Es La Cosa Radio

Es La Cosa Radio is your digital source of today and yesterday`s top music. This online radio was created to serve the general radio listeners. To fulfill the new era and reach the global society, Es La Cosa Radio is on the web (www.eslacosaradio.com). Our media application can be downloaded to any smartphone device at no cost. Our radio is on our Es La Cosa Radio app as well as, on Tunein radio applications. The worldwide accessibility and diversity of our programs makes this radio an excellent resource for marketing and advertising.

Jim Benitez

A self-taught Latin percussionist since the age of 12 when his father handed him Cal Tjader's 1960 Latino album featuring Mongo Santamaria and Willie Bobo back in 1966

Clive Brady

My radio career started in 1985 after 8 years of club DJing in London at such clubs as the Paradise Garage in Lewisham, South London and the Bank night club in Chelsea.

DJ. Creme

A "breakthrough" pioneer, Dj. Creme has taken the musical genre of reggaetónand Latinurban mixing to level sand places never gone before.

Dj.Spin

Dj.Spin Radio Show

Ess Garcia

Ess Garcia

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Monday To Friday


5:30am - 10:00am(W.D.) | El Bembe
12:00pm - 1:00pm(W.D.) | El Merengazo del Medio dia
3:00pm - 5:00pm(W.D.) | Los Palos de La Salsa

5:00pm - 6:00pm(M/T/W) | Me Gusta La Bachata

7:00pm - 8:00pm(Mon) | Clive Brady Funk & Soul Show
7:00pm - 8:00pm(Wed) | Dj.Creme La Crema Mezcla
1:00am - 5:00am(Wed) | Latin Jazz Now
5:00pm - 7:00pm(Thurs) | Tu Musica Urbana
7:00pm - 9:00pm(Thurs) Ess Garcia Radio Show "The Wind Down"
7:00pm - 11:00pm(Fri) | Latin Jazz Now

Sunday


10:00am - 12:00pm | Ess Garcia Radio Show (The Wind Down)

12:00pm - 4:00pm | Latin Jazz Now

4:00pm - 6:00pm | Baladas

Saturday


6:00pm - 7:00pm | Dj.Spin Radio Show


7:00pm - 9:00pm | Dj.Creme La Crema Mezcla

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What is Es La Cosa Radio?


Es La Cosa Radio is your source for portable mucic internet radio. From Salsa Dura, Reggeton, Hip Hop, Pop, Bachata & Merengue , We "Es La Cosa Radio" always-current that you can easily listen to on your iPhone, Android or desktop. Each day, the latest segments stream to you automatically, without you having to manually refresh anything. Es La Cosa Radio puts the world of radio at your fingertips anywhere, anytime, on the go.

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Charlie Aponte trasciende en la salsa respetando su legado


Charlie Aponte trasciende en la salsa respetando su legado El cantante presenta una nueva producción discográfica, "Pa" mi gente", agradecido de lo que fue su escuela, El Gran Combo de Puerto Rico domingo, 5 de noviembre de 2017 - 12:00 AM Por Rosalina Marrero Rodríguez 1393



Charlie Aponte señala que todavía hay personas que no le perdonan su salida de El Gran Combo. (André Kang) El próximo 31 de diciembre se cumplirán tres años de la renuncia del cantante Charlie Aponte a la que fue su escuela, El Gran Combo de Puerto Rico. Fue una salida sorpresiva, controvertible, después de 41 años siendo una de las tres voces de la institución musical que dirige el maestro Rafael Ithier. Todavía hay quienes no le creen que su acción no haya sido parte de una estrategia para encaminarse por cuenta propia en el género de la salsa. "Hay gente que todavía no me perdona", reconoció. "La gente cree que yo tenía planificado eso y juro por mi madre, por mis hijos y por todo, que no tenía ningún plan. Yo simplemente no me podía quedar en el grupo porque iba a ser un ente negativo, porque había algunos cambios que no acepté".



Aponte, de 66 años y cagüeño natural, presentó su renuncia luego que se concretaran unos cambios para incluir presentaciones durante el primer mes del año, a pesar de que durante casi toda su trayectoria en el grupo se reservaba para las vacaciones de los integrantes. "Necesitaba planificar más con la familia porque yo tenía solamente enero para eso, y aparecían actividades en enero y esa fue la razón principal, porque afectaba a mi familia. Afectaba las únicas vacaciones que yo cogía, lo demás eran 24/7 (con el grupo)", reiteró sobre la decisión. Como dato jocoso mencionó que sus tres matrimonios se han formalizado en enero y su cumpleaños lo adelantaba un mes para poder celebrarlo con los suyos. "Todo el grupo aceptó menos yo, yo era la oveja negra, y me mantuve en que no porque no podía cumplir". ¿Cómo está la relación con Rafael Ithier?, se le preguntó. "La relación con Rafael siempre ha sido de padre e hijo. Entiendo que él tiene su grupo y él no puede pensar en Charlie Aponte como artista, él tiene que pensar en su grupo y eso es muy normal, además yo me fui, yo no estoy ahí. Él siempre ha sido muy responsable, fue un mentor, nos regañaba, nos cogía por las orejas si llegábamos tarde, y yo siempre he sido un agradecido y sigo siendo muy agradecido de toda la gente del Combo". Con sus excompañeros se cruza frecuentemente en el aeropuerto. Viaja con frecuencia a Colombia, que aparte de Puerto Rico, dijo, es su principal plaza de trabajo. Igualmente se ha presentado en Perú, Europa, Nueva York y en el oeste de Estados Unidos. "A todos ellos los extraño, como amigos, como hermanos, siguen siendo mi familia", afirmó elegante, risueño, en un salón del restaurante La Zafra en Gurabo, que suele frecuentar. Nuevo repertorio Carlos Juan Aponte, nombre de pila, goza de un repertorio nuevo al que ahora le suma 11 temas incluidos en su nueva producción discográfica, "Pa" mi gente", pero no puede negar que hay canciones que grabó para la Universidad de la Salsa que lo acompañarán hasta que se apague su voz. "Arroz con habichuelas", "No hay cama pa" tanta gente" y "Brujería" son temas que el público espera cada vez que sube a una tarima. "Muchos de los temas que hago, El Combo no los está haciendo hace mucho tiempo, y yo estando dentro del Combo, había un repertorio que no se estaba tocando, y lo traje para acá". Para su fortuna, no ha tenido ninguna objeción por parte de Los Mulatos del Sabor por interpretar parte de ese repertorio.



"Yo le llamo bendiciones" Tan repentina fue salida del Combo como su reinserción a la música como solista, aunque él no guste de reconocerse así, porque junto con él hay una orquesta y un equipo de trabajo. "Yo aprendí a delegar con un maestro que es Rafael Ithier", puntualizó. "Rafael Ithier no tiene ni una gota de ego encima, él tiene orgullo de lo que hace, pero él delega. Para él la figura más importante es El Gran Combo de Puerto Rico y escuchar a ese señor, que es un talentazo, que fue autodidacta, arregla, compone, hizo todos los negocios habidos y por haber hasta los otros días, pero todo el tiempo fue Rafael en su casa, y después de ver a esta persona que ha hecho todo eso, quién soy yo para decir que soy Charlie Aponte, la máxima potencia y no puedo delegar en nadie porque soy el bravo aquí. No. Yo entiendo que son tan importantes como yo los músicos que comparten conmigo". El productor Sergio George fue la primera mano que lo dirigió en esta nueva etapa. Con él entró al estudio a grabar "Una nueva historia", que incluye el tema "Sin condición alguna", que lo mantiene sonando en Medellín, según comentó. El intérprete de salsa, boleros y décimas tiene ahora a Sammy García como director musical y juntos han logrado una combinación de trompeta, trombón, y saxofón alto, además del bajo, piano, timbales y su voz de barítono. "Se oye la diferencia, pero lo que no se puede perder es el sabor". "Una de las cosas que pensé siempre era buscar una persona que estuviera al lado mío. Desde que me fui (del Combo) dije, "si voy a hacer algo, tiene que ser seguir bailando, brincando y saltando en tarima", el día que no pueda hacer eso me retiro, porque yo respeto mucho la tarima y me cuido muchísimo para la tarima, y eso yo lo vi en El Gran Combo, y también con Serafín Cortés había mucha seriedad", destacó el cantante, que cuenta además con las voces de Carlos García y Joselito Hernández. ¿Qué hace para mantenerse tan ágil en la tarima? -Lo que he hecho siempre es que si no puedo cumplir con algo, no lo hago. Trato estar lo más calmado posible, no le doy problemas a nadie, ni me busco problemas yo mismo. Y eso es lo que he hecho. ¿Qué cuidados tiene para la voz? -Descanso. El estado anímico de una artista es lo principal. No meternos en problemas. Yo soy responsable. Entiendo que cuando no luzca bien en tarima, no me van a ver en tarima. Entiendo que eso va a venir en algún momento de aquí a 150 años quizás.



¿Qué representa para usted ser artista? -Todos los que cantamos onacemos con el don de cantar, queremos que alguien nos escuche. Cuando uno canta en el baño piensa que el vecino lo está escuchando, es algo que tenemos que queremos compartirlo. "Yo canto porque me gusta cantar y es una bendición de Dios y si no me cuido siento que estoy entrando en un pecado, porque estoy faltándole al Señor en un don que me dio él", sostuvo. En el nuevo álbum de Aponte, en el que incluyó una composición propia titulada "Mi niña, mi flor", hay también un tema festivo, "Aires navideños", del trovador Roberto Silva. Colaboran además Charlie Rodríguez en el tres y Rafael Taboa en la guitarra. La producción estará disponible en tiendas desde el 11 de noviembre, y quienes lo pre ordenen tendrán un adelanto de tres de las canciones.

Willito Otero presenta su primer disco


Luego de estar junto con varias orquestas, Willito se lanza como solista



Willito Otero (tony.zayas@gfrmedia.com)



Wilfredo "Willito" Otero Matos no está de acuerdo con la forma de pensar de fanáticos salseros, e incluso algunos veteranos exponentes de ese género, que consideran "que hay escasez de talento en la nueva cepa".



Sin aires de grandeza, Otero se considera ser una de esas voces en la salsa que tiene potencial para despuntar y mantener la buena calidad del catálogo salsero en estos tiempos.



"Yo pienso que ahora es cuando más talentos preparados tiene la salsa. Pero, hay un problema, y es que muchos de esos talentos no poseen el capital, los recursos ni la exposición necesaria para darse a conocer. El mundo del disco está bien difícil y tratar de despuntar como solista en este momento es bien cuesta arriba", opinó en entrevista con Primera Hora el salsero, quien realizará hoy una presentación en vivo para los medios de comunicación con la idea de dar a conocer su nuevo disco Que comience la función.



Figuras de la talla de Willie Rosario, Charlie Aponte, Bobby Valentín, Juan José Hernández y Gilberto Santa Rosa -entre otros- fueron invitados al evento musical del joven sonero y compositor.



Willito Otero es un naranjiteño de 32 años que viene de un hogar humilde en el que despertaba todos los días a son de música jíbara. La vena la heredó de su abuelo paterno y de su padre. Fue así que el joven desarrolló talento para la improvisación, convirtiéndose, de inmediato, en una promesa de la trova. Solo tenía 8 años y los que lo observaban de cerca, sabían que ahí había futuro.



Nueve años después, el cantante demostró de qué estaba hecho en las orquestas La Clave, Son de Madre y Comborican, con quienes se presentó durante 10 años en el Nuyorican Café, en el Viejo San Juan. Ese escenario lo expuso aún más, y las ofertas para colaborar como corista y cantante en distintas producciones salseras le comenzaron a llover.



Según mencionó Otero, como cantante invitado ha participado, hasta el momento, en 16 producciones discográficas, y ha sido invitado a cantar en vivo con varias orquestas, como Batacumbele, Salsa Libre, La Orquesta Cimarrón, con Bobby Valentín, Johnny Bravo, "Pupy" Cantor y Pete Perignon, con quien se presentó en el Día Nacional de la Zalsa, de Z-93.



Por otra parte, figuras como Edwin Clemente, William Cepeda y Jimmy Bosch han creído en su talento desde sus comienzos. Con Bosch recorrió el mundo, y hace dos años grabó la canción Romance del campesino para el especial del Banco Popular. Más recientemente fue considerado por el líder de El Gran Combo de Puerto Rico, Rafael Ithier, para sustituir a Charlie Aponte, puesto que finalmente ocupó Anthony García.



Ahora todas las energías de Otero están centradas en su nuevo disco Que comience la función, el cual contiene en total nueve temas, incluyendo varios del autor Jorge Luis Piloto. Los arreglos de las canciones estuvieron a cargo de los músicos Carlos "Cuto" Soto y Ramón Sánchez.



"Este disco es una producción de ensueño. Es el disco que cualquier cantante quisiera tener por el grupo de trabajo que lo respaldó", consideró Willito, quien esta noche, durante su presentación en vivo, será dirigido por el músico Carlos García.

Bruno Mars Releases New Remix of Finesse Featuring Cardi B


Bruno Mars and Cardi B are swinging full force into 2018.
The five-time Grammy winner and the rapper, 25, released their first collaboration together, titled Finesse, 30 minutes ahead of its midnight release on Thursday. Originally released on Mars’ 2016 album, 24K Magic, the song — co-written and produced by the Stereotypes — has a new jack-swing inspired beat and plenty of drums.

The music video also debuts Fresh Prince of Bel-Air-inspired themes, with both stars in colorful gear and boasting paint brushes as they dance in a ’90s-set with cement floors.

Mars, 32, released the artwork for the song on Instagram Wednesday, writing, Start your 2018 with Big Bronx Boogie Herself @iamcardib and me Midnight Tonight EST #Finesse.



The Bodak Yellow rapper also shared the photo on Instagram, writing, Oh Hey @brunomars!!!! Finesse!! Drops tonight, midnight!! ITS AMAZZZZIIIINGGG.


Mars earned six total Grammy Award nominations for 24K Magic including album of the year, record of the year and song of the year for That’s What I Like. Cardi B also earned herself an impressive two nominations this year in the best rap song and best rap performance categories.

Finesse is the latest of Cardi B’s musical collaborations to make a splash on the music scene. Her musical efforts with other artists, including her own breakthrough single Bodak Yellow, placed the Bronx-born singer as the first rapper in history to place her first three Billboard Hot 100 entries in the chart’s Top 10 simultaneously.


She joins only the Beatles and Ashanti in achieving the accomplishment. Her songs in the Top 10 include G-Eazy’s “No Limit,” featuring A$AP Rocky at number four, MotorSport with Migos and Nicki Minaj at number seven, and Bodak Yellow at number 10.

Bodak Yellow had fallen out of the Billboard Top 10, but on Tuesday it moved up two places, allowing her to clinch the honor. The rapper celebrated the feat with a triumphant Instagram video, dancing around in nothing but sweatpants and a bra in front of Christmas decorations.

What a great way to start my Year. Thank you Lord,” she captioned the video where she announced her victory. “Only you and i know how much i pray to you. These last few weeks been too much for me but my Lord always find a way to uplift me. Thank you to my fans, DJS, Team for the support. Thanks to all the artist who featured me In these songs and thanks guys for showing my second single BARTIER CARDI some love I love you.

No Surprise “Despacito” Didn’t Get Grammy


By ignoring “Despacito”, for a Grammy, which was the most popular song in the planet in recent years, it seems that the voters in the National Academy of Recording Arts and Sciences (NARAS) have taken Trump’s “Make America Great Again” mentality to heart.

Luis Fonsi and Daddy Yankee’s “Despacito” should have taken the Grammy for Song of the Year or Record of the Year for the record-breaking song that circled the world. Instead the voters look inwardly and voted for the US-based songs by Bruno Mars.

Daddy Yankee and Luis Fonsi in "Despacito" video
Puerto Ricans Daddy Yankee and Luis Fonsi went empty-handed from the 2018 Grammy Awards, despite “Despacito” record-braking popularity.

This should not come as a surprise from the organization led by Neil Portnow, the man who would stand there, white rose on lapel, and speak on equality, but act quite oppositely.

I doubt anyone has forgotten that Neil eliminated the Latin Jazz category from the Grammy Awards just a few years ago, only to reinstated a year later due to the avalanche of criticism from all areas of the music community, not just from Latinos. Neil does not dictate who gets a Grammy; the Academy voters do. Yet, its curious how his narrow mentality seems to permeate those involved in the voting process.

Leila Cobos, the Latin music writer for Billboard Magazine, wrote a great article on the “Despacito snub”. I think you will enjoy it very much! You can enjoy the article in the link below.
https://www.billboard.com/articles/news/grammys/8096867/despacito-grammys-loss-song-record-of-the-year-2018-snub-meaning-voters

Luis “Perico” Ortiz: 55 years of Music


Behind many great songs and albums during the golden years of Salsa, you may find Luis “Perico” Ortiz.

As the Puerto Rican music man celebrates the coveted 55-year milestone in the music business, he recently gave a great concert in New York City, which he calls his second home.

Luis "Perico" Ortiz ad in New York
Luis “Perico” Ortiz celebrated his 55 years in music at the Lehman Center in New York.

Luis “Perico” Ortiz brought great orchestrations to Salsa music. That was after polishing his musical knowledge with the Puerto Rico Symphonic Orchestra under the maestro Pablo Casals, in Mongo Santamaría’s Afro-Cuban Jazz band, and working with other greats like Tony Bennett.

His music always had this big band flare that had a rich, melodic sound. As a performer his band always sounded good and released multiple hits, like “Julian Del Valle”, “Alabao”, “De Patitas”, “Tin Marín”, “Río Abajo Va” and “Más Amor” among many others.

A blog about this great musician from Santurce, Puerto Rico (from where many great musicians have come from, like Ismael Rivera, Andy Montanez, Daniel Santos, Danny Rivera, and Julio Rodriguez), would take several pages.

Instead, I’m attaching an excellent interview article by a Puerto Rican newspaper which covers important highlights of the career of Luis “Perico” Ortiz.

Happy 55th anniversary Maestro Luis “Perico” Ortiz!

Enjoy!

Luis “Perico” Ortiz: sobrevive la fama y apuesta a más música

“Almost Like Praying” for more Salsa


The Salsa version of Lin-Manual Miranda’s “Almost Like Praying” is well intentioned, but lacks in Salsa.

Veteran and multi-Grammy producer Sergio George took the project of trying to make a Salsa version of Lin-Manuel’s song to extend the collection of funds for Puerto Rico Hurricane Maria victims. However, Sergio had little to work with.

"Almost Like Praying" joined Lin-Manuel Miranda and producer Sergio George
Lin-Manuel Miranda and Sergio George gave a great effort to give more life to “Almost Like Praying” and to the victims of the hurricanes in Puerto Rico.

The Salsa version of “Almost Like Praying” adds some winds and Latin percussion to the song. But without the ability to re-make the rap-themed vocals, Sergio George had big constraints on what he could do to convert the song to into Salsa. It’s “almost like praying” he could have been able to re-record the vocals and add a coro!

All critique aside, I applaud Lin-Manuel and Sergio George for finding ways to try to make more money for Hurricane Maria’s relief fund. With around 40% of Puerto Rico residents still without power, a few of them since Hurricane Irma, which was 3 weeks before Maria, the funds are badly needed.

As I travel around Puerto Rico and talk to people, it’s incredible how the recovery from the devastation caused by Maria is still going and will continue to go for months and perhaps years to come. Five months after the hurricane, the devastation and recovery caused by last year hurricanes is still a mayor topic of any conversation you have in the island.

So whether the Salsa version of “Almost Like Praying” is a good Salsa conversion or not, it generates funds for victims that need it.

Pass the word around, and play the song a few times so that we can hear the sound (in Salsa or rap) of the cash register!

Here’s Sergio George’s Salsa version of Lin-Manuel Miranda’s “Almost Like Praying”…

“El Cantante” Carries Hector Lavoe’s Comeback


“El Cantante” Carries Hector Lavoe’s Comeback
Posted on March 28, 2018 by Hector Aviles in Blog
“El Cantante” (The Singer) is an iconic song in Salsa and Latin music. It carried Hector Lavoe’s comeback album “Comedia” and possibly elevated him from Salsa star to Salsa legend.

Hector Gets Ruben Blades’ Song
“El Cantante” was written by Ruben Blades. Although at the time Ruben regularly wrote songs for himself as well as for other Fania artists, he intended to keep this one for himself.

Perhaps one of the reasons Ruben wanted to keep “El Cantante” was the song’s characteristic of leveling the artist with the public. The line “…pero, cuando el show acaba, soy otro mano cualquiera…” (..but, when the show ends, I’m just another dude) does the trick. Remember Ruben Blades had a Law degree at a time most of his colleagues didn’t have a High School diploma.

Hector Lavoe with "El Cantante" lyrics
“El Cantante” is one of the most popular songs in Salsa music.

At that time Willie Colon was working with Ruben Blades on their follow-up album, to be titled “Siembra” (1978). They had plenty of great material for that album.

At the same time, Willie was producing Hector’s comeback album “Comedia” (1978). Hector Lavoe had been out of the scene for close to 2 years, trying to get his life in order after drugs had taken it out of control. Although “Siembra” had plenty of good songs, Willie hardly had any good song for “Comedia”.

With that situation on his hands, Willie was able to persuade Ruben that Hector needed this song for his comeback. Without “El Cantante”, the album would’ve been a poor one.

Ruben reluctantly agreed to cede the song for Hector, and was later very happy he did so. He later admitted that Lavoe performed the song much better than he would have.

That was proven to be true some years later when he recorded “El Cantante” as part of the album “Doble Filo” (1986). This album was part of a trilogy of albums Ruben did to get rid of his contract with Fania Records.

“El Cantante” Song Message
The message of “El Cantante” is a look at the artist as a human being trying to make a living. In that sense, it shares a similarity (in message, not lyrics) with Billy Joel’s “Piano Man”.

In “Piano Man”, Joel says:

“…sing us a song, you’re the piano man,

..sing us a song tonight,

..well, we’re all in the mood for a melody,

..and you’ve got us feelin’ alright”

In “El Cantante” Ruben wrote:

“…vinieron a divertirse, (you came to have fun,)

..y pagaron en la puerta, (..and paid at the door,)

..no hay tiempo para tristezas, (..there’s no time for sadness,)

..vamos cantante comienza.” (..c’mon singer, start.)

Both songs are written with the artists at the center, and with his point of view. Yet, “El Cantante” is much more about the singer as a person. Joel’s “Piano Man” is more about the singer’s point of view of the people that come to have a good time.

The Structure of “El Cantante”
There are two things about the structure of “El Cantante”. The use of the violin machine and the length of the song.

The use of the synthesizer with the violins sound effect was something Willie Colon tried in Hector Lavoe’s previous album. He first tried it with the Tite Curet Alonso song “Periodico de Ayer”, which Willie arranged. The song was such a success, that Willie then tried it with the song “Siembra” in his album with Ruben Blades. And in “Comedia” he used synthesizer violins in “El Cantante” and “Bandolera”.

After trying the lengthy “Pedro Navaja” (7:23), which became perhaps the most popular song in Salsa music, Willie continued trying lengthy songs. “El Cantante” went on for over 10 minutes, perhaps the first song in Salsa that long. There was a shortened version played in the radio, but it still defyied all recording convention for popular music.

Yet, the song is so good, that it worked regardless of length or synthesizers.

Hector Lavoe: “El Cantante”
“El Cantante” became Hector’s signature song, and earned him the nickname among his peers of “el Cantante de los cantantes” (the singer of the singers).

He couldn’t me a performance without singing it. It ensured his comeback was a success, and exalted him to Salsa legend status! With Hector Lavoe’s known personal problems, the song fit him perfectly and people could see Hector in the song. Despite how well written the song is, the fans would not have identified Ruben Blades as closely with the song as Hector was albe to do it.

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