Last year, the salsa world commemorated the 20th anniversary of the death of Ismael Rivera - El Sonero Mayor. Fans also remembered the passing of bandleader Rafael Cortijo, who left the world 25 years ago.

This reissue of the classic session Con Todos Los Hierros (Everything But The Kitchen Sink!) serves as an excellent opportunity to remember the remarkable cultural contribution of the ultimate cangrejeros, working men, pleneros, bomberos, bohemians and guaracheros of the '50s and '60s.

Produced by Pancho Cristal, Con Todos Los Hierros was the second album recorded with Ismael Rivera following his release from prison – stemming from his problems with drugs.

As soon as Rivera gained his freedom in 1966, producer Pancho Cristal coordinated with Cortijo the recording of the Welcome! album for the Tico label, which found Ismael celebrating and singing about his newly acquired freedom.

After conquering the dance halls and concert stages of Puerto Rico, New York and Panama with hits such as “Aquí Estoy, Ya Llegué,” “Por La Señal,” “Mi Libertad Eres Tú” and “Lejos De Ti,” Cortijo and Ismael returned to the recording studio in 1967 for the Con Todos Los Hierros session.

With La Lupe providing background vocals and arrangements by Héctor de León, Cortijo and Ismael revolutionized the genre with a dozen songs that touched upon issues of the time, composed by Hugo González, Justi Barretto, Bobby Capó, Lupe Yoli, Roberto Angleró, Neri Monsanto, José Dávila, Ismael himself, and his mother, Margarita Rivera, known as Doña Margot.

The first 45 rpm single culled from this session was “Arrecotín Arrecotán,” a sticky fusion of mambo with montuno and boogaloo, a hit directed to the youth of the time, which was enamored with contemporary rhythms like the shing-a-ling and jala jala.

Cortijo and Ismael had, indeed, returned with todos los hierros: a veritable arsenal of irresistible dance formats such as guaracha, guaguancó, bomba and plena.

The romantic side of Ismael is revealed on the bolero “Déjala,” a song about a man who advises a friend to forget about seducing the woman who happens to be his in the first place.

The social conscience of both Cortijo and Ismael focuses “El Negrito de Alabama” on the life of a black man who dies and requests salvation from Saint Peter because he was murdered after getting married to a blonde woman – a clear reference to the intolerance, violence and racial crimes of the time. Composer Bobby Capó brings a touch of humor to the events in Birmingham, Alabama that brought the end of Martin Luther King in the '60s.

A salute to Bolivarian freedom, written by La Lupe under the title of “Caracas Cuatricentenario,” is followed by Roberto Angleró's "Calambre," a bomba about a dancer who complains because his feet are asleep every time he steps on the dancefloor.

Anchored on a rumba beat and with Cortijo on the quinto, Ismael remembers he is a good guy on “Soy Buena Gente,” dedicating his singing to Changó while criticizing those who live off their fellow beings instead of sharing their wealth.

The bolero “Amor Salvaje” takes us to the plena “La Llaman Solita.” There is also a boogaloo dedicated to the Caribbean island of Curacao, as well as the tasty guaguancó “La Soledad,” which recalls Rivera's prison days by comparing the coldness of jail with the indifference of unrequited love.

The record ends with the plena “Bombón De Canela,” written by Doña Margot, evoking feelings of nostalgia in the listener – a few months after the release of Con Todos Los Hierros, Ismael would move on to found the Los Cachimbos orchestra in New York.

Salsa would not enjoy the one-of-a-kind combination of Cortijo and Ismael until their memorable reunion in 1974 for a show at Puerto Rico's Coliseo Roberto Clemente and the album Juntos Otra Vez, released on Harvey Averne's Coco label.
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