![]() ![]() Born in Cuba and developed in the Bronx, Pachanga soon replaced mambo and the cha-cha-chá as the hottest dance craze. With the changing times came new musical trends, including Pachanga. The savvy record executive explained to Dean Rudland that he “employ A&R men and producers, such as Ralph Seijo, Miguel Estivill, and Joe Cain, who understood not just the fundamentals of Latin music, but also how it was changing and developing as it moved into the 1960s.” Those at the label also sought to reach a new audience-specifically second-generation Latin communities, who were coming of age in an exciting new era. Under Levy, Tico became a powerful player in the Latin music scene. By the end of the ’50s, music impresario Morris Levy had taken control of the company. While the label signed other big players in the mambo and cha-cha-chá scenes-including Tito Rodríguez, Joe Loco and Arsenio Rodríguez-Tico could not survive Goldner’s gambling habit. It would be Puente’s second stint with the label, however, that cemented his status as an international star-most notably with 1962’s “ Oye Como Va,” a popular cha-cha-chá number that Santana transformed into a Latin rock hit eight years later. ![]() A defining figure in Latin jazz, the “King of Timbales” began his prolific recording career at Tico with albums like Mamborama (1955) and Puente in Percussion (1956). One of his first signings was bandleader, percussionist and composer Tito Puente. While Goldner would establish a multitude of labels during his career (including Roulette, Gone and Leiber and Stoller’s Red Bird), his first endeavor, Tico Records, would hold a significant place in Latin music history. In 1948, New York club owner George Goldner sought to change that. Despite its popularity, however, there was little mambo on record. Its epicenter was New York City’s Palladium Ballroom, where bandleaders like Tito Puente, Machito and Tito Rodríguez (aka the “Mambo Kings”) played the Cuban-influenced music all night long. The story of Tico Records begins in the late 1940s when mambo swept dance clubs across the East Coast. ![]() Home to such pioneering figures as Ray Barretto, Tito Puente, Joe Cuba, Jimmy Sabater, La Lupe, Eddie Palmieri and Celia Cruz, Tico was at the forefront of every Latin musical trend during its three-decade-long reign: from mambo and cha-cha-chá to Pachanga and boogaloo. In 1948, Tico Records opened in New York City, becoming one of the first US labels to focus solely on Latin music. In addition, an exciting exclusive bundle option including a commemorative Tico Records T-shirt is available at. Arriving October 13 and available to pre-order now, Hit the Bongo! features newly remastered audio by Joe Tarantino, a 2-LP set housed in a gatefold jacket with new liner notes by DJ Dean Rudland, with lacquers cut by Phillip S. Spanning 1962–1972, this brand-new vinyl and digital collection surveys the rise of Latin soul through 26 rarities and classics by pioneering figures such as Tito Puente, Eddie Palmieri, Celia Cruz and Ray Barretto, as well as by the Joe Cuba Sextet, La Lupe, Willie Bobo and many more. Craft Latino celebrates Tico Records’ 75th anniversary by examining one of its most prolific and diverse eras with Hit the Bongo! The Latin Soul of Tico Records. ![]()
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