Rome No Piror Installation

I like The Lebron Brothers in their element and control

En 1970, un par de años antes de que la compañía que les grababa fuese adquirida por Fania Records, iniciando el declive en la promoción de sus discos (provocado aparentemente por cierta animadversión que Jerry Masucci y Johnny Pacheco tenían contra e llos) , los ·Hermanos Lebrón· sacaban al mercado Salsa y control , un disco algo aburrido, con una carátula fuera de lo común, que resume muy atinadamente la transición I was living the musical world of New York.
Because that was an embarrassment, my friend.
This album is considered one of the biggest hits of his career-di latada the band is still active today, "which always struck me, because no big deal.

Angel Lebron, leader of the orchestra (photo Lisa Lindhart)

Lebron Brothers are a bit special. At least, I see them. Let's start by design: at the time used to integrate five children (sometimes even more), roll clan-states-for-ever. Different parents (Paul, the singer's name was not really Lebron), almost all were born in Puerto Rico. Nuyorican turned to be part of that wave of portorros who tried his fortune in New York and grew up bilingual in those streets. Were and are almost all music, because music has always been a family affair. In mid-1966 under the baton of Angel Lebron decided to join forces and founded the orchestra. Recorded tapes and showed them to various Fania labels-even-, and spent all of them ... until they knocked on the door of the legendary George Goldner, who had just founded Cotique Records, who appreciated the tone of these boogaloos
and decided to record immediately. Very successfully, too: because these reminiscences Latino, that particular flavor mixed with a dream that assumed as his own New York street and diversity that she was breathing, were the breeding ground for polishing the sound of Latin Soul, similar to that popularized La Lupe in the same time. But without the excesses of the Cuban will not believe.

The Lebron shot to fame during the supreme madness of the boogaloo, and then comes the paint masking many of his arrangements. Americanizing a layer of sound that always accompany them and, paradoxically, made them very popular and essential in places as disparate as Cali or low Bronx.

This album shows the moment when they ceased to bow to the premises of the latin soul to get wet legs in the choppy waters of the sauce, which were beginning to flood everything, the boom sounded just around the corner .
The trouble is that in this case, they were halfway through intention.

to the date on which they publish, Frankie Lebron joined the company playing the congas. His brothers were present Angel on bass and address Paul solo on piano and José Carlos on bongos and percussion. Gabe Gill complemented them on alto saxophone, Herman Sandane on tenor sax, Louis and Pete Maldonado Ocasio trumpets and Tito on timbales.

I've always thought the song unknown Salsa and control, with a great name that helped a lot to take root mote salsa when defining any expression that was brewing in New York and the basin Caribbean, is in fact a son montuno slow, almost lazy, without force or roots. Neither
trombone. It sounds

trial before a concert, as to warm things up, but only slightly:

I tell my people that are enjoying

That the orchestra is playing

Lebron

Something simple, something moved
and good that is dance with me.

Elelolé elelolá, check p'acá because good is.

Take it easy the key rate

Orchestra Lebron has the key

Invitation to Son Montuno

men Arise, and get hard.

pulling pulling my guaguancó

Son Montuno what I bring.

and control Salsa, salsa and control

Son Montuno and what I bring.

Let's see: it is as if they wanted to play salsa with the same sound with which articulates arranging for a boogaloo, something had to fail. I mean, the saxophone sound blends well with the salsa, but only if accompanying a good pair of horns and one or two trombones. Instead, you can go without problems of the weight of the melody in a boogaloo. Listen here this uptempo version of this topic, with a final settlement salsoso-included-slide trombone, and notice the difference. The original result was very fragile and I am surprised you have pasted both.
Was it by name?
Another example of this paradox may be the bolero You came into my life . Look how things are: I have almost 20 years listening to this song and still do not know if I like it or not. There is something in it that I finished squaring: perhaps the arrangement of the metals, or the voice of Pablo Lebron, who can not say the bolero (if it is actually a bolero). The truth is that grates me the ears. Another issue, What , corduroy runs with better luck. At least here is very present this delicious blend of rhythm & blues and are, it's almost another tumbao boogaloo but with a different spirit.
Instead, cheesy tone that never stopped latin soul fester when left unattended is represented in Return to me and I am crazy. I do not think Link's music, in fact. Better forget it, because they are very poor and I will excuse the frankness. They are much more relevant
Think again and Bongo crazy. Both are at least of what they say go, they lack orchestra and the entire disk-but just are solvent.
The end result, then, is a boring drive, with lack of grip. Transition.
Despite the opposition who claimed they felt from the very bowels of Fania, the Lebron Brothers continued to record with discipline and meeting the demands of his fans. In 1982 he completed his contract with that label and set up shop apart, true to their sound and the way you see the Latin expression. They have not gone wrong. For nothing. But I can not see it as a band of the bunch.
with one another great song, but little else.

This was what he said in a Frankie Lebron interview in 2006: Fania never gave us the merit that we share. Cotique they bought and they did it because we sold many records, but we wanted because we were black . We only used to make money. Despite the great success we had with Salsa y Control, we never got to play a concert at Madison (Square Garden) , never made a video, we were not part of the Stars Fania and even got us to mingle with them. We kept playing a lot because our major performances were in Harlem, with the brown. It is curious that a record company who ran its efforts to sell music for an audience that was largely mestizo and black or had racist policies. Much of the roster of the Fania All Stars has always been composed of brown and black people think that, even with a lot of weight errors, sought to address the widest possible audience.
So the truth that the racist motive does not seem to have much grip.
What is certain is that when discovered in the middle of the last decade the famous warehouse in New Jersey, llenecito of unreleased recordings, several of them were from the Lebron Brothers. So yes there would be some animosity.