Se llamaba Caridad
la mulata de Santiago.
Era Caridad del Cobre
de las que cortan el trago.
Niña de canela y ron,
mulata de sabrosura,
abierta como una flor...
¡ Caballero, qué hermosura!
Y cuando miraba el monte
de sus pechos, dulce caña,
escuchen cómo la sangre
se me encendía y cantaba,
que empezaba el son montuno
de la flor de su papaya.
Arrebátate, negra Caridad,
arrebátate, Caridad del Cobre,
arrebátate, vamos a gozá,
arrebátate, vámonos pal monte,
que con ese gozo que tú me das,
me da pá salí, pá salí de pobre,
arrebátate, negra Caridad,
arrebátate, Caridad del Cobre...
Los besos de caridad
Ya nunca podré olvidarlos
y aquel sabor de su boca
Que era de canela y mango
No puedo olvidar su pelo,
ni el tacto de su cintura,
la melaza de su pecho
!Caballero, qué locura!
Cuando con ella fui al monte
yo que era pobre y sin plata,
por un momento fui rico
con el oro que me daba,
me da pá salí de pobre
el cobre de esta mulata.
Arrebátate, negra Caridad,
arrebátate, Caridad del Cobre,
arrebátate, vamos a gozá,
arrebátate, vámonos pal monte,
que con ese gozo que tú me das,
me da pá salí, pá salí de pobre,
arrebátate, negra Caridad,
arrebátate, Caridad del Cobre...
Caballero, miré usted
como viene y va
arrebatate negra caridad
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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