Fania Records Lyrics
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From the Album
1. I Like It (I Like It Like That)
by Pete Rodriguez 2. Café
by Eddie Palmieri 3. Gypsy Woman
by Joe Bataan 4. Acid
by Ray Barretto 5. Mi Gente
by Hector Lavoe 6. Agúzate
by Ricardo "Richie" Ray 7. Anacaona
by Cheo Feliciano 8. Quimbara
by Johnny Pacheco 9. Las Caras Lindas
by Ismael Rivera 10. Ché Ché Colé
by Willie Colón 11. El Cantante
by Hector Lavoe 12. Indestructible
by Ray Barretto 13. El Ratón
by Joe Cuba Sextet 14. Estrellas de Fania
by Fania All Stars 15. La Murga
by Willie Colón 16. Pedro Navaja
by Willie Colón
by Pete Rodriguez 2. Café
by Eddie Palmieri 3. Gypsy Woman
by Joe Bataan 4. Acid
by Ray Barretto 5. Mi Gente
by Hector Lavoe 6. Agúzate
by Ricardo "Richie" Ray 7. Anacaona
by Cheo Feliciano 8. Quimbara
by Johnny Pacheco 9. Las Caras Lindas
by Ismael Rivera 10. Ché Ché Colé
by Willie Colón 11. El Cantante
by Hector Lavoe 12. Indestructible
by Ray Barretto 13. El Ratón
by Joe Cuba Sextet 14. Estrellas de Fania
by Fania All Stars 15. La Murga
by Willie Colón 16. Pedro Navaja
by Willie Colón
Fania Records: How A New York Label Took Salsa To The World
A record label of huge significance, the Fania story takes in the birth of salsa music and the global spread of Latin culture.
Just as Chess Records is synonymous with the blues, Motown with soul, and Blue Note with jazz, New York's Fania Records is inextricably tied to the sound of Latin American salsa music.
The label was the brainchild of an unlikely partnership between an accomplished Caribbean musician from the Dominican Republic and a Brooklyn-born Italian-American who was a former police officer turned divorce lawyer. Johnny Pacheco and Gerald "Jerry" Masucci met in 1962 when the latter became the former's divorce attorney. But they also shared a mutual love of Latin music (Masucci had worked in Cuba at one time) and, in 1964, they decided to start a record label that began as a small-time operation on the Big Apple's mean streets but which would eventually become a global brand that conquered the world.
They decided to call their label Fania, though there is some dispute as to how the company got its name: some say it was named after a popular musicians' hangout that Masucci discovered when visiting a pre-Castro Cuba, while others contend that it was inspired by a song called "Fania," written by Cuban musician Reinaldo Bolaño, a version of which appeared on the label's first-ever album release, Mi Nuevo Tumbao... Cañonazo by Johnny Pacheco.
Though it quickly snowballed to become a large, influential, music-business empire, Fania's beginnings were humble. When it began, it was just one of a multitude of New York-based independent record labels trying to get its music heard. But Pacheco and Masucci brought a personal touch, hand-delivering their label's releases to record stores in Spanish Harlem from the boot of a car.
Today, Fania Records is recognized as an important repository of Latin American music whose legacy is of great cultural as well as musical significance. Indeed, Fania was much more than a record label: it reflected the Latino way of life and functioned as a vivid soundtrack documenting Latin Americans' life and times in metropolitan America during the 60s and 70s. The mark it left was indelible, and the fact that many of Fania's songs have been sampled by hip-hop acts shows how the music continues to live on and appeal to new generations of listeners.
-udiscovermusic.com
Genre(s):
Soundtrack A record label of huge significance, the Fania story takes in the birth of salsa music and the global spread of Latin culture.
Just as Chess Records is synonymous with the blues, Motown with soul, and Blue Note with jazz, New York's Fania Records is inextricably tied to the sound of Latin American salsa music.
The label was the brainchild of an unlikely partnership between an accomplished Caribbean musician from the Dominican Republic and a Brooklyn-born Italian-American who was a former police officer turned divorce lawyer. Johnny Pacheco and Gerald "Jerry" Masucci met in 1962 when the latter became the former's divorce attorney. But they also shared a mutual love of Latin music (Masucci had worked in Cuba at one time) and, in 1964, they decided to start a record label that began as a small-time operation on the Big Apple's mean streets but which would eventually become a global brand that conquered the world.
They decided to call their label Fania, though there is some dispute as to how the company got its name: some say it was named after a popular musicians' hangout that Masucci discovered when visiting a pre-Castro Cuba, while others contend that it was inspired by a song called "Fania," written by Cuban musician Reinaldo Bolaño, a version of which appeared on the label's first-ever album release, Mi Nuevo Tumbao... Cañonazo by Johnny Pacheco.
Though it quickly snowballed to become a large, influential, music-business empire, Fania's beginnings were humble. When it began, it was just one of a multitude of New York-based independent record labels trying to get its music heard. But Pacheco and Masucci brought a personal touch, hand-delivering their label's releases to record stores in Spanish Harlem from the boot of a car.
Today, Fania Records is recognized as an important repository of Latin American music whose legacy is of great cultural as well as musical significance. Indeed, Fania was much more than a record label: it reflected the Latino way of life and functioned as a vivid soundtrack documenting Latin Americans' life and times in metropolitan America during the 60s and 70s. The mark it left was indelible, and the fact that many of Fania's songs have been sampled by hip-hop acts shows how the music continues to live on and appeal to new generations of listeners.
-udiscovermusic.com