– a first for a Mexican rock band. In late 1989, Caifanes began to record a second album in New York City. It was produced by Lopez, assisted by Gustavo Santaolalla and Daniel Freiberg. El diablito (The Little Devil) was released in July 1990 by BMG Records. The band now included the former Insolitas guitarist Marcovich. His textural guitar work considerably changed Caifanes' sound and cemented the "classic" Mexican rock sound for which Caifanes became famous. "La Célula Que Explota" (The Cell that Explodes), with its brushes of mariachi and bolero guitars and a crescendo of mariachi trumpets and its music video directed by Juan Carlos Colín became both a signature of the band as well as a massive hit in 1990 and 1991. By this time, Caifanes along with Maná, Fobia, Maldita Vecindad, La Lupita, Café Tacuba and Los Amantes de Lola, helped to move Mexican rock toward a wider audience and catapulted the Rock En Español movement of the 1990s. In 1992, Caifanes released El Silencio (The Silence). Recorded in Wisconsin and produced by Adrian Belew of King Crimson, El Silencio had a more direct guitar driven sound. "No Dejes Que" (Don't Let It), "Estas Dormida" (You're Sleeping), "Debajo de Tu Piel" (Under Your Skin), and the soaring "Nubes" (Clouds) went on to become Mexican rock staples. The influence of Belew, who also played guitar on the album, was felt strongest in "Hasta Morir" (Until Death), "Tortuga" (Turtle) and "Vamos a Hacer un Silencio" (Let's Make a Silence). With its string of hits and hybrid of rock and traditional Mexican music, El silencio is considered to be one of the most influential records of the Rock En Español genre. Caifanes toured extensively in support of it. By this time, the group had started to make inroads into Central and South America as well as in the United States. In August 1992, Caifanes sold out the Hollywood Palladium. In 1993, Caifanes became the first Mexican rock group to sell out Palacio de los Deportes in Mexico City. By late 1993, Caifanes became a three piece with the exit of Romo and Herrera. Federico Fong filled in on bass guitar and Yann Zaragoza played keyboards. El nervio del volcán (The Volcano's Nerve, 1994, released by BMG, showed Caifanes with a heavier, more progressive sound. Without the distractions of Romo's lively and fluid bass guitar playing or Herrera's atmospheric keyboards, Marcovich's