They dressed in black suits and sported frizzly hair and makeup. Marcovich's textural guitar work considerably changed Caifanes’ sound and cemented the “classic” Mexican rock sound that Caifanes became famous for. CAIFANES logo vector. Nevertheless, the movement of Rock en Español or rock en tu idioma (Rock in your language) was too strong to ignore by record execs. 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 (where Aceves was chief engineer). The first three singles garnered sufficient radio play. Lopez would be instrumental in their signing to RCA-Ariola and would go on to produce their first two albums. The original lineup consisted of Saúl Hernández (vocals & guitar), Alejandro Marcovich [es] (lead guitar) Sabo Romo (bass guitar), Alfonso André [es] (drums), and Diego Herrera (keyboards and saxophone). In late 1989, Caifanes began to record their second album in New York City. On 18 August 1995, Caifanes played their final show in San Luis Potosí. 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. “No Dejes Que” (Don't Let It”), “Estas Dormida” (You're Sleeping), “Debajo de Tu Piel” (Under Your Skin), and the soaring “Nubes” (Clouds) would go on to become Mexican rock staples. Download the vector logo of the Caifanes - Jaguares brand designed by ANTONIO IBARRA in The flood of groups from Spain and Argentina forced Mexican labels to take a second look at up-and-coming Mexican bands. The song was a massive hit in Mexico and introduced Caifanes to a wider audience nationally and abroad. This file contains additional information such as Exif metadata which may have been added by the digital camera, scanner, or software program used to create or digitize it.

trademark holder and is offered to you as a convenience for lawful With demo in hand Caifanes approached CBS Mexico. Before you use or reproduce this artwork in any manner, you Insólitas broke up in 1986. Its equivalent in English would be “cool dude.” The word has also been used to describe the proverbial Mexican pachuco, delinquent, or outsider. Caifanes received a big break when Ariola records invited them to open for Argentinean rocker Miguel Mateos’ Mexico City show. download is the intellectual property of the copyright and/or

The building was filled to capacity and many people were left outside.

The members enjoyed the experience of playing in Insolitas and decided to continue.

Tipografía y logos de Caifanes y Jaguares Download the vector logo of the Caifanes - Jaguares brand designed by ANTONIO IBARRA in Encapsulated PostScript (EPS) format.

“Afuera” ("Outside"), the first single, fused rock grooves with an ethnic-inspired guitar solo. of international copyright and trademark laws subject to specific The original lineup consisted of Saúl Hernández (vocals & guitar), Alejandro Marcovich [] (lead guitar) Sabo Romo (bass guitar), Alfonso André [] (drums), and Diego Herrera (keyboards and saxophone). The band now included former Insolitas guitarist Alejandro Marcovich.

We have 2 free Caifanes vector logos, logo templates and icons. 1994's El nervio del volcán ("The Volcano’s Nerve"), released by BMG, showed Caifanes with a heavier, more progressive sound. [4], After not having recorded since 1994, the band released a new single, "Heridos". [6], Caifanes could be categorized with the many of Mexican rock groups that emerged in the 1980s. and that the artwork you download will be used for non-commercial holder only. Insólitas developed a strong cult following in Mexico City. Hernández was joined by former Caifanes and Insolitas drummer Alfonso André. Saul offered moral support to Fobia and helped them sign with BMG Ariola). trademark holder.

The current status of the logo is obsolete, which means the logo is not in use by the company anymore.

1995 marked the end of Caifanes. Click on a date/time to view the file as it appeared at that time. The timestamp is only as accurate as the clock in the camera, and it may be completely wrong. Upon hearing the demo of “Será Por Eso” (English: "That's Why"), the CBS executive said, “At CBS, our business is to sell records, not coffins.”. Original file ‎(SVG file, nominally 512 × 110 pixels, file size: 9 KB). Formed in 1987, the group achieved international fame during the late 1980s and early 1990s. This page was last edited on 29 July 2020, at 15:03. to be one of the most influential records of the Rock En Español genre.

Saúl and Alfonso reformed as Caifanes with bass player/producer Sabo Romo and Diego Herrera on keyboards and sax.

“Aquí No Es Así” achieved great success in Mexico and several countries of Latin-America, it became the last massive hit of the band, shortly before their breakup, and its music video, directed by Carlos Marcovich (Alejandro's brother, who also directed "Afuera") tells the history of the Spanish conquest of Mexico and the Aztec Empire in just one shot.[2][3]. This file contains additional information such as Exif metadata which may have been added by the digital camera, scanner, or software program used to create or digitize it. By this time, Caifanes along with Maná, Fobia, 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. Failure to obtain such permission is a violation In 1992, Caifanes released El Silencio (The Silence). The record was produced by Oscar Lopez, aided by Gustavo Santaolalla and Daniel Freiberg. [5] The band's intention was that the release of the single would be the starting point of what could be the recording of their fifth studio album. By late 1993, Caifanes became a three piece with the exit of Romo and Herrera. The relationship between Hernández and Marcovich was strained. You can download in .AI, .EPS, .CDR, .SVG, .PNG formats. Incredible stock. Datei:Caifanes Logo.jpg; Caifanes; Benutzer:GFXChunkie; Metadata. The immediate sale of 300,000 copies of the EP cemented the band's appeal.

All of these bands have commented on the support of Caifanes for their careers.

In December 1988 Caifanes released a cover of Cuban folk singer Guillermo Rodriguez Fiffe's classic cumbia (tropical dance song), “La Negra Tomasa,” (The Black Woman Tomasa) as a Maxi single. If the file has been modified from its original state, some details such as the timestamp may not fully reflect those of the original file. With its string of hits and hybrid of rock and traditional Mexican music, El silencio is considered[by whom?] In August 1992 Caifanes sold out the Hollywood Palladium. El diablito (The Little Devil) was released in July 1990 through BMG Records. Learn how and when to remove this template message, Spanish conquest of Mexico and the Aztec Empire, Caifanes (Matenme porque me muero, Volumen 1), Caifanes regresa; tocará en el Vive Latino, Caifanes: se alista para lanzar nuevo sencillo, https://en.wikipedia.org/w/index.php?title=Caifanes&oldid=972555524, Articles needing additional references from December 2010, All articles needing additional references, Wikipedia articles in need of updating from July 2014, All Wikipedia articles in need of updating, Articles with specifically marked weasel-worded phrases from July 2011, Articles with unsourced statements from November 2016, Wikipedia articles with MusicBrainz identifiers, Wikipedia articles with WorldCat identifiers, Creative Commons Attribution-ShareAlike License, Santiago Ojeda - Lead Guitars, back up vocals (1987), This page was last edited on 12 August 2020, at 17:53. At times the image and the sound were considered radical for the Mexican music industry. use without infringing on the rights of the copyright and/or Tipografía y logos de Caifanes y Jaguares. The show brought Cafaines to the attention of Miguel Mateos’ producer Oscar Lopez. Their arrival marked a total rupture in structures and of many taboos of the time, and their look collided with social norms. 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 (Marcovich's brother went on to direct various videos for Caifanes). Caifanes’ debut album Caifanes (also known as Mátenme Porque Me Muero, Volumen I) was released in August 1988 by RCA-Ariola. Caifanes’ style can be described as a hybrid of British new wave, progressive rock and Latin percussion underscored by deep, somber, and Latin American-Mexican-Spanish-influenced lyrics and the vocal style of Saúl Hernández. The LP was preceded by an EP made up of three songs, in order to test the market.

Many other bands owe their existence in the media to Caifanes: Santa Sabina, La Castañeda, Los Amantes de Lola [es], Maldita Vecindad, La Cuca, La Lupita, the ska band Sekta Core! Size of this PNG preview of this SVG file: Add a one-line explanation of what this file represents, (SVG file, nominally 512 × 110 pixels, file size: 9 KB), User:Magog the Ogre/PD ineligible/2019 July 28-31, https://commons.wikimedia.org/w/index.php?title=File:Caifanes_Logo.svg&oldid=435953325, Valid SVG created with Inkscape:Text logos, Creative Commons Attribution-ShareAlike License.

use with proper permission from the copyright and/or trademark Neón [es], Bon y Los Enemigos del Silencio [es], Alquima, and Maldita Vecindad were the first signings. Caifanes toured extensively in support of the album. financial and criminal penalties.

In May 1986, Insolitas recorded a live demo performed at Rockotitlán. Fobia gives enormous credit to the influence of Caifanes on their music, (Hernandez collaborated in the production of the demos Puedo Rascarme Solo, La Iguana, and Moscas for a television show. [citation needed].

In 1994, Caifanes opened up for the Rolling Stones in Mexico City and participated in Peter Gabriel's WOMAD festival. On December 14, 2010, it was announced that the band would be reuniting for the Vive Latino festival and the Coachella Festival of 2011,[1] after a reconciliation between Hernández and Marcovich.

Caifanes’ first live show was April 11, 1987, in Rockotitlán. In 1994, Caifanes were at the height of their popularity.

The presence of Caifanes and the media coverage forced record companies to take existing groups seriously as well as to revitalize veteran rock figures that had long careers behind them, such as El Tri.

Caifanes collaborated in the de-sanitization of rock—its condition was one of marginalization and veiled in a conservative Mexico of the 1980s. “Aquí No Es Así” (“Here Is Not Like That ”), and "Ayer Me Dijo Un Ave" (“Yesterday a Bird said to me...”) became radio favorites.

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