A resurgence of interest surrounds the life and music of Juan Antonio jiménez Muñoz, better known as Jero, the vocalist, songwriter, and driving creative force behind the iconic Spanish rumba group Los Chichos. Marking 75 years as his birth on March 29, 1951, a recent RTVE documentary has renewed attention on the artist whose work defined a generation transitioning through post-Franco Spain. Jero’s story, tragically cut short by suicide in 1995 at age 44, is one of both remarkable artistic contribution – penning over 200 songs including hits like “Quiero ser libre” and “El vaquilla” – and personal turmoil, offering a poignant reflection of the societal shifts and struggles of his time. Though his solo career didn’t reach the heights of his work with Los Chichos, his musical fingerprint remains deeply embedded in Spanish pop culture, with contemporaries often drawing parallels between his impact on rumba and the legacies of Camarón de la Isla on flamenco and paco de lucía on guitar.
He was known as Juan Antonio Jiménez Muñoz, but everyone called him Jero or Jeros, and a new generation recognizes him as “El del medio de los Chichos” – the middle one of The Chichos – thanks to the song dedicated to him by Estopa. Since then, interest in his story has grown, with many discovering a gifted composer and a prolific, influential musician. His life story reads like a classic tale of a great artist.
75 Years Since the Birth of Jero
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Born on March 29, 1951, in Valladolid, Spain, Jero lost his father at the age of six. Legend has it he was raised by his mother and grandfather, who worked as street vendors, and earned the nickname Jero because he sold garlic braids – he was ‘the garlic seller,’ Jero. The family later settled in Madrid, specifically in the Vallecas neighborhood, where he met Emilio and Julio González Gabarre, brothers already making a living singing at parties and venues. Together, they formed the iconic trio known as Los Chichos.
Los Chichos
I Want to Be Free
Jero, also known as Jeros, first gained recognition as a vocalist, but he was truly the heart of the group, writing the lyrics and composing the music. The group’s popularity grew, catching the attention of flamenco circles. Antonio Sánchez, father of Paco de Lucía, proposed they record an album, and the first song they played and recorded was “Quiero ser libre” (I Want to Be Free). It’s said Jero wrote the song at age 19, during a stint in jail after being arrested for scamming tourists on Madrid’s Gran Vía.
That desire for freedom resonated with the changing atmosphere in Spain, particularly after the death of Franco in 1975. With hits like ‘Ni más ni menos’ and ‘Te vas me dejas,’ they achieved widespread success, rubbing shoulders with the kings of rumba. Their songs connected with audiences through their simple lyrics and relatable themes – from the fringes of society to universal experiences: drugs and poverty, relationship troubles, and tormented souls, themes later explored by Camela. This blend of styles helped define a generation of Spanish pop music.
They Dominated the 80s
The 1980s were a golden era for the group, and for many, their music defined the Spanish Transition period. In 1982, they joined forces with María Jiménez for a live performance on RTVE’s Aplauso program. Jero, sporting a red suit, and Jiménez, as captivating as ever, sang ‘No puede ser’ and ‘Haré.’ The performance, brimming with a sensuality more characteristic of Jiménez than The Chichos, became an iconic moment in Spanish television history.
Three years later, they scored another hit with “El vaquilla,” which featured on the soundtrack to Yo, el vaquilla, by José Antonio de la Loma. According to reports, the song was suggested by “El Vaquilla” himself, leading the group to perform a concert at the Ocaña prison in Toledo, where he was incarcerated. This wasn’t their first foray into film; Eloy de la Iglesia had previously featured their music in Miedo a salir de noche.
Interview with El Vaquilla and performance by Los Chichos at Ocaña Prison
Jero Leaves Los Chichos
However, Jero decided to leave the group and pursue a solo career under the name Jeros. He released two albums in collaboration with his son, Julio Jiménez, known as Chaboli (husband of Niña Pastori). But the artist didn’t achieve the success he hoped for, and his work didn’t generate much interest. Los Chichos continued with the addition of Emilio González García, son of Emilio.
For five years, Jero struggled with professional setbacks and personal issues, spiraling into a dark period marked by addiction and depression, compounded by the loss of both his brothers. On October 25, 1995, he took his own life by jumping from the balcony of his home. “He called me the day before to say he wanted to talk,” Emilio recalls in the RTVE documentary. “I had talked him out of it twice before, but I couldn’t save him this time. He had my help and confidence, but he was depressed, and I couldn’t save him.” He was 44 years old and left behind two children, and legend has it he left behind a demo recording that, at the family’s request, will never be released.
Emilio and Julio, founders of Los Chichos
Lasting Impact of Los Chichos
His legacy is immense, having also written songs for other artists, including Bambino, Rumba 3, Morena Clara, and Las Grecas. With Los Chichos, he recorded sixteen albums and then released two solo albums. He composed over 200 songs, almost all registered with the SGAE, and many continue to be played at parties and gatherings, where friends dance to his rumbas and sing along to his lyrics, often unaware of their deeper meaning. His influence on music, and that of Los Chichos, is undeniable. As those who survive him say: “Camarón is to flamenco singing, Paco de Lucía is to guitar, and Los Chichos are to rumba.”
