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.
Tan Bueno Que Era
Sonora Ponceña Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Cuando uno esta vivo nadie le hace caso
Y a veces si acaso te envían un saludo
Dicen que eres duro que eres como piedra
Y aunque falso sea dicen que lo eres
Pero si te mueres, tan bueno que era.
Nunca te han querido en la sociedad
Te hablan de lejito como si gente comieras
Cual si perro fueras así ellos te tratan
Pero si te matan, tan bueno que era.
Si te ven venir te dejan el paso
Eso es por si acaso vienes a pedir
Tienes que vivir como el mundo quiera
Y aunque tu prefieras vivir de otro modo
Cuando vas pa'l hoyo, tan bueno que era.
Despues de muerto cualquiera
Pa' la montaña
Si te ven dinero la gente comenta
Que debes la renta y hasta el zapatero
Que eres mujeriego que tienes una donde quiera
Que a todas las pelas que eres un tenorio
Pero en el velorio hay bendito, tan bueno que era
Llora
Hasta tu señora que tu nunca has mantenido
Y que tanto ha sufrido dice que te adora
Y llora que te llora nadie la consuela
Se abraza a su suegra y las dos lloran juntas
Cuando uno está en la tumba hay Dios mío tan bueno que era.
The song "Tan Bueno Que Era" by Sonora Ponceña is a tribute to the jibaro, a Puerto Rican peasant or farmer. The lyrics speak to the injustices and prejudices that the jibaro faces in life, including being ignored by society, being treated as if they are inferior, and having to conform to societal expectations. The song highlights how these prejudices fade away after death, and suddenly the deceased jibaro is remembered as a good person.
The first verse talks about how when one is alive, nobody pays attention to them, even if they are good people. People may say that the jibaro is tough or hard as a rock, even if it's not true. But when they die, suddenly they are remembered as being good.
The second verse describes the discrimination the jibaro faces in society. They are not welcomed, and are often treated as inferior. People talk to them from a distance, as if they are contagious. But again, when they die, they are remembered as being good.
In the third verse, the lyrics talk about the societal expectations placed on the jibaro. They are expected to conform and live as the world wants them to, even if they would prefer to live differently. But after death, suddenly they are remembered as being good.
Overall, the song is a commentary on the prejudices and discrimination that certain groups face in life, and how these prejudices fade away after death. It's a somber reminder that we should acknowledge people's goodness while they are still alive.
Line by Line Meaning
Oye jibaro esto es pa ti
Hey countryman, this is for you
Cuando uno esta vivo nadie le hace caso
When one is alive, nobody pays attention
Y a veces si acaso te envían un saludo
And sometimes, at most, they send you a greeting
Dicen que eres duro que eres como piedra
They say you're tough, that you're like a stone
Y aunque falso sea dicen que lo eres
And even if it's not true, they say you are
Pero si te mueres, tan bueno que era.
But if you die, suddenly you were so good
Nunca te han querido en la sociedad
They have never liked you in society
La única verdad es que eres negrito
The only truth is that you are a little dark-skinned
Te hablan de lejito como si gente comieras
They speak to you from a distance, as if you ate people
Cual si perro fueras así ellos te tratan
They treat you like a dog
Pero si te matan, tan bueno que era.
But if they kill you, suddenly you were so good
Si te ven venir te dejan el paso
If they see you coming, they let you pass
Eso es por si acaso vienes a pedir
That's in case you come asking for something
Tienes que vivir como el mundo quiera
You have to live the way the world wants you to
Y aunque tu prefieras vivir de otro modo
And even if you prefer to live differently
Cuando vas pa'l hoyo, tan bueno que era.
When you're headed for the grave, suddenly you were so good
Despues de muerto cualquiera
After you're dead, anyone can say nice things about you
Pa' la montaña
To the mountains
Si te ven dinero la gente comenta
If they see you with money, people start to talk
Que debes la renta y hasta el zapatero
Saying you owe rent and even the shoemaker
Que eres mujeriego que tienes una donde quiera
That you're a womanizer and have women wherever you go
Que a todas las pelas que eres un tenorio
That you're a tenor with all the money
Pero en el velorio hay bendito, tan bueno que era
But at your wake, suddenly you were so good
Llora
Cry
Hasta tu señora que tu nunca has mantenido
Even your wife, who you've never supported
Y que tanto ha sufrido dice que te adora
And who has suffered so much says she adores you
Y llora que te llora nadie la consuela
And cries and cries, and nobody can console her
Se abraza a su suegra y las dos lloran juntas
She hugs her mother-in-law and they both cry together
Cuando uno está en la tumba hay Dios mío tan bueno que era.
When one is in the grave, oh my God, suddenly you were so good.
Writer(s): Luis Guillermo Texidor
Contributed by Elena A. Suggest a correction in the comments below.
GAMER LJ
esta cancion me recuerda mi papá . papi Dios te tenga en su santo reino te amo y me haces mucha falta.
Paul Bilbraut
Tremenda canción fué el hit de esa Navidad y la muerte del Astro Roberto Clemente Walker hizo que se escuchara año 1972 una despedida de año
Germaine García Cabrera
La pura y fisica verdad dice esta cancion
jhon caruci
Excelente mensaje 💯✌🏽
juanra colon
De Santa Isabel, Puerto Rico para el mundo hispano. no de los grandes cantantes con un sentido nato de improvisacion. Sin menospreciar a los cantantes modernos, Luigui texidor es un maestro del cual pueden aprender mucho... Juanra Colon
RONALD GAMERO
ESTA CANCION ES DE GRAN RELEVANCIA Y SU LETRA TIENE VIGENCIA ACTUALMENTE NO SE NECESITA SER INTELIGENTE PARA ENCONTRARLE SENTIDO.
yolau
LA VIDA MISMA TE ENSEÑA LA LECCION.
yasmina lopez
Saludos desde Cartagena Colombia , 👍 hermoso tema de la Sonora Ponceña 👊
pirataqueb
QUE CLASE DE CANTANTE COÑO!!!!!!!!!, QUE VIVA LA SONORA!!!!
Sandra Padilla
verda lo que dice el Disco amigos no existen nadie lo saluda si no por conveniencia