Without a doubt, the most controversial singer in the history of Latin music was Lupe Victoria Yolí Raymond, better known by her stage name: La Lupe. The Santiago de Compostela native, possessed of a vibrant and powerful voice –not to mention a sensuality that exceeded her diminutive form– won the affection of the Spanish-speaking population, who voted her “The Queen of Latin Music” in 1967.

This achievement led her to the creation of this album, in which she expresses her immense gratitude to her fans.

The album includes two songs that became classics: “Fever,” the North American pop/rock hit, which captured the queen’s unparalleled style and became her first big hit; and “La tirana,” written by the great boricua composer emblematic of the Fania label, Catalino Curet Alonso, known to all as “Tite.”

“La tirana” has an interesting history. It was originally titled “El tirano.” Curet Alonso had written the song with the intention of having it sung by the legendary Roberto Ledesma. The singer had become an idol with his version of the bolero number “La pared,” an enormous hit that made radio waves throughout the Spanish-speaking world.

Curet Alonso, who at the time worked as a postal carrier, had not yet achieved recognition as a composer, and therefore Ledesma would not agree to do “El tirano.” But this rejection was a blessing for the incendiary Cuban singer. Arranged by Curet Alonso for La Lupe and renamed “La tirana,” the song became one of the biggest hits in the history of Afro-Caribbean music.

With a series of bolero numbers that included the popular “Amor gitano” and “Tú me niegas,” the singer makes use of her extraordinary talent for the romantic genre. She absolutely shines in her versions of themes that have been recognized as classics even three decades after their release.

However, La Lupe was not limited in her ability to interpret West Indian themes, as demonstrated by her versions of “Este ritmo sabrosón,” “Busamba,” “Soy sonerita,” and “Mangulina chismecito.” These songs showcase the red-hot Cuban singer’s talent that always separated her from the rest.

After achieving incredible fame alongside Tito Puente and his orchestra, La Lupe sought the arrangements of Dominican musician Héctor de León for this album. Once again, the singer achieved a transcendental success, leaving no doubt that at that moment, she was the definitive queen of Latin music.

La Lupe has remained an enigma in the minds of the fans who supported her during her momentous and tumultuous career. During the research for my book entitled, “Demitificación de un diva; La Verdad sobre La Lupe,” (“Demystification of a Diva: The Truth About La Lupe”), I discovered that many of the stories attached to the legend of the extraordinary diva were based on myth generated by the Puerto Rican folklore surrounding her. Many of the innuendos floating throughout her story were the result of a blurred view of the extraordinary talent she exhibited. I found that beyond the virtual insanity that defined her work and her life lay a valiant, dedicated, and spiritual woman who cared only about her religion, her career, and the acceptance of her fans.

On the back side of the original album appears a letter from the singer to her public. Understanding her responsibility as Queen, and taking her musical reign very seriously, the mythical diva dedicates the album to her loyal supporters with a message of love and gratitude.

This album provides a clear example of the talents of the beloved diva, who, despite having departed the artistic world at the age of 50, left immortalized in her recordings an indisputable message of love and romance that define a unique talent.

This is La Lupe at her finest; this is La Lupe in action. This is the only true queen of Latin music, singing to fans who span generations. It is an extraordinary album that will live now and forever in generations past, present, and future.



Written by Juan A. Moreno-Velázquez
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