He has performed in some of the most prestigious concert halls featuring Salsa, as well as Jazz events like the Newport Jazz Festival. His recordings have also garnered him many awards and gold albums. His success is attributed to his musical expression of his unique jibaro salsa flavor and his love for Puerto Rico.
Early life:
Héctor was born in Ponce, Puerto Rico to Pachita and Luis Perez, and raised in the Machuelito barrio of the city. He was inspired early in life by his musically talented family. His grandfather Don Juan Martínez was a singer of controversial songs, which often went from vocal conflict to physical confrontations. His uncle was a well known tres player in Ponce. His mother Pachita was well known among her family and townspeople for her beautiful singing voice. His father Luis supported his wife and eight children by singing and playing guitar with trios and big bands. Héctor would also be influenced by Puerto Rican singers such as Jesus Sanchez Erazo -also known as "Chuíto el de Bayamón"- one of the island's most successful folk singers, and Daniel Santos. Later in his life, would have the honor of recording songs with both artists.
Héctor attended the local Juan Morel Campos Public School of Music where the saxophone was the first instrument he learned to play. Among his classmates were Jose Febles and multi-instrumentalist Papo Lucca. Jose Febles wrote most of the horn charts for "Rican-Struction", considered by many to be the best album to ever come out of the New York Salsa scene. One of his teachers would strictly demand good diction, stage presence and manners from him (something that suited him well later on), claiming that as a bolero singer, Héctor would become a superstar. By the age of 14, however, Héctor dropped out of school and sang with a ten-piece band. moved permanently to New York on May 3, 1963. It would take many more years before Héctor was able to reconcile with his father.
Arrival in New York City
He met his sister Priscilla upon arrival to New York. The first thing he did in New York was visit El Barrio, New York's "Spanish Harlem." Héctor was disappointed in the condition of El Barrio which contrasted with his vision of "fancy Cadillacs, tall marble skyscrapers and tree-lined streets." Hector stayed at his sister's apartment in The Bronx instead.
The first week in New York, Héctor was invited by his friend Roberto García, a fellow musician and childhood friend, to a rehearsal of a newly formed sextet playing the romantic bolero Tus Ojos. The lead vocalist, who was singing off key, and as a gesture of goodwill, Lavoe showed the vocalist how it was supposed to sound. Impressed with his dynamic voice and stage personality, the group offered him the spot of lead vocalist, which he accepted.
Later in his career, he joined othermore well known groups in the genre, including Orquesta New York, Kako All-Stars, and Johnny Pacheco. In 1967, he met Salsa star Willie Colón.
Pacheco, co-owner of Fania Records and its recording musical director, arranged for Lavoe to record with Willie Colón on his first album El Malo. Willie never officially asked Lavoe to join his band, but after the recording, Willie said to him, "On Saturday we start at 10 p.m. at El Tropicoro Club."[need citation]
The album's success significantlytransforms both Willie's and Héctor's lives. Héctor received instant recognition, steady work and enough money to provide him with a comfortable life style. According to Lavoe, it happened so fast he didn't know how to cope with the sudden success.
Later years
With newly found success, Héctor, like many successful artists of his time such as Judy Garland, La Lupe, and Billie Holliday, became severly addicted to narcotic and prescription drugs. His addiction resulted in him showing up late for gigs, and eventually did not even show up to some appointments at all. Although Willie fired him, he tried to help Lavoe seek assistance to try to quit his habit.
In 1973, Willie Colón departed the band. Lavoe was giving the option of keeping the band together by becoming leader of his own band, which he did. Lavoe formed his own band and traveled around the world with them as well as with the Fania All-Stars. During his travels, Héctor went to Honolulu, Hawaii and ran into a young man who went by the name of Shakti. Shatki eventually became his benefactor providing him with spiritual and metaphysical wellbeing. Lavoe later found out that he befriended a very powerful yogi in disguise who was trying to open Lavoe's spiritual vision. Héctor established himself as a successful singer within a relatively short time and was recognized as a legend in his own time. With a new found spirituality, Hector eventually reconciled with his father when he finally visited his father who received him with open arms.
Despite his success, Héctor's life was plagued by tragic events, emotional turmoil and pain.
Héctor died in poverty on June 29, 1993 in New York City. The cause of death was AIDS. He was first buried in a bruial plot in Saint Raymond's Cemetery in the Bronx (which ironically is the burial place of both La Lupe and Billie Holiday; until 2002 Lavoe's grave was within walking distance from La Lupe's), however in June 2002 the bodies of both Lavoe and his son (who died in 1987) were exhumed per his family's request. They were later reinterred in his native Ponce, along with his wife Nilda who passed away a few weeks prior to the burial.
Lavoe's spirit and legacy still lives on. He is one of the few Latin artists to have his life filmed into two biopics. Both films, which will be released in 2006 are produced by two of the most prominent celebrities in the musical genre. El Cantante will star salsa superstar Marc Anthony as Lavoe, and film icon (and also's Anthony's wife in real life), Jennifer Lopez as Hector's wife, Nilda (also known as "Puchi" by close friends).
Meanwhile, singer La India is producing her own biopic of Lavoe's wife with actor Raul Carbonell in the lead role. The Singer (which is a literal English translation of the first biopic) will be released in 2006 as well.
Besides these films, an off-Broadway production of his life title Quien Mato a Hector Lavoe? ("Who Killed Hector Lavoe?) was a huge success in the late 1990s. IT starred singer Domingo Quiñones in the lead role.
Periódico De Ayer
Héctor Lavoe Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Que nadie más procura ya leer
Sensacional cuando salió en la madrugada
A medio día ya noticia confirmada
Y en la tarde materia olvidada
Tu amor es un periódico de ayer
Fue el titular que alcanzó pagina entera
Tu nombre ha sido con reporte que guardé
Y en el álbum del olvidó lo pegué
Tu amor es un periódico de ayer
Que nadie más procura a leer
El comentario que nació en la madrugada
Y fuimos ambos la noticia propagada
Y en la tarde materia olvidada
Tu amor es un periódico de ayer
¿Y para qué leer, un periódico de ayer?
Oye noticia que todos saben, ya yo no quiero leer
¿Y para qué leer, un periódico de ayer?
Tú no serviste pa' nada mami, y al safacón yo te eché
¿Y para qué leer, un periódico de ayer?
Echa, camina, apartate de mi vera
Apártate de mi lado
¿Y para qué leer, un periódico de ayer?
Tú eres el diario, la prensa, radio Bemba, radio Bemba
¿Y para qué leer, un periódico de ayer?
¿Para qué voy a leer la historia de un amor que no ni puedo creer?
¿Y para qué leer, un periódico de ayer?
Te quise, te tuve, te mantuve, pero ya no te quiero
¿Y para qué leer, un periódico de ayer?
A tu casa yo no voy, Polito, dame y tumba la chaveta, la chaveta
¿Y para qué leer, un periódico de ayer?
En el álbum de mi vida, en una pagina escondida, allí te encontré
¿Y para qué leer, un periódico de ayer?
Anda, vete de mi vera, cosa buena, ya no te quiero ni ver
¿Y para qué leer, un periódico de ayer?
¿Qué te pasa, estas llorando? Tienes alma de papel
¿Y para qué leer, un periódico de ayer?
Y como el papel aguanta todo, así mismo te traté
¿Y para qué leer, un periódico de ayer?
Analizate tu historia, y así podrás comprender
In Hector Lavoe's song "Periodico De Ayer," he compares a past lover to yesterday's newspaper that no one wants to read anymore. He describes how their love was once sensational and made headlines in the early morning but as time passed, it became old news that people no longer cared to read. The singer refers to their love as a "headline that occupied an entire page," which made the lover well-known to everyone. Still, he ultimately concludes that their love is not worth reading or revisiting, just like an old newspaper, because it was forgettable and didn't serve a purpose.
Throughout the song, the singer expresses a sense of indifference towards the past lover and their love story. He repeatedly asks himself, "Why read yesterday's newspaper?" and concludes that it's pointless. The lyrics are exceptional because they skillfully compare an old love story to yesterday's news, making it relatable to anyone who has ever felt that their love story is not worth revisiting.
Line by Line Meaning
Tu amor es un periódico de ayer
Your love is like yesterday's news that nobody else wants to read.
Que nadie más procura ya leer
No one else tries to read it anymore.
Sensacional cuando salió en la madrugada
It was sensational when it came out in the early morning.
A medio día ya noticia confirmada
By noon, the news was already confirmed.
Y en la tarde materia olvidada
And by the afternoon, it was forgotten.
Fue el titular que alcanzó pagina entera
It was the headline that made the front page.
Por eso ya te conocen donde quiera
That's why everyone knows who you are now.
Tu nombre ha sido con reporte que guardé
Your name has been a report that I kept.
Y en el álbum del olvidó lo pegué
And I stuck it in the album of forgotten things.
El comentario que nació en la madrugada
The comment that was born in the early morning.
Y fuimos ambos la noticia propagada
And we were both the news that was spread.
¿Y para qué leer, un periódico de ayer?
Why read yesterday's news?
Oye noticia que todos saben, ya yo no quiero leer
I don't want to read news that everyone already knows.
Tú no serviste pa' nada mami, y al safacón yo te eché
You didn't serve any purpose, so I threw you away.
Echa, camina, apartate de mi vera
Go away, walk away from me.
Tú eres el diario, la prensa, radio Bemba, radio Bemba
You are the news, the press, the rumors.
¿Para qué voy a leer la historia de un amor que no ni puedo creer?
Why should I read the story of a love that I can't even believe?
Te quise, te tuve, te mantuve, pero ya no te quiero
I loved you, had you, kept you, but now I don't want you anymore.
A tu casa yo no voy, Polito, dame y tumba la chaveta, la chaveta
I'm not coming to your house, Polito, give me the cleaver and let me chop it, chop it.
En el álbum de mi vida, en una pagina escondida, allí te encontré
In the album of my life, on a hidden page, that's where I found you.
Anda, vete de mi vera, cosa buena, ya no te quiero ni ver
Go away, thing of the past, I don't want to see you anymore.
¿Qué te pasa, estas llorando? Tienes alma de papel
What's wrong, are you crying? You have a weak heart.
Y como el papel aguanta todo, así mismo te traté
And since paper can handle everything, that's how I treated you.
Analizate tu historia, y así podrás comprender
Analyze your own story, and then you'll understand.
Lyrics © CONCORD MUSIC PUBLISHING LLC
Written by: Catalino Alonso
Lyrics Licensed & Provided by LyricFind
@LuisAlvarez-my9yi
Los violines y trompetas dan a entender ese amor que ya ni existe, la melancolía que transmiten es única.
@MfDestino1108
Lo sureal de aquello que ya no es más
@suheilysilver3223
💯💯💯💯🇵🇷😘💯💯💯EXCATO 💯💯💯💯
@suheilysilver3223
💯💯💯💯💯💯💯💯💯💯💯💯🇵🇷🇵🇷🇵🇷🇵🇷
@DT-lr5df
Así es 🔥🔥💪💪
@universoinfinitodeposibili1580
Tal cual
@leidyerazo9115
Quien está de acuerdo q esta canción es un himno de la salsa🎺🎻🎺🎻🎼🎼🎼
@l_yy3149
El género de está canción es Salsa??
@angelxd7667
Yo💃💃💃💃💃💃
@dianaposada9412
@@l_yy3149 Obvioo