(Para don Emilio Jiménez -Emilio el Moro-
que me alegró las colas de la leche americana
y el cartón de pobre. ¡A su salud!)
Se fueron los pieles rojas a Jolivú
Vinieron los federales ¡tatachán!
y en mitad aquel ziquitaque se lió:
Toro Sentado ojú -decía- ¡cuchi la caballería!
y de teniente Glen Ford.
Hay que ver Maribel la cosa cómo estaría
que Emilio el Moro salió cantando por alegrías.
Alegría la traigo a espuertas viene de Cai -qué calor.
Alegría tienen las jambres de Andalucía.
Frigoríficos volando la reconversión naval:
¡Guardias no tiréis pelotas que pa pelotas Puerto Real!
Vecina asómate al patio ¡Maricruz!
A ver quién me aclara a mí este rebujar:
que si dentro, que si fuera, tú dirás.
Que si bases, que si Citan, que si Morón,
que si Rota y el Peñón de Gibraltar.
Hay que ver Maribel esto sí que es Carnaval.
Arsa y olé ¡viva Cai! y to la tribu de Alí Babá.
Como quieras que yo te quiera
¡ay! yo te quiero -qué valor-
Como quieras de marinera o de marinero
¿Salga el sol por Antequera?
Con tal de que salga ya que salga por donde quiera
lo que hace falta es tirititrán.
¡Espárragos, caracoles, tagarninas de la sierra!
A manojitos los niños venden por las carreteras.
No sé por qué te lamentas en vez de enseñar los dientes
ni por qué llamas mi tierra a aquello que no defiendes.
Si en vez de ser pajaritos fuéramos tigre bengala
a ver quién sería el guapito de meternos en una jaula.
Me han dicho que has puesto en Madrid
un despacho de mucho postín
¡Colócanos! ¡Colócanos! ¡Ay por tu madre colócanos!
¡Ay! Felipe de la Citan cataflota verigües
... llegará a ser un gran torero como Velázquez y Gregory Peck.
Contraviento, contraviento yo me muevo a contraviento.
Y es por mi mala cabeza que me muevo a contraviento
y me paso de la raya que a mí no me dobla el viento.
Cascarabitos me los comía y así las jambres se entretenían.
No se me vaya a subir la rama de¡ perejil: ¡Sí!...
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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