The name Caifanes is derived from 1940’s Mexican Pachuco (zoot suiter) slang "Cai fan" , it’s equivalent in English would be something like, “cool dude.” The word has also been used to describe the proverbial Mexican Pachuco, delinquent, or outsider.
Early Years:
The seeds of what was to later become Caifanes was planted in 1984 in the band Las Insolitas Imágenes de Aurora (Aurora's Unusual Images), a band that included Saúl Hernández, Alfonso André and Alejandro Marcovich. According to Marcovich, this project started out as a side project for the purpose of performing as a party band for the filming of his brother’s Carlos film projects. (Carlos Marcovich went on to direct various videos for Caifanes).
At the time, both Hernández and Marcovich were playing in different bands. The members enjoyed the experience of playing in "Insolitas" and decided to continue. As the seriousness of the project grew, the band began to play in different spots in Mexico City like Rockotitlán, High Tower, and El Jabalí. In May of 1986, Insolitas recorded a live demo performed at Rockotitlán. By then the band had developed a strong cult following in Mexico City.
"Insólitas" broke up in 1986. Saúl and Alfonso reformed as Caifanes with bass player/producer Sabo Romo and Diego Herrera on keyboards and sax.
Caifanes’ first live show was April 11, 1987, in Rockotitlán. Expectations were high, the building was filled to capacity and many people were left outside. Their popularity began to grow throughout Mexico City. By late 1987 Caifanes had carved a niche for themselves as a dark contrast to the corporate pop/rock and light ballads that dominated Mexican radio and television during the 1980’s. At times the image and the sound were considered radical for a very conservative Mexican music industry. Between December 28, 1986 and January 3, 1987 Juan Aceves produced a four song demo for the band using "free" studio time at night at Arco Studio (where Aceves was chief engineer). The demo was showcased in independent radio program Espacio 59 (Space 59), a show that promoted up and coming rock bands. With the demo under their arms Caifanes approached CBS Mexico. According to sources, Caifanes’ were not treated nicely. The musical director at the time shunned them for dark new wave attire and said, “You look like fags.” At the time, Caifanes’ sound and look was influenced by British post-punk groups such as The Cure and The Jesus and Mary Chain. They dressed in black suits and sported frizzly hair and makeup. This was too radical for the Mexican CBS executives. Upon hearing the demo of “Sera Por Eso?” (Is It Because of That?), the CBS executive uttered these words, “At CBS, our business is to sell records, not coffins.”
Nevertheless, the movement of Rock en Español (Spanish rock) or rock en tu idioma (Rock in your language) was too strong to ignore by record execs. The flood of groups from Spain and Argentina forced Mexican labels to take a second look at up-and-coming Mexican bands. Caifanes received a big break when Ariola records invited them to open for Argentinean rocker Miguel Mateos’ Mexico City show. The show brought Cafaines to the attention of Miguel Mateos’ producer Oscar "Cachorro" Lopez. Oscar fell in love with the band and took them to the studio to record a demo. Lopez would be instrumental in their signing to RCA-Ariola and would go on to produce their first two albums.
Caifanes’ debut album, the self-titled Caifanes (also known as Mátenme Porque Me Muero, or Volumen I) was released in August 1988 by RCA-Ariola. The LP was preceded by an EP made up of three songs. This was in order to test the market. The immediate sale of 300,000 copies of the EP cemented the bands appeal. The first single “Mátenme Porque Me Muero” ("Kill Me Because I'm Dying") became a minor hit in Mexico City. With the release of their first album Caifanes became notable trendsetters in and around central Mexico. The first three singles garnered sufficient radio play. In December of 1988 Caifanes released a cover of Cuban folk singer Guillermo Rodriguez Fiffe’s classic tropical dance song, “La Negra Tomasa,” (Black Girl Tomasa) as a maxi Single es: La negra Tomasa. The song was a massive hit in Mexico and introduced Caifanes to a wider audience nationally and abroad.
Mexico’s Most Important Band:
By 1989 Caifanes had emerged as one of the hottest rock acts to come from central Mexico. In June Caifanes played two sold out shows at Mexico’s Auditorio Nacional (National Auditorium), a 10,000 person venue – a first for a Mexican rock band.
In late 1989 Caifanes began to record their second album in New York City. The record was produced by Oscar Lopez who was aided by Gustavo Santaolalla and Daniel Freiberg. El Diablito (The Little Devil) was released in July of 1990 through BMG Records. The most notable change for the band was the addition of former Insolitas guitarist Alejandro Marcovich. Marcovich’s textural guitar work considerably changed Caifanes’ sound and cemented the “classic” Mexican rock sound that Caifanes became famous for. “La Celula Que Explota” (The Exploding Cell), with its brushes of mariachi and bolero guitars and a crescendo of mariachi trumpets became both a signature of the band as well as a massive hit. Hernandez’ lyrics and somber vocals complemented Marcovich’s lyrical playing. The haunting “Sombras en Tiempos Perdidos” (Shadows in Times Lost) and the ethereal “De Noche Todos Los Gatos Son Pardos” (All Cats Are Dark at Night), give the album a most sublime imprint.
By this time Caifanes along with Maná, Fobia, Maldita Vecindad y los Hijos del Quinto Patio, La Lupita, and Cafe Tacuba helped to move Mexican Rock toward a wider audience and catapulted the Rock En Español movement of the 1990’s.
In 1992, Caifanes released El Silencio (The Silence). Recorded in Wisconsin and produced by the prolific guitarist Adrian Belew, of King Crimson fame, "El Silencio" further cemented the Caifanes sound and had and a more direct guitar driven sound. “No Dejes Que” (Don’t Let It...”), “Estás Dormida” (You’re Asleep), “Debajo de Tu Piel” (Under Your Skin), and the soaring “Nubes” (Clouds) would go on to become Mexican rock staples. The influence of Belew, who also played guitar on the album, was felt strongest in “Hasta Morir” (Until Death), “Tortuga” (Turtle), and “Vamos a Hacer un Silencio” (Lets Make a Silence). With its string of hits, its multi-ethnic hybrid of rock and traditional Mexican music, El Silencio is considered to be on of Caifanes’ best albums and one of the most influential records of the Rock En Español genre.
Caifanes toured extensively in support of the album. By this time, the group had started to make inroads into Central and South America as well as in the United States. In August of 1992 Caifanes sold out the Hollywood Palladium. In 1993 Caifanes became the first Mexican rock group to sell out Mexico City's Palacio de los Deportes (Sports Palace).
By late 1993 Caifanes became a three piece with the exit of Romo and Herrera. Federico Fong and Stuart Hamm filled in on bass and Yann Zaragoza played the keyboard. No one knew what to expect of Caifanes after the loss of two founding members. 1994’s El Nervio Del Volcán (The Volcano’s Nerve), released by BMG exceeded the expectations of both critics and fans alike. El Nervio showed Caifanes at the height of their power. With a heavier more progressive sound, "El Nervio" highlighted the musician’s virtuosity as well as their tight playing and arrangements. Signature elements, Marcovich’s staccato guitar work, Alfonso’s polyrythmic drumming and Hernandez’s brooding and haunting vocal style were even more prominent. “Afuera” the first single seamlessly fused distinct rock grooves with an ethnic inspired guitar solo. “Aquí no es así” (“It’s Not Like That Here”), and "Ayer Me Dijo Un Ave" (“A Bird Told Me Yesterday”) became radio favorites. “Aviéntame” (Throw Me), is as dynamic and powerful as the best American and British prog and alternative acts.
1994 was a stellar year for Caifanes, who were at the height of their popularity. Caifanes along with Maná was one of Mexico's premier stadium rock acts, selling out stadiums in Mexico and large venues throughout Latin America and the United States. At this time Caifanes had cemented their reputation as one of the most important Mexican rock bands of all time. They were a staple in Latin MTV, Rock en Español radio and appeared regularly at music festivals. In 1994, Caifanes opened up for The Rolling Stones in Mexico City and participated in Peter Gabriel's WOMAD festival.
Breakup:
1995 would mark the end of Caifanes. According to various sources, Hernández and Marcovich’s relationship was strained. On the 18th of August 1995 Caifanes played their final show in the Mexican city of San Luis Potosí. A legal scuffle over the name “Caifanes” ensued forcing Saúl Hernández to choose the name Jaguares (Jaguars) for his new project, which built on the legacy of Caifanes, as it was not too much of a radical departure of the Caifanes sound. Hernández was joined by former Caifanes and Insolitas drummer Alfonso André.
Reunion:
On December 14th, 2010, it was announced by Twitter that the band would be reuniting for the Vive Latino festival and the Coachella Festival of 2011, after a reconciliation between Hernández and Marcovich.
Some of Caifanes' Guest Musicians and Collaborators:
Chucho Merchán (bass), Federico Fong (bass), José Manuel Aguilera (guitar), Stuart Hamm (bass), Gustavo Cerati (guitar), Adrian Belew (guitar), Yann Zaragoza (keyboards), Cecilia Toussaint (backing vocals).
Studio Albums:
Caifanes or, (Mátenme Porque Me Muero / Volumen 1) (1988)
El Diablito or, Volumen 2 (1990)
El Silencio (1992)
El Nervio Del Volcán (1994)
De Noche Todos Los Gatos Son Pardos
Caifanes Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Pero te lamen los huesos
Hay gatos que mahullan
Hasta exprimir su vientre
Hay gente que no ladra
Pero te exprime el alma
Hay gente que te odia
Hay gente que no arriesga
Le tiene miedo a la muerte
Hay gatos que no mueren
Le dan la vuelta al cielo así
De noche todos los gatos son pardos
Pardo me duermo, pardo te sueño
De noche todos los gatos son pardos
Pardo me duermo, pardo te sueño
Hay perros que defienden
Hasta clavar colmillos
Perro que ladra
Perro que ladra no muerde
De noche todos los gatos son pardos
Pardo me duermo, pardo te sueño
De noche todoso los gatos son pardos
Pardo me duermo, pardo te sueño
Pardo me duermo, pardo te sueño
Pardo me duermo, pardo te sueño
In "De Noche Todos Los Gatos Son Pardos," Caifanes is likening humans to cats and dogs in order to illustrate the various ways that people behave. The song starts off with the idea that there are dogs that don't bark but instead lick your bones and cats that howl until their bellies are empty. The metaphorical message implies that these dogs and cats have a restless spirit that drives them to get what they want. The same concept is applied to humans who differ from one another. Some people may not "bark" or express their emotions openly, but they may still "squeeze your soul" or manipulate your mind. Others may hold a strong hatred towards you, yet appear to be warm and kind like a cat that "licks its hands."
The next two verses focus on risks and death. Some people are afraid to take risks or approach the unknown because it may lead to death. However, there are cats that can outsmart the heavens and live beyond the limits of their nine lives. These lines, "Hay gatos que no mueren - Le dan la vuelta al cielo así," allude to the idea of enduring spirituality or transcendence beyond life's limitations. The chorus, "De noche todos los gatos son pardos" or "At night, all cats are gray," seems to suggest that at nighttime, we are reduced to our basic instincts, and the facade of our personalities is stripped away.
Line by Line Meaning
Hay perros que no ladran
There are some people who may not speak up or raise their voice
Pero te lamen los huesos
but they will still try to get close to you in a deceptive way
Hay gatos que mahullan
There are some people who may meow, which could be interpreted as asking for help
Hasta exprimir su vientre
but they will keep complaining without taking any action until they are exhausted
Hay gente que no ladra
There are some people who may not speak up or raise their voice
Pero te exprime el alma
but they can still emotionally drain you or make demands on you
Hay gente que te odia
There are some people who hate you or dislike you
Pero te lame las manos así
but they may still try to ingratiate themselves to you
Hay gente que no arriesga
There are some people who are afraid to take risks
Le tiene miedo a la muerte
who are scared of death and the unknown
Hay gatos que no mueren
There are some people who are resilient
Le dan la vuelta al cielo así
and they will persevere and overcome obstacles
De noche todos los gatos son pardos
At night, everything looks the same and it's hard to distinguish between different things or people
Pardo me duermo, pardo te sueño
I fall asleep easily, and dream of you - even though it may not be clear or easy to see
Hay perros que defienden
Some people are fiercely protective
Hasta clavar colmillos
and will go to great lengths to defend against perceived threats
Perro que ladra
However, a dog that barks loudly
Perro que ladra no muerde
may not necessarily follow through with actions or be a real threat
Pardo me duermo, pardo te sueño
I fall asleep easily, and dream of you - even though it may not be clear or easy to see
De noche todos los gatos son pardos
At night, everything looks the same and it's hard to distinguish between different things or people
Pardo me duermo, pardo te sueño
I fall asleep easily, and dream of you - even though it may not be clear or easy to see
Pardo me duermo, pardo te sueño
I fall asleep easily, and dream of you - even though it may not be clear or easy to see
Lyrics © Universal Music Publishing Group
Written by: ALFONSO HERNANDEZ ESTRADA
Lyrics Licensed & Provided by LyricFind
@emiliano3157
Hay perros que no ladran
Pero te lamen los huesos
Hay gatos que mahullan
Hasta exprimir su vientre
Hay gente que no ladra
Pero te exprime el alma
Hay gente que te odia
Pero te lame las manos así
Hay gente que no arriesga
Le tiene miedo a la muerte
Hay gatos que no mueren
Le dan la vuelta al cielo así
De noche todos los gatos son pardos
Pardo me duermo, pardo te sueño
De noche todos los gatos son pardos
Pardo me duermo, pardo te sueño
Hay perros que defienden
Hasta clavar colmillos
Perro que ladra
Perro que ladra no muerde
De noche todos los gatos son pardos
Pardo me duermo, pardo te sueño
De noche todoso los gatos son pardos
Pardo me duermo, pardo te sueño
Pardo me duermo, pardo te sueño
Pardo me duermo, pardo te sueño
@albertoherrera7332
Estas canciones son las que les debes subir el volumen a topé, Grande Caifanes ✨
@oscarmynameispancho1234
Esta y el negro cosmico😎
@mobilisinmobili85
Saúl es misterioso, cautivador y apacible como los gatos. Caifanes, Saúl y su magia en esta canción... Corrijo, todas las canciones de Caifanes están llenas de magia y misticismo!! Salud, mexicanos! Desde Ecuador ✌🏻🇪🇨
@albertovelazquez8316
sin duda alguna saludos hasta Ecuador mi hermano
@mobilisinmobili85
@@albertovelazquez8316 🇲🇽🤝🏻🇪🇨
@emiliano3157
Hay perros que no ladran
Pero te lamen los huesos
Hay gatos que mahullan
Hasta exprimir su vientre
Hay gente que no ladra
Pero te exprime el alma
Hay gente que te odia
Pero te lame las manos así
Hay gente que no arriesga
Le tiene miedo a la muerte
Hay gatos que no mueren
Le dan la vuelta al cielo así
De noche todos los gatos son pardos
Pardo me duermo, pardo te sueño
De noche todos los gatos son pardos
Pardo me duermo, pardo te sueño
Hay perros que defienden
Hasta clavar colmillos
Perro que ladra
Perro que ladra no muerde
De noche todos los gatos son pardos
Pardo me duermo, pardo te sueño
De noche todoso los gatos son pardos
Pardo me duermo, pardo te sueño
Pardo me duermo, pardo te sueño
Pardo me duermo, pardo te sueño
@ceciliaplatam
❤️
@raulordonezgarcia
❤
@palomamoraguerrerophotography
Hace tiempo, decian que Caifanes era como la version de The Cure en Mexico. Yo no se que opinen ellos mismos acerca de esta comparacion... Lo que si puedo decir como una fan leal desde los 90's es que nos llevaron a niveles inesperados de espiritualidad
@sycofya1677
Paloma Mora eran parecidos pero no completamente