The hegemony of Willie Colón and Héctor Lavoe in the circuit of rising youth bands in New York around the middle of the 1960s was consolidated at the end of 1969 with the launch of the LP “Cosa Nuestra”.

The cover photograph, a Henri Wolfe original, recreates a typical crime scene of the mafia and the underworld: a murder which would not leave behind any traces or fingerprints because the victim’s body would be disposed of in the Hudson River with an enormous rock tied to his feet.

As the album cover designed by Izzy Sanabria is intimidating, so is the arrangement of “Che Che Colé”, a song inspired by an African children’s game that immediately captured the attention of the Spanish-speaking world for its catchy and irresistible fusion of rhythms such as the bomba and the oriza with vestiges of the African 6/8.

“Che Che Colé”, the most popular song by the Colón-Lavoe duo, opened the doors of Panama, France, Colombia, Venezuela and Peru to them. The value of Willie and Héctor substantially improved thanks to the success of “Che Che Colé” and soon we would find them competing for ‘top billing’ in the clubs of Manhattan, the Bronx and Queens with the likes of Eddie Palmieri’s La Perfecta, the Lebrón Brothers, Frankie Dante & La Flamboyán and other bands of the time.

Although in the credits of the original album the names of the musicians are not listed, according to the investigation we did for the book Cada Cabeza es un Mundo: Relatos e Historias de Héctor Lavoe, at the end of 1969 the band integrated into it Eric Matos (trombone), Little Louie Romero (timbales), Milton Cardona (congas), José Mangual Jr. (bongo and cowbell), Santi González (bass) and Professor Joe Torres, who substitutes for Mark Dimond on the piano.

In “Cosa Nuestra”, the fourth recording of the duo after the launch, early in 1969, of Guisando (Doing A Job), Colón’s band now establishes its own sound and a very particular tonic in narrative salsa, due to its emphasis on stories about life in the city. Their fame by the end of 1969 rested in a rhythm section true to and shaped for polyrhythms; in the revolutionary trombones, loud, scattered and irritating, of Colón and his partner Eric Matos; in a popular repertoire and in the refined, tasteful, sentimental vocals of Héctor Lavoe, destined to become El Cantante De Los Cantantes (Singer’s Singer) a few years later.

With the end of the era of the boogaloo and the shing-aling, Colón/Lavoe demonstrated that they had the capacity to adapt to the demands of salsa that, on the fringes of traditional Cuban music, was enriched with the bomba and other Caribbean rhythms.

In “No Me Llores Más”, Willie and Héctor’s salsa echoed the sentiment of the person who does not want any crying when s/he dies if in life s/he was not honored and respected by his/her acquaintances. In the bolero with montuno “Ausencia” they sing about the pain of the man who can not accept the departure of his beloved, whose betrayal keeps him on the verge of going crazy. In “Te Conozco” they are inspired by the type of neighborhood that most people try to avoid for fear of being robbed and in “Juana Peña” they recreate the heart-rending experience of the woman who, after betraying many men, falls in love and suffers because her love is unreciprocated.

The track sequence continues with “Sonero Mayor”, an appreciation of the art of improvisation and soneo. “Sangrigorda” links urban imagines that, from the refrain “Eh, Kiliki/saca el pañuelo/prende el tabaco/mira que voy pal suelo”, suggest the scene of a santero cleansing and that of an outburst with cannabis while in “Tú No Puedes Conmigo”, Willie and Héctor once again take up the theme of envy and betrayal of a friend, so trendy at the dawn of salsa and present in songs like Hipocresía y Falsedad, No Hay Amigo, Maldades e Indestructible, among others.

Thanks to the hits “Che Che Colé”, “Juana Peña”, “Te Conozco” and the bolero “Ausencia”, with “Cosa Nuestra” Willie and Héctor achieved the most sold LP in their then nascent record career. The Latin people eagerly awaited the next album. And with “La Gran Fuga” (“The Big Break”), released the following year, they continued their course to conquering the salsa universe.

Credits:

Eric Matos – Trombone
Little “Louie” Romero – Timbales
Milton Cardona – Congas
José Mangual Jr. – Bongo, Cowbell
Santi González – Bass
Professor Joe Torres - Piano


Producer – Jerry Masucci
Recording Director – Johnny Pacheco
Audio Engineer– Irv Greenbaum
Original Album Design – Izzy Sanabria
Original Album Photography – Henri Wolfe

The Godfather of Salsa Jerry Masucci founder of Fania records put together these two albums. Salsa at it's best. Musicians from the late fifties and thru the sixties have reached thier prime and the music say's it all!!!! Artist like Tito Puente, Ray Barretto, Willie Colon, Johnny Pacheco to name a few.....
Special mention to you guys out there into jazz and funk, give this compilation series a good listen.

Despite the fact that there is almost no information on this set by Panamanian-born singer, songwriter, and actor, Ruben Blades -- other than songwriting credits and a track listing -- it's one of his finest recordings. Doble Filo is a stew of Latin styles from son ("No Hay Chance"); to rhumba ("Mi Jibarita"); to downtown New York-styled salsa ("Chana"); to slick boleros ("El Cantante"); and to the occasional ballad in trademark Panamanian style. Recorded in 1986, after his first romance with American critics was over, Blades took all the sheen off his recordings for Fania. The material on Doble Filo reflects his band, his arranger, and his own truly amazing abilities as a singer. With only seven tracks on the album -- four of which he wrote -- it's a brief offering, feeling more like an EP than a full-length; but even in its slickest moments, in which he updates his native land's sound as he does on "Duelle," Blades manages to generate genuine excitement with his delivery. It's a shame there are no musicians' credits here, because it would be nice to see if any of Blades' old mates from Willie Colon's bands are here. Doble Filo is the "real" Ruben Blades.

Rubby Haddock's third concept album focuses on society and its aches and pains, all set around the story of one of Puerto Rico's most notorious fugitives, the late Toño Bicicleta. This LP (still obscure in many markets) was one of the most popular in the band's 22-year history, and, although the effort is rather rough as opposed to latter works, it is still poignant in terms of lyrical content -- one area that the band rarely touched afterwards. "Son los Nervios" was a highly popular merengue about particularly neurotic characters, and the rest of the repertoire features two different versions of the title tune. A must for record collectors, this recording is a modest sample of creativity in the salsa world, outside the powerful Fania empire. Vocals by Sergio Cariño.

Rubby Haddock's second effort with TH Records pays off in spades with his reformed big band setup and the notable arrangements by Ray Santos, Javier Fernández, and Ernesto "Tito" Rivera. The commercially indifferent early '80s still brought forth interesting recordings that were somewhat ignored by the disc jockeys. Haddock's effort to maintain traditional salsa are worth a commendation, especially when improving his own band setup with a richer, more sophisticated one. Lead vocalists Raul Carbonell Jr. and Tony Rivas do justice to great material in tunes like the highly ironic "Los Afortunados" and the better-promoted tune "Gavilan o Paloma." An instrumental tune, "Adiós Cortijo" (dedicated to the recently deceased percussionist/bandleader), sums up this excellent production with gusto.

Fast, funny, and furious is what can best describe Santiago's TH debut. This is the one with all his now-trademark hits: the title tune, "El Mangoneo," "La Picúa," and his spectacular version of "Vasos en Colores" (Santiago originally recorded for Cortijo in 1969). His rapid-fire improvisational style catapulted in the front rank of the all-time greats; Jorge Millet's supercharged arrangements have not aged a bit. Classic salsa.

Marvin Santiago's follow-up to Fuego a la Jicotea is just as kinetic as the first, with the artist at the peak of his improvisational powers. "Al Son de la Lata Baila el Chorizo," "Tiburón de Agua Dulce," and "La Burunquena de Doña Inés" contain a heady dose of sting, swing, and humor. Highly recommendable for salsa fans. Watch Santiago in another light with "Plena Pa'l Difunto."

By far the most widely popular and easily recognized, Orquesta La Solucion of Puerto Rico has recorded since the mid 1970’s and is best remembered for its albums featuring the great Frankie Ruiz on lead vocals

The year was 1972 and the Vietnam War was the top story on the news. President Richard Nixon had just been re-elected while reports of “Watergate” began to unfold. The civil rights movement was raging across the country as NBC Television launched Sanford & Son starring Redd Foxx. In New York City, the subway fare increased from 30 to 35 cents, John Lennon and Yoko Ono were the co-hosts on the Mike Douglas Show while Grease opened on Broadway. In Puerto Rico, 30,000 attended the Mar y Sol rock concert in Vega Baja. But for Nuyoricans living and working in the Big Apple, it was the new salsa music scene that was all the rage.

In this eighth recording, Willie Colón continues to bank on his “thug” reputation—this time showcasing an illustration on the album cover where the young bandleader from the Bronx is on trial. Band members Milton Cardona, José Mangual, Jr. and Professor Joe form part of the jury. Jerry Masucci seems to be the stenographer and is that really Hector Lavoe as the stoic judge in robes? The companion illustration on its reverse side has all members of the court held hostage on the courtroom floor implying that Colón, indeed, got away with the crime.

Producing four hits from this eight-tune strong production, Colón stretches his wings here by smoothly mixing musical genres of Brazilian samba into son-montuno, Afro-Cuban religious rhythms and Puerto Rican bomba and danza—all showcasing lead singer Hector Lavoe’s vocalizations. Harmonizing clusters of dissonant chords for the trombones, Colón’s mature musical vision outpaces his young years and developing skills.

The opening number Ah-Ah/O-NO, penned by Colón, resounds with a light and simple refrain that is uncomplicated yet catchy. Lavoe’s voice is coy and playful on this number, demonstrating his vocal word play and rhythmic savvy.

The Tite Curet Alonso tune Piraña does justice to LaVoe’s style and range where he sings about a wanton woman who is longed for and rejected at once. Here Lavoe shouts popular street phrases with double meanings that reflect the times as he does at the top of Professor Joe’s piano solo when LaVoe says: “Mira, te estas fumando las cascaras de guineos otra vez,” a reference to smoking banana skins.

Seguiré Sin Ti is a beautiful bolero that puts the focus completely on Lavoe’s technique and style with the slower vocal form. He’s still singing torch songs of defensive love that are both suspicious and sensitive but does it in a style that is passionate and soulful.

Throughout the years, Timbalero has become the template to which all budding percussionists listen and practice to. Thanks to Louie Romero, a part of the Colón clan since the “Guisando” days, Romero came out of George Guzman’s Boogaloo Band also under the Fania label. A true hard core salsa gorda tribute to the timbale players so critical to Latin music forms, here Colón fuses Latin elements using snare rudiments on the percussion that turns into a swinging son-montuno that does a 360-degree segue into a bomba sica rhythm coming back to a fast-paced, aggressive salsa sound followed by that indisputable Romero solo, legendary among percussionists today. The acapella call and response between LaVoe and a coro made up of Justo Betancourt and Johnny Pacheco (casi na’), is a tribal calling that paves the way for Milton Cardona’s driving conga solo.

Aguanile brings the tribe home to mother Africa with this Afro-Cuban Regla de Ocha introduction call to the gods. LaVoe implores to the gods in a Moorish lament that recalls Iberia’s cultural corridor of Seville. He follows this up with a typical folkloric verse from the Fiestas de Cruz (sung rosary of the Feast of the Cross) that is sung in Latin K’yrie Eleison a custom popular with the Island’s poor and peasant class that dates back hundreds of years. Of particular note in this recording are Cardona’s punctuated driving beats that build up to Romero’s solo like a wall of rhythmic bricks.

In Soñando Despierto Colón plays a trombone solo recalling the early municipal bands of Puerto Rico. In this tune, Lavoe makes a macabre prediction while improvising where he details a dream he had where his mother-in-law gets hits by a truck. When she passes shortly after this recording, the vocalist is devastated.

Si La Ves opens with a samba feeling and coro where Colón’s voice is heard on the background vocals as well as lead bone. It quickly turns into a swinging dance number with LaVoe’s voice flying above the percussive wall of rhythms.

Pan y Agua is the perfect name for this tune. It’s just the basics here—bread and water.

Album Credits
Willie Colon – Nose Flute
Hector Lavoe – Lead Vocal
Jose Mangual – Bongo
Santi Gonzalez - Bass
Louis Romero - Timbales
Joe Torres – Piano
Eric Matos - Trombone
Milton Cardona – Conga
Gene Golden - Percussion
Chorus: Justo Betancourt, Johnny Pacheco

Produced by: Willie Colon & Jerry Masucci
Recording Director: Johnny Pacheco
Arrangements by: Willie Colon
Original Album Illustration by: Aggie Whelan
Art Director: Izzy Sanabria
Engineer: Irving Greenbaum
Recorded at: Broadway Recording, NY

One of the band's most successful LPs. Roena was still going strong in the second half on the '70s and continued to push the envelope with a highly inventive approach, thanks to the great creative team and efforts of Elías Lopés, Miguel Flores, Luis García, Julio "Gunda" Merced, and Luis "Perico" Ortiz. The celebrated tunes ("Marejada Feliz" and "La Distancia") are still very in-demand from their repertoire. A must-have for salsa fans, this record is still preferred by the public.

The title of this album surely says it all. Anyone unfamiliar with this "Cantante de los Cantantes" will be left spellbound with the melted-butter quality of his voice. In the first track, "En Todopoderoso," within his first verse Héctor Lavoe sets himself far apart from all contemporaries by virtue of his angelic timbre, only to later outdo himself as he effortlessly soars over the coro. La Voz being Lavoe's first of nine solo records for the Fania label, he turned to labelmate and longtime collaborator Willie Colón to produce and arrange. From the graceful, sophisticated horn intro on "En Todopoderoso" to the blazing mambo section in "Paraiso de Dulzura," Colón's mark as arranger is indelible. Unlike fellow Fania artists like Rubén Blades and Colón (both of whom sing coro on this album), Lavoe keeps this record quite vocal-centric, omitting the fiery horn or percussion solos and long dance sections that became so characteristic of the genre. Though these elements are missed, Lavoe certainly keeps interest. In the final track, "Mi Gente," asserts himself as a master sonero. His own improvisational abilities went a long way to establishing his reputation in the first place, and he does not shy away from using them on this project. The experience created by La Voz is a warmth and refinement only achievable by the combination of two factors. The Fania label in its prime, and perhaps New York salsa's most distinctive voice to date.

Osvaldo Valentín, the brother of the "Maestro Bobby Valentín," not reached moderate success obtained with "No Will Power" or with "Abelardo", however this musical production is a step in the orchestration and the sound quality of the set as such. Singing, "Gonzalez Pipo" and "Julio Salgado".

El Gran Combo's seventh self-produced album has acquired classic status thanks largely to two legendary tunes: "Un Verano en Nueva York" (composed by Justi Barreto) and "Vagabundo," with the peerless Andy Montañez in top form. One of EGC's top albums, and a boost during the band's stagnant mid-'70s period. The Fania-controlled period seems to be heading toward reconstruction for El Gran Combo; however, the band's easygoing style remains assertive. Highly recommended for fans of El Gran Combo and Andy Montañez. by José A. Estévez, Jr

The late Pellín Rodríguez is the most overlooked and clearly the most genius musician to come out of bolero music ever or of whole Puerto Rico in my opinion.He combines universal essential styles of the 60's & 70's into his own unique bolero style. No need for further introduction.

Salsa band of the 70s, of Puerto Rican origin, offering the public part of the culture of this country. With their "Son Criollo" highlighted in various of their compositions.

Cortijo y Su Combo's output became leaner during the 1970s due to declining promotion and the salsa boom, which kept listeners enthralled during that period. However, he kept on releasing albums, and this one received fair airplay. The interesting variety makes it enjoyable; samba, plena, and salsa rhythms are all present. Watch out for "Dilo Tu," Johnny Ortiz' "Pica, Pica," and Jorge Millet's arrangement of "Amor" (composed by C. Curet Alonso).

One of Cortijo's most obscure recordings was actually recorded in the early '70s. This offers the opportunity to glimpse the development of this bandleader in his less commercially successful era. Nonetheless, this curious little item is worth the enjoyment. Vocalists Pepito Negrón and José "Che" Delgado give the production the right sense of diversion. Recommendable for an earlier version of C. Curet Alonso's "Tum Bin," the energetic "Tambores en la Noche," and "Prepárate" (also by Alonso). Arrangements are by Jorge Millet. Good luck is very needed in order to find this odd little gem; once you do, it is a gas. Cortijo still has his own brand of magic, after all.

Nuestra Musica

One of the band's most celebrated albums, this effort has remained a favorite for the Christmas season. The tone makes it certifiable for any season as a wonderful homage to Puerto Rico and its national folklore. Among the many memorable moments are "El Arbolito," "Asalto Navideño," and the side-splitting "No Hay Cama Pa' Tanta Gente." There are great vocals by Charlie Aponte and Jerry Rivas. As usual, bandleader/pianist Rafael Ithier and associates demonstrate a sure hand in choice material. A real treat, from Puerto Rico's number onemusical ambassadors.