Following the release of the albums Lo Mato and Asalto Navideño Vol. II, the world of salsa was shaken by the saddest news imaginable: Willie Colón and Héctor Lavoe had decided to dissolve their partnership.

Willie felt that he could no longer tolerate Héctor's inconsistencies and lack of character - enslaved by drugs, the singer was getting in constant trouble. Willie needed a change, too. His marriage to María Dávila was about to collapse, and the negative influence of the music business was slowly destroying him.

The idea of separating from Lavoe was in his mind since the summer of 1973. At the end of that year, he confirmed the news to the press. Following a few months of introspection, Willie returned to music with a number of projects: the experimental The Good, The Bad and The Ugly; an album of bomba and plena by Mon Rivera that he produced; the soundtrack to El Baquiné de Angelitos Negros; and a surprise that was received with joy by salsa aficionados - he acted as producer on Héctor Lavoe's first solo album, La Voz.

Directing Héctor on his first solo effort was not complicated at all. The singer had kept most of the duo's orchestra - since his new rhythm section included José Mangual and Milton Cardona, in addition to timbalero Nicky Marrero and pianist Mark Dimond, who had participated on Willie's debut, El Malo.

Trying to add variety to his sound, Héctor incorporated two trumpets to the usual trombones. As backup vocalists, Willie enlisted Willie García and Rubén Blades - the latter would soon become the lead singer in his new orchestra.

In 1975, Héctor climbed the salsa charts with an unexpected number: “El Todopoderoso,” a guaguancó combined with shades of Gregorian music and baroque textures. Lavoe's performance of a religious theme - a reflection on love and forgiveness as the manifestation of true faith - exceeded the expectations of his fan base, who expected the singer's return to be of a more superficial nature.

“El Todopoderoso” was an obligatory part of Lavoe's concert performances until his death. The song evokes his childhood memories in the neighborhoods of Machuelos and Bélgica de Ponce - the expressions of popular religion that he witnessed together with his father, Luis Pérez, and his godmother Fidela.

Exemplifying the many contrasts that characterized his career, one of the biggest hits in La Voz is also the son “Rompe Saragüey,” which openly reveals his devotion to the saints of the yoruba religion - touching on the subject of religious syncretism with respect. A memorable moment is the piano solo courtesy of Mark Dimond.

Always proud of his Puerto Rican roots, Lavoe sings to his homeland on the guaguancó “Paraíso De Dulzura” - a tribute to the land of the tasty plena and el bombón de Elena.

Lavoe also showcases his sensitivity for romantic ballads on “Emborráchame De Amor,” “Un Amor De La Calle” and “Tus Ojos,” revealing the deep influence that bolero crooners like Vicentico Valdés, Felipe Rodríguez, Felipe Pirela and Santitos Colón had on his singing style.

On August 24, 1973, the Fania All Stars celebrated the second anniversary of the "Our Latin Thing" show at the Yankee Stadium. Héctor stole the show with the charming Johnny Pacheco composition "Mi Gente." The song became a symbol of his artistic identity. From then on, a Lavoe concert without "Mi Gente" would be incomplete.

A stunning version of “Mi Gente” was the ideal closing track for La Voz. Needless to say, it pales in comparison to the man's live performances - marked by El Cantante's spontaneity, his sense of humor and witty remarks.

La Voz was the platform that allowed the solo career of Héctor Lavoe to take off. It would lead him to even greater success with the timeless albums De Ti Depende and Comedia.



Liner notes written by Jaime Torres-Torres
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