photo: julio enriquez from denver,co, usa · cc by 2.0 ↗Vicente Fernández (1940-2021), the singer known as 'El Charro de Huentitán,' rose from busking on the streets of Guadalajara to become the towering icon of Mexican ranchera, recording hundreds of albums and starring in dozens of charro films over a half-century career. His 1976 hit 'Volver, Volver' cemented a style built on mariachi accompaniment, operatic power and unguarded emotion, and made him a symbol of Mexican identity across the Americas. By his own account he grew up idolizing golden-age cinema singers Pedro Infante and Jorge Negrete, while the songbook of José Alfredo Jiménez became the bedrock of his repertoire.
Fernández has recounted watching golden-age cinema idols as a boy and vowing to become like them, naming Pedro Infante among the singing charros he wanted to emulate; the warm, tender, film-star romanticism of Infante's canción-ranchera delivery is the model behind Fernández's own crooning ballads.
listen forHear the gentle, coaxing sweetness in Infante's 'Amorcito Corazón,' then notice the same caressing tone underneath the bravado when Fernández softens into the verses of 'Volver, Volver.'
Aguilar carried the horseback charro tradition — the corrido and the proud, fatalistic ranchera sung in full costume in the ring — into the same era Fernández emerged from, and that theatrical charro bearing and taste for stoic, mortality-facing lyrics is part of the tradition Fernández extended.
listen forListen to the shrug-in-the-face-of-death fatalism of Aguilar's 'Un Puño de Tierra,' then hear Fernández work the same weary, worldly resignation into the heartbreak of 'Por Tu Maldito Amor.'
Lara wrote the romantic songbook of mid-century Mexico — swooning boleros that idealize women and ache with longing — and that lush, sentimental melodic language is the strain Fernández drew on whenever he turned from cantina bravado to tender, orchestrated romance.
listen forCue the adoring, velvet melody of Lara's 'Solamente una Vez,' then hear the same worshipful romanticism swell through Fernández's ode to women, 'Mujeres Divinas.'