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.
Estrellas De Fania
Fania All Stars Lyrics
Jump to: Line by Line Meaning ↴
(Day day)
All day straight up pimp
If you want me you can find me in da
Aaahhh
(I'm on it)
Aaahhh
(I'm on it)
(I'm on it)
Aaahhh
(I'm on it)
Aaahhh
(I'm on it)
Aaahhh
(I'm on it)
Aaahhh
(I'm on it)
Aaahhh
(I'm on it)
Time an' time again I gotta turn back round an' tell dese hoes
Dat I'm the H-N-I-C, bitch dats just the way it goes
I be on dat shit dat have you on it I don't want no mo
At dis time I'll need all my freak hoes to get down on the flo'
If you came to rep yo set break dat nigga I let 'em kno'
If it's jail I get for stompin' hatas to sleep, fuck it I go
Freak I'll be off in yo sheets straight geeked swervin' down yo street
In a stolen Bonneville wit 23's on the feet
Collection while he do brown, back in town to do re-bag
Give me face, I love the sound, slap the taste
They hit the ground, back in the A
Hooked up, clicked up wit sum people dat don't play
On dat Kryptonite stay, so high we might fly away
I be on dat Kryptonite
Straight up on dat Kryptonite
I be on dat, straight up on dat
I be on dat Kryptonite
I be on dat Kryptonite
Straight up on dat Kryptonite
I be on dat, straight up on dat
I be on dat Kryptonite
I, I, I, I, I be on it all night, man I be on it
(Day day)
All day straight up pimp
If you want me you can find me in da
Aaahhh
(I'm on it)
Aaahhh
(I'm on it)
Aaahhh
(I'm on it)
Aaahhh
(I'm on it)
Whooo
Aaahhh
(I'm on it)
Aaahhh
(I'm on it)
Aaahhh
(I'm on it)
Aaahhh
(I'm on it)
I'm on dat Kryp-to-nite
(I'm on it)
I'm on dat Kryp-to-nite
(I'm on it)
I'm on dat Kryp-to-nite
(I'm on it)
I'm on dat Kryp-to-nite
(I'm on it)
Time an' time again I gotta tell dese niggaz an' dese hoes
I'm from College Park where we move dat weed an' we slag dat blow
Get dope on a daily basis, get high make dem ugly faces
Pull the dro' an' I'm on probation, my blunts I don't be lacin'
I'm on Kryptonite, come to my crib tonight
Let me beat dat puss all night
Run tell yo buddies I fucked you right
Tell 'em bout all the plaques on the wall
Tell 'em how you licked my balls
Tell 'em how Konkrete run the streets
Big Boi, he put us on
Chevy ridas, slangin' powders, Simpson Rd., Dixie Hills
Diamond pressed against dat wood, candy paint, spinnin' wheels
Grind Time rap game, remember bitches Killer Kill
Purple Ribbon rollin' o's, an' we all be on dat Kryp
I be on dat Kryptonite
Straight up on dat Kryptonite
I be on dat, straight up on dat
I be on dat Kryptonite
I be on dat Kryptonite
Straight up on dat Kryptonite
I be on dat, straight up on dat
I be on dat Kryptonite
Time an' time again I turn back round an' tell C-Bone
Grab kurl on out my book bag, I smell dro' all on you homes
Suppose the po-po get whiff of the spliff
Dat you just smoke, dem folk gon trip probably will cause canines
Move it the side of the road lets take a sniff
Shit, the only thing we ridin' dirty is GBK cd, Tackleberry
So may we be on our Mary way
Cuz you just ain't gon find no yah
Play, I got a tough team of attorneys
Make a judge lean like he sippin' syrupy
They play dur-ty, he ain't touch me
Verdict be not guilty, search me
[Unverified]
I be on dat Kryptonite
Straight up on dat Kryptonite
I be on dat, straight up on dat
I be on dat Kryptonite
I be on dat Kryptonite
Straight up on dat Kryptonite
I be on dat, straight up on dat
I be on dat Kryptonite
I be on dat Kryptonite
Straight up on dat Kryptonite
I be on dat, straight up on dat
I be on dat Kryptonite
I be on dat Kryptonite
Straight up on dat Kryptonite
I be on dat, straight up on dat
I be on dat Kryptonite
Boy stop ha ha ha ha
I be on it all night, man I be on it
I am dedicated to my hustle and will work tirelessly on it.
All day straight up pimp
I own my game, and my style is unmistakable.
If you want me you can find me in da Aaahhh
You can find me in Atlanta, where I run the scene.
(I'm on it)
I'm putting in the work, and success is my only option.
Time an' time again I gotta turn back round an' tell dese hoes
I have to remind these women who I am and what they can expect from me.
Dat I'm the H-N-I-C, bitch dats just the way it goes
I am in charge, and everyone who works with me knows it.
I be on dat shit dat have you on it I don't want no mo
I'm working on something so good, it becomes addictive, but I'm ready to move on to the next thing.
At dis time I'll need all my freak hoes to get down on the flo'
I need all the women who like to party to get on the dance floor.
If you came to rep yo set break dat nigga I let 'em kno'
If you came to represent where you're from, let me know and I'll help you out.
If it's jail I get for stompin' hatas to sleep, fuck it I go
I'm willing to take the consequences for my actions, even if it means going to jail.
Freak I'll be off in yo sheets straight geeked swervin' down yo street
I'll be partying with a girl in her bedroom, high and drunk, swerving down the street.
In a stolen Bonneville wit 23's on the feet
I'm driving a stolen car, which had 23-inch rims on the wheels.
Collection while he do brown, back in town to do re-bag
While he was doing drugs, I was collecting money, and now I'm back in town to divide it up and sell more.
Give me face, I love the sound, slap the taste
I enjoy getting oral sex, and the sound and sensation it creates.
They hit the ground, back in the A
After they orgasm, they fall asleep, and I go back to Atlanta.
Hooked up, clicked up wit sum people dat don't play
I formed a strong alliance with people who mean business and are not afraid to play rough.
On dat Kryptonite stay, so high we might fly away
We're on drugs and are so high, we might float away.
I'm on dat Kryp-to-nite
I'm under the influence of the drug Kryptonite.
Straight up on dat Kryptonite
I'm completely dependent on Kryptonite.
Whooo
An expression of excitement or pleasure.
Time an' time again I gotta tell dese niggaz an' dese hoes
I have to remind my associates and women about my status, repeatedly.
I'm from College Park where we move dat weed an' we slag dat blow
I am from College Park, where we grow marijuana and sell cocaine.
Get dope on a daily basis, get high make dem ugly faces
I buy drugs every day and get high, which makes me pull weird faces.
Pull the dro' an' I'm on probation, my blunts I don't be lacin'
I smoke marijuana while on probation, but I don't lace my blunts with other drugs.
Come to my crib tonight
Come over to my house tonight.
Let me beat dat puss all night
Let me have sex with you all night long.
Run tell yo buddies I fucked you right
Tell your friends how well I satisfied you.
Tell 'em bout all the plaques on the wall
Tell them about my accomplishments and awards, which are displayed on the wall.
Tell 'em how you licked my balls
Tell them about the sexual acts you performed on me.
Tell 'em how Konkrete run the streets
Tell them that I'm in charge of the streets.
Big Boi, he put us on
Big Boi made us famous or gave us an opportunity.
Chevy ridas, slangin' powders, Simpson Rd., Dixie Hills
We ride in Chevy cars and sell drugs in the Simpson Road or Dixie Hills areas.
Diamond pressed against dat wood, candy paint, spinnin' wheels
We have diamond jewelry on wooden surfaces, shiny candy paint on the cars, and spinning wheels.
Grind Time rap game, remember bitches Killer Kill
We are successful in the music industry, and people remember the name Killer Kill.
Purple Ribbon rollin' o's, an' we all be on dat Kryp
We smoke marijuana in Purple Ribbon rolling papers, and we're all high on Kryptonite.
Time an' time again I turn back round an' tell C-Bone
I repeatedly tell C-Bone about my status and expectations.
Grab kurl on out my book bag, I smell dro' all on you homes
I take my curling iron out of my book bag and smell marijuana on you.
Suppose the po-po get whiff of the spliff
What if the police smell the marijuana?
Dat you just smoke, dem folk gon trip probably will cause canines
The police will probably bring dogs to search for drugs.
Move it the side of the road lets take a sniff
Pull over on the side of the road so we can smell for any narcotics nearby.
Shit, the only thing we ridin' dirty is GBK cd, Tackleberry
The only illegal thing we have in the car is a GBK CD and Tackleberry.
So may we be on our Mary way
Let's continue on our journey or move on to the next thing.
Cuz you just ain't gon find no yah
Because you won't find anything illegal.
Play, I got a tough team of attorneys
Don't mess with me because I have a strong legal team.
Make a judge lean like he sippin' syrupy
My legal team is so good, we can persuade the judge.
They play dur-ty, he ain't touch me
The police play dirty, but they can't touch me.
Verdict be not guilty, search me
The outcome of the trial will be not guilty, so go ahead, search me.
Boy stop ha ha ha ha
An expression of amusement or sarcasm directed at someone.
Writer(s): Catalino Curet Alonso, Johnny Pacheco Copyright: Fania Music
Contributed by Alice H. Suggest a correction in the comments below.
Kenny Valentin
La constelación de estrellas más poderosa del ambiente musical latino y la cultura que representaba en tiempo y espacio....
Oscar Quintal
INDUDABLEMENTE. 👏🏼👏🏼
Yu Tu
Cómo venezolano desde niño amo está orquesta tengo 50 años pero mi familia es sonera, ya a los 6 años bailaba ya la salsa viva la fania por toda la vida
Cali Kali
Les cuento de experiencia propia. Viví en mi ciudad natal Nueva York en esa época absolutamente gloriosa - musicalmente. Y no solamente en Salsa. En Reggae con Bob Marley, Funk con James Brown, Jazz con Miles Davis y muchos muchos mas. PERO, Nueva York también paso por una época muy dura economicamente. Había bastante pobreza, desesperación, crimen en la calle y una epidemia de drogas terrible. Muchos acabaron víctimas de estas injusticias sociales. Pero la música de esa epoca? En cuanto la Salsa, el Reggae, y el R&B y hasta Rock Classico de Led Zeppelin y tales grupos, eso jamás ha sido igualado. Verdaderamente fue una EXPLOSIÓN de creatividad.
Me siento afortunado de haberla vivido - especialmente siendo fanático de la musica..
Hoy en dia, un género sigue FUERTE en Nueva York:
El Jazz.
Aunque el Jazz Latino ha disminuido y necesita renacer.
Que viva Fania Carajo!!!
Ánima Obscura
tu comentario es el mejor.
Javier Bedoya
Bonita historia mi hermano👍🍻🎶🕺
jhon usuriaga
Gran época del boom salsero y el mejor
lenin2832
Buena historia, suerte que tuviste de vivirla :)
Norma Goff
Quisiera haber vivido mi juventud en esa década. Irónicamente, he escuchado a muchos cantautores decir que el uso de ciertas drogas les desbordaba mucha de esa creatividad… Pero me alegra ver a estrellas como Ismael Miranda, Bobby Cruz y Willie Colón que salieron de todo eso, hoy viven para contarlo, y aún deleitan con su música.
Florentino Carreño
magia,nostalgia,recuerdos maravillosos,unicos,generacion sin par,nunca habrá alguien como ellos.