“The contracted debt with Los Esquizitos is initial. Its direct influence c… Read Full Bio ↴“The contracted debt with Los Esquizitos is initial. Its direct influence can be found in the epidemic they spread without asking for it, by chance. In the quarry of their obsessions, a side b of a scene subdued to the no-longer-charming hit, was carved; because first of all, Los Esquizitos listened and listen to music. In a stupid and insistent way, as if by having it, they could lack everything else. The reasons to form a band are infinite. Theirs was out of urgency, to plug and brake. Back then, nobody needed something similar to Los Esquizitos, but they managed to convince the world about the opposite. They were ignored by some. Many others, they ones who decided to follow them, got the message: rock is that big joke to laugh at, even if you don’t quite get it. This is the story of Los Esquizitos up to now, where the laughter is still echoing. We never knew how the story of the weasel ended; and us, the ones in the debt hope never to find out.” Rodrigo Marquez Tizano
Brisa: The terror of drum skins. A housewife on an antibombs shelter, she cooks lead with a copper grapeshot to feed her little bird. All that Tank Girl is and knows, she learnt from Brisa (even having a kangaroo boyfriend). Speak gently to her because she knows 9 different martial arts and she lights her cigarettes from the sparks of your crashed thightbone.
El Tio Alex (Uncle Alex): Alechemist, bohemian, philosopher, and sybarite. It is so easy for him to turn things into gold that he gets bored and instead he sheds his knowledge over the glowing skins of the adolescents that surround him. When he is late to hit the sun, he plugs his guitar to remind him who rules here.
El Profesor Desorden (Professor Mess): More distinguished than Goebbels and more convincent than the Slimstep infomercials. Doctor Lameme is the only one close to his hipnotic powers. He is capable of originating or stopping cataclysims when he plays the bass. It is never the wrong moment to offer him a beer, but that doesn’t guarantee you that he will forgive your life.
El Uilis: Behind that spastic and festive façade, there is a coarse spirit. He keeps his most sinister talents to change your body chemistry out of a microphone. If you have the temper to start a conversation with him, consider yourself lost when you think he abruptly changes the subject. From that point on, you’ll be possesed.
Los Esquizitos:
A band of brothers, almost friends. A band of music lovers, almost musicians. A cult band that planted the seed for the surf-garage movement, so that newer generations would harvest its fruits; shirts with flower prints, wrestlers’ masks, the beach fantasy of Mexico in the 50s, and of course, the magic of black and white cinema with exotic beauties and unusual monsters are part of today’s bands slang; who only ten years ago was a rarity on Mexico City’s popular belief.
This collosal band was formed in the mid ninties. Their first show took place in the venue of the multidisciplinary coffee place BillArt on May 4th , 1994, show to which they were introduced as the “Ultimate Freak Rockers”.
Breeze, the drummer, owned an underground bar called Tuttifrutti; Nacho Desorden (bassist) and Güili Damage (guitar, theremin, and voice) shared occupation at a famous record store called Super Sound, and for many years they hosted and produced several radio shows on the legendary station Rock 101 of Nucleo Radio Mil; Alex Garrido (lead guitar) closes the circle that generates an explosive blend, which led them to record their first LP album Los Esquizitos (Opcion Sonica, 1998), to collaborate on soundtracks of short and long films (Sexo, pudor y lagrimas), to play inside and outside of the country, and to record as guests of well known artists within a time lapse of only three years…
There was a change of lineup in which Brisa left; Carlos Icaza (multi- intrumentalist drummer, presently member of Los Fancy Free) and Monica “the doctor” Molina (theremin, effects, back up voice) joined and led to the launching of the EP Hagalo usted mismo (Do it yourself) (Clásicos Atrabancados/Grabaxiones Alicia, 2000), the unpublished recording of Banda Sonora Original, produced by Ruben Albarran from Café Tacuba, and after seven years of hard work, the band decided to split apart.
On 2006, with the fever for surf, garage, punk, new wave, Ignacio Pineda, producer and manager of the venue Multiforo Cultural Alicia and front row witness of the band’s development, decides to celebrate the 10th year anniversary of the venue with a never seen before event, gathering the original lineup to end all questions about the origin of this euphoria.
Four consecutive sold out shows awoke the interest of the organizers of Vive Latino and invited the band to play again (they had already done so on the first edition), this time for an audience of over 60, 000 people.
In 2009, after a series of sporadic shows, the band celebrated their 15th anniversary by repeating their achievement on the main stage of the festival, lighting the fire for the official comeback of Los Esquizitos; it is backstage of this great show, product of a memorable reunion with the engineer and producer of their first album, that the band decides to officially come back with a new generation under their arm.
Titled Tú quieres ser como yo (You want to be like me) (Discos Intolerancia, 2011) was mixed and recorded at Estudio 19 and Estudio A on 2010 at the foot of the Ajusco mountain by engineer and producer Rogelio Gomez, ex guitar player of the pioneer band Ansia.
Trace Thomas was in charge of the mastering at Masterlab in Miami, Florida (he has worked for artists such as Prince, Madonna, Nince Inch Nails, Enya, Maroon 5, Collective Soul, The Prodigy, Britney Spears, Backstreet Boys, Rick Ross, Pitbull, among hundreds of others).
Throughout the twelve takes of the album, there’s an stylistic journey that completely leaves surf behind to give way to highway boogie (2012, Apocalypse No), dark punk (Venganza), Rolling Stones kind of classic rock (Áymon Faya, Chiggy Pop), raw garage (Lux Interior), instrumental swing core (Pierdealmas), indie pop (PSP), and much more.
An important feature on the new songs is the outstanding participation of Brisa on the main and backup vocals, which brings a new nuance to the band’s style; while Alex continues to produce impossible to duplicate guitar riffs, Nacho gives a solid bass play comparable to a tsunami, Güili puts the theramin on the side and tries the electric bass next to Nacho when he is not executing supporting guitars.
The album also has a new interpretation in Spanish of the classic song by Talking Heads, Thank You For Sending Me an Angel (song from which the album title is taken: Tu Quieres Ser Como Yo), a sensitive tribute to Velvet Underground (One of These Days), to the Ramones (I Wanna Be Sedated), and to The Gun (Sex Beat); all of them crucial on the band’s roots, among so many others to mention.
It can be said that the band’s beginning marked an audacious way of making rock in Mexico. Now with their come back, it’s a logical sequel of a work that still has a long road ahead.
Ladies and Gentlemen, Los Esquizitos.
Brisa: The terror of drum skins. A housewife on an antibombs shelter, she cooks lead with a copper grapeshot to feed her little bird. All that Tank Girl is and knows, she learnt from Brisa (even having a kangaroo boyfriend). Speak gently to her because she knows 9 different martial arts and she lights her cigarettes from the sparks of your crashed thightbone.
El Tio Alex (Uncle Alex): Alechemist, bohemian, philosopher, and sybarite. It is so easy for him to turn things into gold that he gets bored and instead he sheds his knowledge over the glowing skins of the adolescents that surround him. When he is late to hit the sun, he plugs his guitar to remind him who rules here.
El Profesor Desorden (Professor Mess): More distinguished than Goebbels and more convincent than the Slimstep infomercials. Doctor Lameme is the only one close to his hipnotic powers. He is capable of originating or stopping cataclysims when he plays the bass. It is never the wrong moment to offer him a beer, but that doesn’t guarantee you that he will forgive your life.
El Uilis: Behind that spastic and festive façade, there is a coarse spirit. He keeps his most sinister talents to change your body chemistry out of a microphone. If you have the temper to start a conversation with him, consider yourself lost when you think he abruptly changes the subject. From that point on, you’ll be possesed.
Los Esquizitos:
A band of brothers, almost friends. A band of music lovers, almost musicians. A cult band that planted the seed for the surf-garage movement, so that newer generations would harvest its fruits; shirts with flower prints, wrestlers’ masks, the beach fantasy of Mexico in the 50s, and of course, the magic of black and white cinema with exotic beauties and unusual monsters are part of today’s bands slang; who only ten years ago was a rarity on Mexico City’s popular belief.
This collosal band was formed in the mid ninties. Their first show took place in the venue of the multidisciplinary coffee place BillArt on May 4th , 1994, show to which they were introduced as the “Ultimate Freak Rockers”.
Breeze, the drummer, owned an underground bar called Tuttifrutti; Nacho Desorden (bassist) and Güili Damage (guitar, theremin, and voice) shared occupation at a famous record store called Super Sound, and for many years they hosted and produced several radio shows on the legendary station Rock 101 of Nucleo Radio Mil; Alex Garrido (lead guitar) closes the circle that generates an explosive blend, which led them to record their first LP album Los Esquizitos (Opcion Sonica, 1998), to collaborate on soundtracks of short and long films (Sexo, pudor y lagrimas), to play inside and outside of the country, and to record as guests of well known artists within a time lapse of only three years…
There was a change of lineup in which Brisa left; Carlos Icaza (multi- intrumentalist drummer, presently member of Los Fancy Free) and Monica “the doctor” Molina (theremin, effects, back up voice) joined and led to the launching of the EP Hagalo usted mismo (Do it yourself) (Clásicos Atrabancados/Grabaxiones Alicia, 2000), the unpublished recording of Banda Sonora Original, produced by Ruben Albarran from Café Tacuba, and after seven years of hard work, the band decided to split apart.
On 2006, with the fever for surf, garage, punk, new wave, Ignacio Pineda, producer and manager of the venue Multiforo Cultural Alicia and front row witness of the band’s development, decides to celebrate the 10th year anniversary of the venue with a never seen before event, gathering the original lineup to end all questions about the origin of this euphoria.
Four consecutive sold out shows awoke the interest of the organizers of Vive Latino and invited the band to play again (they had already done so on the first edition), this time for an audience of over 60, 000 people.
In 2009, after a series of sporadic shows, the band celebrated their 15th anniversary by repeating their achievement on the main stage of the festival, lighting the fire for the official comeback of Los Esquizitos; it is backstage of this great show, product of a memorable reunion with the engineer and producer of their first album, that the band decides to officially come back with a new generation under their arm.
Titled Tú quieres ser como yo (You want to be like me) (Discos Intolerancia, 2011) was mixed and recorded at Estudio 19 and Estudio A on 2010 at the foot of the Ajusco mountain by engineer and producer Rogelio Gomez, ex guitar player of the pioneer band Ansia.
Trace Thomas was in charge of the mastering at Masterlab in Miami, Florida (he has worked for artists such as Prince, Madonna, Nince Inch Nails, Enya, Maroon 5, Collective Soul, The Prodigy, Britney Spears, Backstreet Boys, Rick Ross, Pitbull, among hundreds of others).
Throughout the twelve takes of the album, there’s an stylistic journey that completely leaves surf behind to give way to highway boogie (2012, Apocalypse No), dark punk (Venganza), Rolling Stones kind of classic rock (Áymon Faya, Chiggy Pop), raw garage (Lux Interior), instrumental swing core (Pierdealmas), indie pop (PSP), and much more.
An important feature on the new songs is the outstanding participation of Brisa on the main and backup vocals, which brings a new nuance to the band’s style; while Alex continues to produce impossible to duplicate guitar riffs, Nacho gives a solid bass play comparable to a tsunami, Güili puts the theramin on the side and tries the electric bass next to Nacho when he is not executing supporting guitars.
The album also has a new interpretation in Spanish of the classic song by Talking Heads, Thank You For Sending Me an Angel (song from which the album title is taken: Tu Quieres Ser Como Yo), a sensitive tribute to Velvet Underground (One of These Days), to the Ramones (I Wanna Be Sedated), and to The Gun (Sex Beat); all of them crucial on the band’s roots, among so many others to mention.
It can be said that the band’s beginning marked an audacious way of making rock in Mexico. Now with their come back, it’s a logical sequel of a work that still has a long road ahead.
Ladies and Gentlemen, Los Esquizitos.
Santo y Lunave
Los Esquizitos Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
El santo el enmascarado de plata
el heroe de chicos y grandes
esta abandonado en un planeta lejano
ah luchado contra todos sus enemigos
y los ha vencido pero ahora
ha terminado con todas sus proviciones
se ha devorado su capa plateada y lleva
seis meses respirando amoniaco
este es el llamado de auxilio del santo
santo llamando a lunave
santo llamando a lunave
responde lunave
rapido
santo llamando a lunave
santo llamando a lunave
responde lunave cambio
el santo abandonado solo
los cuerpos de rescate nunca vendran por el
por que nunca lo escucharon gritando desesperado
santo llamando a lunave
santo llamando a lunave
responde lunave
rapido
el heroe de chicos y grandes
esta abandonado en un planeta lejano
ah luchado contra todos sus enemigos
y los ha vencido pero ahora
ha terminado con todas sus proviciones
se ha devorado su capa plateada y lleva
seis meses respirando amoniaco
este es el llamado de auxilio del santo
santo llamando a lunave
santo llamando a lunave
responde lunave
rapido
santo llamando a lunave
santo llamando a lunave
responde lunave cambio
el santo abandonado solo
los cuerpos de rescate nunca vendran por el
por que nunca lo escucharon gritando desesperado
santo llamando a lunave
santo llamando a lunave
responde lunave
rapido
The lyrics of Los Esquizitos's song "Santo y Lunave" tells the story of El Santo, the legendary and iconic luchador (Mexican wrestler), who finds himself stranded and abandoned in a distant planet. El Santo, known as the "enmascarado de plata" (man with the silver mask), has fought and defeated all his enemies, but now he is out of provisions and has devoured his silver cape. He has been breathing ammonia for six months, and is in desperate need of help.
In this dire situation, El Santo calls out for help to someone named Lunave, repeatedly chanting "santo llamando a lunave" (Santo calling for Lunave). The lyrics suggest that El Santo is all alone and that there is no one that can rescue him. The last lines of the song emphasize the urgency of the situation, as El Santo frantically repeats "responde lunave rapido" (Lunave respond quickly).
Line by Line Meaning
El santo el enmascarado de plata
The masked silver saint
el heroe de chicos y grandes
The hero of young and old
esta abandonado en un planeta lejano
Is abandoned on a distant planet
ah luchado contra todos sus enemigos
Has fought against all your enemies
y los ha vencido pero ahora
And has defeated them, but now
ha terminado con todas sus proviciones
Has run out of provisions
se ha devorado su capa plateada y lleva
Has eaten your silver cape and now
seis meses respirando amoniaco
Six months breathing ammonia
este es el llamado de auxilio del santo
This is the call for help from the saint
santo llamando a lunave
Saint calling to Lunave
responde lunave
Lunave, respond
rapido
Quickly
el santo abandonado solo
The abandoned saint alone
los cuerpos de rescate nunca vendran por el
The rescue teams will never come for him
por que nunca lo escucharon gritando desesperado
Because they never heard him screaming in desperation
Contributed by Cole E. Suggest a correction in the comments below.
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@arturosanchez
Completo ↓↓↓↓↓↓↓
https://t.me/mashaireggae
@hectorsaldana5160
Un género totalmente mexicano! Y con demasiada calidad musical! ...felicidades! Y así está bien! Sea lo q sea! Es una buena producción musical!....saludos desde puebla México 🇲🇽
@terryhunterolhosvermelhos4434
El Surf se inventó en Meccicou???? Y entonces los Beach Boys?????
@davidtorres5500
Oigo esta canción y la asocio con mi época de universidad, estando en fiestas en casa de alguien, y uno echando también un trago con los compas y atentos a ver que no se armaran los m4draz0s. Qué recuerdos.
@gandhy_TNT
Por qué no está en Spotify este foquin rolón?
@jesussalvadorhurtado9136
Rollon, en 2020, que manera de tocar bajo y guitarra... A bailar!!!!
@oscardiaz9328
Pinches recuerdos, que chingona rola...👍
@zoebraun2206
Por fin! Audio con buena calidad! Gracias por subirlo.
@dyelisyotlnaturalmistik4567
2019 y aun me encanta😎😍
@arturosanchez
https://t.me/mashaireggae