Alejandro Filio

Alejandro Gómez Herrera (Mexico City, March 13, 1960), is a Mexican singer-songwriter, poet and musician, a prominent artist of the movement known as New Song.

Personal life

Filio is the brother of the actors Mario Filio (1966-), Mariana Filio (1981-), César Filio (1970-) and David Filio (1963-) and is the son of the deceased actor Salvador Gómez Castellanos.

Alejandro began his career as a composer at the age of 16. With artistic ancestry on the side of his father (Tilín, the photographer of the voice), and mother (grandnephew of actor Daniel “Chino” Herrera), Alejandro Filio continues a dynasty of Mexican artists trying to elevate the genre of trova.

The first stages that marked the emergence of this singer-songwriter were clubs and some bars in Mexico City, in the 80s, managing to merge at that time his personal song project with an undoubted heritage of healthy white comedy..

His first appearances on television were in programs such as: “Alegrías de Mediodia”, hosted by Cesar Bono and Sofía Álvarez, “Para gente grande” with Ricardo Rocha, “Música y algo más” with Sergio Romano, “La Movida” with Verónica Castro, and others.

He participated in the OTI Festival in 1987, 1988, 1989, 1990 and 1999, always creating controversy among the jury and reaffirming his commitment to good songs by defending the image of the troubadour, guitar in hand.

Some of the interpreters of his work during the first stage of his career were: Mijares, Sasha, Pandora, Flans, Tatiana, Fernanda Meade, Mimi, Gibran, Eduardo Palomo, and others.

In these years he participated as coordinator in the “composition workshop” of the composer Amparo Rubín.

Starting in the nineties, Alejandro Filio defined the true objective of his profession as a troubadour, singing in cultural circuits within the country at the same time that he began, independently, his recording work.

Lundra Producciones was created by Alejandro Filio in 1998, with the aim of offering the public a genre and an artist without precedent in this country.

In all his albums he achieves what he calls the true objective of the troubadour, which is to interpret popular sentiment touching the most sensitive fibers of an audience that recognizes him today as one of the most important Spanish-speaking singer-songwriters.

The album titled “UN SECRETO A VOCES” is a different and warm production, in which fourteen artists of different nationalities but with a common song perform a selection of songs by Alejandro Filio as a duet with him.

Silvio Rodríguez, Víctor Manuel, Luis Eduardo Aute, Pedro Guerra, Tania Libertad, Alberto Cortez, Alejandro Lerner, Vicente Feliú, León Gieco, Juan Carlos Baglietto, Gerardo Alfonso, Carlos Varela, Amaury Pérez and Raúl Torres, believed in him by participating in this project that today is one of the most recognized author song documents in Latin America.

“Un Secreto a Voces” was recorded and produced in Spain, Mexico, Argentina and Cuba, with the unconditional support of all of them.

Other artists who have shared with Alejandro Filio in recording productions are: Silvina Garré, Pedro Aznar, Joan Issac, Katia Cardenal, Rogelio Botanz, Nito Mestre.

Discography

Studio albums

• 1988: There's light underneath.
• 1991: Filio
• 1993: In this immensity
• 1994: Cain
• 1996: 1978-1988
• 1996: The truth
• 1998: A secret to voice (with several partners)
• 1999: Brother Wolf
• 2000: Shared stories
• 2001: Woman walking
• 2002: With your eyes
• 2004: Who?
• 2005: F
• 2008: Pionero de guerra
• 2011: Looking for the soul

Live albums

• 1998: A live secret (audience)
• 2002: Live (with Rogelio Botanz)
• 2003: I sing to the four winds
• 2008: In Buenos Aires

Collaborations

• 1990: If you come
• 2007: The Numerous Nobodys (from Gerardo Pablo)

Collectives

• 2004: I sing for change

Curiosities

Alejandro wrote a song titled “The Kingdom of the Blind.” The song literally says “The kingdom of the blind with its king Arjona.” It might seem like a frontal “attack” on the singer-songwriter Ricardo Arjona, however Alejandro has repeatedly stated that the song is dedicated to the slang of commercial music, to the music imposed on the people by the big music companies, with themes not exactly deep or with social backgrounds. The song mentions Arjona and puts him on the throne of music paraphernalia that is heard only for fashion.