Nestor's Best of All Time
Throughout the months I've noticed that, many of my readers want to find out what are my favorite salsa recordings of all time. Some of you want to know this because you want to start your own collection. Others want to know this because of mere curiosity. But I am sure that the vast majority of you want to know if I really "know" my stuff. Whatever your motive is, I present to you: The All Time Best of Ness
20) Jerry Rivera, Abriendo Puertas (Sony/1990)
Love him or hate him, this guy recorded one hell of an album back in 1990. Whether he can sing on it or not, does not disqualify the fact that "Abriendo Puertas" truly opened the doors to what is today considered a success. The arrangements are all great! There is even a non romantic track on that album titled "El Molojilla Del Caņaveral" that is pretty good considering that the entire album is cutesy salsa romantica. Roberto Roena, Giovanny Hildalgo, Rafel "tito" De Gracia, Carlos "cuto" Soto, Oscar Pastrana, Vicente "cusi" Castillo, Angie Machado, Mario Ortiz Jr., Pedro Perez, & Ramon Sanchez among others; are the super cast of musicians featured in this classic album.
19) Domingo Quiņones, Mi Nombre Es Domingo (RMM/1990)
Out of his seven releases for RMM (including his latest), none of them come close to what "Mi Nombre es Domingo" is. Oh by the way, consider yourself lucky if you find this album. This was Domingo's debut as a soloist, so by default it is a classic. "My first is my favorite", said Domingo when I spoke to him during the recording of "Combinacion Perfecta". "Not only because it has good music but also because I worked with great singers & musicians. There was Cheo Feliciano, Gilberto Santa Rosa, Alex D' Castro, Claudette Sierra, and Sergio George. I love all my recordings but that one will always have a special place in my heart". This album is a definite must have.
18) Nestor Sanchez, Como Nunca (Sonandor/1990)
Veteran singer/sonero/background vocalist/jingles voice-over vocalist/ex-singer responsible for many hit records for Conjunto Candela, Larry Harlow, and Julio Castro & La Masacre - Nestor Sanchez; recorded his first album as a soloist in 1990, under the musical direction of none other than Sergio George. Being a major talent that never got the recognition he deserved, Nestor Sanchez in this album displays all of his talents that not long ago benefitted everyone else but himself. Nestor, sings his ass off like never before. Not by yelling or screaming but by just being serene and melodic. As a sonero, his improvisations are great! They tell the stories that went beyond the outlined lyrics. You can take Nestor's improvisations and rhymes, piece them together and have poetry. Not to mention a new song! "For an album that had zero promotions, we sold over 70,000 copies", said producer and musical director Sergio George. "I asked him to record another album but he is not interested...it's a shame because he is truly one of the most talented individuals out there". If you see this album get it!
17) Oscar D'Leon, De Aqui Pa'lla (TH/1989)
Although this album is strictly salsa romantica, many (myself included) consider it to be by far Oscar's best. In order to understand where I am coming from, I'll say the following. Oscar has always been the great sonero that can raise the dead with his unique ability to improvise and his high energy performances. Oscar in my opinion always has great singles, however not so great albums. When the wave of salsa romantica hit ashore, every salsa artist jumped on their surf board and rode the wave. Everyone except Oscar. And not because he didn't want to, but because the label didn't allow him to do so. They had pigeon-holed him on the sonero genre for good, or at least until there was some major shake up at the label. Because of the shake up, Oscar flew to PR and recorded his first salsa romantica album. In it, Oscar proved to everyone that not only is he a sonero but he is also a singer. A singer of great range that can go as low as a baritone, and as high as a soprano. A sonero that can improvise on relevant material and not only on old cuban songs. That is why "De Aqui Pa'lla" is a must have in your collection.
16) Johnny & Ray, Salsa Con Clase (Polygram/1988)
Johnny Zamot & Ray Sepulveda, teamed-up to amazingly enough come up with what has to be salsa romantica with cojones! This album featured many songs that became long lasting hits. Popular songs like "Margarita", "Es Mi Mujer", and "Mascarada" were stamped by Johnny & Ray's heavy brass & percussion sound. A sound that was heavier than Larry Harlow was virtually inconceivable, especially under the salsa romantica banner. But that is what Johnny & Ray did back in 1988 with the help of Sergio George. This album is no longer on the Polygram catalog but it is on the Capitol EMI catalog. Oh, don't be confused if you see the "&" symbol removed from the Johnny & Ray. That's another story.
15) Carlos "El Cano" Estremera, Salvaje 88 (CEG/1988)
Here is a guy that after leaving the orchestra that made him famous in the salsa realm in 1982, returned to it in 1984 only to record a very weak album with a few good songs. Then in 1986, Cano returned to the scene with his own production, that turned out to be an ok stint for a beginner but not a professional. Cano, again took two years off and returned to the salsa scene with a kick ass album. It featured the songs "Amame En Camara Lenta", "Te Amare", "Eres Tu" and my favorite "En La Obscuridad" with arrangements by Humberto Ramirez, Julito Alvarado, Tito Valentin; and new comers Hector L. Hernandez and Armil 'Keil. People say that the third time is the charm. Well this is certainly true for Carlos "El Cano" Estremera. If you find this album, try the lottery next you might be on a lucky streak.
14) Willie Rosario, Nuevos Horizontes (Bronco Records/1984)
Aside from the fact that this is the album that established Gilberto Santa Rosa, Tony Vega, Jimmie Morales, Tito Echeverria, Ricky Rodriguez and Luis Aquino as the new prospects of salsa; Willie Rosario proved right here that styles come and go, and as far as he is concerned he will continue doing he loves to do - Afinque. I mean, this is Willie Rosario NEED I SAY MORE!!!
13) Ray Barretto, Celia Cruz, Adalberto Santiago, Tremendo Trio (Fania/1983)
Yes! I know this is hard to believe but yes they were all recorded on the same album. It was Barretto's band with Celia Cruz & Adalberto Santiago on vocals. I only dream of stuff like this today. Can you imagine Orquesta De La Luz with I don't know, lets say Oscar D' Leon & Trina Medina on vocals? With Nora doing coro? Just a thought. And in case you're interested Jimmie Bosch, Oscar Hernadez, Ralph Irrizary, Carlitos Soto and Luis Cruz were also featured on this album.
12) Ismael Quintana & Papo Lucca, Mucho Talento (Vaya/1983)
MY GOD!!! Imagine Sonora Ponceņa with Ismael Quintana on vocals and Johnny "little Johnny" Rivero, Elias Lopes, Juancito Torres, Mauricio Smith, Oscar Pastrana & Jose Gazmey as your invited musicians!
11) Luis "Perico" Ortiz, El Astro (TTH/1980)
Long before Sergio George, there was Luis "Perico" Ortiz! This man was almost in every recording ever produced through out the 70s and into the 80s! He either played, arranged or produced - Or all of the above! He was coughing up hits for everybody from Rafael Cortijo to the Fania All Stars. After his monster hit "De Patitas" (with Rafael De Jesus on vocals), Perico brought to the scene a young man by the name of Roberto Lugo, and with him they rocked the salsa world. This recording is mean and right down nasty! If you thought that "De Patitas" was the best Luis "Perico" Ortiz had to offer, you definatelly need to listen to "El Astro". With Jimmie Delgado, Johnny Kenton, Millie & Jocelyn Quezada (pre-Los Vecinos), Tito Nieves and the late Barry Rogers; Luis "Perico" Ortiz shines like an "Astro".
10) Jose "Cheo" Feliciano, Sentimiento Tu (Vaya/1980)
Before there was salsa romantica, there was salsa with a moral message. To me there was (and still there isn't) no one better than Ruben Blades & Cheo Feliciano in delivering a message, a story, something of social value. Cheo Feliciano's "Sentimiento Tu" captured my emotions as well as those of the average Joe, by singing songs that dealt with the social ironies of the working man. "Juan Albaņil" a song that told the story of a brick layer that builds homes, office buildings, and condominiums that he can't afford to live in due to their high prices and sociological prejudices. "Sobre Una Tumba Humilde" describes how a poor family mourns in comparison to how wealthy people mourn. A very touching song to say the least. Featuring Tite Curet Alonso, Jose Nogueras, Luis Garcia, Papo Lucca, Pete "Conde" Rodriguez, Roberto Roena, and Luis "Perico" Ortiz among others; "Sentimiento Tu" and Cheo Feliciano must be part of your record collection ASAP.
9) Bobby Valentin, Bobby Valentin (Bronco/1978)
Considering the fact that all the songs in this album were hits including a merengue, this recording cannot be ignored. Bobby Valentin with a young Carlos "Cano" Estremera & Johnny Vasquez as vocalists created a musical movement that kept the youth hooked. With songs like "Canta Mi Gallo", "Muņeco De La Ciudad", "Libro De Amor", "Ingratitudes" and the all time favorite "La Boda De Ella"; Bobby Valentin gain an unprecedented following of young salseros world wide - Not to mention huge success. Every Bobby Valentin album thereafter was an instant crowd pleaser.
8) Willie Colon & Ruben Blades, Siembra (Fania/1978)
Two words: BUY IT!!! This recording will put their latest stint to shame.
7) Junior Gonzalez, Good Times/Buenos Tiempos (Fania/1977)
After singing for Larry Harlow for numerous years, Junior goes solo with a fabulous album that would make anything else he recorded since, sound bland. Produced by Mr. Harlow, this recording has guarachas, mambos, guaguancos, son montuno-cha and lots of solos. The very essence of Harlow is engraved in this recording. You will forget that Junior Gonzalez is on his own.
6) Adalberto Santiago, Adalberto (Fania/1977)
A very similar album to that of Junior Gonzalez, but very different in its concept and sound. Produced by Ray Barretto, many people expected a very Barretto-esque sound. But to everyones surprise it was a sound that was very Adalberto. Like Junior's debut album, Adalberto's debut was very aggressive and very mix. Moņas were breaking out left and right in this album and the coros were very inventive. With Joe Manozzi, Orestes Vilato, & Roberto Rodriguez you can't avoid a great album.
5) Roberto Roena, Apollo Sound 6 (Fania - International/1974)
If you have gotten this far on this list, then you trust me. With that in mind I am going to say this: Papo Clemente, Endel Dueņo, Roberto Roena, Julio "Gunda" Merced, Dario Morales, Adalberto Santiago, Paquito Guzman, and Sammy Gonzalez. With arrangements by Luis "Perico" Ortiz, Julio "Gunda" Merced, Bobby Valentin, Elias Lopes and the late Don Jorge Millet....is what this album is about. Raw salsa!!!
4) Ray Barretto, Barretto (Fania/1975)
This album contained some of Barretto's most popular tunes. Tunes like "Guarare", "Banbanquere", "Vale Mas Un Guaguanco", "Yo Vine Pa'Echar Candela", ranged in rhythm and singers. With puertorican Tito Gomez and panamenian Ruben Blades, Barretto proved that leaving his band was a graduation into the world of salsa.
3) Charlie Palmieri, Gigiant Steps (Tropical Buddah/1984)
After suffering a stroke, Charlie decided to prove to his fans and more importantly to himself that he still had it. And that he did! He recorded his last album with five musicians Charlie Palmieri (piano), Bobby Rodriguez (bass), Mike Collazo (timbales), Frankie Malabe (Conga), Johnny Rodriguez (bongo). As you can see, his piano was the vocalist. Charlie's piano plays Eddie Palmieri's "Muņeca", in a way that Ismael Quintana would've never dream of singing. This is a recording filled with elegance and strenght. Charlie's piano playing is phenomenal, is graceful, is crisp and is everything no one since Rene Touzet has ever done. God Bless Charlie!!!
2) Tommy Olivencia, Plante Bandera (Fania - Inca/1975)
Tommy Olivencia between 1970 and 1978 was one of the tightest salsa orchestras. He always had some of the best singers. This time around he featured an ex-convict by the name of Chamaco Ramirez. In my opinion one of the best salsa soneros that ever lived. NO not Victor, not Gilberto, not Oscar, not Domingo, not anybody you are currently thinking of right now. Ok perhaps, Ismael Rivera. Chamaco Ramirez would sing a song, the way a pitbull. He was mercy less with his rhyming & timing. He would jump clave, sing on top of the coro and keep on going like a mack truck being driven by the energizer bunny. He was one of the greatest. And no one exposed his talents at their best than Tommy Olivencia. While 1983 El Gran Combo was being dubbed "La Universidad De La Salsa", in sixties Tommy Olivencia was already being called "La Primerisima Orquesta De Puerto Rico". And why not! With Julio Edgardo Morales, David Cortijito, Hector "Bomberito" Zarzuela, and Luis "Perico" Ortiz; Tommy Olivencia couldn't avoid getting that title. By the way Luis "Perico" Ortiz produced most of Olivencia's great albums.
1) Angel Canales, Sabor (Fania - Alegre/1975)
I know, I know. Some of you guys are probably shocked because I did not mention your favorite album or artist. Some of you out there are probably saying, "hey how the hell he could've left out El Gran Combo, Hector Lavoe, Ismael Rivera, Tito Rodriguez, Eddie Palmieri, and Machito!". Well, I did because these guys are undisputed legends that to this day sell thousands of copies and there's just not one recording you can call a must buy. Why? Because all of them are awesome classics. Period. Back to the issue at hand, Angel Canales back in 1975 recorded and album that no one here in NYC liked. It's been alleged that, it got no air play. Musicians, producers and club owners refused to give this guy a break because they felt that his act and stage presence was too weird. Some even said that Angel had no sense of clave. His band didn't sound right, his voice was not the most appealing. Hey! His look was not the most conventional. God knows what the hell was wrong with this cat! Until one day came to Panama City, Panama and there he lived the surprise of his life. He was going to perform for the carnavals of 1976. He was scheduled to perform on a live TV show in front of a studio audience. As soon as he and his band started to play, the crowd started to sing along with him this song "Yo naci en Puerto Rico!!! Y en Nueva York me crie". Angel stopped singing and started crying on live TV. His first words were the following, "I expected not to be a success in NY but I did not expect to be a success here in Panama...Thank you very much". His debut album has a very raw sound. Musicians making stuff up as they go along. Moņas that do not seem to have end, and a vocalist that optimizes his improvisational skills in order to become what all of today's vocalist yearn to be - A Sonero.
ŠNestor A. Louis ALL REVIEWS ARE SOLELY THE OPINIONS OF THE AUTHOR.
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