Música Tropical

    • Me Voy a Quitar de en Medio
    • Ralphy Dreamz
    • 1 Millon
    • Lenier
    • El Pañuelo
    • Romeo Santos & ROSALÍA
    • Sin Fin
    • Romeo Santos & Justin Timberlake
    • FOR SALE
    • Gilberto Santa Rosa
    • Nunca
    • Olga Tañón
    • Alcover & Christian Alicea
    • Te Lo Pido por Favor
    • Ralphy Dreamz
    • Sin Fronteras (feat. Haila)
    • Tony Succar, La India & Mimy Succar
    • Resistirá
    • Milly Quezada
    • Fuera
    • Daniela Darcourt
    • Decidí Tener Pantalones
    • Victor Manuelle
    • Cada Ves Te Extraño Más
    • Ralphy Dreamz & Sandronyc
    • Bailemos
    • Michael Stuart
    • El Negrito
    • Gente de Zona & Carlos Vives
    • Sus Huellas
    • Romeo Santos
    • Leave the Door Open
    • Tony Succar, Jean Rodriguez & Noel Schajris


From the beginning, salsa was more than an irresistible melting pot of sounds. Its signature clave pattern (the clave, or "lock") borrowed from Afro-Cuban rhythms, giving people something to move to and offering the possibility of romance during tough times. It was Dominican composer and bandleader Johnny Pacheco, co-founder of the seminal Fania record label in Harlem in New York City, who first coined the term “salsa" to describe the beautifully colorful mélange of son montuno, chachachá, mambo, and Latin jazz. Throughout the ‘60s and ‘70s, Fania became known as the Motown of Latin music, home to salsa’s biggest names including Héctor Lavoe, Willie Colón, Ray Barretto, Larry Harlow, and the queen of salsa herself, Celia Cruz; her collaborations with the king of the timbales Tito Puente are legendary. In Rubén Blades, Fania found a gifted songwriter, capable of penning hits that could be poetic (“El Cantante”) or politically conscious (“Pedro Navaja”)—and he did so both for himself and others. Epitomizing the golden age of salsa was the formation of The Fania All-Stars in 1968. The salsa supergroup sold out stadiums around the world, even with a continuously changing roster. Though Nuyoricans were largely credited with the birth of salsa, the movement eventually spread to Colombia, Venezuela, Panama, and the rest of Latin America, with artists like Joe Arroyo and Oscar D’León enjoying great success for decades to come. Beyond the obvious rhythmic qualities in salsa, the music carries a swagger and style best exemplified by some of Fania’s iconic album covers of the ‘70s. In the late ‘80s, Fania promoter Ralph Mercado founded RMM Records, which was home to a second salsa explosion in the ‘90s. By the time RMM shuttered at the turn of the century, a visionary producer named Sergio George had already turned the page to salsa’s next chapter, starring acts like DLG, La India, and Marc Anthony. This romantic, softer brand of salsa was still danceable but had soulful, R&B-style vocals. Recently, George’s reunion of some of the greats (including Anthony) for the Salsa Giants ensemble prove that true salseros are nowhere near giving up, even as fans of the genre branch out in search of other tropical sounds.

Any discussion about tropical isn’t complete without bachata, a sound originating in the Dominican Republic’s countryside and characterized by arpeggiated guitar chords, güira-based percussion, and blues-style songwriting. Early-‘90s pioneer Juan Luis Guerra has more than proven the longevity of bachata while keeping a foot firmly planted in merengue. Meanwhile, Bronx-bred Dominicans Romeo Santos and Prince Royce continue to expand bachata’s footprint with a fresh, bilingual take on their parents’ music. Elsewhere, Carlos Vives’ recent comeback after a decade out of the spotlight proved that vallenato, Colombia’s folk music incorporating the caja, guacharaca, and accordion, is still as relevant as ever.