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La mentirosa (2)

La mentirosa (2) is a Ranchera written by José Luis Padula and recorded by Orquesta Típica Victor in 1939. The Ranchera La mentirosa (2) is written by José Luis Padula, Orquesta Típica Victor has recorded La mentirosa (2) with the singer Mario Corrales.
“La mentirosa (2),” or “The Liar (2),” weaves a tale of deceit and charm. The melody dances with the elegance of a tango, each note a beguiling whisper, luring listeners into a labyrinth of emotions. As the music unfolds, it reveals the intricate mask of a truth that hides behind beautifully seductive lies.

Ranchera

Style

Orquesta Típica Victor

Orchestra

Mario Corrales

Singer

Lito Bayardo

Author

José Luis Padula

Composer

1939/8/10

Date

Mario Corrales
Mario Corrales
Orquesta Típica Victor
Orquesta Típica Victor

Discover Other Orchestras

Horacio Salgán – Silbando – 1955/1/1
Horacio Salgán – Sueño querido – 1961/1/1
Horacio Salgán – Mal de amores – 1965/1/1
Horacio Salgán – Ilusión de mi vida – 1952/4/9
Horacio Salgán – Un momento – 1953/5/20
Anibal Troilo – Volver – 1970/8/13
Anibal Troilo – El motivo (Pobre paica) – 1970/8/13
Francisco Rotundo – Mal de amores – 1956/5/22
Francisco Rotundo – Lo siento en el alma – 1954/9/17
Francisco Rotundo – Bien bohemio – 1954/4/12
Francisco Rotundo – Eras como la flor – 1955/5/2
Francisco Rotundo – Nunca es tarde (Todavía estás a tiempo) – 1957/1/22
Adolfo Carabelli – Recordar – 1931/6/15
Adolfo Carabelli – El trece – 1932/9/27
Adolfo Carabelli – Tomala con soda – 1933/5/4
Adolfo Carabelli – Por dónde andará – 1932/5/24
Adolfo Carabelli – El aeroplano – 1927/11/2

Recommended

These Tangos, Valses, and Milongas were recorded around the same time. Take a look to discover what else this orchestra—or others—may have recorded during the same week or even on the exact same day.

La mentirosa (2) recorded by other Orchestras

La mentirosa (2) recorded by other Orchestras

1939/8/10 – Dona sol – Orquesta Tipica Victor
1939/8/9 – Mandria – Juan D-Arienzo
1939/8/9 – Castigo – Juan D-Arienzo
1939/8/18 – Anoranzas (2) – Osvaldo Fresedo
1939/8/18 – Divagando – Osvaldo Fresedo
La mentirosa (2) – 1957/5/20 – Enrique Rodriguez – Omar Quiros
Oscar Galan
La mentirosa (2) – 1939/8/10 – Orquesta Tipica Victor – Mario Corrales

Lyrics Translation of the Ranchera La mentirosa (2)

This is the translation of the Ranchera “La mentirosa (2)” from Spanish to English. The English lyrics of the Ranchera “La mentirosa (2)” have been done with AI.

Letra del Ranchera La mentirosa (2)

Pa’ bailar una ranchera
Misia Mentirosa
no es de las que espera,
por alegre y saltarina
la buscan los mozos
para compañera.

Aquí está en el entrevero,
metida en la fiesta
que da Ña’ Tomasa,
porque el hijo ya los deja
pues pronto se aleja
pa’ la conscripción.

Un gaucho de florido chiripá
se acerca a una criollita de mi flor,
a tiempo que el paisano del acordeón
empieza un baile criollo con amor.
Risueña la pareja sin igual,
se entrega al baile alegre en la reunión,
quién sabe que de cosas se dirán,
al son de la acordeona.

(recitado)
Aura y se fue…
grita un gaucho cantor
y empieza, sentido,
con hondo fervor
un verso florido,
que va de un gemido
a un canto de amor.
¡Qué viva la fiesta!
Patrona y patrón
y tuitos los criollos
que en esta ocasión
despiden al mozo
que pronto nos deja
con una emoción.

Cuanto el sol viene asomando
se van los vecinos
para la ranchada.
Mientras quedan los recuerdos
del baile con vino,
asado y empanadas.

Más de un gaucho y una moza
hicieron un lazo
con sus ilusiones.
Al compás de una ranchera
que allá en la tranquera
se recordará.

English lyrics of the Ranchera "La mentirosa (2)"

To dance a ranchera
Misia Mentirosa
is not one to wait,
cheerful and sprightly
the boys seek her
as a partner.

Here she is in the turmoil,
embedded in the party
thrown by Ña’ Tomasa,
as her son soon leaves
departing for conscription.

A gaucho with a vibrant chiripá
approaches a Creole girl of my heart,
just as the accordionist starts
a loving Creole dance.
The unmatched couple smilingly,
joys in the dance at the gathering,
who knows what they tell each other,
to the sound of the accordion.

(recited)
And now she’s gone…
cries a singing gaucho
and begins, heartfelt,
with deep fervor
a flowery verse,
from a moan
to a song of love.
Long live the party!
Patrons and matrons
and all the Creoles
who on this occasion
bid farewell to the young man
with deep emotion.

As the sun starts rising
the neighbors head
back to their ranches.
While memories remain
of the dance with wine,
roast and empanadas.

More than one gaucho and girl
formed a bond
with their dreams.
To the rhythm of a ranchera
that down by the gate
will be remembered.

La mentirosa (2) by Lito Bayardo

La mentirosa (2) is a Tango written by Lito Bayardo and composed by José Luis Padula.

Story behind the Tango La mentirosa (2)

The lyrics of “La mentirosa (2)” tell a vibrant story set in a rural, festive atmosphere, where a gathering is held by Ña’ Tomasa. The scene is lively and communal, marked by dancing, singing, and a shared meal of wine, asado, and empanadas. An important subplot within the lyrics is the imminent departure of a young man for conscription, adding a poignant undertone to the festivity. The key themes explored are community, youthful romance, and the emotional tumult of parting.

Symbolism of La mentirosa (2)

Lito Bayardo employs rich symbolism in “La mentirosa (2),” utilizing the ranchera dance as a metaphor for celebration and unity. The ranchera, typically joyful and light-hearted, contrasts with the solemn reality of the young man’s departure. The lively dance and the festive atmosphere symbolize the community’s effort to cherish the moment despite the looming separation. This duality enhances the emotional depth of the song, reflecting a common human experience: celebrating in the shadow of impending change.

La mentirosa (2) in historical Context

The song was written in 1939, a notable period for Argentina, marked by political and social transitions. This context adds layers to the song’s emphasis on conscription, which resonates with the era’s military inclinations and the associated cultural sentiments. The gathering, led by Ña’ Tomasa, a figure of matriarchy, subtly reflects on the societal roles and the communal bonds that define rural Argentina. The conscription mentions contextualize the young man’s fate within the broader national landscape, offering insights into the era’s effects on individual lives and community structures.

Lito Bayardo

Lito Bayardo, an influential figure in Argentine tango, was renowned for his poignant lyrics and compelling compositions that beautifully captured the essence of Argentine culture and emotions.