In an ever-evolving landscape that includes new regional Mexican artists and new styles derived from the decades-old genre, Pepe Aguilar‘s music has stood the test of time.
While impressive, it’s not surprising.
Powered by that regal traditional mariachi sound that has characterized his sound for many years, Aguilar carries ranchera music in his veins — and now, more than ever, he’s a fierce protector of the sound that has not only led him to become one of the most revered regional Mexican artists of his generation, but has built a solid foundation for up-and-coming hitmakers.
“I wanted to make an album that feels real — and since I don’t do the type of music that is trending right now, well I didn’t have restraints,” Aguilar says about Que Llueva Tequila, released on Friday (May 24). “I wasn’t making it for the charts, or to compete with this movement that is happening right now. I guess that’s why it sounds the way it sounds. I have complete freedom, I’m completely calm and doing what I like without any pressure. I did it that way and I hope it sounds that way, too.”
A gorgeous set that thrives on mariachi and ranchera, Aguilar — who has overall placed nine top 10 titles on Billboard‘s Top Latin Albums chart — stays true to his essence while also fusing his signature sound with country and bachata. The 13-track LP is produced entirely by him but for the songwriting portion, he recruited some of the best in the game, including Edgar Barrera, Pablo Preciado and Enrique “Fato” Guzmán. The latter has penned some of Aguilar’s greatest hits, including “Me Vas a Extrañar,” “Por Mujeres Como Tú” and “Perdóname.”
With Que Llueva Tequila, his first in two years since A La Medida, Aguilar hopes fans “remember that they have all the right to ask for more quality in the music and I hope that they can see that it’s still available and we can do it. I believe in the craftsmanship of music. I still believe in putting your heart into it,” he adds.
In his own words, Aguilar — currently on his Jaripeo Hasta Los Huesos U.S. Tour — breaks down six essential songs from Que Llueva Tequila below.
“Hasta Que Me Duermo”
I love this song very much, and it was the first single for a reason. It’s the one where you can hear the fusion very clearly. I wanted to do that in this album, I wanted to go a step further when it came to fusion, especially in these days when everything is a mix of cultures, languages and generations. This was the perfect song to do that with. Pablo Preciado wrote this one — he actually wrote five songs on the album. He’s someone I made a click with tremendously, musically speaking, and I think he did too.
“Te Confirmo”
This is not your traditional mariachi, it has more of a contemporary language — and I’m not saying bad words or anything like that, but it’s more digestible. It’s less formal and traditional in a way that rancheras used to be written, but still, it’s a very traditional ranchera. And the theme is different. Normally, we’re always suffering because our partner left us and we’re drinking, feeling sad for ourselves — and this song is the opposite. It’s like, “I can confirm that I’m really okay without you. I’m doing great, actually, and I can confirm that you weren’t that special in my life.” The message is cool for a change. And I like the music very much — it’s really catchy.
“Mira Quién Lo Dice”
It’s an Edgar Barrera song and another type of fusion. It has a lot of soul, blues. It’s not the first time I do a sound like this but Edgar’s songs are very special. His songs give you that liberty to do whatever you want to do with them. They have this magic. I wanted a more blues-y, soul vibe and I did it with my band. That’s one thing I want to mention. Everything you hear in this album it was recorded and made with the musicians I’m touring with, arrangements and everything, we did as a team. We didn’t bring star producers or star arrangers to help us make this album. Everything is made in-house. This song is one of my favorites in the album — and not because it’s written by one of the most important songwriters in the past 25 years, but because it’s really pretty cool.
“No Hay Día Que No Esté Nublado”
This song gave me a chance to do something more upbeat. This album leans more towards the romantic side of things. Although it has some hardcore rancheras, it’s more of a romantic album. This one is not downtempo, it’s completely upbeat. I love it and the album needed a song like that. It’s a sad song because of what it’s saying but the song is so upbeat that it gives you a weird effect. It gave me the opportunity to go deeper with harmonies and vocals. It’s also written by Pablo Preciado. Pablo’s songs are tremendously difficult songs to perform. He writes for himself and he has a huge vocal capability. It was a challenge but it was great.
“Que Llueva Tequila”
This one is one of my favorites, because I really love mariachi — not only because my parents introduced me to it, but because I love how it makes me feel. I enjoy mariachi, and it should never disappear. Although I make many songs that are a fusion, there should always be a song that represents traditional mariachi. This song is it. In its majority, it’s a song that has the traditional mariachi structure, thematically and sonically. And these are really fun to sing. “Que Llueva Tequila” is a mariachi song through and through, and I did it that way because I love mariachi, no other reason.
“Cuestión de Tiempo”
Fato, as you know, has a really important place in my career. I can’t imagine my career without him, and he probably can’t imagine his career without me. I have three songs penned by him on this album, and “Cuestión de Tiempo” is one of them. And it happens to be a bachata. It’s such a different song from the rest of the album. For starters, Fato is a poet, he comes up with great metaphors that are just such great ideas. The song is about behaving in life because well … karma.
They lyrics say: “Recuerda donde pasaste porque algún día regresarás a recoger los pedazos de tu alma rota en la oscuridad.” It’s like, “Yeah man, what goes around comes around” — but said in a very beautiful way, in his style. And musically I wanted to give it a twist. I created a crazy sound based on loops that I made in my studio. This bachata rhythm, the percussions and beats I made for it it gives it a sound that’s also pretty new. And that wasn’t the idea, the song just asked for it. I was mixing the song and I was with the engineer and then I started clapping and heard it in my head. I knew we needed something else. I invited a drummer, who is friend of mine, and the song took another direction.
