Paper Lanterns As Centerpieces

East

Before adopting the alias · Joe Cuba · , Gilberto Miguel Calderon Cardona called for a time Joe Panama. They'll think that the man changed his nationality as a Liberian ship, but it is not the case.

The story actually has its bembé. Nuyorican

as many stars from the Latin, Calderón fell into the world of music with one of those break points that usually produce a blunder. More if it's real. Just came the 50's when Gilbert broke a leg and thereby frustrating their desire to be baseball and basketball player (besides be studying to become a lawyer.) To avoid boredom at home, he asked his neighbor Street 115, New York to lend him some congas to mimic what I heard on albums by Machito .
And I was catching the taste with the matter.

Joe Cuba, the mayor of the district

much, that just around a year or two, was already playing as a replacement in various orchestras, participated in two or three times that of Marcelino Guerra, who is not little, until the good fortune, with the help of bassist Roy Rosa, brought him into the quintet of Panama David PREUDHOMME, which had been the nickname of Joe Panama. The fact is that PREUDHOMME was no businessman and Calderón yes, so he ended the last charge of finance and, after musical disagreements, staying with the group.
also recommended by Rosa, Joe adds a vibraphonist named Tommy Berrios, so the band renamed the Joe Panama Sextet ... until, during a concert at the club La Banda in the city, warning that appears PREUDHOMME had recorded the naming rights, so cuidao . Saw the picture, accepted the recommendation of the promoter Catalino Rolon and decided renamed Joe Cuba.

The rest you know.

not without some ups and downs, from the time the sextet was climbing the ladder of popularity in New York, mainly because its efforts to include songs with Latin rhythms, but sung in English, almost inadvertently helped to strengthen this fledgling Spanglish , and proved to be well received by those young people who are band without problems between the two languages.

was the opening act on numerous occasions, Titos in that Fantabulous Palladium, and the music was nurtured by generous that he always admired to create a unique style.
kept the margin (except for a couple of times in 1957) the use of wind instruments, concentrating the melody on the vibraphone. So forged a sound short but very effective, which could be accommodated even in small clubs, in which the cry of a trumpet could be very heavy.
Least to Most seemed to be always thinking.
already in the early 60's became one of the stars that dominated the landscape. Thanks to the lightness of his band, he could easily survive the death of the big bands, taking over the vacant lot and offering, from 1964, one of the crossovers that would give a twist to the sound newyork two years after . I'm talking, of course, the boogaloo.

radiograph of this germ, two years before hatching, is on the disc Steppin 'Out , the first full-length to record in your life. edited it Seeco Records in 1962 and serves as a transducer of the music that was dominating the sound spectrum of the Big Apple. Offers the still young but powerful voice of José Cheo Feliciano and points that music forms, in one way or another, was to assume in this decade of change.
Steppin 'Out is not only super-embarrassed recorded an album of that year Seeco may sound better than one of Fania, 1977 but the industry is well-but has a number of issues that are already part of American musical iconography. The secret seems to be that it was a hard thought, the same Cuba account the idea that he offered to record Rolon, who warned that the owner of the Seeco, Sidney Siegel, he would not give a penny of royalties. Joe also accepted because it was the perfect way to be disclosed to the public: the label was the main writer of Latin music right now, but Tico Records was already beginning to overshadow him.

So this album, recorded with the experimental stereo voices that puts one hand and the rhythm section on the other, brought together the best songs of the repertoire of the sextet: At six , the pachanga holiday that has been repeated so many times in dozens of montunos the 70 sauce; East, a old Cuban song with a phenomenal solo Berrios guapachoso few breaks and that letter says

sticky

Hey, I'm from East

hot rhythm

that makes you enjoy.

Hey, I bring joy

of this land mine

that makes you enjoy.

I bring belly, maraca,

cane flavor

and dance while my pachanga

and very cunning.

Hey, I'm from Santiago

of Ponce

Pachangueros

to know how to dance

is that I will bring hot pace East

A font mambo great, Rosalie, and a delicious guaguancó, Street, which is just one of hundreds of versions that have done the traditional flavored Yambú but downloads street. It also includes a bolero Cheo record again a decade later: How laugh, in a performance that he burst into applause to those in the recording studio; Forums, a mambo with flavor to neighborhood ; Women with choruses that game seal of the house I came pa see, with that delicious taste that Cuba could print on the montuno, and To Be With You , a bolero sung in English that produced by Jimmy Sabater a scene of professional jealousy in the heart study, since Feliciano wanted to record because I'm the vocalist of this band .
Genio. Good reception
this disc Joe reinforced the importance of Cuba in the musical spectrum. Also achieved in the years following interesting sign a contract with Tico, recorded for a time with both record labels and released in 1966 this fundamental album, which broke all sales records and helped trigger one of the most authentic musical madness New York. On that production
talk later.

Does Blonde Highlights In Red Hair Look Tacky

Boys and girls, the main victims of the use of explosive weapons in conflicts

the past 10 years more than 2 million children have died as a direct result of conflict and more than 6 million have been seriously injured or permanently disabled. childhood is particularly affected by the explosive weapons used in populated areas, as noted in the report "devastating impact, explosive weapons" . In 2010, this type of weapon caused deaths and maiming thousands of children in 13 of the 17 countries where it was used, according to the UN. The report denounced the massive violations suffered by children involved in armed conflicts where such weapons use.

Afghanistan, Iraq, Sri Lanka, Somalia, Yemen, Israel and the occupied territories of Palestine are the countries where the use of explosive weapons have tragic consequences for children. Children are especially vulnerable to the direct effects of explosions and fragmentation of the munition, effects that are both physical and psychological. Moreover, they also suffer the collateral consequences such as reduced access to health services and education. Only in the first half of 2010, conflict and the attacks on Afghanistan left out of more than 400,000 school children.

Thousands of children were killed during 2009 by direct attack with explosive weapons. Many more have died as a result of the damage reversed on health infrastructure. In addition, survivors are forced to live in a hostile environment created by the variety of psychological, mental and economic use of these weapons cause on society.

The risk of children from the effects of landmines has dropped significantly as a result of the Ottawa Treaty or Convention on the prohibition of antipersonnel mines in 1997 and the efforts of the organizations that actively fight against its use . However, each year, landmines kill or maim 8,000 to 10,000 children. Where data are available on the age of the victims, there is evidence that children represent 41% of them. In Afghanistan, the death of children represents 50% of the casualties caused by unexploded ordnance remaining.

Countries most explosive threats on children

During 2010 (before the outbreak of the riots and conflicts in the Arab countries of North Africa) the six countries where children were most threatened by the use of explosive weapons are:

Afghanistan: During the first four months of 2010 were recorded 106 attacks on schools and during the first half of the year about 400,000 children were left without classes for the development of the conflict, threats and attacks. The schools have been attacked can be closed for years.

OPT: Children were almost one third of the civilians killed during the operation Cast Lead ended January 18, 2009 after 23 days of air strikes and ground operations in Gaza by the Israeli army. In 2010 continued to use in particularly explosive weapons bunkers in the area which borders Israel and in the coastal area, causing damage to children.

Pakistan: In 2009 the Pakistani army launched an attack with artillery bombardments in the province of Khyber Pakhtoonkhwa to oust the insurgents associated with the Taliban. According to the Institute for Peace Studies from Pakistan, 3,021 people were and 7334 killed (mostly civilians) were affected by the increased use of household items. Civilians are estimated to reach 30 percent of deaths from air strikes by U.S. drones. Somalia

: Explosive weapons are widely used by both sides of the conflict between the Transitional Federal Government (supported by troops from the African Union) and insurgent groups. The intensification of the conflict since mid-February to late April 2010 left a thousand dead, most of whom were civilians caught in the bombing of both. In an MSF hospital, women and children under 14 years represented 38 percent of those being treated for war wounds, 64 percent of which had severe damage.

Sri Lanka: In May 2009 was the final offensive by government forces against the Liberation Tigers of Tamil Eelam. Explosive weapons, particularly mortars, killed a large number of civilians, including children.

Yemen: In August 2009, the government re-launched an offensive against insurgents in the north. Artillery, drones and homemade bombs killed 189 children and damaged 155. 71% of these injuries were due to direct confrontations between both sides.

Black Stool Before Labor

Koncept kaliente pace in unity, old fashion way

Twenty years before Ry Cooder arrived in Columbus plan to discover Cuban music (be refreshed, the truth), something interesting happened in New York. In 1974, a group of musicians led by the brothers Andy and Jerry Gonzalez started well in guapachoso plan, organize downloads for personal use, like a rubber ball Caimanera or spontaneous football these binges are organized on the beaches Rio. The issue was a good time, free from the shackles of the participating orchestras where these instruments and sound so delicious. Pure buddies.

This improvisation begins to more seriously when they received an invitation to give several concerts at Wesleyan University, that it is in Connecticut. To get out of joint called Anabacoa decide (taking the name of an old are Arsenio Rodriguez parent of Latin music we hear today), are presented with remarkable success, word of mouth starts, add more musicians and that's when they realize that the rumba was not confined to weekends and Caimanera of buddies. René Lopez, singer and musicologist, took the baton of the group and decides to christen him with a long name that almost nothing was soon to enter the annals of Latin music

The Group at a concert in Berlin in 2008

the · Grupo Folklorico and Experimental Nuevayorquino · .

The whole premise was to maintain that freedom, shun corsets, fashions, and assume the Cuban musical roots and Spice it of modernity, those roots that are the same as Cooder discovered several years later.
could fill lines and lines on the subject, but there is much literature on the internet and César Miguel Rondón devoted several pages of his Book of the sauce to explain this phenomenon better than I could and I do not plan to be repeating phrases. This first disc
Group Concepts in Unity, was missing the map from the late 70's until 1994, when the legendary Salsoul Records , or who stayed with her, rather, decided to do a reissue on CD. Both had read about this myth that only saw him in Caracas I bought it immediately
, I jumped several red lights to get home on time and listen as soon as possible. Great
initial disappointment, I must admit.

Before pointing missiles or hire the assassins, who know them, I will explain with a very direct statement: it is another thing I expected.
I expected something more modern, a twist to the sound newyork a heavy roll in which modernity was as palpable as a good slap given, some arrangements with them to leave the stick and Alzheimer Palmieri and Barretto with walker and dentures.
I expected a good sheath.
So when I go and squeeze play, and leave the voice of the great Virgilio Martí singing Cuba linda, I saw nothing experimental anywhere, or at least that's what I appreciated at first. Folk itself was, and much, too Cuban for my taste, though. Too santero, too (because several issues are the folklore of Santeria, which has always seemed slightly bored, but has been so important for the development of Caribbean music as Gregorian chants were for Renaissance music and all that came later.) More so when most of the musicians in the salsa expression of the 70 were Puerto Rican or Nuyorican and feeling, they will pardon me, is different. And that is one of the most salient characteristic of the sauce: that music is felt and expressed differently.
I also noticed that, first, César Miguel hiciese distinctions between the rural are sounded in the Caribbean until the sauce gave it that hue distinctly urban, and then openly aupase disk is grounded precisely in this rurality and the sauce sounded alien to both defended tooth and nail. I think it contradicted. And I keep thinking.
Nothing. The album I heard a couple more times and put him in the chest of rarities that are not re-review.

few weeks ago, thanks to the vagaries of this blog, checking my records appeared again and gave him another chance: this time came out better off.
I seem to be as momentous as he is painted on all sides, I still feel a bit overrated, but that does not mean that it is dispensable. For nothing. Because it has several things going for it, and the first is that it has aged very well. Let's see, as well as productions of Buena Vista Social Club sounds like old, because it sounds old Benny Moré and Ignacio Piñeiro even older and National Septet (And are great all eye), this album sounds too nuevayorquinos of yesteryear, but has some virtues that can not fail to emphasize: first, the enormous and brilliant rhythmic battery that supports the structure of songs, composed in several tracks by conga, second (a type of conga), fifth, drums, bongos and timbales. And others bata drums. and say, aha and what . Right. Right now, hear these drums in any recording is almost normal, but in 1975 were few and often leaving three ceremonial leather scene. Let alone a recording studio. On the other hand, percussion the sauce is usually made by the double slash and bongos, so having more skins sounding remarkably rich.
Another of its virtues are the singers: Virgilio Martí, that sonero rebel who never married the music industry and so few of us know him, in Cuba boasts a beautiful friendly song on that island, leaving aside the political issue, while in Iyá modupué succeeds in its efforts to show that folk syncretism that we have seen only the façade. Another voice is that of Heny Alvarez, who sings with the raspy banter Carmen and Dad and Mom , a sovereign that is a song guaguancó to life. Also Willie García-husband at the time of La Lupe and causes, according to a biography, all sorrows and all the torments suffered by the woman in the 70 - Chocolate's guajira playing, singing and asoyín Anabacoa . And other issues involved in Victor Montañez and Frankie Rodriguez.
But the greatest virtue lies with the instrumentalists. I will only mention them because they are many, but most will sound familiar: Andy Gonzalez (bass), the Brazilian Jose Rodrigues (trombone), Reynaldo Jorge (trombone), Gonzalo Fernandez (saxophone and flute), Alfredo chocolate Armenteros (trumpet ) Oscar Hernandez (piano), Nelson Gonzalez (three guitar), Frankie Rodriguez (congas and okónkolo), Milton Cardona (second, fifth and Itótele), Jerry Gonzalez (fifth), Gene Golden (bass and iyá), Manny Oquendo (timbales and bongo), Ben Taylor (Atcher and shekere), Victor Montañez (follower), Marcial Reyes (Lead), Jaime Flores (gourd) and Francisco Martinez (harmonica). Such a meeting, all tucked into the CBS studios in Rockefeller Center and recording in one take (because almost all the songs came to the first and the disc was made in just two days: 7 and 10 April of that year ) transmits a very special energy. Because it is a fully recorded studio work live.
As once.
not expect such harsh New York salsa sound on this album. Neither these constraints neighborhood by its singers. The download is what makes the disc and its rationale. Cuba and its music is the sight.
why it sounds so much like Ry Cooder, only twenty-some years earlier.

The disc is out of print, so it does not appear in Spotify or Rhapsody, but it still falls short in physical form online at Amazon for example. If you know who has the rights of Salsoul Records, call him a scandal and arm them for not having returned to take for sale.
suppose that due to the success of the Buena Vista ... collection, those of GFYEN decided to meet late afternoon and arrived to perform at various festivals with very good reception, though.
There are several of their videos on youtube, for anyone who is interested in listening.

Indian Actries Bopobs

The farce of the Fania All Stars at Yankee Stadium

begin with the incontrovertible fact, as would the lawyers and people in need of faith:

Jerry Masucci came up a day that would be nice to make a kind of homage to the fabulous concert Cheetah 26 August 1971 reissuing a meeting of the Fania All Stars (or Fania All Stars, because they are both ways) in a place that had an almost mythological for New York: Yankee Stadium in the Bronx. Ta loco

they whispered.

But he did. On August 24, 1973 managed to put more than 40,000 people in the arena of Babe Ruth, with a great show promised a before and after. The roster consisted of nothing more and nothing less than a Typical 73, Mongo Santamaria, El Gran Combo de Puerto Rico and as close magnificent, the Fania All Stars, in salsastar fucking big plan, and I serve it with everything. Orate

, told.

Johnny Pacheco recalled in an interview that fewer words words, half went all shitty because basically they were not sure that people were going to go. Jerry had invested in the epic $ 70,000 at the time (other versions say that the madness was 280,000), of which only fifty thousand had been intended to rent the stadium for that day.

Fania All Stars San Juan de Puerto Rico, not at Yankee Stadium. Eye. (Code Music)

And there, like good movies, certain conditions must be respected to the letter:

The concert would be in half of the regular baseball season, so the field could not be used only to place a huge stage between first and third bases, and the public to Sandungue in the stands. Desperation one in the field of play, but was on the mound, and sit, suspended the show and pay a fortune to the clause contract.

They said okay.

I could get-if anyone does, I pass them, porfa, Typical recordings of the Gran Combo and I have seen something that they played a terrific documentary that was Leon Gast about the subject and which I do not talk. disc Mongo, at least, is phenomenal.
was the perfect appetizer for what came next.

's when Fania All-Stars reach the stage that there are two stories running parallel, because they share the essence but have differences in size, which is necessary to qualify. Let's see, César Miguel Rondón, in his Book of the sauce, which create an infallible says, ensures that the FAS could barely touch Congo bongo, a discharge with elephantiasis written by Larry Harlow, who had as a main course with a conversation between Ray Barretto on congas and Santamaria.

Watch the video , which is exciting but is poorly edited, and understand what I speak. It's a frenzy.

The other side of the story says that before Congo bongos, the orchestra played several songs, including a set of typical music, and that when they started the second half, with elements of soul and rock, everything collapsed within me inside me ...

I have not even seen any videos of those early songs. If someone has, you know.

describe: a half of Congo bongo people, those bastards more than 40,000, said the stands were really cool, but now they wanted to take a stand next to the stage that was beyond the home .

and turned to the field.

The result is that you're thinking: the police arrived on the scene, fell rolazos as rice, the show suddenly stopped, put the musicians in a safe, stole up to the microphone and ended up paying Masucci $ 35,000 penalty.

In all this madness we must applaud the attitude of Pacheco: see the minute 7, when Alex Masucci, capitoste brother, Johnny yells desperately to send to stop the affair, the crowd is behind outside yes, as if it were a demonstration, while on stage nervousness ensues. Initially Pacheco is unfazed, but such is the insistence of the other decides to end the song. That's right: with coda and fanfare that befits a subject of that caliber, and not rush me, baby, that the thing was playing the best to come to annoy you .

the end it ends music, people shouting and waving flags of Puerto Rico while receiving palo pa rumba by the cops. A voice, know who, states the end: Okay, folks. It's over, the concert is over! The detail is that the presentation of the Fania All Stars was done in English, but the show was suspended in English, which is not without significance, eh?

End of story more or less official.

The farce appears two years later, when Fania Records decided to release a double album called: Fania All Stars, Live at Yankee Stadium, and 1 2 . César Miguel gets angry enough in his book when he states that such a move the industry was making fun of the good faith of music lovers, because none of the recordings of the two discs, and see that no songs were taken from the concert, that Celia Cruz, for example, was not even in the stadium and then appears singing two songs.

disc except that it uses recordings obtained at the Coliseo Roberto Clemente in San Juan, Puerto Rico in November of that year ... but says that the only thing in there at Yankee Stadium is the cover photograph.

Other versions, which come from Code Music, current owner of the recordings, confirmed that Volume 1, Pueblo Latino is the original concert, and the rest of the songs were taken from the show in the Roberto Clemente. And, Volume 2, Hermandad Fania (sung by Bobby Cruz), My Weakness (official presentation of Ismael Quintana Fania) and Take off pa'lla (with Justo Betancourt) from the arena of the Bronx. That the quality of recording of the concert in San Juan had been better, we decided to include the other songs (How rich my drum sounds, Ismael Miranda, I guajiro, with Santos Colón, Goddess of rhythm and Bemba Colora, Celia; Mi people, with Hector Lavoe, and Congo bongo). But if the latter song was already a full version, which published a year before the disk Latin - Soul - Rock , why not wait to put it on the double album?

At least, that if he had his pedigree in the making.

once asked him to Larry Harlow what had been the original songs from Yankee Stadium and looked away, refusing to confirm the list. I spent two days trying to find that answer on the internet and have not seen any source to confirm the species.

even sent a tweet to Willie Colon and men have not answered.

So I decided to see the videos on Youtube: none of them displayed the members FAS with the clothes they wore at Yankee Stadium, although they are playing the songs that claim to have played on that occasion. The subject is almost for an episode of X Files goes latin.

Until someone clarifies it in detail, I think I will prefer the version of Cesar Miguel.

At this point one may wonder Text: and that such determination in a case that happened almost 40 years? If Fania Records decided to lie and make recordings that were not, let them.

Yes, indeed. Marketing goes a long way and, ultimately, these two discs were the result of a strategy sales. Trying to get benefit to the loss that the suspension of the concert.

The problem, little detail is that these two discs were chosen in 2003 by the Library of Congress to integrate the National Recording Registry Collection , which includes the most important recordings made in the twentieth century together. The other Latin music that is there is Dance Mania, published by Tito Puente in 1958.

So what do you do? Calling the Library of Congress and tell them that they made a little mistake in this classification include discs with Pinocchio's nose? What lured them badly?

Frankly, for a time these gentlemen WASP pro-establishment intellectuals take seriously the term salsa, go and choose an album that is not what it says. A pity.

How would you react in this situation? Would you use the phone? I leave the number of Public Affairs at the Library, if you want to report it anonymously: +1 202 707 2905. Below is also the comments box, because I can have been wrong and, indeed, these four songs are from the concert. Which would not take the hint of farce continues.

Sigo esperando las pruebas.

------------------------------------------------------
Confirmación del día jueves 24 de marzo

Las pruebas llegaron. Un reportaje del Public Broadcasting Service de Estados Unidos (muchas gracias, Melania querida, por pasarme el dato) confirma lo que ya se había dicho palabras arriba: Fania All Star sólo tocó Congo bongó antes de que los más de 40.000 espectadores colmaran el campo de juego del Yankee Stadium y el concierto tuviese que ser suspendido; el propio Jerry Masucci reconoce haber invertido 280.000 dólares en esta epopeya; Héctor Lavoe se quedó frío en el dugout, esperando su presentación formal as a soloist, Alex Masucci left with the suitcase full of money before the situation became much more apprehensive, the friendly assistants stole even the piano he played Harlow, Celia Cruz was officially introduced at the concert of Roberto Clemente Coliseum in Puerto Rico and was not present at Yankee Stadium. And
albums 1 and 2 took Fania Records are a complete lie.

you accept the Library of Congress call collect calls?

The lie does not always have short legs: 4 years ago discovered in a warehouse of New Jersey a lot of unreleased recordings Fania Records and West Side Latino; discs had never seen the light. What a wonderful thing. They also found, oh surprise, the entire recording of concert Roberto Clemente Coliseum in late 1973. Nothing, I blew the dust, remastered, the packed, they put the label novelty, rarity , and the street.

obviously not clear that more than half of the concert had already been published in the disks of Yankee Stadium ...

because marketing is taking to long.

At least the sound is much mejor y destacan -por su ausencia- las manipulaciones de estudio que sufrieron las grabaciones cuando las lanzaron en 1975 diciendo ser lo que no eran. Hasta en eso fueron un poco piratas, porque llegaron a meter sonido de público donde no había.
Típico de los años 70.

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Rise and gives your life

Para todos aquellos que encuentran especial esta canción, que sé que son varios :)

Uno de los golpes más duros que he recibido en los últimos meses me lo propinó Marco Tulio Socorro. En toa la jeta, además. Fue una noche en su casa, casi impregnados en alcohol, después de haber discutido la pertinencia del reguetón. That is, although I confess to be a total illiterate gender.
will be by age.

As I was saying: I remember very well how the matter came after (Marco and I have established the habit of coming together to talk about many things, and the next day just remember what we chatted brushstrokes, so imbued with us in the talking on the conversation), but while we take off-the-you-pa-yo Put me in the songs that were playing, which is another great part of this dynamic, Marco and I will suddenly throws this topic :

Mourn

hide I never wanted to see me crying

That to me nothing mattered

where I cried If anyone cry

But a stroke of panache to say, I want to see who gives more.

cry cry cry

A moral man is not defeated

if you have dignity and falls face down

looks up and does not discourage

raises his

body off the ground and gives a face to your life.

Rise and gives a face to your life

Song, No: supercanción. And I had missed in life ... Bone.

Justo Betancourt (Photo: Marty Cohen)

I tried to pull myself together, but could not. Seeing my face to be in the destitution, the very unfortunate raised an eyebrow, took a sarcastic tone and dropped his indescribable accent Machiques:

do. Acahso Do not you know this song, pehrro?
At this stage of the game hard for me to hide the blush:

Not to know is that right now does not sound or voice of the singer, I said, I think, locked in all my years of salsa for not knowing a great song of this caliber. Setting

could beat me to the ground, have shaken my moral foundation forever, making me bite the dust of shame, destroy irrevocably sweep Gran Via half my state of mind are of a derogatory guaguancó fierce. But . Instead of revenge, under the brow of the high bleachers, he kept lions and started telling me how important it was for him this track sung in 1968 by Justo Betancourt, helping it to leave one of those holes that gives us life time to time.

The worst thing is that when I went to the screen because it is in Spotify-to see the album cover and saw it was The explosive , I remembered that I had received this album many years ago, including a donation of vinyl that I had a person who is definitely going to CD.
And I did not I hear the saints pads, analyze it and love it. I saw it, but never saw it faced: the vinyl bag and put it to see how it sounds.
Sorry, because this song gets it. Sounds and tastes like the sauce well addressed to suburbs, urban, sour acidity that can reflect the urgent sound of the time, because there are New Yorkers and trombones Just why is Cuban. Around the years, this topic may sound underground, but that moment everything that was being around the sauce was almost underground.
And in that freedom which is its beauty.

Betancourt is one of those singers unclassifiable. A man on stage, a person with a great voice quality, able to cope with equal skill a bolero that a guaracha. A Cuban love of his island, who was lucky to sing with La Sonora Matancera in the 60's, when it had also left the Castro. Participated briefly in the bands of Johnny Pacheco, Eddie Palmieri and Ray Barretto, before signing with Fania in 1968 and published her first album with arrangements by bassist Bobby Valentin and pianist Javier Vázquez. There have been no way of knowing list of all the musicians who participated in the recording, but Just says in one of the topics Carlos Patato Valdés is on the congas. Which is appreciated. Da face
addition to your life, the tone of the production includes several short boleros as delusions of grandeur, I lost forever, My heart aches and a word of love, and all the phrasing is so great that almost could say it's an album of boleros. There is also a great tango by Carlos Gardel, Went to latin: Yira-Yira , a hymn to the island of torment (Mi Cuba bella) and three sounds great: The language of flowers , The messenger (with that delicious montuno: hear the echo resounds, hear the message from the grave , plus a piano solo Vazquez very well done, and one of Super patato congas) and Not in anything.
Betancourt has always been about the typical wave, but with an important caveat: although they are part of the singing without departing from the Cuban school, which is there with pride, it faces montuno from a purely optical salsa, releasing the bondage of rhyme, play with the choir and phrases coming to mind. Just then produced albums
most important and of greater significance in the 70's. Participated also in a production with Mongo Santamaria, who turned out to be one of those little known but essential productions from the Latin of New York.
This record brief, intimate, without much fanfare, very spontaneous, it is interesting as a gag to discover soneros one of the most intelligent, honest and relevant to Caribbean music.
already know: less self-help books and more Justo Betancourt.

Take Deck.skate.online.game

kara Kuando introduced Willie Colón Rubén Blades

was a marriage of the most ordinary:

Willie and Ruben, putting his hand (Code Music)

never became friends, when they finished the recording sessions or concerts, each went to his house. Sometimes even repelled and ignored each other reaching separated for years, but then return to join . And now they are definitely
divorced.
But there were a constellation of records that is unparalleled in Latin music. · Rubén Blades · was the voice and the artistic, I was looking for Willie Colón, after his band decided to disband in 1973 and he wandered across disks spinning tasteless, release and interesting baquinés without much luck, Willie Colón was the push he needed to Rubén Blades to achieve a good Once the spotlight and the adoration of the masses, after having recorded parts of considerable importance to Fania All Stars, Ray Barretto and Louie Ramirez.
This was the first album that came together in 1977. And although it was not the best, it proved to be the coolest, especially for concentrated new lyrics
great musicality and a new and radically different from the repetition caused by a boom
sauce, which was already beginning to more of the same. These
Willie Colon Presents Ruben Blades: Putting your hand!

The combination of features that makes it special this album is based on a basic premise: both wanted to offer new things, break new ground, defining avant separated from the same music that sounded so tired.
wanted to be in a pod. Rubén

had previously tested with social themes because, above all, is a columnist and as you go and write a blog to tell the life from their own point of view, he wrote his songs where she showed and, of course, I wanted to sing. For the moment take this album, Blades was already recognized in the New York salsa scene for his songs, but still fairly anonymous to the general public. Had still some limitations when it comes to singing (and a timbre very much like Cheo Feliciano, which brought him no little criticism) and had failed to forge a unique style. To overcome this proved indispensable contribution of Columbus, the biggest selling salsa record in history. Not only because of his experience as a conductor, producer and arranger, but because, as a diamond cutter, he managed to polish every facet of this stone carved yet named Ruben Blades, to be getting a gem capable of making a style that still persists today. The cover , in fact, emphasizes this idea: Willie is listed as the trainer of a boxer ready to get their hands ... in the best sense of the term, of course.

The fight begins with Paul Village, a huge issue that the accent mark in one of the little holes that are most liked Ruben used to observe the world: social issues, the experience of everyday life, the neighborhood - as Latin American concept of lower class suburb, exclusion, and its protagonists. From humble people. Paul Village is the epitome of those who could not find success, even the material of which life always turned away. Of the ones attached to a hope that never materialized.
From poetry that all sorrow is capable of generating: Return

a man of his silent work tired

passing

not in a hurry, if it ever reaches shadow

awaits neighborhood always with the lantern in the corner,

with trash in front beyond and noise from the bar.

Pablo Pueblo reaches the dark hallway

and returns to see the walls with old papers

promising future in battle

politicking and his face is drawn the disappointment of waiting .

Pablo Pueblo, son of the street cry and

of poverty and hunger, the dead and grief

Pablo Pueblo, their food is hope

its way not in a hurry, your shadow never reached.

reaches the patio, thoughtful and downcast

silence with poor, with the cries from below

clothes on the balconies above the wind dries

hear thunder in the sky, rainy weather warning.

Enter the room and stares

his wife

and children and wondered how long

Take your dreams threadbare patches in hopes

hunger makes a pillow and lies down sad soul.

There are songs that show that the sauce is made only to spend soles or polish floors or settles buckles. That sauce also makes sense to be someone sitting on a couch. Not only because this letter withered any possibility of joy in the dance-especially me forces me to be quiet-but also because it has an amazing orchestration composed by the three trombones Leopoldo Pineda, Papo Vasquez and Lewis Kahn, low Salvador Cuevas Milton Cardona on congas, bongos Jose Mangual Jr, Nicky Marrero timbales and piano Sonny Bravo, Joe Torres settled the instrument in other subjects, in addition to the tuba-yes, a tuba - by Tom Malone, four of the great Yomo Toro and Rubén guitar, an instrument rarely seen in the expression. The arrangement of Pablo Pueblo was given by Luis Ortiz parrot. And it all ends so magnificent show.
Willie managed to bring their sound experiments to standardize the expression levels of the late 70's, but without resorting to mannerisms or rare sophistication. Because the taste and the seasoned entrompe never ceased to be present. The test of all As this is the color , a pump with a ceaseless montuno or when not to mumble Toro notes his four beloved (the video that comes with the link Toro demonstrates the virtuosity of the strings. They are more than three minutes, impressive); The case, which highlights the chronicle of immigrants and their troubles in the U.S., because the thing is not new, " was male, the birth of a child as another face more than that area that is life, and that old issue of Eliseo Grenet, The delay, in accordance with a fun and a montunos atinaíllos, bushing, and Pueblo, a nod to the forgotten hero Columbus and Blades proposed rescue without falling into demagoguery of others. Demagoguery
absent, too, in another of the leading issues of this album: Planting in of Tite Curet Alonso, who chronicles the misadventures of farm workers in the nineteenth century due to abuse of the overseers, more lords and masters The same masters and gentlemen. And your sky Rain an excellent guaguancó now some critics consider a song early against climate change, as if to forget that in the tropics there is nothing more regular than irregular rainfall. Putting
hand! was a triumphal entry for Reuben. For the front door. He was one of the first records accepted by the Caribbean middle classes, which until then had turned its back on gender-considered marginal music as happens in some way with the current reggaeton. It was also the beginning of a very creative luster Willie Colon, the last he had in his discography, and the concrete demonstration that the term salsa could give more than a bembé, a simple dance bachata or a holiday, as they wanted to pigeonhole many experts, who complained these long letters to successive narratives vehemently bet that nobody would learn them. Very
successful they were.

How Does Farberware Work

When I kanto my beautiful guaguancó

After tangentially mention it in several blog entries, it was time that I decided to talk about one of the disks of · Johnny Pacheco · . Not only because the Dominican musician and producer has been a fundamental character of the expression salsosa-and Latin music in general the past 55 years, could have created several musical fashions. Although he has never been my cup of tea, I must acknowledge with enthusiasm that has produced several albums essential, its approach as a musician is quite significant, though their practices as a producer and musical director of Fania Records have not been well- and has a virtue that not everyone has, no matter what occurs, no matter what you give your orchestra, the result always, always, have much flavor.

And that, for the purposes of the sauce, is an essential detail.

Pacheco with his big hair, mid 70's

order to decide which of his productions started, almost better to go to the great wheel of chance, since it launched his first job in 1961, Pacheco and his charanga (which was the biggest selling Latin album in the U.S. to date), Johnny will be released over 50 albums. Not all the same quality, of course, but some are necessary in any collection salsa. Which I will speak today, Master (not to be confused with the compilation Code of Music) is one of them, not only for the quality and grasp of the topics chosen but because also was the album that introduced the new vocalist, Mr. Héctor Casanova, who managed a very explosive duo purely Cuban-style through its soneo, which fit well with the intentions of Johnny.

Another important aspect was the addition of trumpeter Louis perico Ortiz in the arrangements, and the amazing hands of Pappo Luca on piano, which gave a return to the sound Pacheco anchored in the typical wave together since 1964 (two trumpets
equal hierarchy, a three to differentiate from the Sonora Matancera, which did not use, and the rest like: bass, congas, cowbell, maracas, piano, guiro and pans). Updating became clear, thanks in part to intelligent solos that twist in the orchestration.

Although paradoxes of life, this new tumbao which had both had spoken Pacheco suddenly become their tumbao stale, thing that bothered at the time to César Miguel Rondón. I do not know, maybe exaggerated a little note: after all, Johnny has been a person with a great sense of timing and very dangerous to appear at the right time, besides being a marketing wizard and image. Because it sold as new something that was old, and then say that now it is true that is old and therefore is new again ... and people enterito swallow it is like for you to applaud those of Ogilvy & Mather.

Anyway. The issue starts with Girls, a hit song Billo which perfectly reflects Frómeta sonear style of Casanova, with a timbre similar to that of who supplanted, Count Pete Rodriguez, but with one delivery to the completely different montuno ended it being worth a lot of respect within the environment (well, I always seemed interesting stage behavior ) .
The next song, Guaguanco Pa'l knows, is one of those defining issues of which fall within the top 20 of the sauce with ease. There Luca delivers exquisite piano solo, very jazz, modern granted this montuno of old, stale after Casanova loosen one of the most memorable lyrics -For fun and complicated construction-of the decade:

The past is past time
can never go back to yesterday
Today will be yesterday, tomorrow is today ... Listen carefully!
What can you expect anyone to know.
why I live happy when I sing my beautiful guaguancó.

Simani, goat and The Pheasant are three examples of such obsessive matancerización salsosa expression, two slow tunes with long montunos, the first with a trumpet solo estupendísimo parrot, and the latter with an equally great one of three of Charles Gonzalez, and a festive font guaracha and double meanings. There is also a bolero sung earlier by Benny Moré, today as yesterday, and two guanguancós of good taste and twisted lyrics: I want a woman and Lend gloves. And the fun vu parle français I do not , which tells the time that Pacheco was on tour in Paris and, as he admitted on one occasion these black just imagine trying to speak French ... Grammy Nominated

-eventually won Eddie Palmieri The Sun of Latin Music - Master ranks as one of Johnny's work more refined and recommended. They say that 1975 was the best year of the Latin in New York. And listening to albums like this, as that's true.

Best Party Of Pokemon

The set of Markolino own tastes (and sorcery)

This is the kind of record that shows where to limp the writer of this space. I will not be neutral when talking about him, because I think one of the productions more authentic and representative of the underground salsa, rich in elements of jazz, expansive, free, gushing in torrents through the early New York of the 70 and ran, discrete, parallel to the magnificence increasingly repeated by other artists who were in the front row. It is also the first delivery (only three) that produced that brilliant and unfortunate pianist was Mark Dimond-Markolino for close friends, "a musical behemoth that could never know everything that would have been able to give .
I'm talking, of course, Witchcraft .

Mark Dimond touches, hears Johnny Pacheco (Photo: Bonny)

This meeting of seven compositions written and arranged by Dimond, launched 40 years ago, was the
result of a conjunction of events that was started in 1968 when he made regular pianist Willie Colon's orchestra, surprising (he was only 18 years) for his virtuosity at the time of carving the keys and draw up arrangements very complex and effective. It was the kind of self-taught musician can compose a song while on the subway Road recording studio, able to let go a piano solo three minutes and make you believe that what you heard was a flock of birds flying freely among the strains of a forest. Columbus gave his work with some interesting fruit, as shown in the melodies that discs released in The Hustler and Guisando (doing a job) . Willie
was delighted with the hands of this man, but the new manager of the band, Richie Bonilla, said he would not tolerate drug addicts within the set.
And Mark had a serious heroin problem.
The notes of the first edition of this record, Larry Harlow admits that the first time I heard him play knew that one day have his own orchestra, and was very proud to present this work. A disc in which, as guardians , Harvey appeared Averne as executive producer, Larry himself and Johnny Pacheco in the direction of the recording. Despite his personal turmoil-that did not stop, "Dimond had managed to 21 years to fulfill the lifelong dream of recording an album.

The album, which assumes perfectly sound that was brewing in the city with the new decade as the metal amount in two trombones and a trumpet, begins with Witchcraft: a dormant piece that gradually va in crescendo, showing the potential of the arrangement and the sophistication of a great trumpet solo by Danny Reyes, who hammered mercilessly montuno the right channel, while the two trombones Richie Montanez and John fudgy walk beside Torres , on the left, making comparsa, the voices of Justo Betancourt Ismael Quintana and appear in the chorus with the rest of the orchestra. A serious mistake: the only crudely Dimond was removed from the final mix-it note perfectly is not cut-and-you know, a copy of the original, so it is only in the memory of those who participated in the session.
The revenge appears in the following subject matter Irmita , a son montuno slow, with one of Markolino-one of the best of salsa, accompanied only by bongos, congas, maracas and bass, which starts honoring the typical Cuban soneo then change third and skyrocket with a sound joints able to embarrass the other members of the ensemble. In download Brandy gets into the neighboring territories of jazz, with another solo playing Dimond between classic and modern, flying over the Latin music and demonstrating the versatility of his performance.
has flavor-presentation is the song by Mark Dimond and his band Taste, as to the custom in those days Markolino another solo, almost lyrical, Montañez intervention showing the ferocity of the arrangements in the winds, a bass solo by Andy Gonzalez wanders about the grounds of the blues and some pots enigmatic, since the loans were not included on the back cover. Mariquita
-no homophobic connotations-struck by the cadence of the Son Montuno, the length of the subject, other than just Markolino-long, thick, almost palmieriano, with long silences and juggle in the high notes of the keyboard- and the Trumpet Kings, who returns to thread sounds higher to make the instrument almost whistle. I have no shame is a are very slow montuno song that contains the typical misogynist to ungrateful woman who dominated much of the scene and not macho salsosa salsosa - and another solo home Dimond, very smart on this occasion. And the last track, The neighborhood, is sound sense the atmosphere of life that faced the people of the lower Bronx: The guapería as a reaffirmation to the permanent sense of not belonging is proper to the ghetto.
This album, remastered and reissued by Music Code recently, has one caveat: those who are not accustomed to listening to salsa they may sound aggressive and rude. Yes, because so. Because the expression did not set conditions underground and was captured as he was feeling. If the third or fourth listen it does not open like a flower, offering all the nuances that make it indispensable, then you're not the one to hear such authentic expressions. Nothing happens.

leave for the final interpreter of the album: the Puerto Angel Canales. Reviled by César Miguel Rondón, this singer is not my cup of tea, but I must admit that his phrasing, a little limited, does not overshadow the fantastic music that accompanies him on the album. Channels knew, however, take advantage of the potential of the band: a Mark Dimond once again falling into the excesses of his life, the group decided to gather around the singer, who was making a good group of followers. To the extent that this album was reissued Fania in 1977 by another name and title, ignoring absolutely Dimond of appropriations. So things were managed in the industry.

Four years after this presentation society, and after giving some stumbling in the music world Dicupé accompanying the orchestra, and playing solo release of Ismael Quintana and Hector Lavoe , Dimond embarked in an amazing project that ended in one of materializing best albums of all expression salsosa.
But this is material for another post.

I will excuse the photography, which is taken from the back of the disc,
but there was no way no way to find a decent image Markolino online.

Online Colour Chart Koleston

you join us?

The only way to consider ourselves responsible citizens is exercising our rights and fulfill our obligations. Without this mandate civic, everything else is meaningless. Sit still is to give up our status as citizens. Just what do those who are pulling the strings of our future and our lives. José Luis Burgos

is putting a citizen and will continue doing. From the next day March 21 is expected to José Luis start a tour of various cities in Spain to expose the tyranny of the so-called markets; financial institutions, who hide behind empty words of our politicians.

Since the major media continues to silence his case and that of hundreds of thousands like him, he will go to different cities to try to establish contact with many citizens who are suffering from the arrogance darling of banks, will move conscience and voice silenced much abuse.

is an ambitious project and we need the cooperation of all who feel it a duty as a citizen. All are necessary to achieve compliance overcome the fear, the silent complicity. Any help is important because it is a collective effort, not owners built by all the support we get during these two weeks and the days he is away from home.

can help in any way: informing on your blog, coming up with actions, to cooperate in assisting José Luis during their stay in your city, participating in financial aid, "however small, to cover the costs of campaign, recording videos, organizing events and press conferences ... anything that comes to mind. Absolutely everything is important, because their struggle is ours!

You who are reading this, choose between staying idly by and be a citizen. That is the choice. If you choose responsibly contact us joseluisenhuelga@gmail.com .

We have little time and desire to build a more just society.

need your help. Join us.

You can check out the dates and places where the route will pass, we expect your collaboration: ROUTE

Linsey's Dawn Mckenzie Coffin

The RIKOS also have feeling, you

; Jose Cheo Feliciano (Photo: Code Music Group)

Before that challenge me and demand the card of good conduct, they see their intentions, clarify publicly that I admire very much · Cheo Feliciano · because it is one of the best singers phrasing throughout the Caribbean, I really enjoyed I've often heard her sing live, which have been many-has a powerful ring, very nice, good performance in the montuno, sing the bolero as few and is also the favorite singer Eddie Palmieri

(and I will do a lot Master case).

Like many music critics and scholars have produced several versions of the sauce (Gregorian, Matanzas, erotic, fiction, etc), I dare say here, also publicly, that Brutus fell on several occasions that I venture to call demagogic sauce.
Yes, demagogic. Because there are few more letters farsantonas, as would my friend Marco Tulio-guaracha that have been written by Tite Curet Alonso: burials, including disk Prints 1979.
Yes, I again get the card ... aha, here it is: estupendísimo Catalino was a composer, Puerto Rican soul of Caribbean music, great in the verse and meter, but sometimes demagogue and a whiff of disturbing social resentment. The salsa, ladies and gentlemen, is to listen and dance to welcome many stories, to expose and send complaints to love or to send someone to hell.
Not for demagogues like this:

At funerals of my poor poor

are paper flowers, the tears are real

's not like other funerals of life

Where crying is a lie and there are many natural flower.

perfume What else felt tears

identifying people suffering

morning because the flowers wilt

And the graveyard is a forgotten indifferent .

My poor people always come back to the cemetery

Planting a flower of love and tears will

Poppies the true love

are the highest honor of my people in the slums.

At funerals of my poor poor

cries When it feels real.

Let's see, dear Brutus, the rich also cry with feeling, because it is inherently human. Those who mourn are lying hypocrites and liars, and those are found in all social circles. At all. I understand that there was a historical debt to poor people in Latin America, which were set aside for many years, there is an exclusion that should be minimized, and is being done with success in several countries, that there lies behind the glitter, but that does not give rise to fall into this nonsense as ensuring "that some like you have come to do-that be marginal is good, the favelas and ranches are the ideal of life and that having money is shit. That phrase has been repeatedly made absurd worldwide, but especially in the poorest countries with results well known.
And I will not draw .

Let's see, Cheo admired: maybe you wanted to change that image crooner that advertise during the mid 70's, handing out red roses concerts and taking positions a bit corny, that had little to do with the expression salsosa that was developing. Or you've been influenced by the smash hit that won Rubén Blades singing these songs with social issues and wanted to follow that course.
But watch out, Reuben is a journalist and only tells what he sees: sets out the pros and cons of his characters, and that everyone draw their own conclusions. Cheo songs he chose, instead, are a tribute to the more rampant populism. Because timeout, which talks about the end of the harvest ends up as a charge to the owner of the sugar fields, for leaving people hungry when no longer had to pick up the cane. A loose sentence montuno things like on behalf of the law stop eating. Public
anyone can explain me please?
Desahogo addition is a full chorus which says, so no complex: I have no house and killed by other houses, with the populism that in Juan Feliciano then used Mason, included in his album Feeling You .
The disc also has some boleros solvents but not outstanding, and a song, I So, it ends up being the best of the mediocre and bad aging production, despite have benefited from arrangements by Marty Sheller, and Louie Ramirez Pappo Lucca. Why? Because the songs are fragile, do not have a powerful rhythm section and sound, oh, paradoxical, too sophisticated for demagoguery they are transporting.
Prints is one such example, the Christian sauce is another of them, that define a salsosa expression that was emerging from its axis, missing the alleys outside away from their primary condition: to chronicle the neighborhood she was born and developed.

Different Breast Size Images

Oh look at how to dance the boogaloo Mikaela

I have asked several times. So pleased requests, we take at least make a small digression and go into the world of boogaloo. But through the front door, which by that time there were also quite boo had little ga much less loo, and this move-and-Nuyorican experiment deserves a little more respect. For So I can not think of anything better to put it on the blog with pianist Pete Rodríguez · · (do not confuse, please!, with Pete Count Rodriguez, excellent singer but not nearly boricua family in fact, one was white boy and the other almost jet). Pete
produced two of the songs that sounded in the middle of 60: Micaela and I Like It Like That , two songs that helped define the sound and intentions of the boogaloo and its little brother, the shing-a-ling.

Pete Rodriguez and his orchestra at the Teatro Puerto Rico in the Bronx

But before should have a story about the boogaloo, or boogaloo, as it should be written in English. was a spontaneous mix, one of those geniuses who were born in the musical evenings in cities like New York.
Several factors came into play to collude and create this rhythm: the avalanche of rock 'n' roll with The Beatles to the head, the tsunami of soul thanks to the triumphs of Motown , the premature death of the big bands in 1966 New Yorkers when you close the Palladium Ballroom on 52nd Street, and the need of the young Hispanic ghetto
New Yorker tell his side of the story, so that combined Latin rhythms with the sounds African-Americans and Anglos. The result was a delicious music, mostly festive, danceable, with lyrics that were either from English to English or Spanglish directly fell, full of funk rhythms and chants, applause, wait and then two in a row, the leading piano rhythm that crazy, whistles and hassles of members the orchestra, more female voices and the ever-useful tambourine banging hip.
This whole craze started in 1966, although there had been some preboogaloos , as is the case El Watusi by Ray Baretto, 1961, or Pennis - but these will be much more charanga that soul.
Obviously, when the boogaloo proved a hit with parents were born everywhere. Tony Pabón, trumpeter and singer of the band of Pete Rodriguez, composer and performer, in addition, I Like It Like That, said in his time was a collective effort: that neither Pete or Joe Cuba or Richie Ray could take over the rhythm.
The success that marked the entrance of this new musical fashion led to unleash a true collective madness, sold millions of copies, many songs came to important positions within the lists prepared by the magazine Billboard, and almost all groups and performers Latinos joined in the taste and recorded several tracks in the wave. Even those who then said to have resisted the tide, as Willie Colon and Eddie Palmieri also recorded one other number (perhaps the only one who stayed away was Johnny Pacheco, but he was always within typical wave).
Excessive exposure, the arrival of gangs of poor quality and tired of people did that three years pass fashion. That does not mean that there is still a must at parties where salsa commands, because it is understood the brew a little boogaloo set half an hour ... even to rest the hip and otherwise hesitation cadence. Particularly, I think it's great to be in a room, whatever it is, to see how suddenly get a boogaloo and enjoy the good feedback from people. It happened to me in cities as diverse as New York, Boston, Caracas, Madrid and Nice.
This shows that sound is part of our world.

As I was saying: Pete Rodriguez and his I Like It Like That (I like that) . A collection album sold over half a million copies, propelled him to fame and allowed him access to markets beyond the Nuyorican ghetto of East Harlem and South Bronx . His band The Magnificent, made by Angelo Rodriguez and Tony Pabón into the trumpet-which marked a fundamental difference with Joe Cuba, which had no wind instruments, "Benny Bonilla on timbales, Gilberto Archeval on bass, Manny Rodriguez in the conga and Alberto Gonzalez on vocals, was well fitted by experience in the dance. Although published in 1967, and Rodriguez sounded very hard last year due to 45-rpm single Alegre Records (the record producer Al Santiago ) was launched I Like It Like That as the main course, and Micaela great b-side:

Micaela Ayayay
was launched (it was launched, which was launched)
When I danced with her, Michelle was launched
The boogaloo I danced and I know she is fire.


Micaela when she dances, the boogaloo snatches
everyone called the queen of the boogaloo.

Compuesta por Pabón y Manny Rodríguez, I Like It... es uno de esos clásicos de la música latina, aunque esté cantada en inglés. Abrió muchos caminos a nuestros músicos, contribuyó notablemente al que el boogaloo fuese un fenómeno de alcance nacional en Estados Unidos, llegó a las listas del Billboard, fue versionada numerosas veces y motivó una película nuyorican en los años 90. Micaela, interpretada en español por Alberto González, fue un acercamiento del ritmo a su esencia latina; un poco para demostrar que se podía cantar sin problemas en ambos idiomas y con el mismo sabor.

The record, however, holds other surprises: Bone is a delightful Son Montuno with Cuban trumpet chords, a piano solo by Pete pretty decent (it was not a virtuoso, really) and a lot of double meaning in the chorus : eat it, to the bone, eat . Pete's Madness is a download rumba rhythm where the whole orchestra seems to dwell at ease; 3 and 1 is a tribute to an afterhours located near the Brooklyn Bridge, which was operated by Ralph Mercado, which some years later became the powerful promoter of the city. If you want to dance is on the same wavelength guaguancó festive album, which features a set of trumpets intone the typical current and I'm the king is but a maximalist claims and guaracha with interludes of boogaloo, was how to put the banner held high in front rival gangs.

In those three years of madness came to market dozens of albums of boogaloo. Most of them were swept away by the wave of fashion, but others-very few-have become as a reference for a very special time. This album of Pete Rodriguez is one of them.

The recording is available in Spotify. Of course, when you put it was cataloged by Pete Count ...

This confusion will last forever, I fear.