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.
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.
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:
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| Justo Betancourt (Photo: Marty Cohen) |
do. Acahso Do not you know this song, pehrro?
At this stage of the game hard for me to hide the blush:
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.
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.
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.
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