Tito Rodríguez a.k.a. "El Inolvidable" (The Unforgettable) (January 4, 1923… Read Full Bio ↴Tito Rodríguez a.k.a. "El Inolvidable" (The Unforgettable) (January 4, 1923-February 28, 1973) born in Santurce, Puerto Rico, was a popular 1950's singer and bandleader.

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.

Todo Todo Termino
Tito Rodriguez Lyrics

Jump to: Overall Meaning ↴ Line by Line Meaning ↴

Toda una vida
Estaría contigo
No me importa en que forma
Ni dónde ni cómo
Pero junto a tí

Toda una vida
Te estaría mimando

Te estaría cuidando
Como cuido mi vida
Que la vivo por tí

No me cansaría de decirte siempre
Pero siempre, siempre
Que eres en mi vida
Ansiedad, angustia, desesperación

Toda una vida
Estaría contigo
No me importa en que forma
Ni dónde ni cómo
Pero junto a tí

No me cansaría de decirte siempre
Pero siempre, siempre
Que eres en mi vida
Ansiedad, angustia, desesperación

Toda una vida
Estaría contigo
No me importa en que forma

Ni dónde ni cómo
Pero junto a tí

Overall Meaning

In Tito Rodriguez's song Toda Una Vida, the singer expresses his deep love and dedication to his significant other. He declares that he wants to spend his entire life with this person, no matter what form that may take or where they may go. He promises to always care for and love them, just as he cherishes his own life. The singer also emphasizes that he will never tire of expressing his love and devotion to this person, even if it leads to feelings of anxiety, distress, and desperation. Overall, the song conveys a sense of unwavering commitment and deep affection for the singer's desired partner.

The song Toda Una Vida has been covered by numerous artists in various languages, including English, French, and Japanese. It has become a widely recognized and beloved romantic ballad throughout the world.

Line by Line Meaning

Toda una vida
I would spend my entire life

Estaría contigo
Being with you

No me importa en que forma
It doesn't matter in what manner

Ni dónde ni cómo
Neither the place nor the way

Pero junto a tí
As long as I'm by your side

Te estaría mimando
I would be pampering you

Te estaría cuidando
Taking care of you

Como cuido mi vida
As I take care of my own life

Que la vivo por tí
Which I live for you

No me cansaría de decirte siempre
I wouldn't tire of telling you always

Pero siempre, siempre
But always, always