selling over 1,000,000 copies. His 1977 album Roberto Carlos, with "Falando Sério," sold 2.2 million copies. His 1978 show also beat all records, with 250,000 spectators in six months throughout Brazil, while the album with "Café da Manhã," "Força Estranha," and "Lady Laura" sold 1.5 million copies.
In the '80s, Carlos also started to record in English and French (he had already recorded albums in Spanish, Italian, and, naturally, Portuguese), having won the Globo de Cristal trophy, awarded by CBS to Brazilian artists who sell more than five million copies outside Brazil. At the same time, his albums continued to break records in his country. "Caminhoneiro" (1984) was aired 3,000 times in a single day, another record soon beaten by his own "Verde e Amarelo" (1985), with 3,500 spins. In 1986, he had success at Radio City Music Hall (New York, NY) and, two years later, won the Grammy as the Best Latin American Pop singer. In 1989, his Sonrie reached first place on Billboard's Latin chart.
In the 1990s, Roberto Carlos became the first Latin American artist to sell more albums than the Beatles (in 1994, having by then sold over 70 million copies of his albums). In the mid-'90s, with the retro Jovem Guarda wave, Carlos, who was worn out among the younger generations who had only known his romantic and sentimental hits directed at a middle-aged audience, had his importance recuperated by young rockers such as Cássia Eller, Chico Science & Nação Zumbi, Barão Vermelho, and Skank, who recorded Rei, a tribute to him with his old Jovem Guarda hits.
In 1998, his second wife Maria Rita discovered she had cancer (she would die in 1999), which shattered his peace of mind. Trying to keep on with his career, Carlos continued to record and perform after one year of reclusion. In 2001, he broke his contract with Sony (ex-CBS), the recording company through which he had released a vast majority of his albums, due to commercial reasons related to his wife's demise.
El Gato Que Está Triste y Azul -
Roberto Carlos Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Cuando era un chiquillo, qué alegría
Jugando a la guerra noche y día
Saltando una verja, verte a ti
Y así, en tus ojos algo nuevo descubrir
Las rosas decían que eras mía
Y un gato me hacía compañía
Desde que me dejaste yo no sé
Por qué la ventana es más grande sin tu amor
El gato que está en nuestro cielo
No va a volver a casa si no estás
No sabes mi amor, qué noche bella
Presiento que tú estás en esa estrella
El gato que está triste y azul
Nunca se olvida que fuiste mía
Mas sé que sabrá de mi sufrir
Porque en mis ojos una lágrima hay
Querida, querida, vida mía
Reflejo de luna que reía
Si amar es cerrado, culpa mía
Te amé, en el fondo, ¿qué es la vida? No lo sé
El gato que está en nuestro cielo
No va a volver a casa si no estás
No sabes mi amor, qué noche bella
Presiento que tú estás en esa estrella
El gato que está triste y azul
Nunca se olvida que fuiste mía
Mas siempre serás en mi mirar
Lágrima clara de primavera
El gato que está en la oscuridad
Sabe que en mi alma, una lágrima hay
El gato que está triste y azul
Nunca se olvida que fuiste mía
Mas siempre serás en mi mirar
Lágrima clara de primavera
El gato que está triste y azul
Nunca se olvida que fuiste mía
Mas siempre serás en mi mirar
Lágrima clara de primavera
La-la-la-la-la, la-la-la-la
La-la-la-la-la, la-la-la-la-la
La-la-la-la-la, la-la-la-la
Jugando a la guerra noche y día
Saltando una verja, verte a ti
Y así, en tus ojos algo nuevo descubrir
Las rosas decían que eras mía
Y un gato me hacía compañía
Desde que me dejaste yo no sé
El gato que está en nuestro cielo
No va a volver a casa si no estás
No sabes mi amor, qué noche bella
Presiento que tú estás en esa estrella
El gato que está triste y azul
Nunca se olvida que fuiste mía
Mas sé que sabrá de mi sufrir
Porque en mis ojos una lágrima hay
Querida, querida, vida mía
Reflejo de luna que reía
Si amar es cerrado, culpa mía
Te amé, en el fondo, ¿qué es la vida? No lo sé
El gato que está en nuestro cielo
No va a volver a casa si no estás
No sabes mi amor, qué noche bella
Presiento que tú estás en esa estrella
El gato que está triste y azul
Nunca se olvida que fuiste mía
Mas siempre serás en mi mirar
Lágrima clara de primavera
El gato que está en la oscuridad
Sabe que en mi alma, una lágrima hay
El gato que está triste y azul
Nunca se olvida que fuiste mía
Mas siempre serás en mi mirar
Lágrima clara de primavera
El gato que está triste y azul
Nunca se olvida que fuiste mía
Mas siempre serás en mi mirar
Lágrima clara de primavera
La-la-la-la-la, la-la-la-la
La-la-la-la-la, la-la-la-la-la
La-la-la-la-la, la-la-la-la
The lyrics of Roberto Carlos's song "El Gato Que Está Triste Y Azul" evoke a sense of nostalgia, longing, and loss. The singer reminisces about his childhood, when he used to play war games and have fun jumping over fences to see someone special in their eyes. However, he also talks about a cat that used to keep him company, and how since the person he loves left him, the window feels bigger without their love.
Throughout the song, the singer addresses his loved one, saying that he knows the cat will never come home again if they are not there, and that he feels their presence in the starry night. The cat may be a metaphor for the singer's own sorrow, as he sings of its sadness and blues. He also acknowledges that he will always remember their past together and that a tear will always be in his eye.
The last lines of the song are contemplative, as the singer wonders about the meaning of life and love. He concludes that even though he loved them with all his heart, he is unsure of what this world is, and what love ultimately means.
Line by Line Meaning
Cuando era un chiquillo, qué alegría
As a child, life was filled with joy and energy
Jugando a la guerra noche y día
Spending endless hours playing war games
Saltando una verja, verte a ti
Jumping over fences just to catch a glimpse of you
Y así, en tus ojos algo nuevo descubrir
Discovering something new in your eyes every time
Las rosas decían que eras mía
Even the flowers talked about you as mine
Y un gato me hacía compañía
Having a cat as my only companion
Desde que me dejaste yo no sé
Since you left me, I've lost my way
Por qué la ventana es más grande sin tu amor
Why the window looks bigger without your love
El gato que está en nuestro cielo
The cat that's in our sky
No va a volver a casa si no estás
Will never return home without you
No sabes mi amor, qué noche bella
You don't know how beautiful the night is without you
Presiento que tú estás en esa estrella
I have a feeling you're up there in that star
El gato que está triste y azul
The cat that's sad and blue
Nunca se olvida que fuiste mía
Never forgetting that you were once mine
Mas sé que sabrá de mi sufrir
But I know it will understand my pain
Porque en mis ojos una lágrima hay
Because there's a tear in my eyes
Querida, querida, vida mía
My dear, my life
Reflejo de luna que reía
A reflection of the laughing moon
Si amar es cerrado, culpa mía
If love is restricted, it's my fault
Te amé, en el fondo, ¿qué es la vida? No lo sé
I loved you, but what is life? I don't know
El gato que está triste y azul
The cat that's sad and blue
Nunca se olvida que fuiste mía
Never forgetting that you were once mine
Mas siempre serás en mi mirar
But you'll always be in my sight
Lágrima clara de primavera
A clear spring of tears
El gato que está en la oscuridad
The cat that's in the darkness
Sabe que en mi alma, una lágrima hay
Knows that there's a tear in my soul
La-la-la-la-la, la-la-la-la
La-la-la-la-la, la-la-la-la-la
La-la-la-la-la, la-la-la-la
Lyrics © O/B/O APRA AMCOS
Written by: Buddy Mary Mc Cluskey, Gaetano Savio, Giancarlo Bigazzi
Lyrics Licensed & Provided by LyricFind
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Snoo pee
Ésta canción significa mucho para mí ! Cuando tenía 7 años mi mamá fué diagnósticada con leucemia terminal y tuvo que viajar a Buenos Aires para tener una chance de vivir un poco más x medio de una operación .. durante ese tiempo ella me dejó con mi papá, el me cuidaba pero también era irresponsable, traía mujeres a la casa y a veces se iba ..
Recuerdo que yo la esperaba todas las noches en mi ventana, me dormía al rededor de las 4-5 AM
Era cómo el sereno de la casa, mi misión era esperarla y siempre le pedía a Dios que me la traiga de nuevo.. un día después de dos meses mi papá me dijo q mi mamá tenía una enfermedad muy mala y q tendríamos qué seguir sin ella..
Sin embargo nunca perdí las esperanzas de verla de nuevo..
Una noche por la madrugada todavía estaba en mí ventana,y ella llegó en un remis bordo con negro !
Mi papá no lo podía creer y yo saltaba de alegría !
Mi mamá esa noche me dedicó dos canciones, me dijo q ésta era una que escuchaba siempre mientras estaba internada porqué ella sabía que yo la esperaría en la ventana siempre ..
El amor de una madre a su hijo es lo más grande del mundo y viceversa.
Sólo un hijo sabe realmente cuando su mamá va a volver y solo una madre sabe realmente cómo está su hijo 💖💕
Snoo pee
Ésta canción significa mucho para mí ! Cuando tenía 7 años mi mamá fué diagnósticada con leucemia terminal y tuvo que viajar a Buenos Aires para tener una chance de vivir un poco más x medio de una operación .. durante ese tiempo ella me dejó con mi papá, el me cuidaba pero también era irresponsable, traía mujeres a la casa y a veces se iba ..
Recuerdo que yo la esperaba todas las noches en mi ventana, me dormía al rededor de las 4-5 AM
Era cómo el sereno de la casa, mi misión era esperarla y siempre le pedía a Dios que me la traiga de nuevo.. un día después de dos meses mi papá me dijo q mi mamá tenía una enfermedad muy mala y q tendríamos qué seguir sin ella..
Sin embargo nunca perdí las esperanzas de verla de nuevo..
Una noche por la madrugada todavía estaba en mí ventana,y ella llegó en un remis bordo con negro !
Mi papá no lo podía creer y yo saltaba de alegría !
Mi mamá esa noche me dedicó dos canciones, me dijo q ésta era una que escuchaba siempre mientras estaba internada porqué ella sabía que yo la esperaría en la ventana siempre ..
El amor de una madre a su hijo es lo más grande del mundo y viceversa.
Sólo un hijo sabe realmente cuando su mamá va a volver y solo una madre sabe realmente cómo está su hijo 💖💕
Francisco Ramon
Por lo menos tuviste la esperanza que podría seguir viva, yo tenía apenas 3 en el noviembre del 85 cuando mamá murió de un infarto cerebral. Quedé huérfano de madre y esta canción a esa edad la escuché , hoy ya casi 40 años me transporte a ese tiempo y si soy hombre y si lloro de tristeza y nostalgia. Al recordar a mamá .
obear3000
Yo también lloro al recodar a mi mamá. Espero verla algún día en el cielo. ❤️
ElBuenLuchador
❤️❤️❤️❤️❤️
Juan Suero
Muy triste de verdad ..lo siento mucho
Eylen Anaya
Se me hizo un nudo en la garganta te mando un fuerte abrazo 💓
Luis Santos
Aqui con 20 años de edad escuchando esta joya, quien mas la escucha, reportense esos jovenes que aman la musica
Luz Contreras
👍
MoReNo94
Con 28 años jaj
Gerardo Anguiano
Con 40 escuchando