Artist: Los Temerarios Genre(s):
Latin
Other
Folk
Pop
Rock
Discography:
Recuerdos del Alma Year: 2007
Tracks: 10
Super Exitos: Con Mariachi Year: 2006
Tracks: 14
Tributo Al Amor Year: 2003
Tracks: 14
20 Inolvidables Year: 2003
Tracks: 20
Una Lagrima No Basta Year: 2002
Tracks: 14
Baladas Rancheras Year: 2001
Tracks: 12
15 Exitos Para Siempre Year: 1998
Tracks: 15
Mi Vida Eres Tu Year: 1996
Tracks: 11
Veintisiete Year:
Tracks: 13
Edicion de Oro Year:
Tracks: 14
Los Temerarios' bubblegum ranchera has been the romantic soundtrack of millions of Mexican and Mexican-American youths' lives during the '90s. Combining elements of traditional Mexican ranchera music with keyboards, electrical bass and baronial percussion, they created a sound whose pull ofttimes took them to the cover side tier of Billboard's Latin charts.
Brothers Adolfo (b. 1963) and Gustavo Ãngel Alba (b. 1968), from Fresnillo, Zacatecas, Mexico, were get-go exposed to the medicine business in the late '70s when their father rented a room in their house to local groups needing a place to practise. When the musicians left field, the brothers would sneak in and practice tunes. They formed La Brisa in 1977, acting parties and weddings. They landed a record contract on CBS Mexico in 1983 and adopted their current sobriquet. Their early end product comprised organ-driven ballads, rancheras, blast cumbias and even corridos. Local songwriter Samuel Guzman, world Health Organization more latterly has penned hits for Los Rehenes, wrote some of their other songs.
However, Los Temerarios failed to make a major impact until the Monterrey-based indie Disa sign them in the late '80s. By so, Gustavo's voice had developed into a sugary cross between Art Garfunkel and George Michael, and Adolfo's songwriting skills were forward. Sentimental ballads "Tu Infame Engaño" ("Your Infamous Deception"), "Ven Porque Te Necesito" ("Come, I Need You"), and "Sà Quiero Volver" ("Yes I Want to Come Back") solidified their repute for dramatic melodies and pleading, if naïve, lyrics. By 1991, the grouping consisted of Adolfo on keyboards, Gustavo on guitar, cousin-german Fernando Angel on bass, Mario Ortiz on drums and Carlos Abrego on pleximetry. Along with Fernando, the brothers formed Ãngel Records in San Antonio in 1990 and released Lo Nuevo...y lo Mejor (The New and the Bes) the same twelvemonth. This move caused legal difficulties with Disa, wHO claimed they static owed the troupe an album. The grouping continued releasing its U.S. material on Ãngel (after renamed AFG Sigma, the initals for Adolfo, Fernando and Gustavo) only remained on Disa in Mexico until 1994.
The significance of Los Temerarios' venture into the business face of music cannot be unostentatious. While Mexico-based labels specializing in onda grupera enjoyed rough parity, FonoVisa was the steamroller in the United States. It was intimately impossible for acts on other labels to make Billboard's Latin singles chart. The fact that Los Temerarios were wrenching up impressive chart numbers racket on their have label made them the nearly obvious chink in FonoVisa's armour. AFG Sigma bolstered its status as a real substitute when Temerarios protégé Zeus made the album chart in 1992 and the label picked up veteran groups Mister Chivo from FonoVisa and Conjunto Primavera from Joey. But Zeus rip up in 1993, and the label launch itself with more bands than it could promote. By 1996, non even Los Temerarios' singles were charting well. Former opposer FonoVisa made a generous tender to buy the company, and ahead the year was out, the deal was done. But of the scads of acts of the Apostles sign-language to AFG Sigma, only Los Temerarios and Conjunto Primavera got past times FonoVisa's velvety rope, leaving the rest of the roll to find another share. FonoVisa dramatically illustrated its manner with wireless when the fourth unmarried from
Camino del Amor (Track of Love), "Cuando Fuiste MÃa" ("When You Were Mine") charted higher than the first, second and third singles, which had been released on AFG Sigma. Ironically, by so Disa, EMI Latin and PolyGram Latino had made inroads on FonoVisa's mastery in the U.S. marketplace.
The 1991 release
Mi Vida Eres Tú (My Life Is You) propelled the grouping to superstardom. The unique sound of the title cut, which backed mariachi instrumentation with galvanising bass and a dramatic crash on each bar's second gear drum, became a monetary standard and spawned legions of imitators. Though four singles were released from the album, the material was so systematically strong that wireless often played album tracks. Critics considered the lyrics well-worn, simply young fans identified with the themes of quixotic loss and brokenheartedness, influenced by the songwriting of Juan Gabriel and José Alfredo Jimenez. Fans likewise apprehended the group's jacket-and-tie dress code, which typeset it asunder from polyester-clad generation and before long divine a horde of imitators. The chemical group added a calliope-like keyboard sound to its 1993 spillage Tu Última Cancion (Your Last Song), and the soft rock 'n' roll musician "Una Tarde Fue" (It Was an Afternoon) featured blade guitar.
Camino del Amor, from 1995, continued in the same nervure, as the grouping straddled the melody between pop balladry, where it cited Kenny G and Neil Diamond as influences, and the mariachi-influenced expressive style first-class honours degree heard on
Mi Vida Eres Tú. Gustavo well-tried out a ranchera-influenced vibrato vocal on "Por Qué Te ConocÃ" ("Why Did I Get To Know You"), the first single from 1998 record album Cómo Te Recuerdo (How I Remember You) and the group's second base number one on Billboard's Hot Latin Tracks in the bridge of a year. The album offered no surprises.
The spate of kidnappings that hit Mexico in the '90s affected the chemical group, as the Angel brothers' father was kidnapped in 1997 in Zacatecas. He was returned alive simply minus a finger. The chemical group too ventured into movies, appearing in Sueño y Realidad (Dream and Reality) in 1993. In fall 2000, the band gathered an awarding for Best Grupero Performance for
En La Madrugada Se Fue at the first annual Latin Grammy Awards. The album
Poemas Canciones Y Romance was issued a year later.
