Fifty years ago, the sounds that dominated Latin music were thriving. Rock had become ambitious , the New York salsa explosion was at its apex, and the movements of bossa nova and tropicália had coalesced into the all-encompassing MPB—Música Popular Brasileira.
Most Latin recordings from 1974 have a resplendent sense of innocence and discovery. Back then, many South American countries were shackled by either military dictatorship or the menace of an ever-impending coup, so musicians had to use their imagination to escape censorship. Metaphors ruled the day, and lyrics became obscure for good reason. Even the world of commercial pop appeared to have temporarily lost its mind.
. This exhilarating hodgepodge of an album combines studio and concert recordings with guest stars like Manu Dibango and keyboardist Jan Hammer. The highlights are Cheo Feliciano’s simmering“El Ratón” and the frantic conga duel between Ray Barretto and Mongo Santamaría on “Congo Bongo.”The second album by Argentine troubadour Mauricio Birabent remains, 50 years later, one of the most underrated masterpieces of Latin American rock.
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