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)
Piedra
Caifanes Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Déjame piedra
No me deformes más
Déjame como soy
Mira como sangro
Qué no sientes como tiemblo
No te importa verme sufrir
Nunca me has hablado
Como se me seca el alma
Mis dientes piden perdón
Si te grito que me ayudes
Es porque quiero que te alejes
Ya no quiero olerte más
No quiero irme contigo
Llorando al cielo
Quiero aprender, aprender a amar
Piedra
Déjame piedra
No me deformes más
Déjame como soy
Que así estoy bien
Solo estoy muy bien
Sepárame los huesos
Destrózame y entiérrame
Olvídame por favor
Déjame ser de noche
Y bailar hasta sangrar
La danza del mas allá
Déjame aunque sea
Irme volando hasta perderme
Y nunca volverte a ver
Soy un mudo
No me destruyas
Que quiero conocer, la paz interior
Piedra
Déjame piedra
No me deformes más
Déjame como soy
Que así estoy bien
Solo estoy muy bien
Piedra
Déjame piedra
No me deformes más
Déjame como soy
Que así estoy bien
Solo estoy muy bien
Piedra
Déjame piedra
No me deformes más
Déjame como soy
Que así estoy bien
Solo estoy muy bien
Piedra
Déjame piedra
No me deformes más
Déjame como soy
Que así estoy bien
In Caifanes’s song “Piedra”, the singer pleads with an unknown entity to leave them alone, cease the constant torment, and let them be themselves. The title of the song, “Piedra”, which means stone in Spanish, is used metaphorically to represent the hard, unrelenting, and unfeeling force that the singer wants to be rid of. The lyrics reveal a character whose soul has been crushed to the extent that they are no longer recognizable to themselves. They perceive themselves as bleeding and trembling, while their teeth ask for forgiveness. The singer feels lonely and abandoned, and despite reaching out, they do not receive help. The person addressed in the song seems indifferent to their cries for assistance, and this hurts the singer more deeply.
The song expresses a desire for liberation and to be allowed to be who they are truly. The singer longs to dance so hard that they bleed and engage in the “danze del mas alla” or dance of the beyond, which is interpreted by some scholars as a metaphor for death. However, the singer does not desire death but wants to escape from the pain of life. Their plea is to be left to learn to love and know peace within themselves. The repetition of the phrase “Dejame como soy”, meaning “Let me be who I am,” enforces the message that the singer has already had enough and wants to live on their own terms.
Line by Line Meaning
Piedra
The singer is addressing someone or something, possibly an obstacle or a person who is trying to change them, and asking to be left alone.
Déjame piedra
Translated as 'leave me stone', this line is reiterating the request for the singer to be left alone or unchanging.
No me deformes más
The singer is asking not to be further deformed or changed, suggesting they have already undergone some changes that they do not want or like.
Déjame como soy
Translated as 'leave me as I am', the artist is asking to be accepted for who they are, without any changes or alterations.
Mira como sangro
The artist is pointing out that they have been hurt or are bleeding, possibly from the changes they have undergone or the pressure they feel from the other person/obstacle.
Qué no sientes como tiemblo
The singer is asking why the other person/obstacle cannot feel or understand the fear and trembling that they are experiencing in this situation.
No te importa verme sufrir
The singer is accusing the other person/obstacle of not caring about their suffering, whether emotional or physical.
Nunca me has hablado
The artist is saying that they have not been properly understood or listened to by the other person/obstacle, and that there is a lack of communication or understanding between them.
Como se me seca el alma
The artist is expressing how they feel emotionally drained or emptied, as if their soul is drying up or withering away.
Mis dientes piden perdón
This line is likely symbolic, with the artist suggesting that their actions or words have been harmful or aggressive, and that they feel remorseful or guilty about it.
Si te grito que me ayudes
The singer is saying that they have tried asking for help, possibly from the other person/obstacle, but they have not received it or been satisfied by it.
Es porque quiero que te alejes
This line suggests that the artist does not want the other person/obstacle to help them, but rather to leave them alone or back off.
Ya no quiero olerte más
The singer is expressing a desire to cut ties with the other person/obstacle and move on, suggesting that the smell or presence of this person is unpleasant or triggering.
No quiero irme contigo
This line is addressing the other person/obstacle, saying that the singer does not want to accompany them or be associated with them in any way.
Llorando al cielo
Translated as 'crying to the sky', this line suggests that the singer has been hurt or is suffering greatly, and is expressing it in a dramatic or exaggerated way.
Quiero aprender, aprender a amar
The artist is expressing a desire to grow and learn, specifically in the context of learning how to love or be loved.
Sepárame los huesos
Translated as 'separate my bones', this line suggests that the artist is willing to undergo great physical harm or even death to be separated from the other person/obstacle.
Destrózame y entiérrame
This line suggests a continuation of the previous line, with the singer saying that they are willing to be destroyed or dismantled and buried.
Olvídame por favor
The singer is once again asking to be left alone or forgotten, suggesting that the other person/obstacle has caused them great pain or difficulty to the point of needing to erase them from their life.
Déjame ser de noche
Translated as 'let me be at night', this line suggests that the artist feels more comfortable or free in the dark or in solitude.
Y bailar hasta sangrar
The artist is expressing a desire to dance, even to the point of physical harm or bleeding, as a way to cope or release their emotions.
La danza del mas allá
Translated as 'the dance of the beyond', this line is likely symbolic, suggesting that the artist is transcending or moving beyond their current situation, possibly through dance or other forms of expression.
Déjame aunque sea
Translated as 'let me, even if it's just', this line suggests a desperation for the other person/obstacle to let the singer go or to stop interfering with them in some way.
Irme volando hasta perderme
Translated as 'flying away until I lose myself', this line suggests a need to escape, to break free from the current situation or person and find oneself in the process.
Y nunca volverte a ver
The singer is expressing a desire to cut ties permanently and never see the other person/obstacle again.
Soy un mudo
Translated as 'I am a mute', this line suggests that the singer feels silenced or unheard, possibly by the other person/obstacle.
No me destruyas
The singer is asking not to be destroyed or broken down any further, suggesting that they have already undergone significant harm or change.
Que quiero conocer, la paz interior
Translated as 'because I want to know inner peace', this line suggests that the artist is searching for something, possibly self-acceptance or spiritual enlightenment, and that the other person/obstacle is hindering them from achieving it.
Solo estoy muy bien
This line is a repetition of the earlier lines, with the artist insisting that they are fine and happy being left alone or unchanged.
Lyrics © Peermusic Publishing
Written by: Alfonso Hernandez Estrada, Saul Hernandez
Lyrics Licensed & Provided by LyricFind
@mateoxsz
Piedra dejame piedra
No me deformes mas
Dejame como soy
Mira como sangro
Que no sientes como tiemblo
No te importa verme sufrir
Nunca me has hablado
como se me seca el alma
Mis dientes piden perdon
Si te grito que me ayudes
Es porque quiero que te alejes
Ya no quiero olerte mas
No quiero irme contigo
Llorando al cielo
Quiero aprender
Aprender a amar
Piedra dejame piedra
No me deformes mas
Dejame como soy
Que asi estoy bien
Solo estoy muy bien
Separame los huesos
Destrozame y entierrame
Olvidame porfavor
Dejame ser la noche
Y bailar hasta sangrar
la danza del mas alla
Dejame aunque sea
Irme volando hasta perderme
Y nunca volverte a ver
Soy un mundo
No me destruyas
Que quiero conocer la paz interior
Piedra dejame piedra
No me deformes mas
Dejame como estoy
Que asi estoy bien
Solo estoy muy bien
@samuelgalvancarreno863
Me dedicaron está canción cuando estaba sumergido en el mundo de las drogas hoy gracias a Dios me encuentro limpio y puedo seguir escuchando este gran tema con la misma paz Interior que Saúl Hernández buscaba para su vida en ese entonces
@liveconcertsgdl.3245
Te felizpito. Nos vale verga tu historia de tu vida de drogas.
@Mai3923
@@liveconcertsgdl.3245 Jjajajahahaha
@naydajacobo5488
Felicidades amigo y de eso trata la canción Piedra dejame piedra... Cuando mi amorchs Saúl esta sumergido en las drogas... Saluditos
@0marloera827
Que chido la neta
Escucha en la habitación de tu mente de jaguares también está buena para motivarte y sigas adelante
@gamemode1426
Xd
@alejandrogalicia9854
Como no recordar esas mañanas frías, cuando mi papá me llevaba a repartir el pan, escuchando el disco de Caifanes "El Silencio".
@richardmorel2248
Vicioso
@adriantello9514
Que chido bro me trae exactamente el mismo recuerdo
@intoxbastar2
@@richardmorel2248 tu mamá