Joaquín Ramón Martínez Sabina (born 12 February 1949) is a Spanish musician, singer, composer, and poet. His songs usually treat love, heartbreaks and society with significant use of literary figures as in the baroque-literature style.
He has released fourteen studio albums, two live albums, and three compilation albums. Some of his best-known songs are "Calle Melancolía" ("Melancholy street"), "19 días y 500 noches" ("19 days and 500 nights"),"Quién me ha robado el mes de Abril" ("Who stole my April month"), "Pongamos que hablo de Madrid" ("Lets say I'm talking about Madrid"), "Y sin embargo" ("However"), "Contigo" ("With you") or "Peces de ciudad" ("City fish")
He performed both solo and with a group for his live albums, performing with Javier Krahe and Alberto Pérez in La mandrágora, the group Viceversa in a 1986 concert, and with Joan Manuel Serrat in Dos pájaros de un tiro (Two birds with one stone).
Sabina suffered a stroke in 2001 and although he physically recovered, he entered a deep depression which resulted in a four-year-long concert hiatus.[1] He recovered and released his eighteenth album, Alivio de Luto, in November 2005 and in 2009 he released his album, Vinagre y rosas. In 2012 he released his latest album in collaboration with Joan Manuel Serrat: La Orquesta Del Titanic.
On June 29, 2020, Sabina married Jimena Coronado in a private ceremony in Madrid [2]
Biography and career
Early years
Joaquín Sabina was born in Úbeda, in the Province of Jaén. He is the second son of Adela Sabina del Campo and Jerónimo Martínez Gallego. His father was a policeman.
He attended a Carmelite primary school and he started writing his first poems and composing music at the age of 14. He was part of a band called Merry Youngs which imitated singers such as Elvis Presley, Chuck Berry and Little Richard, as well as many others.
After completing high school, his father wanted him to follow in his footsteps and become a police officer but he refused, saying that he preferred the guitar. In his song "La del pirata cojo" he says he fantasizes about living different lives, but he would not even joke about becoming a police officer.
Exile in London
He then enrolled in the University of Granada, reading philology in the faculty. There, he read the poetry of Pablo Neruda and César Vallejo. Sabina lived at first with a woman called Lesley and started to prepare his thesis.
His revolutionary ideology led him to be related to anti-fascist groups. In 1970, he began collaborating with the magazine Poesía 70, sharing pages with Carlos Cano [es] and Luis Eduardo Aute; he then left the university, going into exile in London using a fake passport under the name Mariano Zugasti, to avoid persecution from Francisco Franco's government after throwing a Molotov cocktail into a government building. That same year, his father received an order to arrest Sabina due to his anti-Franco ideals.[3]
In 1975, Sabina started writing songs and singing at local bars. In a local bar called "Mexicano-Taverna" Sabina performed in the presence of George Harrison, who was celebrating his birthday. The ex-Beatle then gave Sabina a five-pound note as tip, which Sabina still preserves to this day. When Franco's dictatorship ended in 1975, Sabina returned to Spain and joined the army but, feeling imprisoned, he married to be able to sleep outside the barracks.
After the return
Sabina's first album, Inventario(Inventory) was released in 1978 by a small label Movieplay. He describes this album "as his own version of death metal", but the album largely went unnoticed. Afterwards, he moved to the powerful CBS (today Sony) and released Malas Compañías(Bad Companies). This album gave Sabina his first number-one hit single "Pongamos que hablo de Madrid"[4] (Let's say I'm talking about Madrid), and the artist attained wide recognition. He released a live album called La mandrágora(The Mandrake), sharing the spotlight with bandmates Javier Krahe and Alberto Pérez. The trio enjoyed great popularity due to their participation in a TV program. La Mandrágora was controversial due to the racy and political content of the lyrics.
Sabina released his third album Ruleta Rusa(Russian Roulette) in 1984. In this album the singer evolved from the typical singer-songwriter style to Rock music with a harder sound and with presence of new instruments such as electric guitars. One of the most popular songs of this album was "Pisa el acelerador" (Step on the accelerator), which was the first maxi single of this album.[5]
Success
In 1985 Sabina left CBS and released, this time under Ariola, Juez y Parte(Judge and Side) his fourth studio album in which he teamed up with the band Viceversa, which was led by Pancho Varona, who would turn into one of his closest friends and producer of many of Sabina's future albums. In this release, which shows a more modern production with the use of synthesisers and keyboards, it was included another popular song entitled "Princesa" (Princess), arguably the most popular one of this release.[6]
His political views led him to take part in the anti-NATO movement. He later released Joaquín Sabina y Viceversa en directo, his first live album, which turned definitely into his commercial breakthrough. This album which was recorded in the Salamanca theatre in Madrid, the singer collaborated with other singers such as Javier Krahe, Javier Gurruchaga, and Luis Eduardo Aute amongst others.
In 1987 Sabina released his fifth studio album, Hotel, Dulce Hotel(Hotel, Sweet Hotel), which sold a large number of records in Spain (400.000 copies).[7] One of the most popular songs of this record was the track "Así estoy yo sin ti" (That's how I am without you) for which was released a promotional video, the first one of his musical career.[8] That success led to his next album El Hombre del Traje Gris(The Man in the Gray Suit), in which he would count with Antonio García de Diego, a new collaborator and also another of his fellow friends. After releasing this album, Sabina undertook a successful tour in Latin America. This record was followed by the release of Mentiras Piadosas(Pious Lies) in 1990.
Two years later, in 1992, the performer reached a new sales record with the release of Física y Química(Physics and Chemistry), which sold more than one million copies[9] mainly thanks to the smash hit "Y nos dieron las diez" (We went on till ten o'clock)[10] a song with strong Mexican traditional flavour that tells the story of a summer affair. This song received such a warm welcome that has been covered by many Latin American singers. The unprecedented success led the singer to another successful tour to the Americas.
His later albums Esta boca es mía(This Mouth is Mine), Yo, mi, me, contigo[11](I, my, me, with you) and 19 Días y 500 Noches(19 Days and 500 Nights), won him wider recognition and multiple platinum albums.
After recovering from a stroke,[12] he returned to the stage in 2002 with Dímelo en la Calle (Tell me on the Street or Dare to say that outside). He later released a double album called Diario de un peatón(A Pedestrian's Diary), which included both his previous album and 12 new songs, along with a book illustrated by him.
In 2005 Sabina released a new record Alivio de luto(Relief from Mourning ). The album release was accompanied by a DVD that includes interviews, music videos, acoustic versions of the songs, and home-made recordings.
In 2007, he went on tour with Spanish singer Joan Manuel Serrat, called Dos Pájaros de un Tiro(Two birds with one stone) and they recorded a CD of this tour, which includes the DVD of the concert and a documentary.[13]
In 2009, he received the prize of the city of Madrid from the mayor Alberto Ruiz Gallardón, who said that he was one of the most important people who had given a good image to the city.[14] That year, he published his 15th studio album, Vinagre y Rosas (Vinegar and Roses), an album in which he collaborated with his producers Pancho Varona and Antonio García de Diego, and with the band Pereza. The first single from the album was the song "Tiramisu de limón" ("Lemon Tiramisu"), sung with Ruben and Leiva, the members of Pereza. For the promotional video, he collaborated with the actress and singer Mónica Molina. Finally the album was released on 14 December, entering directly at the top of the Spanish album chart.[15]
In 2022, the documentary Sintiéndolo mucho (SentLo Much)[16] will premiere at the San Sebastián Film Festival, a film directed by Spanish director Fernando León de Aranoa and in which the former member of the band Pereza, Leiva, collaborates as composer of the soundtrack. It is an intimate documentary in which León de Aranoa shows us Joaquín Sabina in different aspects of his daily life, with recordings made during several years of monitoring the artist from Jaén and which shows us hidden aspects of his biography. In it, friends appear gathered at the singer-songwriter's apartment or images of his tour through Mexico.
Style
Some examples of his baroque style songwriting with a large metaphoric usage:
Vivo en el número siete
calle melancolía
quiero mudarme hace años
al barrio de la alegría
pero siempre que lo intento
ha salido ya el tranvía
en la escalera me siento
a silbar mi melodía
I live at number seven
melancholia street
for years I've been wanting to move
to the happiness neighborhood
but every time I try
the tram has already left
I sit in the stairs
and whistle my melody
Me abandonó
Como se abandonan los zapatos viejos
Destrozó el cristal de mis gafas de lejos
Sacó del espejo su vivo retrato
[...]
Tanto la quería
que tardé en aprender a olvidarla
diecinueve días
y quinientas noches
She abandoned me
As old shoes are abandoned
She broke the glass of my distance glasses
She removed from the mirror her live portrait
[...]
I loved her so much
that to learn to forget her it took me
nineteen days
and five hundred nights
Yo no quiero saber por qué lo hiciste
Yo no quiero contigo ni sin ti
Lo que yo quiero, muchacha de ojos tristes
Es que mueras por mí
Y morirme contigo si te matas
Y matarme contigo si te mueres
Porque el amor cuando no muere mata
Porque amores que matan nunca mueren
I don't want to know why you did it
I don't want with or without you
what I want, girl with sad eyes
is that you die for me
And dying with you if you kill yourself
and killing myself with you if you die
because when love doesn't die it kills
because loves that kill never die.
Al infierno se va por atajos, jeringas, recetas
ayer, hecha un pingajo me dijo, en el tigre de un bar
"¿dónde está la canción que me hiciste cuando eras poeta?
Terminaba tan triste que nunca la pude empezar"
Por esos labios, que sabían a puchero de pensiones inmundas
Habría matado yo que cuando muero ya nunca es por amor
You go to hell by taking shortcuts, syringes and prescriptions
yesterday, being a mess, she told me in a pub's toilet
"Where is the song you wrote me when you were a poet?
the ending was so sad that I never could start reading it (the song)"
For these lips, that tasted like filthy hostels' soup
I would've killed, now that when I die it's never because of love
^"Biografia Joaquin Sabina" [Biography of Joaquin Sabina]. Guitarra.net (in Spanish). Archived from the original on 17 August 2011. Retrieved 21 December 2017.
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