MALAGUEÑA FOREVER!

The Cuban composer plays a version from his 1954 album Lecuona  

Plays Lecuona. It would be the (relative) calm before the shakers. 

the king of 1947 cuban pop

Behold “Malagueña.” Cuban composer Ernesto Lecuona wrote the piano piece no later than 1931, with reference to the Spanish town Málaga. In 1947, LIFE magazine crowned Lecuona the king of Cuba’s popular music, and noted that “Malagueña” had been, by then, a hit in the United States for 16 years. (According to LIFE, Tin Pan Alley music publishing houses in New York had sold 100,000 copies of the composition every year since 1931.)

Performances and / or recordings by Marco Rizo, Caterina Valente, Violetta Villas, Connie Francis, and Stan Kenton — not to mention the royal figure of Count Basie — would continue to popularize the song among audiences all over the world. But we digress. After all, we here at Blood And Gutstein tend to specialize in a genre known as “Long Lost.” And the songs we tend to put forward will rattle your speakers. Therefore, let’s take a look at three examples of how rock ‘n’ roll transformed this Cuban composition into a banging shaker.

three rock ‘n’ roll extravaganzas

Ali Hassan aka Al Hazan. This song asserts itself immediately and jumps soon thereafter. With piano just as percussive as the drums, and played to excess in the upper register (we approve), the arrangement makes plenty of potent arguments, including:
     — “Given the hubbub, why don’t we engage in romance?”
     — “Yes, let’s.”
     — “Well, all reet then. Shall we remove our garments?”
     — “We shall.”
Not to be outdone, the guitar really wails. Thus, we have some percussive keys, phat drums (the train is coming), and blistering guitar. We have people ripping each other’s duds off, no less!

Session information: Ali Hassan (Al Hazan) producer piano; Sharky Hall (drums); Ray Pohlman (guitar); and Carol Kaye (fender bass). A-side “Malagueña” b/w B-side “Chopsticks.” Philles 103, Los Angeles, 1962. Compositional credit: Ernesto Lecuona. A-side “Malagueña” b/w B-side “Chopsticks.” Philles 103, Los Angeles, 1962. [Notably, the Philles label was founded by none other than the notorious Phil Spector and one Lester Sill. Also notably, Al Hazan played piano on the UK number one hit “Nut Rocker” by B. Bumble and the Stingers.]

The Wildtones. Little is known about this group, which may have cut only two songs under that name. On the one hand, “King Cobra” may be a bit deceptive, as the classic “Malagueña” riff runs nearly throughout the entire song (on guitar), and offers the other musicians a sturdy, hypnotic ladder upon which they can howl into or batter their instruments. On the other hand, “King Cobra” is probably an apt summary for the mayhem that ensues, especially the venomous saxophone. Or, “blistering,” if you will, and you will. Call the drumming “surfy,” call the horn “borderline avant,” call the guitar “twangy” (or Duane Eddy-esque) and then you’ll have some estimation of this eclectic cacophony!

Session information: The Wildtones. Musicians unknown. A-side “King Cobra” b/w B-side “Mendelssohn Rock.” Tee Gee 105, New York, 1958. Writing credited to “Ford” and “Newman.” [Notably, Tee Gee records was owned by George Goldner, a pioneer record producer who recorded, interestingly enough, the song “Gee” by The Crows, which became a hit on both the R&B and pop charts.]

The Trashmen / Los Trashmen. These Midwest rockers present a clear-cut surf treatment of the song. It reverberates heavily with ghost waves (we approve) and behaves suspensefully before the lead guitarist slashes into the proceedings. As a “building” or “climbing” or “burrowing” song, we find the musicians drifting into and out of numerous effervescent idioms. The “smoothest” cover of the three rock ‘n’ roll versions, don’t underestimate this song’s edgy properties and virtuosic musicianship. It propels the surfer, after all, through the barrel of a breaker!

Session information: The Trashmen. Likely personnel: Troy Andreason (guitar), Dal Winslow (guitar), Robert Reed (bass), Steve Wahrer (drums). The song was recorded in 1963 or early 1964, and would be released in LP, EP, and 7-inch formats in the U.S. and abroad. For the original LP release, see Surfin’ Bird, Garrett Records, January 1964. Otherwise, we have Los Trashmen, Gamma 578 A-side “Malagueña Surf” b/w B-side “Mi Cuate” (Mexico, 1965). [Speaking of the band’s flagship song, “Surfin’ Bird,” it rose to No. 4 in the charts in 1963-64, and would go on to be covered by several bands, including the Ramones and the Cramps, and appear in film, television, video games, and other extravaganzas.]

the upshot

Rock musicians have always repurposed songs from other eras and genres. This continued, for sure, with “Malagueña.” These bands rocked all of our pronouns: we, us, me, I, and you. Now that you’ve been rocked, Dear Reader, it’s up to you how to proceed. We always suggest moderation here at Blood And Gutstein. Thus, you could jump, there, all by yourself, if you need an aerobic workout. You could surf if your abode abuts (!) saltwater climes. Or you could telephone your sweetie pie and propose romance. We have found that mere mention of the song title — “Malagueña” — tends to propose romance. Yes, you can text, ping, and DM, if you must, and if you must, just propose romance responsibly and (always) bear the gift of music, wink wink. 

sources of information:
Billboard advertisement (for Surfin’ Bird) January 11, 1964
Black Cat Netherlands page for Al Hazan
Discogs entry for “King Cobra” by The Wildtones
Discogs entry for Lecuona Plays Lecuona, 1954-55
Discogs entry for “Malagueña” by Ali Hassan / Al Hazan
Discogs entry for “Malagueña Surf” by The Trashmen
LIFE article on Cuban music Oct. 6, 1947
Wikipedia entry for George Goldner
Wikipedia entry for “Malagueña”
Wikipedia entry for Surfin’ Bird (album)
Wikipedia entry for “Surfin’ Bird” (song)