Example Of Introduction Speech By Emcee

is a bleeding heart

In 1982, salsa and its last gasp was in deep coma almost was. Merengue invasion swept like a tsunami, matching and poorer-but few exceptions, the music of the region, while trying industry launched a counterattack that monster called erotic salsa, or salsa monga-lackluster ending almost inevitably what appeared to be the inexhaustible richness of sound of the son. In that year, however, the scene of the region was shaken by a somewhat unusual album, fresh and powerful, which was very successful in Venezuela and some other countries of the basin, especially in Puerto Rico. An album that for many was as rain in May and marked also a turning point in the career of the English-born Venezuelan singer Soledad Bravo · · . I mean
Caribbean.

Soledad Bravo (Photo: Carlos Hernandez)

The issue has a story. A year earlier, Soledad attending a concert by Willie Colon and Ruben Blades at Caracas. He was so fascinated with the power of the orchestra he asked Willie César Miguel Rondón please submit it. She had already completed a cycle of four years of experience in his native country after Franco's death, and had recorded five albums there very interesting ( Songs of the Nueva Trova Cubana 2 , Soledad Bravo - Rafael Alberti , Venezuela 2 songs, Sephardic chants and Boleros ). confessed in a conversation he had with my dear Maria Elisa Espinosa, she wanted to record with Willie because I wanted to dance my own songs and the dancing people . Or, as others think, because would be mounted (albeit somewhat late) in that wave of bembé helpful. Account

Soledad talks to Willie that lasted several minutes, which gave him a demo of some of his songs and, a few months, almost without hope, received a call from New York with the firm proposal to do something together.
She also acknowledges, in a recording released by Leonardo Padrón during an interview made to Columbus last year, which was frightened by the offer and even called Celia Cruz to confess that I was shivering in the imminence of the album: Celia, I do not know sonear, I do not know about that . And Celia, provided such a good mother, would answer not to worry, because he was in good hands world. In a conversation I had with Soledad in 1996, I recognized that this album was a sort of test: I wanted to prove even able to get into the difficult Caribbean song.
And overall, as was executive produced by her husband, Antonio Sanchez, and Willie immediately appreciated the vocal qualities of Soledad, was also the symbol of his genius sister, Cynthia, decided to get down to business: if sonear woman does not know, because we teach sonear, if a woman wants to use the songbook of Brazilian demigod Chico Buarque, English versions as their best songs, the key is similar and drums all come from Africa, if Soledad wanted to include a son of his friend Silvio Rodríguez-almost an anathema in the United States at that time, because we recorded it.
And that is what God wants. The

disc recorded on Earth Fania Records Sound Studios in Manhattan, brought together many of the regular orchestra of Columbus to the time. Anyone reviewing the data sheet Caribbean and the Ghosts -1981 - and finds few differences: a set of trombones made by Leopoldo Pineda, Lewis Kahn, who also plays the violin, Luis Lopez and Jose Rodrigues, solvent always piano teacher Joe Torres, Salvador Cuevas doing a great job on bass, Jose Mangual Jr. on bongos and percussion, Johnny Andrews, Jimmy Delgado on timbales, Paul Kimbarow on drums, the ensemble Harold Kohon on the ropes and up Willie himself playing some leather. there are even female vocals, a hobby that he got to Columbus for those years, and well made arrangements from Hector Garrido, Luis Cruz (former pianist Ray Barretto) and Javier Vasquez.
The first song, dance Let guaracha, had the strength and the exact duration to be a radio hit of colossal proportions. And so it was all the time end up vinyl semitransparent rang so many times on radio stations and festivals, such as delicate soprano voice of Soledad, which barely scraped the lyrics when singing a song necessary, was seen here como un tornado en medio del montuno, arrabalera y llena de firmeza. Ese negro corre incluso con mejor suerte, porque aquí no hay que poner en cintura al tiempo y Kahn se lanza un soberbio solo de violín, mientras los mambos del montuno son acompañados por unos breaks por demás novedosos y efectivos.
Vagabundo  puede servir como ejemplo para entender que las realidades brasileña y caribeña son calcadas y el barrio es un concepto universal y propio de todo el Nuevo Mundo. María María pudo haber resultado interesante al momento de salir el disco, pero hoy en día es una canción envejecida y rayada -muy rayada- de tantas versiones que se le han hecho -lo siento Milton, his pace is a bit outdated repellent, the truth (I particularly can not stand his tumbao). Carnival arrangement is most interesting about the album, to begin almost rock then give way to a guaracha refined in its orchestration and melody, and the voice of Soledad, as butterfly sometimes suddenly start a guttural unsuspected perplexing.
are bleeding, Silvio, is a very long, tremendous, with a beautiful letter, Indian aroma and an array of Luis Cruz will never have due date:

A heart wanted to jump a well

relied on the prowess of their blood

now delirious with hunger listens

in the dark recesses of their joy

A heart of madness drowning

the will to live

times and today is a heart so maimed

has managed to die of sanity.

speak of a heart that

defends his old and used machinery

talking about a party at a funeral

talk about a heart that does not include

speak of a heart so crushed

such a little, as hard as he knows

in your bloodstream almost all

it is real or imagined.

At heart faltábale ear and loved

distracted by the street

choking with passion one size

unable to notice any complaint

clumsy heart Spring

had him ear grafted

and much has been heard cursing

to give back his deafness.

are is a bleeding heart

is not listed on the original loans, but the four of Yomo Toro sounds clear in the Latin music and he can play anyone like the strings that way. Here Soledad improvisations handled at will and proved that he knew sonear that inside was the germ and, apparently, Logroño can also host the caribbean song, plus fine wines. Close the disc
Fantasy , beautiful too, with a very pertinent point in this time of hope orphans and needy a remejida that can help change things (or even try, because in these 30 years not to have changed too). The song is about making a revolution, but only as a boy he could occur: preparing inks, decorating and singing places. The voice in the background of Willie, who was eager to take a little space in the recording accompanying Soledad amid a chorus of clapping.

spoke at the beginning of this long post of the break point he meant Caribbean for the course of Soledad Bravo. So it seems. From this album, his career became much more commercial, the song made necessary if necessary, apparently. Caribbean was also his last great album: the following Mambembe , immersed in the same vein but with much less Antillean Afinque (to the point it was discontinued), the subsequent fall in arenas as diverse and mediocre ballads, rancheras, the newest -Cuban nueva trova to call it in some way, or songs that just were lucky to advertise and fire telenovelas.
was at that time, apparently, when Soledad Bravo began to live the story.
a shame all this, because when compared with the great productions that performed on the 70 the result gives a bit of sadness. But so often be things of love.
Especially since your husband is also your manager. Things

label compression, the re-cataloging disc to upload to the web (both Rhapsody and in Spotify as Deezer) went through three themes include productions of Soledad. At the end left out other songs from other albums and total cares.