Salvador Sabo Romo is a bass and guitar player and producer. He was born in Mexico City. Interested in music since childhood, he wrote songs and sang on his first band. At eighteen he discovered the bass, formed “Manhattan”, a light jazz band, “Ruido Blanco” with journalist and musician Oscar Sarquiz, who introduced Sabo to Guillermo Briseño, Ricardo Ochoa starting the recording and production of many records with many tours in the mid-1980s. Romo was a founding member of Caifanes in 1987, recording three albums with BMG and touring all over the world with them, he produced artists such as Aleks Syntek, Ely Guerra, Moenia, Tania Libertad, the Jaguares … and has sold 10 million copies. Sabo has been declared “The best latinamerican Bass Player”. Romo edited with BMG and his own record label “Mulata Records” his first solo album in 1996: SSS, he played on tour with Adrian Belew, Stewart Copeland, Andy Summers, Miguel Mateos, Charly Garcia, Soda Stereo working on his new projects: Los Finger, Los Padrisimos and his second solo double album.
On February 19, 2010, Romo suffered a heart attack and has recovered successfully
Caifanes is the self-titled debut studio album by Mexican rock band Caifanes. It was released in 1988 after the success of their first singles, "Mátenme porque me muero" and "La bestia humana"; the original release of the album did not contain the songs "La negra Tomasa" and "Perdí mi ojo de venado", which were released in 1989 as singles and incorporated into the album when it was re-released on Compact disc in 1993. It is undergoing a re-pressing process as of March 2011; the LP is referred to as Volumen 1 or Mátenme porque me muero. All tracks written except where noted. Saul Hernandez – vocals, guitar Alfonso Andre – drums, miscellaneous percussion Sabo Romo – bass Diego Herrera – keyboards, saxophone Gustavo Cerati – guitar on "La bestia humana" Cachorro Lopez – stick on "Nada"
Alternative rock is a style of rock music that emerged from the independent music underground of the 1980s and became popular in the 1990s. In this instance, the word "alternative" refers to the genre's distinction from mainstream rock music; the term's original meaning was broader, referring to a generation of musicians unified by their collective debt to either the musical style or the independent, DIY ethos of punk rock, which in the late 1970s laid the groundwork for alternative music. At times, "alternative" has been used as a catch-all description for music from underground rock artists that receives mainstream recognition, or for any music, whether rock or not, seen to be descended from punk rock. Alternative rock broadly consists of music that differs in terms of its sound, social context and regional roots. By the end of the 1980s, magazines and zines, college radio airplay, word of mouth had increased the prominence and highlighted the diversity of alternative rock, helping to define a number of distinct styles such as noise pop, indie rock and shoegaze.
Most of these subgenres had achieved minor mainstream notice and a few bands representing them, such as Hüsker Dü and R. E. M. had signed to major labels. But most alternative bands' commercial success was limited in comparison to other genres of rock and pop music at the time, most acts remained signed to independent labels and received little attention from mainstream radio, television, or newspapers. With the breakthrough of Nirvana and the popularity of the grunge and Britpop movements in the 1990s, alternative rock entered the musical mainstream and many alternative bands became successful. In the past, popular music tastes were dictated by music executives within large entertainment corporations. Record companies signed contracts with those entertainers who were thought to become the most popular, therefore who could generate the most sales; these bands were able to record their songs in expensive studios, their works sold through record store chains that were owned by the entertainment corporations.
The record companies worked with radio and television companies to get the most exposure for their artists. The people making the decisions were business people dealing with music as a product, those bands who were not making the expected sales figures were excluded from this system. Before the term alternative rock came into common usage around 1990, the sort of music to which it refers was known by a variety of terms. In 1979, Terry Tolkin used the term Alternative Music to describe the groups. In 1979 Dallas radio station KZEW had a late night new wave show entitled "Rock and Roll Alternative". "College rock" was used in the United States to describe the music during the 1980s due to its links to the college radio circuit and the tastes of college students. In the United Kingdom, dozens of small do it yourself record labels emerged as a result of the punk subculture. According to the founder of one of these labels, Cherry Red, NME and Sounds magazines published charts based on small record stores called "Alternative Charts".
The first national chart based on distribution called the Indie Chart was published in January 1980. At the time, the term indie was used to describe independently distributed records. By 1985, indie' had come to mean a particular genre, or group of subgenres, rather than distribution status; the use of the term alternative to describe rock music originated around the mid-1980s. Individuals who worked as DJs and promoters during the 1980s claim the term originates from American FM radio of the 1970s, which served as a progressive alternative to top 40 radio formats by featuring longer songs and giving DJs more freedom in song selection. According to one former DJ and promoter, "Somehow this term'alternative' got rediscovered and heisted by college radio people during the 80s who applied it to new post-punk, indie, or underground-whatever music". At first the term referred to intentionally non–mainstream rock acts that were not influenced by "heavy metal ballads, rarefied new wave" and "high-energy dance anthems".
Usage of the term would broaden to include new wave, punk rock, post-punk, "college"/"indie" rock, all found on the American "commercial alternative" radio stations of the time such as Los Angeles' KROQ-FM. Journalist Jim Gerr wrote that Alternative encompassed variants such as "rap, trash and industrial". In December 1991, Spin magazine noted: "this year, for the first time, it became resoundingly clear that what has been considered alternative rock – a college-centered marketing group with lucrative, if limited, potential- has in fact moved into the mainstream"; the bill of the first Lollapalooza, an itinerant festival in North America conceived by Jane's Addiction frontman Perry Farrell, reunited "disparate elements of the alternative rock community" including Henry Rollins, Butthole Surfers, Ice-T, Nine Inch Nails and the Banshees and Jane's Addiction. That same year, Farrell coined the term Alternative Nation. In the late 1990s, the definition again became more specific. In 1997, Neil Strauss of The New York Times defined alternative rock as "hard-edged rock distinguished by brittle,'70s-inspired guitar riffing and singers agonizing over their problems until they take on epic proportions".
Defining music as alt
A music genre is a conventional category that identifies some pieces of music as belonging to a shared tradition or set of conventions. It is to be distinguished from musical form and musical style, although in practice these terms are sometimes used interchangeably. Academics have argued that categorizing music by genre is inaccurate and outdated. Music can be divided into different genres in many different ways; the artistic nature of music means that these classifications are subjective and controversial, some genres may overlap. There are varying academic definitions of the term genre itself. In his book Form in Tonal Music, Douglass M. Green distinguishes between form, he lists madrigal, canzona and dance as examples of genres from the Renaissance period. To further clarify the meaning of genre, Green writes, "Beethoven's Op. 61 and Mendelssohn's Op. 64 are identical in genre – both are violin concertos – but different in form. However, Mozart's Rondo for Piano, K. 511, the Agnus Dei from his Mass, K. 317 are quite different in genre but happen to be similar in form."
Some, like Peter van der Merwe, treat the terms genre and style as the same, saying that genre should be defined as pieces of music that share a certain style or "basic musical language." Others, such as Allan F. Moore, state that genre and style are two separate terms, that secondary characteristics such as subject matter can differentiate between genres. A music genre or subgenre may be defined by the musical techniques, the style, the cultural context, the content and spirit of the themes. Geographical origin is sometimes used to identify a music genre, though a single geographical category will include a wide variety of subgenres. Timothy Laurie argues that since the early 1980s, "genre has graduated from being a subset of popular music studies to being an ubiquitous framework for constituting and evaluating musical research objects". Among the criteria used to classify musical genres are the trichotomy of art and traditional musics. Alternatively, music can be divided on three variables: arousal and depth.
Arousal reflects the energy level of the music. These three variables help explain why many people like similar songs from different traditionally segregated genres. Musicologists have sometimes classified music according to a trichotomic distinction such as Philip Tagg's "axiomatic triangle consisting of'folk','art' and'popular' musics", he explains that each of these three is distinguishable from the others according to certain criteria. The term art music refers to classical traditions, including both contemporary and historical classical music forms. Art music exists in many parts of the world, it emphasizes formal styles that invite technical and detailed deconstruction and criticism, demand focused attention from the listener. In Western practice, art music is considered a written musical tradition, preserved in some form of music notation rather than being transmitted orally, by rote, or in recordings, as popular and traditional music are. Most western art music has been written down using the standard forms of music notation that evolved in Europe, beginning well before the Renaissance and reaching its maturity in the Romantic period.
The identity of a "work" or "piece" of art music is defined by the notated version rather than by a particular performance, is associated with the composer rather than the performer. This is so in the case of western classical music. Art music may include certain forms of jazz, though some feel that jazz is a form of popular music. Sacred Christian music forms an important part of the classical music tradition and repertoire, but can be considered to have an identity of its own; the term popular music refers to any musical style accessible to the general public and disseminated by the mass media. Musicologist and popular music specialist Philip Tagg defined the notion in the light of sociocultural and economical aspects: Popular music, unlike art music, is conceived for mass distribution to large and socioculturally heterogeneous groups of listeners and distributed in non-written form, only possible in an industrial monetary economy where it becomes a commodity and in capitalist societies, subject to the laws of'free' enterprise... it should ideally sell as much as possible.
Popular music is found on most commercial and public service radio stations, in most commercial music retailers and department stores, in movie and television soundtracks. It is noted on the Billboard charts and, in addition to singer-songwriters and composers, it involves music producers more than other genres do; the distinction between classical and popular music has sometimes been blurred in marginal areas such as minimalist music and light classics. Background music for films/movies draws on both traditions. In this respect, music is like fiction, which draws a distinction between literary fiction and popular fiction, not always precise. Country music known as country and western, hillbilly music, is a genre of popular music that originated in the southern United States in the early 1920s; the polka is a Czech dance and genre of dance music familiar throughout Europe and the Americas. Rock music is a broad genre of popular music that originated as "rock and roll" in the United States in the early 1950s, developed into a range of different styles in the 1960s and particular
Caifanes is a rock en español band from Mexico City. Formed in 1987, the group achieved international fame during early 1990s; the original lineup consisted of Saúl Hernández, Alejandro Marcovich Sabo Romo, Alfonso André, Diego Herrera. Caifanes’ style can be described as a hybrid of British new wave, progressive rock and Latin percussion underscored by deep and Latin American-Mexican-Spanish-influenced lyrics and the vocal style of Saúl Hernández. Members of Caifanes have cited Teresa Escogido as a major influence; the name Caifanes is derived from 1940s Mexican pachuco slang "Cae fine". Its equivalent in English would be “cool dude.” The word has been used to describe the proverbial Mexican pachuco, delinquent, or outsider. The seeds of what was to become Caifanes were planted in 1984 with Las Insolitas Imágenes de Aurora, a band that included Saúl Hernández, Alfonso André and Alejandro Marcovich. According to Marcovich, Insólitas started out as a side project for the purpose of performing as a party band for the filming of his brother's film project.
At the time, both Hernández and Marcovich were playing in different bands. The members decided to continue; as the seriousness of the project grew the band began to play in different spots in Mexico City like Rockotitlán, High Tower, El Jabalí. In May 1986, Insolitas recorded a live demo performed at Rockotitlán. Insólitas developed a strong cult following in Mexico City. Insólitas broke up in 1986. Saúl and Alfonso reformed as Caifanes with bass player/producer Sabo Romo and Diego Herrera on keyboards and sax. Caifanes' first live show was April 1987, in Rockotitlán; the building was filled to capacity and many people were left outside. Their popularity began to grow throughout Mexico City. By late 1987 Caifanes had carved a niche for themselves as a dark contrast to the corporate pop/rock and light ballads that dominated Mexican radio and television during the 1980s. At times the image and the sound were considered radical for the Mexican music industry. Between December 28, 1986 and January 3, 1987 Juan Aceves produced a four-song demo for the band using "free" studio time at night at Arco Studio.
The demo was showcased on the independent radio program Espacio 59, a show that promoted up and coming rock bands. With demo in hand Caifanes approached CBS Mexico; the musical director at the time shunned them for dark new wave attire and said, “You look like fags.” At the time, Caifanes’ sound and look was influenced by British post-punk groups such as The Cure and The Jesus and Mary Chain. They sported frizzly hair and makeup. Upon hearing the demo of “Será Por Eso”, the CBS executive said, “At CBS, our business is to sell records, not coffins.” The movement of Rock en Español or rock en tu idioma was too strong to ignore by record execs. The flood of groups from Spain and Argentina forced Mexican labels to take a second look at up-and-coming Mexican bands. Caifanes received a big break when Ariola records invited them to open for Argentinean rocker Miguel Mateos’ Mexico City show; the show brought Cafaines to the attention of Miguel Mateos’ producer Oscar Lopez. Oscar took them to the studio to record a demo.
Lopez would be instrumental in their signing to RCA-Ariola and would go on to produce their first two albums. Caifanes’ debut album Caifanes was released in August 1988 by RCA-Ariola; the LP was preceded by an EP made up of three songs. The immediate sale of 300,000 copies of the EP cemented the band's appeal; the first single “Mátenme Porque Me Muero” became a minor hit in Mexico City. The first three singles garnered sufficient radio play. In December 1988 Caifanes released a cover of Cuban folk singer Guillermo Rodriguez Fiffe's classic cumbia, “La Negra Tomasa,” as a Maxi single; the song was a massive hit in Mexico and introduced Caifanes to a wider audience nationally and abroad. By 1989, Caifanes had emerged. In June Caifanes played two sold-out shows at Mexico's Auditorio Nacional, a 10,000 person venue – a first for a Mexican rock band. In late 1989, Caifanes began to record their second album in New York City; the record was produced by Oscar Lopez, aided by Daniel Freiberg. El diablito was released in July 1990 through BMG Records.
The band now included former Insolitas guitarist Alejandro Marcovich. Marcovich's textural guitar work changed Caifanes’ sound and cemented the “classic” Mexican rock sound that Caifanes became famous for. “La Célula Que Explota”, with its brushes of mariachi and bolero guitars and a crescendo of mariachi trumpets and its music video directed by Juan Carlos Colín became both a signature of the band as well as a massive hit in 1990 and 1991. By this time, Caifanes along with Maná, Maldita Vecindad, La Lupita, Cafe Tacuba and Los Amantes de Lola, helped to move Mexican Rock toward a wider audience and catapulted the Rock En Español movement of the 1990s. In 1992, Caifanes released El silencio. Recorded in Wisconsin and produced by Adrian Belew, of King Crimson fame, El Silencio further had a more direct guitar driven sound. “No Dejes Que”, “Estas Dormida”, “Deba
Saúl Alfonso Hernández Estrada, is a Mexican musician, poet and the lead singer of Jaguares and Caifanes, two prominent Mexican rock en español bands. Saúl Hernández was born in the Colonia Guerrero neighborhood of Mexico City on January 15, 1964, he lost his mother at a young age and he explained that this early confrontation with death became an inspiration for many of the songs he has written. His first band was the predecessor to Caifanes. After the breakup of Las Insólitas Imágenes de Aurora, the group's demo was circulating in the Mexico City music scene; when Caifanes is formed, the initial lineup was Alfonso André in the drums, Sabo Romo in the bass and Diego Herrera in the keyboard. Alejandro Marcovich would join the band in the lead guitar; the band made its first appearance on April 11, 1987 in a forum that would catapult new bands, Rockotitlán. The event was a huge success and it marked the beginning of Caifanes. After the Caifanes breakup, Saul Hernández formed a new band in late 1995, called Jaguares, along with former Caifanes drummer Alfonso André and two long time friends, Federico Fong on bass and José Manuel Aguilera on lead guitar.
José Manuel Aguilera was involved in Jaguares' first studio album. In 1996, Saúl Hernández sang a duet with Algerian raï singer Khaled; the song, called Ki Kounti, is sung in Arabic and Spanish. Since its formation, Jaguares has been one of "rock en español" premier bands with both critical and commercial success. Towards the end of 2010, Saúl Hernández reconciled with former Caifane guitarrist Alejandro Marcovich and announced their return for the Vive Latino 2011 festival, which marked the reunion of the original band members. On January 14, 2019, it was announced that Jaguares will reunite for a single concert as part of Machaca Fest 2019 in Monterrey, Nuevo Leon
El nervio del volcán
El nervio del volcán is the fourth and final album by Mexican rock band Caifanes, released in the summer of 1994. With bassist Sabo Romo and keyboardist Diego Herrera out of the band since the previous year, Saúl Hernández, Alfonso André, Alejandro Marcóvich were the remaining band members left to record Caifanes' fourth studio album in Los Angeles, California between February and April 1994; the album included the hit singles "Afuera" and "Aquí no es así". A tour began throughout Mexico, United States, Central America, Colombia and Argentina ending with the band dissolving on August 18, 1995 on their final show in San Luis Potosí, Mexico. Hernández formed a new incarnation of his previous band, due to legal disputes and fallout with lead guitar Alejandro Marcóvich. Guest artists included Stuart Hamm, Federico Fong, Yann Zaragoza and Cecilia Toussaint. All tracks written except where noted. Saúl Hernández – vocals, 2nd rhythm guitar on "El año del dragón" Alejandro Marcovich – electric and acoustic guitars, violin on "Miedo" and "La Llorona" Alfonso André – drums, drum programming on "Hasta que dejes de respirar" Federico Fong – fretted and fretless basses Yann Zaragoza – piano, Hammond organ, synthesizer Cecilia Toussaint – choirs on "Afuera", "Aquí no es así", "Hasta que dejes de respirar" Lenny Castro – percussion Stuart Hamm – fretless bass on "Quisiera ser alcohol" Jerry Hey – trumpet on "Quisiera ser alcohol" Jerry Goodman – electric violin on "El animal" and "Pero nunca me caí" Graham Nash – harmonica on "Pero nunca me caí" Jeffrey Marty Vanston – synthesizer on "Aquí no es así" and "Ayer me dijo un ave"