Intro
Bm G D A
Bm G D A
Bm G D A
Bm G D A
Bm G D A
Bm G D A
Verse
Bm G D
Ella durmio
A Bm G D A
Al calor de las masas
Bm G D
Y yo desperté
A Bm G D A
Queriendo soñarla
Bm G D A
Algún tiempo atras
A Bm G D A
Pensé en escribirle
Bm G D
Y nunca sortié
A Bm G D A
Las trampas del amor
Chorus
Bm G D
De aquel amor
A Bm G D A
De música ligera
Bm G D A
Nada nos libra
A Bm G D A
Nada más queda
Solo
Bm G D A
Bm G D A
Bm G D A
Bm G D A
Verse
Bm G D
No le enviaré
A Bm G D A
Cenizas de rosas
Bm G D
Ni pienso evitar
A Bm G D A
Sus roces secretos
Chorus
Bm G D
De aquel amor
A Bm G D A
De música ligera
Bm G D A
Nada nos libra
A Bm G D A
Nada más queda
Solo
Bm G D A
Bm G D A
Bm G D A
Bm G D A
Bm G D A
Bm G D A
Bm G D A
Bm G D A
Chorus
Bm G D
De aquel amor
A Bm G D A
De música ligera
Bm G D
Nada nos libra
A Bm G D A
Nada más queda
Nada más
( Bm G D A )
Refrão Final
Bm G D A
Nada más queda
Bm G D A
Nada más queda
Bm G D A
Nada más queda
Bm G D A
Nada más queda
Final
G D
Ella durmió al calor de las masas
Y yo desperté queriendo soñarla
Algún tiempo atrás pensé en escribirle
Que nunca sorteé las trampas del amor
De aquel amor
De música ligera
Nada nos libra
Nada más queda
No le enviaré cenizas de rosas
Ni pienso evitar un roce secreto
De aquel amor
De música ligera
Nada nos libra
Nada más queda
De aquel amor
De música ligera
Nada nos libra
Nada más queda
Nada más...
Nada más queda
Nada más queda
Nada más queda
Nada más queda
Traducción literaria al inglés — fiel al sentimiento del autor, no es cantable.
She slept
In the warmth of the crowds
And I woke up
Wanting to dream of her
Some time ago
I thought of writing to her
And never escaped
The traps of love
From that love
Of light music
Nothing frees us
Nothing else remains
I won't send her
Ashes of roses
Nor do I plan to avoid
Her secret touches
From that love
Of light music
Nothing frees us
Nothing else remains
From that love
Of light music
Nothing frees us
Nothing else remains
Nothing else
Nothing else remains
Nothing else remains
Nothing else remains
Nothing else remains
Traducción literaria al italiano — fiel al sentimiento del autor, no es cantable.
Lei dormì
Al calore delle masse
E io mi svegliai
Volendola sognare
Qualche tempo fa
Pensai di scriverle
E non trovai mai
Le vie fuori dall'amore [*]
Di quell'amore
Di musica leggera
Niente ci salva
Niente rimane
Non le manderò
Ceneri di rose
Né penso di evitare
I suoi tocchi segreti
Di quell'amore
Di musica leggera
Niente ci salva
Niente rimane
Di quell'amore
Di musica leggera
Niente ci salva
Niente rimane
Niente più
Niente rimane
Niente rimane
Niente rimane
Niente rimane
Traducción literaria al portugués — fiel al sentimiento del autor, no es cantable.
Ela dormiu
Ao calor das massas
E eu acordei
Querendo sonhá-la
Algum tempo atrás
Pensei em escrever para ela
E nunca escapei
Das armadilhas do amor
Daquele amor
De música leve
Nada nos livra
Nada mais resta
Não lhe enviarei
Cinzas de rosas
Nem penso em evitar
Seus toques secretos
Daquele amor
De música leve
Nada nos livra
Nada mais resta
Daquele amor
De música leve
Nada nos livra
Nada mais resta
Nada mais
Nada mais resta
Nada mais resta
Nada mais resta
Nada mais resta
From the album
Canción Animal
Soda Stereo · 1990 · Track 8
The story behind
Soda Stereo recorded «De música ligera» during the first half of 1990, releasing it as the first single from Canción animal, their fifth studio album. The song was composed by Gustavo Cerati and Zeta Bosio, and has a duration of 3 minutes and 34 seconds. The track is regarded as the most well-known, popular, and emblematic of the group, as well as serving as an Argentine anthem. It is considered one of the anthems of Spanish-language rock and one of the most recognized compositions in Argentine rock, and is also one of the songs most frequently chosen by the public. The song was the one that closed the band's El Último Concierto. At the end of its performance, Cerati, visibly moved, thanked the fans and collaborators who had accompanied the band on its road to success, closing his speech with the now celebrated phrase "¡Gracias... Totales!". That moment is recognized as one of the most memorable and emotional in the history of Spanish-language rock. In terms of recognition, «De música ligera» reached number 1 in the ranking of the 500 best songs in Ibero-American rock compiled by Al Borde in 2006, being chosen as the greatest song in Ibero-American rock of all time. It also placed 20th on the list of the 20 best Spanish-language rock songs compiled by E! in 2011, 4th in the ranking of the 100 best Argentine rock songs jointly produced by Rolling Stone Argentina and MTV in 2002, and again 4th on an equivalent list published by Rock.com.ar in 2007. On a global scale, the music review aggregator site Acclaimed Music placed it 27th among the best songs released in 1990, and 293rd within the decade of the nineties as a whole. The song took shape in an almost spontaneous manner: it began to develop during a soundcheck before a concert held in the city of Mexicali, Mexico, in 1989. There, the musicians began working on a sequence of four chords while Cerati tried out words that would fit the melody. The composer himself declared: "I was convinced that this was going to be a superhit." And indeed it was. According to its author, the first two verses of the track represent the desire to create a song capable of reaching the masses within the album. The line «ella durmió al calor de las masas, y yo desperté queriendo soñarla» alludes to that song conceived with the intention of becoming a hit. Cerati himself explained this in an interview conducted in 1990. The title and spirit of the piece come from a record collection that belonged to Gustavo Cerati's parents, titled Clásicos ligeros de todos los tiempos. Musically, the entire construction of the track stems from the riff and is sustained by the sequence carried by the guitar: four chords —Bm, GM, Dm, Am— that emphasize the G-D descent, where the energy of the song is concentrated. The apparent harmonic simplicity is deceptive: that G-D descent appears at the center of each verse and not at the beginning or end, as might be expected on a first listen. It is precisely that asynchrony between the vocals and the harmony that generates the appeal which has made the track one of the most successful songs in the history of Latin rock. During that period, the members of the group had reconnected with their roots, particularly with the Argentine rock bands of the seventies that they had listened to during their adolescence. That influence shaped the general style of Canción animal, as well as the music video conceived for «De música ligera».