Taiwan Carol is a worldwide leader in microphones, wireless audio, public address systems and mobile audio technology. Constantly striving to improve your audio experience, Taiwan Carol employs the finest sound technology along with their 134 patents and more than 20 international awards.
Authentic Latin Music Catalog for SYNC - TV & Film Music
Cuba based rap duo, Zona Franka, blends traditional rhythms with the grit and swagger of hip-hop and rap vocal phrasings. Their clever shout choruses create instant tropical dance classics using their unique self-titled "changui con flow" style.

Pa que se entere La Habana

Artist:   Charanga Habanera

Style Released Album Tracks Charts
Timba 1995 10 0


© 1995 Caribe Productions. All rights reserved.
Audio album download includes album tracks, liner notes and cover art.
All audio tracks in MP3-VBR format. About LPM album downloads.
# Name Play Time Info
01  Nube pasajera
Alternative text
5:32 Sergio David Calzado Almanares - Director
02  Amor de subasta
Alternative text
3:50 Mario Jiménez Sánchez, Michel Maza Márquez - Voz
03  Super turistica
Alternative text
5:13 Juan Calzado, Juan Carlos González - Piano, Teclado
04  Dime A
Alternative text
4:01 Pedro Pablo Gutiérrez - Bajo
05  El temba
Alternative text
6:01 Eduardo Lazaga Salgado - Paila
06  Yuya La Charanguera
Alternative text
4:51 Victor Sagarra Álvarez - Conga, Percusión
07  Que te lleve otro
Alternative text
5:51 Orlando Leiva Saavedra - Bongó, Percusión
08  A mi me gustan todas
Alternative text
3:41 Jorge Emilio Baza - Saxo, Flauta
09  Homenaje a los Cabilleros
Alternative text
6:13 Osmil Monzón Díaz, Pedro Leonel Polledo - Trompeta
10  Siempre estaras en mi
Alternative text
3:58 Victoriano Patterson - Trompeta
"Pa' Que Se Entere La Habana" would be an indispensable Timba classic if it contained only "Nube Pasajera", but as well as marking the emergence of the individual members as composers, each of the other nine tracks is full of musical and lyrical creativity. "Yuya" and "Homenaje" are the last two pieces in the euphoric style of the early CH; "La Temba", and "Que Te Lleve Otro" point the way to the drastically different world of "Tremendo Delirio" and the rest of the tracks, as well as being fascinating chronicles of mid-90's Havana culture and dialect, have a subtle and satisfying musical flavor unique among CH's many stellar albums.

By 1995 Charanga Habanera and their second album, "Hey You Loca", had become a major sensation in Havana. Their concerts were packed with young "Charangueros" who danced and dressed as they did and knew all of their songs, each of which became, in rapid succession, a huge radio hit.

With the band's popularity reaching "mania" proportions, singer Leo Vera left without warning to join Chucho Valdés' legendary Irakere. Leo had sung half of the band's hits and when he departed, his version of "Mi Estrella" was the #1 hit in the country. It was a major blow but David Calzado, as he continues to do today, landed on his feet by relying on his uncanny ability to find and quickly mold new talent. To replace the mature and virtuosic Vera, he shocked everyone by choosing a 16-year old boy with a much lower range, forcing Sombrilla to take over most of Leo's songs. That 16-year old turned out to be none other that Michel Maza, who was an immediate success and remains to this day one of the biggest stars in Cuba.

The drastic musical changes brought about by the Timba revolution were accompanied by equally drastic changes to the inner workings of the Havana music scene. Musicians were allowed to earn dollars from their performances and a convoluted quasi-capitalistic economic substructure began to develop. Those with musical talent became highly motivated to become Timba musicians and the fierce competition forced them to higher and higher levels of virtuosity and creativity.

Meanwhile a whole industry of "jineteros" grew up around the club scene, with attractive young Cubans of both sexes seeking out foreigners for everything from cigar sales, to "romance based on finance", to outright prostitution. It was the "end of the innocence" for La Habana and La Charanga Habanera and the societal upheaval provided irresistibly fascinating material for lyrics. Following in the footsteps of Juan Formell and Los Van Van, the charangueros became chroniclers of pop culture and language. From their vantage point as the superstars of Timba, they began to write lyrics about the scene and their own role in it. For the first time, the bandmembers themselves wrote the bulk of the songs, rather than applying their innovative arranging ideas to the work of established songwriters Limonta, Piloto and Manolín.

The new lyrics used freshly-invented jargon, humor, and heaping doses of double-entendre to paint an irreverent and at times brutally honest portrait of the Havana of the mid-90's. They also began to change their musical ideas, catering to the wild new sexual dancing styles and incorporating a kind of Cuban rap into their coros that drove their crowds to a frenzy. And they did it all brilliantly, with intense musical precision and creativity. "Pa' Que Se Entere La Habana" was a key turning point, with one foot in the bright, euphoric world of "Me Sube la Fiebre" and "Hey You, Loca" and the other striding forcefully towards the dark, powerful and aptly-title "Tremendo Delirio", the fourth and final album before the band splintered into three pieces in 1997 and 1998.

--review by Kevin Moore of www.TIMBA.com