Avándaro: the black hole of the mexican rock
| Here comes the plague
From the beginning the
groups and soloists were devoted to copying the songs and producing
"covers" or versions in spanish. Some had ingenious
lyrics like "La Plaga" by the Teen Tops and "Haciéndote
el Amor" by Los Locos del Ritmo; some had better musical
arrangements that the original, as in the case of "Chica
Alborotada" by Los Locos del Ritmo in comparison with "Tallahassee
Lassie" by Freddy Cannon.
To give an idea of the above
we have the following:
- César Costa with 18 covers of Paul Anka
- Los Hermanos Carrión with 10 covers of the Everly Brothers
- The Teen Tops with 9 covers of Elvis Presley and 6 of Little
From 1960 to 1965, there
was a great fountain of rock and roll being made in English (North
American and Englishmen) and in Italian. In this period 2,671
English songs were copied, including 143 instrumental. From Italian
148 songs were acquired and finally Mexican compositions, according
to an author, totaled only 152!
To the 152 original songs,
it would be necessary to subtract those that are of public domain
or well-known, as in the case of "Soy Soldado de Levita,"
"La Cucaracha," "La Barca de oro," "La
Bamba," "Nocturnal," "La Borrachita,"
"Cenizas" and many others. Do the math and find the
Anyway, from November of 1959
to December of 1961, the Association of Authors and Composers
registered 3,266 boleros, 2,232 "rancheras" and only
239 rock and roll songs, many of which were composed by people
that didn't have anything to do with rock. The novelties also
existed, such as the songs of a child comedian named Chabelo,
actors like Julio Alemán, comedians like the Manuel El
Loco Valdéz and illustrious trios as The Panchos, who
also interpreted covers.
In the mentioned period, the
main Mexican composers were Jesus González from Los Locos
del Ritmo with 11 compositions, Oscar Flores Cossío of
the Silver Rockets with ten songs, Rafael Acosta from Los Locos
del Ritmo with five songs and three songs by Jesús González,
followed by René Ferrer from the Playboys and Armando
Trejo from the Blue Caps.
that we've detailed the pessimism, these songs are well known
nationally and they are still listened to: "Vuelve Primavera"
by the Blue Caps, "Acapulco Rock" and "Gato Loco"
by the Hooligans, "Que Se Mueran Los Feos" by Johnny
y su Conjunto, "Pensaba En Ti" by Enrique Guzmán,
"El Uni Rock" by the Silver Rockets, "Pecador"
by Alberto Vázquez and "Yo No Soy Un Rebelde"
and "Tus Ojos," of Los Locos del Ritmo. Very little
in Mexican Rock was this intense, in fact, for five years.
Locos del Ritmo second album
all had much to do with the attitude of the record companies,
the radio, the TV, the managers of shows, the conservative society,
the government authoritarianism and the way in which the rock
and roll youth was exploited so despicably.
TV show Orfeón a Go Go
the english wave arrived, the covers followed, but it was pointless
to listen to the Johnny Jets, Hitters, Reno, Belmonts, Yaki or
to the Rockin Devils, when on the radio you could hear the Beatles,
Rolling Stones, Kinks, or Who, with the original versions. "Shindig,"
"Beat Club" and "Hullaballoo" on TV, or The
Tami Show and The TNT Show in the movies, overshadowed "Orfeón
a Go Go," "Rock 7.30" and other Mexican programs.
To say nothing of the radio, where Radio Capital, Radio Exitos
and La Pantera, bombarded us daily with songs in English.