This book is composed of various songs, from disparate origins. Here we can find songs of different types and different eras, some considered typical of Barakaldo and others popular in the rest of Euskal Herria and that were born in places far away from this municipality.
What defines this songmaker is heterogeneity, an aspect that is only a reflection of its author, Txeru García Izagirre, who, like thousands of other neighbors of the Left Bank, is in the midst of the social change that began in the middle of the nineteenth century and that has led us to today’s society.
This selection of songs is also inevitably imbued with the personal journey of Txeru, a politically committed man whose working life has elapsed in the industries and institutions of the Left Margin and whose commitment to the recovery of Basque has always been undoubted.
All this is what has ended up moving this songmaker, a set of melodies that he himself has sung, heard singing or has been informed – usually by older people – that they have come to be performed. It is, therefore, a personal version of the Barakaldes musical world represents part of an era and a way of seeing life.
The digital extension of this Barakaldés Songmaker aims to grow with all the contributions that barakaldeses and barakaldesas want to make.
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El Danzón (Cuban song)
Cuando el danzón se baila en Cuba,
lo bailan hasta los chiquillos,
a la tierra le entran temblores,
y se mueven hasta los ladrillos.
de ritmo embriagador,
cuando más suena el viento,
el movimiento sale mejor.
Se baila en Cuba y en el Japón,
en Barakaldo no deja D. Simón,
porque Llaneza ha puesto un Bando,
ante todo, la moralidad.
In the post-war period there were two people with a lot of power. One was D. Simón, pastor of San José and the other José María Llaneza, the mayor, who fined men if they went in shirt sleeves and women who did not wear stockings, because it was “unseemly” to go out on the street like this. In this case there was a “chascarrillo” (which seems unbelievable): he is said to have fined his wife because he went out to the public fountain, for water, in times of restrictions, without means (there were many years that formed endless “tails” since the water did not reach the houses, particularly to the high floors).
Contribution from Roberto Montalbán de Lutxana.
Coplas to Santa Águeda
una txikita siempre se da. (txikita>perra chica=5 céntimos)
La mujer de esta casa
es una santa mujer,
pero, más santa sería
si nos diera de comer.
Heard many years ago the mother of a childhood friend, born in Basatxu. He talked to the “s,” and he thinks he knew Basque.
Contribution from Mikel Martínez Vitores of San Bizente.
Barakaldo C.F., since its founding in 1917 has never been orphaned by musical dedications. In the Book of the 75th Anniversary,its author Carlos Ibáñez mentions four historical hymns: A Pasodoble in 1918, a medruri in 1922, a pasodoble in 1924, the work of Tomás Crespo and an anonymous in 1927, all of them of a popular character and currently unknown to most of the hobby.
It is from 1957, when a song was forged that sweeps in the baracaldeses followers and is undertaken unofficially as an anthem; this comes on the occasion of the descent into the Third Division and the then leaders are promoting a campaign to lift the spirits of the fans and prevent their support from declining. One of the actions of this initiative was to “bomb” the town through the constant street of a car endowed with public address, alternately issuing messages about it and the popular streetwalks of the master D. Borea, “Sendeja Club”, to whose melody the following text was adapted:
Los chicos del Barakaldo han comprado un pelotón
y bajan a Lasesarre para jugar al fútbol.
Al terminar el partido todos cantan en unión
Alirón, alirón, Barakaldo campeón.
Es Baracaldo sin dudar
cuna del fútbol nacional
Es un equipo sin igual
que siempre sale a ganar
A Segunda División.
Contribution of Jaime Cortázar.