Feliciano was raised and educated in the city of Ponce, which is located in the southern part of Puerto Rico. As a child, he was nicknamed "Cheo" by his family - a name which means Jose and is a term normally only used by close friends and family. However, the name stuck and became part of his everyday name (using the nickname avoids confusion with Jose Feliciano, another major Puerto Rican singer to whom he is not related). At a young age he was influenced by the bolero music of the "Trio Los Panchos". When he was only eight years old he formed his first group with his friends and named it "El Combo Las Latas". They were so poor that their musical instruments were made out of cans. Cheo attended the Free School of Music in Ponce after finishing his primary education where he studied and became a percussionist.
In 1952, Feliciano moved with his family to New York City and settled down in Spanish Harlem. Here he auditioned as a percussionist in the "Ciro Rimac's Review" band - giving him his first professional musical job. Bandleader Tito Rodriguez, heard Feliciano play and offered him a job in his orchestra; this he accepted but after playing for some time with Tito, he left the band to play the conga for Luis Cruz. Despite leaving he always remained on friendly terms with Tito. Feliciano also played perussionist for "Kako y su Trabuco" orchestra. He was also a roadie for Mon Rivera.
In 1955, Tito Rodriguez found out that Joe Cuba was in need of a singer for his sextet. Aware that Feliciano was also a talented singer, Tito recommended that he try out for the position. Feliciano auditioned and became a vocalist for the Joe Cuba Sextet. He was the rare baritone among salsa singers, and his deep voice and quick wit as an improviser made him a favorite among the Latino public.
On October 5, 1957, Feliciano made his professional singing debut with the song "Perfidia" (he was also married on that same day). He sang for the sextet for a total of 10 years. During those years, he enjoyed successes with the following "hits",:
* "A la Seis" (At Six),
* "Como Ríen" (How They Laughed),
* "El Pito (I'll Never Go Back To Georgia)" and
* "El Ratón" (The Rat), which he composed.
Feliciano was also an anti-war activist during the Viet Nam War era.
In 1967, Cheo joined the Eddie Palmieri Orchestra and sang for them for 2 years. However, an increasing addiction to heroin threatened his life and career. He decided to cure himself "cold turkey" and eventually join Puerto Rico's rehabilitation center, Hogares CREA. He credits Tite Curet Alonso, the author of most of his hits and his best friend, with pushing him through his rehabilitation. As a result, Feliciano is a candid (and vehement) anti-drug spokesperson, who has volunteered to assist in the rehabilitation of fellow salsa artists who fall prey to drug addiction.
In 1972, Feliciano came back to music and made album "Cheo", his first solo recording, which broke all sales records in the Latino music market. The album included:
* "Anacaona" and
* "Mi Triste Problema" (My Sad Problem).
During the 1970s, Feliciano recorded for the "Fania Record Co." and had "Hits" with "Amada Mia" (My Love) and "Juan Albañil". He also participated in the first salsa opera "Hommy".
In 1982, Feliciano formed his own recording company called "Coche Records" and in 1985 he became the first singer of tropical themes to perform at the Amira de la Rosa Theater in Barranquilla, Colombia. In 1987, Feliciano landed the role of Roberto Clementes father in the musical "Clemente".
In 1990, he recorded his first album of boleros title "Los "Feelings" de Cheo". Feliciano traveled and performed in many Latin American countries including Cuba and Venezuela. In Venezuela, he had a reencounter and performed with Eddie Palmieri. In 1995, Feliciano won a Platinum Record Award for "La Combinación Perfecta" (The Perfect Combination).
In 2000, Feliciano recorded "Mil Voces, Mil Recuerdos" (A Thousand Voices, A Thousand Memories) as a tribute to various Puerto Rican singers. The album was named among the 20 outstanding recordings of the year by the National Fundation of the Popular Culture of Puerto Rico. In 2002, Feliciano recorded "Cheo en la Intimidad".
During the years, Cheo Feliciano has received the following recognitions:
* 1975-The Golded Cup-Venezuela,
* 1976-"Most Popular Artist" by Latin New York magazine,
* 1977-Daily News Front Page Award "Best Latin Vocalist",
* 1985-Owl of Gols-Panama, The Silver Chin Award-Miami, A Golden Agueybana Award-Puerto Rico,
* 1983-Honorable Son of Ponce and 1984,
* 1999-A Tribute in his honor from the Puerto Rican Senate.
Cheo Feliciano currently resides in Puerto Rico and continues to record boleros. He is also the anti-drugs spokesperson for the Government of Puerto Rico.
Sobre Una Tumba Humilde
Cheo Feliciano Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Que la riqueza del pobre
Es el amor
El puro amor
Que ni la muerte se lo lleva
¡sentimiento tu!
Yo no te pude hacer un monumento
Pero a tu final morada vengo atento
Dejando una flor silvestre y mil amores
Aqui hay pantiones de gente millonaria
Qué nadie jamas ha vuelto a visitar
Son tumbas eternamente solitarias
Sobre las cuales ni una oración
Se escuchará
Yo te dije que volvería al campo santo
A brindarte
Mi sentimiento y mi cariño
Y el tesoro de la pureza
De mi llanto
Sobre la tierra donde mi amor
vive contigo
Porque nosotros los que llevamos
Por bandera
Por estandarte la condición
De pobreza
Cuando queremos nuestras pasión
Es verdadera
No hay quien nos gane
Amar es nuestra riqueza
y
son comunes
y corrientes
Los perfumes
De mis flores
Hablan por mi de una devoción
Que no se me quita
Y hasta parece que nunca se desvanecerán
No tengo medios para pagarte
un monumento
De marmol con inscripciones coloridas
Flores silvestres hay como adornos bendiciendo
Sobre las tumbas
De gente humilde que honró la vida
Flores silvestres
Hay como adornos bendiciendo
sobre las tumbas de gente humilde
Que honró la vida
Sobre las tumbas de gente que se ama
Humildemente una flor de llanto
Quiero dejar
Yo no te hice un monumento
Pues yo no tengo riquezas
Pero te brindo mi sentimiento
Que es del pobre la grandeza
Sobre las tumbas de gente que se ama
Humildemente una flor de llanto
Quiero dejar
No quiero que nadie llore
Si yo me muero mañana
hay que me lleven cantando salsa
Y que siembren flores
Allá en mi final morada
Sobre las tumbas de gente que se ama
Humildemente una flor de llanto
Quiero dejar...
Humildemente una flor de llanto
Quiero dejarte
Para que sepas que yo te quiero
Para que sepas que yo mas nunca
voy a olvidarte
Sobre las tumbas de gente que se ama
Humildemente una flor de llanto
Quiero dejar
Rumba, rumba, rumba, rumba
Es lo que traigo a ti
¡Si! ¡Si!
una lagrima le vi de mi
Con sentimiento y
Con devoción por ti
Sobre las tumbas de gente que se ama
Humildemente una flor de llanto
¡Quiero dejar
¡Quiero dejar!
¡Quiero dejar!
¡Quiero dejar!
¡Quiero dejarte mi rumba!
Pues como fuiste rumbero hay vas
Para el cielo
Te dejo con papo pepi
tocando la tumba
Sobre las tumbas de gente que se ama
Humildemente una flor de llanto
Quiero dejar
Allá en el barrio Marín
mi gente de Venezuela
todavía se olló cantar
Es el de grupo madera
¡mira! que son de primera
Sobre las tumbas de gente que se ama
Humildemente una flor de llanto
Quiero dejar...
Bueno mi gente
Como se dice en un final
Humildemente
¡misión cumplida!
The lyrics of Cheo Feliciano's song Sobre Una Tumba Humilde (On A Humble Grave) are an ode to the love that transcends life and death. The song starts with a powerful statement that the true wealth of the poor is love, which death cannot take away. The lyrics then shift to the singer's visit to a humble grave, leaving behind a wildflower and a thousand loves. This act of remembrance is contrasted with the forgotten graves of the rich that no one ever visits. The singer expresses regret for not being able to build a monument of marble but promises to visit the humble cemetery again and bring his love and tears for the departed.
The chorus of the song repeats the refrain of leaving a humble flower of tears on the graves of loved ones. The singer acknowledges that he does not have riches to pay tribute to the deceased, but he can offer his humble feelings, which he deems to be the true greatness of the poor. The final verse transitions into a celebratory tone, where the singer declares that he does not want anyone to cry for him when he dies, but rather wants them to remember him with Salsa music and flowers on his grave.
Overall, Sobre Una Tumba Humilde is a touching tribute to the power of love and remembrance in the face of death.
Line by Line Meaning
Bueno esta probado mi gente
Que la riqueza del pobre
Es el amor
El puro amor
Que ni la muerte se lo lleva
¡sentimiento tu!
It is proven that the richness of a poor person lies in pure love which even death cannot take away. It is truly a heartfelt feeling!
Yo no te pude hacer un monumento
De marmol con inscripciones a colores
Pero a tu final morada vengo atento
Dejando una flor silvestre y mil amores
I couldn't make a colorful marble monument for you, but I come to your final resting place leaving some wildflowers and lots of love instead.
Aqui hay pantiones de gente millonaria
Qué nadie jamas ha vuelto a visitar
Son tumbas eternamente solitarias
Sobre las cuales ni una oración
Se escuchará
There are millionaires buried here, whose tombs have been abandoned, left lonely, and forgotten. No one even whispers a prayer over them anymore.
Yo te dije que volvería al campo santo
A brindarte
Mi sentimiento y mi cariño
Y el tesoro de la pureza
De mi llanto
I promised that I would return to the cemetery and give you all my feelings, love, and treasure of pure tears.
Porque nosotros los que llevamos
Por bandera
Por estandarte la condición
De pobreza
Cuando queremos nuestras pasión
Es verdadera
No hay quien nos gane
Amar es nuestra riqueza
y
son comunes
y corrientes
Los perfumes
De mis flores
Hablan por mi de una devoción
Que no se me quita
Y hasta parece que nunca se desvanecerán
We, who carry the banner and standard of poverty, are unbeatable in loving with true passion. The fragrances of my flowers are common and ordinary, yet they speak volumes of my devotion that never fades away.
No tengo medios para pagarte
un monumento
De marmol con inscripciones coloridas
Flores silvestres hay como adornos bendiciendo
Sobre las tumbas
De gente humilde que honró la vida
I do not have the means to pay for a colorful marble monument for you, but I see wildflowers as blessings and adornments upon the simple graves of people who have honored life.
No quiero que nadie llore
Si yo me muero mañana
Hay que me lleven cantando salsa
Y que siembren flores
Allá en mi final morada
I don't want anyone to cry if I die tomorrow. Just carry me to my final resting place singing salsa and planting some flowers.
Humildemente una flor de llanto
Quiero dejarte
Para que sepas que yo te quiero
Para que sepas que yo mas nunca
voy a olvidarte
Humbly, I leave a tearful flower for you so you know that I love you and that I will never forget you.
Rumba, rumba, rumba, rumba
Es lo que traigo a ti
¡Si! ¡Si!
una lagrima le vi de mi
Con sentimiento y
Con devoción por ti
I bring you rhythm and tears, with feeling and devotion for you.
¡quiero dejar!
¡quiero dejar!
¡quiero dejar!
¡quiero dejarte mi rumba!
Pues como fuiste rumbero hay vas
Para el cielo
Te dejo con papo pepi
tocando la tumba
I want to leave, I want to leave! I want to leave you my rhythm! As you were a dancer, here you go, to heaven! I leave you here with Papo Pepi, playing right by your grave.
Allá en el barrio Marín
Mi gente de Venezuela
todavía se olló cantar
Es el de grupo madera
¡mira! que son de primera
In the Marín neighborhood, my Venezuelan people still hear Grupo Madera sing. Hey, look! They are the best!
Bueno mi gente
Como se dice en un final
Humildemente
¡Misión cumplida!
Well, my people, as they say at the end, humbly I say: Mission accomplished!
Contributed by Jasmine K. Suggest a correction in the comments below.