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.
Vas Por Ahí
Sonora Ponceña Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Y diciendo que nunca te hice feliz, que fui malo contigo
Vas por ahí
Vas diciéndole al mundo que el hombre es cruel
Se aprovecha y abusa de la mujer, y que luego la olvida
Por que te empeñas tu en destruir mi vida
No me explico
Por qué es que tu vas por ahí
Aborreces los besos que yo te di
Y aborreces las veces que te sentí y te tuve conmigo
Vas por ahí, vas diciendo ojalá no te vuelva a ver
Vas diciendo no quiero saber de ti
Me odias, me maldices
Por que te empeñas tú en destruir mi vida
Si sabes que yo soy el que te quiere y te querrá toda la vida
No me explico
Por qué es que tu vas por ahí
Aborreces los besos que yo te di
Y aborreces las veces que te sentí y te tuve conmigo
Por qué vas por ahí, vas diciendo ojalá no te vuelva a ver
Vas diciendo no quiero saber de ti
Me odias, me maldices
Vas por ahí
Vas por ahí
Vas por ahí
In Sonora Ponceña's song "Vas Por Ahí," the singer is expressing confusion and frustration with their ex-partner's behavior. The ex is going around speaking negatively about the singer, saying that they never made them happy and were cruel to them. The ex also speaks out against men in general, claiming they are abusers who take advantage of women and then forget about them. The singer is puzzled by why the ex is so set on destroying their life, despite the fact that the singer still loves and wants to be with them.
The song explores themes of love, betrayal, and bitterness. The ex is clearly hurting and resentful towards the singer, despite the singer's continued affection towards them. The song also touches on the issue of domestic violence, highlighting the trauma that it can cause. In the end, the singer seems resigned to the fact that the ex will continue to speak poorly of them, even though it doesn't seem to be fair.
Line by Line Meaning
Vas por ahí maldiciendo la hora en que yo nací
You wander around cursing the moment I was born
Y diciendo que nunca te hice feliz, que fui malo contigo
And saying that I never made you happy, that I was bad to you
Vas diciéndole al mundo que el hombre es cruel
You tell the world that man is cruel
Se aprovecha y abusa de la mujer, y que luego la olvida
He takes advantage of and abuses women, and then forgets them
Por que te empeñas tu en destruir mi vida
Why do you insist on destroying my life
Si sabes que yo soy el que te quiere y te querrá toda la vida
If you know that I am the one who loves you and will love you for life
No me explico
I don't understand
Por qué es que tu vas por ahí
Why do you go around
Aborreces los besos que yo te di
Hating the kisses I gave you
Y aborreces las veces que te sentí y te tuve conmigo
And hating the times I felt you and had you with me
Vas diciendo ojalá no te vuelva a ver
You say I hope I never see you again
Vas diciendo no quiero saber de ti
You say I don't want to know about you
Me odias, me maldices
You hate me, you curse me
Writer(s): Roberto Anglero Pepin
Contributed by Carter G. Suggest a correction in the comments below.
Wandel Ceiling Fans
Vas por ahí maldiciendo la hora en que yo nací
Y diciendo que nunca te hice feliz, que fui malo contigo
Vas por ahí
Vas diciéndole al mundo que el hombre es cruel
Se aprovecha y abusa de la mujer, y que luego la olvida
Por que te empeñas tu en destruir mi vida
Si sabes que yo soy el que te quiere y te querrá toda la vida
No me explico
Por qué es que tu vas por ahí
Aborreces los besos que yo te di
Y aborreces las veces que te sentí y te tuve conmigo
Vas por ahí, vas diciendo ojalá no te vuelva a ver
Vas diciendo no quiero saber de ti
Me odias, me maldices
Por que te empeñas tú en destruir mi vida
Si sabes que yo soy el que te quiere y te querrá toda la vida
No me explico
Por qué es que tu vas por ahí
Aborreces los besos que yo te di
Y aborreces las veces que te sentí y te tuve conmigo
Por qué vas por ahí, vas diciendo ojalá no te vuelva a ver
Vas diciendo no quiero saber de ti
Me odias, me maldices
Vas por ahí
Vas por ahí
Vas por ahí
servus tuus sum ego dulcis mater carmel
Tremenda voz la de Miguelito Ortiz, al igual que la de Yolanda Rivera, Toñito Ledee y Héctor "Pichie" Pérez.
A B
Like no hay mas nada que decir!!!!
Julio Gonzalez
Es música para todos los tiempos. Sin fecha de vencimiento. Bonita, rítmica y súper agradable.. Toda una melodía en salsa.
Pedro Torres
Para mi este poema es una de las canciones mas hermosas que tiene la Sonora Ponceña, realmente la adoro..
Abrazos Salseros, desde #Caracas #Venezuela
obear3000
Timeless. Este canción prueba que una gran obra no tiene tiempo! Fue, sigue y seguirá ❤️
Carlos Rodriguez
Qué recuerdos de infancia con mi ponceña mi banda favorita saludos desde Caracas Venezuela
Mario Alberto Urriola Duarte
Que melodia mas bonita y mejor aun tocada por una Gran Orquesta Salsera.
Angel Delgado
Lo mejor de lo mejor, La Sonora Ponceña
Melvin Rosario
Miguelito Ortiz e Guayama tremendo musico y mejor ser humano tuve el placer de conocerlo,que Dios lo tenga en la gloria
Jesus Brux
Miguel Ortiz muy buen cantante, descansa en paz, sonero