You're Driving Me Right out of My Mind
Joe Bataan Lyrics
Now that you've taken, all the love that I could give
You're still not satisfied, you don't want me anymore
Let me be, don't take advantage of me
And you're driving me, right out of my mind
My little heart's gonna be, pretty hard to find
Day by day, my life falls apart
The only thing, is my broken heart
Set me free, don't make a fool of me
And you're driving me, right out of my mind
What matter now? What do you think that I am?
That you could treat me this way (Treat me the way you do)
Everyday.
By bannin' me, shapin' me, twistin' me, the way that you wanted me
Oh no.
Oh noo...
I'm not a clown that you can laugh at
A clown that's too proud to cry
I'm just an ordinary lad
Oh no.
Oh noo...
What's left for me to do? My heart's in two, girl
(You're drivin' me)
You broke my heart in little pieces, yeah
(Right out out of my mind)
What's left for me to do, girl?
(You're drivin' me)
Let me be, don't take advantage of me
Set me free
Don't make a fool of me
(You're driving me right out of my mind)
Writer(s): Joe Bataan
Contributed by Levi R. Suggest a correction in the comments below.
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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.
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FAITH L
All of these great oldies take me back, I get flooded with beautiful memories. My mind takes me back to when I was a little girl trying to hang out with my older siblings. My brother the music lover, the dancer of the family. I loved the music my brother would play, party to, hang out with his friends, just listen to, he loved Joe Batan!!!!! My brother taught me how to dance, how to wear my hair, how to select the good guy. My other oldest brother was like a second father to me, he always looked out for me. My brothers were my bestest friend. Such sweethearts they were!!!! Goodnight Tony/Bill.....Thanks for being good, stand up, sweet, kind gents!!!!!!
Delia Fabio
Joe Batan has always been a big part of my life when I was a lil girl and still is till this day his music is so beautiful I could play this music all day every day it makes my day and puts me in a good mood. stay blessed Mr.Joe Batan ur true fan ur the Bomb!
Joseph Apodaca
Delia Fabio it's cool to know it's not just me who appreciates music that has meaning. Good taste !
Roland Hernandez
One the greatest Latin Singer to ever perform him and Ralphie Pagon
hardtimez56
One bad ass jam!!! This is when your going thru it with your woman.
Monica Ramirez
Can't go wrong with Mr. JOE BATAAN!
Lisa Fmelendez
Monica Ramirez not you can't I just had to send this to my guy. ...
Marcus Martinez
+Monica Ramirez Oh no you can't!
Yumyum Marie
A song that can never be out of style..It is Style! Alot of Good Memories..Set me free
Retired Tony 1970
+Evelyn marie Oldies forever que no? ciaoo firme jam