Con un clavel grana temblando en la boca
con una varita de mimbre en la mano
por una verea que llega hasta el rio
iba Antonio Vargas Heredia el gitano
Entre los naranjos, la luna lunera
ponía en su frente la luz de azahar
y cuando apuntaban las claras del día
llevaba reflejos del verde olivar
del verde olivar
Antonio Vargas Heredia
flor de la raza calé
calló el mimbre de tu mano
y de la boca el clavel
y de la boca el clavel
De Puentegenil a Lucena
de Loja a Benamejí
de Puentegenil a Lucena
de Loja a Benamejí
las mocitas de Sierra Morena
se mueren de pena
llorando por ti
Antonio Vargas Heredia
se mueren de pena
llorando por ti.
Era Antonio Vargas Heredia el gitano
el mas arrogante y el mejor plantao
y por los contornos de Sierra Morena
no lo hubo mas bueno, mas guapo y honrao
Pero por culpita de una hembra gitana
su faca en el pecho de un hombre se hundió
los celos malditos nublaron sus ojos
y preso en la trena de rabia lloró
de rabia lloró
Antonio Vargas Heredia
flor de la raza calé
calló el mimbre de tu mano
y de la boca el clavel
y de la boca el clavel
De Puentegenil a Lucena
de Loja a Benamejí
de Puentegenil a Lucena
de Loja a Benamejí
las mocitas de Sierra Morena
se mueren de pena
llorando por ti
Antonio Vargas Heredia
se mueren de pena
llorando por ti.
Carlos Cano (1924-1987) was a Spanish singer and composer of copla, a traditional Iberian musical genre. Born in Madrid, Cano began his career in the 1940s, quickly becoming one of the most popular interpreters of copla. His warm and melodious voice, along with his melancholic and romantic compositions, captivated the Spanish public. Among his most famous songs are "El Relicario", "La Paloma del Amor" and "No Me Quieras". Cano collaborated with numerous successful Spanish artists and recorded several albums that became classics of copla. His music is still appreciated in Spain and worldwide, testifying to his lasting influence on Iberian musical culture.
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