What’s in Your Salsa?

April Playlist Highlights






Pa’los rumberos Pa' Los Rumberos - 150 Cuban Classics Tito Puente Descarga Timbalera USA
Guaracha Guaracha - The Good, The Bad, And The Ugly Willie Colon Guaracha Puerto Rico
Elige Tu Que Canto Yo Elige Tú Que Canto Yo - Cubano! Beny Moré Guaracha Cuba
Eres Como Yo Eres Como Yo - Andar Andando Azucar Negra Guaguancó Cuba
Que Bueno Baila Usted Qué Bueno Baila Usted - Benny Moré - El Bárbaro del Siglo Beny Moré Son Montuno Cuba
De Guantanamo De Guantanamo - Sabor al Guaso Ban Rarra Son Montuno Cuba
I like it Like that I Like It Like That - I Like it Like That Pete Rodriguez Boogaloo USA
Mercy Mercy Baby Mercy Mercy Baby - The Bad Boogaloo Ray Barretto Boogaloo USA
La Pachanga del Futbol La Pachanga del Futbol - Musica Tropical de Colombia, Vol. 16 Fruko y Sus Tesos Pachanga Colombia
Mas Pachanga Ray Barretto Pachanga USA
Bronx Pachanga USA Bronx Pachanga U.S.A. - Pachanga At The Caravana Club Charlie Palmieri Pachanga USA
Bomba De Navidad Richie Ray y Bobby Cruz Bomba USA
Bomba Carambomba Bomba Carabomba - Quitate de la Via Perico Rafael Cortijo Bomba Pureto Rico
Si Dios Fuera Negra Roberto Anglero Bomba Puerto Rico


If you have ever wondered why one Salsa song can sound so drastically different from another the answer could be in the origins of the genre.  The fact is that the musical genre known as Salsa is made up of several sub-genres each with their own unique rhythm and musical arrangement.  These sub-genres are the focus of this month’s blog post.

You will often read or hear about how Salsa music, like the food, is a mix of many different ingredients.  This fact was was brought home for me by a podcast episode I was recently listening to entitled ‘Por qué la salsa no existe’.  The episode came from ‘La Salsa no Existe’ written by Juan Fernando Rodríguez Escoba,  a podcast I have mentioned before in another blog post.   I was so impressed by how the episode opened my ears to the many sub-genres that make up Salsa that I contacted Juan asking him if I could translate and reproduce the text for this blog.  He gracisouly gave his permission.  The translated text is below and for those who are interested, here is a link to the original podcast text and the podcast itself.


Por qué la salsa no existe by Juan Fernando Rodríguez Escobar

Translated by Clavecito with the help of Sara M.

On this site we argue that “Salsa” is not a real genre because it is too simplistic a way of labeling a world of music made of many rhythms that share a common language.  The fact is that this is not a language of just one word.

Take Tito Puente’s song “Pa’los rumberos”, which could be called a Salsa but is actually a descarga timbalera.

Willie Colon y su Orquesta’s “Guaracha”, a song which marketing has labeled “Salsa”, is as its name indicates a modern version of a guaracha, a popular Cuban genre of music that has ancient traditions, and which has added its own thread to the [Salsa] musical quilt.

Willie Rosario’s “La Esencia del Guaguancó”, as its title indicates is not a Salsa but a guaguancó, another Cuban genre known as rumba.  Guaguanco has also participated in the making of this unique but heterogeneous language that brings us together on this website.

Pete Rodriguez sang “I like it Like that” never thinking of it as a salsa.  What this famous New York Latin American artist gave the world was a boogaloo, a genre which we discuss at length in another podcast, and which consists of Afro Caribbean rhythms mentioned above, as well as Afro North American rhythms like Jazz, Rock and Soul.

The genre [Salsa] is also composed of “son montuno”, which many experts believe provided the musical foundation for what has become the unified commercial sound of Salsa.

Furthermore, what is often called “Salsa” should be called “Pachanga” like Fruko y sus Tesos’ song “Los Charcos”.  This Cuban rhythm evolved among Hispanics in New York and swept through Latin America at the end of the 50s.  It was interpreted by many great musicians from Joe Quijano to Rubén Blades, Charlie Palmieri through to Ray Barretto.

Then along came Richie Ray and Bobby Cruz  in the 70’s who threw a bomb into the Caribbean that spread throughout Latin America.  Not a bomb like those that threatened the world during the Cold War but a Bomba ,the afro-Puerto Rican musical genre from the time of slavery, which itself contains a dozen sub-genres and in which the protagonists are the drums as well as the dance.

While the rhythms of Cuba and Puerto Rico have borne the majority of the load in creating this genre, many others have contributed their heritage, including those of Colombia, Mexico, Peru, and the Dominican Republic.  Even Brazilian rhythms can be heard in songs such as “La Vide es Bonita” by Hector Lavoe.

And if Colombia added a large part of its musical richness to this new language, so too would Venezuela.  Nelson González [of the Venezuelan group Nelson y Sus Estrellas] is one of the main people responsible for exploring the frontier of this new genre adding a touch of the Andean-Caribbean that refreshed the [Salsa] music that came from North of the continent.

Tito Puente, one of the heroes of afro-Caribbean music in the 60’s and 70’s, detested the concept of “Salsa”.  For the best timbalero of all time, Salsa was something that you ate but could not see nor could you dance.  “It’s a word that does not signify anything” he said at every opportunity and we can understand why.  He could hear the mix of dozens of musical genres defined by such a narrow term. “Salsa is something I eat with spaghetti” he said.

Therefore we say again that “Salsa” does not exist

As you can see, the podcast identifies some of the influences in modern Salsa and there are many more.  Artists continue to add new rhythms to the Salsa universe.  A recent example is the addition of a reggaetón (dembow) beat to Salsa music.  This type of Salsa has become known as Salsaton and Cubaton.   I am sure you can identify other rhythms in your own music collections.  Ulimately, it is my hope that this knowledge will inspire you to increase your appreciation and understanding of  the “Salsa” music that you listen to and enjoy.

Questions, comments requests? Send me an email.

Hasta la próxima



Non Christmas Music at Christmas

December Playlist Highlights






Llegue Yo Llegué Yo - Como Gato de Angora Michel Maza Salsa Cuba
Salsa, Timba Y Amor Salsa, Timba y Amor - Supercubano Issac Delgao Salsa Cuba
La Habana Me Llama La Habana Me Llama - Control Manolito y Su Trabuco Salsa Cuba
Deja De Criticar Deja de Criticar - Mi Tumbao Social La Excelencia Salsa New York
Caminando Caminando - Todos Vuelven Live Volume 2 Ruben Blades Salsa Panama
Subelo Alex Wilson Salsaton UK
No Quiero Estar Solo No Quiero Estar Solo - Como Te Olvido Allendy Bachata Dominican Republic
Fantasias Fantasías - Hasta el Fin Monchy & Alexandra Bachata Dominican Republic
Mi Nina Bonita Mi niña bonita - Mi niña bonita Chino y Nacho Merengue Venezuela
Bandolero Bandolero - Top Latino Olga Tañon Merengue Dominican Republic
Damelo Damelo - Caliente Havana Salsa, Vol. 1 Clave Cubana Cha Cha Cha Cuba
Tudu Di Mi Tudu Di Mi (feat. Mika Mendes) - Black Madonna Isah Zouk ?
Gordita Gordita (feat. Residente Calle 13) - Sale el Sol Shakira/Residente Cumbiaton Colombia


Who Is?

  • Colombia has a rich musical history and a long line of internationally successful artists from a range of genres. The genre of Salsa is no exception.  Arguably, Colombians have their own style of Salsa music and certainly have their own way of dancing Salsa.  One of the early Colombian Salsa artists, and one of the most successful, is Julio Ernesto Estrada Rincon aka Fruko.  His musical career goes back to the early 70’s when he joined a Cuban influenced band Los Corraleros de Majagual.  After visiting New York and being inspired by the music coming out of the Fania label, Fruko started his own band called Fruko y Sus Tesos.  It was with this band that another famous Colombian singer Joe Arroyo got his start.  The band has an impressive collection of very danceable Salsa songs, their most famous song being El Preso.  Some of my other favourites include El Ausente and Confundido.  If you enjoy Frukos’ music check out La Sonora Dinamita and The Latin Brothers, two other bands the he nurtured to success.  And for some insight into 1970’s Colombian fashion, the cover of the album “Fruko El Grande” is an excellent place to start.


What am I Listening to?

  • I was introduced to an awesome CD the other day called Salsa Clandestina published by Music Rough Guides.  The word ‘Salsa’ in the title of the album should be interpreted loosely, at least from a dance perspective. While there are some very danceable songs on the album (Café Con Sangre), there are also some interesting oddities (a medley of “Sympathy for the Devil” and “El Cielo”).  The liner notes are excellent and provide a little history about each band and some background about each song.  The names of the albums where the songs originate are also listed.  What I really like about this album is how it pushes the boundaries of what most people consider to be Salsa music.  In my opinion, Salsa is a constantly evolving genre that draws on a wide range of influences, with artists continuing to experiment and play with the style. This evolution is what makes Salsa so exciting to listening to.


Questions, comments, requests? send me an email.

Espero que tengas una Feliz Navidad y año nuevo fantástico