Paul Sol

He was born in the city of Loja in 1942. He had a sad childhood because he lived in some orphanages. "I grew up in an orphanage in Quito, then I was transferred to Cuenca, and when I was a little boy they took me to Loja -according to the origin of their artistic name." It occurred to me to put Paúl Sol in thanks for my childhood in the orphanage. from the city of Cuenca Juan Vicente de Paul and sun for the God who accompanies me. " In his student life he began to triumph in intercollegiate competitions singing rancheras. In 1963 he left Loja and settled in Guayaquil, where he began to sing on radio stations until he won an amateur contest of the 'Saturdays of Atalaya' program. By then he had already made friends with the young artists: Pepe Parra from Los Cuervos, Marco Molina from Los Corverts, César Augusto Montalvo, Pepe Morey and others. And he sang the fashion themes of the Mexicans Enrique Guzmán, Alberto Vásquez, César Costa and the French Charles Aznavour. But he considers that his professional life began one night in 1965 at the Olmedo theater when he was invited to the Ernesto Albán Show, which had the brothers as special artists. Miño Naranjo, the trio Los Brillantes and other artists who did not arrive in time to the theater. It was when the animator Lucho Gálvez threw it into the arena and Paúl Sol sang his song Si se ver llorar and the audience applauded him in a rage. "This is how Paúl Sol was born in the Olmedo Theater and in the Ernesto Albán Show," he says, adding that he then began to write his tragic songs that were a success when they recorded. In 1966 and 1967 he won three gold albums. Two for the simple Burlado / El baladí and the third for: If they see you cry / The night. "To get the gold record, you had to sell 50,000 copies, the whole country had my record that sold like hot cakes," he recalls. He thinks he had the acceptance of people because he was an original artist who did not copy foreigners. The audience was ecstatic with their superdramatic performances. "I started singing the tragic songs and I was on the floor," he says excitedly, "but always according to the meaning of the lyrics. If he sang If they see you crying, it would end in a corner, with Burlado I would go to the floor and break my shirt. I always asked that the theater be in darkness, only with the light of a reflector and I would go onstage from the corregidor's hollow because the theater employees raised me from below. The people loved that. It began with El Baladí and ended with Burlado on the floor and with a torn shirt. People said: "Poor thing, look like he cries, and it was the reverendo heat, sometimes I cried because of the emotion of the audience that applauds you standing, that's the greatest thing for an artist." I'm more Guayaquil than lojano because Guayaquil gave me the triumph". In 1970 he recorded his only long play Paúl Sol, the tragic baladista with twelve songs. He stopped doing it when he found out that they would never give him royalties because, according to the contract with this label, he paid for his artistic promotion. From 1974, he became an artistic representative and brought Los Angeles Negros, El Greco, Palito Ortega, César Costa, Leo Dan, and from 1980 to 1989 he represented the Colombian Lisandro Meza in 140 presentations throughout the country