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La mentirosa (2)

La mentirosa (2) is a Ranchera written by José Luis Padula and recorded by Enrique Rodríguez in 1957. The Ranchera La mentirosa (2) is written by José Luis Padula, Enrique Rodríguez has recorded La mentirosa (2) with the singer Omar Quirós, Oscar Galán.
“La Mentirosa (2),” meaning “The Liar (2)” in English, is a captivating tango that weaves a tale of deceit and longing through its melody. Its rhythm dances around unspoken truths, whispering secrets of a heart that hides behind a facade. The music’s passion exposes the tangled emotions beneath, capturing the essence of love’s perennial dance with deception.

Ranchera

Style

Enrique Rodríguez

Orchestra

Omar Quirós, Oscar Galán

Singer

Lito Bayardo

Author

José Luis Padula

Composer

1957/5/20

Date

Omar Quirós, Oscar Galán
Omar Quirós, Oscar Galán
Enrique Rodríguez
Enrique Rodríguez

Discover Other Orchestras

Alfredo Gobbi – A mis manos – 1955/3/28
Alfredo Gobbi – Predestinada – 1955/6/13
Alfredo Gobbi – El pollero – 1949/3/24
Alfredo Gobbi – La viruta – 1947/5/16
Alfredo Gobbi – Puro apronte – 1949/1/31
Juan MAGLIO – Milonguero viejo – 1928/4/2
Rodolfo Biagi – Amor y vals – 1942/5/22
Rodolfo Biagi – Camino del Tucumán – 1946/5/23
Rodolfo Biagi – Soledad la de Barracas – 1945/9/6
Rodolfo Biagi – La canción – 1959/9/16
Rodolfo Biagi – Tu voz – 1944/5/9
Orquesta Símbolo Osmar Maderna – Aquellas cartas – 1959/7/8
Orquesta Símbolo Osmar Maderna – Escalas en azul – 1959/6/17
Orquesta Símbolo Osmar Maderna – Papá Baltasar – 1960/10/14
Orquesta Símbolo Osmar Maderna – Gardenias – 1959/8/18
Orquesta Símbolo Osmar Maderna – No no llores más – 1959/6/17

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

1957/5/20 – La racha – Enrique Rodriguez
1957/5/23 – El Tango Club – Alfredo De Angelis
1957/5/23 – La criolla – Alfredo De Angelis
1957/5/23 – Mi dolor – Alfredo De Angelis
1957/5/23 – Seleccion burrera – Alfredo De Angelis
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
Miss Liar
doesn’t wait around,
joyful and lively
the young men seek her
as a companion.

Here she is in the mix,
engulfed in the fest
thrown by Old Tomasa,
because her son now leaves
as he soon departs
for conscription.

A gaucho with a flowery chiripá
approaches a charming local girl,
just as the accordion player
starts a heartfelt native dance.
The matchless couple, smiles aglow,
succumb into lively dance at the gathering,
who knows what they whisper to each other,
to the tune of the accordion.

(spoken)
Now he leaves…
shouts a singing gaucho
and begins, heartfelt,
with deep fervor
a blossoming verse,
from a moan
to a love song.
Long live the party!
Landlady and landlord
and all the locals
who on this occasion
bid farewell to the young man
with deep emotion.

As the sun begins to rise
neighbors head back
to their homes.
While memories remain
of the dance with wine,
roast and empanadas.

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

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 tango “La mentirosa (2)” vividly paints a scene of rural festivity and dance, encapsulating the joyous spirit and communal bonding typical of Argentine gatherings. It particularly centers around a character, Misia Mentirosa, who enthrals the youth with her vivacious charm as they congregate to celebrate. The narrative unfolds during a local festivity organized by a character referred to as Ña’ Tomasa, where the imminent departure of a young man for military service casts a bittersweet shadow on the event’s revelry.



Symbolism of La mentirosa (2)

The song infuses rich symbolism and cultural motifs to depict the essence of Argentine rural life. Misia Mentirosa, potentially symbolic of the merry and occasionally deceptive nature of festive gatherings, serves as a focal point for the youth, embodying energy and liveliness. The “florido chiripá” and “criollita” symbolize traditional attire and heritage, emphasizing a deep-rooted cultural identity. The song uses the festivity as a metaphor for the lifecycle of communal relationships and traditions, witnessed through the lens of dance and music typified by the ranchera.



La mentirosa (2) in historic Context

Recorded in 1957, “La mentirosa (2)” emerged in a period marked by a strong sense of community and tradition within rural Argentina. During this era, local festivities were crucial social events that solidified community bonds and provided a platform for expressing collective emotions. The conscription mentioned reflects the societal backdrop wherein young men were periodically enlisted, adding layers of collective anticipation, tension, and farewell to the narrative.



Lito Bayardo

Lito Bayardo, renowned for his lyrical prowess, was an influential figure in the Argentine tango scene, deeply embedded in the cultural fabric of his time.