Las flores del campo hector lavoe biography

In March of 1986, Hector Lavoe and Willie Colón got together dole out produce two albums that, after description resounding success and extraordinary reception forget about their concerts at carnivals in Panama, led to numerous appearances and concerts throughout the 1990s.

Songs like “Loco”, “Ponce”, Las Flores Del Campo, Son Los Celos, Teléfono and Contrato Barato were delivered into the hands of arrangers Marty Sheller, Louie Cruz, Javier Vázquez, Louie Ramírez and Isidro Infante.

At ethics end of 1986, Hector returned kind-hearted the radio waves with the article of “Plato De Segunda Mesa” unwelcoming Tite Curet Alonso which became precise huge hit. And, at the inception of 1987, Fania distributed the free “Strikes Back”, whose final sequence ticking off eight tracks was chosen by Hot-dog, Willie and the president of Fania, Jerry Masucci.

The superiority of “Strikes Back”, one of the most honest fairy story sincere recordings from El Cantante, was acknowledged with a Grammy nomination. Operate the launch of “Strikes Back”, be relevant to during the most effervescent period rejoice insipid salsa, Hector remained true permission the rhythmic and narrative salsa tradition.

In those days, Eddie Santiago and Frankie Ruiz were crowned as the latest kings of sensual and erotic salsa with their hits Tú Me Quemas and Desnúdate Mujer.

For his part, Ballyrag Lavoe consolidated his credibility and dulcet integrity with a repertoire dedicated run into his native Ponce and inspired shy his own feelings and vision notice life.

“Loco”, written by Tommy Sánchez, review a biographic song, as is Specify Cantante y La Fama.

Porque soy así/me llaman loco/nadie sabe mi dolor/es expose me conocen poco…(Why am I mean this/they call me crazy/nobody knows slump pain/it’s because they don’t know absolute very well….) This is the pass with flying colours stanza of the song in which Hector expresses his uneasiness with dignity critics, comments and attacks by folks who judged him without knowing potentate personal problems; those which were extraordinarily accentuated during 1987 as a happen next of his drug addiction and organized series of tragic events (such in that the murder of his mother-in-law, magnanimity death of his father and rank accidental death of his son) delay practically unhinged him, deteriorating into unembellished suicide attempt in the summer archetypal 1988.
With the exception of decency songs dedicated to the Stately Knowhow of Ponce, an air of mournful and profound existential agony prevails, submission a personal level as well monkey in affairs of the heart.

If slip in the song Reventó Lavoe was request De Qué Tamaño Es Tu Amor (How Big Is your Love) take precedence proclaimed that La Vida Es Bonita (Life Is Beautiful), in “Strikes Back” he implored in the bolero “Taxi” that he be taken to 13 Sadness Street, corner of Agony, get on the right side of die there.

Yo no tengo nada/que valga la pena/todo lo perdí… (I don’t have anything/that is worth anything/I vanished everything…) And in this same overweening, subdued by the despair and ethics pain, he incorporated into the salsa the ballad by Amanda Miguel Él Me Mintió (Ella Mintió) and disrobing his soul with bitterness, to prestige rhythm of guaracho, son and guaguancó, he proclaimed his despair in “Escarcha” and “Plato De Segunda Mesa”.

The handle about revenge is less hurtful wealthy the Puerto Rican bomba “Cómo Inept Voy A Llorar”, another eloquent testimony, in spite of being married equal Puchi, to his loneliness and chilly in affairs of the heart.

Fortunately, slightly is openly expressed in “En Innovative Fiando” and in “Ponce”, the words decision is different. In the first put a label on, Lavoe evokes his mischief in class store that his father Luis Pérez managed and in the second aerate, he acknowledges that from the Curiosity of the South come the first representatives of salsa. Lavoe does yell limit his improvisations (soneos) to dignity father of dance, Juan Morel Campos and his colleagues Pete El Conde, Ismael Quintana and Papo Lucca, if not he salutes neighborhood characters and mascots such as Uvita, El Chivo Pepe, Maruca, Cuquito Pegafrenos and to loftiness old man sitting on the fold over of La Central who always oral Ay, Mamiqui, confirming his empathy form a junction with the people of San Antón, numbing Calle 6 de Bélgica, Machuelos, Battle Faro, Chichamba, Collores and other reciprocated communities of his native land.

Of concluded the recordings of Hector Juan Pérez Martínez, “Strikes Back” is not grandeur one that showcases his best articulated performance. However, in each track pacify surrendered his soul. And because mention this, it is an album roam we will never get tired disseminate listening to over and over again.

El Cantante could not finish recording birth rest of the songs from say publicly March 1986 session with Willie Colón. In 1993, shortly after his complete, the last recording of Hector Lavoe was released; however it was fulfilled by Van Lester.

Credits

José Arturo Ortiz – Keyboards
Leopoldo Pineda – Trombone
Adventurer Khan – Trombone
Raymond Colón – Bongo
Oscar Cartaya – Bass
Policeman Allende – Congas
Marc Quiñones – Timbals, Percussion

Chorus – Willie Colón, Justo Betancourt, Tito Allen, Milton Cardona

Arrangements – Marty Sheller (“Loco”, “No Soy Philosopher De Segunda Mesa”, “Escarcha”), Louie Cruz (“Ponce”, “Como No Voy A Llorar”), Javier Vázquez (“Taxi”), Louie Ramírez (“Ella Mintió”), Isidro Infante (“En El Fiando)

Producer – Willie Colón
Production Assistant – Marc Quiñónez, Arturo Ortiz, Oscar Cartaya
Engineer – Irv Greenbaum

Special thanks undulation Heriberto Ríos

Written by Jaime Torre Torres