VinylDiscos de Vinilo
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Live At Yankee Stadium - 2LP (Pre-Order)
$29.98
This double LP was recorded on August 23, 1973 at the Fania All Stars legendary first concert at New York’s Yankee Stadium. Forty thousand fans poured into the stadium for an unforgettable night. The concert was repeated later that year at the Roberto Clemente Coliseum in Puerto Rico, resulting in two volumes that include music from both momentous nights, featuring Latin music’s most renowned artists, including Johnny Pacheco, Celia Cruz, Willie Colón, Héctor Lavoe and more.
• Features all-analog mastering from original tapes by Kevin Gray at Cohearent Audio
• Volumes 1 and 2 are released here as a 2-LP set for the first time
• Includes the hits “Mi Gente” and “Bemba Colorá”Volume 1
Side A
1. Que Rico Suena Mi Tambor
2. Soy Guajiro
3. Diosa del Ritmo
Side B
1. Pueblo Latino
2. Mi Gente
Volume 2
Side A
1. Hermandad Fania
2. Bemba Colorá
Side B
1. Mi Debilidad
2. Echate Pa’lla
3. Congo Bongo -
$24.98
Originally released in 1968, this classic recording by renowned trombonist Willie Colón features iconic lead singer Héctor Lavoe. The Hustler is the transcendental album that set the direction for Fania Records and Latin music to come. Considered the greatest salsa duos in history, Willie and Héctor helped establish the popularity of the genre in the ’60s and ’70s.
• Pressed on 180-gram vinyl
• Original artwork replicated & printed on classic tip-on jacket
• Features the hits “Que Lío” (featured in the 2007 film El Cantante) and “Eso Se Baila Así”Side A
1. The Hustler
2. Que Lío
3. Montero
4. Se Acaba Este Mundo
Side B
1. Guajirón
2. Eso Se Baila Así
3. Havana -
Alma Con Alma (The Heart & Soul of Celia Cruz & Tito Puente) [Pre-Order]
$24.98
vCelia Cruz & Tito Puente
Alma Con Alma (The Heart & Soul of Celia Cruz & Tito Puente) [Pre-Order]
$24.98
Originally released in 1970, Alma Con Alma (The Heart & Soul of Celia Cruz & Tito Puente) brings together two dynamic Latin artists, “The King of Latin Jazz,” with “The Queen of Salsa.” This classic album focuses on an Afro-Cuban sound, a departure from the more dance oriented albums they had previously collaborated on.
• Pressed on 180-gram vinyl
• Original artwork replicated & printed on classic tip-on jacket
• Features a young Celia Cruz as lead singer in this afro-cuban influenced setSide A
1. Cuyi
2. Sahara
3. Mi Bohio
4. Salsa De Tomate
5. Elegua
Side B
1. Alguien Vendra
2. Trabalan
3. Guiro 6/8
4. Murmullo Del Mar
5. Chango -
$24.98
Like most of the collaborations between trombonist, composer and musical director Willie Colón and mercurial Puerto Rican singer Héctor Lavoé, the album that you hold in your hands transcends the boundaries of salsa. Released in 1970, "The Big Break" is a masterpiece of Latin music, the kind of formidable artistic statement that established the Fania label as a cultural icon-- going beyond the parameters of a company specializing in crowd pleasing dance music. Needless to say, this is still a great party album, filled with dance friendly classics such as “Barrunto” and “Abuelita”. At the same time, it crystallizes the Colón/Lavoé aesthetic that the duo had been developing on previous albums ("The Big Break" is Colón's sixth release on the Fania label.) Although they were years away from reaching the artistic zenith of future epics such as El Cantante and Periódico de Ayer, the songs on this collection express the combined strength of these visionary artists: Colón's weakness for an edgy, dangerous sound based on the roughness of his two-trombone lineup. The eclectic tendencies that had him adding revolutionary bits of Puerto Rican folklore on the six minute-long workout “Panameña”. And Lavoé's irresistible sense of humor, which becomes particularly apparent on his nostalgic remembrance of his grandmother (“Abuelita”) and her hilarious sayings. Most importantly, the songs on "The Big Break" evoke the duo's combined cosmovision, which regards life as a combination of reckless joy and profound tragedy. From the childlike wonder of “Ghana'E” and the grotesque mockery of “Canción Para Mi Suegra” to the fleshy swing of “Barrunto” and the morbid sadness of “No Cambiaré, this session is a roller coaster of intensity-- a symphony of contrasting flavors, colors and feelings. Perhaps the one moment that best encapsulates the transcendental qualities of this collection is the bridge of “Panameña”-- the moment when the tune stops on its tracks, Lavoé introduces la salsa de Puerto Rico, el aguinaldo (Puerto Rico's own salsa, the aguinaldo) and all hell breaks loose thanks to Colón's roaring trombone and the spidery piano lines courtesy of the maestro Profesor Joe Torres. The resulting effect is nothing less of apocalyptic. Of the many brilliant LP covers that graphic designer Izzy Sanabria designed for Fania (the Ray Barretto/Superman art for Indestructible comes immediately to mind), "The Big Break" may be the most notorious one. The art capitalized on Colón's ‘Malo’ image (he was initially called El Malo because the older musicians thought he was a poor trombone player, not a bad kid-- Willie then decided to use the gangster archetype as a gimmick.) This time, Sanabria flew with the idea and devised a cover that replicated a Wanted by the FBI poster. Only that the FBI in question was the Freaks of Bureau Investigation, Colón was armed with a trombone and was wanted for killing people... with his exciting rhythm. Using the project's limited budget to his advantage, the designer included a cheap photo of Colón and random fingerprints to create a realistic looking poster. After its release, the company was contacted by the real FBI, which requested that the ‘Wanted by FBI’ text be removed from the cover. Listening to these eight, timeless tracks decades after their original release, the music compels you to ask: how could two young men in their '20 have so much to say? How did they manage to record an album of such depth and beauty? It may be advisable to stop pondering such heady issues and enjoy the music instead. I know I will. Credits: Willie Colón – Leader, First Trombone Willie Campbell – Second Trombone Milton Cardona - Conga Louie “Timbalito” Romero - Timbales José Mangual – Bongo Joe “Profesor” Torres - Piano Santi González - Bass Lead Vocal – Hector Lavoe Producer – Jerry Masucci Recording Director – Johnny Pacheco Original Album Idea and Diseño– Izzy Sanabria Written by Ernesto Lechner -
$24.98
“Celia y Johnny,” undoubtedly the most important album in Celia Cruz’s career, opened the doors of success for the famous Cuban singer with the force of a raging bull.
The singer had been fighting to break out onto the salsa scene since her arrival to the United States in 1962. Her career had been lethargic during the era of the boogaloo. In the early 1970s, a series of commercial flights were hijacked to Cuba, becoming a weekly event. Fearing she might board a flight that was hijacked to Cuba, Cruz decided to stop flying altogether. This, combined with disagreements with the Tico label over the direction of her career, kept her isolated from the beginnings of the salsa movement that took shape under the Fania label.
After singing “Gracia Divina” in the opera Hommy, by Larry Harlow, and “Bemba colorá” with the Fania All Stars, it was time for Cruz to record a full-length album that would showcase her interpretive skills. “Celia y Johnny” proved just the trick.
Johnny Pacheco had been enjoying a long and successful music career. Since his early days as a percussionist in the Xavier Cougat Orchestra, the Dominican had learned a lot about style and rhythm. His unique sound –known as the “Pacheco Groove” – had turned him into a favorite, particularly among New York dancers, and among lovers of Afro-Caribbean music in general.
Pacheco, a founding member of the Fania label, had noticed that Cruz’s early recordings on the Tico label with the Tito Puente Orchestra tended to limit her impressive voice, which he felt was not reaching its potential against the enormous sound of Puente’s big band. Pacheco once told me, “Let me put it to you this way: Celia sounded good with a stick banging against a can. She didn’t need all those instruments.”
Singers such as Melón, Pete “El Conde” Rodríguez, and later, Héctor Casanova, achieved great success and acceptance in combination with the Pachecho sound. Pacheco understood that his resounding style would help to highlight Cruz’s incomparable voice.
Paired with the Pacheco groove, the “Queen of Rumba” evolved, unleashing two of her greatest hits: “Toro mata” and “Quimbara.” Both received wild acclaim among dancers, who immediately accepted her as the favorite on the growing salsa market, which was about to take the world by storm.
The rumba hit “Quimbara,” with its lively beat, hit the salsa market early and immediately became an enormous and explosive hit.
In my book, “Rumba is Queen,” I make a series of observations, which I will share here and which will prove the significance of this classic album:
“The Johnny Pacheco groove and the charming essence of Celia Cruz forged a bond that took control of the most important period in the history of salsa. This period has now gone down in history as ‘The Golden Age’ of salsa. This album is an intensely important one within the historical, political, and social context that marked the time.”
“‘Quimbara,’ a song written by Junior Cepeda (a talented young boricua who died at the tender age of 22, killed by his live-in girlfriend), is almost certainly the most important song performed by Cruz upon her return to the Spanish-speaking market. However, ‘Toro mata’ was also an integral part of her extraordinary success.”
Toro Mata
Toro Mata, Toro Mata
Rumbambero y Toro Mata
Toro, Toro, ToritoApolo no le permite,
hacer el quite a mi chiche, toro mata¿Quién trajo ese negro aquí?
It was at Pacheco’s side that Celia changed the course of her musical future, and on this album, her charm, versatility, and integrity confirmed that her moment had arrived. Along with “Toro mata” and “Quimbara,” this album –which was produced entirely by Johnny Pacheco– includes the tracks “Vieja Luna,” “El paso del mulo,” “Tengo el iddé,” “Lo tuyo es mental,” “Canto a la Habana,” “Ño Mercedes,” “El tumbao y Celia,” and “El pregón del pescador.”
Many of these songs, such as “Tengo el iddé,” “Lo tuyo es mental,” “El tumbao y Celia,” and “El pregón del pescador” remained at the top of the charts, and the album went gold. This is a true classic that belongs in your record collection.
Musicians:
Johnny Pacheco – Lead, Percussion, Guiro, Flute
Papo Lucca – Piano
Johnny Rodríguez – Conga
Ralph Marzan – Bongos
Hector “Bomberito” Zarzuela – Trumpet
Luis Ortiz – Trumpet
Victor Venegas – BassCharlie Rodríguez – Tres
Ismael Quintana – Maracas
Chorus: Johnny Pacheco & Justo BetancourtProducer: Jerry Masucci
Recording Director: Johnny Pacheco
Photography: Lee Marshall
Album Design: Ron Levine
Recording Studio: Good Vibrations Sound Studios
Engineer: Jon Fausty
Album Design by Ron LevineWritten by Juan Moreno Velázquez
Sin duda la más significativa producción en la carrera de Celia Cruz, “Celia y Johnny” abrió las puertas del éxito de la afamada cancionera cubana, con la fuerza de un “Toro mata”.La cantante había estado luchando por penetrar las huestes salseras desde su llegada a los Estados Unidos en 1962 y su carrera se había mantenido en un letargo musical durante la era del bugalú. Cuando a principios de la década del setenta una serie de secuestros de aviones comerciales, los cuales eran llevados a Cuba, se convirtieron en noticia semanal, la cubana decidió parar sus viajes aéreos por temor que uno de estos fuera a parar a Cuba. Esto, en adición con discrepancias sobre el manejo de su carrera bajo el sello musical Tico, la mantuvo fuera del inicio del movimiento musical de la salsa que se manifestaba bajo el sello Fania.
Luego de que Cruz cantara “Gracia Divina” en la ópera Hommy de Larry Harlow, y “Bemba colorá” con las Estrellas de Fania, era necesario el grabar un disco de larga duración que expusiera la calidad interpretativa de la cantante. “Celia y Johnny” fue el vehículo utilizado para este propósito.
Johnny Pacheco había sido un exitoso músico por muchos años. Desde sus comienzos como percusionista en la Orquesta de Xavier Cougat, el dominicano había aprendido mucho sobre estilo y ritmo y su peculiar sonido, conocido como “el Tumbao de Pacheco” se había convertido en uno de los preferidos entre los bailadores en la ciudad de Nueva York en particular, y para el amante de los ritmos afro antillanos en general.
Pacheco, socio fundador en la Fania, había notado que en las grabaciones previas de Cruz dentro del marco de la Orquesta de Tito Puente bajo el sello Tico, tendían a limitar su impresionante voz y que ésta no alcanzaba su máximo potencial dentro de la marcada instrumentación de la orquesta grande de Puente. “En definitiva”, me dijo Pacheco en una ocasión, “la voz de Celia sonaba bien con una lata y un palito. Ella no necesitaba de tanta instrumentación”.
Dentro del sonido de Pacheco, cantantes como Melón, Pete “el conde” Rodríguez y, posteriormente, Héctor Casanova, alcanzaron gran popularidad y aceptación. El músico entendía que su estilo sonoro resaltaría la incomparable voz de la Guarachera.
Junto al tumbao de Pacheco “la reina rumba” se creció entonando dos de sus clásicos éxitos, “Toro mata” y “Quimbara”. Ambos temas tuvieron una reacción instantánea entre los bailadores que de inmediato aceptaron a la cantante como la preferida en el creciente mercado salsero, uno que estaba a punto de conquistar al mundo.
La rumba “Quimbara”, con una refrescante presentación, madrugó al mercado salsero y de inmediato se convirtió en un gigantesco éxito radial.
En mi libro “La Rumba es la Reina” hago una serie de observaciones las cuáles comparto en este escrito ya que resaltan la importancia de esta clásica producción.“La combinación del tumbao de Johnny Pacheco y la esencia sandunguera de Celia Cruz creó un binomio salsoso que tomó control del período más importante en la historia del género y que ha pasado a la historia como “la Época Dorada” de la Salsa, y ésa es una contribución sumamente importante dentro del contexto histórico, político y social que distinguió la época.”
El tema Quimbara, una composición de Junior Cepeda, un talentoso joven boricua que murió a la temprana edad de 22 años baleado por su compañera conyugal, es en definitiva el tema más importante que interpretó la cancionera en su regreso al mercado de habla hispana. Pero “Toro mata” también fue ficha integral en su extraordinario éxito.”
Toro Mata
Toro Mata, Toro Mata
Rumbambero y Toro Mata
Toro, Toro, ToritoApolo no le permite,
hacer el quite a mi chiche, toro mata¿Quién trajo ese negro aquí?
Precisamente fue junto a Pacheco que Celia cambió las fichas que marcaron su futuro musical y en esta producción, la cadencia sandunguera de Celia Cruz y su versatilidad e integridad en la interpretación en la temática confirmaron que su momento había llegado. Junto a “Toro mata” y “Quimbara”, esta grabación, que en su totalidad estuvo regentada por Johnny Pacheco, añadió las composiciones “Vieja Luna”, “El paso del mulo”, “Tengo el iddé”, “Lo tuyo es mental”, “Canto a la Habana”, “Ño Mercedes”, “El tumbao y Celia” y “El pregón del pescador”.
Varios de estos temas como “Tengo eliIddé”, “Lo tuyo es mental”, “El tumbao y Celia” y “El pregón del pescador” se balancearon en las listas de éxitos radiales y el disco se convirtió en Oro”. Este es un verdadero clásico que no debe faltar en su discoteca.
Musicos:
Johnny Pacheco – Lider, Percusión, Guiro, Flauta
Papo Lucca – Piano
Johnny Rodríguez – Conga
Ralph Marzan – Bongos
Hector “Bomberito” Zarzuela – Trompeta
Luis Ortiz – Trompeta
Victor Venegas – BajoCharlie Rodríguez – Tres
Ismael Quintana – MaracasCoro: Johnny Pacheco & Justo Betancourt
Productor: Jerry Masucci
Director de Grabacion: Johnny Pacheco
Photografia: Lee Marshall
Arte: Ron Levine
Grabado en: Good Vibrations Sound Studios
Ingeniero: Jon Fausty
Diseño de Album: Ron LevineEscrito por Juan Moreno Velázquez
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$24.98
When you think Latin Soul you relate to a mélange of R & B and Mambo rhythms intermixed culturally by and for the youth of America. It was 1974, and a brash youngster by the name of Ralfi Pagan walked into the offices of Fania Records and demanded to be heard. Fania President Jerry Masucci allowed Ralfi that opportunity, and Ralfi auditioned for Jerry right there in his office. It took only a few moments for Masucci to realize that he was in the company of his newest recording artist; he put Ralfi in touch with recording director, Johnny Pacheco, who hurried him into the recording studio for Ralfi’s first Fania recording session.
Regrettably, Ralfi is no longer with us, but it is our good fortune that he has left us a wealth of fine music for our enjoyment and consumption; a mixture of Latin Soul classic ballads for romancin’ and an assortment of up-tempo jams for partyin’ down.
Written by Bobby Marin
Album Credits:Recorded At - Impact Sound Studio
Audio Engineer – Richard Alderson
Original Cover Photo – Marty Topp
Original Cover Design – Izzy Sanabria
Arrangements – Marty Sheller
Recording Director – Johnny Pacheco
Producer – Jerry Masucci
Cuando uno piensa en soul latino, lo relaciona con una mezcolanza de R & B y ritmos de mambo, entremezclado culturalmente por y para la juventud de América. Era 1974, y un jovencito descarado de nombre Ralfi Pagan caminaba hacia las oficinas de Fania Records y exigía ser escuchado. El presidente de Fania, Jerry Masucci, le dio a Ralfi esa oportunidad, quien audicionó para Jerry justo allí, en su oficina. Sólo tomó unos pocos momentos para que Masucci se diera cuenta de que estaba en compañía de su más nuevo artista; puso a Ralfi en contacto con el director de grabación, Johnny Pacheco, quien lo apuró para que ingresara al estudio de grabación para realizar la primera sesión de grabación de Ralfi con Fania.Lamentablemente, Ralfi ya no está con nosotros, pero para nuestra buena suerte, nos ha dejado una tesoro de música fina para nuestro deleite y consumo; una mezcla de baladas de soul latino clásico para el romanticismo y una variedad de improvisaciones up-tempo para bailar.
Escrito por Bobby Marín
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$24.98
It was 1968 when Fania Records President, Jerry Masucci, received a phone call from conguero George Guzman, inviting Jerry to listen to his band. Jerry turned the project over to Harvey Averne, who later reported to Jerry that the band was “out of sight” and suggested that Masucci sign them up.
A short time later, things became complicated for George and his band. First of all, the lead singer was drafted into the military, leaving George high and dry. By the time a replacement was found, George learned that his trumpet player was leaving to join another orchestra, so the search was on for his replacement. One problem led to another and before you knew it several months had gone by before George was finally ready to enter the studio and begin recording.
Thanks to George and Harvey’s perseverance, “Introducing George Guzman” was released in time for George to join the fray of Boogaloo bands that had brightened up the night scene in New York City in 1968.
Written by Bobby Marin
Album Credits
Recorded At – Impact Sound Studios
Audio Engineer - Richard Alderson
Original Photos – Leon Gast
Original Album Art & Design – Walter Velez/Izzy Sanabria Advertising
Producer – Harvey Averne
Era 1968, cuando Jerry Masucci, presidente de Fania Records, recibió una llamada telefónica del conguero George Guzmán, invitándolo a escuchar a su orquesta. Jerry encargó el proyecto a Harvey Averne, quien más tarde informaría a Jerry que la orquesta era “fuera de serie” y sugirió que Masucci los contratara.Poco tiempo después, las cosas se complicaron para George y su orquesta. Primero, el vocalista principal fue reclutado en el ejército, dejando a George solo. En la época en que se encontró a un reemplazante, George supo que su trompetista se iba para unirse a otra orquesta, entonces la búsqueda continuó para su reemplazo. Un problema llevaba a otro y antes de de darse cuenta, varios meses habían pasado antes de que George, finalmente, estuviese listo para entrar al estudio y comenzar a grabar.
Gracias a George y a la perseverancia de Harvey, “Presentando a George Guzmán” fue lanzado al mercado a tiempo para que George se uniera a la “pelea” de las orquestas de Boogaloo que habían alumbrado la escena nocturna de Nueva York en 1968.
Escrito por Bobby Marín
