|
It's been almost ten years since Aris Martinez launched his debut record into the market. I liked that record. In fact, I reviewed it! The public unfortunately didn't catch on. They were some tough times the 90's, and to some degree - tougher than today. I mean, back in the early 90's competition was just way too strong. Salsa had a hugely diversed group of similar artists (did you catch the oxymoron?) to contend with, it was almost impossible to be different and be successful. Whatever else the multi-nationals threw at you, Jerry Rivera, Rey Ruiz, Victor Manuelle... You name it! Sony, RMM, or MP probably had it. Thus leaving very little room for smaller independent labels to make it. Fast forward to the present and you'll find Aris making a strong bid for your attention. Taking matters into his own hands, Aris is responsible for some of the most important parts of this record. From being the executive producer, along with Nelson Perez, to composing and arranging. It seems that no stone was left unturned by him. The record runs the gamut from aggressive to stylishly romantic. By that I don't mean boring, but fresh revisions of the forever amusing and always entertaining themes of love and love gone array. In fact, and this a personal note to Aris, he handles those themes so much better than those down-to-the-street-sonero-brawler-type-of-songs. The timber of his voice, the style, and the musical strengths showcased in this; his second record as a soloist, clearly give credence to that fact. Aris Martinez is a crooner with swing. Let's accept that fact and move on. This record, made with the help of la creme de la creme - Luisito Quintero, Raul Agraz , Pablo Santaella, Jose Tavarez, Papo Pepin, Harry Adorno, Jose Mangual Jr., among others; clearly proves that, and as such, it's a very good record that can easily be accompanied by a glass of Zinfandel, Merlot, Chablis, or straight up agua ardiente.
###
|
|
This record easily falls under the category of worst art design ever! It's right up there with those Johnny Zamot & Raulin Rosendo art covers. I mean, you got a guy with a mullet, giant glasses, and in bad need for a shave... Come on man! For the love of God - It's your frigging record!!! It really upsets me when great content is totally undermined by horrible presentation. And this is what this Charlie Lopez' record suffers of, great content undermined by horrible presentation. And it's sad, for Charlie Lopez had in the early 90's what could've been a hugely popular and successful production. This record had/has everything! Great songs with great swing. It's a perfectly balanced record that makes you ignore, or flat out forget, the graphical debacle that it is. The music is straight up dance music, the kind of dance music that as soon as you hear it you'll picture yourself dancing it with style and great flair in the nightclub of your choice... With the best looking dance partner you can imagine. If dancing is not your thing, say you're the listening type; you'll appreciate strong lyrical and musical content. This too is your record. Featuring the absolute best work I've ever heard from locals like, Willie Ruiz & Rene Leyva; with a remake of Se Necesita Un Rumbero, arranged by Roberto Navarro; Charlie Lopez clearly knew what he was doing with this record. At least musically. There are moments in the CD that remind me of Orquesta De La Luz and Orquesta Mulenze. Moments that are clearly made for the hardcore salsero that's also a stickler for fine details. Even Jesus Serrano, a local guy that generally speaking is a notch above a salsa singer for a pickup band that plays in your local bar; sounds like a seasoned veteran vocalists that knows exactly how to and where to take a song to make it even more palpable for all salseros. If there's one name... one person who participated in this recording that could validate this review and this record, who would that be? What would you say if that person was none other than Adalberto Santiago? I think I've gushed over this record long enough. It's a great record, one that I like very much. One that frankly, should it ever be reissued, you should get. Even if the art work conjures up disturbing images.
###
|
|
At a first listen, Mario Feliciano has the unfortunate musical luck that the first track of this record, along with his voice, gets you to think and say to yourself, "Gee - I heard this already... He sounds like the guy that sang for Pedro Conga... In fact, the record sounds like Pedro Conga record". I swear to you all, if it wasn't for the credits I would've thought it was him. To be fair to the guy - It's not his fault, and truth be told it all quickly changes as soon as the laser reads 1:20 on the first track for none of Pedro Conga's records change keys (and Pedro had quite a few hits without doing that). From that point on, Mario Feliciano just swings. Thanks to a band that executes, with great go-get-them aggressiveness, the vintage arrangements done by Ramon Sanchez, Tommy Villariny, Ricky Rodriguez, Rafael Torres, and Cuto Soto. They all arrange the kind of music I enjoyed from many artists in the TH and MP catalogs from the late 80s and early 90s. Where as the song progresses, it morphs into a dancers delight. And it doesn't end there. Peter Velazquez, composer of many great songs performed by El Gran Combo, Andy Montañez and Marvin Santiago; resurfaces from the musical exile that were the late 90's and the present, to pen two tracks that, although deal in the matter of love; are appropriate and at least tolerable by salsa fans that saw the genre go from reality based themes to pure lustful fantasies. Mario Feliciano does a phenomenal job in executing the salsa version of Francisco Cepedes' hits - Remolino & Que Hago Contigo. Versions that aught to be embedded as hymns for a budding salsa loving youth movement. A new generation that could associate their every tender event in adolescence with a song. Good job Mario.
###
|
