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.
Un Cigarrillo La Lluvía Y Tú
Tito Rodriguez Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Dejo mis labios sobre tu piel, me vuelvo loco.
La posesión del momento,
Ya se olvidó del invierno
Y a la ventana se asoma,
Buscando sus brazos muertos
Que era imposible, de invocación a la luna
La melodía salvaje, que está inventando la noche
Se detiene nuestro instante, con un cálido reproche
Un cigarillo, la lluvia y tú, me trastornan,
Dejo mis labios sobre tu piel, me vuelvo loco.
Cuando se acuerde la aurora
De arrebatarnos los sueños
Serán pétalos de otoño,
No podrá nunca barrerlos.
Un cigarillo, la lluvia y tú, me trastornan,
Me trastornan, me trastornan
The lyrics of Tito Rodriguez's "Un Cigarrillo, La Lluvia Y Tú" describe a passionate moment between two people, as the singer becomes overwhelmed by the presence of their lover, a cigarette, and the rain. The singer expresses their desire to be close to their lover, leaving their lips upon their skin, as they become intoxicated by the moment. The singer forgets about the cold winter weather as they look out the window, searching for the embrace of their lover.
As Cupid looks on from the window, the night creates a wild melody in which their moment comes to a halt with a warm reminder. The song describes a powerful connection between two individuals, who are deeply in love and lost in the moment. The lyrics praise the idea of being completely present in a moment of passion with a lover as it is fleeting and unpredictable.
Overall, this song is an ode to love and passion, and how they can make a person feel alive and lost all at once. The poetic and evocative lyrics appeal to the senses, causing the listener to imagine their own moments of passion and connection with another person.
Line by Line Meaning
Un cigarrillo, la lluvia y tú, me trastornan,
A cigarette, the rain, and you make me lose control, overwhelm me emotionally.
Dejo mis labios sobre tu piel, me vuelvo loco.
I kiss your skin and lose myself in ecstasy.
La posesión del momento,
We are entirely present in this moment.
Ya se olvidó del invierno
Winter is forgotten and no longer matters.
Y a la ventana se asoma,
I look out the window.
Buscando sus brazos muertos
Searching for something lost or missing.
Cupido mira desde el cristal, de locura
Cupid watches us through the glass, as if we are mad with love.
Que era imposible, de invocación a la luna
Our love was once impossible, but now it feels like we've called upon the moon for its power.
La melodía salvaje, que está inventando la noche
The wild melody that the night is creating.
Se detiene nuestro instante, con un cálido reproche
Our moment together ends with a warm, gentle scolding from the night.
Cuando se acuerde la aurora
When the dawn arrives.
De arrebatarnos los sueños
Trying to take our dreams away.
Serán pétalos de otoño,
Our dreams will be like autumn leaves, difficult to sweep away.
No podrá nunca barrerlos.
It will never be able to sweep them away completely.
Me trastornan, me trastornan
They overwhelm me, they overwhelm me.
Writer(s): Alberto Cortez
Contributed by Xavier K. Suggest a correction in the comments below.
Javier Ramos
on No Lo Recuerdas
this songs name is Hipotesis track # 5 on this album