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World - Released January 1, 1974 | Fania

Being so used to Celia Super Star, it's hard to believe that by 1974, she was definitely the older generation as far as the young idea was concerned. Then came this record, pairing the star of the parents and the star of the kids in a stroke of musical brilliance and marketing genius. The rest is history, except that this -- the first of the series -- was also the best. © John Storm Roberts, Original Music /TiVo
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World - Released June 1, 1979 | Fania

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World - Released June 11, 2013 | Fania

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World - Released December 31, 1975 | Fania

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World - Released January 1, 1970 | Fania

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World - Released January 1, 1964 | Fania

Que Suene la Flauta, Vol. 3 contains bright, breezy pachangas, including two of the highlights, "Pita Camion" and the final track, "Alto Songo" (one of Pacheco's all-time favorites). Also included is a cha cha, the title track (a danzon), and Pacheco's lighthearted take on the twist ("Acuyuye"). © John Bush /TiVo
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World - Released April 1, 1973 | Fania

Tres de Café y Dos de Azúcar was the last Johnny Pacheco album to feature Pete “El Conde” Rodríguez, although the two worked together on El Conde’s first solo album. Although it’s not the best produced by the two, it has more range than most, from suave balladry (which looked ahead to El Conde’s solo career) to a swift merengue called “Los Diablitos” (which Pacheco wrote to salute his Dominican heritage). © John Bush /TiVo
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World - Released November 29, 2019 | Fania

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Electronic - Released March 28, 2006 | Charly Records

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Salsa - Released June 14, 2006 | Musical Productions

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World - Released November 1, 1977 | Fania

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World - Released June 28, 2000 | Fania

For a man who cut as many records and worked with as many artists as Johnny Pacheco has -- as bandleader, collaborator, producer, and label boss -- a mere two CDs doesn’t seem to be enough as a retrospective. Nonetheless, that’s what we have in Anthology. It collects 28 album tracks from near the beginning of his career, from his stay at Alegre from 1961 to 1964, through his classic movement toward defining salsa in New York at Fania -- the powerhouse label he formed with Jerry Masucci -- from the mid-'60s through the '70s, and subsequent tracks through 1985 on Vaya. The material is arranged chronologically. Disc one leans heavily on the '60s, as it should, given the many hit singles Pacheco recorded -- but many are missing. Disc two’s concentration is not so pointed. It continues through the '60s and moves all the way through the '80s, but leaves out many key songs from the '70s -- there are no performances with the Fania All-Stars, for example -- to fill in the picture of Pacheco’s very direct involvement in the development of salsa. This is made more poignant by the fact that Anthology is almost a mirror image of 2006's double-disc Maestro: A Man and His Music, with two less cuts! Shortcomings aside, this is still a fine introduction to one of the most important and innovative figures in Latin music. © Thom Jurek /TiVo
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Salsa - Released November 4, 2020 | Artemis

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World - Released January 1, 1964 | Fania

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World - Released December 31, 1985 | Fania

By this, their sixth collaboration, Cruz con Pacheco has become sort of like arroz con pollo. Standouts here are the classic guarachas, "El Agua de Bonga" and "Barin Barin," along with the closing "Historia de una Rumba." Cruz remains incredible: age cannot stale nor custom wither. © John Storm Roberts, Original Music /TiVo
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World - Released January 1, 1971 | Fania

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World - Released January 1, 1967 | Fania

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World - Released January 1, 1971 | Fania

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World - Released December 31, 1980 | Fania

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World - Released January 1, 2006 | Fania

For a man who cut as many records and worked with as many artists as Johnny Pacheco has, as bandleader, collaborator, producer, and label boss, a mere two CDs doesn’t seem to be enough as a retrospective. Nonetheless, that’s what we have in El Maestro. It collects 30 album tracks from near the beginning of his career, from his stay at Alegre from 1961 through 1964 through his classic movement toward defining salsa in New York at Fania -- the label powerhouse he formed with Jerry Masucci -- from the mid-'60s through the '70s, and subsequent tracks through 1985 on Vaya. The material is arranged chronologically: Nine tracks come from the Alegre years including the singles “El Güiro de Macorina,” and “Soy Guapo de Verdad” from 1961’s legendary album Pacheco y Su Charanga. The Fania material begins with the label’s namesake cut, recorded for Pacheco’s debut album on the label called Cañonazo in 1964, and featuring the mighty Pete Rodriguez on vocals. Also included is the seminal tribute to Africa, “Dakar: Punto Final” from the same album. “El Mundo” is here from Viva Africa, where Pacheco’s obsession with the Afro-Cuban sounds of La Sonora Matancera is displayed so prominently for the first time with his conjunto orchestra. Disc one ends in 1965 with “Sugar Frost,” from Latin Jam, where the forms of Cuban son and charanga are married seamlessly. Disc two features 1968’s “Maria Cervantes,” with Pacheco playing flute and Charlie Palmieri arranging and playing piano. Other high points include “La Esencia del Guaguanco,” with Rodriguez on vocals, from La Perfecta Combinacion, and “Quimbara," from the set Celia y Johnny in 1974 on Vaya, marking the first collaboration between Pacheco and Celia Cruz. Disc one leans heavily on the '60s, as it should be, given the many hit singles Pacheco recorded -- but so many more are missing it’s a bit frustrating. That said, disc two’s concentration is not so pointed. It continues in the '60s and moves all the way through the '80s, leaving out many key songs from the '70s -- there are no performances with the Fania All-Stars, for example -- to fill in the picture of Pacheco’s very direct involvement in the development of salsa. Nonetheless, this is still a fine introduction to one of the most important and innovative figures in Latin music. © Thom Jurek /TiVo