Mariachi Vargas De Tecalitlán is a Mexican folk ensemble of mariachi music … Read Full Bio ↴Mariachi Vargas De Tecalitlán is a Mexican folk ensemble of mariachi music created in 1897 by Gaspar Vargas. From 1950 it has been under the artistic guidance of Rubén Fuentes. The group's musical direction has been the responsibility of Don Jose "Pepe" Martínez since 1975.
A minimum mariachi group has 2 violins, 2 trumpets, 1 guitarrón, 1 guitar, and 1 vihuela. Complete mariachi groups have a minimum of 12 members with the standard 6 violins, 3 trumpets, 1 guitarrón, 1 guitar and 1 vihuela. A 13th member is often a harp, an extra violin, or an extra guitar. The Vargas de Tecalitlán currently has thirteen members, distributed as follows:
Violins: Manuel Alcaraz Vargas, Alberto Alfaro, José "Pepe" Martínez (Director), José Martínez Jr., Daniel Martínez, and Andres Gonzalez
Trumpets: Federico Torres (member since 1966), Gustavo Alvarado (since 1991), and Fernando Valasquez (since 2007)
Guitarrón: Enrique de Santiago (member of the group since 1989)
Guitar: Arturo Vargas (member of the group since 2003 and originating in Jalisco)
Vihuela: Gilberto aguirre (part of the group since 2011, being the newest member of Mariachi Vargas de Tecalitlán)
Harp: Julio Martínez (member since 1996)
The history of Mariachi Vargas de Tecalitlán is divided into five phases (or generations); the first generation from 1897 to 1930, the second from 1931 to 1949, the third from 1950 to 1993, the fourth from 1994 to 2002 and the fifth since 2003 to date.
1st generation (1897–1930)
The Mariachi Vargas de Tecalitlán was born in a small city called Tecalitlán, to the south of Jalisco. Founded in 1897 by Don Gaspar Vargas the formation during those years was provided by the guitarra de golpe (or mariachera) played precisely by Don Gaspar, the wooden harp by Manuel Mendoza, and two violins played by Lino Quintero and Refugio Hernandez. The combination of these instruments established the "Sonido Tecalitlán" which distinguished from the "Sonido Cocula". (The Mariachi from Cocula utilized the guitarron and the vihuela in place of the harp and the guitarra de golpe aside from the two violins). In 1913, Don Gaspar introduced one trumpet to the group but it was not well accepted and, in later performances, its high-pitched sound was considered annoying. The cornet was replaced by another violin. The group consisted then of five elements. The son of Don Gaspar Vargas, Silvestre Vargas, joined as a violinist in 1921. From 1926 the group consisted of Gaspar Vargas - Guitarra de golpe, Manuel Mendoza - Harp, Silvestre Vargas, Trinidad Olivera and Nicolas Torres - Violins.
2nd generation (1931–1949)
In 1931 Gaspar Vargas turned the leadership of Mariachi Vargas de Tecalitlán over to his son, Silvestre. As the first step in his reorganization Silvestre decided to enlarge the group to eight musicians. He invited his compatriots, the Quintero brothers, Rafael and Jeronimo to join. One played a violin and the other a guitar. Later he would add another violin played by Santiago Torres. He moved Trinidad Olivera from the violin to the guitarron, although still preserving the wooden harp. It was Silvestre who possessed a dream that his group would one day be the greatest mariachi in all Mexico and he was relentless in his pursuit of fulfilling that dream. The Mariachi Vargas was something of an oddity in the early 1930s; the members were all dressed in charro suits, they showed up on time for performances, and they were sober.
In 1933 they won first place in a Mariachi contest celebrated in Guadalajara. Then again, in Mexico City, in 1934, they were awarded another first place prize. President Lázaro Cárdenas, who enjoyed the music of "Vargas", subsequently had the group hired as the official mariachi of the Mexico City Police Department and the group moved to Mexico City where they remained for 20 years. They provided music and entertainment for the capital city at its parks and gardens. Beginning in 1937, the Mariachi Vargas appeared in "Asi es mi Tierra", the first of its more than 200 motion pictures. They played in many of Pedro Infante's movies as well. In that same year they recorded their first record and signed an exclusive contract with RCA.
In 1941 they definitively integrated the trumpet into the musical interpretations of the group. Miguel Martínez was the first trumpet player for Mariachi Vargas de Tecalitlán. He is considered the creator of the mariachi-style trumpet and the best performer, teacher and example of the instrument. In 1944, Rubén Fuentes, a classical violinist with no background in mariachi music, was asked by Silvestre to join the group. He joined as a violinist and became music adjuster. Silvestre Vargas and Ruben Fuentas reorganized Mariachi Vargas de Tecalitlán and changed their image and sound. They demanded a professional presentation to overcome the unruly concept that the term "mariachis" had to the general public in those days.
3rd Generation (1950–1993)
Fuentes took complete responsibility for the group's musical direction, and enriched the evolution that for many years had conserved the primitive and unstudied qualities of mariachi. The changing sound of the Mariachi Vargas de Tecalitlán was redirected without the abandonment of its roots or traditions. The Huapangos and Sones (which were two very distinctive styles of the mariachi music) were being interpreted in many diverse and different ways. The Mariachi Vargas recorded the Sones with arrangements and adaptations as patterns for other groups. This stratagem promoted the concept that all mariachi groups could be unified to those versions by taking them as examples. The traditional songs and the original sound of the mariachi began to mature in the 1950s. It was during the recordings of the "Golden Age of the Huapangos" that the compositions, arrangements and musical direction of Rubén Fuentes, and the unequaled voice of Miguel Aceves Mejía, initiated a musical shift that would change the sound and instrumentation of the mariachi. Due to the fact they change mariachi from the start they choose to keep it in away that it would still be traditional.
Revolutionary new harmony
In 1955 Rubén Fuentes stopped performing in the group. However, to date he maintains his position as producer, musical arranger and musical director, assisted during this first age by Jesús Rodríguez de Hijar and, under both, the administrative and leadership skills of Silvestre Vargas. In 1966 Rubén Fuentes wrote "La Bikina", a song that was recognized as the epitome of this Revolutionary New Harmony and sound of the mariachi. He continues to write and produce music for Mariachi Vargas that takes is an emotional roller coaster from the height of happiness to the despair of a broken heart or a lost love. As much in Mexico as in foreign countries the Sones and Huapangos acquire new directions.
Mariachi conferences
In the 1970s interest in mariachi music was waning. But all that changed when San Antonio, Texas held its first international mariachi conference in September 1979. In 1975, Jose "Pepe" Martinez, Sr. became the musical director of Mariachi Vargas. He wrote many arrangements including "Violin Huapango" which individually showcase the different instruments and members in the group. In 1983, the Mariachi Vargas appeared for the first time at the Tucson International Mariachi Conference. A new movement began to grow and many other conferences began to develop. The Mariachi Vargas was often chosen as the headline performer.
In 1986, Linda Ronstadt appeared with the Mariachi Vargas at the Tucson International Mariachi Conference where she sang publicly in Spanish for the first time. In 1987 she released her "Canciones de mi Padre" album featuring Mariachi Vargas which won her a Grammy award for the album. She also went on a national tour with the group, giving greater international exposure to mariachi music than ever before and creating a new audience for mariachi music among non-Hispanics.
Classical mariachi
In 1989, the Mariachi Vargas released their "En Concierto" CD featuring some of the greatest renderings of classical music ever played by a mariachi group. They also accompanied Lucero in the 1990s as she rose in the ranks of contemporary musical stardom. The Mariachi Vargas de Tecalitlán initiated a series of solo recordings: Sones, Valses, Pasos Dobles, Bailes Regionales, Polkas, Clasico e International, etc. They have added more than 50 recordings of mariachi music interpreted by what has become "The Best Mariachi in the World."
4th generation (1994–2002)
It is known by all mariachi lovers that this generation was the most talented group of musicians performing since 100 years of their foundation.[citation needed] In their album "La fiesta del Mariachi", Mariachi Vargas de Tecalitlán, fourth generation, the group integrates to make a tribute to Jose "Pepe" Martínez, who besides his magnificent musical arrangements and direction of the group, inspired many as a composer. Their recordings on Polygram with this generation include are, "El Mariachi Vargas", "En Concierto", "Los sones Reyes", "La fiesta del Mariachi" and "50 anniversary of Rubén Fuentes". Rubén Fuentes's arrangements and music with the Mariachi Vargas de Tecalitlán are the first five recordings for the one-hundredth anniversary of the foundation of "Vargas" in 1997.
5th generation (2003–present)
In 2003 Mariachi Vargas de Tecalitlán began its fifth generation. Their latest recordings are, "5ta Generacion", "Sinfonico I", "Sinfonico II", and "Penas, Desengaños... Y Amores". Today the group is composed of two harps, one vihuela, one guitar, one guitarron, three trumpets and six violins. With the added instruments, a new sound has emerged that crosses all international borders. The music they play now ranges from the traditional sones to classical works as well as popurris that continue to delight audiences everywhere. In the 100 years since its foundation, the group has gone through some major changes. While there has been some departure from the tradition during that time, the group has maintained its roots through the playing of traditional Mexican sones. In 1997, "Mariachi Vargas de Tecalitlán" celebrated its first One Hundred years of foundation.
Discography
From 1937 until now (2009), the Mariachi Vargas has produced over 50 recordings, whose contents are Huastecos sones, waltzes, popurris, polkas, huapango, cumbias, among others.
Danzones (1964 RCA)
Mariachi *Colección Original (BMG Latin, 1999) –This is a recording recompilation made while 1958–1968 -.
Lo Mejor de lo Mejor (BMG Latin, 2000) –This is a recording recompilation made while 1958–1967 -.
Tradicionales de México Lindo Y Querido (LIDERES, 2001).
Sinfónico With Orquesta Filarmónica del Estado de Querétaro (2001) –Directed by Maestro José Guadalupe Flores-.
5ta. Generación (2002).
Sinfónico II With Orquesta Filarmónica del Estado de Querétaro (2002) Directed by Maestro José Guadalupe Flores-.
Penas, Desengaños Y Amores (2004).
Y aquí estamos (2008).
A minimum mariachi group has 2 violins, 2 trumpets, 1 guitarrón, 1 guitar, and 1 vihuela. Complete mariachi groups have a minimum of 12 members with the standard 6 violins, 3 trumpets, 1 guitarrón, 1 guitar and 1 vihuela. A 13th member is often a harp, an extra violin, or an extra guitar. The Vargas de Tecalitlán currently has thirteen members, distributed as follows:
Violins: Manuel Alcaraz Vargas, Alberto Alfaro, José "Pepe" Martínez (Director), José Martínez Jr., Daniel Martínez, and Andres Gonzalez
Trumpets: Federico Torres (member since 1966), Gustavo Alvarado (since 1991), and Fernando Valasquez (since 2007)
Guitarrón: Enrique de Santiago (member of the group since 1989)
Guitar: Arturo Vargas (member of the group since 2003 and originating in Jalisco)
Vihuela: Gilberto aguirre (part of the group since 2011, being the newest member of Mariachi Vargas de Tecalitlán)
Harp: Julio Martínez (member since 1996)
The history of Mariachi Vargas de Tecalitlán is divided into five phases (or generations); the first generation from 1897 to 1930, the second from 1931 to 1949, the third from 1950 to 1993, the fourth from 1994 to 2002 and the fifth since 2003 to date.
1st generation (1897–1930)
The Mariachi Vargas de Tecalitlán was born in a small city called Tecalitlán, to the south of Jalisco. Founded in 1897 by Don Gaspar Vargas the formation during those years was provided by the guitarra de golpe (or mariachera) played precisely by Don Gaspar, the wooden harp by Manuel Mendoza, and two violins played by Lino Quintero and Refugio Hernandez. The combination of these instruments established the "Sonido Tecalitlán" which distinguished from the "Sonido Cocula". (The Mariachi from Cocula utilized the guitarron and the vihuela in place of the harp and the guitarra de golpe aside from the two violins). In 1913, Don Gaspar introduced one trumpet to the group but it was not well accepted and, in later performances, its high-pitched sound was considered annoying. The cornet was replaced by another violin. The group consisted then of five elements. The son of Don Gaspar Vargas, Silvestre Vargas, joined as a violinist in 1921. From 1926 the group consisted of Gaspar Vargas - Guitarra de golpe, Manuel Mendoza - Harp, Silvestre Vargas, Trinidad Olivera and Nicolas Torres - Violins.
2nd generation (1931–1949)
In 1931 Gaspar Vargas turned the leadership of Mariachi Vargas de Tecalitlán over to his son, Silvestre. As the first step in his reorganization Silvestre decided to enlarge the group to eight musicians. He invited his compatriots, the Quintero brothers, Rafael and Jeronimo to join. One played a violin and the other a guitar. Later he would add another violin played by Santiago Torres. He moved Trinidad Olivera from the violin to the guitarron, although still preserving the wooden harp. It was Silvestre who possessed a dream that his group would one day be the greatest mariachi in all Mexico and he was relentless in his pursuit of fulfilling that dream. The Mariachi Vargas was something of an oddity in the early 1930s; the members were all dressed in charro suits, they showed up on time for performances, and they were sober.
In 1933 they won first place in a Mariachi contest celebrated in Guadalajara. Then again, in Mexico City, in 1934, they were awarded another first place prize. President Lázaro Cárdenas, who enjoyed the music of "Vargas", subsequently had the group hired as the official mariachi of the Mexico City Police Department and the group moved to Mexico City where they remained for 20 years. They provided music and entertainment for the capital city at its parks and gardens. Beginning in 1937, the Mariachi Vargas appeared in "Asi es mi Tierra", the first of its more than 200 motion pictures. They played in many of Pedro Infante's movies as well. In that same year they recorded their first record and signed an exclusive contract with RCA.
In 1941 they definitively integrated the trumpet into the musical interpretations of the group. Miguel Martínez was the first trumpet player for Mariachi Vargas de Tecalitlán. He is considered the creator of the mariachi-style trumpet and the best performer, teacher and example of the instrument. In 1944, Rubén Fuentes, a classical violinist with no background in mariachi music, was asked by Silvestre to join the group. He joined as a violinist and became music adjuster. Silvestre Vargas and Ruben Fuentas reorganized Mariachi Vargas de Tecalitlán and changed their image and sound. They demanded a professional presentation to overcome the unruly concept that the term "mariachis" had to the general public in those days.
3rd Generation (1950–1993)
Fuentes took complete responsibility for the group's musical direction, and enriched the evolution that for many years had conserved the primitive and unstudied qualities of mariachi. The changing sound of the Mariachi Vargas de Tecalitlán was redirected without the abandonment of its roots or traditions. The Huapangos and Sones (which were two very distinctive styles of the mariachi music) were being interpreted in many diverse and different ways. The Mariachi Vargas recorded the Sones with arrangements and adaptations as patterns for other groups. This stratagem promoted the concept that all mariachi groups could be unified to those versions by taking them as examples. The traditional songs and the original sound of the mariachi began to mature in the 1950s. It was during the recordings of the "Golden Age of the Huapangos" that the compositions, arrangements and musical direction of Rubén Fuentes, and the unequaled voice of Miguel Aceves Mejía, initiated a musical shift that would change the sound and instrumentation of the mariachi. Due to the fact they change mariachi from the start they choose to keep it in away that it would still be traditional.
Revolutionary new harmony
In 1955 Rubén Fuentes stopped performing in the group. However, to date he maintains his position as producer, musical arranger and musical director, assisted during this first age by Jesús Rodríguez de Hijar and, under both, the administrative and leadership skills of Silvestre Vargas. In 1966 Rubén Fuentes wrote "La Bikina", a song that was recognized as the epitome of this Revolutionary New Harmony and sound of the mariachi. He continues to write and produce music for Mariachi Vargas that takes is an emotional roller coaster from the height of happiness to the despair of a broken heart or a lost love. As much in Mexico as in foreign countries the Sones and Huapangos acquire new directions.
Mariachi conferences
In the 1970s interest in mariachi music was waning. But all that changed when San Antonio, Texas held its first international mariachi conference in September 1979. In 1975, Jose "Pepe" Martinez, Sr. became the musical director of Mariachi Vargas. He wrote many arrangements including "Violin Huapango" which individually showcase the different instruments and members in the group. In 1983, the Mariachi Vargas appeared for the first time at the Tucson International Mariachi Conference. A new movement began to grow and many other conferences began to develop. The Mariachi Vargas was often chosen as the headline performer.
In 1986, Linda Ronstadt appeared with the Mariachi Vargas at the Tucson International Mariachi Conference where she sang publicly in Spanish for the first time. In 1987 she released her "Canciones de mi Padre" album featuring Mariachi Vargas which won her a Grammy award for the album. She also went on a national tour with the group, giving greater international exposure to mariachi music than ever before and creating a new audience for mariachi music among non-Hispanics.
Classical mariachi
In 1989, the Mariachi Vargas released their "En Concierto" CD featuring some of the greatest renderings of classical music ever played by a mariachi group. They also accompanied Lucero in the 1990s as she rose in the ranks of contemporary musical stardom. The Mariachi Vargas de Tecalitlán initiated a series of solo recordings: Sones, Valses, Pasos Dobles, Bailes Regionales, Polkas, Clasico e International, etc. They have added more than 50 recordings of mariachi music interpreted by what has become "The Best Mariachi in the World."
4th generation (1994–2002)
It is known by all mariachi lovers that this generation was the most talented group of musicians performing since 100 years of their foundation.[citation needed] In their album "La fiesta del Mariachi", Mariachi Vargas de Tecalitlán, fourth generation, the group integrates to make a tribute to Jose "Pepe" Martínez, who besides his magnificent musical arrangements and direction of the group, inspired many as a composer. Their recordings on Polygram with this generation include are, "El Mariachi Vargas", "En Concierto", "Los sones Reyes", "La fiesta del Mariachi" and "50 anniversary of Rubén Fuentes". Rubén Fuentes's arrangements and music with the Mariachi Vargas de Tecalitlán are the first five recordings for the one-hundredth anniversary of the foundation of "Vargas" in 1997.
5th generation (2003–present)
In 2003 Mariachi Vargas de Tecalitlán began its fifth generation. Their latest recordings are, "5ta Generacion", "Sinfonico I", "Sinfonico II", and "Penas, Desengaños... Y Amores". Today the group is composed of two harps, one vihuela, one guitar, one guitarron, three trumpets and six violins. With the added instruments, a new sound has emerged that crosses all international borders. The music they play now ranges from the traditional sones to classical works as well as popurris that continue to delight audiences everywhere. In the 100 years since its foundation, the group has gone through some major changes. While there has been some departure from the tradition during that time, the group has maintained its roots through the playing of traditional Mexican sones. In 1997, "Mariachi Vargas de Tecalitlán" celebrated its first One Hundred years of foundation.
Discography
From 1937 until now (2009), the Mariachi Vargas has produced over 50 recordings, whose contents are Huastecos sones, waltzes, popurris, polkas, huapango, cumbias, among others.
Danzones (1964 RCA)
Mariachi *Colección Original (BMG Latin, 1999) –This is a recording recompilation made while 1958–1968 -.
Lo Mejor de lo Mejor (BMG Latin, 2000) –This is a recording recompilation made while 1958–1967 -.
Tradicionales de México Lindo Y Querido (LIDERES, 2001).
Sinfónico With Orquesta Filarmónica del Estado de Querétaro (2001) –Directed by Maestro José Guadalupe Flores-.
5ta. Generación (2002).
Sinfónico II With Orquesta Filarmónica del Estado de Querétaro (2002) Directed by Maestro José Guadalupe Flores-.
Penas, Desengaños Y Amores (2004).
Y aquí estamos (2008).
El Maríachi
Mariachi Vargas De Tecalitlan Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Al mariachi de mi tierra
De mi tierra tapatía
Voy a darle mi cantar
Arrullada con sus sones
Se meció la cuna mía
Y se hizo mi alma musical
Sus violines y guitarras
En las frescas madrugadas
Son un dulce despertar
Alma virgen del mariachi
Cuando escucho sus cantares
Siento ganas de llorar
El mariachi suena con alegre son
Oye, cómo alegra, canta mi canción
El mariachi suena con alegre son
Oye, cómo alegra, canta mi canción
Suena el arpa vieja (Ay, ay, ay)
Suena el guitarrón (Ay, ay, ay)
El violín se queja (Ay, ay, ay)
Lo mismo que yo (como yo)
Son sus torres catedrales
Como blancos alcatraces
Alcatraces al revés
En San Juan de Dios mi barrio
Monto en pelo y bebo en jarro
Y la tequila es mi mujer
El sombrero ancho es mi lujo
Los mariachis son mi gusto
Pa' cantarle a quien yo sé
Ay, Tepatitlán bonito
Ay, los Altos de Jalisco
De donde somos los de ley
El mariachi suena con alegre son
Oye, cómo alegra, canta mi canción
El mariachi suena con alegre son
Oye, cómo alegra, canta mi canción
Suena el arpa vieja (Ay, ay, ay)
Suena el guitarrón (Ay, ay, ay)
El violín se queja (Ay, ay, ay)
Lo mismo que yo (como yo)
Lo mismo que yo
De mi tierra tapatía
Voy a darle mi cantar
Arrullada con sus sones
Se meció la cuna mía
Y se hizo mi alma musical
Sus violines y guitarras
Son un dulce despertar
Alma virgen del mariachi
Cuando escucho sus cantares
Siento ganas de llorar
El mariachi suena con alegre son
Oye, cómo alegra, canta mi canción
El mariachi suena con alegre son
Oye, cómo alegra, canta mi canción
Suena el arpa vieja (Ay, ay, ay)
Suena el guitarrón (Ay, ay, ay)
El violín se queja (Ay, ay, ay)
Lo mismo que yo (como yo)
Son sus torres catedrales
Como blancos alcatraces
Alcatraces al revés
En San Juan de Dios mi barrio
Monto en pelo y bebo en jarro
Y la tequila es mi mujer
El sombrero ancho es mi lujo
Los mariachis son mi gusto
Pa' cantarle a quien yo sé
Ay, Tepatitlán bonito
Ay, los Altos de Jalisco
De donde somos los de ley
El mariachi suena con alegre son
Oye, cómo alegra, canta mi canción
El mariachi suena con alegre son
Oye, cómo alegra, canta mi canción
Suena el arpa vieja (Ay, ay, ay)
Suena el guitarrón (Ay, ay, ay)
El violín se queja (Ay, ay, ay)
Lo mismo que yo (como yo)
Lo mismo que yo
The lyrics to Mariachi Vargas de Tecalitlán's song "El Mariachi" pay tribute to the powerful impact that the mariachi music of Jalisco, Mexico has had on the singer's life. The first stanza expresses the deep emotional connection between the singer and the music of the mariachi. He credits the mariachi with shaping his musical soul, as he was cradled to sleep by their beautiful sounds. The second stanza describes the instruments that create the distinct mariachi sound, including violins, guitars, and harps. The singer describes how he feels overwhelming emotions when he hears the authentic and heartfelt music of the mariachi.
The chorus of the song reinforces the joyful and uplifting nature of the mariachi sound, and how it moves people to sing and dance. The third stanza describes the landmarks and customs of the singer's hometown of Tepatitlán de Morelos in the Altos de Jalisco region, where the mariachi music thrives. The final lines of the chorus emphasize the connection and similarity between the singer, his listeners, and the mariachi music. Just like the mariachi instruments weeping in their music, the singer's soul is touched and moved by the music.
Line by Line Meaning
Al mariachi de mi tierra
I offer my song to the mariachi from my homeland
De mi tierra tapatía
Specifically, from my hometown of Guadalajara
Voy a darle mi cantar
I will give them my singing
Arrullada con sus sones
Lulled by their melodic tunes
Se meció la cuna mía
My cradle was rocked by their music
Y se hizo mi alma musical
And my soul became musical
Sus violines y guitarras
Their violins and guitars
En las frescas madrugadas
In the cool early mornings
Son un dulce despertar
Are a pleasant awakening
Alma virgen del mariachi
Innocent soul of the mariachi
Cuando escucho sus cantares
When I hear their songs
Siento ganas de llorar
I feel the urge to cry
El mariachi suena con alegre son
The mariachi plays with joyful sound
Oye, cómo alegra, canta mi canción
Listen how it cheers, singing my song
Suena el arpa vieja (Ay, ay, ay)
The old harp sounds (Ay, ay, ay)
Suena el guitarrón (Ay, ay, ay)
The guitarrón sounds (Ay, ay, ay)
El violín se queja (Ay, ay, ay)
The violin laments (Ay, ay, ay)
Lo mismo que yo (como yo)
Just like me
Son sus torres catedrales
Their towers are like cathedrals
Como blancos alcatraces
Like white water lilies
Alcatraces al revés
Upside down water lilies
En San Juan de Dios mi barrio
In my neighborhood of San Juan de Dios
Monto en pelo y bebo en jarro
I ride bareback and drink from a jar
Y la tequila es mi mujer
And tequila is my woman
El sombrero ancho es mi lujo
The wide brimmed hat is my luxury
Los mariachis son mi gusto
The mariachis are my pleasure
Pa' cantarle a quien yo sé
To sing to someone special
Ay, Tepatitlán bonito
Oh beautiful Tepatitlán
Ay, los Altos de Jalisco
Oh the highlands of Jalisco
De donde somos los de ley
Where we are considered the best
Lo mismo que yo
Just like me
Writer(s): Pepe Guizar
Contributed by Nathan P. Suggest a correction in the comments below.
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@ZoiAntonia
callate te limpio con mis lentes
¿Qué son estas limpias lágrimas tuyas?
callarse la boca
¿Te golpeó la banda consentida? se burlaron de ti
callarse la boca
envía tus mensajes
I
Los protegeré y te protegeré.
los mejores amigos
callarse la boca
grado
@ZoiAntonia
Gracias mi amigo
Usted está enfermo
¿Quieres que te dé de comer a todos los músicos una buena sopa caliente?
lamento verte enfermo
¿Algún músico tiene dolor de cuello?
quieres un hospital
Daré mi dinero por esta banda.
sigue pagando a tus doctores y mejórate
Estás bien;
¿Estás respirando a la ligera?
Cómo estás
quieres que esté bien
Dios, te sanaré
¡Soy tu niñera!
y tu dominante mejor amigo
@ZoiAntonia
Felices actualizaciones de 2025 en la puerta de tu casa
Por favor oren para que mis análisis de sangre salgan bien.
que vengan inmediatamente a México porque son mis amigos cercanos
Oren para que mi mejor médico se mejore
Hazme compañía
Queridos amigos, sean mis falsos Doctores
convertirse
bueno, iré a ti de inmediato
oracion por mi cuenta
comentario
Bendice y que la colación sea buena
@mariamercedes6936
Saludos desde Tenerife España... aquí se les quiere ❤...,una lastima no pude or a verles..tuve un accidente... lloré lo mio ya que era para mí una gran ilusión..❤!!
@soffinatural
Tendré que ir a Jalisco, ámo el mariachi, ámo México. Soy cubana y vivo en Holanda pero tengo pura alma mejicana!!!!! ❤️ ❤️ ❤️ ❤️ ❤️ ❤️ ❤️ ❤️ ❤️
@prettyeyesclef5018
Comienza con escribir mexico/mexicano/mexicana con la X👍
@Titanspeakerman3309
Bienvenida, los mexicanos nacemos donde nos da la gana
@astroboy0087
Mexicana
@nivardorios-oz5zb
Lo importante que eres Mejicana de corazon, qie mas da si es x o j. Que viva Mexicoo
@ZoiAntonia
callate te limpio con mis lentes
¿Qué son estas limpias lágrimas tuyas?
callarse la boca
¿Te golpeó la banda consentida? se burlaron de ti
callarse la boca
envía tus mensajes
I
Los protegeré y te protegeré.
los mejores amigos
callarse la boca
grado
@heidicardenas7766
Soy Colombiana y desde pequeña ame y sigo amando a México. Muy joven viaje a México(año 1989)y quede tan enamorada de Guadalajara. Que me case y tuve mis hijos en esa Hermosa Tierra. Después de dos décadas regrese a mi país de origen, Mi corazón está en Colombia pero mi Alma está con México. Gracias México lindo y querido. Te amaré hasta mi último aliento en vida.
@danterussek7391
QUE HERMOSA Q LINDAS PALABRAS SOY TAPATIO Y AMO MI ESTADO Y MI MEXICO LINDO Y QUERIDO
@pineapplepineapple7534
🙏🏽🙌🏽💗💗💗💗💗😘😘😘