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.
El Ratón
Fania All Stars Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Que no puede vacilar
Si donde quiera que se mete
Su gata lo va a buscar
De noche brinca la verja
Que esta detrás de mi casa
A ver si puede fugarse
Sin que ella lo pueda ver
Silvestre felino
Tiene que echar a correr
Esto si es serio mi amigo
Oye que lio que lio se va a formar
Cuando mi gatito sepa
Y es es tan simple la razon
El que a su gata le cuenta que el que a su gata le cuenta
No es nada mas que un raton un raton
(De cualquier maya sale un raton oye de cualquier maya)
Como se cuela una rata como se cuela un raton
Cierra la puerta Claudina que se te cuela el raton
Yo queria una libre queso y me la comio el raton
Arriero que camina eh
Echale semilla a la maraca pa que suenen
Chacucha cuchu cucha cucha
Echale semilla a las maracas pa que suenen
Echale semilla a esas maracas oye chacucha cucha cucha cucha
Y hace rato esta sonando sonando chacucha cucha cucha cucha
Y hace rato como esta hablando caballero
Y cha chacucha cucha cucha cucha
Chacucha cucha cucha cucha
The song "El Raton" by Fania All Stars is about a male cat who is being pursued by a female cat that is constantly trying to find him. The male cat wants to be able to have fun and dance, but the female cat is always trying to find him. The male cat tries to sneak away at night, jumping over the fence behind the house to get away from the female cat. However, she always seems to find him. The song implies that the male cat is tired of running from the female cat and would like to be free and enjoy himself.
The song uses the metaphor of a cat and a mouse to describe the relationship between the male and female characters. The male cat is pursued by the female cat, who is depicted as a mouse. The lyrics suggest that the male cat is able to dodge the female cat's attempts to capture him. The song also features a catchy chorus with the repeated use of the word "chacucha cucha cucha", which adds to the fun and playful tone of the song.
Overall, "El Raton" is a lighthearted and playful song with a catchy melody and lyrics that use animal metaphors to describe the pursuit of love.
Line by Line Meaning
Mi gato se esta quejando
My cat is complaining
Que no puede vacilar
That he can't have fun
Si donde quiera que se mete
If wherever he goes
Su gata lo va a buscar
His female cat will look for him
De noche brinca la verja
At night he jumps the fence
Que esta detrás de mi casa
That is behind my house
A ver si puede fugarse
To see if he can escape
Sin que ella lo pueda ver
Without her being able to see him
Y no tan pronto no tan pronto esta de fiesta
And not so soon he's at the party
Silvestre felino
Wild feline
Tiene que echar a correr
Has to start running
Esto si es serio mi amigo
This is serious my friend
Oye que lio que lio se va a formar
Listen, what a mess is going to happen
Cuando mi gatito sepa
When my little cat finds out
Y es es tan simple la razon
And the reason is so simple
El que a su gata le cuenta que el que a su gata le cuenta
Whoever tells his female cat that the one telling her
No es nada mas que un raton un raton
Is nothing more than a mouse, a mouse
(De cualquier maya sale un raton oye de cualquier maya)
(From any mesh comes a mouse, listen, from any mesh)
Como se cuela una rata como se cuela un raton
How a rat sneaks in, how a mouse sneaks in
Cierra la puerta Claudina que se te cuela el raton
Close the door, Claudina, so the mouse doesn't get in
Yo queria una libre queso y me la comio el raton
I wanted a piece of cheese and the mouse ate it
Arriero que camina eh
Mule driver who walks, hey
Echale semilla a la maraca pa que suenen
Put some seeds in the maraca so they'll sound
Chacucha cuchu cucha cucha
Chacucha cuchu cucha cucha
Echale semilla a las maracas pa que suenen
Put some seeds in the maracas so they'll sound
Echale semilla a esas maracas oye chacucha cucha cucha cucha
Put some seeds in those maracas, listen, chacucha cucha cucha cucha
Y hace rato esta sonando sonando chacucha cucha cucha cucha
And it's been sounding for a while, sounding chacucha cucha cucha cucha
Y hace rato como esta hablando caballero
And for a while, like gentlemen, they're talking
Y cha chacucha cucha cucha cucha
And cha chacucha cucha cucha cucha
Lyrics © Sony/ATV Music Publishing LLC
Written by: Jose Feliciano
Lyrics Licensed & Provided by LyricFind
@jeyssonfrias8628
Estos artistas hacian lo que les daba la gana y todo les quedaba perfecto!! en cada sonido se puede sentir esas notas unicas!
@gasparmunozde8339
La mejor musicasalsero panameño
@alfredogomezcosta2800
Que tal pedazo de joya, maestro de maestros, Cheo uno de los dioses de la salsa y Santana una fantasía con la guitarra, nada que envidiar a su hermano.
@alejandroramirezmartinez3676
Lo del nombre "All stars" no era nomas por puro marketing, era la pura neta!
@BROWNS27
Ahuevo puro estrella!!
@alejandroramirezmartinez3676
@WestWest213 Aqui en Veracruz Celia, Lavoe, Johny Pacheco y todos esas estrellas siguen sonando fuerte!
@juanencarnacion3232
Era lo Máximo que había en esa época 🙏🙏🙏🙏👏👏👏👏👏👏👏👏👏👏👏
@alejandrocastaneda5523
Cállate bruto que no sabes nada
@josebrito8152
La verdad es la maltido verdad punetaaa 💪🏼🫡
@christhianmejiamartinez8491
Me acuerdo en los años 80, de pequeño la escuchaba en las fiestas de familia q hacían en la terraza del pasaje pisagua en el distrito salsero de la Victoria, Lima, Perú