15 November 1915, Ciudad Juárez, Chihuahua, Mexico, d. 6 November 2006, Mexico City, Mexico. As a child Mejía heard mariachi in the streets, then as a young man he was with a travelling theatre company. In addition to acting, Mejía also sang, starting his recording career in 1938 with the trio Los Porteños. In the late 40s he began a decade-long period of intensive filmmaking, appearing in acting roles and also singing. His high-pitched singing voice, which earned him the nickname King of Falsetto, and the sometimes tongue-in-cheek roles he interpreted, made him a distinctive presence. In his films he sometimes played opposite others who had joint careers in music and films, such as Lola Flores and Lola Beltrán.
Meanwhile, Mejía continued with his singing career. Among the best-known songs in his repertoire were Rogaciano El Huapanguero, Anoche Soñé Contigo, Cucurrucucú, El Jinete, Carabina 30-30, La Barca De Guaymas, La Del Rebozo Blanco, Se Me Hizo Fácil, Yo Tenía Un Chorro De Voz, La Malagueña, Cuatro Caminos, El Pastor and Cielo Rojo. Not many of the songs he sang were his own compositions, although he did write El Pescado Nadador and Oh, Gran Dios. Occasionally and very effectively, Mejía sang duets with singers such as Libertad Lamarque, Marco Antonio Muñiz and Pedro Vargas. Mejía was one of the first singers to take mariachi music to Argentina, notably having great success with Ruega Por Nosotros, which he sang there at a concert held soon after the death of Eva Perón. This led to his forming a friendship with the countrys president, Juan Domingo Perón. Noted for the traditional ranchera, Mejía took pains to distance himself and his songs from the form of ranchera that became popular in later years.
Source: The Encyclopedia of Popular Music by Colin Larkin. Licensed from Muze.