– Gallego (from Los Cocorocos liner notes)

Most of the Latin American generation born in the 70s and 80s has sweet childhood memories of Spanish music playing throughout their house, of sofrito crackling in the pan while their abuelita stirs in her secret touches to her specialty dishes. Memories of the family that were still living in the homeland (be it Cuba, Mexico, Puerto Rico, Dominican Republic, etc.) calling in on a Sunday afternoon and everyone in the house rushing down to the kitchen phone to wait their turn for a quick, distant conversation with their tíos, tías and primos. Memories of Willie Colón and Héctor Lavoe singing their hearts out through the radio airwaves while Latin moms across the U.S. mouthed all the lyrics into their wooden spoons as they swayed their hips from side to side. And as we sat at the kitchen table eating our after-school snack and watching them, wide-eyed with amazement at their beauty and talent, those complex salsa melodies embedded themselves in our minds.

Later, during our teenage years, we sang our songs to a different tune. The rise of hip-hop during this period influenced us to focus on a more urban flavor. It suddenly wasn’t cool to listen to salsa. That was our parents’ music; that was for viejos. We were watching “The Fresh Prince of Bel Air” and listening to Kid ‘n Play on our boom boxes. Break dancing on flat cardboard boxes in street corners while the next generation, our little brothers and sisters, watched us in astonishment.

This next generation of Latin American children, born in the 90s and early millennium, was born right into the urban music boom. They have now emerged into the scene with the sudden rise of reggaeton, which has coerced these Latinos farther away from salsa music and fueled its way into their iPods and MP3 players.

The new musical project by the name of Los Cocorocos, from executive producers Lou Navarro and Johines Ibonnet, aims to bridge the generation gap between our parents’ old-school salsa generation and today’s young urban-flavored crowd of reggaetoneros and hip-hoppers. 

“Los Cocorocos was born from the idea to relive the 70s-style salsa scene. Originally, Los Cocorocos was an elite club in San Juan, Puerto Rico, where only the best of the best would perform,” says Navarro. “The idea is to relive the famed 70s clubs that thrived nightly throughout the Caribbean.”

Back then, club-goers would greet the morning sun singing and dancing to live performances. This desire to dance the night away is a tradition that carried over to the US. In those days, Latinos in New York were hustling and bustling all week to make sure they’d have the opportunity to experience the classy salsa scene. They were listening to tropical artists like Puerto Rican timbalero Tito Puente, Cuban guarachera Celia Cruz, salsa group El Gran Combo, and other great salseros such as Dominican composer Johnny Pacheco and Richie Ray & Bobby Cruz, among others. The young independent record label CMG (Coalition Music Group), for which Navarro is President and CEO, feels that Latinos will be the largest minority group in the future, and they are seeking to bring grandparents, parents, children, and grandchildren together. “We want to take Latin music and boost it by injecting new elements that will make it more appealing to a broader market,” adds Navarro.

The album focuses on merging the classic sounds of salsa with the fresh sounds of reggaeton. The album is proof that reggaeton isn’t only about rapping into a mic with a simple beat ricocheting in the background; it has shown that these reggaeton artists—such as Don Omar, Tego Calderón and Voltio, among others—are truly talented and diverse musicians. The first single released, “Los Hombres Tienen la Culpa,” is a catchy salsa tune about the humble excuse of a man’s weakness for women, performed by Gilberto Santa Rosa—“ El Caballero de la Salsa”—and the “Don” of reggaeton, Don Omar. The track was written by Charlie Donato and has been surfing the top spots on charts the world over since its debut.

With six salsa and six urban tracks, this compilation caters to the best of both worlds and seeks to please all ages. Within it are talented composers and performers such as Domingo Quiñones, who sings salsa song “Dos Jueyes” and urban creation “Mal Agüero” with rapper La Sister; he also wrote the ninth track on the album, “Mulata Rumbera,” performed by Junior González and Plaza. The salsa classic “Che Che Colé,” written by Willie Colón, was recorded by contrasting artists Victor Manuelle and Tego Calderón.

At the album release party this past November 21^st, the artists shared their feelings about the various collaborations and the much-anticipated outcome.

How do you feel about this album and about mixing the two genres?

Domingo Quiñones: Mira, it was something very natural, something that flows as if it were all one type of music on the same track. At the core, we are all basically individuals and when we make real music, we are merely spokespersons for the people. And nowadays [reggaeton artists] tell people, through radio, what the youth is feeling. Sometimes they can be incoherent, but other times they are things of ultimate importance. That’s what life is about. In life there are moments that are rigid and there are moments with more flexibility. That’s what this album is about. It is playful. It is serious. It is quality. And I must say it encompasses the best artists of both genres. It is a miracle that this album was even created, because everyone on the album has such a full agenda. Because, to be able to get Gilberto Santa Rosa and join him with Don Omar…Tego with Victor...I, on the one hand, have my agenda full…of empty space (laughs heartedly). But seriously, this record truly is a blessing and it demonstrates to our partners in the industry that reggaeton has never harmed salsa, because I and the other salseros here owe them a favor.

Tego Calderón: Well, I have always adored salsa and this production wouldn’t be real if Tego weren’t involved. That’s why they called me.

Seriously, since the beginning of my career, when I was on the streets, salseros had a lot of affection for me. When the salseros were weary about this genre, reggaeton, they accepted me before anyone. And now they accept me because they know me. I am a salsero and they know that. They also know how much I admire them in addition to all the respect I have for their music.

Voltio: Salsa with reggaeton…salsa will never die because it’s the encyclopedia for the new generation, but with the youth’s impulses and takes, reggaeton….el reggaeton reggae-time…(laughs).

On “Claro de Luna,” Voltio’s own collaboration on the album:

Well, this was Jay CUBA and Javier Torres’ idea. They told me they had a special project planned, Los Cocorocos, and we got to it right away. I contacted my producer, Maestro, and we made the mix. It’s something similar to “El Ratón” from Cheo Feliciano but with other flows. It’s called “Claro de Luna,” a son montuno that’s hot with my rap thrown in as well.

Zion: I love the mix because salsa is very cultural, very Caribbean, very Latin American, and reggaeton is too. So combining the too is perfect. Because in reality, reggaeton needs a change; sometimes my thoughts are that if reggaeton continues the way it is, well, it won’t last long. I think it’s good to change it a bit by fusing it with salsa, with rock, R&B, hip-hop, and I am at least creating some reggaeton with electronica, house, etc…something different.

It’s a great album. Los Cocorocos is a dream com true. For me it was more than an honor to be a part of this project. I’m very, very happy. I’m extremely proud of my team’s work, of my record label Baby Records, of the people at Universal Motown which is an American record company that’s supporting this album which is 100% Latino…and I’m very, very happy knowing that this is something that will be successful and will reach the top.