Its history goes back to the fifties when, in a modest way, with the maestro of Mambo Pérez Prado, the atmosphere of the great metropolis gives him the opportunity to join bands of virtuous young people who in the sixties would begin to be recognized as the leaders of the Salsero movement.
And where does the Chivirico come from? According to Rafael Quintero, who gave him an interview with Rafael Dávila, he told him the following: "El Chivirico comes from a great singer who was a friend of mine, Orlando Guerra Cascarita." There was a jam in Havana, saying: When we were making a recording, the producer asked for me: "What's the name of this?" I said my name and he said, "Well, everyone here is called Rafitas. I recorded two Rafitas: Rafita Martinez and I Rafita Dávila Cascarita intervened and told the Producer: If this one is more popular than a Chivirico in Havana, then put Chivirico, and thus the name of Chivirico Dávila was born. "
Chivirico was one of the few singers who survived the transition from the era of mambo and boogaloo to the sound of New York salsa. When he signed to record as a soloist for Coutique Records, Chivirico already stood out as a composer and singer with the Taboo Quartet by Johnny Goicuría and Richie Ray.
In 1969 Joey Pastrana & His Orchestra recorded a 45 rpm single format album that included the songs "Pastrana Llegó" and "Color My World", in the voice of Chivirico Dávila, under the label Cotique Records, C- 200.
The 1973 album Chivirico, by Johnny Pacheco and arranged by the pianist Jorge Millet in 1973, was his passport to success as a soloist, so much so that he facilitated his foray into Fania All Stars in 1975 with his interpretation of the bolero " The same as you ", printed on the vinyl record" Tribute to Tito Rodríguez ".
In this recording you can appreciate the affection that Chivirico has for the Antillean bolero with four Latin American repertoires: "Mala Noche" by Domingo Domínguez, "Respétala" by Agustín Robot, "Como Fue" by Ernesto Duarte and his version of the old Tango "Niebla del Riachuelo" by Enrique Cadícamo and Juan Carlos Cobián. "Respétala", the story of a woman who makes a living that serving drinks in a bar, is one of the boleros that later gave rise to the LP "Vendre Por Ti", completely composed of romantic melodies.
Nevertheless, in 1973 Chivirico the sonero, had much to contribute to the world of the sauce. The guaguancós printed on the LP are still irresistible for the dancers. "That's why it stings here," with Yayo el Indio and Adalberto Santiago in the choir, is a magnificent and intense guaguancó. "El Babalao", inspired by Santeria rituals of the time, outlines the recipe for fraud and in the voice of Chivirico, safeguarding respect for Orula, Changó and Yemayá, puts in perspective the assault on the pockets that some spiritualists submit to his clients.
"Cuando Tú Quieras" is another delicious guaguancó where the sonero expresses itself with eloquence. "La Pagarás", is a son montuno biting, an echo of rancor towards an unrequited love. "Formed the Rumbón", in sepia and pure percussion in its first measures, is an exhibition of his vast experience as improviser of the montuno and "Without money" is a story of a dancer who arrives (without money) a room Dance and can not enjoy the party.
Chivirico Dávila's popularity lasted until approximately 1977. He was one of the figures, like La Lupe, Frankie Dante and Meñique, who were left behind with the international boom of the Fania All Stars. Although she only recorded about eight albums as a soloist, her record as a singer of other groups and as a showgirl is impressive, from the early fifties until her last days in 1994 participated singing, making choirs and even composing songs with at least forty different groups.
Family problems took him to New York, where he got a job in a factory. His last foray into music occurred in 1993, during a tour of Colombia with the Conjunto Orlando's four trumpets.
On July 4, 1994 Chivirico Dávila made the last presentation of his life j
Como Me Tratan
Chivirico Davila Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Lolelolay lalo la
Lolelolay lelo la
Ololelo laaa
En este mundo de mentira y de maldad,
Hay mucha envidia, hipocresía, y falsedad.
Hay que darse, mucha cuenta, a quien tratas que no te vaya engañar.
En esta vida no se puede ya confiar,
Hay muchos buenos pero quedan pocos ya.
Oye amigo, mi consejo, porque te pueden meter la puñalá, de la traición.
Como me traten yo trato, como me miren yo miro, porque yo siempre he sabido hacer el bien.
Como me traten yo trato, como me miren yo miro, porque yo siempre he sabido hacer el bien.
Yambeleque
Yambeleque
Mamita boroco, boroco toy oiganlo bien.
¡Oiganlo bien!
Bembé, bembé.
Camina para acá que viene el tren, y el tren.
¡Oiganlo bien!
Uye fary mira, mira,
Mira que te pisa el tren, el tren.
¡Oiganlo bien!
En este mundo no se puede uno confiar muy bien, muy bien.
¡Oiganlo bien!
Que mucha mal gente, mucha mala gente hay en el mundo bembe.
¡Oiganlo bien!
Te echan un brujo,
Te echan un brujo y te andan a pie, eh.
¡Oiganlo bien!
Auuh
Ayyy
¡Mucha mala gente hay!
¡Oiganlo bien!
A mi que me imparta un rayo.
¡Oiganlo bien!
Que hablen de mi no me importa
Que digan que yo, jum.
¡Oiganlo bien!
Si yo vivo con lo que trabajo.
¡Oiganlo bien!
Ay de ti para mi, de ti para mi...
¡Oiganlo bien!
Yo te cuento un cuento maina,
Mañana con mi bembé.
¡Oiganlo bien!
Con mi bembé, con mi bembé
Yo vay a echar un pie.
¡Oiganlo bien! oyelo.
¡Oiganlo bien!
Bembé, bembé, camina como vengo de un pie.
¡Oiganlo bien!
Vamo a echar, vamos a echar,
Vamo a echar un pie.
¡Oiganlo bien!
Oye maina mira como suena mi bembé.
¡Oiganlo bien!
Mi bembe, mi bembe, mi bembe.
¡Oiganlo bien!
Oye el coro, oye el coro como dice,
Bembé ya bembé.
¡Oiganlo bien! ayy...
Y a mi qué?
The lyrics of Chivirico Davila's song "Como Me Tratan" talk about the harsh reality of the world, which is full of envious, hypocritical, and false people. The singer advises the listeners to be careful about who they trust and how they treat others because they can be deceived or betrayed. The chorus "Como me tratan yo trato, como me miren yo miro, porque yo siempre he sabido hacer el bien" means that the singer treats others the way he is treated, looks at others the way he is being looked at, and has always tried to do good.
The song has a lot of cultural references and Puerto Rican slang, such as "boroco" (which means a loud, annoying sound), "bembé" (a religious ceremony), and "ya mbeleque" (a traditional Puerto Rican call and response chant). The repetition of "oyanlo bien" emphasizes the importance of paying attention and listening to what is being said.
The song's structure features Afro-Cuban rhythms, including the use of bongo drums, timbales, and cowbells. The chorus is in a call-and-response style, which is typical of African-American music. The lyrics are a mix of Spanish and Puerto Rican slang, and the singer's vocal delivery is full of emotion.
Line by Line Meaning
En este mundo de mentira y de maldad,
In this world full of deceit and wickedness,
Hay mucha envidia, hipocresía, y falsedad.
There exists a lot of envy, hypocrisy, and falsehood.
Hay que darse, mucha cuenta, a quien tratas que no te vaya engañar.
Be careful of who you associate with, and ensure they don't deceive you.
¡Ay engañar!
Oh, the deception!
En esta vida no se puede ya confiar,
In this life, it's difficult to trust anyone anymore,
Hay muchos buenos pero quedan pocos ya.
Though there are still good people out there, they are becoming scarce.
Oye amigo, mi consejo, porque te pueden meter la puñalá, de la traición.
Listen friend, my advice, for they can stab you in the back, with betrayal.
Como me traten yo trato, como me miren yo miro, porque yo siempre he sabido hacer el bien.
I treat people as they treat me, I look at people as they look at me because I always try to do the right thing.
Yambeleque
Mamita boroco, boroco toy oiganlo bien.
Hey listen up, I want you all to hear this very well.
Bembé, bembé.
Camina para acá que viene el tren, y el tren.
Step this way because the train is coming, the train.
Uye fary mira, mira, Mira que te pisa el tren, el tren.
Hey, be careful, look, look, look out because the train is coming and it might run you over.
En este mundo no se puede uno confiar muy bien, muy bien.
You can't really trust anybody in this world, no, no.
Que mucha mal gente, mucha mala gente hay en el mundo bembe.
There's a lot of bad people in this world, believe me.
Te echan un brujo,
Someone could cast a spell on you,
Te echan un brujo y te andan a pie, eh.
They cast a spell on you, and then you're forced to walk instead.
Auuh
Ayyy
¡Mucha mala gente hay!
There really are a lot of bad people!
A mi que me imparta un rayo.
Let a lightning bolt strike me, what do I care.
Que hablen de mi no me importa
I don't care if people talk about me,
Que digan que yo, jum.
They can say whatever they want about me.
Si yo vivo con lo que trabajo.
I live off of my hard-earned income.
Ay de ti para mi, de ti para mi...
Oh well, too bad for you, not me.
Yo te cuento un cuento maina,
Let me tell you a story friend,
Mañana con mi bembé.
Tomorrow, with my bembé.
Con mi bembé, con mi bembé
With my bembé, with my bembé.
Yo vay a echar un pie.
I'm going to dance the night away.
oyelo.
Bembé, bembé, camina como vengo de un pie.
Bembé, bembé, move towards me like I just stepped off the mountain.
Vamo a echar, vamos a echar, Vamo a echar un pie.
Let's dance, let's dance, let's dance the night away.
Oye maina mira como suena mi bembé.
Listen friend, check out how my bembé sounds.
Mi bembe, mi bembe, mi bembe.
My bembé, my bembé, my bembé.
Oye el coro, oye el coro como dice, Bembé ya bembé.
Listen to the chorus, they're chanting Bembé, Bembé!
¡Oiganlo bien! ayy...
Listen up! Ahh...
Y a mi qué?
So what do I care?
Writer(s): Rafael Davila
Contributed by Natalie R. Suggest a correction in the comments below.