Latin — All Formats  

A monster! If you buy one Latin record this year – make it this one – because it's one of the greatest ever recorded! Ray's late 60s Acid album is a landmark recording – a sublime mixture of Latin jazz, percussion, and soul – grooving hard in a variety of styles, and always hitting the money on every single track. The title cut "Acid" is one of those tunes you'll be playing until you're locked up in a nursing home – and the rest of the record is equally great – with cuts like the bouncy groover "Soul Drummers", the tasty boogaloo "El Nuevo Barretto", and the extended "Espiritu Libre", a great Latin jazz track, with very "out" piano!

One of the most soulful records ever recorded by Joe Bataan – a sweet blend of harmony soul and east coast styles, done in a mode that's a bit less Latin than some of his earlier records – but really wonderful overall! The style here is almost late 60s Philly soul – particularly that of the Intruders, O'Jays, or other harmony-heavy groups – and the production has a rootsy edge that really gets at the honesty in Joe's approach. And given Joe's wonderful approach to these heartfelt tunes, we hardly miss the Latin rhythms at all – as we're really in love with his soul tunes here! Titles include "Ordinary Guy", "Unwed Mother", "Young Gifted and Brown", "Under the Street Lamp", and "I'm No Stranger".

One of our favorite Latin soul albums ever – a rollicking mix of upbeat party tracks, gentle ballads, and more – all handled with the undeniable magic that is Joe Bataan at his best! The album kicks off with the fantastic groover "Subway Joe" – a hilarious tune about Joe trying to find a seat on the subway – and it rolls into killers like "Nuevo Jala Jala", "Juanito", "Ponte En Algo", and the wonderfully emotive "Special Girl". There's a really wonderful quality to all the tunes – honest, open, and done with instrumentation that includes lots of dark passages, yet which also continues to flower in hope! A landmark, and a record that delights us again and again over the years!

One of our favorite Latin soul albums ever – a rollicking mix of upbeat party tracks, gentle ballads, and more – all handled with the undeniable magic that is Joe Bataan at his best! The album kicks off with the fantastic groover "Subway Joe" – a hilarious tune about Joe trying to find a seat on the subway – and it rolls into killers like "Nuevo Jala Jala", "Juanito", "Ponte En Algo", and the wonderfully emotive "Special Girl". There's a really wonderful quality to all the tunes – honest, open, and done with instrumentation that includes lots of dark passages, yet which also continues to flower in hope! A landmark, and a record that delights us again and again over the years!

Possibly the greatest album ever from Angel Canales – a 70s salsa classic through and through, and one with great links between the New York scene and Canales' Puerto Rican roots! The tunes are wonderfully heartfelt throughout – sung with a youthful sense of soul that's far different than some of the more emotive modes of previous generations of Latin singers – in a way that really scored big with the younger generation at the time, and which makes Canales one of the key forces helping to change the sound of the music in the 70s. Instrumentation is nice and tight – acoustic small combo work with two trombones, trumpet, baritone sax, flute, piano, bass, and percussion – under musical direction by Juan Torres. Titles include "Lejos De Ti", "Perico Macona", "La Hiedra", "Sol De Mi Vida", "Sabor Los Rumberos Nuevos", and "El Cantante Y La Orquesta".

Stunning stuff – and one of the best-ever Latin soul albums of all time! Despite the fact that Eddie Cano's earlier albums are more in a Latin easy mode, this late 60's side for Dunhill is totally smoking – and probably his greatest album ever! Forgive the superlatives, but we're totally serious on this one – as the set's a firey batch of Latin instrumentals, with a slammin' boogaloo groove all the way through – filled with mad percussion, jazzy piano riffs, and a non-stop groove that's totally great. The set was recorded live at PJ's nightclub, and it's a non-stop Latin Soul party that includes massive originals like "Slip Slip", "Brown & Blue", "Miro Como Es", and "Don't Ever Change" – plus smoking covers of "El Pito" and "Louie Louie". The set screams with excitement, and is as great as the album is rare!

Brilliant early work from a young Willie Colon – a true hustler if there ever was one! The album has an amazing energy that really bridges a number of Latin scenes – it's part descarga jamming, part Latin soul, and part traditional Latin – put together with a no-nonsense approach that makes the whole thing come off like magic. A young Hector LaVoe is on lead vocals, but the real star here is the group – who have a lean, mean, stripped-down sound that's really great! Includes the jammer "The Hustler", plus "Eso Se Baila Asi", "Havana", "Guajiron", "Montero", and "Que Lio".

The group were certainly doing something right – as this album has Joe Cuba's sextet at the top of their game, easily showing why they were one of the best groups on the New York scene of the 60s! The album's a pivotal one in the development of Latin Soul – as it sports the incredible track "El Pito" – one of those Latin jammers that grabbed everyone right away, and which has barely ever been matched since! The album's also got some great use of English language lyrics – crucial to the unique crossover sound that Joe was forging, and a real bridge between Spanish and African American Harlem in the 60s. Titles include "My Wonderful You", "El Pito (I'll Never Go Back To Georgia)", "Pruebalo, OK?", "Bochinchosa", "Incomparable", and "Clave Mambo".

One of the weirdest, coolest Latin Soul albums we've ever heard – the only offering ever from the duo of Dianne & Carole – two female singers who come off with a great deal of enthusiasm on the set! That's our way of saying that the ladies are a bit rough on the vocals – but that's also part of the charm of the set – as the record's got a really messed-up feel, of the sort that we really love from Latin Soul records like this! The great Louie Ramirez handled a good number of the arrangements, with help from Joe Simmons on the other tracks – and many of the numbers have that upbeat, catchy groove that was the Speed label trademark at the time – a sound that was quite different than the modes at Fania or Tico. Titles include excellent tracks "The Fuzz" and "Latin Rhythm" – plus "Feelin' The Pain", "I See the Lovelight", "The Boy Across The Street", "Water Brown", and a hip cover of "Do You Know The Way To San Jose". Very groovy stuff!

A killer bit of Latin Soul – one of the few albums ever recorded by conga player George Guzman, working here with a very cool, very hip, late 60s ensemble! The group sport 3 trumpets, piano, bass, and some very strong percussion – plus vocals in both English and Spanish, which makes for a perfect back and forth mood to the set, handling both straight Latin and Latin Soul numbers with ease! Loads of great tracks – including "Diggin' Rice & Beans", "Manteca", "Really Bad Scene", La Banda Ya Llego", and "Winter Love". Nice, tight, and very very groovy.

A lost treasure – one of the few albums ever cut by this fantastic Latin Jazz ensemble, an ultra-hip group led by congolero Juan Amalbert, with a modal vibes/piano groove that's simply wonderful! The combo were one of the hippest early 60s Latin acts – and took equal part inspiration from the New York Latin and the east coast soul jazz set, forging a groove that was different than many other Latin groups – with a free blend of styles that created a magically dancing sound. A few tracks on the album feature some guest alto work by Bobby Capers – and titles include "Ain't Dat Right", "Blue Moon", "April Afternoon", "Polly's Delight", and a great cover of "Summertime".

Killer Latin soul! This record is one of the hardest to find from the late 60's boogaloo era, and it's a massive stormer filled with tasty grooves! The band is small and tight, with a 2-sax frontline, for an extra-soulful sound. Vocals are in English and Spanish, and the album wails away like a siren out of control. Things kick off with the organ-heavy instrumental, "Camel Walk" – then they leap into one of the catchiest vocal numbers ever from Fania, the tasty "Afro-Shingaling" – which starts with Ray Ramirez shouting "I just come from Africa – and I learned to do the Shing-a-ling!" Other nice ones include "Chevere", "Guajira", and "Creation" – but the whole thing's great!

A Latin soul treasure from Bobby Matos – quite different than his straighter jazzy work of recent years, and a stone cooker to rival the best of the New York indies in the late 60s! Like cookers on Fania and Cotique, the set's got a groove that's rooted in descarga – with loads of great percussion and jazzy instrumentation – then mixed with a heady dose of late 60s Spanish Harlem soul, which means that there's some good boogaloo elements on the set that really start things on fire – a massive groove that goes way beyond standard Latin, and which has made the record a treasure for years! Nearly ever cut's a killer – and titles include "Raices", "Mambo Maxims", "Trailo A Casa", "Caliente Y Grasoso", "Up In Alfred's Pad", and "Ritchie's Boogaloo". Essential

One of the grooviest records ever recorded – and pretty darn rare, too! The Moon People – aka Los Astronautas – were a Latin Soul studio band who played behind some of the other killer recordings on the Speed Label. They're best known for their sock-boogaloo instrumental "Land Of Love" – a stone jammer which kicks off the album – and their forte is blending together Latin rhythms, soul instrumentation, and kind of a mod 60s easy production style, handled here by maestro Morty Craft. The album's got a really really weird feel – part Latin Soul, part 60s soundtrack – almost as if Joe Cuba and Quincy Jones were hanging out together! Titles include "Land Of Love", "Morty's Harem", "Indian Soul", "Happy Soul", "Revolt", and "Last Train To Clarksville".

Two rare gems from this legendary Latin group – both on CD for the first time ever! Big Stick is quite possibly the rarest album from Pucho & The Latin Soul brothers – and also one of the greatest, too – thanks to a wonderfully soulful vibe overall, and some wicked vocals from the great Jackie Soul! Arrangements are a bit bigger than some of their previous dates, but nicely offbeat too – put together by Bill Fisher, and featuring loads of great keyboards and organ from Neal Creque! The sound's got less horns than beofre, but the heavy percussion, keyboards, and vocals more than offset that loss – and make for one of the most unique Pucho albums ever! Titles include "Swamp People", "Left In the Cold", "Big Stick", "Cold Shoulder", and a very groovy version of "Sunny"! Dateline is a rare gem from Pucho & The Latin Soul Brothers – and an album that has them really hitting strong on all instrumental fronts! The group sports wonderful piano and organ lines from Neal Creque – a player who helps Pucho hit a more expansive, jazzy vibe – mixed with horns from the always-great Pazant brothers – Eddie on saxes and Al on trumpet – plus some trombone from Barry Rogers too! These players all really help add some great jazzy inflections to the whole set – important, too, because the album's all instrumental – with no vocals to get in the way of the solos. Willie Bivens also plays vibes on the record – and titles include "Listen to Louie", "Dateline", "Yambo", "Bim", and "Ain't Nothin Can Happen".

Some of the tightest funky 70s jamming ever – a lost gem from Ray & His Musical Court, a group that perfectly fuses JB/Horny Horns funk with beat-heavy Afro-Cuban groove! Ray and the group are one of the more obscure funky combos of the era, and it's a damn shame, because the group's tight-as-can-be amalgam of JB's style horn riffing and thumping Afro-Cuban percussion is some of the absolute best of its kind. This group seriously smokes any of the current funk bands on the road! On these sessions Ray wrote, produced, played "organ flute" and provided some vocals in a large group that includes three trumpets, bass clarinet, sax, two drummers, congas, electric bass, and a line of mostly Spanish vocalists. Amazing 70s super funk with a very proud Latin edge – and featuring tracks that include "Sunny", "Soul Freedom", "Cookie Crumbs", "De Eso Nada Monada", "Lo Sabia", "Venimos Acabando", "La Pena", and "La Senorita Lola".

A monster album of Latin soul – arguably the greatest record ever cut by Hector Rivera! The record's a rare cooker that never lets up at all – a non-stop boogaloo party that definitely lives up to its swinging cover image – and which is quite different than most other albums from Hector! English language lyrics are at the lead on most numbers – and the rhythms have a romping blend of soul and Latin that's right up there with the same Spanish Harlem groove as work on Fania or Cotique, although arguably even better! There's lots of heavy piano in the grooves, and vocals on some cuts are sung by David Coleman – a singer we only know from this record, but who really makes it shine. Titles include "Playing It Cool", "At The Party", "Shingaling Baby", "I Got My Eye On You", "Pra Voz Wilma", and "Asia Minor".

An incredible record and very unique – cut around the same time as Arsenio's rare boogaloo album for Tico Records! Like that session, this one has a style in which Arsenio is featured in a larger group – playing with a raspy edge that really steps out in front of the fuller instruments and voices! The group's a great one – playing here with a few early Latin Soul touches, and in a way that mixes together different modes in a really unusual approach to the grooves. Arsenio's sound is still quite rootsy, but the larger backings are quite tight – and often done with a nod to more popular soul modes of the time. The whole thing was put together by producer Bert Berns, with arrangements by the great Artie Butler – and it's got a freewheeling New York groove that's as close to Latin Soul as Arsenio ever came! Includes Latin Soul versions of "Hang On Sloopy" and "La Bamba", plus the tracks "La Yuca", "Tres Marias", "Randy", "Vaya P'al Monte", and "El Elemento Del Bronx", a groovy guaguanco track!