Malagueña salerosa (La Malagueña)

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page originally published on 17 December 2011; latest edit: 3 November 2017

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Malagueña salerosa —  Described as a well-known son huasteco or huapango song from Mexico in the Wikipedia page, the song has also been recorded under the titles “La Malagueña” and “Malagueña.” A 17 April 1939 recording of the song by Los Rancheros was issued, under the title “La Malagueña,” on the single (Latin) Decca 10419, as the B-side of “Ahora seremos felices.” This is the earliest recording of the song that I’m aware of.

Second Hand Songs and Discogs.com consider the song a traditional, while some sites credit the songwriting to Elpidio Ramírez, Roque Ramírez, and Pedro Galindo. For unexplained reasons, the Wikipedia page on the song omits Roque Ramírez and claims that the song “is attributed to Elpidio Ramírez and Pedro Galindo.”*

A blog titled “All Versions of Some Musics” lists 189 recordings, as of 14 August 2014, with most of them evidently available for downloading.

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La Malagueña-Los Rancheros-recorded on 17 April 1939; issued on the single Decca 10419, as the B-side of “Ahora seremos felices”

Los Rancheros (aka “Los Murciélagos”) — recorded on 17 April 1939; issued, under the title “La Malagueña,” on the single Decca 10419, as the B-side of “Ahora seremos felices”

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1946 Enamorada-María Félix (1)

Trío Calaveras

from the 1946 Mexican romance drama film Enamorada — I don’t know if the trio had recorded and released the song prior to the recording for the film soundtrack.

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Trío Calaveras (2)Trío Calaveras-El Heraldo, Caracas 2 October 1946 notice

Trío Calaveras — recording date unknown

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Irma Vila y su Mariachi 1947

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1950 Malagueña, Radio Boys, Cetra EE 6007 (1)

Radio Boys (aka I Radio Boys, apparently an Italian vocal group) — According to discogs.com, a recording of the song under the title Malagueña (Suan husteco) by the Radio Boys, with Pippo Barzizza conducting Orchestra Cetra, was released as the B-side of the Cetra label (Italy) 78 rpm 10″ shellac single Notturno Alpino (Cetra EE 6007, see the label above), on 4 March 1950. However, the label shown in the video has a different catalog number (DC 5086), and both labels credit not Barzizza and Orchestra Cetra, but a different orchestra directed by “M.o M. Migliardi” (Maestro Mario Migliardi?). The green label in the video apparently credits songwriting to “Del Rio – Ramirez,” while the maroon Cetra EE 6007 label credits only “Del Rio” as the songwriter.

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Luiz Bonfá — recorded in March 1952 and issued on Continental 16.544, with the following performer credits on the label: “LUIZ BONFA Com Vidal – Chiquinho – Teles e Trinca” — The B-side, also included in the video, is “So recordaçào” (Luiz Bonfá), recorded by Luiz Bonfá e Seu Conjunto on 22 August 1951.

  • Luiz Bonfá (guitar)
  • Chiquinho, aka “Chiquinho do Acordeom” (accordion)
  • Vidal (bass?)
  • Teles (?)
  • Trinca** (percussion?)
  • unknown (vocals)

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Caterina Valente — 1955?

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1958 Trio Los Paraguayos, EP Phillips 421 400 PE

Trio Los Paraguayos — Second Hand Songs dates a single by Trio Los Paraguayos, issued on Philips Ibérica (Italy) P 19619 H, under the title Malagueña, 1956. Discogs.com recognizes the same Italian release, but leaves it undated. No Malagueña single is included in the 45cat.com Los Paraguayos discography. According to 45cat.com and discogs.com, an EP containing the recording was released on the Philips label in various countries including the Netherlands, Spain, Italy, Germany, as well as in the UK and Scandinavia. However, of those for which a date is given, the earliest release date for the EP is 1958 (Netherlands, 45cat.com).

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Miguel Aceves Mejía — date unknown, late 1950s? No later than 1958, as it was on an album released that year, El jinete

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(below) Two film clips in which Mejía performs the song. Please help, if you can, to identify these films.

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Bud & Travis – from their 1959 debut album Bud & Travis

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Trini Lopez — from the 1964 Reprise Records LP The Latin Album (R-6125)

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Luiz Bonfá — originally released on the 1965 LP The Brazilian Scene, Philips ‎PHS 600-208 — Decades later, the recording was included on the soundtrack album of the 2013 Spanish film Los amantes pasajeros.

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(below) incomplete, with ambient sounds added (ocean waves, birdsong)

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1966 Esquivel! ActualJuan García Esquivel (1)

Esquivel! (Juan García Esquivel) — from the 1966 RCA Victor (Mexico) LP Actual, which was retitled The Genius of Esquivel, with the same eleven tracks in a different order, for 1967 release in the US and Canada

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Nancy Ames – 1969

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Lucha Villa — 1973(?)

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José Feliciano — from his 2004 LP A Mexico…Con Amor

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Ramón Vargas accompanied by Trio Madrigal, at the Frida Kahlo Museum in Mexico City on 30 October 2012

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Trío Calaveras (1)___________________

* Regarding the song’s authorship, Wikipedia says,

Malagueña Salerosa is attributed to Elpidio Ramírez[2] and Pedro Galindo,[3] published by Peer International in 1947[4] (monitored by BMI), although Mexican composer Nicandro Castillo[5] questions the validity of that authorship.[6] As he mentions:

Composer don Nicandro [Castillo] wrote that several tunes from la Huasteca which were known as huapango songs composed by Elpidio Ramírez, Roque Ramírez and Pedro Galindo, were actually anonymous songs, as was the case of Cielito Lindo (Son Huasteco) and La Malagueña, which in reality, like La Guasanga or El Sacamandú, were known many years before, and should be part of the public domain.

The Wikipedia article contains a misattribution, as it appears to have Nicandro Castillo quoting himself in the third person. However, footnote 6 in the article leads to a resolution of the confusion. The “quote” is actually a paraphrasing, translated from the original Spanish, of a paragraph in a piece by Ángel Trejo that was published at the official Conaculta website.

Update, 2016-03-22: The site previously known as Conaculta has apparently been retitled “Cultura,” or (long version) “Secretaría de Cultura.” I do not presently find the Trejo article at Conaculta/Cultura, but it is archived by the Internet Archive Wayback Machine, here:

The original paragraph, in the Ángel Trejo article, from which the above “quote” is derived:

El tema es controvertido porque en dichas páginas don Nicandro escribió que varios sones huastecos que en las décadas pasadas fueron conocidos como huapangos compuestos por Elpidio Ramírez, Roque Ramírez y Pedro Galindo fueron en realidad sones anónimos -como fue el caso de Cielito Lindo y La Malagueña, que al igual que La Guasanga o El Sacamandú, eran del dominio público- escritos [sic] mucho antes “que se construyera la Catedral de Huejutla”.

The above paragraph refers to the paragraph immediately preceding it in the Trejo article, which mentions autobiographical notes written by Nicandro Castillo that, according to a book dedicated to Castillo written by Rivas Paniagua, clarify the origins of “several old huastecos sones.”

** I don’t know if they are the same two, but “Vidal” and “Trinca,” playing bass and drums respectively, are credited on various 1950s recordings by Dick Farney, Lúcio Alves, and Baden Powell.

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2 Comments (+add yours?)

  1. doc
    Aug 31, 2017 @ 14:35:39

    Reply

  2. doc
    Oct 07, 2017 @ 08:49:25

    Reply

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