Discussion in 'Salsa Music' started by Myst, Sep 7, 2014.
I think this one was befor Marc A Vivir mi vida
was this one already on the tread? also Khaled
and this super kitschy campy on ;-)
Fernando García Morcillo - Foxtrot «Mi vaca lechera»
Conjunto Casino - La vaca lechera
Ismael Rivera - La vaca lechera
Not a F.T, but a very fast Quickstep
Great thread, I have inherited a huge collection of old Cuban music & I am shocked at the amount of Old School Salsa that came from Cuban music, probably even more shocked by how many Cuban versions there are of the same song. It makes it very hard to tell who made the original, and besides the further you go back, (I have music from the 20's & 30's), the more different the sound is. I don't think there is a bigger copier of Cuban music than Oscar D'Leon, and in most cases his version sounds the best. A big part is in the sound quality and superior musical instruments and of course the vocals. Being original I think would have more significance if you got a platinum recording. A lot of this music has no audience anymore and if it wasn't for the salsa versions e would never know about this music. So huge props to the salsa artists that bring this great music back in most cases bigger and better. Otherwise old Cuban music would be flying off the store shelves.
As time goes by the music became more amplified and thus more progressive. Allowing a real arranger to become more creative.
The whole issue of "copying" is misplaced and is really the fault of audiences if someone else received credit. When you compose and release a song to the public, it automatically becomes part of the catalog. Open to anyone to interpret or re-interpret. That's how culture is formed and furthered. The business angle of releasing a rendition of a composition is a separate legal formality. As Bobby Capo once expressed when asked about people re-recording or re-interpreting songs, he stated "...if you don't want anyone reproducing your song, don't release it."
Historically, during the 20th century ad since the 19-teens to the present day, the biggest "copiers" of Afro Cuban music composed by Cubans are Cubans themselves. Which is normal and as it should be.
BTW-A lot of "Salsa" is also original music written in the era [1960s and 1970s] by a Cuban composer working outside of Cuba, as well as non-Cuban composers using Cuban dance genres (Guaracha, Son-montuno, Guajira, etc.) to make their dance audiences respond in the affirmative. If all people do is focus on the Fania "stars" [Harlow, Barretto, Tipica '73, Sonora Poncena, Pacheco, Bobby Valentin, etc.) then, yeah, you're going to assume that its all nothing but a cut and paste. But there's plenty of artists [including those aforementioned stars] who recorded compositions that, again, were composed in the 1960s and 1970s, written by Cubans and non-Cubans who were based in NYC, Puerto Rico, Mexico, Colombia, Peru, Venezuela, etc. As many of them have also been copied and had their music re-recorded and released to the public.
Sonero, Pete el Conde Rodriguez - 1970's
If anything, it's a Peabody, way too fast for FT
This cover is appropriate for these days:
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