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.
Never On A Sunday
Tito Rodriguez Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
A Monday, a Monday is very, very good
Or you can kiss me on a Tuesday
A Tuesday, a Tuesday, in fact I wish you would
Or you can kiss me on a Wednesday
A Thursday, a Friday and Saturday is best
But never, never on a Sunday
A Sunday, a Sunday, 'cause that's my day of rest
Most any day you can be my guest
Any day you say, but my day of rest
Just name the day that you like the best
Only stay away on my day of rest
Oh, you can kiss me on a cool day, a hot day
A wet day, which everyone you choose
Or try to kiss me on a gray day, a May day
A pay day, and see if I refuse
And if you make it on a bleak day
A freak day, a week day, why you can be my guest
But never, never on a Sunday
In Tito Rodriguez's song "Never On A Sunday," the lyrics explore the singer's desire for affection and physical love, but with a caveat. The song is a plea to a lover not to attempt to engage in any intimate activities on Sundays, as this is the singer's day of rest. The lines "But never, never on a Sunday, a Sunday, a Sunday, 'cause that's my day of rest," are repeated several times throughout the song to emphasize the importance of this request.
The song's message can be interpreted in a few different ways. On one level, it speaks to the singer's commitment to his religious beliefs, as Sundays are traditionally seen as a holy day of rest in many Christian faiths. However, there is also a sense that this day of rest is not just about religion - it's about carving out time for self-care and relaxation, even in the midst of a busy and chaotic world. By asking his lover to respect his boundaries and not try to monopolize his Sundays, the singer is asserting his own agency and power over his time and his body.
Overall, "Never On A Sunday" is a catchy and playful tune that manages to explore some deeper themes around love, boundaries, and self-care. Its simple refrain and upbeat melody make it a fun tune to sing along to, while its message of taking some time to recharge and refuel is as relevant today as ever.
Line by Line Meaning
Oh, you can kiss me on a Monday
I am willing to be affectionate with you on any day.
A Monday, a Monday is very, very good
Monday is a fine day for us to share a romantic gesture.
Or you can kiss me on a Tuesday
In fact, I'd appreciate it if you were to kiss me on Tuesday.
A Tuesday, a Tuesday, in fact I wish you would
It would be lovely if you were to kiss me on a Tuesday.
Or you can kiss me on a Wednesday
Any day of the week is acceptable for us to share an intimacy.
A Thursday, a Friday and Saturday is best
Thursday, Friday and Saturday are optimal days for us to share romantic gestures.
But never, never on a Sunday
However, it is important that we avoid any intimacy on Sundays because that day is for me to rest.
A Sunday, a Sunday, 'cause that's my day of rest
Sunday is the day of the week that I do not wish to engage in any affectionate activity because it is a day of rest.
Most any day you can be my guest
I am open to being intimate with you on most days.
Any day you say, but my day of rest
You can choose any day of the week to be intimate except for Sundays, which are reserved for my day of rest.
Just name the day that you like the best
Feel free to choose whatever day works best for you.
Only stay away on my day of rest
Please respect my desire to have Sundays as a day of rest and not engage in any intimacy on that day.
Oh, you can kiss me on a cool day, a hot day
You can kiss me on any day that suits you, regardless of the weather.
A wet day, which everyone you choose
You can even choose to kiss me on a rainy day, if that's what you would like to do.
Or try to kiss me on a gray day, a May day
You can even try to kiss me on a gray day or a day in May, if that is your preference.
A pay day, and see if I refuse
You can even try to kiss me on payday, and I will be open to the idea.
And if you make it on a bleak day
Even if it's a gloomy day, I am still open to being intimate with you.
A freak day, a week day, why you can be my guest
Even on a day that is considered strange or on a weekday, I am willing to be intimate with you.
But never, never on a Sunday
However, we must be sure to avoid any intimacy on Sundays, since that is my day of rest.
Lyrics © Sony/ATV Music Publishing LLC
Written by: Manos Hadjidakis, Billy Towne
Lyrics Licensed & Provided by LyricFind
Javier Ramos
on No Lo Recuerdas
this songs name is Hipotesis track # 5 on this album