Blades's father is a percussionist-turned-detective and his mother was a singer and radio performer. His grandfather, Reuben Blades, was an English-speaking native of St. Lucia who came to work on the canal, as he tells in the song West Indian Man on the album Amor y Control ("That's where the Blades comes from.") (1992)
After obtaining degrees in political science and law at Panama's Universidad Nacional, Blades worked at the Bank of Panama as a lawyer. In 1974, Blades moved to the United States, staying temporarily with his exiled parents in Miami before moving to New York City. Blades began his musical career in New York writing songs while working in the mailroom at Fania Records, and soon was working with salseros Ray Barretto and Larry Harlow. Shortly thereafter Blades started collaborating with trombonist and band leader Willie Colón, and they recorded several albums together. Their album Siembra (1978) became the best-selling salsa record in history.
After 1980, Blades tried to terminate his contract with Fania, but he was contractually obliged to record several more albums. These are generally considered toss-offs and Blades himself told his fans to avoid them. When he was free of his contractual obligations, Blades signed with another label, Elektra, and assembled a top-notch band (known variously as Seis Del Solar or Son Del Solar) and recorded a number of albums with them.
In the early 1980s, Blades began his career in films as a composer of soundtracks.
In 1982, Blades got his first acting role in The Last Fight writing the title song as well as portraying a singer-turned-boxer vying for a championship against a fighter who was played by real life world champion boxer Salvador Sánchez.
In 1985, Blades gained widespread recognition as co-writer and star of the independent film Crossover Dreams as a New York salsa singer willing to do anything to break into the mainstream. This same year he earned a master's degree in international law from Harvard University. He was also the subject of Robert Mugge's documentary The Return of Ruben Blades, which debuted at that year's Denver Film Festival. During the 1990s, he acted in films, mounted his unsuccessful presidential bid, founding the party Movimiento Papa Egoró, and continued to make salsa records.
His many film appearances include The Milagro Beanfield War (1988), The Two Jakes (1990), Mo' Better Blues (1990), and Devil's Own (1997). In 1999, he played Mexican artist Diego Rivera in Tim Robbins' Cradle Will Rock.
In 1997, Blades headed the cast of singer/songwriter Paul Simon's first Broadway musical, The Capeman, based on a true story about a violent youth who becomes a poet in prison. In the 2003 film Once Upon a Time in Mexico, starring Johnny Depp, Antonio Banderas, and Willem Dafoe, he played the role of a retired FBI agent.
Blades' 1999 album Tiempos which he made with the 12-piece Costa Rican band Editus, represented a break from his salsa past and a rejection of commercial trends in Latin music.
Some might say that "his biggest mistake was releasing an English-language album in 1988 in the wake of his 1987 Grammy for Escenas" [sic] but in fact, he tends to avoid commercial choices. After winning his first Grammy for Escenas in 1986 he recorded the album Agua de Luna based on the short stories of Gabriel Garcia Marquez in 1987. The next year he released the English language collaboration with rock artists Sting, Elvis Costello, and Lou Reed the same year as Antecedente, another Grammy winner. In 2003 he followed the World Music Grammy winner Mundo with a web site free download project. As he said in 2005 when receiving the ASCAP Founders Award about his non-commercial choices, "That's the way I think."
In 2004 he put his artistic careers on hold when he began serving as Minister of Tourism of Panama.
Source: Wikipedia®
El Cazangero
Rubén Blades Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Es el lamento del cazanguero en coiba de madruga, a
Es el lamento del cazanguero en coiba de madruga
na, na, na,
Es el lamento del cazanguero en coiba de madruga,
Es el lamento del cazanguero en coiba de madruga,
Apurate chino Juan que a la fila llaman ya dice
el guardia que esta vez no, no te quedes tan atras
cuidar que no vengan las cazangas a tu esfuerzo
a mal lograr, a tu esfuerzo a mal lograr.
a tu esfuerzo a mal lograr
Na, na, na,
Es el lamento del cazanguero en coiba de madruga, a
Es el lamento del cazanguero en coiba de madruga, a
na, na, na
Es el lamento del cazanguero en coiba de madruga, a
Es el lamento del cazanguero en coiba de madruga, a
Ay apura Chino Juan que a la fila llaman ya.
aja, aja,
Sale la Cazanga en coiba temprano de madrugaa
aja, aja,
Cuantos hombres te han llorado campamento central.
aja, aja,
Cuanto la Madeja trajo ay de aqui hasta cativa
aja, aja,
Llave cabo, llave cabo, Cabo llave
aja, aja,
En un brinco pa las doce nos traejeron tortura
aja, aja,
La tristeza de to preso es no tener la libertad
(ah livia)
weee...
Es el campamento cental
La familia esta formada la campana sono ya
aja, aja,
Ay apura, pura, pura, pura chino Juan.
aja, aja,
Ay llave cabo cabo llave
aja, aja,
La tristeza de to preso es no tener la libertad
aja, aja,
Tengo una cortinita bien bonita y la vendo barata
aja, aja,
La casanga esta formada en coiba de madruga
aja, aja,
Un consejo aya en el monte aprendan a rebanar
na, na,
Es el lamento del cazanguero en coiba de madruga, a
Es el lamento del cazanguero en coiba de madruga, a
Rubén Blades's song El Cazangero tells the story of a laborer, known as a cazanguero, who is working in a prison camp in the Coiba Island of Panama. The cazanguero's job is to clear the jungle in the island to make way for a new road, while also trying to avoid being caught by the prison guards or "cazangas" who would punish them for not working hard enough. The lyrics depict the harsh reality of camp life as well as the fear and anxiety that the laborers experience, knowing that their fate is in the hands of the guards. The chorus "Es el lamento del cazanguero" (It's the lament of the cazanguero) emphasizes the sorrow and frustration that the laborers feel.
The verses also highlight the camaraderie that exists among the laborers, with calls for them to work harder to avoid punishment or urging Chino Juan to hurry up and join the rest of the group. The lyrics also touch on the themes of freedom and the longing for it, with the line "La tristeza de todo preso es no tener la libertad" (The sadness of every prisoner is not having freedom).
Overall, El Cazangero is a powerful song that sheds light on the plight of the working class, who are often exploited and oppressed. Through vivid imagery and emotional lyrics, Rubén Blades captures the struggles and hardships faced by the Coiba laborers.
Line by Line Meaning
Na, na, na, Es el lamento del cazanguero en coiba de madruga, a
The repetition of 'na, na, na' represents the sorrowful melody of the cazanguero in Coiba during the early morning. The cazanguero is expressing his lament.
Es el lamento del cazanguero en coiba de madruga
This line repeats the title of the song and reaffirms that it is the cazanguero's lament in Coiba during the early morning.
Apurate chino Juan que a la fila llaman ya dice el guardia que esta vez no, no te quedes tan atras
The guard is warning Chino Juan to hurry up and not fall behind in line. The cazanguero must keep up with the others, rain or shine, to avoid the cazangas destroying his hard work.
Haga sol, llueve o truene a ala siembre ay que cuidar que no vengan las cazangas a tu esfuerzo a mal lograr
Regardless of the weather, the cazanguero must protect his harvest from the cazangas, which would ruin his efforts. He must always be vigilant and protective.
Na, na, na, Es el lamento del cazanguero en coiba de madruga, a
Again, the repetition of 'na, na, na' emphasizes the sorrowful melody of the cazanguero's lament in Coiba during the early morning.
Ay apura Chino Juan que a la fila llaman ya
The cazanguero is urging Chino Juan to hurry up because the line is moving and they cannot afford to fall behind.
Sale la Cazanga en coiba temprano de madrugaa, Cuantos hombres te han llorado campamento central, Cuanto la Madeja trajo ay de aqui hasta cativa
The cazanguero is reflecting on how many men have cried at the Central Camp due to the Cazanga's presence. The Madeja's actions carry great significance, as it has brought a lot from here to Cativa.
Llave cabo, llave cabo, Cabo llave, En un brinco pa las doce nos traejeron tortura
These lines are reminiscent of a call and response chant. The cazanguero chants 'Llave cabo, llave cabo, Cabo llave' as a way of calling to others. The reference to torture at midnight demonstrates the hardships they face.
La tristeza de to preso es no tener la libertad (ah livia) weee...
The sorrow felt by prisoners is the lack of freedom; they cannot live their lives as they would wish. The 'ah livia' is likely a reference to Libya, indicating that this is a universal experience felt by people in many countries.
Es el campamento cental, La familia esta formada la campana sono ya
The family has gathered at the central camp, as signaled by the bell. This suggests that the cazanguero is going to work alongside many others who are facing the same grievances.
Ay apura, pura, pura, pura chino Juan
Once again, the cazanguero is urging Chino Juan to hurry up so they don't fall behind in line.
Tengo una cortinita bien bonita y la vendo barata, La casanga esta formada en coiba de madruga
The cazanguero notes that he has a beautiful little curtain to sell, which may indicate poverty and the need for extra income. The last line repeats that the cazanga has formed in Coiba during the early morning.
Un consejo aya en el monte aprendan a rebanar
The cazanguero is offering advice to those in the mountains, likely referring to the importance of learning how to harvest crops properly.
Na, na, Es el lamento del cazanguero en coiba de madruga, a
The final line repeats the sorrowful melody of the cazanguero's lament in Coiba during the early morning.
Contributed by Kylie Y. Suggest a correction in the comments below.
@macanudobatatudo
EL CAZANGUERO
(Primera composición de Rubén Blades con el sello Fania)
"...Es el lamento del cazanguero en Coiba de madrugá’. Apúrate Chino Juan, que a la fila llaman ya, dice el guardia que esta vez no, no te quedes tan atrás”.
“Haga sol o llueva fuerte a la siembra hay que cuidar, que no venga la cazanga a tu esfuerzo a malograr...”.
Coiba es una isla-penal, a la manera de Alcatraz (San Francisco, California) o la Isla del Diablo (Guyana francesa), localizada en el Golfo de Chiriquí, Panamá, que fue instituida como penal en ese país desde 1919 y donde se llevaba a los presos de crímenes violentos y condenas largas a hacer trabajos forzados de agricultura, ganadería y tala de árboles.
Existían unos reos, llamados cazangueros, que estaban encargados de espantar una aves endémicas de la isla, una especie de loros gigantescos, de cabeza y cuello azul y pico y patas negras, llamadas cazangas, que bajaban en bandadas de las montañas, de madrugada, a comerse y arruinar los sembradíos.
Rubén Blades hizo, precisamente, su tesis de grado para ser abogado sobre robo agravado en esa isla-penal. Interesante, ¿no?, la historia de esta canción.
@profeciasdeveladas6035
Esta es la lírica de "El Casanguero":
Es el lamento del casanguero en Coiba de madrugaaa
Es el lamento del casanguero en Coiba de madrugaaa
na, na, na,
Es el lamento del casanguero en Coiba de madrugaaa
Es el lamento del casanguero en Coiba de madrugaaa
Apurate chino Juan que a la fila llaman ya,
dice el guardia que esta vez no, no te quedes tan atrás
Haga sol o llueve o truene, a a la siembre hay que
cuidar, que no vengan las casangas, y ver tu esfuerzo
malograr, ver tu esfuerzo malograr.
ver tu esfuerzo malograr.
Na, na, na,
Es el lamento del casanguero en Coiba de madrugaaa
Es el lamento del casanguero en Coiba de madrugaaa
na, na,na
Es el lamento del casanguero en Coiba de madrugaaa
Es el lamento del casanguero en Coiba de madrugaaa
Ay apúrate Chino Juan, que a la fila llaman ya.
aja,aja,
Sale la Casanga en Coiba temprano de madrugaa
aja,aja,
Cuantos hombres te han llorado campamento central..
aja,aja,
Cuanto la Madeja trajo ay de aqui hasta Cativá
aja,aja,
Llave cabo, llave cabo, Cabo llave (o sea, que abran las rejas)
aja,aja,
En un brinco pa las doce nos trajeron tortura
aja,aja,
La tristeza de todo preso es no tener la libertad
( ah livia )
weee.......
Es el campamento central, ahií
La familia esta formada la campana sonó ya
aja,aja,
Ay apura, apura, apura, apura, chino Juan.
aja,aja,
Ay llave cabo, cabo llave (abran las rejas por favor)
aja,aja,
La tristeza de todo preso es no tener la libertad
aja,aja,
Tengo una cortinita bien bonita y la vendo barata
aja,aja,
La casanga esta formada en Coiba de madrugaaa
aja,aja,
Un consejo allá en el monte, apréndete a resbalar ( por el monte, o sea, a escaparte)
na, na,
Es el lamento del casanguero en Coiba de madrugaa
Es el lamento del casanguero en Coiba de madrugaa!!
Rubén Blades (vocals)
- Willie Colón (vocals, trombone, arranger)
- Elliott Randall (electric guitar)
- Yomo Toro (cuatro)
- Bobby Porcelli (alto saxophone)
- Mario Rivera (baritone saxophone)
- Antonio Montagna, Lew Soloff (trumpet)
- Tom Malone (trombone, tuba)
- Rodgers Grant (piano)
- Milton Cardona (congas)
- Luis "timbalito" Romero (Timbales)
- Jose Mangual Jr. (bongos, percussion)
@evangelinamontenegro6487
Escuchando en el 2024,desde NewYork,saludos 😊
@EladioAntonio-zn2yw
Con ese fenómeno yomologo y ese tema y esta biografia llenamos el estadio olímpico todos un acontesimiento
@user-gs4tg3cc5n
Un tema muy regional panameño la isla de coiba. Cuando era niño escuchaba las historias de los gue regresaban dela isla .con tatuajes perfectos hechos a mano con tintes de plantas y colores mui llamativos y las cortinas hechss de conchas de caracoles hermosas me toco ver una con la cara de cristo que era una obra de arte . Saludos desde panama
@dulcededieu326
Esta canción le doy rating todos los días antes de irme pal trabajo . Tu haces mi día feliz Gracias Rubén !!!! ;) ya me la se de memoria . ;)
@macanudobatatudo
EL CAZANGUERO
(Primera composición de Rubén Blades con el sello Fania)
"...Es el lamento del cazanguero en Coiba de madrugá’. Apúrate Chino Juan, que a la fila llaman ya, dice el guardia que esta vez no, no te quedes tan atrás”.
“Haga sol o llueva fuerte a la siembra hay que cuidar, que no venga la cazanga a tu esfuerzo a malograr...”.
Coiba es una isla-penal, a la manera de Alcatraz (San Francisco, California) o la Isla del Diablo (Guyana francesa), localizada en el Golfo de Chiriquí, Panamá, que fue instituida como penal en ese país desde 1919 y donde se llevaba a los presos de crímenes violentos y condenas largas a hacer trabajos forzados de agricultura, ganadería y tala de árboles.
Existían unos reos, llamados cazangueros, que estaban encargados de espantar una aves endémicas de la isla, una especie de loros gigantescos, de cabeza y cuello azul y pico y patas negras, llamadas cazangas, que bajaban en bandadas de las montañas, de madrugada, a comerse y arruinar los sembradíos.
Rubén Blades hizo, precisamente, su tesis de grado para ser abogado sobre robo agravado en esa isla-penal. Interesante, ¿no?, la historia de esta canción.
@pedroarciniegacardenas5888
Gracias!!!
@davidmathieu8108
Que te puedo decir? Uno como panameño si vive esa canción por lo que representa.
@alejandrosolorzano9547
Mejor explicación imposible.
@oscarceliz3791
Brillante mi hermano! Siempre quise saber el origen de la composición.Abrazos en Agosto del 2020.
@sotomusic9389
Desde que conocí la canción quise conocer a que se refería, soy panameño pero mi conocimiento sobre ese tema es nulo, muy bien explicado, me hace sentir orgulloso!