Podcasts about Fania Records

Oscar and Emmy-nominated actress Rosie Perez takes us on the journey of the birth of salsa in Nueva York and the rebellious, seductive and political label that defined it: Fania Records. The 1960s brings social and political change to the world and to New York City, where a young Johnny Pacheco keeps people dancing with his orchestra and charanga music. The Dominican musician is also going through a divorce and his lawyer, Jerry Masucci, happens to be a fan of Johnny’s music. They formed Fania Records, changing music forever. This is the first episode of Futuro’s new podcast Our Thing: The Birth of Salsa in Nueva York. The first two episodes are out now wherever you listen to your favorite shows. Subscribe and follow so you don’t miss upcoming episodes. Latino USA is the longest-running news and culture radio program in the U.S., centering Latino stories and hosted by Pulitzer Prize-winning journalist Maria Hinojosa. Follow the show to get every episode. Want to support our independent journalism? Join Futuro+ for exclusive episodes, sneak peeks and behind-the-scenes chisme on Latino USA and all our podcasts. Follow us on TikTok and YouTube. Subscribe to our newsletter. See omnystudio.com/listener for privacy information.

The 1960s brings social and political change to the world and to New York City, where a young Johnny Pacheco keeps people dancing with his orchestra and charanga music. The Dominican musician is also going through a divorce and his lawyer, Jerry Masucci, happens to be a fan of Johnny's music. The two form a music partnership that will forever change music. They call their music label Fania Records. Listen to Our Thing: The Birth of Salsa in Nueva York out now wherever you listen to podcasts.

The 1960s brings social and political change to the world and to New York City, where a young Johnny Pacheco keeps people dancing with his orchestra and charanga music. The Dominican musician is also going through a divorce and his lawyer, Jerry Masucci, happens to be a fan of Johnny's music. The two form a music partnership that will forever change music. They call their music label Fania Records. Listen to Our Thing: The Birth of Salsa in Nueva York out now wherever you listen to podcasts.Want to support our independent journalism? Join Futuro+ for exclusive episodes, sneak peaks and behind-the-scenes chisme on all our podcasts futuromediagroup.org/joinplus. Hosted on Acast. See acast.com/privacy for more information.

The 1960s brings social and political change to the world and to New York City, where a young Johnny Pacheco keeps people dancing with his orchestra and charanga music. The Dominican musician is also going through a divorce and his lawyer, Jerry Masucci, happens to be a fan of Johnny's music. The two form a music partnership that will forever change music. They call their music label Fania Records. Listen to Our Thing: The Birth of Salsa in Nueva York out now wherever you listen to podcasts.Want to support our independent journalism? Join Futuro+ for exclusive episodes, sneak peaks and behind-the-scenes chisme on Suave and all our podcasts futuromediagroup.org/joinplus. Hosted on Acast. See acast.com/privacy for more information.

The 1960s brings social and political change to the world and to New York City, where a young Johnny Pacheco keeps people dancing with his orchestra and charanga music. The Dominican musician is also going through a divorce and his lawyer, Jerry Masucci, happens to be a fan of Johnny's music. The two form a music partnership that will forever change music. They call their music label Fania Records. Listen to Our Thing: The Birth of Salsa in Nueva York out now wherever you listen to podcasts.Want to support our independent journalism? Join Futuro+ for exclusive episodes, sneak peaks and behind-the-scenes chisme on La Brega and all our podcasts futuromediagroup.org/joinplus. Hosted on Acast. See acast.com/privacy for more information.

The 1960s brings social and political change to the world and to New York City, where a young Johnny Pacheco keeps people dancing with his orchestra and charanga music. The Dominican musician is also going through a divorce and his lawyer, Jerry Masucci, happens to be a fan of Johnny's music. The two form a music partnership that will forever change music. They call their music label Fania Records. Listen to Our Thing: The Birth of Salsa in Nueva York out now wherever you listen to podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices

Hosted by Brooklyn native Rosie Perez comes the story of Fania Records, the “Motown of Salsa.” The artists from Fania toured the world, sold millions of records and changed culture forever. But Fania Records also became mired by royalty divisions, lawsuits and falling-outs. This is the story of the birth of salsa in Nueva York and the rebellious, seductive and political label that defined it: Fania Records. It is the most comprehensive audio narrative yet made about the birth and wild heights of salsa, a genre that continues to shape global culture today. Follow and listen on Apple Podcasts.https://podcasts.apple.com/us/podcast/our-thing-the-birth-of-salsa-in-nueva-york/id1896449326

Hosted by Brooklyn native Rosie Perez comes the story of Fania Records, the “Motown of Salsa.” The artists from Fania toured the world, sold millions of records and changed culture forever. But Fania Records also became mired by royalty divisions, lawsuits and falling-outs. This is the story of the birth of salsa in Nueva York and the rebellious, seductive and political label that defined it: Fania Records. It is the most comprehensive audio narrative yet made about the birth and wild heights of salsa, a genre that continues to shape global culture today. Follow and listen on Apple Podcasts. https://podcasts.apple.com/us/podcast/our-thing-the-birth-of-salsa-in-nueva-york/id1896449326

A new podcast from Futuro is coming to you soon! In 1964, an Italian-American ex-cop and a Dominican musician in New York City opened “the Motown of Salsa,” Fania Records. Artists like Héctor Lavoe, Willie Colón, Celia Cruz and La Lupe made the label hip, rebellious, sexy and political all at once. At their height, Fania toured the world, sold millions of records and changed culture forever. But as the label grew, Fania Records became mired by legendary falling-outs. In the most comprehensive audio narrative yet, Pulitzer Prize winning Futuro Studios and Oscar and Emmy-nominated actress Rosie Perez, tell the story of a generation of artists who created salsa music, a cultural legacy that continues to shape the world today. Listen to Our Thing, The Birth of Salsa in Nueva York starting on May 26! Want to support our independent journalism? Join Futuro+ for exclusive episodes, sneak peaks and behind-the-scenes chisme on La Brega and all our podcasts futuromediagroup.org/joinplus. Hosted on Acast. See acast.com/privacy for more information.

A new podcast from Futuro is coming to you soon! In 1964, an Italian-American ex-cop and a Dominican musician in New York City opened “the Motown of Salsa,” Fania Records. Artists like Héctor Lavoe, Willie Colón, Celia Cruz and La Lupe made the label hip, rebellious, sexy and political all at once. At their height, Fania toured the world, sold millions of records and changed culture forever. But as the label grew, Fania Records became mired by legendary falling-outs. In the most comprehensive audio narrative yet, Pulitzer Prize winning Futuro Studios and Oscar and Emmy-nominated actress Rosie Perez, tell the story of a generation of artists who created salsa music, a cultural legacy that continues to shape the world today. Listen to Our Thing, The Birth of Salsa in Nueva York starting on May 26! Want to support our independent journalism? Join Futuro+ for exclusive episodes, sneak peaks and behind-the-scenes chisme on Suave and all our podcasts futuromediagroup.org/joinplus. Hosted on Acast. See acast.com/privacy for more information.

We're remembering Willie Colón, the pioneering Nuyorican trombonist who was a key figure in the rise of Fania Records and New York-based salsa. Marisol Negrón, author of Made in NuYoRico: Fania Records, Latin Music, and Salsa's Nuyorican Meanings, joins Rebecca to discuss Colón's contributions, collaborations with Hector Lavoe, and his complex legacy as an artist whose politics were seemingly at odds with the persona he created, "El Malo," early on in his career.Songs played:"El Malo""Canto a Borinquen""El Cantante""El Gran Varón"Send us Fan MailSupport the showYou can support this independently produced podcast by becoming a monthly subscriber - even $3/month helps!If you like this podcast, please hit "Follow" and give us a 5-star rating on Apple PodcastsFind The Clave Chronicles on Instagram, Facebook, & Threads @clavechronicleshttps://theclavechronicles.buzzsprout.comIntro and outro music: "Bengo Latino," Jimmy Fontanez/Media Right Productions

On Feb. 21, the musical world lost a legend and pioneer of salsa: Willie Colón.The trombonist, songwriter, producer and arranger was a key part of the transition of Afro-Caribbean dance music from regional traditions to worldwide popularity. For an insider's perspective on that history, this week we speak to trombonist and bandleader Angel “Papo” Vázquez, a Philadelphia-born musician who was not only inspired to play the trombone by Willie Colón, but also played on some historic recordings by Colón and other Fania Records notables.The best music tells great stories, and the same can be said about musicians. Vázquez brings along five tracks by Willie Colón that set him, and the rest of the world, on a path of deep appreciation for Colón's contributions to salsa.This podcast episode was produced by Noah Caldwell. The executive producer of NPR Music is Suraya MohamedTo manage podcast ad preferences, review the links below:See pcm.adswizz.com for information about our collection and use of personal data for sponsorship and to manage your podcast sponsorship preferences.Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

On Feb. 21, the musical world lost a legend and pioneer of salsa: Willie Colón.The trombonist, songwriter, producer and arranger was a key part of the transition of Afro-Caribbean dance music from regional traditions to worldwide popularity. For an insider's perspective on that history, this week we speak to trombonist and bandleader Angel “Papo” Vázquez, a Philadelphia-born musician who was not only inspired to play the trombone by Willie Colón, but also played on some historic recordings by Colón and other Fania Records notables.The best music tells great stories, and the same can be said about musicians. Vázquez brings along five tracks by Willie Colón that set him, and the rest of the world, on a path of deep appreciation for Colón's contributions to salsa.This podcast episode was produced by Noah Caldwell. The executive producer of NPR Music is Suraya MohamedTo manage podcast ad preferences, review the links below:See pcm.adswizz.com for information about our collection and use of personal data for sponsorship and to manage your podcast sponsorship preferences.Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

El mundo conoció su música… pero casi nadie su guerra personal. Desde tragedias familiares hasta demandas millonarias y un arresto inesperado fuera de su país, la vida de Willie Colón estuvo marcada por decisiones difíciles, amistades rotas y polémicas que cambiaron la historia de la salsa para siempre. Hosted by Simplecast, an AdsWizz company. See https://pcm.adswizz.com for information about our collection and use of personal data for advertising.

El legendario trombonista y productor, figura clave de Fania Records, falleció a los 75 años, según informó su familia.

Hola chicos Nous arrivons ensemble au moment fatidique de la création de la Salsa dans sa forme moderne. Les années 60′ et 70′ à New York regorgent d’artistes d’une créativité extraordinaire. La fusion des musiques afro cubaines et des influences américaines font émerger notamment le Boogaloo et surtout le mythique label Fania Records, qui marquera de son empreinte l’histoire de la musique. En deuxième partie : les morceaux coups de cœur. Bonne écoute Playlist : Watermelon Man > Mongo Santamaria 1963 / Azucar Pa Ti > Eddie Palmieri 1965 / I Like It Like That > Pete Rodriguez 1967 / Calle Luna Calle Sol > Hector Lavoe & Willie Colon 1972 / El Preso > Fruko y Sus Tesos 1975 / NUEVAYoL > Bad Bunny 2025 / Tengo Fe > Blundetto 2020 / Mi Olla > The Bongo Hop 2024 / No Llores Por Mi > Quantic & Sobredosis 2025 / Feriado > Rawayana 2023 /

Being a drummer and bass player, I gravitate towards the foundation of a song - the groove, percussion, and how instruments weave in and out of “the pocket”, be it the short offbeat guitar skanks heard in reggae or the syncopated piano stabs heard in Latin music. That's what drew me to reggae - the lock-step agreement of groove between the bassist and drummer that allows the rest of the band, organ, vocals, guitars, etc, to either support the core riddim or thread around it, adding depth and melody. The same goes for funk, afrofunk, and other similar genres. They all have related musical elements - tight syncopated grooves, a throng of glorious percussion, and horn combos that add electric energy that elevates and excites you. There was a period in the 60s & 70s that set New York on fire, emanating from Spanish Harlem, The Bronx, and Lower East Side, and labels like Fania Records - boogaloo (bugalú). We've all heard the style and artists at some point, but what is boogaloo? I had to look it up myself, and here's the definition. “Boogaloo was created by young Puerto Rican and African American musicians in New York City who mixed the music they heard on the radio, like soul and R&B, with Latin styles like mambo and son”. This is part one, so I invite you to use the comment section to share some of your favourites for part two in the future. PLAYLIST Eddie Palmieri – Vámonos Pa'l Monte Noro Morales – Vitamina Cal Tjader; Eddie Palmieri – Bamboléate New Swing Sextet – Mira Mama Mongo Santamaria; La Lupe – Montuneando – Remastered Johnny Colon – Mayenlle Boogaloo Assassins – Mi Jeva Ray Barretto – Mi Ritmo Te Llama Pete Rodriguez – I Like It Like That Joe Cuba Sextet – Que Son Uno Louie Ramirez – Cooking With Ali Joey Pastrana and His Orchestra – Orquesta Pastrana Orquesta La Moderna of New York – Picadillo Tito Puente – Salsa y Sabor

This episode of The Other Side of the Bell, featuring trumpeter, vocalist, composer and percussionist Pete Rodriguez, is brought to you by Bob Reeves Brass. This episode also appears as a video episode on our YouTube channel, you can find it here: "Pete Rodriguez trumpet interview"   About Pete Rodriguez: Trumpeter, vocalist, and percussionist Pete Rodríguez carries the bloodline of Nuyorican salsa as he takes his unique brand of jazz to exciting new places. Son of salsa singer Pete "El Conde" Rodriguez and godson of Fania Records bandleader Johnny Pacheco, Rodríguez cut his teeth playing with some of the greatest names in Latin music. By age 19, he was musical director of his father's band. As a vocalist, he sang on Tito Puente's Grammy-award winning Mambo Birdland. As an instrumentalist, he's appeared with legends including Celia Cruz, Chico O'Farrill, Bebo Valdez and Eddie Palmieri, including performing on the Brian Lynch/Eddie Palmieri Project's Grammy-winning release, Simpatico. As a bandleader, Rodriguez draws on his diverse upbringing—including living through the birth of Hip Hop in the Bronx and becoming an accomplished classical trumpeter during his adolescence in Puerto Rico—to create his own brand of jazz that defies categorization. The result is music that has been praised as "not only instrumentally ferocious, but texturally rich and at times profoundly intimate," with compositions "rich in musical depth, tone and beauty, as well as rhythm and melody… giving his music an appeal beyond genres." (Downbeat). His music demonstrates his aptitude for hard-driving, modern post-bop jazz, as much as melodic Latin variants and R&B-tinged grooves. Rodriguez has released a series of acclaimed albums as a leader, including Mind Trip, The Alchemist, Caminando con Papi (Destiny Records), El Conde Negro (Destiny Records), Obstacles (Sunnyside Records), and his most recent, I'm Pete Rodríguez, Vol. 1 (Sunnyside Records), named one of the Best of 2024 by the New York City Jazz Record. His forthcoming I'm Pete Rodríguez, Vol. 2 continues his exploration of identity, resilience, and innovation. "As a bandleader he's working on a clean, complex and flexible model of modern Latin jazz … his compositions change shape and character, according to the free flow of the arrangements, among art song and swing and clave. Draped over all of it is Mr. Rodriguez's powerful playing, soft-toned but battling." – The New York Times   Episode Links: peterodriguezmusic.com Pete on Instagram (@prodriguezmusic) on YouTube (@peterodriguezmusic) on Facebook (@prodriguezmusic)   Upcoming Events: Greg Black Mouthpieces, November 7 & 8 North Carolina Music Educators Association Conference, November 9 & 10 Book your alignment here!   Podcast Credits: "A Room with a View" - composed and performed by Howie Shear Podcast Host - John Snell Cover Photo Credit - Pete Rodriguez Audio Engineer - Ted Cragg

The first time Puerto Rican bandleader Willie Rosario heard the word salsa applied to the Cuban-style music he played was in Venezuela, where DJ Phidias Danilo first popularized it. Subsequently applied as a marketing tool by Fania Records in New York, the word quickly became a marker of Puerto Rican identity. We talk to the founding bandleaders of the genre -- Rafael Ithier (El Gran Combo), Quique Lucca (Sonora Ponceña), and Willie Rosario -- and presents immortal hits of early Puerto Rican salsa. Produced by Ned Sublette with José Mandry APWW #207

Welcome to a new weekly series we are launching on the Latin Wealth platform, Wealth Wednesday! On Wealth Wednesday, we will be discussing trending news, Latino culture and topics surrounding business, host by @chrisbelloso and @ricoramirez86.   In this episode, we're covering some of the biggest headlines in the music and business world, starting with the massive $217 million acquisition of Daddy Yankee's music catalog by Concord. Known for hits like "Despacito" and "Gasolina," Daddy Yankee's impact on the global music scene is undeniable, and this deal further cements his legacy. We'll explore what this acquisition means for the reggaetón superstar, how Concord plans to monetize this investment, and the broader significance of music catalogs in today's industry. You'll also hear about Concord's other high-profile acquisitions, including its ownership of the iconic Latin label Fania Records, and how they continue to dominate the music catalog space. Next, we shift to some big news from Washington. Vice President Kamala Harris has announced the expansion of her forgivable loan program for Black entrepreneurs to now include Latino entrepreneurs as well. Under her proposed administration, Latino men would be eligible for loans of up to $20,000, aimed at helping small businesses and their families thrive. We'll break down what this could mean for the Latino community, how this initiative builds on previous efforts, and the potential economic impact of these forgivable loans. We also welcome back Jeremiah, who brings us a recap of his trip to Puerto Rico.  This episode is packed with insights on the intersection of music, business, and culture. From Daddy Yankee's historic deal to the Vice President's promises for Latino entrepreneurs, we're discussing how these developments are shaping the future of both the music industry and Latino business communities. Follow us on IG: @latinwealth Email for questions or inquiries: latinwealthpodcast@gmail.com

Time to start a new iconic journey! This time, we dive into the story of Willie Colón, a towering figure in Latin music. From his humble beginnings in the South Bronx, where his abuela nurtured his love for music, to earning the nickname El Malo, Colón's journey was just beginning. Join us as we explore his rise to fame, his pivotal signing with Fania Records, and the lucky day he met La Voz, which helped him shape the future of Latin music. Lilliana Vazquez and Joseph Carrillo are the hosts of Becoming An Icon with production support by Nick Milanes, Santiago Sierra, Rodrigo Crespo, Evelyn Uribe and Edgar Esteban of Sonoro Media in partnership with iHeart Radio's My Cultura Podcast network.If you want to support the podcast, please rate and review our show. Follow Lilliana Vazquez on Instagram and Twitter @lillianavazquez Follow Joseph Carrillo on Instagram @josephcarrilloSee omnystudio.com/listener for privacy information.

New York City's open data portal shows New Yorkers are complaining more than ever about city employees who use their parking permits to break the law. Plus, new data show that reading hasn't gotten better in the city's public schools after a major overhaul in how students learn to read. And finally, WNYC's Michael Hill talks with Leila Cobo, Chief Content Officer of Latin Music at Billboard, about the pioneering independent music label, Fania Records, and how it helped define the sound of salsa in New York City.

FANIA Records is celebrating 60 years! Founded in 1964 in New York City, they released modern (at the time) takes on Mambo, City Slick Salsa, Cuban Soul, Spanish Harlem Funk and more. It was a blend of Island Latin and the Big Apple. New music from Arab Strap, Mdou Moctar.Music; Biz Markie, Ralphie Robles, Joe Cuba, Monguito Santamaria, Johnny Pacheco, Arab Strap, Mdou Moctar, Joe Bataan, The Latinaires, Tia Rosa and loads more. For more info and tracklisting, visit: https://thefaceradio.com/worldy/Tune into new broadcasts of Worldy with Matt and Dom, LIVE, Mondays from 10 AM - 12 Noon EST / 3- 5 PM GMT.//Dig this show? Please consider supporting The Face Radio: http://support.thefaceradio.com Support The Face Radio with PatreonSupport this show http://supporter.acast.com/thefaceradio. Join the family at https://plus.acast.com/s/thefaceradio. Hosted on Acast. See acast.com/privacy for more information.

durée : 00:58:32 - La Série musicale - par : Zoé Sfez - Le label Fania Records a émergé pour permettre aux artistes indépendants et avant-gardiste de s'exprimer. Il a aidé les musiciens de salsa à se développer et à toujours se renouveler. Retour sur les principaux albums que le label a porté.

EP#3 - Eddie Rodriguez Tropical Latin Music Showcase  Tonight- The music of Singer, Songwriter, Composer, Arranger, Recording Artist, Performer, Musician, Bandleader, Record Label Owner, signed to Fania Records in the 60's at the age of 16 the artist who was responsible for bringing Puerto Rican teenagers in NYC to become Salsa Music Fans, Raised in the Bronx the amazing Willie CO-LONE  the first teenager to be signed to a record deal with the most popular Tropical Latin Music Label of the 60's and 70's he is a pioneer with over 5 decades of recordings to his credits, hit songs with different singers and on his own as lead vocalist, the producer of the album Siembra the most sold Salsa recording in history plus his Christmas Album Asalto Navideño which has sold for decades every Christmas Season, a disciplined talent on stage touring globally to reach his millions of fans in the multimillion dollar industry we know today as the Salsa Music Business. We are going to close the show with more Willie Colon a friend and artist I have followed since the 60's next we will listen to Willie Colon and lead singers he has worked with creating hit records as a producer the late Héctor Lavoe RIP the Queen Celia Cruz RIP and singer songwriter Ruben Blades we are going to wrap up the show with more music by the creative genius of the tropical Latin Music scene called Salsa. This artist is a pioneer who helped create the  popularity the Latin dance genre much is owed by the work he recorded by the Artists touring the globe performing Salsa Music. Today we celebrate his contribution to the world of music. He is the one and only, the Amazing Willie Co Lone. 

¡Hola entusiastas! En este episodio, exploramos la historia y el impacto cultural de la salsa, con un enfoque en la era de Fania Records. Analizamos cómo este género y sus icónicos artistas transformaron la música latina.

The Super Super Blues Band fue el proyecto de Chess Records que juntó a Muddy Waters con Howlin' Wolf y Bo DiddleyEn Chess Record había grandes músicos y grandes egos. El sello de Chicago había marcado tendencia en los años 40 electrificando el blues rural del sur de los Estados Unidos de la mano de los grandes intérpretes del género.Veinte años después de los días de oro de Chess el panorama era otro. El esplendor del blues, si algún día fue tal, había pasado y los grandes maestros sobrevivían como podían. Sin embargo, al final de los años sesenta estalló el revival del blues rock de la mano de músicos y bandas como Jimi Hendrix, The Doors o Janis Joplin. A esa ola se intentaron subir las viejas estrellas de Chess que en los siguientes años grabarían discos acompañados por sus alumnos más aventajados. Antes de eso, Chess probó otro invento. Copiando el modelo de Fania Records, el sello de Chicago intentó juntar a todas sus estrellas en un mismo disco. Pero hubo un problema: todos eso músicos se llevaban mal y competían entre ellos.En 1967 llegó el primer intento y en 1968 subieron la apuesta juntando a Howlin' Wolf con Muddy Waters y Bo Diddley. Mucho gallo en un gallinero que rellenaron con jóvenes y futuras estrellas como Otis Spann o Buddy Guy. El experimento no tuvo el éxito esperado. Quizá por el título del disco -The Super Super Blues Band-, puede que por su fea portada o incluso porque la suma de talentos no siempre ofrezca un mejor resultado.A pesar de ello el álbum de estos gigantes es una obra poderosa. Producido por el eterno Willie Dixon, autor también de varios de los éxitos de los protagonistas, el disco es el testimonio de una reunión histórica de enemigos íntimos y leyendas del género que bien merece una escucha. Para recorrer esta joya del blues hemos invitado al periodista Ricardo de Querol y a Lucía Taboada.

The Super Super Blues Band fue el proyecto de Chess Records que juntó a Muddy Waters con Howlin' Wolf y Bo DiddleyEn Chess Record había grandes músicos y grandes egos. El sello de Chicago había marcado tendencia en los años 40 electrificando el blues rural del sur de los Estados Unidos de la mano de los grandes intérpretes del género.Veinte años después de los días de oro de Chess el panorama era otro. El esplendor del blues, si algún día fue tal, había pasado y los grandes maestros sobrevivían como podían. Sin embargo, al final de los años sesenta estalló el revival del blues rock de la mano de músicos y bandas como Jimi Hendrix, The Doors o Janis Joplin. A esa ola se intentaron subir las viejas estrellas de Chess que en los siguientes años grabarían discos acompañados por sus alumnos más aventajados. Antes de eso, Chess probó otro invento. Copiando el modelo de Fania Records, el sello de Chicago intentó juntar a todas sus estrellas en un mismo disco. Pero hubo un problema: todos eso músicos se llevaban mal y competían entre ellos.En 1967 llegó el primer intento y en 1968 subieron la apuesta juntando a Howlin' Wolf con Muddy Waters y Bo Diddley. Mucho gallo en un gallinero que rellenaron con jóvenes y futuras estrellas como Otis Spann o Buddy Guy. El experimento no tuvo el éxito esperado. Quizá por el título del disco -The Super Super Blues Band-, puede que por su fea portada o incluso porque la suma de talentos no siempre ofrezca un mejor resultado.A pesar de ello el álbum de estos gigantes es una obra poderosa. Producido por el eterno Willie Dixon, autor también de varios de los éxitos de los protagonistas, el disco es el testimonio de una reunión histórica de enemigos íntimos y leyendas del género que bien merece una escucha. Para recorrer esta joya del blues hemos invitado al periodista Ricardo de Querol y a Lucía Taboada.

La primera vez que Nelson Albareda promovió un espectáculo en el legendario complejo de entretenimiento Madison Square Garden de Nueva York (no en el arena propiamente dicho, sino en el teatro con capacidad para 5.600 personas que se encuentra debajo) todos le dijeron: “Vas a perder hasta el culo”. Albareda, un cubano nacido en Miami, había reunido lo que para él era un cartel de ensueño: una celebración del 50 aniversario del innovador artista de salsa y cofundador de Fania Records, Johnny Pacheco, con Pacheco y los Fania All-Stars. Aun así, sus detractores tenían razón: Albareda perdió 200.000 dólares en aquel show en el año 2006. Pero después de que el evento terminó, el promotor seguía entusiasmado. A medianoche, llevó a sus padres, que habían asistido, a una tienda de delicatessen cercana, donde su padre le preguntó: “¿Porque te ríes? ¡acabas de perder 200 mil dólares!. “Bueno, es parte del negocio”, le dijo Albareda a su padre. "Seguimos avanzando". Diecisiete años después, Albareda, defiende esa opinión. “En este negocio se pierde dinero, y lo importante no es la rapidez con la que se cae, sino la rapidez con la que se recupera”. --- Send in a voice message: https://podcasters.spotify.com/pod/show/checkingconmauro/message

For roughly half a century, the singer Rubén Blades has been spreading the gospel of salsa music to every corner of the globe, but his status as an music icon was anything but assured. Despite having an interest in music at an early age, the Panamanian-born Blades was pursuing a law career. But when the tumultuous political climate in Panama forced his family into exile in the United States, Blades found his way back into the music industry—through a record-company mailroom. “My diploma was not accepted by the Florida Bar, so I didn't know what to do. I felt useless,” Blades tells The New Yorker's Graciela Mochkofsky. “Then all of the sudden I thought of calling Fania Records, which was the biggest salsa label at the time.” Through the subsequent years, Blades came to recognize the power of salsa as a vehicle for people from disparate backgrounds and ideologies to find “common ground.” “My goal from the beginning was not to become famous or rich,” Blades says. “My goal from the beginning was to communicate, to present a position and create a conversation.” Mochkofsky talks with him about serving in the Panamanian government and about his lengthy career as an actor; outside the Americas, more people might know Rubén Blades as Daniel Salazar on “Fear the Walking Dead” than as a living legend of salsa. 

For roughly half a century, the singer Rubén Blades has been spreading the gospel of salsa music to every corner of the globe, but his status as an music icon was anything but assured. Despite having an interest in music at an early age, the Panamanian-born Blades was pursuing a law career. But when the tumultuous political climate in Panama forced his family into exile in the United States, Blades found his way back into the music industry—through a record-company mailroom. “My diploma was not accepted by the Florida Bar, so I didn't know what to do. I felt useless,” Blades tells The New Yorker's Graciela Mochkofsky. “Then all of the sudden I thought of calling Fania Records, which was the biggest salsa label at the time.” Through the subsequent years, Blades came to recognize the power of salsa as a vehicle for people from disparate backgrounds and ideologies to find “common ground.” “My goal from the beginning was not to become famous or rich,” Blades says. “My goal from the beginning was to communicate, to present a position and create a conversation.” Mochkofsky talks with him about serving in the Panamanian government and about his lengthy career as an actor; outside the Americas, more people might know Rubén Blades as Daniel Salazar on “Fear the Walking Dead” than as a living legend of salsa. 

As broadcast Sept 7, 2023 with more hydraulic action and slow driving than mere mortals can handle.  Tonight we pay tribute to the entirety of our first hour to the Latin/low rider soul inspirations that have continually provided that extra ease and Spanish flare to our favorite genre over the years.  Nods to Sunny Ozuna, Fania Records, Sly Slick & Wicked, along with the new exponents in the movement such as Big Crown, Colemine, Bobby Oroza, Thee Sinseers, and many others on the playlist.  Dan Lloyd joins us for our AMPED rock-centric 2nd hour, and lots to discuss in a busy week, with a new album out from Royal Blood, a great new single from Irish band Sprints, and Italy's Maneskin hitting the road once again.#feelthegravityTracklist (st:rt)Part I (00:00)Sunny & The Sunliners – Give It AwayNew Holidays – Maybe So Maybe NoThee Sineers – What's His NameThee Sacred Souls – Will I See You Again?Los Yesterdays – Who Made You You?Sly Slick & Wicked – Sho' NuffThe Devonns – Long Goodbye Part II (33:53)Aaron Frazer – Bring You A RingDurand Jones & The Indications feat Y La Bamba – Cruisin' to the ParqueThee Lakesiders – ParachuteBobby Oroza – Maybe, Maybe, MaybeLizette y Quevin – Grow Forever125th Street Candy Store – Silent HeartFrancisco Aguabella – Fantasy Part III (64:03)Royal Blood – Shiner in the DarkGaslight Anthem – Little FiresManeskin – Honey (Are U Coming?)Sprints – Up and ComerAngel Du$t – RacecarSmash Mouth – Walking on the SunPart IV (94:16)Perennial – DissolverDoom Scroll – Anoxic'68 – Removed Their HooksGeese – JesseBad Rabbits – Garden of Eden ft Rou ReynoldsRid of Me – Gutted

This week we celebrate FANIA RECORDS, the legendary label that brought us legends of Salsa and Boogaloo including the Fania All-Stars, Eddie Palmieri, Ray Barretto, Cheo Feliciano, Ismael Rivera and countless others. 

Maggie speaks with percussionist Joey DeLeon and bassist Eddie Resto about  “The Global Salsa Explosion and Its Origins” and play the incredible, iconic music that caused such a sensation when it stormed out of New York in the 1970s.Joey De Leon is a percussionist, educator and producer who's performed or recorded with artists of almost every genre from jazz to Latin, pop to contemporary classical and film scores. The long list of artists he's worked with include Queen Latifah, Al Jarreau, Jennifer Lopez, Bette Midler, Cyndi Lauper, Poncho Sanchez, Arturo Sandoval and Gordon Goodwin's Big Phat Band.Joey DeLeon was born in the Hell's Kitchen section of New York City, holds a bachelor's degree from the prestigious Manhattan school of music and is currently a faculty member at Cal Arts here in Sothern California.Eddie Resto is a bassist whose credits are just as astoundingly diverse as Joey DeLeon's. Eddie's resume includes his work with Tony Bennett, Rita Moreno, Sonny Stitt, Tito Puente, Dizzy Gillespie, Paul Simon, Kenny Burrell, Herbie Hancock, Chick Corea, Carlos Santana, Jaco Pastorius, Dexter Gordon, Max Roach, Eddie Palmieri and Joni Mitchell.Eddie holds a master's degree in Afro-Latin music from California State University of Los Angeles and serves his communities through his work with the Mancini Institute, The Urban League, The Boys and Girls Club of America and other youth organizations.Source: https://www.labella.com/artists/eddie-resto/#:~:text=Born%20and%20raised%20in%20Manhattan,major%20performers%20and%20music%20groups.Source: https://www.joeydeleonmusic.com/Host Maggie LePique, a radio veteran since the 1980's at NPR in Kansas City Mo. She began her radio career in Los Angeles in the early 1990's and has worked for Pacifica station KPFK Radio in Los Angeles since 1994.Support the show

En 1982 Bárbaro, uno de los últimos sellos creados por Fania Records, ya bajo el nombre de su editora Música Latina Internacional, lanzó el disco Música para el Mundo Entero, del popular cuatrista puertorriqueño Yomo Toro, esta vez acompañado por la orquesta La Evolución. Yomo había grabado poco en solitario desde que firmó con Fania, así que el disco era casi una obligación con un artista muy querido en el mundillo, muy admirado entre el público. La gente lo conocía sobre todo por sus actuaciones con la Fania All Stars. Había grabado con Bárbaro el disco Romántico y ahora se metía con la música bailable. Así que hoy hablaremos de Música para el Mundo Entero de Yomo Toro en La Hora Faniática.

Hacia 1975 Fania Records comenzó a tender puentes con otras empresas a fin de expandir sus productos. Los puentes consistían en coproducciones con otras casas discográficas, siendo la principal Columbia Records o CBS en Estados Unidos. Pero Europa no fue la excepción. Una serie de acontecimientos y de contactos acabaron en la producción de un disco curioso: Blonde Latin de la banda francesa W.R.L.C., coproducción de Fania Records, Les Editions Louis Gasté y Editions Please Music, con Jean Marc Bel como productor ejecutivo. Esta es la historia de Blonde Latin y de una banda muy curiosa en La Hora Faniática.

En abril de 1979 salió al mercado el disco El Pirata Del Caribe con el sello Tico Records y que fue el último disco de Joe Cuba al frente de una banda en la etapa de la salsa dura de Nueva York. Así finalizó Cuba su contrato con Tico, empresa que ya pertenecía a Fania Records. Un disco curioso, desde luego, porque la mayoría de canciones las escribieron cantantes y porque la propuesta musical era un tipo de salsa muy acorde a la de su tiempo, fuerte y contundente, alejada de aquellos tiempos del Joe Cuba Sextet. Un disco excepcional y del que hablaremos hoy en La Hora Faniática.

A comienzos de 1973 Roberto Roena grabó con su Apollo Sound su disco número 5 y que fue titulado simplemente así, 5, para el sello International. Fania Records había creado International Records en 1968. La intención la decía su nombre: internacionalizar la compañía, especialmente en Puerto Rico. International estaba regentado en Puerto Rico por el empresario argentino Charles Tarrab y tenía una sociedad con Rafael Viera, representante de Fania Records en la isla. Tarrab fue el responsable de los grandes espectáculos de su tiempo en San Juan, entre ellos, el concierto de la Fania All Stars en el Coliseo Roberto Clemente en ese mismo año, 1973. O sea, una época decisiva era Roena, de quien hablaremos hoy en La Hora Faniática.

En 1977 Johnny Pacheco y Luis Angel Silva "Melón" grabaron un disco buenísimo, uno de los mejores que se hayan hecho en Fania Records y que fue todo un éxito. Llegó Melón estuvo 26 semanas en el Hit Parade latino. Al acabar el año fue el tercer disco más escuchado en Nueva York y el sexto en el área caribeña. Lógicamente eso dio pie para una nueva grabación del dúo, lo que se dio en 1981 con el álbum Flying High, que publicó el sello Vaya dos años después, en 1983. Esta es la historia de Flying High y de la relación entre el flautista, director y productor dominicano Johnny Pacheco con el cantante y educador mexicano Melón en La Hora Faniática.

El gran cantante Justo Betancourt grabó el álbum Leguleya No para el sello Fania en 1982, el cual sería su último trabajo en esta casa. Betancourt, al igual que otros músicos como Willie Colón, por ejemplo, tenía su propia productora y por eso fue en términos legales una coedición entre Fania Records y RMQ. De todas formas fue un título curioso proveniente de una canción del mismo nombre y que se refiere al verbo leguleyar, o sea hablar de leyes sin tener conocimientos profesionales. Leguleya No fue un álbum controvertido, no por su música, sino por sus protagonistas. De ello hablaremos hoy en La Hora Faniática.

Fue el cuarto álbum del sello Fania Records, creado por Jerry Masucci y Johnny Pacheco y que comenzó lanzando grabaciones de este último con su conjunto. Fania ya había hecho Cañonazo, At the NY World's Fair y Te Invita a Bailar, antes de hacer este que se tituló Johnnhy Pacheco his Flute and Latin Jam. Fue una sesión de descarga al estilo del que habían hecho en Alegre Records y por esos días se hacía en el sello Tico. A partir de este disco la firma comenzaría su ampliación de catálogo con nuevos artistas como Louie Ramírez, Larry Harlow y Bobby Valentín. Fue un disco especial, sin duda, y hoy objeto de culto de coleccionistas y melómanos. Y esta es su historia en La Hora Faniática.

A SOUTH BRONX TALE PT 5  spotlight on Salsa dance Music recordings adding string arrangements in the 70's most notably by Fania Records. We just heard the best best Salsa singers of all times heard Hector Lavoe RIP and Ruben Blades.  we will hear more Salsa music with Strings from a Latin Opera called Hommy by Larry Harlow and by the Fania All Stars. Fania All Stars tours the world sells millions of records and tapes to become the definitive Best Salsa Orchestra in the World. Celia Cruz, Pete El Conde Rodiguez, Hector Lavoe, 

4348 Kevin Cole Thursday 10/27/22 Bosq Song for Ehi (feat. The Ibibio Horns and Kaleta) a 2022 single on Canopy Limited. Bosq is the musical pseudonym for Benjamin Woods, who has been utilizing Afro-Latin music in fusion with Funk, Disco, Reggae, House and Hip Hop to dazzling effect for a decade now. The Boston-bred, Colombia-based musician has released 4 full albums, heaps of EP's of original music, and countless collaborative singles and remixes with artists like Fania Records, Orchestre Poly Rhythmo de Cotonou, Poolside, Nickodemus, and many more. He recently teamed up with the horn section of Ibibio Sound Machine as well as vocalist Kaleta for a fiery new single released via Portugal-based label Canopy Records, whose specialty is “Sub-Saharan synth swagger, re-calibrated and re- celebrated.” Titled “Song for Ehi,” the track is a combination of classic Edo-funk, Afro-disco and reggae disco with a groovy meandering bassline, soaring horns arrangements, and timbale breakdowns. While it may be cold outside, the group is bringing the heat! Watch Ibibio Sound Machine's recently-released KEXP in-studio session from September and read the full post at KEXP.org.Support the show: https://www.kexp.org/donateSee omnystudio.com/listener for privacy information.

spotlight on Salsa dance Music recordings adding string arrangements in the 70's most notably by Fania Records. We just heard the best best Salsa singers of all times heard Hector Lavoe RIP and Ruben Blades.  we will hear more Salsa music with Strings from a Latin Opera called Hommy by Larry Harlow and by the Fania All Stars. Fania All Stars tours the world sells millions of records and tapes to become the definitive Best Salsa Orchestra in the World. Celia Cruz, Pete El Conde Rodiguez, Hector Lavoe, 

A finales de 1979 Fausto Rey y Larry Harlow grabaron el disco La Responsabilidad con una carátula diseñada y fotografiada por Lee Marshall. El álbum se lanzó a comienzos de 1980 y entonces se dijo: "Este LP podría ser un producto muy exitoso para Fania Records, en especial si se comercializa correctamente. Y no creo que se esté haciendo así, porque el único tema que suena en la radio (La Responsabilidad) no tiene los ganchos comerciales que tienen los otros temas". Y en realidad no funcionó como era debido. Pero ¿sería esa la razón? Escuchemos la música y conozcamos su historia en La Hora Faniática.

Hello Yacht Rockers! Yacht Rock meets Salsa...and the Spanish/Cuban grooves Come aboard... it's funky latin grooves infused with the yachty elements...of Jazz R&B and Disco! Fania All -Stars crew with it's Spanish fever! Join us as we dive into the late 70s with Fania Records and give you the lowdown on The Fania All-Stars Get on board! It's Hot! --- Support this podcast: https://anchor.fm/the-yacht-rock-show-with-eddie-ganz/support

En 1973 Willie Colón lanzó el noveno álbum de su carrera, todos los anteriores con Fania Records, todos con su compañero de fórmula, Héctor Lavoe. Es posible que Lo Mato, que así se tituló, sea el mejor disco de esta pareja de artistas icónicos. Todas las canciones son conocidas y la mayoría de ellas han pasado de un recopilatorio a otro durante años. Alguna es además símbolo de la imagen de gánster de Colón (Calle Luna Calle Sol) y otra es símbolo de la ironía de la vida de Lavoe, siempre lleno de éxitos y tragedias (El Día de Suerte). Un álbum cuya historia contaremos hoy en La Hora Faniática.

Producido por Louie Ramírez, con Johnny El Dandy Rodríguez como director de grabación, y Jon Fausty como ingeniero de sonido en La Tierra Sound Studios, La Típica 73 grabó en 1977 el álbum Los Dos Lados de la Típica 73, su obra más conceptual y más cercana a lo que en los sellos de los hermanos Cayre (Caytronic, Merricana y Salsoul) hacían bandas como el Grupo Folklórico y Experimental Nuevayorquino. La Típica se tomaba muchas concesiones y como el público la seguía con fidelidad, Fania Records y su filial Inca, no tuvieron inconveniente en complacerla. De allí este álbum del que hablaremos hoy, con la colaboración de Sandunga Radio, en La Hora Faniática.

Hubo un tiempo en que en Fania Records sólo se quería hacer dúos de estrellas. Pacheco y Laserie, Barretto y Celia, Ismael Quintana y Papo Lucca, Ismael Miranda y la Sonora Matancera, y dos reencuentros de viejas sociedades: Colón y Lavoe en Vigilante, y Johnny Pacheco y Pete El Conde Rodríguez en una serie de títulos que serían los siguientes: De Nuevo los Compadres, Johnny Pacheco y El Conde, Salsobita y Celebración. Era sin duda una fórmula ganadora, pues ambos se entendían a la perfección. Hoy contaremos la historia del primero de esos álbumes, De Nuevo los Compadres en La Hora Faniática.

La Lupe was a legendary Afro-Cuban singer who was once known as the “Queen of Latin Soul.” She was one of the top performers in Havana cabarets amid the Cuban Revolution and became a legendary figure in New York after fleeing Cuba. She worked with some of Latin music's biggest names, including Tito Puente, and was known for explosive boleros like “Qué Te Pedí” and “La Tirana.” By the mid-1970s, Lupe's label was acquired by Fania Records and she was pushed aside. She earned the reputation of being difficult to manage and there were rumors that she was a drug abuser, even though her family and friends have consistently denied these claims. Changing tastes in Latin music coupled with her strained reputation led her career to decline by the 80s. This episode of Latino USA is part of our Genias in Music series, remembering notable women and their contributions to their fields throughout history. We question some of the myths about La Lupe that attempted to delegitimize her music and look at how her identity as an Afrolatina influenced the racist and sexist characterizations of her as “possessed,” “crazy” and “on drugs.” But by singing and moving in the ways she was known for, she was resisting her erasure and claiming her space –– whether audiences understood it or not.