TITO RODRIGUEZ & ORQ.: "WA-PA-CHA WITH HAND CLAPPING" TICO (BLACK)#1038('56)HEAR

$

27

snw_ecp

TITLE : WA-PA-CHA

ARTIST :TITO RODRIGUEZ & ORQUESTA 

LABEL & RECORD #: TICO #1038 (1956)

VINYL CONDITION: HEAR SOUNDS CLIPS INCLUDED:  MOST VG++ MOST...GLOSSY...HEAVY VINYL!!...NO SKIPS...ULTRA MINIMAL NOISE ON A FEW TRACKS despite some "AGE" mostly superficial scuffs!

LABELS CONDITIONS: SEE SCAN : NM

COVER CONDITION: SEE SCAN : SEAMS TAPED rest OK!!!!!!...THE CD REISSUE HAD ANOTHER "CHEESECAKE" COVER

REMARKS: DID YOU HEAR SOUNDS SIMILAR TO THE MID 60s BOOGALOO RHYTHM...IT WAS1956!!!

SORRY FOR THE BIO (AGAIN) BUT THIS TITO WAS OF MY TOP 3 IDOLS:

Tito Rodriguez:

“While Tito Rodriguez played mambo on a par with the others, it was his voice that set him apart. Whether it's mambo, Latin twist, or sentimental ballads, Rodriguez rarely strayed far from authentic or progressive Latin. Indeed, no other performer epitomizes the Latin showman as well as he: top vocal stylist, versatile musician, sophisticated arranger-composer, handsome bandleader, leader of the New York Latin scene. Tito Rodriguez' music is quintessential.”

Bio:

Pablo “Tito” Rodriguez was born on 4 January 1923, in Santurce, Puerto Rico. His father was from the Dominican Republic and his mother from Cuba. The internationally reknown vocalist, percussionist, bandleader, composer, and record producer, was equally talented as an uptempo sonero and a romantic singer. At the age of 16 he played maracas and sang second voice with Cuarteto Mayari before relocating to New York to live with his older brother Johnny who had moved there in 1935. A popular vocalist and composer, Johnny formed his own trio in 1940. Recordings that he made with his trio on the Seeco label were collected on Encores De Johnny Rodríguez y Su Trio and Siempre Favoritas De Johnny Rodríguez Y Su Trio. Rodríguez’s first job in New York City was with the Cuarteto Caney. After brief stints with Enric Madriguera and Xavier Cugat as a singer and bongo player; a year in the US Army was followed by a job singing with Noro Morales. “El Dinamico Tito Rodríguez” was a reissue of a Morales collection with Rodriguez. In 1946 Cuban pianist and composer Curbelo recruited Rodríguez and Tito Puente (on timbales) to his band, which became an “incubator” for the future New York mambo sound. Recordings made by Curbelo’s band during the two years that Rodriguez was with him were later compiled on Los Reyes Del Mambo. In 1946, while Curbelo’s band was appearing at the China Doll nightclub, Rodríguez met a Japanese American chorus girl called Tobi Kei, whom he married a few months later. In February 1947, while he was still with Curbelo, Rodríguez participated in a recording session by Chano Pozo for Gabriel Oller’s SMC label, which included the Machito band, Arsenio Rodríguez and Miguelito Valdes. Curbelo fired Rodríguez in 1947 when he had given him a day off to look after his sick wife, but someone informed Curbelo that Rodríguez spent the day drinking in a bar. Rodríguez was unemployed for some months. After leading a short-lived quintet, which he formed in late 1947, Rodríguez organized a trumpet conjunto called the Mambo Devils in 1948. He recorded eight tunes for with the band on the SMC label. Four of those were arranged by Tito Puente, who went on to become his musical competitor. Rodíguez later expanded his outfit to a big band, which he led until 1965. In 1949 he signed to Tico Records, formed just a year earlier. Rodríguez had to rename his band the Lobos Del Mambo (Mambo Wolves) as the record company objected to the name Mambo Devils. He did two stints with the label, between 1949 and 1953 and between 1956 and 1958, during which time he released 78 RPM recordings, six 10-inch volumes of mambos and various 12-inch albums. Material from both these periods was later compiled on Nostalgia and Uptempo. Tito made no records during 1950 because of turmoil in the record company which suspended all recording at Tico. He resumed recording the following year when the problems were resolved. In pursuit of the crossover market, Rodríguez switched to RCA Records in 1953 and his recordings on that label sold well. Ritmo y Melodia, 15 Joyas Tropicales was the most recent compilation of material culled from his RCA period.

On his return to Tico, he issued Wa-Pa-Cha. His final release for them was Señor Tito Rodríguez. In 1960 he signed to United Artists Records with the agreement that he would be the only Latin bandleader to record for the company (My note: Hey, Charlie Palmieri and Johnny Pacheco started the Pachanga Dance Craze there and had to left....Eddie Palmieri, Tito's piano player at the time left Tito sometime later...reason???)

His first album on the label, Live At The Palladium, was a great success, marred only by the continued conflict over top billing at New York’s famous Palladium Ballroom and elsewhere, between Puente and Rodríguez. In 1962, Rodríguez had three great consecutive hit songs: “Vuela La Paloma”, “Cuando, Cuando” and “Cara De Payaso”, which all went to the top of the charts in Puerto Rico and other South American countries. Rodríguez and his band recorded “Back Home In Puerto Rico” during a two-week stay on the island during June 1962. His return was marked by official government receptions and heavy media coverage. He also tried to find fame in Las Vegas with a revue, but it was a dismal failure that caused a heavy financial loss. Rodríguez also recorded as lead singer with La Playa Sextet, whose line-up substituted the electric guitar of their Puerto Rican leader, Payo Alicea, for traditional piano. A compilation of La Playa Sextet cuts with Rodríguez on lead vocals was issued under the title, Tito Dice ... Separala Tambien!. In 1963 he issued the Latin jazz Live At Birdland, which featured the jazz musicians Zoot Sims, Clark Terry, Bob Brookmeyer, Al Cohen and Bernie Leighton. The same year Rodríguez had a huge hit of over one-and-a-half million sales with the song, “Inolvidable”, on the album From Tito Rodríguez With Love. The song was written by Cuban bandleader/pianist Julio Gutierrez. He followed this with a series of soft romantic bolero albums, interspersed with uptempo collections like Tito Tito Tito, on which accompanist Israel “Cachao” Lopez’s championing of Latin jam sessions was spotlighted on the opening track “Descarga Cachao”. His compilation album: The Best of Tito Rodriguez included many of his classic hit songs such as Asi, Asi. The Rodríguez/Puente feud was reflected on some of the recordings Rodríguez made for Musicor Records, such as “Avisale A Mi Contrario Que Aqui Estoy Yo’ from the Carnival Of The Americas album. Cuban vocalist Miguelito Valdes and Machito appealed to the two combatants in the song “Que Pena Me Da”, composed by Valdes for their 1963 collaboration Reunion. Rodríguez and his band accompanied singer Nelson Pinedo on his Musicor release “A Latin In America”. Bad business deals and conflict with his colleagues over pay led him to disband and move to Puerto Rico in 1966. Negative attitudes towards “Nuyoricans” (New York Puerto Ricans) initially prevented him from breaking into Puerto Rican television, but he managed to get a show when the parent company of United Artists acquired one of the island’s channels. Guests like Shirley Bassey, Tony Bennett and Sammy Davis Jnr. appeared on his programme. He believed that anti-Nuyorican sentiment was also the reason why he did not receive an award for the show. Feeling rejected by his own people, Rodríguez moved to Coral Gables, Florida, United States (near Miami). He returned to New York to the delight of the capacity audience at the Manhattan Center with the title track of “Estoy Como Nunca”. He followed that with the El Doctor album which contained “Esa Bomba”, his last rivalry tune aimed at Tito Puente. Rodríguez first displayed signs of illness in 1967 while making one of his last television shows. He decided to found his own TR Records label in 1969 and while waiting for medical test results in the UK, he used British musicians to record the music for his first TR album, Involvidable/Unforgettable. It was confirmed that he had leukemia but he insisted that the results be kept secret. TR Records, Inc. was launched in August 1971 and his second album on the label, Palladium Memories, sold well. He teamed up with Louie Ramírez for the third release, Algo Nuevo. Rodríguez’ 25th Anniversary Performance, recorded in a nightclub in Per£, was issued a month before his death. The album provoked speculation about whether he had intended it to be a farewell. Rodríguez’s last appearance was with Machito and his band at Madison Square Garden on 2 February 1973. He finally lost the battle with leukemia and 26 days later, on 28 February 1973, Rodríguez died in his wife’s arms!

TRACKS SIDE A:

1- Elvira
2- Clapping the Guapacha
3- Figaro, Figaro
4-The Street Singer Guapacha (El Sonerito)
5- Lovers Guapacha (Que Barbara)
6- What Happened to Pedro (Que le Pasa a Pedro)

TRACKS SIDE B:

1- The Spotlight Guapacha (Luciendo el Guapacha)
2- Cool Guapacha (Agua Cha Cha Cha)
3- Chug-a-Lug (El Trago)
4- Sugar & Spice Guapacha (Azucar y Guapacha)
5- 659--10th Avenue (Cha Cha Mambo)
6- Sliding the Guapacha (Chancleteando el Guapacha)

WEB REMARKS: HIS 1st LP After Returning To Tico in 1956 (1949/53 at TICO,..... 1953/56 at RCA.....Back to TICO: 1956/1959 THEN HIS GOLDEN YEARS AT UNITED ARTISTS...MUSICOR, etc. 1960/........

SHIPPING CHARGES........FOR GATEFOLDS With 2 Lps ADD S&H FOR 2

ATT: PUERTO RICO & HAWAII: MEDIA SHIPPING WILL LAST 8-10 DAYS TO REACH YOU...PRORITY MAIL IS $7.00 BUT WILL REACH YOU IN APROXIMATELY 3 DAYS!

INTERNATIONAL SHIPPING....Packages weighing over 4 pounds (usually 6 or 5 single lps depending on packaging and thickness of vinyl) must ship Priority Mail International by postal rules (Will arrive more quickly and carries insurance based on the value!!) - 1st Class is not even possible above 4 pounds. ALSO NOTE: If your single item or total purchase is over $75 then shipping MUST be by insured priority mail for your protection as well as mine. I do not ship expensive packages without insurance.

ITALY CUSTOMERS:

ITALY……. ADD $11 FOR REGISTRATION!!! No exceptions! Sorry, I’m following Other Dealers Suggestions Regarding Problems With the Delivery/Handling of Items…I personally had 2 of 4 problems, Mexico was the Other) in ten years (Thousands Of Records Sold) in the business!!!

(Gli acquirenti italiani sono tenuti ad aggiungere 11 dollari per la spedizione registrata. Non si fanno eccezioni)

POSTAL RATES & WEIGHTS - LPs

LBS.

1

1.4

1.9

2.6

3

# of LPs

1

2

3

4

5

$14.00

* We offer a money back + shipping costs guarantee on our records (unless otherwise noted) if you feel the LP was not graded properly We Must Be Notified Of Any Discrepancy in 2 Days after received. . We will issue a full refund upon its return, once our mistake has been verified. Record Must Be Returned in 3 Days…Foreign in 7 Days….We have available the insurance option…

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Record Grading: Standard guidelines for grading records comes down to a subjective judgment that may vary from person to person. We grade records and LP covers visually AND (when possible) play-tested. We make every effort to give full disclosure (remember that the LP has at least 12 tracks and the grading may vary between each other)  and your satisfaction is guaranteed. Don't assume that our vinyl determination of "Very Good+" is the same as yours!

MM RECORDS: are shiny, with no visible defects. They might have some minor superficial (“Paper”) scuff but they should play without any noise. Writing, stickers or other markings cannot appear on the label, nor can any “spindle marks” from someone trying to blindly put the record on the turntable. Major factory defects also must not be present; a record and label obviously pressed off center is not Near Mint. If played, it will do so with no surface noise. (NM records don’t have to be “never played”; a record used on an excellent turntable can remain NM after many plays if the disc is properly cared for.)

NM COVERS: have no creases, ring wear or seam splits of any kind.
NM  PICTURES SLEEVES: should look as if they never housed a record. This is a great reason to remove your 45s from their picture sleeves and keep them separate. Just keeping the 45 inside the sleeve will cause damage than can reduce the grade of the sleeve.

VG++ (Excellent) RECORDS: Barely noticeable play wear and background noise. May have surface scuffs and/or superficial marks, which will be inaudible or indiscernible from the background, no scratches. Very nice, no flaws noted.
VG++ COVERS: Artwork is still as close to perfect as can be. Some impression to the cover (minor outer ring wear) but no ink wear! Some slight creases to the corners, but not wrinkled and obtrusive to the eye. The corners can show white (where the artwork pasted slick was) meaning, slight wear. No seam splits or writing on the cover or taped repairs can make this grade.

VG+ RECORDS:  may show some slight signs of wear, including light scuffs or very light scratches that do not affect the listening experience. Slight warps that do not affect the sound are OK. Minor signs of handling are OK, too, such as telltale marks around the center hole, but repeated playing has not misshapen the hole. There may be some very light ring wear or discoloration, but it should be barely noticeable

.VG+ COVERS:  should have only minor wear. A VG+ cover might have some very minor seam wear or a split (less than one inch long) at the bottom, the most vulnerable location. Also, a VG+ cover may have some defacing, such as a cut-out marking. Covers with cut-out markings can never be considered Near Mint Unless Tiny/Small (EG: Tiny DH).

VG+ PICTURE SLEEVES: might show some very light creasing where it is obvious that a record once resided (or still does reside). A VG+ picture sleeve might have some very minor seam wear or a split (less than one inch long) at the bottom, the sleeve’s most vulnerable location.

VG RECORDS:  have more obvious flaws than their counterparts in better shape. They lack most of the original gloss found on factory-fresh records. Groove wear is evident on sight, as are light scratches deep enough to feel with a fingernail. When played, a VG record has surface noise, and some scratches  may be audible, especially in soft passages and during a song’s intro and ending. But the noise will not overpower the music otherwise. Minor writing, tape, or a sticker can detract from the label. Many collectors who have jukeboxes   will use VG records in them and not think twice. They remain a fine listening experience, just not the same as if it were in better shape.

VG COVERS and PICTURE SLEEVES:  will have many signs of human handling. Ring wear  in the middle or along the edges of the cover where the edge of a record would  reside, is obvious, though not overwhelming. Some more creases might be  visible. Seam splitting will be more obvious; it may appear on all three sides,  though it won’t be obvious upon looking. Someone might have written or stamped  a price tag on it, too.

RECORDS GRADED VG OR BELOW WILL BE "SOLD AS IS"

(We Will Try To Grade Them As Accurately As Possible!)

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