Gypsy Woman
Joe Bataan Lyrics
From nowhere through the caravan
Round the campfire light
A lovely woman in motion
With hair as dark as night
Her eyes were like that of a cat in the dark
That hypnotized me with love
She was a gypsy woman
She was a gypsy woman
To a guitar melody
From the fire her face was aglow
How she enchanted me
Oh how I'd like to hold her near
And kiss and forever whisper in her ear
I love you gypsy woman
I love you gypsy woman
All through the caravan
She was dancing with all the men
Waiting for the rising sun
Everyone was having fun
I hate to see the lady go
Knowing she will never know
That I love her
That I love her
Gypsy woman
She was gypsy woman
Gypsy woman
Gypsy woman
All through the caravan
She was dancing with all the men
Waiting for the rising sun
Everyone was having fun
I hate to see the lady go
Knowing she will never know
That I love her
I love her
Gypsy woman
Gypsy woman
She was gypsy woman
Gypsy woman
She was gypsy woman
She was gypsy woman
Lyrics © BMG Rights Management, Sony/ATV Music Publishing LLC
Written by: Curtis L Mayfield
Lyrics Licensed & Provided by LyricFind
To comment on specific lyrics, highlight them
No recording artist has more impeccable street credentials than Joe Bataan, the originator of the New York Latin Soul style that paralleled Latin boogaloo and anticipated disco. His musical experience began with street corner doo-wop in the 1950s, and came to include one of the first rap records to hit the charts, 1979's "Rap-O, Clap-O". In between these milestones, he recorded classic albums like St. Latin's Day Massacre, a perennial favorite in the salsa market Read Full BioNo recording artist has more impeccable street credentials than Joe Bataan, the originator of the New York Latin Soul style that paralleled Latin boogaloo and anticipated disco. His musical experience began with street corner doo-wop in the 1950s, and came to include one of the first rap records to hit the charts, 1979's "Rap-O, Clap-O". In between these milestones, he recorded classic albums like St. Latin's Day Massacre, a perennial favorite in the salsa market, Salsoul, which gave the record label its name and helped spark the national explosion of urban dance music, and Afrofilipino, which included one of the very earliest New York disco hits, an instrumental version of Gil Scott Heron's "The Bottle".
Born Peter Nitollano, of African-American/Filipino parents, Joe Bataan grew up in Spanish Harlem, where he ran with Puerto Rican gangs and absorbed R&B, Afro-Cuban and Afro-Rican musical influences. His music career followed a pair of stints in Coxsackie State Prison. Self taught on the piano, he organized his first band in 1965 and scored his first recording success in 1967 with "Gypsy Woman" on Fania Records, . The tune was a hit with the New York Latin market despite the English lyrics sung by Joe, and exemplified the nascent Latin Soul sound. In early anticipation of the disco formula, "Gypsy Woman" created dance energy by alternating what was fundamentally a pop-soul tune with a break featuring double timed hand claps, . Joe would take this tendency even further on his influential Salsoul, which fused funk and latin influences in slick yet soulful orchestrations. Salsoul remains influential as a rare groove cult item, but pointed to the future at the time of its release. The LP embodied the artist's highly deliberate and culturally aware musical concept. Bataan theorized the '70s next big thing as a hybrid: an Afro Cuban rhythm section playing Brazilian influenced patterns over orchestral funk. In many ways, his vision was on the money, though most of the money would go to others, and mainstream stardom would elude him. He did, however, get in on the ground floor of the new trend as an early hit maker. His biggest commercial move was a Salsoul production released under the Epic umbrella, and promoted to the new disco market as Afrofilipino, which included 1975's "The Bottle", a much anthologized classic that drives an R&B horn arrangment with a relentless piano montuno.
Always in touch with the street, Joe Bataan picked up on rap very early in the game. His minor rap hit, "Rap-O, Clap-O" was a bit more successful in Europe than in the States, and is remembered as rap's debut in the European market. Nevertheless, his legacy remains his gritty and realistic Latin soul lyrics, his self identification as an "Ordinary Guy", and his highly personal and prophetic merger of Latin and soul influences.
Born Peter Nitollano, of African-American/Filipino parents, Joe Bataan grew up in Spanish Harlem, where he ran with Puerto Rican gangs and absorbed R&B, Afro-Cuban and Afro-Rican musical influences. His music career followed a pair of stints in Coxsackie State Prison. Self taught on the piano, he organized his first band in 1965 and scored his first recording success in 1967 with "Gypsy Woman" on Fania Records, . The tune was a hit with the New York Latin market despite the English lyrics sung by Joe, and exemplified the nascent Latin Soul sound. In early anticipation of the disco formula, "Gypsy Woman" created dance energy by alternating what was fundamentally a pop-soul tune with a break featuring double timed hand claps, . Joe would take this tendency even further on his influential Salsoul, which fused funk and latin influences in slick yet soulful orchestrations. Salsoul remains influential as a rare groove cult item, but pointed to the future at the time of its release. The LP embodied the artist's highly deliberate and culturally aware musical concept. Bataan theorized the '70s next big thing as a hybrid: an Afro Cuban rhythm section playing Brazilian influenced patterns over orchestral funk. In many ways, his vision was on the money, though most of the money would go to others, and mainstream stardom would elude him. He did, however, get in on the ground floor of the new trend as an early hit maker. His biggest commercial move was a Salsoul production released under the Epic umbrella, and promoted to the new disco market as Afrofilipino, which included 1975's "The Bottle", a much anthologized classic that drives an R&B horn arrangment with a relentless piano montuno.
Always in touch with the street, Joe Bataan picked up on rap very early in the game. His minor rap hit, "Rap-O, Clap-O" was a bit more successful in Europe than in the States, and is remembered as rap's debut in the European market. Nevertheless, his legacy remains his gritty and realistic Latin soul lyrics, his self identification as an "Ordinary Guy", and his highly personal and prophetic merger of Latin and soul influences.
More Genres
No Artists Found
More Artists
Load All
No Albums Found
More Albums
Load All
No Tracks Found
Genre not found
Artist not found
Album not found
Search results not found
Song not found
Indie_cake_tj
Su voz es como seda en mis oídos, un placer escuchar esta canción 🤌
Hawaiian Essence
My FAVORITE version!! Love the beat & voice that goes with this💃🏼💃🏼💃🏼💃🏼🔥
Sunny Island
1:55🔥
Languid
strictlynorton
Love when an artist is brave enough to radically reinterpret another's song but what JB has done to Curtis' alltime classic is utterly stunning.
Dabigkahuna76 Thanos
No
ruditouteski
couldn't agree more ... dare I say that the cover surpasses the original ?
Yve Bella
I grew up listening to Symphony Sid and Joe Bataan. The BEST of times!🎶🎶🎶🎶
Mike Stander
Great to hear a version of this song I'd never heard before with a slowed down tempo and different lyrics. I never realized they were saying "She smokes pot" in the background. Lol
Tha Highlight Reel
I always thought he was saying "Chismosa" 😂
Elijah E
+ Mike Stander I did too.