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[clapping]

We're continuing talking with José Feliciano, a versatile musician that has survived many genres and many generations... And who's keeping us entertained, not only with his music and the stories, but with everything.

José, tell us a little about this guitar. You told me that you have like 30 guitars. Which one is this?

Well, I guess this is number 31.

This was made by a friend of mine in Puerto Rico. His name is Héctor Rivera. Sounds beautiful.

Sounds pretty.

Good guitar.

Can you play something for us with this guitar?

Well, in what genre?

Let's see. What genre? Let's see? Let's ask the audience. What genre?

Bachata.

Bachata? Well... Eres para mí como el agua que le da vida a una flor, eres para mí como mi primer amor. En ti yo encontré el camino hacia el amor y la verdad y que durará toda una eternidad. Eres la luz que me ilumina, eres el sol de mi mañana, eres el aire que respiro por mi ventana.

Very pretty, thank you.

[clapping]

Very beautiful. Hey, and with all these genres that you play, do you have a favorite?

Well, I always liked jazz, but also rock'n roll because when I arrived in New York, in 1950, I was five years old, and I used to listen to the music of that time, like Perry Como, American music, Latin music, too. Singers like Daniel Santos, Tito Rodríguez, La Sonora Matancera, Celia Cruz, Bobby Capó, Olga Guillot, Tito Rodríguez were some of my favorites. The Trio San Juan of Johnny Albino, the Trío Los Panchos, Los Tres Ases, Los Hermanos Cantoral they were...

Every kind.

Yes, I used to listen everything, but the music that I liked the most for those times was the American music, rock'n roll music, like Frankie Lymon and The Teenagers, Dion and The Belmonts, I liked The Drifters, I loved all of those groups. When my dad went to work, and I came home from school, I would turn on the radio or the TV. And the program that I watched was American Bandstand with Dick Clark.

Yes

So this was my music school, because when I was learning how to play the guitar at the age of 12, I played along with that television program. I used to believe that if I could support those artists on television, I was a professional. That's a boy thing, a crazy boy thing, but that was what I thought.

Hey, can you play a couple of lines from that time? Do you remember something?

Well, there was...

There is a rose in Spanish Harlem A red rose up in Spanish Harlem It is a special one, it's never seen the sun, It only comes out when the moon is on the run. And all the stars are gleaming I'm going to pick that rose and watch her as she grows in my garden

[clapping]

Very beautiful. It seems that our audience has some questions for you.

Ok.

What does José Feliciano recommend to youth people that want to begin a career in music?

Well, my answers is... They have to give it all they've got. They have to sacrifice a lot. They have to be serious about what they do, they have to have a lot of determination, not only... be dedicated to music, but they must also look for another career, just in the case things don't go well for them. That's my advice.

And now we have another question here: Throughout all of your adventures, what has been the most difficult moment you have had in your career?

Well, I believe that the most difficult moment for me was when, after all the awards and all the achievements that I have had, I lost my contract with my record company. After winning awards with them, they didn't renew my contract. It was difficult for me because then everybody said to me, "Hey, why aren't we listening to you on the radio?" "Why don't we hear you anymore?". That's very difficult. When an artist doesn't have a record company, it is too difficult.

And after all that has happened José, isn't it true that even if doors get closed in one company, but talent is there, there's always another opportunity? Correct?

Sure, well, of course. When you don't lose your spirit... I know that I am the best musician that I can be. If I have my health, that's the most important thing, because the most important thing of all is how you feel. Health is the most important thing. And I owe all that I have, I owe it all to the public. Sometimes artists forget who put them where they are. Well, I already have a 52 years career.

My God.

I began as an accordionist. That was my first job. My mother put me in a competition and I played the accordion. The song that I played was a Puerto Rican song called La pulguita. That was a song composed by Manuel Jiménez, and I played it on the accordion. And I won an award. Then I went to the final rounds, where by the way, one of the artists was a singer named Blanca Iris Villafañe. Well, there were two awards, she won the best one and I got... zilch.

Zilch? Nothing, a trip or something?

They didn't like me. She won the prize of being in La Casa Salomé recording. I was happy for her... And, I won a case of products for women.

From Café Bustelo.

No, for women. And I said, [talking womanly] "But I am not like that." But, I accepted it, and I continued and continued practicing. Then, when I was 14, the casting director of the show, Catalino Rolón, hired me to perform one week in a Puerto Rican theater with artists like Las Tres Guitarras, Vitola, José Antonio de Córdoba, Vicentico Valdés... well, a lot of good artists during those times. I remember that this was one of the most special weeks that I spent with my father. He went to the show with me. He strung my guitar. Well, I saw him a very happy old man.

I can imagine.

Yes, and we had a wonderful time. I'm not ever going to forget it. The shows started at 2 pm. 2, 6, and 9 at night. And that was when the public saw me playing the accordion, and later the guitar because I used to play the guitar by that time as well. After that I went to school. And after that, when I was 16, I started to work in Greenwich Village, where I met people like Bob Dylan, Peter, Paul and Mary. This was the Folk music's time. And as a result, in 1964, an executive of the RCA Victor hired me. He went there to see a group, but he forgot about the group and hired me. Then I made my first records in 1964 and 1965. I made 3 records.

Then, in 1966, I went to Argentina and participated in the Mar del Plata festival. That was the equivalent of the San Remo Festival, but it was in Argentina. By the way, one of the executives of the company that I work for, his father was the president of the RCA Victor at that time. And I spoke with Jorge Pino's father, and I told him, "Hey ché, what would you think if I recorded some boleros that I have known since I was a boy?"

So, Jorge's father cared about me as his own son, and he had a fight with the other executives and he told them "Let José record the boleros."

I want you to continue with the story of the boleros, but hold on, because they are telling me that we have to go on a break.

And now we have to go to a break so this show stays on the air.

But please, keep the story of the boleros because that's a lengthy and important topic and...

Yes, of course.

And don't you move, because we'll be right back with more things to discover about José Feliciano... when we return.

[clapping]

Yes, the boleros. And later you have to play me a bolero.

Another person wanted me to become American and choose the name Joe Phillips, and I told them no. Not to be vulgar but I said: No way! I told them no.

For all those who love music and relate it to moments in life, I'm extending an invitation to continue this adventure guided by José Feliciano's hand.

José, you were telling me about when you were in Argentina and arose the possibility to make a boleros record.

Yes well, there was an argument. Actually, it wasn't a fight, but it was an argument with the American executives and Argentinian people. The Argentinians agreed with me. Well, the result was that I won the battle. I entered the studio in Argentina with some Argentinian musicians, who were very good, by the way. There were percussionist, bassist, and me.

And in order to set a timeline, this was in 1968.

No, in 1966.

And you were signed by an American company?

Exactly.

I mean, to record an artist singing boleros in Spanish was an absolutely revolutionary thing for them.

Well yes, yes. I also created a musical revolution. Because when I began to record the boleros, all the trios that we knew during those times were falling apart. Johnny Albino was gone. He left the Trio San Juan, and he went to Los Panchos, Los Tres Ases were broken up. Marco Antonio Muñiz started his career as soloist. A big part of those trios was gone. And then I arrived with a fresh sound that was my guitar, my voice and percussions. We didn't have strings. We didn't have anything. I guess that the ideas that I brought revolutionized the bolero because I put into boleros jazz chords and a blues influence, as well.

And, what did you play? Can you play something from that for us?

Look, my first hit in Argentina was this:

Yo sé que siempre dudas de mi amor y no te culpo. Yo sé que no has logrado hacer de mi querer lo que tu amor soñó Yo sé que fue muy grande la ilusión que en mí tú te forjaste para luego sentir desconfianza y frialdad en mi querer. Comprende que mi amor burlado fue ya, ya tantas veces, Que se ha quedado ya mi pobre corazón con tan poquita fe. Tú tienes que ayudarme a conseguir la fe que con engaños yo perdí, me tienes que ayudar de nuevo a amar y a perdonar.

[clapping]

Very nice.

Well, I also made a record, Usted, all of those boleros. And when they were known, that was crazy... I'm very proud to say that at that time, I was like Ricky Martin or Luis Miguel are now. I wasn't able to leave the hotel where I was staying. When I arrived in countries like Venezuela, Perú, Colombia, a lot of fans were waiting for me at the airport. That was crazy, I didn't expect that. And we sold a lot of records.

Like pancakes.

Yes, they were sold like pancakes. This was a thing that made RCA take notice. And then they allowed me to record more boleros, and...

And they asked you to change your name, right? Because they didn't want a "José Feliciano", they wanted a "Joe... something?"

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José Feliciano en Estudio Billboard [1] [2] [3]