Tito (born: Pablo Rodríguez Lozada) became interested in music as a child. He was always surrounded by musical toys, such as guitars, pianos and trumpets. His older brother, Johnny Rodríguez, was a song composer and bandleader, who inspired Tito to become a musician.
In 1936, 13 year old Tito joined the group of Ladislao (El Maestro Ladí) Martínez, "Industrias Nativas" as a singer and when he was 16 years old, he participated in a recording with the Mayari Cuartet. In 1940, Tito immigrated to New York City shortly after his parents, Jose and Severina died. He went to live with his brother Johnny, who had been living there since 1935.
In New York, Tito found a job as a singer and bongo player for the orchestra of Eric Madriguera. In 1941, he recorded "Amor Guajiro", "Acercate Mas" (Get Closer) and "Se Fue la Comparsa". In 1942, Tito joined the band of Xavier Cugat, and recorded "Bin, Bam, Bum" and "Ensalada de Congas" (Conga Salad).
Tito joined and served in the U.S. Army for one year. After he was discharged, he returned to New York where he joined the orchestra of Jose Carbelo. On one occasion, the band performed at the China Doll Cabaret. There he met a young Japanese chorus girl by the name of Tobi Kei (b. Takeku Kunimatsu, 23 January 1925, Bellingham, Washington, USA), who was to become his wife.
In 1947, Tito made his "solo" debut and finally organized his own band, which he named "Los Diablos del Mambo". In 1950, he enrolled in The Juilliard School of the Performing Arts, where he studied the vibrophone, xylophone and percussion.
He renamed his band "Los Lobos del Mambo" and later he dropped the name altogether. That's when he decided to go with the name "The Tito Rodriguez Orchestra". The first song that he recorded under the bands new name which became a "hit" was "Besame La Bemba" (Kiss My Big Lips). In 1952, he was honored for having developed his own unique singing style by the "Century Conservatory of Music of New York". His orchestra won the "Gran Trofeo Award" for two consecutive years.
In 1953, Tito heard a percussionist, by the name of Cheo Feliciano. So impressed was Tito that he offered Cheo a job in his band and hired him. Tito discovered that Cheo also knew how to sing and gave him an opportunity to sing at the Palladium Ballroom.
Eventually, Cheo went to work for another band but, the friendship between them lasted for the rest of their lives. Among the other orchestras that played at the Palladium, where the Charlie Palmieri and Tito Puente orchestras.
A rivalry which was to last for years, quickly developed between the two Tito's. The popular latin music craze at the time was the cha-cha and the merengue. With the beginning of the 1960s, all that was going to change with the popularity gained by rock music. Latino bands began to switch their styles and started playing more salsa and boogaloo, which was more attractive to the latin youth.
Tito decided to try his luck with boleros and recorded an album titled "Inolvidable" (Unforgettable), which is considered by many to be his greatest "hit". It sold over a million and a half copies world wide. He also produced records for other groups, such as Los Hispanos and Los Montemar.
The feud between the two Tito's was reflected on some of Rodriguez's recordings. "Avisale a Mi Contrario Que Aqui Estoy Yo" (Tell My Counterpart That I Am Here) and "Que Pena Me Da" (I Pity You), are just two examples of the bad feelings between both of them.
Tito returned to Puerto Rico in 1970 and built a Japanese style house in Santurce, where he lived with his family. Tito produced his own television show called "El Show de Tito Rodriguez" which was transmitted through channel 7. Among the special guest stars which appeared in his show were, Sammy Davis Jr., Tony Bennett and Shirley Basey. Tito also founded his own recording studio called TR Records.
Tito's last public appearance was with Machito and his Band on February 2, 1973 at Madison Square Garden in New York. Tito Rodríguez died of leukemia on February 28, 1973, in his Coral Gables, Florida home where he had recently moved with wife.
El que se Fue
Tito Rodriguez Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
hace falta el que vendra
en el juego de la vida
unos vienen
y otros van
Te fuiste por cuenta tuya
buscando ambiente mejor
pues tu puesto se ocupo
El que fue mira no hace falta
hoy yo me encuentro mejor
yo sigo siempre en el goce
pues el del ritmo soy yo
A mi no me importas tu ni veinte como tu
yo sigo siempre en el goce el del ritmo no eras tu
A mi no me importas
tu ni diezmiles como tu
yo sigo siempre en el goce
el del ritmo no eras tu
A mi no me importas tu ni veinte como tu
yo sigo siempre en el goce el del ritmo no eras tu
En el juego de la vida
unos vienen y otros van
a mi no me importas tu
ni diezmiles como tu
A mi no me importas tu ni veinte como tu
yo sigo siempre en el goce el del ritmo no eras tu
Quisiste tocar un solo
creyendote que eras cheque
y al empezar tu fallaste
lo tuyo solo es paquete
A mi no me importas tu ni veinte como tu
yo sigo siempre en el goce el del ritmo no eras tu
En el juego de la vida
unos vienen y otros van
a mi no me importas tu
ni diezmiles como tu
A mi no me importas tu ni veinte como tu
yo sigo siempre en el goce el del ritmo no eras tu…
A mi no me importas tu ni veinte como tu
yo sigo siempre en el goce el del ritmo no eras tu…
A mi no me importas tu ni veinte como tu
yo sigo siempre en el goce el del ritmo no eras tu…
The lyrics to Tito Rodríguez's song El que se Fue are about moving on and not dwelling on the past. The song talks about how the person who left is not missed because someone else will come along eventually. The lyrics suggest that in the game of life, people come and go, and it's essential to focus on the present and not hold onto the past. The person who left in the song left voluntarily, searching for better opportunities elsewhere. However, he now regrets his decision because someone else took his place.
The lyrics make it clear that the person who left was not crucial to their happiness. The singer emphasizes that he doesn't care about the person who left because he's always in the moment and enjoying life. He ridicules the person who left, saying that he wasn't the one who set the rhythm and that he tried to play a solo and failed. The lyrics suggest that it's best to live in the present, enjoy the moment, and not hold onto the past.
Overall, the lyrics are an empowering message to move on from the past and enjoy the present. Tito Rodríguez's vibrant performance and upbeat music encourage people to live in the moment.
Line by Line Meaning
El que se fue no hace falta
The one who left is not needed anymore
hace falta el que vendra
What's needed is the one who will come
en el juego de la vida
In life's game
unos vienen
Some come
y otros van
And others go
Te fuiste por cuenta tuya
You left on your own
buscando ambiente mejor
Looking for a better environment
Hoy tu estas arrepentido
Today you regret it
pues tu puesto se ocupo
Because your place was taken
El que fue mira no hace falta
The one who is gone is not needed
hoy yo me encuentro mejor
Today I am doing better
yo sigo siempre en el goce
I continue to enjoy myself
pues el del ritmo soy yo
Because I am the one with the rhythm
A mi no me importas tu ni veinte como tu
You don't matter to me, not even twenty of you
el del ritmo no eras tu
You were not the one with the rhythm
A mi no me importas
You don't matter to me
tu ni diezmiles como tu
Not you or ten thousand like you
Quisiste tocar un solo
You tried to play a solo
creyendote que eras cheque
Thinking you were the check
y al empezar tu fallaste
And when you started, you failed
lo tuyo solo es paquete
Yours only amounts to garbage
yo sigo siempre en el goce el del ritmo no eras tu
I continue to enjoy myself because you were not the one with the rhythm
En el juego de la vida
In life's game
unos vienen y otros van
Some come and others go
Contributed by David J. Suggest a correction in the comments below.
@JhonnyLeon03080901
Si mal no recuerdo, mi mama, hoy fallecida, me enseño los primeros pasos de salsa, por alla en los años 70, siempre oyendo a su favorito indiscutible Tito Rodriguez y a la Diosa Celia Cruz. Le doy las gracias a Dios de poder haber visto y vivido y bailado toda esta musica, que llevo en la sangre. Vivan Siempre en nosotros, y a Bailar hasta que el cuerpo aguante!!!!!
@juanyovera6309
Saludos de Perú 🇵🇪
Yo soy fan de Tito Rodríguez lozada
tengo dos únicos LP de el y los cuido como tesoro, por cierto tengo 26 años .
✌️✌️✌️✌️
@mauriciocapote4172
El Ruiseñor Don Tito
@titogonz2u
No hay version moderna que se compare a esta interpretacion de el maestro de los cantantes el Sr. Tito Rodriguez, y la orquesta que lo acompanaba.El conocedor sabe lo que es buena musica lo original es original y no hay quien lo iguale!!!
@josegregoriohernandezquint2111
A los 14 años llegando de madrugada a Caracas desde GUANARE,escuché a TITO RODRÍGUEZ,y sigue siendo mí preferido,hoy a mis 65 estimo que fue el pionero de la salsa.
Desde GUANARE,tierra de la Aparición de la Virgen de COROMOTO Patrona de VENEZUELA.
@Crodriguez471
It will be 40 years since my Daddy passed away. I miss him so much, but unlike others i'm fortunate to be able to listen to his unforgettable voice through his music..... xoxox Love you Daddy, Cindy
@renatolamanna2566
soy amante amo la salsa pero este señor tiene la voz mas nitida que yo e podido escuchar como la voz de cheo feliciano que tiene una hermosa voz tambien
@robinzonferrer650
Buena esa amigo , comparto tu gusto esas fueron las mejores voces romanticas en esa epoca cheo y tito Rodríguez
@1968mancho
Usted si sabe de este asunto: la versión original es fascinante pero la de Roena es magistral. Cosas de nuestra cosa latina que cada vez es más especial. ALGO ASÍ COMO EL BUEN VINO, ENTRE MÁS AÑEJO MEJOR.
@JomDgye
Basta que Cheo Feliciano y Gilberto Santa Rosa hayan sido fanáticos de Tito Rodríguez para que sepas que era tremendo músico!