Rock in Spanish began in 1958, when Ritchie Valens, born in California recorded Mexican folk song "La Bamba", popularizing Spanish-language rock music throughout Latin America. That year, Daniel Flores, another son of Mexican immigrants born in California, often called the "Godfather of Latin Rock", performed his hit song "Tequila", introducing this music to the United States.
The first Rock bands in Latin America were created in the late 50s and early 60s. Since 1959, several Mexican groups like Los Teen Tops, Los Blue Caps and Los Locos del Ritmo recorded Spanish versions of rock classics by Elvis, Chuck Berry, Little Richard, and Buddy Holly among others, which gained them popularity in Latin America. Successful covers included La Plaga (Good Golly Miss Molly) and Popotitos (Bony Moronie). In 1960, Argentinian Sandro de América, a rock musician with a very sensual style influenced by Elvis, later developed a style of pop music called Balada romántica Latinoamericana (Latin American romantic ballad).
In this decade the Mexican (later US citizen) Carlos Santana played in the bars and clubs of California. He recorded a disc with songs in Spanish and English titled Abraxas, and was one of the first Mexicans or Latin Americans who played Latin rock and rock in Spanish around the world.
In the early 60s, a style of commercial rock music called Nueva ola (New wave) became popular in several Latin American countries. In Spain, the mid-1960s produced the bands Los Bravos, Los Brincos, Bruno Lomas y Los Rockeros, Los Canarios, Los Cheyennes, Fórmula V, Lone Star, Micky y Los Tonys, Los Mustang, Los Pekenikes, Pop Tops, Los Salvajes and Los Sírex.
In the late 60s, the Mexican Carlos Santana further popularized the Latin rock genre. Although he does not consider himself a Rock en Español musician, he is a traditional Latin musician that has fused rock guitar with classic Latin American songs. His hit song "Oye Como Va" is an example of Santana's fusion, being a song composed by famous Latin jazz and mambo musician Tito Puente. Other Mexican bands like Los Lobos and the Malo group plays in parts of United States and the radio. In Mexico other groups like La Revolucion de Emiliano Zapata, Three Souls in my Mind, Toncho Pilatos, Javier Batiz (he is the teacher of Santana in Tijuana), Peace and Love and others playing songs in Spanish and English. In 1969, Santana plays in the Woodstock Festival with others mundial rock legends like Jimi Hendrix, Janis Joplin, Jefferson Airplane and The Who. This festivals made in countries of Europe, Canada, United States and Mexico with rock in English have a influence in the rock in Spanish in the after decades.
The late 60s in Argentina brought a movement called "rock nacional" (Argentinean national rock). With a distinct musical style, it has become one of the most popular styles in that country, along with tango and folk music. Bands and musicians responsible for the movement are Los Gatos (led by Litto Nebbia), Arco Iris (led by Gustavo Santaolalla), Almendra (led by Luis Alberto Spinetta), Vox Dei, Sui Generis and Serú Girán (both led by Charly García). Argentinian national rock is linked with the sexual revolution of that country and the spirit of freedom against military dictatorships.
After the Falklands War in 1982, Argentine rock was reborn with bands like Soda Stereo, Patricio Rey y sus Redonditos de Ricota, Los Fabulosos Cadillacs, Sumo and others singers like Andres Calamaro and Fito Páez. The fall of the Nueva canción movement and the rise of the music industry in Latin America favoured the spread of "new" Caribbean styles (Cumbia, Salsa, Merengue) but also of Spanish language rock across the region.
It was from Argentina, where the most developed music industry and rock scene was, that Spanish language rock begun to be internationalized crossing the boundaries of countries to which each band had previously been more less limited to. Soda Stereo is largely credited to be the first Spanish language rock band to gain widespread popularity across Latin America. However, there was equal transnational success in the late 80s from fellow argentines Enanitos Verdes, Spain's Hombres G, and Chile's Los Prisioneros during the same time period. Following Soda a series of other bands from Argentina, but also notably from Mexico, begun to grow audiences all across the Americas, such as Caifanes, El Tri, Los Abuelos, Divididos among others. Rock bands from Spain that flourished during and after La Movida Madrileña failed to gain popularity in Latin America during the 80s.
The final amalgamation into a coherent international scene was helped by the introduction of MTV Latin America in 1993, where the first video shown; We are Sudamerican rockers by Los Prisioneros reflected its aims to create a Latin American scene. In the late 90s, MTV created the Latino Award in the MTV Video Music Awards and Premios MTV Latinoamérica in 2002, awards that recognize the talent and achievements of the genre. However, MTV Latin America were criticized for focusing primarily on rock bands from Argentina and Mexico, with the occasional band from Chile or Colombia. For example, bands on MTV Latino that received very regular airplay were Los Fabulosos Cadillacs, Mano Negra, Café Tacvba, Soda Stereo, Aterciopelados, Maldita Vecindad, El Tri, Las Victimas del Doctor Cerebro, La Cuca, La Lupita and Babasonicos. This ignored other movements, such as the punk rock movement in Chile, or the chongo rock in Peru (e.g. Arena Hash, Los Nosequien y los Nosecuantos, Sangre Purpura, Micky Gonzales).
In the 90s bands like Los Rodríguez and Héroes del Silencio bridged the gap between Spain and Spanish-speaking America by being the first rock bands to become popular both in the Americas and Europe.
In the late 80s to mid 90s, bands like Robi Draco Rosa, Caifanes, Café Tacuba, La Ley, initiated a new stage of Latin rock by broadening its international appeal. Since then, successful bands and musicians include Juanes (Colombia), Libido (Peru), Maná (Mexico), Jaguares (Mexico), Aterciopelados (Colombia), Bersuit Vergarabat (Argentina), Jorge Drexler (Uruguay), and Los Tres (Chile) among others.
In the 90s, rock bands experimented with fusing rock music and Latin American folk and African rhythms, with bands like Divididos, Las Pelotas, Los Piojos, Bersuit Vergarabat, Babasónicos, Catupecu Machu and La Renga.
Rock en español borrows heavily from rock and roll music and traditional and popular music of Spanish-speaking countries such as Cumbia, Ranchera, Rumba, and tango. In its 50 year history, it has evolved from having a cult-like following to being a more well established music genre.
In Los Angeles, an underground scene has developed and continues to flourish that supports the local rock en español acts. Top bands from the LA REE scene include Pastilla, Maria Fatal, Rascuache, Voz de Mano, Cabula, Las 15 letras, Verdadera FE, and Los Olvidadas.
Chicano Rock Music is rock music performed by Mexican American groups or music with themes derived from Chicano culture. Chicano Rock, to a great extent, does not refer to any single style or approach. Some of the groups do not sing in Spanish at all, or use any specific Latin instruments or sounds. The main unifying factor, whether or not any Latin American music is heard, is a strong R&B influence, and a rather independent and rebellious approach to making music.
Other variations
Argentine rock
Bolivian rock
Chilean rock
Costa Rican rock
Colombian rock
Dominican rock
Ecuadorian rock
Guatemalan rock
Honduran rock
Mexican rock
Nicaraguan rock
Panamanian rock
Paraguayan rock
Peruvian rock
Puerto Rican rock
Salvadorean rock
Spanish rock
Uruguayan rock
Venezuelan rock
Me Voy
Julieta Venegas Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Lo que había en el
Porque no tuviste el valor de ver quien soy
Porque no escuchas lo que está tan cerca de ti
Solo el ruido de afuera y yo
Que estoy a un lado desaparezco para ti
No voy a llorar y decir
Que no merezco esto
Por que
Es probable que
Lo merezco, pero no lo quiero por eso me voy
Que lastima pero adiós
Me despido de ti y me voy
Que lastima pero adiós
Me despido de ti
Porque sé que me espera algo mejor
Alguien que sepa darme amor
De ese que endulza la sal
Y hace que salga el sol
Yo que pensé nunca me iría de ti
Que es amor del bueno de toda la vida
Pero hoy entendí que no hay suficiente para los dos
No voy a llorar y decir
Que no merezco esto
Porque
Es probable que
Lo merezco, pero no lo quiero por eso me voy
Que lastima pero adiós
Me despido de ti y me voy
Que lastima pero adiós
Me despido de ti
Me voy
Que lastima pero adiós
Me despido de ti y me voy
Que lastima pero adiós
Me despido de ti y me voy
Que lastima pero adiós
Me despido de ti y me voy
Que lastima pero adiós
Me despido de ti y me voy
The lyrics of Julieta Venegas's song "Me Voy" speak to the pain of a failed relationship, but also to the empowerment that comes from choosing to leave. Venegas questions why her former partner couldn't understand her heart or see her for who she truly is, instead choosing to only hear the noise of the outside world. She feels invisible to this person, and ultimately decides that she deserves better. The chorus repeats the phrase "Que lastima pero adiós," or "What a shame but goodbye," underscoring the bittersweet nature of the decision to leave.
Venegas's lyrics are powerful in their simplicity - she doesn't need flowery language to convey the raw emotions of the situation. She is clear about her decision and why she is making it. Rather than wallowing in her sadness, she recognizes that she is worthy of love and respect and has the agency to seek it out. The verses build up to this realization, with the final one describing the newfound hope that comes from believing that "something better awaits me."
Overall, "Me Voy" is a song about asserting one's own worth and choosing to move on from a relationship that isn't fulfilling. Venegas's lyrics are relatable and her delivery is emotive, making this song a powerful anthem for anyone who has been through heartbreak and come out the other side.
Line by Line Meaning
Por que no supiste entender a mi corazón
You didn't know how to understand my heart
Lo que había en el
What was inside of it
Por que no tuviste el valor de ver quien soy
You didn't have the courage to see who I am
Por que no escuchas lo que está tan cerca de ti
Why don't you listen to what's so close to you?
Solo el ruido de afuera y yo
Only the outside noise and me
Que estoy a un lado desaparezco para ti
I am on the side and disappear for you
No voy a llorar y decir
I'm not going to cry and say
Que no merezco esto
I don't deserve this
Por que
Because
Es probable que
It's likely that
Lo merezco, pero no lo quiero por eso me voy
I deserve it, but I don't want it, that's why I'm leaving
Que lastima pero adiós
What a shame, but goodbye
Me despido de ti y me voy
I say goodbye to you and I'm leaving
Por que sé que me espera algo mejor
Because I know something better awaits me
Alguien que sepa darme amor
Someone who knows how to love me
De ese que endulza la sal
Of the kind that sweetens the salt
Y hace que salga el sol
And makes the sun come out
Yo que pensé nunca me iría de ti
I thought I would never leave you
Que es amor del bueno de toda la vida
That it's good, lifelong love
Pero hoy entendí que no hay suficiente para los dos
But today I understood that there's not enough for both of us
Me voy
I'm leaving
Lyrics © Sony/ATV Music Publishing LLC
Written by: Julieta Venegas Percevault
Lyrics Licensed & Provided by LyricFind
@lalis2288
Un aplauso para quienes nos fuimos 👏🏻👏🏻👏🏻👏🏻👏🏻👏🏻👏🏻
@isabelazapata-ip1ms
Estoy en ese proceso :(
@fabiancarrillo9810
@@isabelazapata-ip1ms Y duele
@lalis2288
@@isabelazapata-ip1ms Te mando un abrazo y mucha fortaleza.
@FebronioDelallave-pz6oe
Que recuerdos la rola😢
@davidmontoya8149
No puedo irm :(
@조아라-d2d
Hola 🙋♀️ me gusta mucho esta canción 🎶 soy de Corea del Sur 🇰🇷 y estoy aprendiendo español con esta música maravillosa 🥰 no logro entender bien pero es bonita
@wendy9478
ay que hermoso xd pues... suerte we :)
@milanpaolo5599
Que linda sigue aprendiendo las chinas son muy lindas
@joaquinjuliarena2110
@@milanpaolo5599 dijo que es de Corea, ¿no leiste?