Born in the "City of Palaces" (Mexico City), Eugenia Leon discovers her musical calling at the College of Sciences and Humanities in Naucalpan, where she lent her voice for the compositions of her schoolmates.
During the turbulent 70's, young people started to identify with the musical movement known as La Trova, singing about Latin American life, liberty, and soul.
Those influences defined her style and her future path, and she never looked back.
When she turned 18, she decided to study at the National School of Music. Those were hard times, constantly switching jobs, and learning from life's blows and surprises.
Encouraged by her sister, Eugenia Leon formed a musical group called "Victor Jara", with a totally Latin American folk style. Afterwards, she forms the group Sanampay, with the same roots. She left Sanampay in 1982 to pursue a solo career, based on a repertoire of songs from contemporary Mexican composers, and including also boleros and music from Brazil.
She releases her first recording in 1983, "Asi te quiero", and traveled all over Mexico with a small group of musicians playing in various gigs.
Eugenia Leon's career took a definite turn in 1985, when she entered the OTI International Festival at Seville (Spain) representing Mexico, with Marcial Alejandro's song "El Fandango Aqui". As a devastating earthquake hits Mexico City on September 19th, right while she's competing at the Festival, Eugenia transformed the pain of her people into strength, and turned her voice into the utmost expression of courage and hope. She was awarded First Place in the competition.
Since then, she has recorded more than 20 albums, all diverse and unique. Among the composers that have given her songs are Fito Paez, David Haro, Joan Manuel Serrat, Marcial Alejandro, Armando Manzanero, Jose Alfredo Jimenez, Francisco Gabilondo Soler and Maria Grever. She has also explored diverse styles such as mariachi, bolero and tango. In 1998, the government of the Mexican state of Veracruz granted her the Agustin Lara award, as homage for her excellent interpretation of the songs of the famous composers.
Commemorating her 30 years as singer, Eugenia Leon staged a concert at the National Auditorium in Mexico City (the largest venue in the country) on November 1st, 2003, selling it out completely. The concert was a spectacular show with Mariachi Vargas and the Orquesta Sinfonica de las Americas, enthralling the audience with samples covering Eugenia's entire career and musical repertoire.
Eugenia Leon is the best Mexican singer according to many, while others also consider Eugenia's concerts and recordings to be a guarantee of high quality. In any case, Eugenia helps to make sure that the musical spirit of Mexico will remain alive and well.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Eugenia León got her start in the New Song Movement, Latin America's equivalent to the rise of Bob Dylan and company in North America and Europe. With a repertoire that pairs contemporary composers with the creators of the traditional music of Latin America and Mexico, Ms. León is not locked in to any one genre. Rather she seeks to nurture her music with elements of theater, cabaret, and opera. Her association with actors, poets, painters, and writers imparts a distinct and rich dimension to the production and staging of her music.
In 1985, her rich voice and assured stage presence guaranteed her the top prize at the OTI International Song Festival in Spain. Since then she has participated in other prestigious events such as the Pan Pacific Music Festival in Japan, the Kennedy Center’s AmericArtes Festival in Washington, DC, the Latin Festival in New York City, Expo Seville in Spain, and the Americas Summit in Cartagena, Colombia. Ms. León was also invited to entertain the thousands of women gathered for their global summit in Beijing, China.
Back home in Mexico, audiences know that Eugenia León's musical style transcends the trendy ups and downs of the world of commercial music, and she regularly packs the top venues of the nation meeting demands of fans expectant of quality songs passionately delivered. This performer/audience relationship, she believes, leads to ever higher levels of musical culture in a country fairly bursting with song. The end of an Eugenia León concert often finds the entire crowd on it's feet applauding, at once, the Mexican popular music culture, and the artist who has given it a new voice.
With her roots deep in Mexican culture, she has also taken on the task of reaffirming the ties with other Latin American cultures. Her recent live recording of Tangos has renewed Mexico's love affair with this genre.
Along these lines, she paid homage to Mexico's most dearly loved children's song composer, Francisco Gabilondo Soler’s Cri Cri (Mister Cricket) with a shimmering recording of many of his most frolicsome melodies. Accompanied by the Baja California Symphony Orchestra, Eugenia León has gifted a new generation of Mexican children with the imagination and identity of this joyfully playful tunesmith.
La Gota Fría
Eugenia León Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Que estuviste en Urumita
Y no quisiste hacer parranda
Te fuiste de mañanita
Sería de la misma rabia
Te fuiste de mañanita
Sería de la misma rabia
A mí nadie me corrige
En mis notas soy extenso
A mí nadie me corrige
Para tocar con Lorenzo
Mañana sábado, día 'e la Virgen
Para tocar con Lorenzo
Mañana sábado, día 'e la Virgen
Me lleva él o me lo llevo yo
Pa' que se acabe la vaina
Me lleva él o me lo llevo yo
Pa' que se acabe la vaina
Ay, Morales a mí no me lleva
Porque no me da la gana
Moralito a mí no me lleva
Porque no me da la gana
Moralito, Moralito se creía
Que quizá, que quizá, que quizá me iba a ganar
Y cuando me oyó tocar
Le cayó la gota fría
Y cuando me oyó tocar
Le cayo la gota fría
Morales mienta mi mamá
Solamente pa' ofender
Ahora me mienta a mi mamá
Solamente pa' ofender
Para que él también se ofenda
Ahora le miento la de él
Para que él también se ofenda
Ahora le miento la de él
Me lleva él o me lo llevo yo
Pa' que se acabe la vaina
Me lleva él o me lo llevo yo
Pa' que se acabe la vaina
Ay, Morales a mí no me lleva
Porque no me da la gana
Moralito a mí no me lleva
Porque no me da la gana
The lyrics to Eugenia Leon's song "La Gota Fría" depict a confrontational and boastful narrative between the singer and a character named Moralito. The song begins with a reminder to Moralito of a past incident in Urumita when he refused to join in the festivities and left early, possibly out of anger. The singer emphasizes their own musical prowess and independence, stating that nobody can correct or overshadow their abilities. They plan to perform with Lorenzo, presumably another musician, on Saturday, which is also the day of the Virgin Mary.
The chorus repeats the phrase "Me lleva él o me lo llevo yo" which translates to "Either he takes me or I take myself" as a defiant statement. The singer rejects the idea of Moralito escorting them, asserting that they will decide their own destiny. This rejection is reinforced by the line "Porque no me da la gana," meaning "Because I don't feel like it."
The second verse further portrays the arrogance of the singer. Morales insults their mother, provoking the singer to retaliate by insulting Morales' mother in return. The song ends with the line "Y cuando me oyó tocar, le cayó la gota fría," meaning "And when he heard me play, the cold drop fell on him." This can be interpreted as poetic justice, as Moralito is seemingly overwhelmed or humbled by the singer's talent.
Line by Line Meaning
Acordate Moralito de aquel día
Remember Moralito that day
Que estuviste en Urumita
When you were in Urumita
Y no quisiste hacer parranda
And you didn't want to party
Te fuiste de mañanita
You left early in the morning
Sería de la misma rabia
It would be the same anger
En mis notas soy extenso
In my notes I am extensive
A mí nadie me corrige
No one corrects me
Para tocar con Lorenzo
To play with Lorenzo
Mañana sábado, día 'e la Virgen
Tomorrow Saturday, day of the Virgin
Me lleva él o me lo llevo yo
Either he takes me or I take him
Pa' que se acabe la vaina
So that the mess ends
Ay, Morales a mí no me lleva
Oh, Morales doesn't take me
Porque no me da la gana
Because I don't feel like it
Moralito a mí no me lleva
Moralito doesn't take me
Porque no me da la gana
Because I don't feel like it
Moralito, Moralito se creía
Moralito, Moralito thought
Que quizá, que quizá, que quizá me iba a ganar
That perhaps, perhaps, perhaps he was going to beat me
Y cuando me oyó tocar
And when he heard me play
Le cayó la gota fría
The cold drop fell on him
Morales mienta mi mamá
Morales insults my mother
Solamente pa' ofender
Only to offend
Ahora me mienta a mi mamá
Now he insults my mother
Solamente pa' ofender
Only to offend
Para que él también se ofenda
So that he also gets offended
Ahora le miento la de él
Now I insult him back
Me lleva él o me lo llevo yo
Either he takes me or I take him
Pa' que se acabe la vaina
So that the mess ends
Ay, Morales a mí no me lleva
Oh, Morales doesn't take me
Porque no me da la gana
Because I don't feel like it
Moralito a mí no me lleva
Moralito doesn't take me
Porque no me da la gana
Because I don't feel like it
Lyrics © Spirit Music Group
Written by: Emiliano Antonio Zuleta Baquero
Lyrics Licensed & Provided by LyricFind