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19 years without La Lupe

Very consistent with the character that enveloped the person, remember even the death of La Lupe is a thorny issue, as it should be leap years only. A fan would say, a bouquet of flowers in hand and way of Saint Raymond Cemetery Bronx, where he now resides that only Lupe Yoli Raymond imprecision could happen to die on February 29, the road to hammer event on the calendar when they realized that the years were six times more and had to be grouped and put them somewhere so that the shed is not out of position. The result, last but not least, appears to be another layer to the myth made frantic by the hosts, even without fully understanding the follow up idolizing the madness: she was so different, that even had a strange day to die and the street a decade later bear his name.

remember vividly how I felt when I received the news of his death. I did not cry, as if I cried when Celia Cruz died, 11 years later, but it was a sizable blow. First, because I was not expecting, the woman did not come yet at 60 -, then, because I realized with regret that no longer come to see her perform live, even in those churches where he sang loudly, or any sidewalk in New York with his cassettes of evangelical hymns now I flatly refuse to listen.
that day I realized that life can be a charade, a chain of absurdities that take you to the sudden fame, fill bullrings like Madison Square Garden or Carnegie Hall, to release three records a year on year 60 and get stuffed with fur coats on Tico Records offices to claim your little check daily $ 40 000 for royalties, and 10 years later to be reviled by the record label owner your contract, which only wanted a queen of music, and the queen was Celia, feeling apart from the music scene,
receiving just a few dollars for the rights to your recordings, see how you burn that was in New Jersey, the same that belonged to Rudolph Valentino, fall and be confined for many years to a wheelchair and live up to the death in practice poverty, spending days and nights in a small apartment in government the 575 East 140 Street Bronx. La Lupe was dying and to find out the hard life he lived in the 80's. One imagined that pleasure and enjoy that well deserved fame.
But ... How could he not be living a charade huge if you take it with an intensity of regular use? A La Lupe is remembered-and one often falls into this practice-by carajazos which gave the pianist while performing in the bar La Red de La Habana ... or the carajazos that gave their husbands. Or shoes barefoot childish gesture while acting in television . Or because he clapped his hands in the back, or gestures that was in the middle of singing or the clothes she was dismembered while facing the Montuno. Or the fabric that was put to combat sweat in the middle of the presentation and made him look like a candy. Or the way he squandered all the money he earned with his art. It was another
world.
La Lupe ended up being a show of herself. A show and a laugh for his crazy, or off-key comments when interviewed. Even Fidel Castro decided that his actions were inconsistent with the new Cuba that he wanted to implement and that is why I said in 1962 that best he left the island. He is remembered and known in Spain as it closes with a Puro Teatro of the films of Almodóvar. But few people know that an album recorded in Madrid in 1971, whose cover out the Plaza de Oriente. See you.
If one straw away all that keeps important, concludes that it was a misunderstood genius, that the best version of Fever is yours-sorry, Madonna and Peggy Lee, but it is well- that Celia could not afford a bolero like her, but she could face a guaracha itself as Celia, that his record was as broad as his claim to sing with soul, to make his voice vibrate your being each time you threw the stage. That falls into that special category where only access Billie Holiday, Elis Regina, Judy Garland and Edith Piaf.
Fortunately, in some sectors and modes her song came transparent and direct. There he died in obscurity because some people took care to remember, besides being a school for many drag queens, lost souls, like her, for wanting to be different.
And why not a day that does not sound any of their songs. Adding

six and evening peak (+1 GMT):
much of blah de La Lupe, but nothing I said what my favorite songs.
Here I released a small selection of my way course: Fever (version 1968), I asked, I'll tell you my life (So do not complain after) , the bad guy, how good boogaloo (groovy men) , and the Virgin wept East (temazo as few) , Any, Besito pa 'ti (two versions, 63 and 77, are great) , The save full (one of my favorites) , the bird (and live Venezuela, there ama!) , Once We Loved (ended in Inglés Means it's over, baby!) , Guajiro Cunagua, Menu goat (I can not help but smile when I hear it) , Pure Theatre, The tyrant, and Laughter final (in my opinion, his best bolero) .

What's Covering My Clitoris

The Quincy Jones of salsa ... and friends

Louie Ramirez, and the laughter died

Much better known for his work as arranger and producer, Louie Ramírez · · was mostly a bred musician, capable of bringing a grupete of musicians in a recording studio and great things out of there without much effort. Although, of course, so many hours stuck in those caves was audible at times you miss: the black history what ranks as the creator of this variant romantic genre that dominated the 80's and was called erotic salsa, or salsa monga, which helped to destroy the wake hacked the determinant salsa production had generated in the previous decade.

But no more about this painful issue and concentrate on the good, in, for example, that record released in 1978 with a coterie of fellow musicians of the highest level: Louie Ramirez and his friends , album picks up part of what was brewing at the time and showing some nuances of what would become a salsa music years later. Not having a fixed band, however, be one of the most respected medium-used to have the last word in Fania regarding arrangements and orchestrations are concerned, "he
the luxury of putting together a good combo of musicians, among whom are counted Mauricio Smith on flute, bongos Nicky Marrero, Eddie Rivera bus, Guillermo Edgehill and Jose Santiago on bass, Johnny Rodríguez on congas, Ruben Maldonado on drums bata a singer Ismael Quintana on maracas, Sonny Bravo and Louie himself on the piano as well as the vibraphone, "Mike Collazo and Orestes Vilato in timbales, Angel Vasquez papo Sam Burtis on trombone, Ray Maldonado, and Tony Cofresi on the trumpets.

Each groove was sung by a musician in particular, stressing as the first item one of the most important songs of all men: Paula C, in which the well-known yet Rubén Blades unleash their creative and interpretive-as well as the expression of a hangover by buenamoza uppercase that lasted a few more songs. This issue included an array of violins in the same wavelength as Willie Colon was printing to productions of Hector Lavoe, violins carrying out more melodic than rhythmic role, so that the influences were perhaps closer to soul and disco music than their own charanga:

Paula C. with silence went unanswered

And I realized that night that it

never forget his love. Paula C.

the early morning darkness enveloped me in

And oddly enough made me see more clearly

What is love a woman.

And when you come back again that kiss thrilled me

And so I dreamed I sang

And trembling with tears and I heard you came back murmur

That I was all for you and nothing else. Paula C.

Today again the distance between the two

is the encouraging and inspiring me this song for you

To which I gave her love, Paula C.

A which gave me their love, Paula C.

Not to mention the game that closes the tune trumpet with a jazz flavor wonderful, musical power generated by an array of finely tuned Ramírez own virtuosity and interpretation by their friends . Camilo
Azuquita Argumédez opens the second track, A kiss life, become an old tango guaracha quite correctly, and Adalberto Santiago is responsible for interpreting the Borinquen guaguancó calls me one of those songs everyday to Puerto Rico wanted.
All right, then, until we came to Something, a song by the Beatles led the Latin kingdom and ending with a settlement discomusic showing one of the weaknesses of Louie: the belief that they can perform crossovers without that may be at risk of wandering deeply. And that he had already suffered A Different Shade of Black , an album that was charged to the capitoste Jerry Masucci in 1976, which mixed Latin rhythms with hard rhythms, and had been a resounding failure creative and commercial . But sometimes people insist ... and when a danzón, Because-The Beatles-well, somewhat better resolved, although far removed from the quality of the first tracks of the disc. Azuquita
reprises two themes: The poet cried, a renowned flamenco Angustias Manuel led the guaguancó intelligently, and when you came, one of those gag of romantic salsa whore I spoke earlier.
Anyway ...
The album, of course, is out of print. Louie was not a person who enjoyed the sweets of fame, and to the Retrievers of all this happy music that was made over thirty years is preferable to distribute the interpretations compiled in each of the artists who re-assemble the pieces in this album. But the record is there, can be found online at Grooveshark and, of course, is worth listening to.

Obviously, if Spotify is discontinued or Rhapsody.

Can Regular Woolite Be Used In He Machines

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!