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Guest northernmod

Hello, I'm searching the singles discography of these three labels: Fania, Tico & Cotique. At least the singles pressed until the end or the middle of the 70s.. :thumbsup:

Can anyone help me? I tried browsing on the Net but didn't find anything. :D

Thanks a lot!

Ciao :wicked:

Brian - Milan, IT

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Guest trickbag

English

Espa±ol

Adalberto Santiago

Azuquita

Bobby Cruz

Bobby Valentin

Celia Cruz

Celia Cruz & Tito Puente

Celia Cruz / Johnny Pacheco

Charlie Palmieri

Cheo Feliciano

Dave Cortez and the Moon People

Eddie Palmieri

Fania All Stars

Fania Live Series

George Guzman

Hector Lavoe

Ismael Miranda

Ismael Rivera

Joe Bataan

Joe Cuba

Joey Pastrana

Johnny Pacheco

Jose Monguito Santamaria

Justo Betancourt

La Lupe

La Tipica 73

Larry Harlow

Lebron Brothers

Louie Ramirez

Mongo Santamaria

Orquesta Harlow

Orquesta Inmensidad

Pete "El Conde" Rodriguez

Ralfi Pagan

Ray Barretto

Ricardo Marrero

Richie Ray

Roberto Roena

Ruben Blades

Santos Colon

Sonora Ponce±a

Tito Puente

Tommy Olivencia

Various Artists

Various Artists - El Barrio

Various Artists - Fania

Various Artists - Fania DJ Series

Various Artists - Snowboy

Willie Colon

Willie Colon / Ruben Blades

Celia Cruz / Johnny Pacheco

Celia Cruz

Celia Cruz had a brilliant and successful music career in her native Cuba, where her extraordinary vocal talent and enormous popularity earned her the nickname "The Guarechera of Cuba."

Her transcendence, however, masked an even greater ambition upon her arrival to the United States. Beginning a new phase of her career, joining the Fania Family, and linking her name to the great artists of the label, she made her mark and earned herself a new title: "The Queen of Salsa." She was also known as the "Gran Se±ora" for her integrity, human condition, and solid morals.

Her success took the form of 80 recordings that prove her magnetism, as well as her ability to communicate through music: a rhythm and sound that made its way to many generations who have given her their applause and gratitude during sold-out concerts in five continents. These would give her music a wide audience.

Celia was not only known for her vocal prowess, but for her dramatic talents as well. She appeared in nine movies, including "Los reyes del mambo." She also appeared in the soap operas "Valentina" and "El alma no tiene color," both of which were filmed in Mexico.

Celia left behind a rich musical legacy, and will always reign as "La Guarachera de Cuba," the "Gran Se±ora," and the undisputed "Queen of Salsa."

Johnny Pacheco

"Master" is the word to describe this multifaceted artist, whose multiple talents as a musician, singer, composer, director, and produced allowed him to forge the careers of many young artists who entered the world of salsa, as well as many other consecrated stars, such as Celia Cruz, Willie Col³n, Hctor Lavoe, Pete "El Conde" Rodr­guez, Rubn Blades, Cheo Feliciano, and countless others who shared billing with him on his albums.

Pacheco inherited his passion for music from his father, who was a musician and orchestra conductor. This environment was perfect for shaping his innate talents. At a very early age, the family moved to New York, where Johnny attended Julliard and cultivated his talent for violin, saxophone, and clarinet.

His career as a musician reached its peak in 1963, when he joined forces with Jerry Masucci to create Fania Records, of which Pacheco was the CEO, creative director, and musical producer. There, he solidified the careers of many who are now part of the history of the "Fania Family." This was the record label that would set the standard in Latin music and gain unforeseeable celebrity at the international level.

Many of these achievements were the work of Johnny Pacheco, who was not only an artist, but a visionary who knew how to bring talent to the label. This skill was vital to the quality of his albums, both as a member of Fania Records, and as a soloist.

10 APRIL 2007

Recordando El Ayer | CD album

1. Besito de Coco

2. Ritmo, Tambor y Flores

3. Se Que Tu

4. Reina Rumba

5. Vamos a Guarachar

6. Equivocada

7. Ahora Si

8. Cuando Tu Me Querias

9. Yerbero Moderno

10. Guillate

14 MARCH 2006

Celia & Johnny | CD album

1) Quimbara

2) Toro Mata

3) Vieja Luna

4) El Paso Del Mulo

5) Tengo El Idde

6) Lo Tuyo Es Mental

7) Canto A La Habana

8) No Mercedes

9) El Tumbao Y Celia

10) El Pregon Del Pescador

"Celia y Johnny," undoubtedly the most important album in Celia Cruz's career, opened the doors of success for the famous Cuban singer with the force of a raging bull.

The singer had been fighting to break out onto the salsa scene since her arrival to the United States in 1962. Her career had been lethargic during the era of the boogaloo. In the early 1970s, a series of commercial flights were hijacked to Cuba, becoming a weekly event. Fearing she might board a flight that was hijacked to Cuba, Cruz decided to stop flying altogether. This, combined with disagreements with the Tico label over the direction of her career, kept her isolated from the beginnings of the salsa movement that took shape under the Fania label.

After singing "Gracia Divina" in the opera Hommy, by Larry Harlow, and "Bemba color¡" with the Fania All Stars, it was time for Cruz to record a full-length album that would showcase her interpretive skills. "Celia y Johnny" proved just the trick.

Johnny Pacheco had been enjoying a long and successful music career. Since his early days as a percussionist in the Xavier Cougat Orchestra, the Dominican had learned a lot about style and rhythm. His unique sound -known as the "Pacheco Groove" - had turned him into a favorite, particularly among New York dancers, and among lovers of Afro-Caribbean music in general.

Pacheco, a founding member of the Fania label, had noticed that Cruz's early recordings on the Tico label with the Tito Puente Orchestra tended to limit her impressive voice, which he felt was not reaching its potential against the enormous sound of Puente's big band. Pacheco once told me, "Let me put it to you this way: Celia sounded good with a stick banging against a can. She didn't need all those instruments."

Singers such as Mel³n, Pete "El Conde" Rodr­guez, and later, Hctor Casanova, achieved great success and acceptance in combination with the Pachecho sound. Pacheco understood that his resounding style would help to highlight Cruz's incomparable voice.

Paired with the Pacheco groove, the "Queen of Rumba" evolved, unleashing two of her greatest hits: "Toro mata" and "Quimbara." Both received wild acclaim among dancers, who immediately accepted her as the favorite on the growing salsa market, which was about to take the world by storm.

The rumba hit "Quimbara," with its lively beat, hit the salsa market early and immediately became an enormous and explosive hit.

In my book, "Rumba is Queen," I make a series of observations, which I will share here and which will prove the significance of this classic album:

"The Johnny Pacheco groove and the charming essence of Celia Cruz forged a bond that took control of the most important period in the history of salsa. This period has now gone down in history as 'The Golden Age' of salsa. This album is an intensely important one within the historical, political, and social context that marked the time."

"'Quimbara,' a song written by Junior Cepeda (a talented young boricua who died at the tender age of 22, killed by his live-in girlfriend), is almost certainly the most important song performed by Cruz upon her return to the Spanish-speaking market. However, 'Toro mata' was also an integral part of her extraordinary success."

Toro Mata

Toro Mata, Toro Mata

Rumbambero y Toro Mata

Toro, Toro, Torito

Apolo no le permite,

hacer el quite a mi chiche, toro mata

¿Quin trajo ese negro aqu­?

It was at Pacheco's side that Celia changed the course of her musical future, and on this album, her charm, versatility, and integrity confirmed that her moment had arrived. Along with "Toro mata" and "Quimbara," this album -which was produced entirely by Johnny Pacheco- includes the tracks "Vieja Luna," "El paso del mulo," "Tengo el idd," "Lo tuyo es mental," "Canto a la Habana," "'o Mercedes," "El tumbao y Celia," and "El preg³n del pescador."

Many of these songs, such as "Tengo el idd," "Lo tuyo es mental," "El tumbao y Celia," and "El preg³n del pescador" remained at the top of the charts, and the album went gold. This is a true classic that belongs in your record collection.

Musicians:

Johnny Pacheco - Lead, Percussion, Guiro, Flute

Papo Lucca - Piano

Johnny Rodr­guez - Conga

Ralph Marzan - Bongos

Hector "Bomberito" Zarzuela - Trumpet

Luis Ortiz - Trumpet

Victor Venegas - Bass

Charlie Rodr­guez - Tres

Ismael Quintana - Maracas

Chorus: Johnny Pacheco & Justo Betancourt

Producer: Jerry Masucci

Recording Director: Johnny Pacheco

Photography: Lee Marshall

Album Design: Ron Levine

Recording Studio: Good Vibrations Sound Studios

Engineer: Jon Fausty

Album Design by Ron Levine

Written by Juan Moreno Vel¡zquez

© 2006 EMusica Records, LLC.

Quimbara

Toro Mata

Vieja Luna

El Paso Del Mulo

Tengo El Idde

Lo Tuyo Es Mental

Canto A La Habana

No Mercedes

El Tumbao Y Celia

El Pregon Del Pescador

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FANIA | News | About Fania | Artists | Sign-Up || V2music.com

hope this helps. ricky.

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Guest northernmod

Thanks Ricky, this is taken from the Fania website. I meant the discography with the list of all the 45s pressed....you know.. :wicked:

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