Gotan Project Lyrics, Photos, Pictures, Paroles, Letras, Text for every songs

B i o g r a p h y
(by Official Site)

In November 2005, just minutes before the Gotan Project were due onstage at the Gran Rex theatre in central Buenos Aires, Argentina, band guitarist and native Argentine, Eduardo Makaroff, summed it all up in one key quote: "The lyrics of many of the famous tango songwriters would always talk about going back to this city, and so we're returning to the South and to the place that's in our hearts." Seven months previous, Eduardo and fellow Gotan producers; Parisian Philippe Cohen Solal and Swiss-born Christoph H. Müller, had flown from their homes in Paris to record the new album, 'Lunatico', in Buenos Aires' prestigious Studio ION - the famed venue where tango greats like Astor Piazzolla had once laid down their aural magic to vast reel-to-reel tape machines. Sat in on the sessions with them were a host of local session musicians; a complete string section, two emcees, one trombonist and Argentine piano legend and long-time Gotan collaborator, Gustavo Beytelmann, conducting much of the musical goings on. Five years on from breaking new ground in tango and electronica with their debut, 'La Revancha Del Tango' - now having sold in excess of a million copies worldwide, and shows anywhere from Tel Aviv to Tokyo in between, the band now had the small matter of developing the longstanding love affair that the public had now embarked upon with tango to concentrate on. "We really wanted to explore both tango and folkloric music from Argentina a lot further than we had before," says Philippe. "That's why many of the tracks are really classically tango-orientated, very traditional patterns that people like (Anibal) Troilo would use."

The resulting material from those sessions was and is quite possibly their most accomplished work yet. Not wanting to replicate any of what 'La Revancha...' had originally achieved musically, Philippe, Christoph and Eduardo subsequently flew back to Paris two weeks later to begin the second leg of work on 'Lunatico' – named, quite appropriately, after tango hero Carlos Gardel's champion racehorse of the 1930's. Fellow collaborators; Argentine Bandoneonist, Nini Flores, and Barcelona-based vocalist, Cristina Vilallonga, joined up with them at their Substudioz back in the French capital and thus began the completion, hidden under top secrecy, of 'Lunático'. With a decidedly stronger emphasis on the more organic roots of tango, almost to a classical level, 'Lunático' has taken one step backwards in order to move two steps forward in what not only the Gotan Project, but also many of Argentina's top tango musicians see as the progression of their beloved music's ever-evolving lifespan. "Recording this album was a more natural process for us all," Philippe adds, "as we wanted to continue the tango experience and in ten years time hopefully we'll still feel the same."

Philippe, Christoph, Eduardo
Nini, Cristina, Gustavo
Edi, Line, Fabrizio
Es la revancha del tango

Piazzolla, Troilo, Cura
Mal Profesor Zappa
Kruder, Dorfmeister, Pugliese
Es la revancha del tango

Thievery Corporation
Castillo
Castillo

Ana, Miguel, Maria
Noela, Noé, Rubén
Chris, ??? y Carlos,
Es la revancha del tango

*** Thanx a lot to Corqsan for this one ***

Santa maria (del buen ayre)

Hay milonga de amor
Hay temblor de gotán
Este tango es para vos

Argentina
Buenos Aires

Hay milonga de amor
Hay temblor de gotán

Argentina
Buenos Aires
El Puerto de Santa Maria del Buen Ayre

Hay milonga de amor
Este tango es para vos

Argentina
Buenos Aires

Hay milonga de amor
Hay temblor de gotán
Este tango es para vos

Argentina
Buenos Aires
El Puerto de Santa Maria del Buen Ayre

There's love's milonga
There's gotan's shake
This tango is for you

Argentina
Buenos Aires

There's love's milonga
There's gotan's shake

Argentina
Buenos Aires
Santa Maria del Buen Ayre's port

There's gotan's shake
This tango is for you

Argentina
Buenos Aires

There's love's milonga
There's gotan's shake
This tango is for you

Argentina
Buenos Aires
Santa Maria del Buen Ayre's port

* Milonga. 1. Musical composition in the argetinian folklore of sad rythm and nostalgic tone, that is played with guitar.
2. f. Coplet which accompanies it.
3. f. Argentinian musical composition of up beat and marked in time two by four, related to tango.
4. f. Chant which accompanies it.
5. f. Argentinian dance.6.Lie, cheat.

* Gotan. Name of the band. It's Tango backwards

Lunático
(Lunatic. Also makes reference to the moon as "Luna" means "Moon")

* Candombe. Drum-based musical style of Uruguay. Candombe originated among the Afro-Uruguayan population of Montevideo and is based on Bantu African drumming with some European influence and touches of Tango.
* Payada. The payada, is an art from the hispanic culture in which a person, the payador, improvizes a reciting in rhyme, sung and accompanied by guitar.
* Bandoneon. Musical instrument.
* Gaucho. Gaucho is a term commonly used to describe residents of the South American pampas. The word gaucho could be described as a loose equivalent to the North American "cowboy". Like the North American word cowboy the term often connotes the 19th century more than the present day; then gauchos made up the majority of the rural pampas population, herding cattle and practicing agriculture as their main economic activities.
* Habanera. The habanera is a musical style or genre from Cuba with a characteristic "Habanera rhythm"; it is one of the oldest mainstays of Cuban music and the first of the dances from Cuba to be exported all over the world.

* Murga. Murga is a form of popular musical theatre performed primarily in Tenerife, Montevideo, Uruguay during the Carnival season.

* Discepolian. Referent to Enrique Santos Discépolo (Discepolín) (born March 27, 1901 in Buenos Aires - died on December 23, 1951) who was an Argentine tango and milonga musician and composer, author of famous tangos such as Cambalache and many others performed by several of the most important singers of his time, amongst them notably Carlos Gardel.

* Vigüela. Name given to two different guitar-like string instruments: one from 16th century Spain, usually with 12 paired strings, and the other, the Mexican vihuela, from 20th century Mexico with five strings and typically played in Mariachi bands.

* Candombe. Drum-based musical style of Uruguay. Candombe originated among the Afro-Uruguayan population of Montevideo and is based on Bantu African drumming with some European influence and touches of Tango.
* Milonga. 1. Musical composition in the argetinian folklore of sad rythm and nostalgic tone, that is played with guitar.
2. f. Coplet which accompanies it.
3. f. Argentinian musical composition of up beat and marked in time two by four, related to tango.
4. f. Chant which accompanies it.5. f. Argentinian dance.6.Lie, cheat.