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Celia Cruz - Siempre Vivire (2000)

Posted By: Designol
Celia Cruz - Siempre Vivire (2000)

Celia Cruz - Siempre Viviré (2000)
EAC | FLAC | Tracks (Cue&Log) ~ 351 Mb | Mp3 (CBR320) ~ 116 Mb | Scans ~ 179 Mb
Genre: Salsa | Label: Epic | # 500589 2 | Time: 00:50:39

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.

Perez Prado - Best Selection (2009) Japanese SHM-CD

Posted By: Designol
Perez Prado - Best Selection (2009) Japanese SHM-CD

Pérez Prado - Best Selection (2009) Japanese SHM-CD
EAC | FLAC | Image (Cue&Log) ~ 490 Mb | Mp3 (CBR320) ~ 217 Mb | Scans included
Mambo, Salsa, Latin Big Band, Latin Jazz | Label: UMC | # UICY-80035 | 01:12:01

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.

Orchestra Harlow - Heavy Smokin' (1965) {Original Fania Remasters 463 950 9052-2 rel 2010}

Posted By: ruskaval
Orchestra Harlow - Heavy Smokin' (1965) {Original Fania Remasters 463 950 9052-2 rel 2010}

Orchestra Harlow - Heavy Smokin' (1965) {Original Fania Remasters 463 950 9052-2 rel 2010}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 299 Mb | MP3 @320 -> 102 Mb
Full Artwork @ 600 dpi (jpg) -> 51 Mb | 5% repair rar
© 1965, 2010 Fania Records / Codigo Music | 463 950 9052-2
Latin / Salsa / Guaracha / Boogaloo / Tropical

Larry Harlow's debut release in the Fania family, 1965's Heavy Smokin' helped to establish him in the New York salsa explosion as an authoritative yet non-Latino voice, very uncommon in the day. Considering the youth of the movement, there was not a long enough time line to produce informed, qualified converts; most of the music was being made by native sons. Harlow, working as a bandleader and recording for the premier salsa label in the world, and affectionately dubbed "el judío marvilloso" (the marvelous Jew), had clearly won the respect not only of fans, but also of the most important movers and shakers of the day.

Hector Lavoe - Strikes Back (1987)

Posted By: Designol
Hector Lavoe - Strikes Back (1987)

Hector Lavoe - Strikes Back (1987)
EAC | FLAC | Tracks (Cue&Log) ~ 249 Mb | Mp3 (CBR320) ~ 110 Mb | Scans included
Salsa, Bolero, Tropical, Latin | Label: Fania | # JM647 | Time: 00:43:11

LaVoe and Willie Colon came blazing out of the bugalu era and wrote a new script for New York salsa during the late '60s and early '70s: a script that included Puerto Rican and Panamanian graftings on the basic Cuban scion, and a tough lyricism that spoke of "barrio" problems to a "barrio audience". Then the pair split, and eventually Ruben Blades filled LaVoe's place in the Colon band's developing persona. Now – for this album at least – LaVoe and Colon are back together with that fat, macho trombone sound and the old width of reference (including a splendid plena, "En el Fiando.")

Ray Barretto - Carnaval (1993)

Posted By: Designol
Ray Barretto - Carnaval (1993)

Ray Barretto - Carnaval (1993)
EAC | FLAC | Tracks (Cue&Log) ~ 431 Mb | Mp3 (CBR320) ~ 185 Mb | Scans included | 01:07:00
Latin Jazz, Afro-Cuban Jazz, Salsa, World Fusion | Label: Fantasy | # FCD-24713-2

Ray Barretto's Carnaval combines two 1962 sessions, Pachanga with Barretto (his Milestone label debut as a leader) and Latino!. Both sets feature Barretto's first band, Charanga Moderna, with trumpeter El Negro Vivar and tenor saxophonist Jose Chombo Silva added to the front line for the latter LP. The first album is very much Latin jazz of its time, with all ten tracks designed for dancing the briefly popular pachanga, a dance that was simply too manic and difficult to catch on widely. The pachanga-friendly tempos on these ten brief cuts (most under three minutes) make the album sound rushed and nervous to ears unfamiliar with the dance fad. The far-better Latino!, recorded in nearly the same session, is a good old-fashioned jam session, with more leisurely tempos and extended playing times that give all the soloists – especially Vivar, Silva, and flutist Jose Canoura – plenty of room to stretch out. These two albums are very different, but hearing both of them in proximity reveals much about the state of the New York City Latin jazz scene in the early '60s.

The Orchestra Soledad - Vamonos / Let's Go (1970/2017)

Posted By: delpotro
The Orchestra Soledad - Vamonos / Let's Go (1970/2017)

The Orchestra Soledad - Vamonos / Let's Go (1970/2017)
EAC Rip | FLAC (tracks+log+.cue) | 00:40:36 | 244 Mb
World, Latin, Salsa | Label: BBE Music

Originally released in 1970 by little-known Chicago imprint Futuro, ‘Vamonos / Let’s Go!’ is the first and only album recorded by Brooklyn neighbourhood salsa band ‘The Orchestra Soledad’. Led by trombonist and singer Hector Ramos, the music of Orchestra Soledad is characterised by brash and energetic salsa arrangements created by Ramos himself, who also composed (or co-composed) all of the music featured on the LP.

Fania All Stars - Guasasa (1989) CD Reissue 1991

Posted By: Designol
Fania All Stars - Guasasa (1989) CD Reissue 1991

Fania All Stars - Guasasa (1989) CD Reissue 1991
EAC | FLAC | Tracks (Cue&Log) ~ 183 Mb | Mp3 (CBR320) ~ 78 Mb | Scans ~ 81 Mb
Latin Jazz, Salsa | Label: third | # third 33321 | Time: 00:34:22

The 1989 album “Guasasa” is the last studio album for the Fania Six, the Fania All Stars offshoot created in 1976 by Columbia Records for marketing purposes. It features their rhythm section comprised of: Johnny Pacheco, Ray Barretto, Bobby Valentín, Roberto Roena, Nicky Marrero and virtuoso pianist Papo Lucca. Clearly intended as a Latin jazz set, this album actually bears a more dance-oriented style (as in instrumental salsa, so to speak) as opposed to this band’s earlier, bolder California Jam date. While the former date was actually a real jam session, here they work with formal charts, calculated solo spots and a less-relaxed ambience that actually belies the laid-back feel of the album.

Ruben Blades Y Seis Del Solar - Greatest Hits (1996)

Posted By: Designol
Ruben Blades Y Seis Del Solar - Greatest Hits (1996)

Rubén Blades Y Seis Del Solar - Greatest Hits (1996)
EAC | FLAC | Tracks (Cue&Log) ~ 363 Mb | Mp3 (CBR320) ~ 141 Mb | Scans ~ 79 Mb | 01:01:53
Salsa, Tropical, Afro-Cuban, Latin Pop, Latin Jazz | Label: Elektra | # 7559-61975-2

GREATEST HITS is a more specific offering than the concept often suggests, culling hits from '84, '85 and '88. With a career stretching back to the mid-'60s, the cuts found here are but a sampling of Ruben Blades' decade or so with his illustrious sextet, Seis Del Solar. As the father of progressive salsa/tropical pop, some of Blades' greatest songwriting of the period is to be found here, in all its glistening studio glory. "Buscando America" opens with wafts of foreboding, Tyner-esque piano before easing into Blades' stirring, synth-laden call for Pan-American unity. With a piercing trombone arrangement that recalls Blades' days in Willie Colon's band, "La Marea" is a sinewy cut of salsa that explicates all the seasick tosses-and-turns of a choppy love affair. The singer's early predilection for doo-wop rears its head on the "who-oh" chorus of the soaring "El Padre Antonio" and the tongue-in-cheek intro to the witty "Decisiones." In the context of that dark morass of pop hell known as the mid-'80s, seekers of sweet melody and politically-conscious songcraft have plenty to dig on GREATEST HITS, Spanish-speaking or not.

Juan Formell y Los Van Van - Vol.1 (1969) {Egrem}

Posted By: tiburon
Juan Formell y Los Van Van - Vol.1 (1969) {Egrem}

Juan Formell y Los Van Van - Vol.1 (1969) {Egrem}
EAC 1.1 | FLAC tracks level 8 | Cue+Log+M3U | Full Scans 300dpi | 217MB + 5% Recovery
MP3 CBR 320 Kbps | 79MB + 5% Recovery
Genre: Musica Cubana, Salsa, Charanga

Los Van Van, another group which qualifies as an "institution" in itself and which has continued going strong even after the passing of Juan Formell. Somewhat surprisingly for socialist Cuba, the early music of Los Van Van is much more engaged with the psychedelic pop and rock sounds coming from the imperialist countries of the U.S. and England than were in and around Latin New York and the diasporas of Puerto Rico or the Dominican Republic. In that sense Los Van Van could be compared to the Tropicália movement in Brazil, freely taking and digesting elements from across the musical spectrum. I'm more partial to their second album, which didn't come along until quite a few years after this debut - it has more of a soul and funk influence - but this record is still great even if it sounds more "dated" because of its paisley and baroque embellishments.

Adriano Celentano - Esco Di Rado E Parlo Ancora Meno (2000) Re-up

Posted By: v3122
Adriano Celentano - Esco Di Rado E Parlo Ancora Meno (2000) Re-up

Adriano Celentano - Esco Di Rado E Parlo Ancora Meno (2000)
EAC | Flac(Image) + Cue + Log & MP3 CBR 320Kbps
Clan Celentano, CLN 20482 | ~ 431 or 143 Mb | Scans(jpg) -> 8 Mb
Pop Rock, Downtempo, Euro House, Salsa

One of Italy's best-loved artists, Adriano Celentano has been equally successful in film and music. Whether singing Elvis Presley-inspired rock, as he did as a member of the Rock Boys in 1957, or romantic balladry, Celentano found a dedicated market for his music…

Ray Barretto - The Other Road (1973) {Fania}

Posted By: tiburon
Ray Barretto - The Other Road (1973) {Fania}

Ray Barretto - The Other Road (1973) {Fania}
EAC 1.1 | FLAC tracks level 8 | Cue+Log+M3U | Full Scans 300dpi | 228MB + 5% Recovery
MP3 CBR 320 Kbps | 102MB + 5% Recovery
Genre: Latin Jazz, Salsa

Percussionist Ray Barretto has long been a legend in both the jazz and salsa communities, performing and recording with Tito Puente, Oliver Nelson, and Herbie Mann. THE OTHER ROAD, originally released in 1973, highlights the jazz side of Barretto’s musical personality while still maintaining roots in Afro-Cuban and Latin sounds. A set of originals, save for a cover of the Thelonious Monk classic “’Round (About) Midnight,” ROAD features smooth, classy ensemble playing and inspired soloing from the likes of Art Webb, Manny Duran (who also contributed arrangements), and Roberto Rodriguez. Barretto gives the Monk tune a bolero rhythm, putting an unexpected Latin spin on a well-known ballad.

The Joe Cuba Sextet - Salsa Y Bembe (1996)

Posted By: Designol
The Joe Cuba Sextet - Salsa Y Bembe (1996)

The Joe Cuba Sextet - Salsa Y Bembe (1996)
EAC | FLAC | Tracks (Cue&Log) ~ 286 Mb | Mp3 (CBR320) ~ 127 Mb | Scans ~ 52 Mb
Salsa, Boogaloo, Latin Jazz, Tropical | Label: Charly | # CDHOT 606 | Time: 00:55:38

Born Jose Calderon in Spanish Harlem N.Y.C. of Puerto Rican parentage, conga player anad bandleader Joe Cuba was one of the most successful N.Y. Latin artists in crossing over to non-hispanic audiences. At the forefront of the Latin boogaloo trend, which incorporated black music in a fusion of Latin rhythms and piano montunos with R&B and even jazz, his sextet used English to penetrate the American public, sometimes using themes which incorporated the two languages. Tnis CD of some of the finest work by the Joe Cuba Sextet is compiled from the five key albums Steppin Out, Diggin' The Most, Comin' At You , Breakin' Out, and Para Enamorados Siempre, which they recorded for the revered N.Y. Seeco label from 1962-64. The Joe Cuba Sextet played more than boogaloo. As you will hear on this CD, their repertoire features superb Latin-jazz, joyful mambo, cha cha, bolero, guaracha and other Afro-Cuban rythms including a grooving version of Tito Puente's 'Oye Como Va'.

Kaoma - World Beat (1989) Japanese Press

Posted By: Designol
Kaoma - World Beat (1989) Japanese Press

Kaoma - WorldBeat (1989) Japanese Press
EAC | FLAC | Image (Cue&Log) ~ 295 Mb | Mp3 (CBR320) ~ 97 Mb | Scans ~ 124 Mb
Latin Pop, Lambada, Samba, Salsa | Label: Epic | # ESCA 5081 | Time: 00:42:21

Worldbeat is a 1989 album recorded by Kaoma. It was the band's debut album and provided three hit singles, two of them achieving success worldwide: "Lambada", "Dançando Lambada" and "Mélodie d'amour". The album is composed of songs in Portuguese, Spanish and English. It was ranked in the top 25 in Switzerland, Germany, Norway, Australia and Austria. It topped the Billboard Latin Pop in the U.S.

Ray Barretto - Irresistible (1989) {Fania}

Posted By: tiburon
Ray Barretto - Irresistible (1989) {Fania}

Ray Barretto - Irresistible (1989) {Fania}
EAC 1.0b2 | FLAC tracks level 6 | Cue+Log+M3U | Full Scans 300dpi | 249MB + 5% Recovery
MP3 CBR 320 Kbps | 109MB + 5% Recovery
Genre: Latin Jazz, Salsa

There are no great surprises here – he's no innovator – but plenty of good music of the kind one expects from him: a fairly mellow brass sound, jazz touches (including a version of the Gillespie classic, "Night in Tunisia"), solid musicianship and a discreet updating by way of synth voicings.

Ray Barretto - Que Viva la Musica (1972) {Fania}

Posted By: tiburon
Ray Barretto - Que Viva la Musica (1972) {Fania}

Ray Barretto - Que Viva la Musica (1972) {Fania}
X Lossless Decoder | FLAC tracks | Cue+Log+M3U | Full Scans 200dpi | 222MB + 5% Recovery
MP3 CBR 320 Kbps | 84MB + 5% Recovery
Genre: Latin Jazz, Salsa

This album is DA BOMB! From the opening number, Barretto sets the tone for the rest of the album, QVLM begins with a band fanfare intro that breaks into a descarga (guaguanco callejero), with Adalberto then joining in with tight vocals inspiring the rest of the band into painting for the listener one of the great dance numbers of all time. The other tunes are also treated with Barretto's always in the pocket and hip style of playing. Barretto always surrounded himself with the best musicians and this album was no exception. In the Arsenio classic, "Bruca Manigua", Ray pays homage to the roots, the tambor and his Afro-Caribbean heritage with his very relaxed but funky cha cha rendition of this Cuban musical staple. The next tracks, "La Pelota" and "El Tiempo Lo Dira" are Barretto/R. Rodriguez compositions that lend true legitimacy to Barretto's compositional and arranging talents.