year or earlier, this 15th anniversary album, as the first Pupy CD I know of dates back to 2002. That included El Gato No Araña, which still sounds great today. Sometimes it takes a while for all the loose ends to get tied for a release.
Pupy has always been a creator of incessant, infectious tumbaos, and when he finds one that really gets under your skin, the groove carries you through the entire song. Los Que Son Son are there to add rich layers of interest and variation. There’s so much to choose from, without the entire album you may hear a different side of this, depending on which tracks your local DJ’s champion.
In my view the first half of Pasándola Bien is by far the strongest. A flurry of irresistible dance tracks left much of the second half standing on the first few plays. All the same, the second half has grown on me considerably over time. Pasándola Bien includes 15 tracks in all, or 14 not counting the less than 2 minute bonus track.
From the second half, Los Reporteros stands out for me. The endlessly treatable theme of gossips, but this delivered by what I bet will be a rising star. Alcibiades Durruthy is the owner of an interesting and unusual voice.
If La Cuenta Decisiva first appeared on the CD Pupy El Buenagente, Mándalo y Ven is Pupy’s customary remake from the early 90’s repertoire of Los Van Van. The new arrangements give life to old bones in both cases. Capullito De Alelí is probably not what a Pupy fan will be buying the CD for, but it earns its place. A package of back to back piano solos (one each from Lazarito Valdéz, Pupy, Manolito Simonet and Alejandro Falcón, the latter being the author of Danzón Timba) the outro is an extended percussion solo.
Where this is good- most of it- it’s often exceptionally good. It’s also well recorded and mixed. So highly recommended we got a licence to print it on CD.
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