The question that must be confronted for those familiar with the breadth of her work is, "Is it even possible for Celia Cruz to record a bad album?" With elements such as producer Emilio Estefan, Jr., executive producer Angel Carrasco, and of course, la guarachera del mundo herself converging to create 2000's Siempre Vivire, the answer to that question seems clear. Celia's first album for Sony certainly captured those elements that uniquely belong to Cruz, and discriminatingly avoided any influences of the day that might adulterate those qualities or date the project. In conceiving this record, the creative team walked a very fine line by deciding on a project that could both stand among its contemporary peers and yet sound classic. It is hard in modern salsa to find the tres, a sultry bolero, or to hear plena played well. In a genre that continues to narrow its stylistic scope, it's refreshing to come across a record that can simultaneously be a citizen of the present, and reach to the past.

A smoking little tribute to Cuban great Beny More - recorded in the mid 70s by Tito Puente, in a way that nicely updates the classic sound! The style here is certainly traditional, but the record really benefits from tighter salsa-era production from Louie Ramirez - who gives the music a really strong focus, and creates a shifting showcase of sounds to present a range of guest vocalists who include Celia Cruz, Santos Colon, Nestor Sanchez, Junior Gonzales, and Adalberto Santiago. Tito himself over saw the whole direction of the music and feel of the set - and plays a bit of vibes and timbales throughout.

Universally known as the King of the Mambo, Pérez Prado was the single most important musician involved in the hugely popular Latin dance craze. Whether he actually created the rhythm is somewhat disputed, but it's abundantly clear that Prado developed it into a bright, swinging style with massive appeal for dancers of all backgrounds and classes. Prado's mambo was filled with piercing high-register trumpets, undulating saxophone counterpoint, atmospheric organ (later on), and harmonic ideas borrowed from jazz. While his tight percussion arrangements allowed for little improvisation, they were dense and sharply focused, keeping the underlying syncopations easy for dancers to follow. Prado played the piano, but was often more in his element as the focal point of the audience's excitement; he leaped, kicked, danced, shouted, grunted, and exhorted his musicians with a dynamic stage presence that put many more sedate conductors and bandleaders to shame. With this blueprint, Prado brought mambo all the way into the pop mainstream, inspiring countless imitators and scoring two number one singles on the pop charts (albeit in a smoother vein than the fare that first made his name) as the fad snowballed. He was a star throughout most of the Western Hemisphere during the '50s, and even after his popularity waned in the United States, he remained a widely respected figure in many Latin countries, especially his adopted home of Mexico.

Reventó is iconic salsa singer Hector Lavoe’s eighth solo album released on Fania Records. The classic New York salsa album was critically acclaimed and very popular among fans, with hits like “¿De Que Tamaño Es Tu Amor?,” “La Fama” and “Déjala Que Siga.” Reventó remained on the Billboard Top Latin Albums chart for five months in 1985.

Ruben Blades' concept MIXTURA exposes the hope that people will accept music, no matter what the genre is, provided it is done with quality and professionalism. All albums today limit themselves to a specific musical direction, to fill a specific market niche. It is an economic imperative, not an artistic one. SWING! Features jazz songs complemented with a couple of salsa tunes whose arrangements are very reminiscent of the swing era itself.

Ruben Blades' concept MIXTURA exposes the hope that people will accept music, no matter what the genre is, provided it is done with quality and professionalism. All albums today limit themselves to a specific musical direction, to fill a specific market niche. It is an economic imperative, not an artistic one. SWING! Features jazz songs complemented with a couple of salsa tunes whose arrangements are very reminiscent of the swing era itself.

Latin-Soul-Rock by the Fania All-Stars is a half-live, half-studio album. In addition to featuring a few of the actual Yankee Stadium recordings, such as the now-infamous Larry Harlow/Heny Alvarez–penned “Congo Bongo,” the record demonstrated how well the Fania All-Stars could play with others in the studio, namely Billy Cobham, Jan Hammer, and Jorge Santana; and at the same time, flex their Latin rock and funk muscles on tunes like the Marty Sheller–arranged “There You Go” and “Viva Tirado,” recently made a hit by El Chicano; and then there was the Bobby Valentín–arranged “Smoke,” which wouldn’t have been out of place spinning on one of Kool Herc’s turntables a few miles down the road from the “House that Ruth Built.” It was fusion, it was funk, it was salsa.