Cruz with Willie is just about as sure a thing as Celia with Johnny (Pacheco). Surer, maybe, since C&J have made far more recordings than C&W. Celia Cruz is the nearest thing to an icon in contemporary salsa, and since she reaches at least two generations, you can bet on this reaching at least the Top Three, if not the zenith.
The question that must be confronted for those familiar with the breadth of her work is, "Is it even possible for Celia Cruz to record a bad album?" With elements such as producer Emilio Estefan, Jr., executive producer Angel Carrasco, and of course, la guarachera del mundo herself converging to create 2000's Siempre Vivire, the answer to that question seems clear. Celia's first album for Sony certainly captured those elements that uniquely belong to Cruz, and discriminatingly avoided any influences of the day that might adulterate those qualities or date the project. In conceiving this record, the creative team walked a very fine line by deciding on a project that could both stand among its contemporary peers and yet sound classic. It is hard in modern salsa to find the tres, a sultry bolero, or to hear plena played well. In a genre that continues to narrow its stylistic scope, it's refreshing to come across a record that can simultaneously be a citizen of the present, and reach to the past.
With her powerful pipes, stunning showmanship, and superhuman sense of timing, Celia Cruz defined her chosen genre like few other performers in the history of popular music. EXITOS ETERNOS is a collection of tracks the "Queen of Salsa" recorded during the last decade of her life that, despite the vocalist's advanced age, clearly show Cruz's talents never wavered. Known for her uncompromising attitude and refusal to sing in English, Cruz valued aesthetic purity, but never became a museum piece. A driving pulse and rhythmic toasting that recall dancehall reggae propel her 2001 hit "La Negra Tiene Tumbao," and other tracks feature subtle synthesizer textures. Unlike lesser artists, however, Cruz is able to incorporate these disparate sonic colors seamlessly, making them sound as traditional as a conga drum or guiro. Of course, the unrelenting force behind each recording is Cruz's astounding voice, the sheer energy of which makes even these later recordings sound both classic and utterly contemporary.
I remember just as if it was yesterday that the 8-track cartridge of Metiendo Mano (Fania 500) arrived at record stores before the single “Pablo Pueblo” was played on the radio. I bought my copy at Joyerнa Danilъ in Canуvanas, Puerto Rico, for only $4.99. In 1977, I was one of the thousands of salseros who approached Colуn's new work with trepidation. After bringing an end to his partnership with Hйctor Lavoe and recording a special project with Mon Rivera, Willie presented Blades as the new singer in his orchestra.
During the 60's the term "Salsa" didn't just mean the picante sprinkled on or cooked in food: and it didn't just mean a hot solo instrumental taking over a "hot" Latin jam. It meant a new generation of New York Latino musicians had a different attitude and approach to Afro-Caribbean (mostly Cuban and Puerto Rican) music. The tradition was there, but jazz and r n' b and rock were often fused into the mix. This is one of the early Fania recordings made that "document" the beginnings of Salsa.
This rhythemic album would make ya sing and dance!!Hector Lavoe's lead singing parts touch up the album.With hits such as Abuelita,Barrunto,Panamena,Ghana'e,Sigue Feliz,and Pa'Colombia;you'll never get tired of dancing!!Willie Colon's band *SiZzLeS* throuhout the record that keeps this album going! If you love Salsa and it Latin rhythemical traits, you'll LOVE this album!!