Shortly before the takeoff of the boom evil of the sauce, when made and unmade the best and the worst of the genre, Willie Colon and Hector Lavoe published in 1973 a production that everyone thought would would be the last one together: I kill (if do not buy this LP) . The case was an open secret: the relationship between them was becoming very tense. After six years together and nearly a dozen hit records increased, the price of fame and other unforeseen tricks began to affect them. Willie was very tired that Hector came late to rehearsals, arriving late to concerts, late for all parties, was sunk into the nose, rather than locked in place in the world of heroin. And that, for a band with the full agenda of presentations, it was terrible. Columbus, meanwhile, did not escape a certain lack of control and personal problems, because neither was a darling.
Therefore, maintaining the One-piece puzzle was finding it a daunting task.
I kill, however, seems a hard oblivious to what was cooking around, it has a freshness that pours out of each of the songs. The district and all its guapería is present, yet is reflected the appreciation of the simple life, almost bucolic offered the idea called Puerto Rico. Guajira see is just a tribute to the rural nature of the island (as spoken in My Jaragual , Ismael Rivera), a gentle life in the countryside with his conuco and birds. It remains curious that while Puerto Ricans who were in the United States yearned for the quiet West Indian, who lived in Borinquén
mocked her laughingly: for sample The peep from the Sonora Ponceña.
Song of the neighborhood is manifested in Lady Lola, which invites the husband of the above to hold the bembo (to shut the mouth, so), before you blow a cookie . And the growing influence of Brazilian music is accentuated in the Mary and so Vo, in which love and bachata song found fertile ground.
aside the veneer of nostalgia and picaresque, other songs are direct and an uppercut to the jaw of the listener. The unanimous critical acclaim including two great songs on this album: Calle Luna Calle Sol and The lucky day. The first, because it narrates the misadventures of two of the streets more "dangerous" of Old San Juan, when in fact they lived a much more pressing: that New York does not appear in the postal and where roguery was rampant. Second, because some have thought that this is a biographical testimony Lavoe, when in reality it is not. There will be one or two letters circulating in the shade of that bomb, but it is definitely the story of his life (because in reality his life was much worse) but to any Latino neighborhood struggling against adversity.
from all of the disk, moves me particularly Everything has its end, it is imbued with the atmosphere of those years unflattering Cold War, the Vietnam debacle, the imminent nuclear threat and the economic crisis product of War of Yom Kippur. It was no time to be optimistic:
This incredible-and prescient-guaracha that has so much flavor in their settlement account with a piano solo by Professor José Torres that requires repeated listening, given the quality of the keys. Torres was the one that supplanted Mark Dimond in the band, when Richie Bonilla took over management of the group and had decided to remove "most drug addicts" in that set. Over the years, Torres went on to become one of the keys of Willie's band, as well as José Mangual Jr. and Milton Cardona, superb percussionists.
few months after the release of this album the world of salsa received a devastating news: Willie Colon said I can not, until I arrive here, and dissolved the orchestra. This hard blow rocked the world of Latin music, but was missing most-used-by Fania Records to launch to stardom as a solo career of Hector Lavoe, gradually elevating the status of myth. Willie, meanwhile, decided to support the production of their new albums, while introduced in other areas and was steeped in experiments that culminated in the decisive duo did with Ruben Blades.
Nine years later, Hector and Willie recorded again together one last time. But everything was different.
"I leave without explaining many things about Willie, and more on Hector, I know. But there are still dozens of albums for review. Them where I will be slowly reeled stories. Be patient. :)
"Another issue: much has been said on the cover of Lo Mato , as" an example of roguery that lived in this niche-oriented music called salsa. "
is that some people are short of brain: the photo violent image management is pure, because he was The Bad and sold well liked. Just
view cover to check the game.
Therefore, maintaining the One-piece puzzle was finding it a daunting task.
 |
| William Anthony and Hector John, when the procession was inside |
mocked her laughingly: for sample The peep from the Sonora Ponceña.
Song of the neighborhood is manifested in Lady Lola, which invites the husband of the above to hold the bembo (to shut the mouth, so), before you blow a cookie . And the growing influence of Brazilian music is accentuated in the Mary and so Vo, in which love and bachata song found fertile ground.
aside the veneer of nostalgia and picaresque, other songs are direct and an uppercut to the jaw of the listener. The unanimous critical acclaim including two great songs on this album: Calle Luna Calle Sol and The lucky day. The first, because it narrates the misadventures of two of the streets more "dangerous" of Old San Juan, when in fact they lived a much more pressing: that New York does not appear in the postal and where roguery was rampant. Second, because some have thought that this is a biographical testimony Lavoe, when in reality it is not. There will be one or two letters circulating in the shade of that bomb, but it is definitely the story of his life (because in reality his life was much worse) but to any Latino neighborhood struggling against adversity.
from all of the disk, moves me particularly Everything has its end, it is imbued with the atmosphere of those years unflattering Cold War, the Vietnam debacle, the imminent nuclear threat and the economic crisis product of War of Yom Kippur. It was no time to be optimistic:
Everything has its end, nothing lasts forever
We must remember that there is eternity.
As the pretty pink flower just wanted
And teach her beauty, and withered perish.
Everything has its end, nothing lasts forever
We must remember that there is eternity.
As the world champion gave his life to reach
And lose the dearest: in another mass.
few months after the release of this album the world of salsa received a devastating news: Willie Colon said I can not, until I arrive here, and dissolved the orchestra. This hard blow rocked the world of Latin music, but was missing most-used-by Fania Records to launch to stardom as a solo career of Hector Lavoe, gradually elevating the status of myth. Willie, meanwhile, decided to support the production of their new albums, while introduced in other areas and was steeped in experiments that culminated in the decisive duo did with Ruben Blades.
Nine years later, Hector and Willie recorded again together one last time. But everything was different.
"I leave without explaining many things about Willie, and more on Hector, I know. But there are still dozens of albums for review. Them where I will be slowly reeled stories. Be patient. :)
"Another issue: much has been said on the cover of Lo Mato , as" an example of roguery that lived in this niche-oriented music called salsa. "
is that some people are short of brain: the photo violent image management is pure, because he was The Bad and sold well liked. Just
view cover to check the game.
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