In 1964, Fania Records was founded in New York City by Jerry Masucci, an Italian-American lawyer with a love for Latin melodies, and Johnny Pacheco, a talented composer and bandleader born in the Dominican Republic. Jerry Masucci later bought out his partner Johnny Pacheco from Fania Entertainment Group Ltd. and was sole owner for many years until his death in December 1997.
Throughout the early years, Fania used to distribute its records to music aficionados around New York City, even going as far as selling their products out of the trunks of cars. But eventually good word-of-mouth and immense success from Johnny Pacheco's Cañonaso recording would lead the label to develop its roster. Masucci and Pacheco, now executive negotiator and musical director, respectively, began acquiring fresh and creative NYC artists like Bobby Valentín, Larry Harlow and Ray Barreto.
Similar to Pacheco, most of these new talents were residents of the city's barrios and boroughs, that had moved to the city from their homelands and brought their music along. Thus, Fania and it's All-Stars were results of this era of musical renaissance and understanding among the countless cultures of NYC. They created tunes using a variety of genres available in this melting pot, including those of salsa, boogalu, Cuban Jazz and Latin R&B.
In 1968, with Fania Records garnering more acclaim and a troupe of emerging artists, Jerry Masucci and Johnny Pacheco decided to create an ensemble of the most well-known and innovative Fania artists, a continuously-revolving line-up of entertainers known as the Fania All-Stars.
During the 1970s, the star-studded group became renowned worldwide for their spectacular one-of-a-kind musical performances. Because of this, it is no surprise that their music was primarily captured and lives on today through a series of best-selling live recordings.
Among the most treasured of these recordings is the legendary arrangement "Fania All Stars: Live At The Cheetah, Volumes 1 and 2." The set, recorded in 1971 and produced a year later by Fania's own keyboard player Larry Harlow, exhibits the entire All-Star family performing before a capacity audience in New York's Cheetah Lounge. The volumes went on to become the biggest-selling Latin albums ever produced by one group from one concert. To this day, they are is still considered by many as the essence of Latin music.
Following sell-out concerts in Puerto Rico, Chicago and Panama, the All-Stars embarked on their first appearance at New York's Yankee Stadium on August 24th, 1973. The Stars performed before an unprecedented crowd of 63,000 spectators in a concert that highlighted the talents of Ray Barretto, Willie Colón, Larry Harlow, Johnny Pacheco, Roberto Roena, Bobby Valentín, and Jorge Santana (younger brother of Carlos Santana), among others. In the days leading up to the concert, it was anticipated that the event would revolutionize the music business similar to how the Beatles did in the early 1960s. In fact, when the All-Stars returned to Yankee Stadium in 1975, they became ingrained in history. This time, the highlighted acts included Celia Cruz, Hector Lavoe, Cheo Feliciano, Ismael Miranda, Justo Betancourt, Ismael Quintana, Pete “El Conde” Rodriguez, Bobby Cruz and Santos Colón. That year, "Live at Yankee Stadium" was included in the second set of 50 recordings in the List of recordings preserved in the United States National Recording Registry, solidifying the All-Stars as "culturally, historically, and aesthetically significant."
Just a few months before, in 1974, the All Stars had performed in Zaire, Africa, at the 80,000-seat Stadu du Hai in Kinshasa. This unforgettable spectacle was captured on film by Gast and released as "Live In Africa" ("Salsa Madness" in the UK). This Zairean appearance occurred along with James Brown and others at a music festival held in conjunction with the Mohammed Ali/George Foreman heavyweight title fight. Footage of the performance was also included in the 2008 documentary "Soul Power".
In an attempt to attain a wider market for salsa, Fania made a deal with Columbia Records in the US for a series of crossover albums by the All Stars. The first project was the lukewarm "Delicate & Jumpy" (1976), in which Steve Winwood united with the All Stars' Pacheco, Valentin, Barreto and Roena. It was also in 1976 that the Fania All Stars made their sole UK appearance. They produced a memorable sell-out concert at London’s Lyceum Ballroom, with Steve Winwood guesting.
In 1978 the All-Stars released "Live," a fully-blown version of the band recorded in concert at New York's Madison Square Garden in September of that year.
In 1979, Fania All-Stars travelled to Havana, Cuba, to participate in the historic Havana Jam festival that took place between 2-4 March, alongside Rita Coolidge, Kris Kristofferson, Stephen Stills, the CBS Jazz All-Stars, the Trio of Doom, Billy Swan, Bonnie Bramlett, Mike Finnegan, Weather Report, and Billy Joel, plus an array of Cuban artists such as Irakere, Pacho Alonso, Tata Güines and Orquesta Aragón. Their performance is captured on Ernesto Juan Castellanos's documentary Havana Jam '79.
That same year saw the release of "Crossover," the All-Stars' last Columbia Records album, as well as "Havana Jam on Fania," which came from a concert recorded in Havana on March 2nd.
The first signs of recession appeared in 1980, when Fania suffered setbacks including an unsuccessful movie, tension from artists with unpaid royalties, and failed distribution deals with Columbia and Atlantic Records at boosting salsa into the mainstream US market. In addition, the New York salsa scene, which had always been vital to the success of the label, was gradually succumbing to the rise of merengue from Dominican Republic and salsa romantica from Puerto Rico. As the decade ended, the All-Stars recorded fewer albums together, and it was pretty visible that the genre -- and the star-studded group that propelled it -- had reached the end of its golden age.
Although the Fania-All Stars troupe eventually reached a low during the late 1980s, many of the members continued to have individual success in their solo careers. Most notably, Hector Lavoe became an icon in the world of salsa, as people became enchanted both by his music and his tragic life story. In 2007, two films about Lavoe were released, including one produced by actress Jennifer Lopez and salsa star Marc Anthony.
Celia Cruz continued making hits until her death in 2003. In fact, Cruz gained popularity and renewed attention from younger generations throughout the new millennium, and her last singles became the biggest of her entire career. During these years, she was the recipient of numerous Grammy awards, was invited to perform alongside Aretha Franklin at the 2001 VH1 Divas concert, and just months before her passing, Univision presented a special tribute concert featuring over a dozen Latin music performers. After her death in New Jersey, her body was first laid in state in downtown Miami's Freedom Tower--where a quarter of a million people paid their final respects--and was then returned to New York City where tens of thousands of fans paid tribute to her in St. Patrick's Cathedral.
Willie Colon continued producing hits with Ruben Blades and as a solo artist. His latest album was released in 2007, and he currently works for Mayor Michael Bloomberg of New York City.
In 2008, Cheo Feliciano celebrated his 50 years in the music industry by hosting a spectacular concert at Madison Square Garden, where Mayor Bloomberg declared July 20th "Cheo Feliciano Day" in New York.
Today, only a few of the original All-Stars remain alive, as many have passed away in recent years. Nevertheless, their vigorous legacy is one that will live on for many generations. Having sold millions of records and fostered an enthusiastic following of fans throughout the globe, the legendary Fania All-Stars continue to be treasured and recognized as the quintessential Latin band of all time. Already, their music has transcended newer and contemporary genres like bachata and reggaeton. The music created by the All-Stars continues to entertain old and young fans alike, and they are as popular on the radio as they were back in the 70s. Interest in the iconic group has not declined, as albums, concerts, films and videos continue to be produced about the golden years of salsa.
During their extended and illustrious history, the New York City-based Fania All-Stars took their provocative and stirring rhythms on a journey throughout the world, and left music lovers enchanted with a remarkable collection of memorable performances that will capture the hearts and souls of listeners for many generations to come.
Cucala
Fania All Stars Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Cúcala, cúcala, cuca, cúcala, que ella sale
Cúcala, cúcala, cuca, cúcala, que se hace
Cúcala, cúcala, cuca, cúcala, que ella sabe
Cúcala, cúcala, cuca, cúcala, que ella sale
Está moderna, es un tormento
Sabe de todo, no pierdas tiempo
Cúcala, cúcala, cuca, cúcala, que ella sale
Cúcala, cúcala, cuca, cúcala, que se hace
Cúcala, cúcala, cuca, cúcala, que ella sabe
Cúcala, cúcala, cuca, cúcala, que se hace
Está moderna, te juro mi negrito que es un tormento
Tú sabes, yo te juro, sabe de todo
Esa negrita no come cuento
(Cúcala, cúcala, cúcala) ella sabe bailar
(Cúcala, cúcala, cúcala) está moderna no pierdas tiempo
(Cúcala, cúcala, cúcala) ay, yo te lo juro es un monumento
(Cúcala, cúcala, cúcala) que cúcala, que cúcala para gozar
(Cúcala, cúcala, cúcala) cuquita la mecanógrafa
(Cúcala, cúcala, cúcala) sabe, sabe gozar
(Cúcala, cúcala, cúcala) yo te lo digo no pierdas tiempo
(Cúcala, cúcala, cúcala) ella sabe de todo es un monumento
(Cúcala, cúcala, cúcala) cúcala, ay, sabe a bailar
(Cúcala, cúcala, cúcala) (cúcala, cúcala, cúcala)
(Cúcala, cúcala, cúcala) (cúcala, cúcala, cúcala)
(Cúcala, cúcala, cúcala) cuqui sabe gozar
(Cúcala, cúcala, cúcala) negrito ella es un monumento
(Cúcala, cúcala, cúcala) si tú le hablas, ella está asistiendo
(Cúcala, cúcala, cúcala) ella sabe gozar
(Cúcala, cúcala, cúcala)
(Cúcala, cúcala, cúcala) cúcala, que cúcala para bailar
(Cúcala, cúcala, cúcala) sabe del son, sabe
The song "Cucala" by Fania All Stars is a lively, upbeat track that is full of energy and excitement. The lyrics are all about a woman who is modern, knows everything, and is a true force to be reckoned with. The repeated refrain of "cúcala, cúcala, cuca, cúcala" seems to be an encouragement to the woman to let loose and enjoy herself on the dance floor.
Despite the fact that the lyrics are in Spanish, anyone can appreciate the infectious energy of this song. The fast-paced percussion and electric guitar riffs create a feeling of urgency and excitement. The lyrics are delivered with passion and enthusiasm, as if the singer can hardly contain their excitement about this incredible woman they are describing.
Overall, "Cucala" is a fun and lively song that will get your feet tapping and your body moving. With its catchy refrain and energetic rhythm, it's easy to see why this track has remained so popular with fans of Latin music.
Line by Line Meaning
Cúcala, cúcala, cúcala
Repeating the phrase 'cúcala' multiple times as an encouragement to dance or move.
Cúcala, cúcala, cuca, cúcala, que ella sale
Encouraging someone to dance by repeating the phrase 'cúcala' and emphasizing that 'she' will come out to dance.
Cúcala, cúcala, cuca, cúcala, que se hace
Encouraging someone to dance by repeating the phrase 'cúcala' and emphasizing that they need to 'do it'.
Cúcala, cúcala, cuca, cúcala, que ella sabe
Encouraging someone to dance by repeating the phrase 'cúcala' and emphasizing that 'she' knows how to dance.
Está moderna, es un tormento
Describing someone as being current or modern and a source of trouble or discomfort in a playful way.
Sabe de todo, no pierdas tiempo
Emphasizing that this person knows a lot and it's worth spending time with them.
Está moderna, te juro mi negrito que es un tormento
Reiterating that this person is current or modern and a source of trouble, but in a more personal and affectionate way.
Tú sabes, yo te juro, sabe de todo
Assuring someone that this person truly knows a lot.
(Cúcala, cúcala, cúcala) ella sabe bailar
Repeating the phrase 'cúcala' as an encouragement to dance and pointing out that this person knows how to dance.
(Cúcala, cúcala, cúcala) está moderna no pierdas tiempo
Repeating the phrase 'cúcala' as an encouragement to dance and reminding the listener that this person is modern and worth spending time with.
(Cúcala, cúcala, cúcala) ay, yo te lo juro es un monumento
Repeating the phrase 'cúcala' as an encouragement to dance and affirming that this person is impressive or remarkable.
(Cúcala, cúcala, cúcala) que cúcala, que cúcala para gozar
Repeating the phrase 'cúcala' as an encouragement to dance and emphasizing that it's for the purpose of having fun.
(Cúcala, cúcala, cúcala) cuquita la mecanógrafa
Referring to this person by name and pointing out that she is a typist or secretary.
(Cúcala, cúcala, cúcala) sabe, sabe gozar
Repeating the phrase 'cúcala' as an encouragement to dance and emphasizing that this person knows how to have fun.
(Cúcala, cúcala, cúcala) yo te lo digo no pierdas tiempo
Repeating the phrase 'cúcala' as an encouragement to dance and reassuring the listener that it's worth spending time with this person.
(Cúcala, cúcala, cúcala) ella sabe de todo es un monumento
Repeating the phrase 'cúcala' as an encouragement to dance and affirming that this person knows a lot and is impressive.
(Cúcala, cúcala, cúcala) cúcala, ay, sabe a bailar
Repeating the phrase 'cúcala' as an encouragement to dance and emphasizing that this person really knows how to dance well.
(Cúcala, cúcala, cúcala) cuqui sabe gozar
Referring to this person by name and emphasizing that she knows how to have fun.
(Cúcala, cúcala, cúcala) negrito ella es un monumento
Referring to the listener by a term of endearment and affirming that this person is impressive or remarkable.
(Cúcala, cúcala, cúcala) si tú le hablas, ella está asistiendo
Repeating the phrase 'cúcala' as an encouragement to dance and suggesting that this person is ready and willing to assist or participate.
(Cúcala, cúcala, cúcala) ella sabe gozar
Repeating the phrase 'cúcala' as an encouragement to dance and emphasizing that this person knows how to have fun.
(Cúcala, cúcala, cúcala) cúcala, que cúcala para bailar
Repeating the phrase 'cúcala' as an encouragement to dance and emphasizing that this person knows how to dance or move to a beat.
(Cúcala, cúcala, cúcala) sabe del son, sabe
Repeating the phrase 'cúcala' as an encouragement to dance and emphasizing that this person knows how to dance to the rhythm of the son genre of music.
Lyrics © Peermusic Publishing
Written by: Wilfredo Figueroa
Lyrics Licensed & Provided by LyricFind
@marioalbertourrioladuarte9326
Dos de los mejores exponente de esta musica lo mejor del caribe Celia e Ismael la Reina y el Rey de la Salsa alimento para el Alma Saludos desde Panama.
@andreinapaez3101
Quiero el vídeo de esos dos colosos de la salsa
@saidcarrera7648
Tremendo vozarron y ritmo que se cargaba Celia , sin duda alguna por siempre la Reina de la Salsa
@joseomarcastro5495
Bueno, se juntaron dos "monstruos de la música latina", Ismael con esa experiencia con Cortijo y Celia con esa historia con la Sonora Matancera, el resultado de esa "simbiosis musical" no puede ser otro...el éxito que tuvo esa grabación, eso es historia músical latina!!! Felicidades!!!
Esos vídeos enseñan bastante, para aquellos que no conocen la vida musical de esos grandes artistas, sería bueno que pasaran algunos más.
@enriquecalderon4413
LO MAS RICO ES LA HISTORIA DETRÁS DE ESTA CANCIÓN EN EL CONCIERTO, ISMAEL SE IBA A BAJAR DEL ESCENARIO XQ NO SE SENTIA BN CELIA LO ANIMA Y REGRESA "EL NAZARENL TE VA AYUDAR" "CUANDO TU QUIERAS VAMO A SALSEAR" LO MAXIMO GRAN TEMA
@nellymartinez2110
Gran tema por siempre maestros de maestros🔥🔥🔥
@joseluisjuarezvazquez1068
Cualquier tema que canten estas dos instituciones éxito seguro me pregunto que sería si hubieran cantado gotas de veneno me pregunto
Saludos
@gregoriogomez765
Si no me equivoco esto fue grabado 1978
@calibella9256
Bravo esto
@lopz33
¡Tremenda versión clásica en vivo!