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.
Subway Joe
Joe Bataan Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Boss street is coming up next.
113rd!!)
Well I took the subway downtown one day just to find me some Chinese food, and as I sat down and looked up- what did I see- there was this little girl, sure lookin good.
She said "
Mr.
wont ya get up and let me sit down, can't ya see I've been workin all day.
My back is achin and my feet are beat and I'm afraid I'm gonna need yo seat".
I said "
Listen little sister yo sure are fine but why'nt you stop tryin to eat up ma mind"...
And then she struck me on the head, left me on ma knees, she said "
Listen to yo Daddy, dont mess with me" eh eh
(well I wasnt goin to 112th street)...
Well the train started movin swiftly down the track as I was findin the grooves that she made on ma back.
and as I reached down to pick up my hat from the floor, I started looking at my brand new suit she had tore I said "
Listen wont you get up and let me sit down, I'm gettin tired of foolin around.
My back is achin and my back feels whaked and I'm afraid I'm gonna hafta take ma seat back".
She said "
Listen little boy you sure look tough but I'm afraid I'm gonna hafta call your bluff and then she struck me on the head, left me on ma knees, she said "
Listen to yo Daddy, dont mess with me" eh eh eh
Subway hey hey hey Subway hey hey hey Subway hey hey hey
The song "Subway Joe" by Joe Bataan tells a story of a man who took the subway to find Chinese food but ended up encountering a young girl who demanded his seat after a long day of work. He initially tries to resist her demands and flirt with her, but she hits him on the head and warns him not to mess with her. As the train moves forward, he finds himself attracted to her and tries to regain his seat, but she hits him again and tells him to stop messing with her. The repetition of the chorus, "Subway hey hey hey," highlights the hectic and dangerous atmosphere of the subway train.
The lyrics reflect the social and economic struggles of people living in urban areas and using public transportation, as well as the power dynamics between men and women. The girl's strength and assertiveness challenge traditional gender roles and expectations. The singer's attempts to flirt with her and assert his dominance over her are ultimately futile, as she holds the power in the situation. The songs' themes also reflect the gritty and raw nature of the 1970s New York City scene, where subway travel was often associated with danger and uncertainty.
Line by Line Meaning
(oh is this the right car?
Wondering if he is on the correct subway car.
Boss street is coming up next.
Noting that the next stop is Boss street.
113rd!!)
Exclaiming the name of the stop: 113th street.
Well I took the subway downtown one day just to find me some Chinese food, and as I sat down and looked up- what did I see- there was this little girl, sure lookin good.
Narrating his experience of riding the subway, trying to find Chinese food, and he saw an attractive girl.
She said "Mr. wont ya get up and let me sit down, can't ya see I've been workin all day. My back is achin and my feet are beat and I'm afraid I'm gonna need yo seat".
The girl asked him to give up his seat because she's tired, but he doesn't want to.
I said "Listen little sister yo sure are fine but why'nt you stop tryin to eat up ma mind"... And then she struck me on the head, left me on ma knees, she said "Listen to yo Daddy, dont mess with me" eh eh
He rejected the girl's request, but she hit him, showing she's not someone to mess with.
(well I wasnt goin to 112th street)...
Clarifying that he wasn't trying to get off at the previous stop.
Well the train started movin swiftly down the track as I was findin the grooves that she made on ma back. and as I reached down to pick up my hat from the floor, I started looking at my brand new suit she had tore I said "Listen wont you get up and let me sit down, I'm gettin tired of foolin around. My back is achin and my back feels whaked and I'm afraid I'm gonna hafta take ma seat back".
The train started moving, but he's still bothered by the girl. He also notices that she damaged his suit. He asks her to give up his seat again.
She said "Listen little boy you sure look tough but I'm afraid I'm gonna hafta call your bluff and then she struck me on the head, left me on ma knees, she said "Listen to yo Daddy, dont mess with me" eh eh eh
The girl rejects his request again, and hits him again, reminding him not to mess with her.
Subway hey hey hey Subway hey hey hey Subway hey hey hey
Chanting the name of the song: Subway Joe.
Contributed by Arianna V. Suggest a correction in the comments below.
@TheJezinho2
All time fave! Great lyrical graphics. Have always danced to this, and always will.
@alflopez28
Grande Joe Bataan. latinsoul đź‘Ť
@danielalexander4015
El mismo Bataan dijo que HĂ©ctor Juan PĂ©rez MartĂnez xq en ese tiempo no era HĂ©ctor Lavoe... EscribĂa las canciones en español y Bataan las cantaba en inglĂ©s
@FintanR
you got the lyrics wrong: its 'smacked me on the head kicked me on the knees not 'left me on the knees' and 'Mr your dead if you mess with me' not 'Mr your daddy'
@Tiripsroirraw
Driver Parallel Lines ;-)
@TScardoa
Cool tune ! They don’t make songs like this anymore.
@CHOMPSREVOLUCION
Esta canciĂłn me suena los Beatles
@jajajajajajajajaja7252
Este video se siente tan influenciado por los beatles
@donherodoto
esta canciĂłn se siente muy influenciada por los Beatles
@Techno_Nature
Rythm & Blues y Rock'n roll