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Tito Puente swings · The exciting Lupe sings. There ama!

Lupe Yoli Raymond, dressed (Photo : FERS)

This is not any disc. It is a great album. One of those wonderful conjunctions occur from time to time through the Chance well capitalized. Because we have to warn in advance that the first time · Tito Puente · heard this electrical phenomenon called • The Lupe · , when she was still participating in the group Mongo Santamaria said not to be all interested in his style. She called soul, but I called him shouting said drummer in 1972 to Rolling Stone magazine , referring to the groans that let go in the middle Mongo facing the stage while the drums. Then I heard one day one of their albums and was impressed. I thought I would try to work with it and see if I could develop .
Groovy, baby. Groovy.

was published in 1965 when Tito Puente swings · The exciting Lupe sings a collection of 12 tracks in different styles, with that big band sound, the Palladium 52 street was still open, which tried Bridge maintain against all odds, despite changing musical cycle was pointing what was later known as salsa. This variety of styles, one of the basic stamp album was also proof that this woman sings brilliantly what you put in front. Because La Lupe sounds great when backed by an orchestra and arrangements phenomenal. And because it is the style . All that pomp

looks almost decadent unusual power here. Guaracha that opens the album, All , is a statement of intent: the voice stream can overcome the orchestra more than a dozen musicians with some arrangements of trumpets and saxophones amazing. Below I do not cry anymore, Myrta Silva, a son montuno which has a cascade of love to which she added some phrases and exclamations in montuno: hears child, are you telling me you're going? Then grab the three rags and go. Good bye, babe! , marking one of its peculiarities more fun. The lyrics with double meaning are another house brands, such as Menelaus, who have low blood sugar . And a surprising version of the Tribute to Juan Vicente joropo the great Billo Frómeta , a nod to Caracas from the 50's was the most important carnivals of the Caribbean (until the then governor banned Diego Arria the mid- 70).

A Moorish bolero with mushrooms and all that ends in Cuban rumba, María Dolores (previously popularized by Sara Montiel), began the long love affair that had La Yi Yi Yi with flamenco, expressed in dozens of recordings of classics of the genre. With you bossanova demonstrates the growing influence of the Brazilian style, imposed by record companies when the source was blocked politically Cuban music, and a Yoruba chant, Elube Chango, also characteristic of his songbook.

But the issue that showed the true side of La Lupe, giving rise to idolatry he began to feel for her and helped produce twelve records in just over 5 years, was asked do you a gorgeous bolero Gabriel Luna de la Fuente and Fernando Mullens. The song, direct, good phrasing and groans from the verse and stanza marked a new direction for this style:

What I asked q ue not fair understanding
That knew that there and No other love life
As my love.
do not you say you could put your hands in
And though I wanted to steal the light for you
Could not be.
Today I ask you the stars and the sun
'm not a god
Like me give you my love
I have nothing.
Ask what I can give you
I do not care myself to you without condition.
But what I asked, t ú tell the world what you
That knew no other love in life
As my love.

eyewitnesses say that the dynamic between Tito Puente and La Lupe was not at all simple. Much less to record four albums they made together between 1965 and 1967, she had the ability to put the nerves to everyone in the recording studio, and none of the measurements was similar to the previous. Bridge kept scolding when he made strange noises, and she is twisty. me! he said. No wonder his style ensured that people liked her because she did what others wanted do but not because they are not free . Curiosa philosophy.

The point is that his triumphant arrival to music with this album that sold over 500 thousand copies in a few weeks, was one reason for the second half of the year 60. César Miguel Rondón said in the Book of the sauce on the scene with this big band singer approached the district , and his voice alone served as a bridge between a style that was expiring and define the sound of Latin music of the 70.

But really she just wanted to sing because I like soul. Cantaría in China provided the people have soul. There

ama!