HARLOW / MIRANDA "EL EXIGENTE" BOOGALOO FANIA#342 (196

$

78

snw_ecp

TITLE : EL EXIGENTE

ARTIST :LARRY HARLOW ORQ. W/ISMAEL MIRANDA 

LABEL & RECORD #: FANIA #437 (1967)

VINYL CONDITION: HEAR SOUNDS CLIPS INCLUDED: INCREDIBLY MOST NM!

LABELS CONDITIONS: SEE SCAN : NM!

COVER CONDITION: SEE SCAN : LIGHT AGE WEAR...NO SPLITS!!!

REMARKS: BOOGALOO!!!, SHING-A-LING!!!!

I GOT 12 LPS at $12.99 e/o (reissued by a MIAMI company...including two Mongo Santamaria on Atlantic, Joe Cuba on SEECO, etc))....PURE Garbage...including this one....so bad that I posted them in another site at $11.99 loosing $1.00.....it seems they were pressed utilizing a new LP......not the master....the one I'm posting is the original pressing..the reissue cover is white inside and the label has some light lines pattern...its part of the vinyl!!!) ALSO THE REISSUE COMES WITH A WHITE INNER SLEEVE!

INTERESTING!!! EVERYBODY HATED THE BOOGALOO, SHING-A-LING BUT THEY RECORDED THAT (FOR ME...GREAT) "UGLY" RHYTHM AND MADE LOTS OF $$$$$

HARLOW's INTERVIEW:

TC: When the boogaloo craze hit and there was more R&B being injected into the music, my understanding is that it created a rift between the old guard and the young guard in Latin music.

LH: You have to remember that Latin music comes in waves. Before the boogaloo was what we called the mambo era. Then came the pachanga, then came the boogaloo, and then the salsa dura. After that came the Latin hustle. After that came the salsa monga, the salsa romántica, and then the reggaeton. But salsa dura is still here. Boogaloo is not here any more. The problem was that American radio stations would not play anything in a foreign language. So we were stuck and the Latin record company executives wanted some product that it could play on American radio stations so they invented the boogaloo and shoved it down people’s throats. To me it was a little more on the R&B side but it wasn’t really R&B either.

TC: So you’re not a big fan?

LH: No, I’m not. I did one boogaloo album. I was forced to do a boogaloo album in 1967 that I absolutely hated, but who knew back then what choices we had?

TC: Is that appropriate then, a rift between the old and new guard?

LH: Well, musically the boogaloo is based on a 1-4-5 progression. You know, [singing] “I like it like that” or “Guantanamera.” It’s all the same. It’s very simple. They pick up a catch phrase like “Bang, bang” or “Push, push, in the bush” or whatever the heck it was. It was really kind of stupid but a lot of the kids that were growing up, Nu Yoricans who were born in the States, didn’t know any better. It was easy to dance to and easy to remember and they got a little radio play on the American stations. A couple people made a couple dollars. The rift was between the staunch Afro-Cuban purists who played in clave, within the parameters of real Afro-Latin music, versus the bastardizing of the music. So Pacheco, Palmeiri, Barretto, and myself were always the purists, the kind of guys that really stuck to the clave and made sure everything was working right whereas guys like Joe Bataan, Joe Cuba, Johnny Colon, and Willie Colon didn’t really care that much. To heck with the clave, we’ll do whatever we want!

TC: And the clave defines Afro-Cuban music in a lot of ways.

LH: The clave defines all Latin music, from bossa nova to samba to merengue to cumbia to salsa to guaguanco to cha-cha-cha. The clave is the basis of all Latin music which all comes from Africa. It came from the Dark Continent via the slave trade to the Caribbean and is the basis of Latin music. The clave has such a strong feel to it that it’s not even written on paper, it’s just felt. It’s felt within the arrangements, within the songs, within the performances. It’s really what makes it swing. Everything has this 1-2-3-4 and everyone tries to play on the beat but the clave has a little of what we say in Spanish, pa’lante y pa’tras. It’s a little in front and a little in back and has this swing and sway that makes you want to get up and dance.

TC: So the Fania catalog is being reissued now.

LH: Little by little. It started out like gangbusters, doing 30 or 35 a month, now they’re down to two or three. The economy is getting beat up, the record business is in the pits, the bootlegs and downloads are putting the recording business in jeopardy right now. So it’s been very difficult but they’re doing a great job of remastering digitally. They’ve dug up all the old masters and have gone back and remixed everything and written new liner notes in Spanish and English and added new photographs in addition to the old ones. They’ve made deals with places like Starbucks, K-Mart, and Target and places where our records were never available before. A lot of youngsters who weren’t around when these original records came out are discovering all this great music. It’s really a lot of fun

ISMAEL MIRANDA

With the musical training he picked up from various bands and sextets, Ismael Miranda built the foundation of his future professional career. He was only 19 years old when he joined the talented Fania Records family. The intense pressure exerted by the label to release a weekly production suited Ismael, who participated in these performances as a member of the chorus. It didn't take long for Larry Harlow to discover the young artist's talent and potential. He approached Ismael and offered to officially introduce him to the music world with the album "Orquesta Harlow Presenta a Ismael Miranda" ("The Harlow Orchestra Presents Ismael Miranda"). From then on, Ismael collaborated with the orchestra on successive recordings, making a name for himself as a composer. Many of the songs he wrote had a long-lasting impact, and became wildly successful with fans. By 1973, he was an established musician. He burst onto the scene with the album "Así se compone un son," which launched a new stage of his career. Now, he fronted his own band, and went on to break sales and popularity records, taking Latin America, Europe, and the United States by storm.

TRACKS SIDE A:

1- EL EXIGENTE
2- LAS LUCES
3- RHUMBA ME LLAMAN
4- EL MEJOR

TRACKS SIDE B:

1- MESS AROUND
2- GROOVIN' TO THE AFRO-TWIST
3- THAT GROOVY SHINGALING
4- FREAK OFF

5- BE FREE

WEB REMARKS:  

Harlow Orchestra "El Exigente" LP released on Fania records in 1967

.

Knockout Latin/Soul Record from Larry Harlow as the leader of Orchestra Harlow.

Featuring a very young singer at 17 years of age : Ismael Miranda.

Harlow studied Afro-Cuban music after leaving New York for Cuba in the 50s. He returned to New York before getting his degree because of the revolution, but gained experience enough to release among others this quality album blending soul with other styles such as boogaloo and so on.

Best known track on "El Exigente" is the funky track "Freak Off" which Im sure has filled many dancefloors throug the years!! "Las Luces", "Mess Around" and "That groovy Shingaling" are just SOME of the other tracks worth mentioning on this LP

He was the second artist to be signed to Fania and is right up there (if not better) with some of the other Fania releases around that time by artists such as Ray Barretto, Joe Bataan etc.

ATT: PUERTO RICO & HAWAII: MEDIA SHIPPING WILL LAST 8-10 DAYS TO REACH YOU...PRORITY MAIL IS $7.00 BUT WILL REACH YOU IN APROXIMATELY 3 DAYS!

SHIPPING CHARGES........FOR GATEFOLDS With 2 Lps ADD S&H FOR 2

ITALY CUSTOMERS:

ITALY……. ADD $11 FOR REGISTRATION!!! No exceptions! Sorry, I or 4 C’m following Other Dealers Suggestions Regarding Problems With the Delivery/Handling of Items…I personally had 2 of 4 problems, Mexico was the Other) in ten years (Thousands Of Records Sold) in the business!!!

(Gli acquirenti italiani sono tenuti ad aggiungere 11 dollari per la spedizione registrata. Non si fanno eccezioni)

POSTAL RATES & WEIGHTS - LPs

LBS.

0.82

1.4

1.9

2.6

3

# of LPs

1

2

3

4

5

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VG+ PICTURE SLEEVES: might show some very light creasing where it is obvious that a record once resided (or still does reside). A VG+ picture sleeve might have some very minor seam wear or a split (less than one inch long) at the bottom, the sleeve’s most vulnerable location.

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