Fania Records put salsa on the map. Can it evolve?
At one point, Fania Records stood out as the preeminent label in Latin music, earning comparisons to Motown in the realm of salsa. From its explosive emergence in New York City during the late ’60s to its dominant influence on sound throughout the ’70s and ’80s, the company experienced massive success, selling millions of albums. Its unmatched roster included musical greats like Celia Cruz, Tito Puente, Héctor Lavoe, Willie Colón, Rubén Blades, Ray Barretto, Larry Harlow, and Eddie Palmieri, showcasing the rich heritage and refinement of Afro-Caribbean music.
As a passionate follower of the genre, I can’t help but reflect on how its defining imprint eventually gave way, much like the vibrant flavors of salsa that eventually succumb to natural change and emerging trends. Back in 2004, when Daddy Yankee dropped “Gasolina,” it was as if reggaetón had taken the torch from salsa, becoming the rhythmic voice of a younger generation. This music, deeply rooted in Puerto Rico, was raw, unpredictable, socio-politically conscious, and irresistibly danceable – the pulse of our culture.
However, the Fania legacy endures, not just in the recollections of individuals fortunate enough to immerse themselves in the ’70s salsa boom, but more significantly, in an extensive collection of classic albums numbering in the thousands.
2024 marked the 60th year since the label’s establishment, and the debate over whether this rich repository of Latin culture is being adequately preserved has gained increased relevance.
In the ’90s, if I sported a Fania T-shirt in New York, people would halt me every few steps to enquire about its origin. That’s according to Bruce McIntosh, Vice President of Latin catalog at Craft Recordings, who oversees Fania and other esteemed labels under the Concord imprint.
Today’s children are more likely listening to music that their grandparents did in their youth. Although they may recognize the artists and songs, they are not familiar with the record label. Our goal is to educate the younger generation about this influential label.
Fania was established in 1964, co-founded by Johnny Pacheco, a multi-talented Dominican musician and conductor, along with Jerry Masucci, a divorce lawyer. The primary purpose of Fania was to produce Pacheco’s “Cañonazo” – an enchanting compilation of breezy, tropical dance rhythms, which also included a rendition of the Cuban classic “Fania.” Over time, numerous classics emerged from Fania, such as Ray Barretto’s 1968 album “Acid,” a tribute to psychedelia, Latin soul, and boogaloo, and the 1974 LP “Celia & Johnny” by Cruz and Pacheco. This latter album served to rejuvenate Cruz and solidify her position as the Queen of Salsa with the smash hit “Químbara.
By the end of the ’90s, the company had acquired the resources of many competing brands such as Tico, Alegre, and Inca. However, its impressive collection was in a state of chaos, ripe for a smart investor who could extract its valuable treasures.
The ownership of the label switched several times until, in 2018, Concord Music purchased Fania Records and its accompanying music catalog – which included approximately 19,000 master recordings and 8,000 compositions – for a reported $30 million. Given the extensive scope and cultural impact of these assets, fans are eager to observe how Concord will manage and preserve the legacy of Fania’s musical canon.
Not much, as it turns out.
Instead of producing a stylish CD collection of Latin soul singles, Concord has mainly focused on exhibiting the original albums in high-quality audio format on streaming platforms and launching some timeless pieces on 180 gram vinyl. Sig Sigworth, president of Craft Recordings, mentions that they are planning approximately a dozen vinyl releases for their 60th anniversary, but must carefully select which albums to feature.
Over 40 million records were purchased in the United States last year, yet streaming continues to dominate, accounting for over 95% of album equivalent music consumption. Fania reissues are popular among DJs and collectors, but they don’t fully showcase the breadth of the label’s musical archive.
In 2018, Craft published an elaborate five-CD collection titled “Stax ’68: A Memphis Story” on another prestigious label. This box set collects and provides commentary on the singles released by the legendary soul label in 1968, one of its most productive years. Another set was released in 2023: “Written In Their Soul: The Stax Songwriters Demos”. Could Fania gain something by adopting a similar strategy?
In his New York residence, salsa icon Blades shares his plans for updating and re-releasing his entire discography in tangible form: “I’d start by remastering and republishing all my albums physically. However, simply releasing the music isn’t enough for me; I intend to create a series of box sets that delve into the music, providing an accurate historical context.
At 76 years old, Blades continues to be involved in music. In November, he earned another Latin Grammy award. Originating from Panama, this musician and songwriter moved to New York City in the early ’70s and worked his way up from the Fania record company’s mailroom. He eventually convinced some of the label’s famous artists to record his songs. Later on, he sang with Baretto’s orchestra before forming a successful collaboration with trombonist and producer Willie Colón. Their 1978 album “Siembra” is considered the definitive salsa LP, expressing strong sociopolitical messages.
An aspect that hasn’t received enough attention is salsa’s role in combating racism,” he notes further. “At the Palladium nightclub, skin color was irrelevant; it didn’t matter if you had unkempt shoes or were missing teeth. If you could dance well on the floor, even the most attractive women would compete for your attention.
Tomás Cookman, the founder of Nacional Records in Los Angeles and a fervent advocate for Latin music in the United States, shares his personal aspirations regarding the label’s collection.
According to Cookman, if he were managing Fania, he’d undoubtedly enroll in a master class at Rhino Records. He manages Talking Heads, and he admires the affection and quality Rhino is pouring into the band’s latest reissues.
As a dedicated lover of salsa music for life, Cookman aspired to personally own the Fania assets. However, before he could gather the necessary funds, Concord Music swiftly secured them instead.
He remarks with a grin, “Indeed, it’s simple to criticize from the comfort of Monday morning.” However, I believe Concord is hesitant to showcase their music more. But let’s not forget, we’re no longer in 1987 where you had to produce 200,000 copies of a release. Nowadays, you can easily order 10,000 copies and sell them all. We frequently do this at Nacional.
Peering ahead into the cinema of Fania’s discography, I see two captivating paths unfolding. One route delves deep into the catalog’s more uncharted territories, revealing a treasure trove of hidden masterpieces. For every album by Cruz or Puente, there exists an array of undiscovered gems – from the raw, self-titled 1972 debut of La Conquistadora, showcasing the prodigious 16-year-old pianist Oscar Hernández, who would later lead the Spanish Harlem Orchestra, to “In Line,” a suave boogaloo session led by conguero George Guzman.
They thoroughly searched through the original recordings, looking for demos, discarded takes, initial mistakes, and behind-the-scenes conversations in the studio – a method that has proven fruitful for many renowned artists, such as Elvis Presley and King Crimson.
McIntosh responds, “We have leftovers and miscellaneous pieces, yet nothing fresh is present. Everything has been uncovered before. There are many unfinished songs, but none are fully completed. Much of it isn’t even music; it includes spontaneous laughter or [famous salsa artist] Héctor Lavoe asking someone to close the door. It could supplement the existing content, but in a digital format, there aren’t many suitable spots where it can be inserted.
According to Blades, there’s another point to consider regarding Fania – they missed an opportunity. By releasing new albums from the surviving musicians, the original artists who were part of the ’70s salsa boom could have revitalized their catalog. Instead, they did not create any new recordings or organize a tour, which could have helped to reinvigorate their business. Ultimately, Fania is in the record-selling industry and failed to capitalize on this opportunity.
At present, we’ll make do with the luxurious vinyl rereleases. For those newcomers delving into the Fania discography, the original albums remain captivating due to their poetic beauty and foresight.
In the current situation, we can enjoy the opulent vinyl reissues. As for beginners exploring the Fania catalog, the vintage albums continue to amaze with their poignant poetry and insightful vision.
McIntosh explains that in addition to teaching young people, we’re also helping them understand the origins of Latin music. They might wonder where the samples used by artists like Rauw Alejandro or Bad Bunny originate from. Some of these kids may be unaware of what a CD is, as they were born after its widespread use due to their age being 18 years old.
According to Sigworth, when dealing with reissues, it’s crucial to craft a unique tale. The question becomes: how do we present this story effectively? How can we skillfully blend the music and liner notes to steer the narrative as desired? Fania served not only as a conduit for the music but also as a powerful voice for Latinos in the 70s and 80s.
Performing consistently at packed venues throughout the Americas, Blades remains convinced that salsa has yet to fully penetrate the mainstream.
He points out that it’s not accurate to assume this music is outdated and forgotten about. Just recently, he returned from a concert in Cali where he witnessed 20,000 Colombians enthusiastically singing along. The majority of them were young. He shared with them, “When this song was released, you weren’t even born yet.
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2025-01-09 02:31