In Mexico Metropolis within the early Eighties, metro riders have been typically fortunate sufficient to be a part of David Garnica Palomares’ captive viewers. Wearing black beneath a mane of untamed black hair, Garnica performed guitar and harmonica and sang to the rush-hour crowd on public transit, his solely selection at a time when golf equipment the place unknown rockers like him might carry out have been few. Busking within the prepare vehicles, he’d launch into “La historia de un minuto,” which accurately turned an underground hit, a lot in order that different metro musicians started to carry out it.
Those that heard the tune would discover themselves whistling as they headed out to the road. “La historia de un minuto,” which Garnica himself would begin and finish by whistling, is the sort of music that makes your day appear higher only for having heard it. Catchy from the primary line, “Ella convirtio, la noche en un poema de amor…” (“She converted the night into a love poem”), it turned generally known as “the metro song.”
Hearken to Efecto Tequila’s La Historia de un Minuto now.
Garnica and his brother Oswaldo carried out collectively within the metro, often enjoying their repertory of songs by The Beatles, The Doorways, Elvis, and The Kinks, which David sang in English. They solely performed one authentic music. That one. He referred to as it “the metro anthem.” The Garnicas and a few pals fashioned a band referred to as Los Traviesos. The group began enjoying across the metropolis at golf equipment and festivals, though they might nonetheless be noticed in a crowded metro automobile. One story about them was headlined “Pop Group in Search of Fame and Fortune.” They by no means discovered it. The band recorded a four-song EP for WEA Mexico in 1988. It didn’t embody “La historia de un minuto.”
A couple of decade after Garnica first performed “La historia de un minuto” within the metro, it did grow to be a success. But it surely was one other band that recorded the music, the Mexican rock band Interpuesto. The group’s hard-rocking 1994 cowl of Garnica’s music turned a calling card for that band, propelling their reputation round Mexico and different Latin American international locations. When Garnica heard the music, he requested for and was denied his writer’s credit score and fee from the document label. He ultimately was in a position to show his copyright and negotiate his correct credit score because the composer.
By this time, Garnica and members of Los Traviesos had fashioned a brand new group. Efecto Tequila (“the Tequila effect”) was named for the impression of a monetary disaster that introduced the Mexico financial system down within the mid-nineties. The band’s signing with the Mexican label Musart occurred after Garnica had attracted consideration when he emerged because the true writer of “La historia de un minuto.” The group’s 1998 album was titled La Historia de un Minuto: La Canción del Metro.
“In your hands is the result of an effort of many years, against all the odds and in spite of it all, to get people to value our concerns and value what we had to say,” reads a message from the band inside the unique CD. “We took refuge in the metro to satisfy the hunger in our stomachs and the thirst that comes from struggling in vain. In a moment of crisis, the metro opened its doors to us and the thousands of riders on the 2 and 3 lines became our accomplices and created a platform for us to search for a new opportunity. Today we want to dedicate this album to them, for singing ‘La historia de un minuto’ along with us…”
Because the opening music of the album, Efecto Tequila’s freewheeling model of “La historia” confirms why it turned such a crowd pleaser. That includes Garnica’s trademark whistling and harmonica, the bluesy jam is a two-and-a-half-minute joyride.
The album contains 9 different songs which are an indication of what have been highly effective instances for rock en español. By the late nineties, rock in Latin America had advanced right into a flourishing motion that crossed by way of international locations referred to as “rock en tu idioma” (rock in your language), spreading the distinctive sound of Latin rock, and proving that rock and the emotions it expressed didn’t need to be in English to be genuine. Teams like Caifanes and El Tri had ushered in an period of stadium reveals for Spanish-language rock teams in Mexico. Efecto Tequila confidently rode of their wake on songs like “Maldiciendome” and “Lo intenté.”
The affect of Argentine band Soda Stereo, which within the Eighties toured all through the area to grow to be the primary Latin American supergroup with their emotive energy pop songs, is obvious on Efecto Tequila tracks like “Tengo que escaper” and “Dondé estás.” The band additionally delivers lighter-waving rock ballads (“No te marches de aquí”). On the bouncy monitor “Contigo,” Garnica comes closest to his days as a transit system cantautor, opening with acoustic guitar and ending the music with a well-known whistle. The band closes the album with some grooving dancefloor soul on “Sitiados”.
Garnica died in 2010, a time when the cd and cassette copies of Efecto Tequila’s album have been turning into uncommon collectors’ objects amongst Mexican rock followers, and the “metro song” was only a reminiscence within the minds of commuters who had first heard Garnica play it. With the album’s re-release, the music lives on.
Hearken to Efecto Tequila’s La Historia de un Minuto now.
