Joe Bataan – Gypsy Woman (1967) (2022 Fania / Craft Recordings)

Joe Bataan – Gypsy Woman
Vinyl rip in 24-bit/192 kHz |Latin, Boogaloo, Soul
2022 Craft Recordings CR00552|| Original release – Fania 1967

So it’s another holiday weekend in the land of my birth.  Actually, the holiday is Tuesday, July 4th, Independence Day, but in spite of the insidious Protestant Work Ethic, many Americans will make like Brazilians and turn it into an extended 4-day weekend.   I’m not big on celebrating it myself, at least not until we all get free ( and someday we’ll be free).  My city does have a pretty decent fireworks viewable from the riverfront within biking distance of my house, though, so I may catch a little buzz and watch the explosions in the sky.

Anyway, I need to catch up on some writing this weekend and can only use blog posts as a kind of warm-up.  And today you won’t even get that, because I already blogged about Joe Bataan’s debut album, Gypsy Woman, back in 2021.  You can read my write-up on that page if you like.  I don’t classify this as a “repost” per se, however, because our source material this time is the excellent vinyl reissue on Craft Recordings from last year, remastered by Kevin Gray.  For this page, I’ve decided to ask ChatGPT to describe Joe Bataan’s “Gypsy Woman” and this is what it said:


“Gypsy Woman” is a notable record by Joe Bataan, a renowned American-Filipino musician and songwriter who played a significant role in the development of Latin soul and boogaloo music in the 1960s and 1970s. Released in 1967, “Gypsy Woman” became one of Bataan’s most well-known and enduring songs.

The song is a soulful and vibrant fusion of Latin rhythms, doo-wop harmonies, and catchy melodies. It showcases Bataan’s distinctive style, blending elements of Afro-Cuban music with the urban sounds of New York City. Bataan’s smooth and soulful vocals bring an infectious energy to the track, drawing listeners in with his expressive delivery.

Lyrically, “Gypsy Woman” tells the tale of a mesmerizing and enigmatic woman who captivates those around her. The song exudes a sense of mystery and allure, with Bataan’s evocative storytelling and vivid imagery. The lyrics depict the gypsy woman as someone who possesses a powerful aura and holds a spellbinding presence over her admirers.

The instrumental arrangement of “Gypsy Woman” features a driving rhythm section with vibrant percussion, lively horns, and infectious guitar riffs. These elements create a dynamic and danceable groove that perfectly complements Bataan’s charismatic vocal performance. The song’s fusion of Latin and soul influences, along with its catchy hooks, made it an instant hit and a favorite among fans of boogaloo and Latin soul music.

Joe Bataan’s “Gypsy Woman” remains a beloved classic in his discography and a staple of the Latin soul genre. Its infectious energy, memorable melodies, and captivating storytelling continue to resonate with listeners, showcasing Bataan’s unique musical vision and his contribution to the rich tapestry of American music.

Not bad, not bad, ChatGPT.  Kind of bland, but I have definitely graded freshman term papers written with less panache, back when people still called me ‘Professor Vibes’.  So, who needs music bloggers, right?

A1 – Gypsy Woman
A2 – So Fine
A3 – Fuego
A4 – Campesino
A5 – Chickie’s Trombone
B1 – Too Much Lovin’
B2 – Sugar Guaguanco
B3 – Figaro
B4 – Ordinary Guy


Bass – Louis Devis
Bells – Richie Cortez
Congas – Victor Gonzalez
Percussion [Bell] – Richie Cortez
Piano, Vocals [English], Leader – Joe Bataan
Timbales – Eddie Nater
Trombone – Joe “Chickie” Fuente, Ruben Hernandez
Vocals [Latin] – Joe Pagan

Record Company – Fania Records
Manufactured By – Concord
Distributed By – Concord
Remastered At – Cohearent Audio

Cover [Design] – Izzy Sanabria
Engineer [Audio] – Irving Greenbaum
Liner Notes, Management [Personnel Manager] – George Rosas
Mastered By – Kevin Gray
Photography By [Cover] – Irv Elkin
Producer – Jerry Masucci
Recorded By [Recording Director] – Johnny Pacheco

All-Analog mastering from the original tapes by Kevin Gray at Cohearent Audio.

Pressed on 180-gram vinyl.

Special thanks to extra members : Milton Albino, Ralph Valesquez, Tito Morley and Michael Padilla

LINEAGE: 2022 Craft Recordings CR00552; Pro-Ject RM-5SE with Audio Tecnica Signet TK7E cartridge; Speedbox power supply; Pro-Ject Tube Box S2 preamp; Audioquest Black Mamba and Pangea Premier interconnect cables; RME Babyface Pro interface ; Adobe Audition at 32-bit float 192khz; clicks and pops removed manually with Adobe Audition 3.0; dithered and resampled using iZotope RX Advanced. Converted to FLAC in either Trader’s Little Helper or dBPoweramp. Tags done with Foobar 2000 and Tag and Rename.



p/w: vibes


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  1. “american-filipino”?
    always thought he was cuban.

    I miss more music blogs like yours and Simon’s “never enough rhodes”.
    thank you for this and the last posts!
    still digging Max Roach.

    • Yep, he had a record in 1975 titled ‘Afro-filipino’ as a matter of fact, on the Salsoul label. Check it out! I miss Simon’s blog too, but he’s still out there keepin’ it real.

  2. Thanks for the tip!! I’ll search for the “Afro filipino” album.
    And again, thanks for the great writing and great music!

  3. Thank you very much. Fania, Johnny Pacheco, and Joe Bataan is a winning combination. And what a cover photo!
    That blurb is from ChatGPT?! I find that to be amazing, although as you say, it was kind of bland in the sense that there were a lot of overused adjectives. Maybe if you had asked it to include the word “umami” it would have spiced it up. 🙂

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