The history of La Sonora Ponceña is the history of Quique Lucca, (Yauco, Puerto Rico, 12 December 1912 - 9 October 2016). In 1928, when he was 16 years old, his family moves to Ponce, Puerto Rico and Quique starts to work as an auto mechanic and starts playing the guitar. In 1932 Quique meets Angélica Quiñones, the future mother of his children, Zulma, Papo y Wanda. In 1944 Quique puts together a band called "El Conjunto Internacional", including three instrumentalists: tumbadora, bongó, vocalist and Quique Lucca at the guitar and second voice. Later, Antonio "Tato" Santaella joined, playing the bongó. On 10 April 1946, Enrique Lucca Jr. ("Papo") was born; he would later become the musical director of "La Sonora". In fact, in 1951, Papo surprised his father and the other members of the "Internacional" band when, at only 5 years old, he joined a band practice and started playing the tumbadora on Tito Puente's "Ran Kan Kan".
After the band had been inactive for a year, Quique re-established it in 1954 and renamed it "Conjunto Sonora Ponceña". His childhood friend Antonio "Tato" Santaella played bajo de cajón. On 20 April of that year the band plays at its first official dance. In 1956, Vicentivo Morales, joins the band as its first pianist. Later that year, Quique brings young Papo into the band as a pianist. In November 1957, Papo makes its official debut during a dance on the northern shore of the Island. In 1958, La Sonora Ponceña records its first 78 RPM with Avelino Muñoz as pianist. The 78 RPM contained No puede Ser on one side and Tan Linda que Era on the reverse side. Towards the end of 1958, the band goes into recording mode and includes 12-year-old Papo Lucca. The band included its first official vocalist Charlie Martínez. Later on, vocalists Felipe and Davilita would also record bolero-mambo themes such as Noche de Locura. In September 1960, the group played in New York. The group's main attraction was its 12-year-old pianist, Papo Lucca. In 1968 the group started its official recordings on 33 RPM with the song Hacheros Pa' Un Palo.
In 1974, singer Humberto "Tito" Gómez leaves the band after 7 years and 6 recordings. Together with Joe Rodríguez and Mickey Ortíz, Humberto "Tito" Gómez formed La Terrífica. Likewise, in 1977 Edgardo Morales, who played the timbal leaves the band after 7 years and 7 recordings and joins El Gran Combo de Puerto Rico. In 1978 singer Luis Guillermo "Luigui" Texidor leves the band after 10 years and 10 recordings to join Bobby Valentín's Orchestra. In 1982 trumpetist Humberto Godineaux leaves the band after 4 years a 6 recordings. Singer Yolanda Rivera also left the band after 7 years and 8 recordings. In 1985, singer Miguel Ortíz retires from the band after 11 years and 12 recordings. On 28 May 1986, the band losses singer Alberto "Toñito" Ledée in a car accident. In 1987, trumpetist Heriberto "Ayatollah" Santiago also retires having 7 years and 5 recordings to his credit. In July 1989, long-time bass player Antonio "Tato" Santaella retired after 21 recordings. Tato played without ever using any musical scores, and singing entirely "by ear". A year later, in 1990, another bass player Efraín "Frao" Hernández retired from the band after 10 years and 7 recordings. In 1990, bongó player Angel Hernández also retired after 14 years and 13 recordings. In 1991, tumbadora player Vicente "Pequeño Johnny" Rivera retires after 16 years with the band. He had performed on 15 of the band's recordings. In 1993, long-time trumpeter Ramón "Tony El Cordovés" Rodríguez retired after 24 recordings. This was followed by the retirement of trumpeter Freddie Del Valle, who had played with the band for 6 years and had participated in 5 recordings.
In 1993, the band played at the Magno Orchestra Festival in Barranquilla, Colombia. The band was awarded the “Congo de Oro” award, given to the best international band. And in October 1994, Sonora Ponceña celebrated its 40th anniversary with a festival at Estadio Juan Ramón Loubriel in Bayamón, Puerto Rico. The band would later also play at the Madison Square Garden to bring its celebration to the United States. In 1995, the band did a reunion recording with Luis Guillermo "Luigi" Texidor and Yolanda Rivera who had retired 19 and 14 years earlier, respectively. That same year, they sang in Paris, France, and at the Desfile de la Hispanidad (Hispanic Parade) in Zaragoza, Spain. In 1996 the band plays for the first time in Mexico at the Boca del Río, Veracruz, Mexico, carnival.
In 2000, Sonora Ponceña celebrated its 45th anniversary at the Tito Puente Amphitheater at the Centro de Bellas Artes in San Juan, Puerto Rico and at the Teatro La Perla in Ponce. They also played in Caracas, Venezuela as part of this 45th anniversary celebration. In the years following 2000, La Sonora Ponceña participated in a large number of events throughout Puerto Rico, including Fiestas Patronales, private parties, graduation parties, and corporate Christmas and holiday parties. In the following years, the band also made presentations in Orlando, Jacksonville, Miami, Washington, Connecticut, Philadelphia, Chicago, New Jersey, Panamá, Perú, England, Switzerland and Italy.
For its 50th year anniversary (2004), the band played at Coliseo Rubén Rodríguez, in Bayamón, Puerto Rico. The 12,000 spectators made the show a complete sellout on its presentation day, February 21. The show was broadcast via radio and television.
During its 50th anniversaery show at Coliseo Rubén Rodríguez, the band was officially recognized by the Legislature of Puerto Rico for its musical contributions.
The 23rd “Día Nacional de la Salsa”, celebrated in Carolina, Puerto Rico on 16 March 2004, was dedicated to Don Quique, Papo and la Sonora Ponceña.
In Ponce there is a street, in Urb. Estancias del Golf, named after Quique Lucca.
The 2003 "Feria de Turismo", celebrated at Complejo Turístico “La Guancha” in Ponce was dedicated to Don Quique, Papo and la Sonora Ponceña.
Omele
Sonora Ponceña Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
A na a na
Yo siento el ritmo de un tambor, yo siento de un tambor
Ay que ritmo para guarachar, ay que ritmo para guarachar
Si cuando suena ese tambor, si cuando suena ese tambor
Todo el mundo dice asi... asi... asi
Ehh omele con...
(Omele para gozar)
Omele oye para guarachar
(Omele para gozar)
Cuando yo te canto vas a bailar
(Omele para gozar)
Omele con... oleme con de yemaya
(Omele para gozar)
Te estoy llamando pa' que vengas conmigo pa'l solar
(Omele para gozar)
A los niches le gusta el sonido de mi timbal
(Omele para gozar)
Omele omele omele omele omele omele
(Omele para gozar)
Esta noche bate vamos a gozar
(Omele para gozar)
Cuando yo me encuentro con mi mami eso es pa' tumbar
We, ave maria que mucho se goza
Come johnny... el hijo de ochoa
Eloiza
Fuego fuego con mi nene
Tierra!
Acara! oye!
Como estoy gozando
(Omele para gozar)
(Omele para gozar)
(Omele para gozar)
Oye para esa gente que son locos
Con los cueros, lo que traigo es salsa
(Omele para gozar)
Omele omele omele
(Omele para gozar)
Suena el cuero pra cu pra cu pra
(Omele para gozar)
A los que le gusta mucho los cueros quiero cantar
(Omele para gozar)
Omele omele omele omele
(Omele para gozar)
(Omele)
(Omele)
(Omele)
(Omele para gozar)
Omele omele
(Omele para gozar)
A la gente buena de mi solar
(Omele para gozar)
Omele con, omele con de yemaya
(Omele para gozar)
Mira como estoy cantanto que es para gozar
(Omele para gozar)
Cuando yo vengo contento vacila juanpachanga
(Omele para gozar)
(Omele para gozar)
(Omele para gozar)
Zas!
(Omele para gozar)
Zas!
(Omele para gozar)
(Omele para gozar)
(Omele para gozar)
Omele omele omele omele
(Omele para gozar)
A la gente de mi barrio quiero saludar
(Omele para gozar)
Y es que cuando yo vengo contento vacilan todos
(Omele para gozar)
Omele omele omele omele
(Omele para gozar)
Te estoy llamando pa' yemaya
(Omele para gozar)
Oye vamos a gozar
(Omele para gozar)
Te estoy llamando no te quedes por alla
Zas!
Acara!
We!
The song "Omele" by Sonora Ponceña is an upbeat salsa tune that celebrates the infectious rhythms of the drumbeat. The lyrics describe the feeling of the drumbeat and how it inspires people to dance and have fun. The repetition of the phrase "Omele para gozar" (Omele to enjoy) emphasizes the idea that the song is meant to be a joyful and lively experience. The lyrics also mention Yemaya, the Yoruba goddess of the sea, who is often associated with fertility and motherhood. The song encourages listeners to join in the celebration as they call upon Yemaya for her blessings and guidance.
Line by Line Meaning
A na na na a na nia
Various sounds to introduce the song
A na a na
Additional sounds to create rhythm
Yo siento el ritmo de un tambor, yo siento de un tambor
I can feel the beat of a drum, the beat of a drum is what I feel
Ay que ritmo para guarachar, ay que ritmo para guarachar
What a rhythm to dance the Guaracha, what a rhythm to dance the Guaracha
Si cuando suena ese tambor, si cuando suena ese tambor
If when that drum sounds, if when that drum sounds
Todo el mundo dice asi... asi... asi
Everyone says like this... like this... like this
Ehh omele con...
Hey, omele with...
(Omele para gozar)
(Omele to have fun)
Omele oye para guarachar
Omele, listen to dance the Guaracha
(Omele para gozar)
(Omele to have fun)
Cuando yo te canto vas a bailar
When I sing to you, you're going to dance
(Omele para gozar)
(Omele to have fun)
Omele con... oleme con de yemaya
Omele with... listen to Yemaya's song
(Omele para gozar)
(Omele to have fun)
Te estoy llamando pa' que vengas conmigo pa'l solar
I'm calling you to come with me to the party
(Omele para gozar)
(Omele to have fun)
A los niches le gusta el sonido de mi timbal
The youngsters like the sound of my timbales
(Omele para gozar)
(Omele to have fun)
Omele omele omele omele omele omele
Omele, omele, omele, omele, omele, omele
(Omele para gozar)
(Omele to have fun)
Esta noche bate vamos a gozar
Tonight we're going to have fun with the congas
(Omele para gozar)
(Omele to have fun)
Cuando yo me encuentro con mi mami eso es pa' tumbar
When I meet my girlfriend, it's time to dance wildly
We, ave maria que mucho se goza
Wow, Ave Maria how much fun we're having
Come johnny... el hijo de ochoa
Come Johnny, the son of Ochoa
Eloiza
Eloiza
Fuego fuego con mi nene
Fire fire with my honey
Tierra!
Earth!
Acara! oye!
Wow! Hey!
Como estoy gozando
How much I'm enjoying myself
(Omele para gozar)
(Omele to have fun)
(Omele para gozar)
(Omele to have fun)
(Omele para gozar)
(Omele to have fun)
Oye para esa gente que son locos
Listen to those crazy guys
Con los cueros, lo que traigo es salsa
With the drums, what I bring is Salsa
(Omele para gozar)
(Omele to have fun)
Omele omele omele
Omele, omele, omele
(Omele para gozar)
(Omele to have fun)
Suena el cuero pra cu pra cu pra
The drums sound pra cu pra cu pra
A los que le gusta mucho los cueros quiero cantar
For those who love the drums, I want to sing
(Omele para gozar)
(Omele to have fun)
Omele omele omele omele
Omele, omele, omele, omele
(Omele para gozar)
(Omele to have fun)
(Omele)
(Omele)
(Omele)
(Omele)
(Omele)
(Omele)
(Omele para gozar)
(Omele to have fun)
Omele omele
Omele, omele
(Omele para gozar)
(Omele to have fun)
A la gente buena de mi solar
To the good people of my neighborhood
Omele con, omele con de yemaya
Omele with, listen to Yemaya's song
(Omele para gozar)
(Omele to have fun)
Mira como estoy cantanto que es para gozar
Look how I'm singing to have fun
Cuando yo vengo contento vacila juanpachanga
When I come feeling happy, Juanpachanga dance
(Omele para gozar)
(Omele to have fun)
(Omele para gozar)
(Omele to have fun)
(Omele para gozar)
(Omele to have fun)
Zas!
Zas!
(Omele para gozar)
(Omele to have fun)
Zas!
Zas!
(Omele para gozar)
(Omele to have fun)
(Omele para gozar)
(Omele to have fun)
Omele omele omele omele
Omele, omele, omele, omele
(Omele para gozar)
(Omele to have fun)
A la gente de mi barrio quiero saludar
I want to greet the people from my neighborhood
Y es que cuando yo vengo contento vacilan todos
And it's because when I come feeling happy, everyone dances
Omele omele omele omele
Omele, omele, omele, omele
(Omele para gozar)
(Omele to have fun)
Te estoy llamando pa' yemaya
I'm calling you to Yemaya's song
(Omele para gozar)
(Omele to have fun)
Oye vamos a gozar
Hey, let's have fun
Te estoy llamando no te quedes por alla
I'm calling you, don't stay over there
Zas!
Zas!
Acara!
Wow!
We!
Hey!
Contributed by Ava H. Suggest a correction in the comments below.
@luckylouie522
DON QUIQUE LEADER
PAPO LUCCA PIANO
RAMON TONY RODRIGUEZ PETA
LUIS R. CUCHY CASTRO PETA
DELFIN PEREZ PETA
ANGEL L. HERNANDEZ BONGOS
JOHNNY VICENTE ROMERO CONGAS
RAYMOND VEGA TIMBAL
TATO SANTAELLA BASS
LOUIE RAMIREZ - LOUIS PERICO ORTIZ
LUIGY TEXIDOR VOCALS
YOLANDA RIVERA VOCALS
MIGUEL ORTIZ VOCALS
TITO ALLEN CORO
@luckylouie522
DON QUIQUE LEADER
PAPO LUCCA PIANO
RAMON TONY RODRIGUEZ PETA
LUIS R. CUCHY CASTRO PETA
DELFIN PEREZ PETA
ANGEL L. HERNANDEZ BONGOS
JOHNNY VICENTE ROMERO CONGAS
RAYMOND VEGA TIMBAL
TATO SANTAELLA BASS
LOUIE RAMIREZ - LOUIS PERICO ORTIZ
LUIGY TEXIDOR VOCALS
YOLANDA RIVERA VOCALS
MIGUEL ORTIZ VOCALS
TITO ALLEN CORO
@pedrominaya9204
Viva mi sonora ponceña soi de quisqueya la bella pero en cien años más nace otra sonora ponceña se lo dice el todo saaalllsaaaa que biiiiiieeennnnnn.
@lopz33
Un día como hoy, 8 de septiembre de 1957, nació en Nueva York, EEUU, el percusionista y líder de agrupación de ascendencia puertorriqueña Vicente Rivero Irizarry, mejor conocido como el Pequeño Johnny. Maestro, felicitaciones. 🎵🪘🎶🎉🎂🎊😀😀😀😀😢
@yenzelllopez-sjucoquispott2468
Que la juventud aprenda a variar los géneros musicales, esto no se puede quedar atrás
@jorgeandresroseroecheverry1994
💎🎵🎵Siempre va estar presente la salsa 😎🔥🔥🔥🔥
@tatacortes5806
Tengo 27 años y crecí con una familia 100% salsera y caleña , en mi casa está melodía no puede faltar 🔥🔊🔊🔊🔊🔊
@MiguelReyes-cz9il
Lamentablemente a la jubentud no le importa
@kevinvelez6341
Tengo 25 y amante a la salsa mucho más que a cualquier otro género
@mirianruis4134
I'm telling you
@omarvicentechacoa6175
Soy Omar Chacoa salsero fanático de de Ponceña