#Willie Colón

[verso-abstracto]

No te dejes confundir

Busca el fondo y su razón

Recuerda se ven las caras

Pero nunca el corazón

Plástico - Rubén Blades y Willie Colón

[phonographica]

Willie Colón - Cosa Nuestra (1969)

[ericwenninger]

Número 1 - Siembra

Panamá (Blades) y Puerto Rico (Colón), 1978

Este album fue importante por su mezcla de la música salsa con su comentario social:

Esta producción no solo marcó un antes y un después en el género por su innovadora fusión de ritmos, sino también por la profundidad de sus letras, que abordaban temas sociales y políticos con una franqueza y audacia poco vistas en la música bailable.

Uno de los aspectos más innovadores de Siembra es su capacidad para integrar comentarios sociales y políticos en la música bailable.

También tuvo un impacto grande por su relevancia a toda América Latina:

Este éxito comercial se vio reflejado en el impacto cultural del disco, que trascendió fronteras y resonó en toda América Latina y en cualquier rincón del mundo donde se oye música latina.

Sus letras contribuyeron a que la música salsa se convirtiera en un medio para comentar y criticar problemas sociales, influyendo en muchos artistas y ayudando a establecer la salsa como una herramienta para la expresión social y política.

Se debe notar que el álbum incluye la canción "Pedro Navaja," que cuenta la historia de un ladrón en Nueva York y es considerada una adaptación latina de la canción clásica "Mack The Knife":

La habilidad de Blades para contar historias a través de su música se pone de manifiesto de manera magistral en esta pista, pero también su habilidad para adaptar canciones, como lo hizo con el inicio de «Mack The Knife», que a su vez es una adaptación de un tema de La ópera de tres centavos, escrita por Bertolt Brecht, y musicalizada por Kurt Weill.

Escucha aquí: Siembra - Willie Colón y Rubén Blades

[piloncillos]

Plástico, Willie Colón & Rubén Blades.

[soncrunning]

What a crazy night,, I was this close to sleeping at the park's bench.. again,,

Anyways, Music Recommendation part 3:

Today I'll talk about Salsa! Another genre from the south-west.

I am NOT good at dancing this. It's so sad because every time I travel around this places you see people constantly dancing, and I can never dance with 'em. It's in my bucket list to learn how to dance salsa, though it is so hard"" 😢😢😅😅

Anyways, here's an album by a famous Salsa artist, Willie Colón. He has other great songs, but so far, this one has the bests. I specially recommend "Buscando Guayaba" (Looking for Guava in english).

[fuchinobe]

(1986, A&M Records, SP-12181)

[aci25]

My playlist de Salsa Brava de los 70s

[nicocota]

🎖️.

[wiccareencarnada]

Noa, de la danza a la música

Lia Gesta, mejor conocida bajo su nombre artístico como Noa, empezó en el mundo de las artes desde muy pequeña, pues desde los 6 años de edad empezó su formación como bailarina clásica de ballet y a los 16 se graduó en la Real Academia de Danza. Sin embargo, sintió que que su verdadera pasión, mas que el baile era la música. Sentía una admiración muy especial hacia el arpa, pero en su casa no…

[coversart]

Crime Pays - Willie Colón e Héctor Lavoe (1972)

[sinceileftyoublog]

Bad Bunny Album Review: DeBÍ TiRAR MáS FOToS

(Rimas)

BY JORDAN MAINZER

The central image of DeBÍ TiRAR MáS FOToS, the stunning sixth studio album by Puerto Rican rapper and singer Bad Bunny, comes on the Chuwi-featuring "WELTiTA", a breezy, conga-laden narrative of romance. The premise is simple enough: Benito is trying to woo a woman while riding along the island, soaking in the magic of the beach. The song's suggestion is more widespread: When you love somebody, you want to share yourself and what you love, with them, and where you come from is as much a part of you as anything else. DeBÍ TiRAR MáS FOToS is a record about gentrification and against societal erasure, but at its core, it's a breakup album that sees Benito pining for his ex. The bulk of the story is his journey, from hedonism and heartbreak to identity reclamation to reflections on what really matters. And Bad Bunny's return to genres with which he grew up, juxtaposing Latin trap with salsa, plena, and jibaro music, is the means to the end of that trip.

Though Bad Bunny released an accompanying short film to DeBÍ TiRAR MáS FOToS, the record itself feels like a movie. It begins with a tribute to the centerpiece of the Latin diaspora, the gathering points of "NUEVAYoL", before going street-view in Puerto Rico. He paints a vivid picture of the enrapturing power of his home, especially if you're single. He smokes hookah and snorts crushed pills on the rapid-fire reggaeton of "VOY A LLeVARTE PA PR", enters into a tricky situationship on "VeLDÁ", and drinks coffee in the morning and rum in the afternoon the whole time. Of course, stacked between the highs are the moments where he's left to his thoughts. On immediate standout "BAILE INoLVIDABLE", in which warbling electronics yield to a full-on salsa jam with live trumpet, trombone, maracas, and percussion, Benito remembers the one who got away. "Tú me enseñaste a querer / Me enseñaste a bailar," he sings, longingly. ("You taught me how to love / You taught me how to dance.") The way the tune is structured, starting in the club and finishing in the dance halls of decades prior, indicates that Benito might be referring to both his ex and his country. The lines blur even further on "TURiSTA", where Jonathan Asperil's atonal acoustic guitar playing gives the song an uncannily old-sounding quality. Here, Benito describes an unhealthy relationship in the most alarming of terms: that it's akin to being a tourist in your own residence.

It's once Bad Bunny establishes a newfound appreciation for his roots that DeBÍ TiRAR MáS FOToS takes its greatest anti-colonial bend. "LO QUE LE PASÓ A HAWAii" is a guitar-and-güiro cautionary tale warning his fellow citizens, "No suelte' la bandera ni olvide' el lelolai / Que no quiero que hagan contigo lo que le pasó a Hawái"." ("No, don't let go of the flag nor forget the lelolai / 'Cause I don't want them to do to you what happened to Hawaii.") The song's lumbering synth motif, replete with a crowing rooster and Benito's unusual baritone, imagines a future where the ineptitude of an increasingly apathetic public allows Puerto Rico to take the route of the U.S's 50th state. It escalates in volume until he's cut off, replaced by ghostly voices, as if they're vanishing, struggling to recall the delicious taste of the lelolai.

The sort-of title track "DtMF", then, is Bad Bunny's rebuke to lazy "live-in-the-moment"-type mantras that are just mindlessly plopped on our Instagram stories anyway. Photos capture a temporary reality, of a love or place that once was. "Ojalá que los mío' nunca se muden," he sings. ("I hope my people never move away.") DeBÍ TiRAR MáS FOToS, where Willie Colón rubs elbows with Wisin & Yandel, is the declaration that a culture has thrived and continues to thrive exactly where it started, and that we should cherish it, god forbid it ever disappears.

[carlossd]

[lacolonia]

Plantación América

Plantación Adentro de Tite Curet Alonso

El Padre Antonio de Rubén Blades con Los Seis del Solar

[piloncillos]

Havana, Willie Colón.