The history of La Sonora Ponceña is the history of Quique Lucca, (Yauco, Puerto Rico, 12 December 1912 - 9 October 2016). In 1928, when he was 16 years old, his family moves to Ponce, Puerto Rico and Quique starts to work as an auto mechanic and starts playing the guitar. In 1932 Quique meets Angélica Quiñones, the future mother of his children, Zulma, Papo y Wanda. In 1944 Quique puts together a band called "El Conjunto Internacional", including three instrumentalists: tumbadora, bongó, vocalist and Quique Lucca at the guitar and second voice. Later, Antonio "Tato" Santaella joined, playing the bongó. On 10 April 1946, Enrique Lucca Jr. ("Papo") was born; he would later become the musical director of "La Sonora". In fact, in 1951, Papo surprised his father and the other members of the "Internacional" band when, at only 5 years old, he joined a band practice and started playing the tumbadora on Tito Puente's "Ran Kan Kan".
After the band had been inactive for a year, Quique re-established it in 1954 and renamed it "Conjunto Sonora Ponceña". His childhood friend Antonio "Tato" Santaella played bajo de cajón. On 20 April of that year the band plays at its first official dance. In 1956, Vicentivo Morales, joins the band as its first pianist. Later that year, Quique brings young Papo into the band as a pianist. In November 1957, Papo makes its official debut during a dance on the northern shore of the Island. In 1958, La Sonora Ponceña records its first 78 RPM with Avelino Muñoz as pianist. The 78 RPM contained No puede Ser on one side and Tan Linda que Era on the reverse side. Towards the end of 1958, the band goes into recording mode and includes 12-year-old Papo Lucca. The band included its first official vocalist Charlie Martínez. Later on, vocalists Felipe and Davilita would also record bolero-mambo themes such as Noche de Locura. In September 1960, the group played in New York. The group's main attraction was its 12-year-old pianist, Papo Lucca. In 1968 the group started its official recordings on 33 RPM with the song Hacheros Pa' Un Palo.
In 1974, singer Humberto "Tito" Gómez leaves the band after 7 years and 6 recordings. Together with Joe Rodríguez and Mickey Ortíz, Humberto "Tito" Gómez formed La Terrífica. Likewise, in 1977 Edgardo Morales, who played the timbal leaves the band after 7 years and 7 recordings and joins El Gran Combo de Puerto Rico. In 1978 singer Luis Guillermo "Luigui" Texidor leves the band after 10 years and 10 recordings to join Bobby Valentín's Orchestra. In 1982 trumpetist Humberto Godineaux leaves the band after 4 years a 6 recordings. Singer Yolanda Rivera also left the band after 7 years and 8 recordings. In 1985, singer Miguel Ortíz retires from the band after 11 years and 12 recordings. On 28 May 1986, the band losses singer Alberto "Toñito" Ledée in a car accident. In 1987, trumpetist Heriberto "Ayatollah" Santiago also retires having 7 years and 5 recordings to his credit. In July 1989, long-time bass player Antonio "Tato" Santaella retired after 21 recordings. Tato played without ever using any musical scores, and singing entirely "by ear". A year later, in 1990, another bass player Efraín "Frao" Hernández retired from the band after 10 years and 7 recordings. In 1990, bongó player Angel Hernández also retired after 14 years and 13 recordings. In 1991, tumbadora player Vicente "Pequeño Johnny" Rivera retires after 16 years with the band. He had performed on 15 of the band's recordings. In 1993, long-time trumpeter Ramón "Tony El Cordovés" Rodríguez retired after 24 recordings. This was followed by the retirement of trumpeter Freddie Del Valle, who had played with the band for 6 years and had participated in 5 recordings.
In 1993, the band played at the Magno Orchestra Festival in Barranquilla, Colombia. The band was awarded the “Congo de Oro” award, given to the best international band. And in October 1994, Sonora Ponceña celebrated its 40th anniversary with a festival at Estadio Juan Ramón Loubriel in Bayamón, Puerto Rico. The band would later also play at the Madison Square Garden to bring its celebration to the United States. In 1995, the band did a reunion recording with Luis Guillermo "Luigi" Texidor and Yolanda Rivera who had retired 19 and 14 years earlier, respectively. That same year, they sang in Paris, France, and at the Desfile de la Hispanidad (Hispanic Parade) in Zaragoza, Spain. In 1996 the band plays for the first time in Mexico at the Boca del Río, Veracruz, Mexico, carnival.
In 2000, Sonora Ponceña celebrated its 45th anniversary at the Tito Puente Amphitheater at the Centro de Bellas Artes in San Juan, Puerto Rico and at the Teatro La Perla in Ponce. They also played in Caracas, Venezuela as part of this 45th anniversary celebration. In the years following 2000, La Sonora Ponceña participated in a large number of events throughout Puerto Rico, including Fiestas Patronales, private parties, graduation parties, and corporate Christmas and holiday parties. In the following years, the band also made presentations in Orlando, Jacksonville, Miami, Washington, Connecticut, Philadelphia, Chicago, New Jersey, Panamá, Perú, England, Switzerland and Italy.
For its 50th year anniversary (2004), the band played at Coliseo Rubén Rodríguez, in Bayamón, Puerto Rico. The 12,000 spectators made the show a complete sellout on its presentation day, February 21. The show was broadcast via radio and television.
During its 50th anniversaery show at Coliseo Rubén Rodríguez, the band was officially recognized by the Legislature of Puerto Rico for its musical contributions.
The 23rd “Día Nacional de la Salsa”, celebrated in Carolina, Puerto Rico on 16 March 2004, was dedicated to Don Quique, Papo and la Sonora Ponceña.
In Ponce there is a street, in Urb. Estancias del Golf, named after Quique Lucca.
The 2003 "Feria de Turismo", celebrated at Complejo Turístico “La Guancha” in Ponce was dedicated to Don Quique, Papo and la Sonora Ponceña.
Caballo Viejo
Sonora Ponceña Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Uno no se da ni cuenta
El carutal reverdece el guamachito florece
Y la soga se revienta
Cuando el amor llega así de esta manera
Uno no se da ni cuenta
El carutal reverdece el guamachito florece
Caballo le dan sabana porque esta viejo y cansao'
Pero no se han dando cuenta que un corazón amarrao'
Cuando le sueltan las riendas es caballo desbocao'.
Y si una potra alazana caballo viejo se encuentra
El pecho se le desgrana no le hace caso a falseta
Y no le detiene a freno ni lo paran falsas riendas.
Cuando el amor llega así de esta manera
Uno no tiene la culpa
Quererse no tiene horario ni fecha en el calendario
Cuando las ganas se juntan.
Cuando el amor llega así de esta manera
Uno no tiene la culpa
Quererse no tiene horario ni fecha en el calendario
Cuando las ganas se juntan.
Caballo le dan sabana y tiene el tiempo contao'
Y se va por la mañana con su pasito apurao'
A verse con su potranca que lo tiene embarbascao'
El potro da tiempo al tiempo porque le sobra la edad
Caballo viejo no puede perder la flor que le dan
Porque después de esta vida no hay otra oportunidad
Oh... Caballo viejo.
El caballo viejo, ese aprovecha la mañana
Por si la tarde no llega.
Oh... Caballo viejo.
El potro sabe que le sobra la edad
Y no piensa que mañana su sabana tendrá.
The song Caballo Viejo by Sonora Ponceña is about love that unexpectedly comes knocking on one’s door. The lyrics talk about two persons falling in love without even realizing it. The carutal and guamachito blooming in the lyrics are metaphors for the blossoming of love. The phrase “la soga se revienta” means the rope snaps because of the strong pull or desire towards one another, which breaks boundaries and restraints.
The song also talks about a horse getting old and being set free to pasture. In reality, all the horse needs is a little freedom and it can still run wild and free. This is compared with a person who thinks that they are too old to fall in love and experience new things in life. However, the heart is timeless and love knows no age. The horse is a metaphor for older people who should still take chances and pursue what they truly desire. The phrase "Caballo viejo" is frequently repeated, possibly as a reminder not to dismiss that which has aged, for there might still be much to offer.
Overall, the song stands as a tribute to love no matter what age one may be, and an invitation to understanding and opening up to people who might be senior and experienced but nonetheless vibrant and full of life.
Line by Line Meaning
Cuando el amor llega así de esta manera
Love arrives unexpectedly
Uno no se da ni cuenta
One may not even realize it
El carutal reverdece el guamachito florece
The plants start to flourish
Y la soga se revienta
When you can't hold it in anymore
Caballo le dan sabana porque esta viejo y cansao'
The old horse is allowed to graze
Pero no se han dando cuenta que un corazón amarrao'
But they don't realize that the horse's heart is still wild
Cuando le sueltan las riendas es caballo desbocao'.
Once the reins are loosened, the horse runs wild
Y si una potra alazana caballo viejo se encuentra
If an old horse meets a young mare
El pecho se le desgrana no le hace caso a falseta
His heart skips a beat and he doesn't listen to nonsense
Y no le detiene a freno ni lo paran falsas riendas.
He can't be stopped by anything
Uno no tiene la culpa
You can't help falling in love
Quererse no tiene horario ni fecha en el calendario
Love knows no timetable or calendar
Cuando las ganas se juntan.
When you just can't resist the urge
Caballo le dan sabana y tiene el tiempo contao'
The old horse knows his time is limited
Y se va por la mañana con su pasito apurao'
He rushes off to see his mare every morning
A verse con su potranca que lo tiene embarbascao'
He can't resist the young mare's beauty
El potro da tiempo al tiempo porque le sobra la edad
The young colt has time on his side
Caballo viejo no puede perder la flor que le dan
The old horse can't miss his last chance at love
Porque después de esta vida no hay otra oportunidad
There may not be another opportunity after this life
El caballo viejo, ese aprovecha la mañana
The old horse seizes the day
Por si la tarde no llega.
Just in case there's no tomorrow
El potro sabe que le sobra la edad
The young colt knows he has time
Y no piensa que mañana su sabana tendrá.
He's not worried about his future just yet
Writer(s): Simon Diaz
Contributed by Brayden H. Suggest a correction in the comments below.