Las influencias de grupos como The Jam, The Who, Vapors, etc inclinan su sonido hacia el power pop (introduciendo el uso de esta ‘etiqueta’) y se acercan al movimiento mod de Barcelona. Actuando en las pocas salas de Barcelona y provincia durante el año 1981. Destacan los conciertos en el antiguo Zeleste y en Magic, compartiendo cartel con grupos del momento como Los Rebeldes, Loquillo, Sprays o C-Pillos, que casi siempre acaban en fiestas.
Ese año graban unas maquetas y las pasean por la mayoría de emisoras de radio de la zona. Las actuaciones se suceden y tienen su apogeo cuando telonean a Ian Dury en la Festa de Treball en Montjuic en el mes de septiembre.
Siguen tocando por Barcelona aunque sin disco, siendo considerados uno de los mejores exponentes de la que se llamó 'nueva ola' catalana. Mientras, el movimiento mod va en aumento, con la aparición de nuevas formaciones como Brighton64 con los que actúan más de una ocasión. Flirtean con discográficas sin resultados, en el 82 deciden grabar el single ‘Chica del metro’, estrenando el sello Flor y Nata Records, pionero en la escena independiente catalana. El diseño de la portada lo realiza Manolo García, que en ese momento estaba en Los Rápidos. El disco aparece en marzo y rápidamente agota su tirada inicial, colocándose en la 2ª posición del ranking ‘Los 33 de Radio3’ del programa ‘Esto no es Hawai’ de Jesús Ordovás, líder de la audiencia independiente nacional.
En mayo viajan a Madrid para grabar uno de los primeros ‘video-clips’ de la época para un especial del programa ‘Pista Libre’ de TVE. De este programa se extrajo el LP ‘Locos por la Música‘. Aprovechan este viaje para realizar visitas a los programas de radio de Ordovás, Juan de Pablos, ...
En julio de ese mismo año y sin tiempo para más, el grupo se despide en el macrofestival Badarock de Badalona para cumplir con el entonces obligatorio servicio militar. Aún consiguen reunirse en diciembre en un corto permiso y graban lo que será su último documento sonoro: una maqueta de 4 temas producida en poco tiempo y con escasos medios y en la que muestran un sonido más agresivo. En esos días realizan una última actuación en la sala Metro de Barcelona.
A la vuelta de la ‘mili’ las cosas han cambiado, las nuevas influencias musicales de sus miembros los hace encerrar en el local de ensayo. De esta manera comienzan a experimentar nuevos caminos y deciden dar por finalizada la etapa de Telegrama.
Referencia FyN-15
ENGLISH VS:
Telegrama start on 1980 in Badalona (city close to Barcelona). All 18 years old members was Berto Rodríguez (bass & lead voice), José Belmonte (guitar), Jordi Miró (drums) & Juan Antonio a la (rythm guitar).
Influences from The Jam, The Who, Vapors, etc turn the sound into power pop (Telegrama was the firsr band to introduce this label) and approaches to the mod movement in Barcelona. Performing in the few venues of Barcelona and province during the year 1981. They emphasize the concerts in the old Zeleste and Magic, Playing with groups of the moment like the Rebeldes, Loquillo, Sprays or C-Pillos, that turn into party.
That year they do some demo tapes and they walk them by the majority of radio stations of the zone. The performances follow one another and have their apogee when they play with Ian Dury in the Festa de Treball in Montjuic Mountain (Barcelona) in September.
They keep on playing in Barcelona although without disc, being considered one of the best band of the catalan new wave. While, the mod movement increases, with the appearance of new bands like Brighton64 with which they play more than an occasion. They talk with some records companies without success, in the 82 ` decides to record a single with his hit "Chica del Metro", on Flor y Nata Records, pioneer in the Catalan independent scene. The design of the cover makes Manolo Garci'a, who then was in Los Rápidos. The disc appears in March and quickly it exhausts his initial issue, being placed in 2ª position of the ranking ` los 33 of Radio3 ' of the program "Esto no es Hawaí" presented by Jesus Ordovás, leader of the national independent hearing in a national network radio.
In May the band travels to Madrid to record one of first ` video-clips' of the time for special del program "Pista Libre" on TVE. Of this program was issued the album /vynil) ` Locos por la Música`. They take advantage of this trip to make visits to the programs of radio of Ordovás, Juan de Pablos,...
In July of that same year and without time for more, the group takes leave to the great festival Badarock of Badalona because the obligatory military service. Still they are able to meet in December in a short permission and record what will be its last sonorous document: a demo tape of 4 songs produced in just a short time and with little means and in which they show a more aggressive sound. In those days they make a last performance in the Metro venue of Barcelona.
When they back from army, thnks are changed, new music influences make that the band spend his time closed A la vuelta de la ‘mili’ las cosas han cambiado, las nuevas influencias musicales de sus miembros los hace encerrar en el local de ensayo. Of this way they begin to experience new ways and they decide to close the Telegrama stage.
Ref: FyN-15
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Telegrama Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Fui al centro a jugar..
Y no encontre el lugar para mi
Iba por todas partes pero prefiero en donde antes
Soy audaz soy tenaz, pero cobarde
Soy smart, soy feliz, pero no soy cool
Para aca, para alla
Y voy contando 2+3= a na na na na na ana nanna na
Y voy contando 2+3= a na na na na na ana nanna na
Todo Podria ser como era ayer, ya nada tiene melodia ni perdon
Soy audaz soy tenaz, pero cobarde
Soy smart, soy feliz, pero no soy cool
Tengo style, tengo look, pero me visto mal
Para aca, para alla
Y voy contando 2+3= a bla bla bla bla bla bla bla
Y voy contando 2+3= a bla bla bla bla bla bla bla
Letra y Música: Javier Garcia, Roberto Castillo
Producido por: Javier Garcia, Roberto Castillo.
The lyrics of Telegrama's song "2+3" convey themes of confusion, self-awareness, and the struggle to fit in. The opening lines depict the singer's search for a place to belong, feeling lost and out of place. They express their preference for familiarity, longing for a place that they used to be comfortable in. The repetition of "para aca, para alla" highlights their restlessness and constant movement.
The chorus, with the phrase "2+3," represents a simple equation that does not have a clear solution. This can be interpreted metaphorically to reflect the singer's confusion and uncertainty in life. The counting emphasizes their attempt to make sense of their experiences and find meaning, but ultimately they find themselves saying "na na na na" or "bla bla bla," suggesting that they still have no answers or solutions.
The verses also tackle issues of self-identity. The singer describes themselves as audacious and determined, but also cowardly. They acknowledge their intelligence and happiness, but feel that they lack coolness. Similarly, they recognize their style and look, but feel that they dress poorly. These contradictions highlight their inner conflicts and insecurities.
Overall, the song "2+3" captures a sense of dissatisfaction and longing for something that has been lost. It explores the struggle to find one's place in the world and the complexity of self-perception.
Line by Line Meaning
Fui al centro a jugar..
I went to the center to play...
Y no encontre el lugar para mi
And didn't find the place for me
Iba por todas partes pero prefiero en donde antes
I went everywhere but I prefer where I was before
Soy audaz soy tenaz, pero cobarde
I am bold, I am determined, but cowardly
Soy smart, soy feliz, pero no soy cool
I am smart, I am happy, but I am not cool
Tengo style, tengo look, pero me visto mal
I have style, I have looks, but I dress poorly
Para aca, para alla
Here and there
Y voy contando 2+3= a na na na na na ana nanna na
And I keep counting 2+3= a na na na na na ana nanna na
Todo Podria ser como era ayer, ya nada tiene melodia ni perdon
Everything could be like it was yesterday, now nothing has melody nor forgiveness
Y voy contando 2+3= a bla bla bla bla bla bla bla
And I keep counting 2+3= a bla bla bla bla bla bla bla
Letra y Música: Javier Garcia, Roberto Castillo
Lyrics and Music: Javier Garcia, Roberto Castillo
Producido por: Javier Garcia, Roberto Castillo.
Produced by: Javier Garcia, Roberto Castillo.
Lyrics © O/B/O APRA AMCOS
Lyrics Licensed & Provided by LyricFind
@pr29silva
Se vc voltou aqui para ouvir esse som Parabéns! Seu gosto é Excelente!!! ✌
@lopezlorraine
"...é a bola da vez, Elizabete. Dizem as más línguas que ela é boa de- 'Alô?'"
koijaoisjoaopkajsudiajosa
quando a gente é criança, canta cada coisa sem entender, né?
@danielsayajin
vdd
@_heus
É a melhor parte, sempre dou risada uahsuehausa
@brunoribeiro7099
Dei azar liguei na hora errada, a hora da "refeição" é uma hora sagrada..kkk
@OldRetrofc
"Tentei o H, o I, e o J, é ate agora n arranjei uma ... (Xoxota?) GATA!"
Só eu q pensei nessa palavra q ta no parenteses??
@KGBmonumental
Ou até Cocota
@camilamtl
A Elizabeth é a melhor kkkkkk curte aqui pra mim voltar amanhã e escutar dnv essa música até decorar
@umkekel8120
Já decoro ? Kkkk
@camilamtl
Kkkk aínda não 😂 consigo só até a letra e