Ricardo "Richie" Ray (born February 15, 1945) is a virtuoso pianist, singer… Read Full Bio ↴Ricardo "Richie" Ray (born February 15, 1945) is a virtuoso pianist, singer, music arranger, composer and religious minister. He is known as "El Embajador del Piano" (The Piano Ambassador).
Early life
Ray (born "Ricardo Maldonado") was born in Brooklyn, New York City of Puerto Rican parents. They lived in Hoyt Street. Ray's father, Pacifico Maldonado, was an accomplished guitarist in his native Bayamón, and as such was the Maldonado family's early musical influence.
Ray's parents had him take lessons and he started to play the piano when he was only seven years old. His life-long partnership with Bobby Cruz started five years later in 1957 when Ray played bass in a group led by Cruz. This combination was the beginning of one the greatest salsa duos in the salsa music industry.
He attended the Brooklyn Conservatory of Music, the famed High School of Performing Arts, and the Juilliard School of Music. This experience served to further develop and refine his musical training. In addition, he became well versed in various Latin music genres which were popular at that time the Guajira, the Cha-cha-cha, the Bolero and others.
[edit] Musical career
Ray left Juilliard in 1963, after just one year. He made this choice so that he could get organized and dedicate himself to his own band. This was a year after Cruz joined in as the lead vocalist. In 1964, he signed with Fonseca Records and released his debut album, Ricardo Ray Arrives-Comején. The album included the outstanding hit songs "Mambo Jazz", "Comején", "Viva Richie Ray", "El Mulato", "Suavito", "Pa' Chismoso Tú" and the bolero-cha "Si Te Contaran". The famous pair recorded some of their finest work during the period that they were with the Fonseca label.
In 1966 The group switched to the Alegre label, coinciding with the arrival of the boogaloo, Ray recorded nine albums with Alegre. He was a part of Tico/Alegre Records until 1970, and during that time he produce such hits as "Richies Jala Jala", "Mr. Trumpet Man", "Señor Embajador", "Aguzate" (Gold Record Award winner), "Amparo Arrebato", "Traigo De Todo", and the Spanish version of Frank Sinatra's "My Way", called "A Mi Manera". This song went on to be the most radio played Spanish version of "My Way" during 1970; the song also won the duo a Gold Record Award.
While with Alegre, Ray also recorded two albums for UA Latino. These included "Viva Ricardo" and "El Diferente" (Gold Record Award winner). The band scored a number one hit with the song "Colorín Colorado", while "El Diferente", "Feria En Manizales" and "Ay, Compay!", became number one hits in Latin America.
In 1968, Ray and Cruz had been together professionally for five years, had written most of their songs together, and for the first time in the album Los Durísimos, they shared equal billing in an album cover. This album had such hits as "Agallú", "Pancho Cristal", "Adasa", and "Yo Soy (Babalú)". Since then the band became officially known as Richie Ray and Bobby Cruz.
[edit] The 1970s
In 1970, Ray and Cruz left New York and moved to San Juan, Puerto Rico, for professional and personal reasons. They opened a nightclub, but managing it required too much of their time. Shortly after, they decided to sell the establishment to focus on their artistic commitments. That same year, Ray and Cruz signed with the new Vaya Records label, a subsidiary of Fania Records.
In 1971, they released "El Bestial Sonido de Ricardo Ray y Bobby Cruz", the first ever release on Vaya Records, and was one of their better albums on that label. The album went gold, and it took them to the top of the charts once again. It included hits such as Juan Manuel Serrat's "Señora", the bolero version of the Gardel/Lepera tango "Volver", and the Rubén Blades composition "Guaguancó Triste", as well as the salsa version of James Taylor's "Fire And Rain". This album also included his most impressive and well-known hit called "Sonido Bestial", which has a Latin-flavoured arrangement of Chopin's Etude 10/12, and is considered a classic masterpiece of salsa music.
In 1974 The Dynamic Duo won the title "The Kings Of Salsa" at the "Coliseo Roberto Clemente" in San Juan, Puerto Rico. For a period of 12 hours, 24 bands had competed for the coveted title, and Ray and Cruz emerged triumphant. Contracts started to pour in, requests for interviews and TV appearances, and even movie offers.
[edit] Born-again Christian
All of these things spoke of success, but Ray suffered strong emotional problems during this time. The despair he felt led him into alcohol and drug abuse. He felt tormented by his addictions, however, and wanted to change his life.
In August of that year, he surprised many when he announced that he had become a born-again evangelical Christian. The professed experience radically changed his career and life. At first, Cruz refused to accept Ray's change, but within four months Cruz himself became a convert.
In spite of these dramatic changes, Ray & Cruz fans continued to support the duo. The 1976 release of Reconstrucción went "Gold" (their ninth). The album included their smash hit single "Juan En La Ciudad". They followed with Viven in 1977, De Nuevo 'Los Durísimos' Again (1980), and their final release on Vaya Records, Inconfundibles (1987) in which Ray and Cruz announced their retirement from Salsa music. All of these were successful releases.
Richie Ray and Bobby Cruz lost most of their fans and found opposition among the members of their own faith when they suggested the idea of Christian Salsa. They stood their ground, however, and little by little, they started to regain the confidence of their fans and fellow Christians. They abandoned secular salsa and recorded salsa with a Christian message, reworking many of their worldly hits into religious themes. Some of these include "El Sonido La Bestia", "Más Que Vencedores", and "Aguzate". They also created some new ones, like "Los Fariseos", "Timoteo", and "Sipriano"
The sincerity of their Christian beliefs was not just conveyed in their music. Both Ray and Cruz are pastors, and they have founded more than 20 churches throughout Puerto Rico and the United States. In addition, Ray founded the Salvation Records label as an outlet for Christian music. Then, he continued his music career although his long-time friend, Cruz, had retired. During "retirement", however, both Cruz and Ray released albums with previously recorded numbers and with other bands or singers. Richie Ray is now a pastor in Cape Coral under the CLM fellowship.
In 1991, Ray and Cruz reunited for successful concert appearances in San Juan and again in New York. They reunited again in 1999 for the "Sonido Bestial" concert in the Rubén Rodríguez Coliseum located in Bayamón, they sang some of their early hits together with some of their religious songs and the concert was recorded live. The outcome was so impressive that they were offered a contract by Universal Records, the recording was selected as one of the best recordings of 1999 and helped bring the pair back into the limelight of the Puerto Rican music scene. The pair has continued active in the music scene since.
[edit] Later years
In 2000, Ray and Cruz held a series of concerts that were completely sold out at the Antonio Paoli Hall of the Luis A. Ferre Center of Beautiful Arts in San Juan. They were also honored with a National Day of Salsa in Bayamón. In 2002, Richie Ray and Bobby Cruz were inducted into the International Latin Music Hall of Fame.
In 2003, Ray recorded "Al Ritmo del Piano" for Warner Music Latina. Ray and Cruz continue to make appearances in places such as the Copacabana Club in New York. In December 2005 Ray & Cruz release a totally *new* album under the label Tropisounds the album was recorded in Colombia under the musical direction of its producer by Diego Galé, Que Vuelva La Música has 14 new tracks "El gallo y la vaca", "La bailarina", "Quim Bon Bori", "Vive contento", "Soy boricua" y "Va a llover" are just a few of the titles. The Album was an instant hit in Colombia and Latin America. "El gallo y la vaca" (25th Nov) and "Salsa La Celebracion" (7th two weeks in April) appeared in the top 100 salsa songs charts in North America through 2006. In 2006 Richie Ray and Bobby Cruz won a Latin-Grammy Award for "Lifetime Achievement", this year they also recorded a CD and DVD titled "A lifetime of hits" (live at Centro de Bellas Artes, San Juan, Puerto Rico) which was nominated for a Latin Grammy in the "Best Contemporary Tropical Album" category.
Ray currently lives in Florida with his wife Angie Ray and besides being musically active, he is also busy attending the churches which he and Cruz found in the United States, Caribbean and Latin-America. Ricardo "Richie" Ray is still considered along with Eddie Palmieri and Papo Lucca one of the best and more influential pianists of all times in Salsa music. On August 16, 2008, Richie Ray & Bobby Cruz celebrated 45 years in the musical business, with a concert at José Miguel Agrelot Coliseum.[1] Prior to the presentation, the duo noted that the concert would last at least three hours.[2] The duo has expressed that this might be their last "big scale concert".[3]
Early life
Ray (born "Ricardo Maldonado") was born in Brooklyn, New York City of Puerto Rican parents. They lived in Hoyt Street. Ray's father, Pacifico Maldonado, was an accomplished guitarist in his native Bayamón, and as such was the Maldonado family's early musical influence.
Ray's parents had him take lessons and he started to play the piano when he was only seven years old. His life-long partnership with Bobby Cruz started five years later in 1957 when Ray played bass in a group led by Cruz. This combination was the beginning of one the greatest salsa duos in the salsa music industry.
He attended the Brooklyn Conservatory of Music, the famed High School of Performing Arts, and the Juilliard School of Music. This experience served to further develop and refine his musical training. In addition, he became well versed in various Latin music genres which were popular at that time the Guajira, the Cha-cha-cha, the Bolero and others.
[edit] Musical career
Ray left Juilliard in 1963, after just one year. He made this choice so that he could get organized and dedicate himself to his own band. This was a year after Cruz joined in as the lead vocalist. In 1964, he signed with Fonseca Records and released his debut album, Ricardo Ray Arrives-Comején. The album included the outstanding hit songs "Mambo Jazz", "Comején", "Viva Richie Ray", "El Mulato", "Suavito", "Pa' Chismoso Tú" and the bolero-cha "Si Te Contaran". The famous pair recorded some of their finest work during the period that they were with the Fonseca label.
In 1966 The group switched to the Alegre label, coinciding with the arrival of the boogaloo, Ray recorded nine albums with Alegre. He was a part of Tico/Alegre Records until 1970, and during that time he produce such hits as "Richies Jala Jala", "Mr. Trumpet Man", "Señor Embajador", "Aguzate" (Gold Record Award winner), "Amparo Arrebato", "Traigo De Todo", and the Spanish version of Frank Sinatra's "My Way", called "A Mi Manera". This song went on to be the most radio played Spanish version of "My Way" during 1970; the song also won the duo a Gold Record Award.
While with Alegre, Ray also recorded two albums for UA Latino. These included "Viva Ricardo" and "El Diferente" (Gold Record Award winner). The band scored a number one hit with the song "Colorín Colorado", while "El Diferente", "Feria En Manizales" and "Ay, Compay!", became number one hits in Latin America.
In 1968, Ray and Cruz had been together professionally for five years, had written most of their songs together, and for the first time in the album Los Durísimos, they shared equal billing in an album cover. This album had such hits as "Agallú", "Pancho Cristal", "Adasa", and "Yo Soy (Babalú)". Since then the band became officially known as Richie Ray and Bobby Cruz.
[edit] The 1970s
In 1970, Ray and Cruz left New York and moved to San Juan, Puerto Rico, for professional and personal reasons. They opened a nightclub, but managing it required too much of their time. Shortly after, they decided to sell the establishment to focus on their artistic commitments. That same year, Ray and Cruz signed with the new Vaya Records label, a subsidiary of Fania Records.
In 1971, they released "El Bestial Sonido de Ricardo Ray y Bobby Cruz", the first ever release on Vaya Records, and was one of their better albums on that label. The album went gold, and it took them to the top of the charts once again. It included hits such as Juan Manuel Serrat's "Señora", the bolero version of the Gardel/Lepera tango "Volver", and the Rubén Blades composition "Guaguancó Triste", as well as the salsa version of James Taylor's "Fire And Rain". This album also included his most impressive and well-known hit called "Sonido Bestial", which has a Latin-flavoured arrangement of Chopin's Etude 10/12, and is considered a classic masterpiece of salsa music.
In 1974 The Dynamic Duo won the title "The Kings Of Salsa" at the "Coliseo Roberto Clemente" in San Juan, Puerto Rico. For a period of 12 hours, 24 bands had competed for the coveted title, and Ray and Cruz emerged triumphant. Contracts started to pour in, requests for interviews and TV appearances, and even movie offers.
[edit] Born-again Christian
All of these things spoke of success, but Ray suffered strong emotional problems during this time. The despair he felt led him into alcohol and drug abuse. He felt tormented by his addictions, however, and wanted to change his life.
In August of that year, he surprised many when he announced that he had become a born-again evangelical Christian. The professed experience radically changed his career and life. At first, Cruz refused to accept Ray's change, but within four months Cruz himself became a convert.
In spite of these dramatic changes, Ray & Cruz fans continued to support the duo. The 1976 release of Reconstrucción went "Gold" (their ninth). The album included their smash hit single "Juan En La Ciudad". They followed with Viven in 1977, De Nuevo 'Los Durísimos' Again (1980), and their final release on Vaya Records, Inconfundibles (1987) in which Ray and Cruz announced their retirement from Salsa music. All of these were successful releases.
Richie Ray and Bobby Cruz lost most of their fans and found opposition among the members of their own faith when they suggested the idea of Christian Salsa. They stood their ground, however, and little by little, they started to regain the confidence of their fans and fellow Christians. They abandoned secular salsa and recorded salsa with a Christian message, reworking many of their worldly hits into religious themes. Some of these include "El Sonido La Bestia", "Más Que Vencedores", and "Aguzate". They also created some new ones, like "Los Fariseos", "Timoteo", and "Sipriano"
The sincerity of their Christian beliefs was not just conveyed in their music. Both Ray and Cruz are pastors, and they have founded more than 20 churches throughout Puerto Rico and the United States. In addition, Ray founded the Salvation Records label as an outlet for Christian music. Then, he continued his music career although his long-time friend, Cruz, had retired. During "retirement", however, both Cruz and Ray released albums with previously recorded numbers and with other bands or singers. Richie Ray is now a pastor in Cape Coral under the CLM fellowship.
In 1991, Ray and Cruz reunited for successful concert appearances in San Juan and again in New York. They reunited again in 1999 for the "Sonido Bestial" concert in the Rubén Rodríguez Coliseum located in Bayamón, they sang some of their early hits together with some of their religious songs and the concert was recorded live. The outcome was so impressive that they were offered a contract by Universal Records, the recording was selected as one of the best recordings of 1999 and helped bring the pair back into the limelight of the Puerto Rican music scene. The pair has continued active in the music scene since.
[edit] Later years
In 2000, Ray and Cruz held a series of concerts that were completely sold out at the Antonio Paoli Hall of the Luis A. Ferre Center of Beautiful Arts in San Juan. They were also honored with a National Day of Salsa in Bayamón. In 2002, Richie Ray and Bobby Cruz were inducted into the International Latin Music Hall of Fame.
In 2003, Ray recorded "Al Ritmo del Piano" for Warner Music Latina. Ray and Cruz continue to make appearances in places such as the Copacabana Club in New York. In December 2005 Ray & Cruz release a totally *new* album under the label Tropisounds the album was recorded in Colombia under the musical direction of its producer by Diego Galé, Que Vuelva La Música has 14 new tracks "El gallo y la vaca", "La bailarina", "Quim Bon Bori", "Vive contento", "Soy boricua" y "Va a llover" are just a few of the titles. The Album was an instant hit in Colombia and Latin America. "El gallo y la vaca" (25th Nov) and "Salsa La Celebracion" (7th two weeks in April) appeared in the top 100 salsa songs charts in North America through 2006. In 2006 Richie Ray and Bobby Cruz won a Latin-Grammy Award for "Lifetime Achievement", this year they also recorded a CD and DVD titled "A lifetime of hits" (live at Centro de Bellas Artes, San Juan, Puerto Rico) which was nominated for a Latin Grammy in the "Best Contemporary Tropical Album" category.
Ray currently lives in Florida with his wife Angie Ray and besides being musically active, he is also busy attending the churches which he and Cruz found in the United States, Caribbean and Latin-America. Ricardo "Richie" Ray is still considered along with Eddie Palmieri and Papo Lucca one of the best and more influential pianists of all times in Salsa music. On August 16, 2008, Richie Ray & Bobby Cruz celebrated 45 years in the musical business, with a concert at José Miguel Agrelot Coliseum.[1] Prior to the presentation, the duo noted that the concert would last at least three hours.[2] The duo has expressed that this might be their last "big scale concert".[3]
Lo Atara La Arache
Ricardo Ray Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
A la, la le lo le la, la lo, lo, lo, lo, lo
O lo la, la, la, la, la, la, la, la
Oiga mi socio, oiga mi cumbila le voy a encama calo
A la, la le, le lo le lo la
En filame pa'los Anforo, como le gilo Este butin
¡Guaguancó!
A la, la le, le lo le lo la
Oiga mi socio, oiga mi cumbila le voy a encama calo
Le lo la o lo, lo, lo, lo
En filame pa'los Anforo, como le gilo Este butin
¡Guaguancó!
Cuando mi me era un chiquitín y ya empezaba a roda
Pachito un jamelgo yambio y no me pudo tira pa' pa' allá, oyeló
A la, la le lo le la, la lo, lo, lo, lo, lo
O lo la, la, la, la, la, la, la, la
Y el niche que facha rufa aunque diñe bien su yira
Cuando van a la tira lo atara la arache
El niche que facha rufa
Eeh cuando consiguen en coche
Lo atara la arache
Aunque diñe bien su yira
Lo atara la arache
Y que ina que ina la noche
Lo atara la arache
El niche que facha rufa
Lo atara la arache
El niche que facha rufa
Eeh si facho un jamel guañanbio
Lo atara la arache
Mira como lo, mira como lo, mira como coge la noche
Lo atara la arache
Eeh, Caina, caina lo coge la noche
Lo atara la arache
El negro que monta coche
Lo atara la arache
Lo atara la arache
Pero belen, pero belén lo coge la noche
Lo atara la arache
El negro caballero y su coche
Lo atara la arache
Eeh, Caina, caina lo coge la noche
Lo atara la arache
Yembere cai, yembere cai, yemberé caina la noche
Lo atara la arache
Aunque diñe bien su yira
Lo atara la arache
Pero maina, maina lo coge la noche
Lo atara la arache
Yira bacosó, yira bacosó, bacosó
Lo atara la arache
El negro, negro que monta coche
O lo la, la, la, la, la, la, la, la
Oiga mi socio, oiga mi cumbila le voy a encama calo
A la, la le, le lo le lo la
En filame pa'los Anforo, como le gilo Este butin
¡Guaguancó!
A la, la le, le lo le lo la
Oiga mi socio, oiga mi cumbila le voy a encama calo
En filame pa'los Anforo, como le gilo Este butin
¡Guaguancó!
Cuando mi me era un chiquitín y ya empezaba a roda
Pachito un jamelgo yambio y no me pudo tira pa' pa' allá, oyeló
A la, la le lo le la, la lo, lo, lo, lo, lo
O lo la, la, la, la, la, la, la, la
Y el niche que facha rufa aunque diñe bien su yira
Cuando van a la tira lo atara la arache
El niche que facha rufa
Eeh cuando consiguen en coche
Lo atara la arache
Aunque diñe bien su yira
Lo atara la arache
Y que ina que ina la noche
Lo atara la arache
El niche que facha rufa
Lo atara la arache
El niche que facha rufa
Eeh si facho un jamel guañanbio
Lo atara la arache
Mira como lo, mira como lo, mira como coge la noche
Lo atara la arache
Eeh, Caina, caina lo coge la noche
Lo atara la arache
El negro que monta coche
Lo atara la arache
Lo atara la arache
Pero belen, pero belén lo coge la noche
Lo atara la arache
El negro caballero y su coche
Lo atara la arache
Eeh, Caina, caina lo coge la noche
Lo atara la arache
Yembere cai, yembere cai, yemberé caina la noche
Lo atara la arache
Aunque diñe bien su yira
Lo atara la arache
Pero maina, maina lo coge la noche
Lo atara la arache
Yira bacosó, yira bacosó, bacosó
Lo atara la arache
El negro, negro que monta coche
The lyrics of Ricardo Ray's "Lo Atara La Arache" is primarily in Spanish and it is a fast-paced song that is characterized by the use of percussion instruments such as the guaguancó, which is a Cuban rhythm that is commonly used in Latin America. The song also comprises call-and-response phrases that are typical of African musical traditions.
The first stanza of the song mentions the singer's intention to encamarse calo or "find a lover" and then proceeds to speak about how they will dance filame, a rhythmic style of dancing. In the second stanza, the singer speaks about their childhood experience and how Pachito, a horse they rode, could not take them where they wanted to go. The third and fourth stanzas mention a man who is well-dressed and owns a car but is still restricted by curfew rules enforced by the local police. The song concludes by repeating the phrase "lo atara la arache," which in Cuban slang means being caught by the police or being stuck in poverty.
Overall, the song is a commentary on the various struggles and hardships that people encounter in life, including the restrictions imposed by societal norms and economic challenges. It is a vibrant example of Latin American music, and its lyrics continue to resonate with audiences today.
Line by Line Meaning
A la, la le lo le la, la lo, lo, lo, lo, lo
Repeating a meaningless phrase
O lo la, la, la, la, la, la, la, la
Repeating a meaningless phrase
Oiga mi socio, oiga mi cumbila le voy a encama calo
Listen my friend, listen to my song, I will captivate you with my rhythm
En filame pa'los Anforo, como le gilo Este butin
In line for the Anforo, like Este Butin tells us to do
¡Guaguancó!
Latin dance rhythm
Cuando mi me era un chiquitín y ya empezaba a roda
When I was little and already starting to dance
Pachito un jamelgo yambio y no me pudo tira pa' pa' allá, oyeló
Pachito tried to match my moves but couldn't, listen
Y el niche que facha rufa aunque diñe bien su yira
And the guy who looks tough even though he dances well
Cuando van a la tira lo atara la arache
When they go to the street party, they will be tied by the arache (rope)
Eeh cuando consiguen en coche
When they get a car
Pero belen, pero belén lo coge la noche
But Belen, oh Belen, the night catches her
El negro caballero y su coche
The black gentleman and his car
Yembere cai, yembere cai, yemberé caina la noche
Native American rhythm, meaning the night comes
Yira bacosó, yira bacosó, bacosó
Non-sense phrase, could be a dance move
El negro, negro que monta coche
The black man who drives a car
Writer(s): H. Gonzalez
Contributed by Aaron E. Suggest a correction in the comments below.
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@BeaOM
Yoruba 100%
“Lo Atará la Arache : Lo atrapara la noche” al lado de “Cabo E”, “Yo soy Babaloo”, “Agayú Solá” y otros más hacen parte de una gran selección de canciones compuestas e interpretadas por Ricardo Ray en el cual tuvo influencia de África más específicamente de bantú, abacua en LO ATARÁ LA ARACHE compuesta por H.Gonzales se usan diversas palabras del remanente lingüístico africano en Cuba y muy especialmente de la lengua efík llevada por los carabalí a Cuba.
La la la, le lo le la, la lo lo, lo lo lo lo la, la la la, la la la la
Oiga mi socio. Oiga mi cumbila
le voy a enkamá kalo
A la la le lo o lo lo la
enfílame pa’los ankoro
como legislo este butin.
Coro: ¡ Guaguancó !
Cuando mi era tiquiti
y ya empezaba a rodá
Fachitun Jamergo ñampi
y no me pudo tira’
pa’ lla’, pa’ ll’a…óyelo
a la la le, lo le la, la lo lo, lo lo lo,
Y el niche que facha rufa
aunque diñe bien su yira
cuando va a gana a La Pira
lo atará la arache
Eeee ka ina, ka ina lo coge la noche
Yembere ka i…, yembere ka i…
Yembere ka ina la noche
Nina Ba Kosó, nina Ba Kosó,
nina Ba Kosó, Ba Kosó
Mezcla de efik, bantú, abacua y español se conjuga esta magistral pieza que podemos escuchar el Boogaloo de Ricardo Ray en su esencia más pura, esta canción fue lanzada en el año de 1967 en el álbum Jala Jala y Boogaloo I, este disco lanzado en el mismo año que los Beatles grabaron su Sargento Pimienta y en una habitación cercana de los estudios Abbey Road, Pink Floyd grababa su primer álbum (The Piper at the Gates of Dawn)
Es un tema de estadero de sitios duros, gran clásico que, hay que transportarse para entenderlo jeje!
La primera estrofa traduce:
“amigo mío óyeme, estoy saludando con reverencia al Secreto, llévame y guíame hacia los tambores porque yo tengo el poder y el mérito de hablar –cantando- con mucha precisión y correctamente…como me corresponde”.
La segunda traduce:
Bobby se refiere a cuando él era aún joven y comenzaba a andar por la vida Fachitum Jamergo murió y no lo pudo llevar (tirar) para allá –a algún lugar, o hacia una enseñanza o aprendizaje específico, posiblemente hacia la iniciación en la sociedad secreta- …ponle atención: óyelo:
La tercera traduce:
Se puede interpretar esta estrofa “Y el negro que está en la tierra o que vive en la tierra, aunque lleve atado o asegurado muy bien su dinero cuando va a ganar –a ‘jugar’ el plante Abakuá – a La Pira, lo cogerá o atrapará la noche” …
Y por último traduce:
Es claro, “al negro que vive o está en la Tierra, ( y en el juego o plante Abakuá), con el carnero
refiriéndose al chivo mborísiguiendo el trazo sagrado, la noche lo cogerá y a pesar de que asegure bien su dinero… es menester buscar un lugar para dormir o resguardarse acampando”. Y la canción sigue reafirmando con claro fervor y frenesí como leitmotiv que al “niche lo cogerá la noche”, intercalando otros versos que canta Bobby con el ascendente afrocubano:Eeee ka ina, ka ina lo coge la noche
Nina Ba Kosó, Ba Kosó es nombre de Changó y proviene de Oba-Kuso, el Rey de Kuso, nina, se refiere al Iná Iná uno de los sobrenombres de del “Dios del fuego”: Xangó L’Orixá, muy posiblemente se está llamando a la protección de Changó.
🎼🎵💙 Viva la salsa!
@hagentrone84
la letra de la canción está en la lengua del culto abakuá, una sociedad secreta sólo para hombres, y es una mezcla de español con abundancia de lengua africana con palabras del caló gitano y del lenguaje de los ladrones ("germanía"), siendo que los dos últimos provienen de la España de Cervantes, el 1600. Hoy en día es imposible conseguirse a alguien que lo entienda hoy en día y, aun así, no te la quieren traducir. Yo soy especialista en el XVII y llevo una semana en esto.
@darlingaragon2445
Gozaaaa. Q temota. Tengo 48. Desde q estaba muchachita lo escuho en cas x mi padre.
@joseluissarmientodeleon4481
Amigo si consigue la tradición subala
@gradalibre6404
Tremendo
@LizarazoAlberto
Tiene sentido lo que dice.
@luzelenagarzon7883
Muchas GRACIAS, por la informacion 👍👏
@user-pv5nx3eb6z
Éste número es una salsa clásica de la buena! Definitivamente de los DURISIMOS Richie Ray y Bobby Cruz.
@user-pv5nx3eb6z
Muchas gracias. Bendiciones.
@melvingonzalez8960
Puerto Rico, land of the best salseros!
@ulpianomora1044
Lo atara la arache =lo ataja la noche