Early years
Valentín, born Roberto Valentín in Orocovis, Puerto Rico, was taught by his father to play the guitar at a young age. When his mother died in 1947,he went to live with his older sister and was raised in the town of Coamo; there he received his primary education and studied music. When he 11 years old, he participated in a local talent contest with a trio which he had formed. He played the guitar and sang for the trio and they won the first place prize. One of his teachers suggested that he attend the Jose I. Quinton Academy of Music, which he did - here he learned to play the trumpet. [1]
In 1956, Valentín moved with his family to New York City where he attended George Washington High School and continued to take music lessons. In 1958, he went to play for Joe Quijano but, shortly after he joined Willie Rosario, who also came from his same neighborhood and played in his band. [2]
[edit] Musical career
In 1963, Valentín joined Tito Rodriguez (after not being hired by Tito in a recording session because of his age, he was given a chance and was added to his regular band) and traveled twice with Tito's orchestra to Venezuela. He also made musical arrangements for Tito and at times for Charlie Palmieri, Joe Quijano, Willie Rosario, and Ray Barretto. In 1965, he formed his own band and was signed by the Fania Record Label. He recorded "El Mensajero" (The Mensenger) and "Young Man With a Horn". He held his first concert in Puerto Rico during that period of time.[2]
[edit] Recordings
While in Puerto Rico, in 1969, his bass player did not show up. Valentín found someone to play the trumpet and he played the bass. Since then, he has played the bass for his band. He has also played the bass on occasion, for the bands of Willie Rosario, Raphy Leavitt and Vicentico Valdés (he produced one of Valdés' albums, even writing its string arrangements as a personal goal). Valentín was also the musical arranger for the Fania All Stars, and is featured in a live recording of the conglomerate's song "Descarga Fania" (which he also wrote) playing a bass guitar solo.[1]
In 1975, Valentín left Fania and founded his own record label "Bronco Records" and released the recordings of "Va a la Carcel" Vol 1 and Vol 2, recorded "live" at "El Oso Blanco", Puerto Rico's oldest state penitentiary. At the time, Marvin Santiago was the singer on Valentín's band; his biggest hit with Valentín was "Soy Boricua", an ode to Puerto Rican nationality that has since become a patriotic song for the island nation. In 1978, salsa singer Cano Estremera made his singing debut with Valentín's orchestra and recorded various major hits for the band, particularly the Roberto Angleró song "La boda de ella" and "Manuel García".[3]
During the years Valentín has also helped others such as:
· Larry Harlow,
· Ismael Miranda,
· Roberto Roena,
· Cheo Feliciano and
· Celia Cruz.
He also provided backdrop for the Billyván Santiago (Marvin's youngest brother) song "Mata la cucaracha", a sleeper hit in Puerto Rico during the 2002 Christmas season.
[edit] Currently
Bobby Valentin continues to record and play with his band, his latest release being "La Gran Reunion" (The Grand Reunion). In 2004, Bobby Valentin's "En Vivo Desde Bellas Artes" was released in DVD form. In 2006 Bobby Valentin's "El Caiman" can be heard (or played) the video game Scarface. His last disc called "Evolución" was launched in 2008.
[edit] See also
Puerto Rico portal
· List of famous Puerto Ricans
[edit] References
1. ^ a b Musica de Puerto Rico
2. ^ a b Q&A with Booby Valentin
3. ^ Fania
[edit] External links
· Biography, Discography, Photos, Lyrics (SalsaClasica.com)
· Musica de Puerto Rico
Retrieved from "http://en.wikipedia.org/wiki/Bobby_Valent%C3%ADn"
Categories: 1941 births | Living people | Puerto Rican musicians | Salsa musicians | People from Orocovis, Puerto Rico | Fania Records artists
Papel de Payaso
Bobby Valentin Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
a la la la la, a la la la laaa.
Yo también quise hacer el papel de payaso
y mi orgullo rodó vaya que si en un triste carnaval.
Ay si, esperando por ti en la acera mojada
serpentinas cayeron como llanto en tu cara,
ay de mi, en un triste carnaval.
Cuando las mascaras cayeron y yo vi lo que tú eras,
Porque yo quise hacer el papel de payaso
y mi orgullo rodo a la la la la la ra
en un triste carnaval tanto lloré como reí,
en un triste carnaval tanto lloré como reí.
Payaso de carnaval.
De carnaval de San Juan.
Y entonces yo vi como tú eras.
La lluvia fue tu final fatal.
En tu libreta de coqueta Margarita
pobrecita yo fui un hombre mas.
No te olvidado a un pasado que por ti se quedó.
Cara de payaso, pinta de payaso,
ojitos de payaso, orejas de payaso.
Te vas a quedar, te vas a quedar,
te vas a quedar, te vas a quedar.
Por la careta, por la careta te vas a quedar.
Serpentinas cayeron de mi cara
mamacita y a ti te dijeron.
Cuando las caretas se cayeron pa'l piso
¡botoplac! y de ti se rieron.
Boca de fantoche, pinta de fantoche,
ojitos de fantoche, oreja de fantoche.
Del carnaval de San Juan.
Te vas a quedar, te vas a quedar, y te vas a quedar,
y te vas a quedar y te vas a quedar.
Payaso, payaso fue tu final.
En tu libreta de coqueta Margarita
pobrecita yo fui un hombre mas
The lyrics of "Papel de Payaso" by Bobby Valentin tell the story of a man who once wanted to play the role of a clown in a carnival. He describes how his pride was shattered during a sad carnival, waiting for a woman on a rainy street corner. As the masks fell and he saw who she truly was, he cried and laughed because he had wanted to play the role of a clown. The rain was her final fate, and the man feels like he was just one of many men who have been forgotten by her.
The lyrics seem to express themes of pride, humiliation, and betrayal in relationships. The man's choice to play the role of a clown could symbolize his willingness to be vulnerable and make himself look foolish for love, only to be humiliated in the end. The rain and the falling masks could represent the revealing of the true nature of the woman he was waiting for, leading him to feel both sadness and amusement.
Line by Line Meaning
A la la la la, a la la la la,
a la la la la, a la la la laaa.
The singer starts the song with a melodious tune.
Yo también quise hacer el papel de payaso
y mi orgullo rodó vaya que si en un triste carnaval.
The singer admits that he also wanted to act like a clown and it resulted in him losing his self-respect in a sad carnival.
Ay si, esperando por ti en la acera mojada
serpentinas cayeron como llanto en tu cara,
ay de mi, en un triste carnaval.
The singer waited for someone on a wet sidewalk and he saw ribbons falling like tears on her face. This made him feel bad about that sad carnival.
Cuando las mascaras cayeron y yo vi lo que tú eras,
engañosa primavera como lloré y como reí.
When the singer saw the true identity of the person behind the mask, he felt a mix of emotions- he cried and laughed at the same time. He realized that spring was deceptive, like that person.
Porque yo quise hacer el papel de payaso
y mi orgullo rodo a la la la la la ra
en un triste carnaval tanto lloré como reí,
en un triste carnaval tanto lloré como reí.
The singer explains that he acted like a clown and lost his dignity in that sad carnival. He cried and laughed a lot during the event.
Payaso de carnaval.
De carnaval de San Juan.
The singer refers to himself as a carnival clown in San Juan.
Y entonces yo vi como tú eras.
La lluvia fue tu final fatal.
The singer saw the true colors of someone in that carnival. The rain was the final blow for that person's fate.
En tu libreta de coqueta Margarita
pobrecita yo fui un hombre mas.
The singer was nothing more than a mere man in the notebook of a flirtatious woman named Margarita.
No te olvidado a un pasado que por ti se quedó.
The singer hasn't forgotten the past that stayed with him because of that woman.
Cara de payaso, pinta de payaso,
ojitos de payaso, orejas de payaso.
Te vas a quedar, te vas a quedar,
te vas a quedar, te vas a quedar.
Por la careta, por la careta te vas a quedar.
The singer describes the woman as having a clown-like face, and warns her that the mask won't fool him. He also repeats that she will stay with her mask on.
Serpentinas cayeron de mi cara
mamacita y a ti te dijeron.
Ribbons fell from the singer's face, which amused the woman he was addressing as 'mamacita'.
Cuando las caretas se cayeron pa'l piso
¡botoplac! y de ti se rieron.
When the masks fell to the ground, the people laughed at her.
Boca de fantoche, pinta de fantoche,
ojitos de fantoche, oreja de fantoche.
Del carnaval de San Juan.
The singer calls the woman a puppet with a painted face and 'San Juan' is mentioned again
Te vas a quedar, te vas a quedar, y te vas a quedar,
y te vas a quedar y te vas a quedar.
The singer repeats that the woman will stay the way she is.
Payaso, payaso fue tu final.
En tu libreta de coqueta Margarita
pobrecita yo fui un hombre mas
The singer addresses the woman as a clown and concludes that he was just another man in Margarita's notebook.
Writer(s): Catalino Curet Alonso
Contributed by Matthew E. Suggest a correction in the comments below.
@deibyacosta5490
El Álbum Rompecabezas, de Bobby Valentín, simplemente una Joya. Grandes nombres presentes.
@freddiev6050
Tremendos recuerdos de cuando era niño en la Playa de Ponce, PR!
@ivanbalanta912
Tremendo tema del sonero del pueblo Marvin Santiago 😉😉
@lopz33
¡Tremendo clásico!
@socorrovanegas8342
Tremendo temazo el la voz de marvin santigo y la orquesta de el maestro bobby valentin
@joseandressandoval995
rompecabezas uno de los mejores álbumes de bobby
@particialanas9235
Los mejores unidos en este gran clásico 💞💕💞🥁🎻🎺🎷🎧🎼🎤🎸🎹
@maricelosoriocarvajal5959
Salsa pura y dura esto síes salsa de toda la vida uffff para los soneros vamos uepale 👌👌👌👌🎶🎶🎶🎶🎶🇪🇸🇨🇴
@juandavidcoronel7898
Cuanto cambió la vos de Marvin al pasar los años...
Pero la calidad siempre la conservó
@duvaneoviafara4940
Claro que cambio, ademas en el tiempo de rompecabezas estaba muy joven.