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A great little back to basics effort from the Fania All Stars – one that shakes off some of the electric and clubby influences that were creeping in during their years at Columbia, and returns the group to a mostly salsa groove! The sound here is bold and bright throughout – traditional at one level, but colored with modern inflections and a deepening sense of sophistication that may well make it one of the group's most cohesive records ever! Members of the ensemble include Roberto Roena, Johnny Pacheco, Luie Ramirez, and Papo Lucca – and vocals are by Celia Cruz, Adalberto Santiago, Ruben Blades, Santos Colon, Hector Lavoe, and Cheo Feliciano. Titles include "Dinamita", "Dime", "Ublabadu", "Cuando Despiertes", "La Borinquena", and "Encantigo".

A landmark album – one that has the Fania All-Stars playing in a Latin club style that greatly influenced dance music for years to come! The title "Cross-Over" might make you think of this one as a sell-out attempt, but it's not – it's a brilliant effort by the New York Latin scene to reach a much larger audience, and at the time, it really really worked! The album's actually got a surprisingly strong jazz basis to a lot of the playing – mixed with soul, disco, and funk influences that helped make this one a big album in the crates of plenty of non-Latin listeners. Features work by Eric Gale, Ruben Blades, Louie Ramirez, and Johnny Pacheco – and includes the cuts "You Want It You Got It", "Brazilian Paradise", "What A Big Thing", "Los Bravos", and "Prepara".

After a disastrous attempt at recording a live show, the Fania All-Stars went in the studio with guests like Billy Cobham and Manu Dibango and created their funkiest and one of their finest albums of the seventies! A few cuts are more straight Latin sounding, some of these tracks have a nice hard funky jazz feel, and sound like they could have been recorded for Prestige. There's great versions of "Soul Makossa" and "Viva Tirado", plus a very nice track called "Smoke". Other titles include ""El Raton", "Congo Bongo", "Chanchullo", "There You Go" and "Mama Guela".

By the mid 70s, the New York Latin scene was boomin' so large it could easily fill venues like Yankee Stadium – as you'll hear on this excellent live set from the Fania All-Stars, a monster record that easily ranks with the best live Latin sides of the time – like Eddie Palmieri at Sing Sing, the Tico-Alegre All Stars at Carnegie Hall, or Mongo Santamaria at Yankee Stadium! Tracks are nice and long – a real mix of soul and Latin, with slight funk and electric touches – and players include Ray Barretto, Willie Colon, Bobby Valentin, Mongo Santamaria, Ricardo Ray, and Roberto Roena. Vocals are by a host of singers that include Santos Colon, Hector Lavoe, Ismael Rivera, and Celia Cruz – and titles on this first volume include "Pueblo Latino", "Mi Gente", "Diosa Del Ritmo", and "Soy Guajiro".

A key 70s moment of pride for the New York Latin scene – and one of a number of crucial live sets cut by the legendary Fania All Stars! The group were invited to play a three day music festival in Zaire in 1974 – timed to coincide with the Rumble In The Jungle Ali/Foreman fight – and after blowing the crowd away on the first night of the festival, they took the stage again for a massive encore on the last night – recorded here in all its glory! The energy of the set is amazing – as some of New York's greatest Latin artists of the time rock the house in front of a crowd of 80,000 Africans – creating a cultural exchange that should have made the State Department blush. Numbers include "En Orbita", "Guantanamera", "Quimbara", "El Raton", "Mi Gente", and "Ponte Duro". Package includes the full original film, plus lots of bonus footage that's extra-cool – including some great location shots in Zaire! Also features the full album on CD - but with more cuts than the film!

A stellar box set of live Fania All Stars – recorded around the world and spanning the decades – on 4CDs that organize sets recorded Live In NYC, Live From El Barrio To San Juan, Live Around The World and a bonus for 4th disc of Studio Recordings – Three Decades! Includes tracks from some of our favorite live Latin albums of the 60s & 70s, including the classic Live At The Red Garter, Live At The Cheetah and Live At Yankee Stadium sets, plus albums such as Latin-Soul-Rock, San Juan 73 and more – including some unreleased mid 70s live recordings of the group doing their thing with Stevie Wonder and other sweet surprises. 52 tracks on 4CDs and includes a thick booklet of notes! Tracks include "Noche", "Guatacando", "Richie's Bag", "Anacaona", "Quitate Tu", "Estrellas De Fania", "Bemba Colora", "Soul Makossa", "Congo Bongo", "Guantanamera", "Ponte Duro", "Toro Mata", "Quitate Tu/Hang On Sloopy" with Stevie Wonder, "Country Girl-City Man", "Dinamita", "Back To My Roots", "Bamboleo", "Don't You Worry 'Bout A Thing" and many more.

A Latin soul party – beyond compare! The album's a completely wonderful live set that really captures the energy, excitement, and warm sociability of the hip New York scene at the end of the 60s. The music is stunning – a freewheeling blend of jazz, soul, and Latin themes – played with effortless ease by a lineup that includes Joe Bataan, Ray Barretto, Willie Colon, Larry Harlow, Bobby Quesada, Louie Ramirez, Ralph Robles, and some of the other heavy-hitters of the Latin soul years. (Just imagine trying to get so many jazz or rock talents together on one stage – it would never happen!) The album's incredible – and even the spoken introductions and crowd noise really help set the feel of the era's mighty magic power! Titles on this second volume include "Kikapoo Joy Juice", "If This World Were Mine", "Richie's Bag", "Red Garter Strut", and "Son Cuero Y Boogaloo". Firey stuff, and one of their best records!

Some of the best of the best of The Fania All Stars – magical music from that short stint when the combo were recording for Columbia Records in the late 70s! While at Columbia, the group grew even more than the styles of their roots at the Fania label – picking up some hipper touches of soul, club, and fusion – all of which were worked nicely to tighten up their groove. And while you might think that after playing side-long jams, these shorter cuts could represent a more commercial side for the group – to us, this shift is an important one that has the ensemble taking the old energy of the Latind descarga and bringing it nicely into focus for a huge crossover audience. The cuts here sparkle and glisten with the best non-Latin funk and club of the time – and the CD features 13 tracks from the albums Spanish Fever, Rhythm Machine, Cross Over, and Delicate & Jumpy – titles that include "Coro Miayre", "Ella Fue", "Fania All Stars Cha Cha Cha", "Los Bravos", "Peanuts", "Prepara", "Que Pasa", "Sin Tu Carino", "Isadore", and "Foofer Soofer".

A sprawling collection of classic Fania – featuring a pretty adventurous set of salsa, boogaloo, Afro-Latin, funkier numbers and all around incredible material put together by our friends at Strut Records – going beyond the classics! It features numbers by many of the most iconic names on Fania – Johnny Pacheco, Joe Bataan, Ray Barreto, Willie Colon, Bobby Valentin, Hector Lavoe and more – loosely chronicling the stylistic genesis at Fania during the time period, but compiled with an ear to the dancefloor rather than academia. A great set of classics on an uber-iconic label, put together by one of our favorite contemporary labels! 19 tracks on the 2LP version: "Dakar, Punto Final" by Johnny Pacheco, "Mercy Mercy Baby" by Ray Barretto, "Anacaona" by Cheo Feliciano, "Quimbara" by Celia Cruz & Johnny Pacheco, "Bomba Carambomba" by Sonora Poncena, "Pedro Navaja" by Willie Colon & Ruben Blades, "Cuando Despiertes" by Fania All Stars feat Celia Cruz and more.

A cheesy cover, but a killer album from the Fania All-Stars – one that's quite different than most of their other work at the time, with an open-ended jam session feel that really takes us back to the old days! The group here is really just a sextet – the core combo used to launch the group name on Columbia Records – and the session is one that was originally done for Columbia in 1976, when Gene Page had to cancel a studio date, and the band got the chance to jam by themselves in the studio! The result is a groove that's strongly jazzy, with lots of descarga energy – played by a group that features Johnny Pacheco on flute, Papo Lucca on piano, Nicky Marrero on timbales, Ray Barretto on congas, Bobby Valentin on bass, and Roberto Roena on bongos and assorted percussion. Roena sings on one track, but most of the set is instrumental – with nice long cuts that include "The War Gods", "Seis Con El Mismo Sabor", "Vento Conmigo", "Taxi To Aguadilla", and "Guajira Para Los Pollos".

One of the proudest moments of the New York Latin underground – a time when some of its best players wound up playing for Columbia, through a brief affiliation between Fania and the larger label! And although you might think that the album would totally sell out the group's best points, it's actually a great batch of cuts that mixes the All-Stars' strong salsa and jazz grooves with some nice club-oriented rhythms – a blend that was perfect to show the growing sophistication of the Nuyorican scene in the late 70s! All the right touches are still strongly in place – and the record features work from Pacheco, Roberto Roena, Mongo Santamaria, and Louie Ramirez, as well as guests Bob James and Eric Gale. Titles include "En Orbita", "Awake", "Juan Pachanga", "Steady", "Jubileo", and "Ella Fue".

A landmark moment in the New York scene of the 70s – and a mindblowing document of the energy and lifestyle of the city's growing Latin scene at the time! The film combines live performances from the legendary Cheetah nightclub with amazing street footage – woven together in a rich tapestry of music and culture that documents the reality of life in Spanish Harlem at the time. Musicians featured include a veritable "who's who" of the New York Latin world – such as Ray Barretto, Willie Colon, Larry Harlow, Johnny Pacheco, Bobby Cruz, Ricardo Ray, Bobby Valentin, and Hector Lavoe – but even without the music, the documentary footage alone makes the film an instant treasure! Spanish language film with English subtitles for the limited narration, with newly remastered sound. Also included are Live At The Cheetah Vols 1 & 2 on 2CDs. Vol 1 is easily one of the best by the group – and features long tracks that really capture the jamming intensity that occurred on stage when this many great artists were brought together in one space. Includes "Introduction Theme (Cheetah)", "Quitate Tu", "Descarga Fania", and "Anaconda". Vol 2 is just as great – and this set includes 3 previously unreleased tracks! Includes "Ponte Duro", "Estrellas De Fania", and "Ahora Vengo Yo" and more – plus the bonus tracks "Cocinando", "Abran Paso Part 1" and "Abran Paso Part 2".

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!

Fantastic stuff from Ray Barretto – and one of his most sophisticated albums of the 70s! The album mixes together rootsy percussion and smoother jazzy arrangements – in a manner that keeps things fresh at all points, and which shifts the focus nicely from track to track – creating a really rich sound that's almost unlike anything else he ever recorded! Luiz Cruz plays excellent electric piano, and Adalberto Santiago is on lead vocals on a few tracks – and titles include the extended version of "Cocinando", used as the theme in Our Latin Thing – plus the cuts "Que Viva La Musica", "El Tiempo Lo Dira", "Bruca Manigua", and "Alafia Cumaye".

A great album of salsa tracks recorded at the end of the 70s – when Ray was returning to the scene after a prolonged hand injury kept him out of music for a while. Despite this time off, though, Ray's in top top form – coming back to basics with a really heavy groove, picking up right where his early 70s Fania sides left off! Lead vocals are by the tremendous Adalberto Santiago, and titles include "Ya Vez", "Al Ver Sus Campos", "Adelante Siempre Voy", and highly percussive groover "Tumbao Africano", which runs for over 7 minutes long!

An early 70s killer from Ray – recorded right in the same era as most of his best albums! The feel here is strongly in the salsa mode – as Ray steps effortlessly from the Latin Soul era into a whole new decade of musical magic. And like the best of his 60s work, Ray's salsa cooks at a level that's far hotter than most of his contemporaries – with lots and lots of incredibly tight percussion, impeccable instrumentation, and even a more soulful approach to the vocals than usual. The album's got a short Latin soul groover called "Together", which has tight bass and a very catchy lyric; an extended Latin jazz version of "Tin Tin Deo", with some incredible piano that goes way way out over the groove; and plenty of other great Latin numbers, like "Invitacion Al Son", "Vive Y Vacila", "De Donde Vengo", and "Hipocresia y Falsedad".

A real killer from the legendary Joe Bataan – an album of righteous power that really lives up to the dynamic promise of the title and cover! Joe Bataan's in top form throughout – serving up a blend of Latin grooves and 60s soul influences that few other artists of the time could touch – soaring and upbeat one minute, but mellow and laidback the next. There's a number of longer tracks on here that really move past the standard Latin Soul modes – bringing in bits of descarga jazz, instrumental soul, and mellower ballads to Joe's already-great blend of styles. The depth here is tremendous, and nearly every track's a winner! Titles include the slamming "It's A Good Feeling (Riot)", "Muneca", and "Mambo De Bataan" – plus the soul tracks "What Good Is A Castle", "My Cloud", "Daddy's Coming Home", "Ordinary Guy", and "For Your Love".

A really top-shelf album from Justo Betancourt – a perfect illustration of the power of his vocals at their height! The set's got a really classic 70s salsa feel – a horn-heavy groove that almost effortlessly flows from a combo of strong players, topped by majestic vocals from Justo – stretching out soulfully with these wonderful inflections, timings, and turns that go far beyond the simple lyrics of the tunes. The record's almost a casebook study in the way that the Fania singers of the 70s could be completely expressive without resorting to any sort of over-emotive cliches – a new level of Latin masculinity in song, served up here with impeccable arrangements by Javier Vazquez. Titles include "Pa Bravo Yo", "Psicologia", "Oyeme Cantar", "Guaguanco Ta Moderno", "Adios Felicidad", "Catano", and "Una Audiencia Muerta".

An amazing achievement for Ruben Blades – a full suite of tracks conceived and composed by Ruben as a "disco drama" on wax! The work isn't the disco-styled album you might think from this description – and is more of a mini-opera or concept album by Blades, one that features ambitious arrangements from Louie Cruz, Marty Sheller, and Carlos Franzetti – using strings and more standard Latin backings to expand the tunes tremendously, and make the whole album work with the full drama it requires. There's a few spoken bits on the set, which give way to some great songs – and the album also has a few instrumental passages. Willie Colon produced and supervised the whole effort – and tracks on this second part include "Epilogo", "El Velorio", "Manuela Despues", "El Entierro", "Hay Que Viver", and "Maestra Vida".

Classic work from Willie Colon – the "payoff" of his youthful hoodlum routine, and a hard-hitting batch of salsa tunes pulled from earlier records – all in a package that defines his groove of the 70s! Hector LaVoe's on vocals with Willie's group – and he's also standing with Willie on the cover, a nice image that has the two of them dressed as big-time gangsters, standing next to a Rolls Royce! (Wonder what it cost them to rent that for the cover shoot?) But more important than Willie's perpetuation of himself as the bad boy of Latin music, is the overall sound of the record – fierce salsa, with a really strong approach that's as bold and proud as the image which supports it. Solid all the way through, and tracks include "El Malo", "Jazzy", "El Titan", and "Che Che Cole", a nice groover.

Great stuff – and a very sharp album cut by Willie during the Latin soul era, featuring a bunch of tracks that veer more towards the boogaloo side of things than his later albums! The groove is nice and hard – stripped down with the youthful energy that Willie brought to the scene at the time – and the record features great vocals by Hector Lavoe, Yayo El Indo, and Elliot Romero. Features the wonderful piano-bassed groover – "Jazzy" – which spirals out with descarga-like energy! Other great tracks include the boogaloo numbers "Skinny Papa", "Willie Baby", "Willie Whopper", and "El Malo" – but the whole album's a winner!

Great stuff – and a very sharp album cut by Willie during the Latin soul era, featuring a bunch of tracks that veers more towards the boogaloo side of things than his later albums! The groove is nice and hard – stripped down with the youthful energy that Willie brought to the scene at the time – and the record features great vocals by Hector Lavoe, Yayo El Indo, and Elliot Romero. Features the wonderful piano-bassed groover – "Jazzy" – which spirals out with descarga-like energy! Other great tracks include the boogaloo numbers "Skinny Papa", "Willie Baby", "Willie Whopper", and "El Malo" – but the whole album's a winner!

A roots-oriented 70s classic from Willie Colon – one of his standout albums of the decade! Willie continues his "life of crime" approach for the early 70s – moving into an old west look on the cover, and matching that with a slightly rootsier sound on the album! The real difference is the presence of Yomo Toro – who plays cuatro on the album, and gives it a sound that stretches back to earlier Afro-Cuban styles – a groove that's a lot more rootsy, mixed in with the soaring salsa style of Colon in the 70s. Lead vocals are by Willie, Hector Lavoe, and Ruben Blades – and arrangements are by Marty Sheller and Willie. Tracks include "Toma", "Dona Tona", "Potpourri III", "Cua Cua Ra, Cua Cua", "I Feel Campesino", and "Que Bien Te Ves".

A roots-oriented 70s classic from Willie Colon – one of his standout albums of the decade! Willie continues his "life of crime" approach for the early 70s – moving into an old west look on the cover, and matching that with a slightly rootsier sound on the album! The real difference is the presence of Yomo Toro – who plays cuatro on the album, and gives it a sound that stretches back to earlier Afro-Cuban styles – a groove that's a lot more rootsy, mixed in with the soaring salsa style of Colon in the 70s. Lead vocals are by Willie, Hector Lavoe, and Ruben Blades – and arrangements are by Marty Sheller and Willie. Tracks include "Toma", "Dona Tona", "Potpourri III", "Cua Cua Ra, Cua Cua", "I Feel Campesino", and "Que Bien Te Ves".

An amazing little record from Willie Colon – one that has him stepping forth into the limelight as both singer and leader – after years of working with better-known vocalists like Hector LaVoe and Ruben Blades! But even more than the vocals the thing we really love here are the arrangements – bold, soaring, and really complex – often mixing larger string passages with some incredible work on sax and flute from players who include Mauricio Smith, Ronnie Cuber, and Bobby Porcelli – all coming together here with a sense of dynamism that reminds us of some of our favorite work at the time from Bobby Vince Paunetto. The scope of the record is really amazing and very powerful, and titles include "Nueva York", "Chinacubana", "Juancito", "Urubatan", "Julia", "Tu Eres Tu", and "Sin Poderte Habiar".

A solid 70s session from Willie Colon – a combination of a few tracks from previous efforts, mixed with other new ones, all featuring lead vocals by the wonderful Hector Lavoe! The work on the album's the kind that was so influential at the time, it's almost hard to hear how important it was from this angle – because Willie's working in a tight, hard style that so many other groups copped afterward – yet this one's still the original, and a good solid listen will remind you of the power in these grooves! Tracks include the groovy "Ah Ah/O-No", "La Banda", "Ghana'e", "Pirana", and "Abuelita".

A classic collection of grooves from the legendary Cortijo – most of which feature lead vocals from Ismael Rivera – mixed with a few other great tracks from later years too! Cortijo's combo was one of the leading lights of the pre-salsa scene – and his firey percussion really keeps things going here – helping to lay down some excellent rhythms that are perfect for the soaring vocals from Rivera, and other singers who include Azuquita, Pepito Negron, Jorge Millet, and Nacho Sanabria. Titles include "Sacame De Aqui", "Fuerza E Cara", "Coje Pa La Cola", "Calambre", "Bombon De Canela", "Agua Que Va A Caer", "Se Escapo Un Leon", "Aqui Estoy Ya Llegue", and "Arrecotin Arrecotan".

A classic collection of grooves from the legendary Cortijo – most of which feature lead vocals from Ismael Rivera – mixed with a few other great tracks from later years too! Cortijo's combo was one of the leading lights of the pre-salsa scene – and his firey percussion really keeps things going here – helping to lay down some excellent rhythms that are perfect for the soaring vocals from Rivera, and other singers who include Azuquita, Pepito Negron, Jorge Millet, and Nacho Sanabria. Titles include "Sacame De Aqui", "Fuerza E Cara", "Coje Pa La Cola", "Calambre", "Bombon De Canela", "Agua Que Va A Caer", "Se Escapo Un Leon", "Aqui Estoy Ya Llegue", and "Arrecotin Arrecotan".

An obscure little album from Jack "Mr Bongo" Constanzo – his only entry into the Latin Soul genre, and a really nice batch of grooves! Jacko's working here with singer Gerrie Woo – who sings in English on about half of the album's tracks, giving the set a nice pop-styled Latin groove that reminds us a lot of Willie Bobo's work for Verve, and some of the more unusual indie Latin albums of the time. The set's filled with loads of great numbers – including Hector Rivera compositions "Recuerdos", "Que Vengo Acabando", "Don't Squeeze The Peaches", and "Mambo Jack" – plus covers of "Jive Samba", "Words", and "Green Onions".

A landmark moment in the New York scene of the 70s – and a mindblowing document of the energy and lifestyle of the city's growing Latin scene at the time! The film combines live performances from the legendary Cheetah nightclub with amazing street footage – woven together in a rich tapestry of music and culture that documents the reality of life in Spanish Harlem at the time. Musicians featured include a veritable "who's who" of the New York Latin world – such as Ray Barretto, Willie Colon, Larry Harlow, Johnny Pacheco, Bobby Cruz, Ricardo Ray, Bobby Valentin, and Hector Lavoe – but even without the music, the documentary footage alone makes the film an instant treasure! Approximately 86 minutes.

A killer of a mid 70s album from Hector Lavoe – recording here as a solo act after his split from the Willie Colon group, but still with strong backings and musical supervision from Willie himself! The style here is very similar to the last few albums Lavoe recorded with Colon – a brilliantly bouyant mix of samba and soul, carried off with increasing sophistication few might have expected from the pair's early years, and a depth of feeling that clearly made Hector one of the most important Latin singers of the 70s. Titles include "Tanto Como Ayer", "Vamos A Reir Un Poco", "Consejo De Oro", "De Ti Depende", and "Mentira".

A classic bit of 70s salsa gold from vocalist Hector Lavoe – a record done in close collaboration with Willie Colon, with whom Lavoe had worked on a great run of albums during the late 60s and early 70s! The set's got a slightly warmer and more straightforward feel than some of Willie's records – but still features arrangements and production by Colon, as well as a two-trombone, two-trumpet section that brightens up the tunes with a proud brassy finish! Piano is by Mark Dimond – nice and bold, with those dark edges of his we really like – and titles include "El Todopoderoso", "Emborrachame De Amor", "Rompe Saraguey", "Mucho Amor", "Tus Ojos", and "Mi Gente".

A classic bit of 70s salsa gold from vocalist Hector Lavoe – a record done in close collaboration with Willie Colon, with whom Lavoe had worked on a great run of albums during the late 60s and early 70s! The set's got a slightly warmer and more straightforward feel than some of Willie's records – but still features arrangements and production by Colon, as well as a two-trombone, two-trumpet section that brightens up the tunes with a proud brassy finish! Piano is by Mark Dimond – nice and bold, with those dark edges of his we really like – and titles include "El Todopoderoso", "Emborrachame De Amor", "Rompe Saraguey", "Mucho Amor", "Tus Ojos", and "Mi Gente".

A tribute to the famous romantic singer Felipe Pierela – once known as the Bolero Star Of The Americas! Given Hector LaVoe's warmth and charisma at the time, he was a perfect choice for such a project – and working here with producer Willie Colon, Hector steps into an older mode of Latin music – yet one that also sparkles with some of the more sophisticated contemporary touches that Colon was bringing to his own work of the period. Arrangements are by Louie Cruz, Carlos Franzetti, and Jorge Calandrelli, and titles include "Sombras Nada Mas", "Vieja Carta", "El Infierno", "Pobre Del Pobre", and "Castigo".

A beautiful little record from Hector Lavoe – one deepens his sound and emotion, but manages to do so without going into any schmaltzy territory! Some tracks here are full-on groovers, and others are mellower – but even these have a depth of feeling that really commands our attention – a style that's perhaps almost a re-emergence of a new Latin soul aesthetic in the mid 80s – one that's certainly far more Latin than soul, but a new level of expression that's filled with feeling, and which really puts things on the line. Jose Madera, Isidro Infante and Luis Ramirez share arranging credits and Johnny Pacheco directed the recording – with a groove that's somewhere in the trombone-led style of Hector's work with Willie Colon, but which also has some rootsier elements in the guiro and guitar used on the set. Players include Joe Torres on piano, Milton Cardona on percussion, and Lewis Kahn on trombone – and tracks include "De Que Tamano", "Don Fulano De Tal", "La Fama", "Cancer", and "Porque No Puedo Ser Feliz".

IThe great early 70s solo album from Ismael Miranda! Ismael fronting his own excellent Orquestra here – singing lead vocals and playing a bit of percussion, with an ensemble that includes Nicky Marrero on timbales, Nelson Gonzalez on tres, Oscar Hernandez on piano, and Carlos De Leon on trumpet. Hip shaking rhythms and danceable numbers of top shelf quality on Fania with arrangements by Louie Ramirez, Marty Sheller, Carlos De Leon, and others! Tracks include "Sonerito", "Ahora Si", "Cuidate Bien", "Asi Se Compone Un Son", "Nicolas", "Salvame", and "Mulence" and more.

A stunning album from Orquesta Harlow – one of their wildest of the 60s, and filled with delights! The record starts with this strange sound of a train pulling into a station, then rolls into a massive boogaloo groove that really sets the pace for the album – hitting hard with some heavy percussion, and really pushing the group through a great blend of English and Spanish language numbers! The whole thing's great – easily one of the best by the group – and titles include "Be Free", "El Exigente", "That Groovy Shingaling", "Mess Around", "Freak Off", and "Groovin' to the Afro-Twist".

A great testament to the depth and versatility of Orquestra Harlow in the 70s – and a record that shift easily between traditional modes and more contemporary styles! Larry Harlow is at the top of his game here – working with careful sensitivity on some of the more fragile numbers, but still letting the group hit with the power that made their fame on others – and in doing so, Harlow continues to move right in pace with the changes on the New York scene at the time, particularly the return to charanga modes and its use of violin and flute. But in addition to that instrumentation, the album also features a wider range of sounds – including bits of moog and celeste from Larry himself, plus tres, guiro, and plenty of percussion. Vocals are by Junior Gonzalez, and titles include "El Negrito Nengere", "El Lugar", "El Dolorcito De Mi China", "Buenavista Guaguan O", "Agonia", and "Latin Roots", which is a fantastic NuYorican groover, with plenty of percussion, touches of funk, and a sweet electric groove!

A great early record by Larry Harlow's famous combo – every bit the "smokin" set that the title might imply! Harlow and the group are in full force here – ripping through a set of short tracks that really groove with a darkly percussive edge. There's a surprising amount of traditional instrumentation in the set – especially considering the stoned out image on the cover – but that's no problem for us, given the overall quality of the set! Tracks include "Chancletas", "Orchestra Harlow", "Mi Guaguanco", "Adios Mama", and "Rica Combinacion".

A 70s masterpiece from Eddie Palmieri – a brilliant set of Latin tracks with a modern jazz edge that's really astounding! From the first note of the record, Eddie's piano makes a bold statement of difference – edging into the rest of the group with slight modern touches, and a slightly off-kilter sound that marks the record as something fresh and new. Some tracks are straight ahead, with vocals by Ismael Quintana, but still have a dark undercurrent from Eddie's piano – and others are much more open-ended, with a freewheeling style that shows all the freedoms of the 70s! Includes the incredible 11 minute track "Verdict On Judge Street", the very soulful "My Spiritual Indian", and the cuts "Everything Is Everything", "Somewhere", "Amor Ciego" and "Lindo Yambu".

Another tasty batch of short firey Latin tracks from Tito's immediate post-RCA years! The cuts are a nice mix of mambo jazz numbers and guarachas, with a few cha chas thrown in – and they all have that tight raw sound that made Tito's Tico work so much better than most of his 50s stuff. Here's your chance to hear the master bandleader in action – especially on the cuts "Samba-Roco", "Agua-Nile", "Vaya Puente", "Timbalero", and "Chino". Tough to find on wax!

Bobby Valentin was certainly the king of the bass by the time of this record – and a player who'd helped bring the electric instrument from its strong 60s use in Latin Soul to one of the key components in salsa rhythms of the 70s! The set follows very strongly in bold sound of Valentin's "second wave" of salsa sides – his post-trumpet years that marked an even deeper commitment to shaping the broader sound of the Latin mainstream, but always with an ear for soulful twists and turns that made his records so great! Marvin Santiago and Frankie Hernandez are on vocals, but the lineup also features some tenor and baritone sax fleshing out the more typical trumpets – a groove that brings in nice colors at just the right moments, especially on the hipper tunes in the set. Titles include "La Vibora", "Arenas Del Desierto", "Aqui No Me Quedo", "Hay Craneo", "Guaraguao", "Codazos", and "Coco Seco".

Louie Vega on Fania Records – a long-overdue match that really makes for some amazing sounds on this set! The pairing isn't that much of a surprise – given that Louie's done plenty to keep Latin music alive in the past few decades in the clubs – from his own Nuyorican Soul experiments, to some of the key remixes he's done for other artists. Yet this time around, there's something extra-special going on – not only a presentation of the Vega sound that's even tighter than before, but which has a way of pulling together a rich array of historical strands – and not just the salsa you might expect from Fania! Rootsy elements mix perfectly with tight club instrumentation – and the set features great guest work from Josh Milan, Lisa Fischer, Cindy Mizelle, and Anane – on cuts that include some very cool covers – including "Overtake Don Overtake Overtake", "Barbara Ann", "I Believe In Miracles", "Sodade", "I Dream A World", "Harlem River Drive", "Berimbau", and "Children Of The World".

A very different side of the sound of Fania Records – tracks that draw heavily from the club and disco rhythms of the New York scene of the 70s, but serve up the music with a sweet little Latin twist! The set really illustrates the evolution of Latin Soul from the 60s – showing a generation of artists who were equally willing to draw from the styles of their African-American contemporaries on the scene, but in different ways than the Latin artists of a decade before! Most tracks still have a fair bit of Latin percussion in the mix (it's no secret that Latin rhythms were a big influence on 70s disco) – and the selection of cuts is really wonderful – way past the obvious, and in ways that are different than other collections of this nature, including the Nuyorica classics on Soul Jazz. Titles include "Waterbed" by LTG Exchange, "Dance Dance Dance" by Orquesta Novel, "To Be With You" by Jimmy Sabater, "Good Times" by Charanga 76, "Salsa" by Louie Ramirez, "Mambo Rock" by Seguida, "Afro Hustle" by Lou Perez, "Call Me" by Joe Bataan, "Es Un Demonio Ella" by Fausto Rey/Larry Harlow, "My Love Supreme" by Milton Hamilton Crystalized, "Wata Wasuri" by Tito Puente, and "Johnny's No Good" by WRLC.

A killer batch of boogaloo and Latin Soul – and a set that even features 2 unissued gems from the vaults of Fania Records! As with the previous entry in this series, the sound here is plenty darn soulful throughout – lyrics that are often in English, and rhythms that borrow heavily from American funk and soul of the late 60s – mixing African-American musical styles with Puerto Rican and Cuban elements – all to come up with a groove that's as fresh today as it was back in the Spanish Harlem scene of the time! Previously unreleased tracks include "Evil Ways" by Pete & Louie, and the full length version of "O Elefante" by Ray Barretto – and other tunes include "Rise Up" by Orchestra Harlow, "Safari" by Tito Puente, "Revolucionando" by New Swing Sextet, "Times Are Changing" by Jimmy Sabater, "MC2" by Willie Colon, "Crystal Blue Persuasion" by Joe Bataan, "Musica Del Alma" by TNT Boys, "Here Comes The Judge" by Pete Rodriguez, "Ape Walk" by Al Escobar, and "Rat Race" by Ralfi Pagan.

Classic Latin, beautifully remixed – as a host of Fania Records gems are given a fresh twist by Louie Vega, Joe Claussell, Gilles Peterson, and others! The package is way more than you might expect – not clunky remixes of Latin styles, but some beautiful numbers that really expand the warmth and spontaneous energy of the originals – mostly keeping a strong 70s vibe intact, and approaching the project with a really loving feel overall! In fact, the sound is almost as if Schema got their hands on Fania – since there's echoes here of some of the updated Latin modes you'd find on that label too. Vinyl version features four of the best long mixes from the CD – including "Saona (Gilles Peterson & Simbad rmx)" by Noro Morales, "Siembra (Joe Claussell rmx)" by Ruben Blades, "Mi Gente (Louie Vega eol rmx)" by Hector Lavoe, and "Take Five (Nicola Conte rmx)" by Roberto Roena.

One of the hippest sets we've ever seen on Spanish Harlem – a collection that goes way past the Latin Soul hits, to dig deep in the uptown underground at the end of the 60s! The package is compiled with gems from the Fania catalog, but rally moves past the obvious – going for some of the more obscure artists who recorded singles for some of the smaller Fania-held labels – and often focusing on tunes that drew more from late 60s soul and funk than they did from any Latin rhythms of the time. The singers are especially wonderful – and often hit a vibe that's right up there with some of Joe Bataan's best of the period – richly soulful, but often deeply personal too – never as polished as chart soul, and often showing a grittier, more realistic style that's totally great – especially when mixed with instrumentation as tight as this! Titles include "Reflections Of My Life" by 125th Street Candy Store, "On Old Broadway" by 107th Street Stickball Team, "Don't Be Afraid" by Lebron Brothers, "Central Park" by Harvey Averne Dozen, "Heaven" by Tito Ramos, "Your Smile" by Parris, "Some Lonely Heart" by Ronnie Marks, "There's No Girl" by Olivieri, "Maria Maria" by King Nando, "Already Satisfied" by Tony Middleton & Bobby Matos, "Nitty Boo Boo" by The Nitty Sextette, "Lonely Has Been My Day" by Ralphie & The Latin Lovers, "I'm Gonna Leave You" by Russell Cohen & The New Yorkers, and "Ain't No Big Thing" by Ralfi Pagan.

One of the hippest sets we've ever seen on Spanish Harlem – a collection that goes way past the Latin Soul hits, to dig deep in the uptown underground at the end of the 60s! The package is compiled with gems from the Fania catalog, but rally moves past the obvious – going for some of the more obscure artists who recorded singles for some of the smaller Fania-held labels – and often focusing on tunes that drew more from late 60s soul and funk than they did from any Latin rhythms of the time. The singers are especially wonderful – and often hit a vibe that's right up there with some of Joe Bataan's best of the period – richly soulful, but often deeply personal too – never as polished as chart soul, and often showing a grittier, more realistic style that's totally great – especially when mixed with instrumentation as tight as this! Titles include "Reflections Of My Life" by 125th Street Candy Store, "On Old Broadway" by 107th Street Stickball Team, "Don't Be Afraid" by Lebron Brothers, "Central Park" by Harvey Averne Dozen, "Heaven" by Tito Ramos, "Your Smile" by Parris, "Some Lonely Heart" by Ronnie Marks, "There's No Girl" by Olivieri, "Maria Maria" by King Nando, "Already Satisfied" by Tony Middleton & Bobby Matos, "Nitty Boo Boo" by The Nitty Sextette, "Lonely Has Been My Day" by Ralphie & The Latin Lovers, "I'm Gonna Leave You" by Russell Cohen & The New Yorkers, and "Ain't No Big Thing" by Ralfi Pagan.

One of Ray Barretto's hardest-hitting salsa albums of the 70s – a raw set of grooves that's got Ray moving away from the playfulness of the Latin Soul years, into a more righteous mode that's easily guessed at from the title of the set! The vibe here is very straightforward – with Ray coming down hard on conga, and working with a group that features Adalberto Santiago on lead vocals, plus Orestes Vilato on timbales, Andy Gonzalez on bass, and Luis Cruz on piano. The sound is spare and raw – and titles include the wonderfully echoey tune "O Elefante", with some great elephant-like work on trumpet – plus "Con El Cimarron", "Se Traba", "Arrepientete", and "Te Traigo Mi Son".

Amazing work from the Spanish Harlem underground of the late 60s! From the title, to the cover, to the beautiful blend of songs, this album perfectly sums up the rich energy and raw power bubbling in the NuYorican scene of the time – effortlessly blending together soul, Latin, jazz, and funk – making the whole thing work perfectly because that's the way it was! These cats didn't know anything about rules – at least not until the big bad older Latin mafia snapped them in place – and the result is a freewheeling album of hard grooving jammers and sweetly emotive soul tunes! Tracks include "Puerto Rico Me Llama", "Make Me Smile", "Es Tu Cosa", "The Prayer", "Aguanta La Lengua", and "Chili Beans".

The third LP from supremo salsa combo Sonora Poncena under Papo Lucca's direction and a wonderful early production effort from the great Larry Harlow, to boot! Algo De Locura is a great record that's been overlooked for decades and it sounds as great to us as their earlier couple of albums – up therewith their best Fania recordings of the decade. It's a wide range of material, from a heavy brass and percussion heat to a slower cooking, more meditative approach, passionate lead and chorus vocals, and the incredible leadership & instrumental genius of Papo. Includes "Acere Ko", "Toto El Mundo Escucha", "Cenizas", "Ingrato Corazon", "Yemaya", "Nobleza". "Pa' Los Poncenos", "Chanflin" and more.

Stone slamming boogaloo – and one of the greatest albums from a young Bobby Valentin! Bobby's really cooking on all burners here – mixing together a bit of Latin jazz with a headier, trippier style of Latin soul – one that features lots of sinister undercurrents in the rhythms, making for a sense of darkness that's really counterbalanced by the joyous feel of the grooves. This sublime mix can be heard to perfect effect in the amazing "Use It Before You Lose It", a monster track that's sure to fill any dancefloor – but the whole album's wonderful, and other tracks include "Boogaloo y Shingaling", "Keep the Faith", "Funky Big Feet", and "Descarga En Mozambique".

A great Ray Barretto album from 1972 – one that beautifully showcases the master percussionist as he effortlessly shifts between Latin soul and 70's salsa styles! The group's nice and lean – with Adalberto Santiago on vocals, Papy Roman on trumpet, Louis Cruz on piano, and the great Andy Gonzalez on bass – a heck of a player whose solid rhythmic pulse was a big part of so many great albums of the time. Two great tracks make the album totally worth owning – "Right On" and "Power", both of are funky Latin soul numbers that are right out of Ray's Hard Hands period! Other tracks are equally great salsa numbers – and titles include "Y Dicen", "Perla Del Sur", and "Oye La Noticia".

Killer stuff all around! This album's a monster – one of Ray's greatest, with the same sort of Latin Soul groove heard famously on his classic Acid LP. The record has Ray cutting across many genres – blending Latin, soul, jazz, and a slight bit of funk – all into a set of grooves that never stops pleasing, and which will make you start digging through the Latin racks like mad, just to find another LP this great! Titles include "Hard Hands", "Abidjan", "Got to Have You", "New York Soul", and the fantastic track "Love Beads", which has a cool rolling piano line that sounds like a great De La Soul sample. It's a great track, and makes the entire album worth the price!

"Head Sounds" is a heck of a great way to describe this album – as it's filled with some of Ray's most mind-expanding cuts! The album kicks off with the tune "Acid", which you probably know from the album of the same name, but which still really does a great job of setting the pace here – and then it rolls into some fantastic longer cuts that really have a very strong jazz component. Ray and the group stretch out tremendously, hitting off-color notes and tones that almost make the record feel like one of Eddie Palmieri's jammers from the same time. 3 tracks on the set are over 8 minutes long, which should give you a good feel of the openness of the work – and titles include "Abidjan", "Espiritu Libre", "Drum Poem", and "Tin Tin Deo".

A great album of salsa tracks recorded at the end of the 70s – when Ray was returning to the scene after a prolonged hand injury kept him out of music for a while. Despite this time off, though, Ray's in top top form – coming back to basics with a really heavy groove, picking up right where his early 70s Fania sides left off! Lead vocals are by the tremendous Adalberto Santiago, and titles include "Ya Vez", "Al Ver Sus Campos", "Adelante Siempre Voy", and highly percussive groover "Tumbao Africano", which runs for over 7 minutes long!

A real turning point for Joe Bataan – and the beginning of his funky Latin sound of the 70s! The album was one of the first in Joe's "Salsoul" style – a sweet blend of Latin rhythms, late 60s Latin soul influences, and some of the hipper styles bubbling through the NuYorican scene. A few cuts are in the sweet soul ballad mode of Joe's earlier years – but there's others that pick up the groove nicely, and add in some guitar and vibes for a sweet electrified groove. Includes a great remake of "Theme From Shaft", plus the two-part "I Wish You Love", "If I Were A King", "Coco E", "El Regreso", and "Charangaringa".

A landmark record that should be in any Latin collection! At the time of this album, Johnny Colon was a young trombonist just getting his start – working in the turbulent late 60s Spanish Harlem scene, and picking up on the wide range of styles going down in the hood. At one level, he was a straight player with a love for the sound of the early 60s descarga era – but at another, he was a young kid absorbing all the soul, funk, and drug influences that were coming out of other groups at the time. The result is a really amazing album with a slow, sinister groove that's unlike anything else we can think of. Tracks roll over one another with uncanny beats and a sad and soulful feel – shifting between English and Spanish to reflect the speech patterns of the members of the band – and really opening up with some killer grooves that have made the album a treasure for years! Titles include "Judy (part 2)", "Canallon", "Jumpy", "Boogaloo Blues", "Descarga", and "Mi Querida Bomba".

A monster album of 70s salsa – and one that has bad boy Willie Colon taking the Latin world by storm – forging the new sound that would push him and the New York scene into the frontline of 70s Latin! Willie's got a strength on the set that's very much in keeping with his machine gun pose on the cover – a no-nonsense salsa groove that's overflowing with righteous pride and youthful energy – consciously aware of its new direction, and not afraid to show it! The album features the classic dancefloor groover "Che Che Cole", plus the tracks "Lo Me Llores Mas", "Sonero Mayor", "Sangrigorda", "Ausencia", and "Te Conozco".

Wild early work from Willie Colon – a record that's equally poised between the Latin Soul and later salsa era, and which features great lead vocals from Hector Lavoe! The album's got some very strong tracks that percolate in Willie's dark trombone-led groove – like the mighty 7 minute "No Me Den Candela", which steps about majestically in a slow and soulful groove; or the great instrumental cut "I Wish I Had a Watermelon", a nice mini-descarga with some really great piano! Other tracks include "El Titan", "Oiga Senor", "Guisando", and "Te Estan Buscando". Great stuff all around!

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".

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.

"Corazon" is an excellent Latin groover, with a great Nu Yorica sound! The tune's a cover of a Carol King song – which might make it an unlikely candidate for the groove-worthy – but it's done here with some really snapping rhythms that have a tight 70s Latin funk feel – complete with massive conga bits, heavy percussion, and some sweet electric keys!

Brilliant 70s work by Eddie Palmieri – easily one of his greatest records of the decade! The album features Eddie really showing off his jazz chops on a number of longer tracks – tunes that bring together some of the spirit forged during the Harlem River Drive era, with some of the more descarga-driven styles of his Coco albums. Eddie plays both electric and acoustic piano on the session – and the group is small and tight, with a sound that really compresses the energy of the grooves on the album! One that we'd recommend in a minute, with great tracks that include "Vamanos Pa'l Monte", "Viejo Socarron", "Comparasa De Los Locos", and the excellent "Revolt/La Libertad Logico".

The front image here isn't really one you'd want to put in a book of Latin Record cover art – but the record's another strong one from the time from Ricardo Ray & Bobby Cruz – a continuation of their blend of salsa rhythms and spiritual themes – quite unique for any artists of the time! The religion is upfront in the lyrics here, but the rhythms are still quite lively and Latin – and given that vocals are in Spanish, the message doesn't come across nearly as strongly to us Anglos – leaving us to focus most strongly on the overall sound of the record, which is still plenty darn great. Titles include "Vive", "Tu Ausencia", "Senales", "Caridad", "Buscame", "Nabucodonosor", and "Coco Coquito".

Very soulful work from singer Ismael Rivera – working here with some sharp arrangements by Javier Vazquez, in a groove that's totally great! As with other Vaya sessions of the time, there's a strong undercurrent of tradition in the rhythms – a return to Latin roots at the height of the 70s salsa years, in a way that gives the record a really timeless feel overall – right in keeping with Rivera's approach to the vocals. Players in the group include Carlos Malcolm on timbales and Chocolate Armenteros on trumpet – and titles include "El Nazarena", "Que Te Pasa A Ti", "Witinila", "Orgullosa", "Traigo De Todo", "El Niche", and "Satelite".

Stone funky Latin soul from the younger member of the Santamaria family! Black Out is one of Monguito's greatest – a hip album of groovy late 60s tracks that perfectly blend the Latin and soul sides of the Spanish Harlem scene. Marty Sheller handled arrangements on some of the album's best cuts, giving them the same tight funky feel as his best work with the senior member of the Santamaria clan – and Ronnie Marks sings English language lyrics on the tracks "All Your Talk", "I've Got To Find", "Crying Time", and "You Need Help". Other tracks are Latin, and titles include "Guarara", "Sueno Contigo", and "Todo Es Todo".

Oooooo-weee – a monster album by one of our favorite talents of the Latin soul era! Monguito Santamaria had a really great way of putting the electric bass right up front in his tracks – kicking things up with a bouncing groove that's as sock-boogaloo as boogaloo can get, and which makes for some of the most outta site tracks of his era! Nearly ever number's a winner – and the album's stuffed with killer groovers like "Groovetime", "Work Out", "Monguito's Theme", "Mambo New", "Chango", "Hey Sister", and "El Dorado".

Louie Vega on Fania Records – a long-overdue match that really makes for some amazing sounds on this set! The pairing isn't that much of a surprise – given that Louie's done plenty to keep Latin music alive in the past few decades in the clubs – from his own Nuyorican Soul experiments, to some of the key remixes he's done for other artists. Yet this time around, there's something extra-special going on – not only a presentation of the Vega sound that's even tighter than before, but which has a way of pulling together a rich array of historical strands – and not just the salsa you might expect from Fania! Rootsy elements mix perfectly with tight club instrumentation – and the set features great guest work from Josh Milan, Lisa Fischer, Cindy Mizelle, and Anane – on cuts that include some very cool covers – including "Overtake Don Overtake Overtake", "Barbara Ann", "I Believe In Miracles", "Sodade", "I Dream A World", "Harlem River Drive", "Berimbau", and "Children Of The World". 2CD version features a massive 24 tracks – including some bonus remixes too!

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". This great remastered, limited edition vinyl version has 2 bonus tracks: "Latin Soul Square Dance" and "Call Me".

Willie Colon helps Ismael Miranda get a new sense of energy in his music – backing the vocalist here with a tight set of salsa backings that are every bit the best Colon sound of the late 70s! The arrangers here are varied – and include Luis Cruz, Marty Sheller, and Luis Garcia – but there still a relatively unified feel to the record, even when the style shifts a bit – thanks vocals by Ismael that are strong and often emotive, but never in a way that falls into cliche or overly-romantic moments. The track "Tumbao Caliente" steps out with a bit of boogie dancefloor funk, but other titles are more traditionally salsa – and titles include "Bandolera", "Cartas Muertas", "Biata", "Americano Latino", "Jibaro Castao", "No Me Digan Que Es Muy Tarde", and "Cuando Tu Quiera".

Ostensibly the first album to feature Graciela as a lead act – but a set that still features the vocalist working with the band of her brother Machito, in which she'd risen to fame since the 40s! The sound here is perhaps a bit more focused on the vocals than some of the pair's previous records – with a few more romantic tunes that showcase Graciela's emotive strengths – yet the set's mostly in the rhythmic, playful mode the pair pioneered during the postwar years – and easily delivers all the charms you'd expect from an earlier Machito/Graciela pairing. Titles include "Ay Jose", "Al Fin Llegaste", "El Abanico", "Estoy A Mil", "Ya Tu No Estas", "Embriagate", and "Si No Eres Tu".

About as tight as you can get from the team of Pacheco and vocalist Pete "El Conde" Rodriguez – a record cut after a strong run of sides from Pacheco's Nuevo Tumbao, a finely-honed unit that moved with supple grace few other groups could match! Pete's great here on both the mellower cuts and uptempo numbers – a singer who brought a new depth to Latin music in the 60s, really working here at the height of his powers. Titles include "Dulce Con Dulce", "Moreno", "Yolanda", "Mujer Ingrata", and "De Que Te Vale".

Ahhhhh . . . The wonderful sounds of Joey Pastrana – the hip Latin Soul bandleader who was known to the kids as "Hot" Pastrana! This album's one of his best for Cotique – a strong mix of boogaloo numbers and straighter Latin tracks, all played with the kind of fire that was making Joey and his generation draw big crowds in New York – causing the older leaders to quake in their boots and plot their revenge! The album's filled with nice Latin soul numbers – including the groovers "Afro Azul", "My Victrola", "How Sweet It Is", and "Problems".

One of the real standouts in the career of Ricardo Ray and Bobby Cruz – a record of incredible tightness, and one that set a whole new level for Puerto Rican salsa in the 70s! There's still a few traces here of the Latin Soul years – sometimes in the rhythms, at other times in the record's use of an additional female vocalist – who sings behind Bobby's vocals in a really cool way on some of the best numbers. But the main focus here is really on the tightness of the instrumentation – razor-sharp in the arrangements, and served up in a lean mix of piano, trumpets, and percussion. Titles include a nice slow funk remake of "Fire & Rain", plus "Sondido Bestial", "No Tin Pena", "La Vimari", "Cha Cha Huele Chango", and "Volver".

Heavy funk with a Latin groove – a wonderful mixing of modes that's completely fresh and unique! The set follows nicely off other El Barrio explorations of late 60s Latin Soul, and traces the groove that emerged in its wake – a blending of hipper funky styles in the 70s with some of the bolder, prouder Latin modes of the time! Unlike Latin Soul, which was concentrated enough to get strong attention at the time, Latin Funk was often a bit more dispersed – just a track here and there, scattered over albums by both older artists and lesser-known newcomers – some of whom gave more famous acts a real run for their money. This overstuffed collection does a great job of pulling together tracks from a variety of different albums over an 8 year span – and it's a perfect introduction to an under-compiled genre that's finally getting its due! Track selection and notes are by the mighty Adrian Gibson – and titles include "You Need Help" by Monguito Santamaria, "Identify Yourself" by Cafe, "Dynamite" by Harvey Averne, "I'm Satisfied" by Joe Bataan, "Together" by Ray Barretto, "Guajiro Bacan" by Azuquita, "Funky Felix" by Seguida, "I Got The Feeling" by Chollo Rivera & The Latin Soul Drives, "There You Go" by Fania All Stars, "I'm Gonna Get To You Yet" by TNT Boys, "Black Dice" by Mongo Santamaria, and "Hot Pants" by Gilberto Cruz.

A nice entry in the Hammock House series of hip remixes of Latin classics from the Fania canon – this one featuring Twin Shadow, Whiskey Barons, Toy Selectah and Isa GT nicely mixing up classics by Ray Barretto, Justo Betancourt, Ismael Rivera and Hector Lavoe & Willie Colon! Includes "Acid (Twin Shadow Remix)", "Power (Whiskey Barons Heavy Funk Mix)" and Right On (Whiskey Barons Got Some Afro Mix)" all by Ray Barretto, plus "Catano (Whiskey Barons Cumbia Dub Mix)" by Justo Betancourt, "Aguanile (Toy Selectah 2013 Cosmico Remix)" by Hector Lavoe and Willie Colon and "Las Caras Lindas (Isa GT Remix)" by Ismael Rivera.

A killer of a mid 70s album from Hector Lavoe – recording here as a solo act after his split from the Willie Colon group, but still with strong backings and musical supervision from Willie himself! The style here is very similar to the last few albums Lavoe recorded with Colon – a brilliantly bouyant mix of samba and soul, carried off with increasing sophistication few might have expected from the pair's early years, and a depth of feeling that clearly made Hector one of the most important Latin singers of the 70s. Titles include "Tanto Como Ayer", "Vamos A Reir Un Poco", "Consejo De Oro", "De Ti Depende", and "Mentira".

A classic Mongo Santamaria record from the late 70's – one of the best of his albums for Vaya, filled with nice electric-tinged grooves, and some great work in the Latin fusion mode! The sound's different from his 60's recordings, with more of a jazzy vibe, and a sound that's a little bit more laid back – but also wonderfully majestic, stretching out with the same sort of warm electric touches that Ray Barretto used on his classic set The Other Road from a few years before. There's loads of nice Fender Rhodes in the set – and tracks include "Five On The Color Side", "Iberia", "Cruzan", "Spring Song", and "O Mi Shango".

Classic Latin, beautifully remixed – as a host of Fania Records gems are given a fresh twist by Louie Vega, Joe Claussell, Gilles Peterson, and others! The package is way more than you might expect – not clunky remixes of Latin styles, but some beautiful numbers that really expand the warmth and spontaneous energy of the originals – mostly keeping a strong 70s vibe intact, and approaching the project with a really loving feel overall! In fact, the sound is almost as if Schema got their hands on Fania – since there's echoes here of some of the updated Latin modes you'd find on that label too. Titles include "Saona (Gilles Peterson & Simbad rmx)" by Noro Morales, "Me Voy Ahora (Sacred Rhythm dance version)" by Ismael Miranda, "Siembra (Joe Claussell rmx)" by Ruben Blades, "Mi Gente (Louie Vega eol rmx)" by Hector Lavoe, "Take Five (Nicola Conte rmx)" by Roberto Roena, "Morris Park (Bonde De Role rmx)" by Lenni Sesar, and "O Elefante (Shh rmx)" by Ray Barretto.

Smoking salsa from the legendary Fania Records – a hip batch of numbers that focuses on the groundbreaking sounds of the New York Latin scene in the 70s! The track selection here is pretty classic, but that's ok with us – given the strength of the grooves – and there's also a nice touch of Latin Soul at times, showing the full range of the Fania sound. Titles include "A Mi Nena" by Rafi Val & La Differente, "Che Che Cole" by Willie Colon, "El Todopodoeroso" by Hector Lavoe, "O Mi Shango" by Mongo Santamaria, "Pachito Eche" by Tito Puente & Celia Cruz, "Tu Lo Sientes" by Joe Cuba, "Cucala" by Celia Cruz & Johnny Pacheco, "Brother Where Are You" by Ralfi Pagan, "Bilongo" by Eddie Palmieri, "Guaguanco Arsenio" by Tito Puente & Azuquita, "El Nuevo Barretto" by Ray Barretto, and "Ahora Es El Tiempo" by Louie Ramirez.

A heavy-hitting batch of salsa from the legendary Fania Records catalog – and a collection that's almost more on fire than the first volume in the series! As before, the tracks here showcase the best sounds of New York's glory days for Latin music – that point in the 70s when the scene was exploding anew with a fresh sense of power and pride – and really hitting the best elements of the groove that was starting to be known as salsa! The package digs a bit deeper than before, and features some great lesser-known gems – and like other titles from the revived Fania, the packaging and presentation is superb. Titles include "El Remolon" by Cabrerita, "Timbalero Mayor" by Menique, "Payaso" by La Muralla, "Resignacion" by Gilberto Cruz, "Don Anastacio" by Javier Vazquez, "Arenque" by Alfredo Vargas, "Nosotros" by Monguito Santamaria, "Catano" by Justo Betancourt, "La Fiera" by Kako & Azuquita, and "Dejame En Paz" by Johnny Colon.

The first-ever full length set from Bronx River Parkway – a wonderful blend of Latin and funk styles that follows beautifully from their strong run of funky 45s! The groove here is sort of a deeper, dirtier take on the Fania sound of the 70s – almost a re-imagining of the late 60s Latin Soul vibe, pretending that it still held on strongly through the following decade – and picked up all sort of weird little twists, turns, and unusual instrumental elements! The group's ties to the El Michels Affair show strongly at points – no surprise, as Leon Michels is in both groups, and produced this set – but the sound is nicely different too, with a bit more of an east coast Latin vibe. Wonderful stuff overall – and proof that the right corners of the deep funk underground still know how to keep things fresh! Titles include "Song For Ray", "Agua Con Sal", "La Valla", "El Resbalon", "San Sebastian 152", "Me Toca", "Mi Corazon", "Para Los Rumberos", "Donde", and "Nora Se Ve".

Tight trumpet and lively rhythms – an overlooked killer from the legendary Chocolate! The set's got a nice mix of roots and 60s New York modes – a bit of a sparkle on the trumpets, but plenty of rough edges on the rhythms – all sewn together by soulful vocals from Filberto, Lahera, and Balmaseda! The brass never gets in the way of the vocals at all – and often, the three singers intertwine nicely – almost harmonizing as they glide along with the grooves – on a set of tunes that includes "Fania", "Que Piensas", "Los Caminantes", "El Kikikiriki", "Mi Fanfarron", and "Macho Cimarron".

An obscure but excellent session – recorded at the end of the 70s with some of the best players in the New York salsa underground! The music is extremely vibrant – and the styles of the tracks range from hard Afro-Cuban percussion grooving to tight Latin jazz in a classic mode – with instrumentation that ranges from pachanga-styled flute and violin, to some harder-jamming grooves with a lot more piano in the lead. Production has that raw, but clear sound that we love so much in the Latin Percussion albums of the time – a groove that's very different than that of Fania or Tico – and Sonny Bravo plays piano, Rene Lopez is on trumpet, Nicky Marrera is on timbales, Dick Meza plays flute, Eddie Montalvo plays conga, and Mario Rivera is on saxes. Includes great Latin Jazz versions of "Tune Up", "Manteca", and "April In Paris" – plus "Jo Ca Nic", "Son De La Loma", and "Konkoina".

An early classic from the great Raphy Leavitt – one of the leading underground lights of the 70s salsa scene, especially if you get away from the Fania/Tico side of the universe! There's a strong sense of soul to the record right from the start – one that comes more from the delivery of the lyrics, and some of the bluer notes in the instrumentation – never that uncommon compared to the rest of the scene, but delivered with this gritty sensibility that almost takes us back to Spanish Harlem days. Titles include "Jibaro Soy", "Cafe Colao", "La Cuna Blanca", "En Memoria A Un Hermano", and "Consentida".

A hell of a trumpeter – making his debut here on one of the grooviest albums on the legendary Latin Percussion label! The session's a bit fuller than some of the other LP albums – a crackling blend of jazz, funk, and Latin rhythms – warm, but with some pretty complicated moments, very much in the best spirit of the second wave of NuYorica grooves! There's still lots of the tight percussion that makes Latin Percussion sessions so great – but the record also features fuller instrumentation too – in ways that really make things soar. Players include Eddie Martinez on Fender Rhodes, Jon Faddis and Randy Brecker on additional trumpets, Steve Khan on guitar, and Carlos Patato Valdez on congas – and Ruben Blades even plays a bit of acoustic guitar on the record. The overall feel's a bit like some of the great Fania/Columbia co-productions – but a bit rawer at points – and titles include "Diana", "Genesis", "Nice & Warm", "Viva Martinez", "I Know", "Hot Blood", and "Perico" – most of which are separated by short percussion interludes!

Not just 70s New York salsa, but a range of different styles – all packaged together with a focus that's mostly aimed at the Latin dancefloor ! Most of the work here is still relatively rootsy – pulled from the Salsa International/Mary Lou Records catalog – with a sound that's got a bit more grit than contemporaneous work from labels like Fania or Vaya. But that doesn't stop the music from being great – and the racks here really roll out with a very vibrant feel throughout! Titles include "I Regret" by Orchestra Capri, "Aprendelo Como Yo" by Bobby Quesada, "Puerto Rico Guaguanco" by Orchestra Tentacion, "Descarga 72" by Willie Rodriguez, "Salsa Tropical" by Orchestra Capri, "A La Memoria Del Muerto" by Dominica, "Sono Mi Guaguanco" by Raphie Martiniez, "Los Que Lloran Son Los Ninos" by Willie Rodriguez, and "Something Right" by Cucaracha Brass.

A second amazing set of grooves from the Peruvian scene of the 60s – upbeat Latin sides that easily rival the greatness of work at the time from New York, Colombia, or Puerto Rico! The Peruvian approach is a bit different than the rest – often a hybrid of outside influences, recast slightly with some local flavor – in ways that make these tunes sound a fair bit different than 60s Latin on Fania or Tico – which makes for a very fresh sound throughout! Instrumentation includes trumpet, guitar, vibes, and plenty of percussion – often recorded with a sharp-edged quality that uses a bit of echo as well. The package features a whopping 28 tracks in all, plus full notes in Spanish and English – and titles include Humo" by La Sonora De Lucho Macedo, "El Diri Bop" by Tito Chicoma, "Las Guitarras Tropicales" by Silvestre Montez, "El Conductor" by Carlos Munoz, "Arroz Con Coco" by Pedro Miguel, "Boogaloo Del Perro" by Enrique Delgado, "Descargando" by Mario Allison, "Mulata Rumbera" by Compay Quinto, "Aqui" by Tito Chicoma, "Ciquita Bonita" by Luis Duran, "Dejen Bailar Al Loco" byMelochita, and "Guajira Boogaloo" by Coco Lagos.

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