Ray Barretto – Barretto Power (1972)

To make up for the somewhat uneven Fania collection from earlier today, I thought I’d make amends with this solid set from Ray Barretto. Barretto Power from 1972, with Adelberto Santiago on lead vocals. Nothing revolutionary about this record but who cares. Aside from the Nuyorican soul cuts “Right On” and “Power” — the latter serving as a somewhat lackluster conclusion in my opinion – the rest is salsa served straight-up. It’s Barretto’s band as tight as it would ever get and at the peak of his powers as a bandleader. Do you really need another reason to check it out?

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Ray Barretto – Barreto Power (1972) 192kbs
1. Oye La Noticia
2. Perla del Sur
3. Right On
4. De Que Te Quejas Tu
5. Y Dicen
6. Quitate La Mascara
7. Se Que Volveras
8. Power

Personnel: Ray Barretto (vocals, congas, background vocals); Hector Lavoe, Adalberto Santiago, Justo Betancourt, Willie Torres (vocals); Joseph “Papy” Romain, Rene Lopez, Roberto Rodriguez (trumpet); Louis Cruz (piano, celesta); Andy Gonzalez (bass guitar); Tony Fuentes (bongos, cowbells, percussion); Orestes Vilato (timbales).

Review from Get Back dot com
Back into a mostly traditional bag by 1972, Ray Barretto served notice that his was the heavyweight band in the salsa scene with this LP. Aside from the devastating three-man trumpet line ( Roberto Rodriguez , Rene Lopez , Papy Roman ) and Adalberto Santiago ‘s vocals (plus chorus), Barretto Power is entirely a rhythm-section record, lean and economical yet no less powerful for it. The compositions are mostly group originals, and range from the leader’s salsa-fied opener, “Oye la Noticia,” to Rodriguez ‘s chorus-heavy “Perla del Sur” to a pair of slightly modernized horn-led numbers, “Right On” and the closer, “Power” (the latter being Exhibit A should any listeners doubt the claim in the title). Pianist Luis Cruz contributes an affectionate yet stately ballad , “Se Que Volveras,” and the trumpets never fail to come together, even when they’re diverging along creative harmonic lines. Barretto Power isn’t a flashy record; earlier triumphs like Acid and Hard Hands earned Barretto more notices than this one ever did. Still, it’s as good a proof of Barretto ‘s strength as any record in his discography.

Ray Barretto – Acid (1968) VBR

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{2001 French pressing with bonus tracks}

RAY BARRETTO – Acid (1968)VBR

Psychedelic salsa? Not quite, except for the occasional Austin Powers-isms like “yeah, baby” and “sock it to me”. But this is a landmark record and needs to be in the collection of any fan of salsa or Latin soul. The closing track is the most ‘out’ of any of them and for me is worth the price of admission all on its own.

Tracks (of the original LP)
1. El Nuevo Barretto (Barretto) – 5:50
2. Mercy, Mercy, Baby (Barretto) – 2:44
3. Acid (Barretto) – 5:05
4. Deeper Shade of Soul (Barretto) – 2:46
5. Soul Drummers (Barretto) – 3:48
6. Sola Te Dejare (Barretto/Lopez) – 3:49
7. Teacher of Love (Barretto/Cruz) – 2:27
8. Espiritu Libre (Barretto) – 8:27

Players
Ray Barretto – Percussion, Congas, Vocals
Big Daddy – Bass
Rene Lopez – Trumpet
Roberto Rodriguez – Trumpet
Adalberto Santiago – Vocals, Bells
Orestes Vilato – Timbales
Pete Bonet – Vocals, Guiro

BONUS TRACKS ( I do not know where Sony got these tracks from.. No information in the booklet. Production sounds like early 70s. Anyone with session/line-up data feel free to comment and enlighten me!)

9. Guarare
10. Vina Pa’Echar Candela
11. Vale Mas Un Guaguanco
12. Canto Abuaco
13. Eras

REVIEW from John Ballon at ‘allaboutjazz dot com’
By the time 1968 rolled around, Ray Barretto was a celebrated studio session player whose hard-driving conga rhythms could be heard all over the records of Dizzy Gillespie, Cal Tjader, Cannonball Adderley, and countless others. Once he dropped Acid onto the music world, Barretto firmly established a reputation for himself as an innovator in his own right.

Like the drug itself, Acid had a mind-expanding influence on everyone, allowing for a far more adventurous and eclectic edge to slip into New York’s Latin music scene. A lot less psychedelic than its title and cover might lead you to believe, Acid remains one of the most far-out fusions of Latin and soul music ever conceived.

Catchy as hell, the records four original Latin/soul numbers (”Mercy, Mercy Baby”, “The Soul Drummers”, “A Deeper Shade of Soul” and “Teacher of Love”) are obscure classics loaded with plenty of vintage ’60s soul references—punchy James Brown and Stax Records sounding horns, thickly grooving bass lines, fat-back drums, and cliché soul catch-phrases such as “What I say,” “Lord have mercy,” “Come on, come on baby” and “Sock it to me!”

El Nuevo Barretto (The New Barretto)” opens the album on familiar ground, with its high-energy boogaloo-styled salsa sung passionately in Spanish. With the second track, “Mercy, Mercy Baby,” the sound shifts dramatically as soul gets a serious drenching in hot sauce. The band chants “Mercy, Mercy Baby” behind Memphis-styled horns, catchy lyrics, timbales, and Barretto’s kicking congas. The title track, “Acid,” opens up sparsely with a lazy hypnotic bass and percussion groove over which stretches the muted trumpet sounds of Rene Lopez (who was soon to be drafted and shipped off to Vietnam). After a rock-steady timbales solo by Orestes Vilato, the band begins calling out “Barretto, Barretto,” and master Ray steps forward, obliging them with one of his most fiery and intense conga solos ever. The lyrics on “The Soul Drummers” totally sums up the record: “Have you heard them cooking / The Soul Drummers / well they play so cool / Soul Drummers / so hard to resist / Soul Drummers / with the African twist.”

The album’s most psychedelic soul sounds can be heard on its closing track, the appropriately titled “Espiritu Libre (Free Spirit).” This instrumental opens with some pretty far out-there trumpet statements that sound as if they could’ve come straight off of Bitches Brew—pretty advanced stuff for a 1968 Latin record! The track builds into a full blown drum-heated jam flavored with odd rhythmic time-signatures, passionate brass, and feverish bass lines, bringing the album to a satisfying peak that leaves you in bad need of a smoke.

Acid turned on a lot of important players with its irresistible blending of Latin and soul music, significantly helping to bring about the rise of the Afro-Latin funk revolution.