FANIA ALL STARS "Cross Over" LP White Label Promo 1979 NM/NM Salsa, Disco

Description: Fania All-Stars Biography by John Bush The flagship act for Fania Records, the Fania All-Stars popularized New York salsa during the 1970s by organizing concerts at larger and larger venues (from the Red Garter in Greenwich Village all the way to Yankee Stadium in the Bronx) that spotlighted not only the label's but the salsa world's biggest stars -- Ray Barretto, Willie Colón, Johnny Pacheco, Rubén Blades, Hector Lavoe, Ismael Miranda, Cheo Feliciano, Bobby Cruz, Pete "El Conde" Rodriguez, and special guests like Tito Puente, Celia Cruz, and Eddie Palmieri. LPs by the collective were usually recorded live and featured long jams with plenty of space for solos for each of the salsa heroes on-stage at the time. Though the label management's quest for crossover success led to a few diluted major-label recordings during the late '70s and early '80s, infrequent events featuring the Fania All-Stars remained huge attractions into the late '90s. Live at the Red Garter, Vol. 1 Fania Records was formed in March 1964 by Johnny Pacheco and lawyer Jerry Masucci. Originally just a tiny independent, the label was distributed to local stores out of the trunk of Pacheco's car. By 1967, Masucci's intrepid management had begun to pay dividends. After LPs by Ray Barretto, Willie Colón, Joe Bataan, and Pacheco himself became popular within the New York salsa community, Masucci promoted a jam-session concert at the Red Garter. The Fania All-Stars' first two LPs, Live at the Red Garter, Vols. 1-2, were recorded that night, with guests including Tito Puente and Eddie Palmieri. After sales proved slow outside New York, Masucci envisioned putting on another live show and filming the results. After negotiations to book the Fillmore East broke down, the Fania All-Stars appeared at the Cheetah in midtown Manhattan on August 26, 1971. Fans packed the club to more than twice capacity, and another pair of live LPs (Live at the Cheetah) followed. One year later, the results also appeared in the salsa documentary Our Latin Thing (Nuestra Cosa), along with interviews and footage from Spanish Harlem. Live at Yankee Stadium, Vol. 1 The film proved just the kick-start that the salsa scene needed. Wedged between recordings and appearances by individual group members, the Fania All-Stars played sell-out shows across North America, from Puerto Rico and Panama to Chicago. Then, on August 24, 1973, the salsa wave crested with the group's performance at New York's Yankee Stadium in front of 44,000 fans. In 1974, the group traveled to Zaire and performed before the Rumble in the Jungle, the notorious heavyweight title fight between Muhammad Ali and George Foreman. Another appearance at Yankee Stadium in 1975 was also recorded and (unsurprisingly) released as a pair of albums (Live at Yankee Stadium). Footage from both appearances at the venue were edited into the 1976 film Salsa, distributed by Columbia. Tribute to Tito Rodriguez That same year, the Fania All-Stars made their studio debut with A Tribute to Tito Rodriguez. Masucci then used his connections with Columbia to negotiate a recording contract for a series of crossover albums he hoped would break the group (and the style) with mainstream audiences across the world. By the end of the '70s, the Fania All-Stars recorded four LPs for Columbia. For better or worse, the loose improvisational feel of their early live recordings had been sacrificed for a slick, studio-bound effect that placed emphasis on producers and engineers as well as high-profile guest slots from jazz fusion names like Bob James, David Sanborn, Maynard Ferguson, and Hubert Laws. Rhythm Machine Though albums like 1977's Rhythm Machine did well with audiences not used to buying salsa, they failed to connect. Fania Records' fortunes began to decline by the beginning of the '80s, not just with potential mainstream listeners, but also with hardcore Latin lovers who had quickly moved from salsa to the new sounds of Dominican merengue. Masucci continued working in film, and produced a boxing film in 1983, The Last Fight (starring Rubén Blades as the protagonist and featuring Willie Colón as well). The Fania All-Stars recorded eight studio albums during the 1980s, gradually moving from the overly polished sound of the late '70s to a more organic Latin jazz. In 1994, the group celebrated the 30th anniversary of Fania Records with live dates in San Juan, Miami, and New York. The Fania All-Stars continued to perform occasionally during the rest of the '90s. Fania All Stars – Cross Over Fania All Stars - Cross Over album cover Label: Columbia – JC 36109 Format: Vinyl, LP, Album, Promo Country: US Released: 1979 Genre: Latin, Funk / Soul Style: Salsa, Disco A1Los Bravos Arranged By – Louie Ramirez Arranged By [All Strings] – Vincent Montana, Jr. Producer – Jerry Masucci 5:27 A2Isadora Arranged By – Louie Ramirez Arranged By [All Strings] – Vincent Montana, Jr. Producer – Jerry Masucci 6:56 A3Prepara Arranged By – Louie Cruz* Arranged By [All Strings] – Vincent Montana, Jr. Producer – Jerry Masucci 9:12 B1You Want It - You Got It Executive-Producer – Jerry Masucci Producer, Arranged By – Vincent Montana, Jr. 5:09 B2Caribbean Lady Executive-Producer – Jerry Masucci Producer, Arranged By – Vincent Montana, Jr. 4:56 B3Brazilian Paradise Executive-Producer – Jerry Masucci Producer, Arranged By – Vincent Montana, Jr. 3:49 B4What A Big Thing Executive-Producer – Jerry Masucci Producer, Arranged By – Vincent Montana, Jr. 4:40 Recorded At – Sigma Sound Studios Album recorded at Sigma Sound Studios, Philadelphia, Pa. GOLDMINE GRADING MINT ---- It should appear to be perfect. No scuffs or scratches, blotches or stains, labels or writing, tears or splits. Mint means perfect. NEAR MINT ---- Otherwise mint but has one or two tiny inconsequential flaws that do not affect play. Covers should be close to perfect with minor signs of wear or age just becoming evident: slight ring-wear, minor denting to a corner, or writing on the cover should all be noted properly. VERY GOOD PLUS ---- The record has been handled and played infrequently or very carefully. Not too far from perfect. On a disc, there may be light paper scuffs from sliding in and out of a sleeve or the vinyl or some of the original luster may be lost. A slight scratch that did not affect play would be acceptably VG+ for most collectors. VERY GOOD ---- Record displays visible signs of handling and playing, such as loss of vinyl luster, light surface scratches, groove wear and spindle trails. Some audible surface noise, but should not overwhelm the musical experience. Usually a cover is VG when one or two of these problems are evident: ring wear, seam splits, bent corners, loss of gloss, stains, etc. GOOD ---- Well played with little luster and significant surface noise. Despite defects, record should still play all the way through without skipping. Several cover flaws will be apparent, but should not obliterate the artwork. POOR ---- Any record or cover that does not qualify for the above "Good" grading should be seen as Poor. Several cover flaws.

Price: 18 USD

Location: Saginaw, Michigan

End Time: 2025-01-22T18:24:14.000Z

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