Artist: Joe Bataan
Genre(s):
R&B: Soul
Discography:
Anthology
Year: 2006
Tracks: 16
Call my name
Year: 2005
Tracks: 8
Latin Funk Brother
Year: 2002
Tracks: 19
Subway Joe
Year: 2000
Tracks: 8
Gypsy Woman
Year: 1999
Tracks: 9
Salsoul
Year: 1973
Tracks: 11
No recording creative person has more than impeccable street certificate than Joe Bataan, the originator of the New York Latin Soul style that paralleled Latin bugalu and anticipated discotheque. His melodious experience began with street quoin doo-wop in the fifties, and came to include one of the first base rap music records to hit the charts, 1979's "Rap-O, Clap-O". In between these milestones, he recorded definitive albums like St. Latin's Day Massacre, a perennial favourite in the salsa market, Salsoul, which gave the book label its call and helped spark the national explosion of urban dance medicine, and Afrofilipino, which included one of the very earliest New York disco hits, an subservient version of Gil Scott Heron's "The Bottle".
Natural 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 melodious influences. His music life history followed a couple of stints in Coxsackie State Prison. Self taught on the piano, he organized his number one striation in 1965 and scored his first-class honours degree recording success in 1967 with "Gypsy Woman" on Fania Records, . The tune was a rack up with the New York Latin market despite the English lyrics sung by Joe, and exemplified the nascent Latin Soul reasoned. In early expectancy of the disco music formula, "Romani Woman" created dance muscularity by alternating what was basically a pop-soul tune with a damp featuring twofold timed hired man claps, . Joe would take this inclination regular farther on his influential Salsoul, which amalgamated funk and latin influences in slick still soulful orchestrations. Salsoul remains influential as a uncommon groove craze item, simply pointed to the future at the time of its discharge. The LP incarnate the artist's highly consider and culturally cognisant melodious construct. Bataan theorized the '70s next large thing as a hybrid: an Afro Cuban beat section playing Brazilian influenced patterns over orchestral casimir Funk. In many shipway, his vision was on the money, though to the highest degree of the money would go to others, and mainstream stardom would duck him. He did, however, get in on the strand floor of the young vogue as an early hit shaper. His biggest commercial-grade go was a Salsoul production released under the Epic umbrella, and promoted to the new disco music securities industry as Afrofilipino, which included 1975's "The Bottle", a much anthologized hellenic that drives an R&B horn arrangment with a unforgiving pianoforte montuno.
Always in tinct 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 than successful in Europe than in the States, and is remembered as rap's debut in the European marketplace. Nevertheless, his legacy remains his granulose and realistic Latin psyche lyrics, his ego identification as an "Ordinary bicycle Guy", and his highly personal and prophetical unification of Latin and psyche influences.
