SUPER APOLLO 47:50
ROBERTO ROENA Y ADALBERTO SANTIAGO
The fearsome tsunami of pop balladry and the devastating tornado that was merengue threatened to destroy whatever was left of the salsa movement. In 1982, Jerry Masucci decided to bring together two giants from the Afro-Caribbean genre: percussionist and Apollo Sound bandleader Roberto Roena and Adalberto Santiago, a veteran vocalist who had made history through his collaborations with Ray Barretto, Típica 73, Los Kimbos and as a solo artist. The result was “Súper Apollo 47:50,” an album that was supposed to have Tito Allen as its main singer, since Allen had performed with the Apollo orchestra following the departure of Carlos Santos and Tito Cruz.
Many fans of Roena and Adalberto such as myself couldn't wait to purchase this album after listening to the son montuno “Vigilándote”. I remember buying it in the now forgotten eight-track format. The lyrics of "Vigilándote", an original composition by Ramón Rodríguez, tackle the feelings of indignation that the human heart can harbor when faced with the betrayal of a friend who does not keep his promises. Those in the know claim that Roena commissioned this song from Ramón Rodríguez because he was upset with the decisions that Jerry Masucci had taken in regards to his career. I don't believe in dictators who ruin my life, sings Adalberto Santiago following an eloquent trumpet solo courtesy of Juancito Torres. He adds: You deceive everyone with hypocrisy and falsehood.
Another track that enjoyed airplay in salsa radio stations was “Sabroso”, a son written by Dúo Binomio. Here, Adalberto showcases his sophisticated vocal skills. “Sabroso” (“Cantando”) talks about the pleasure felt by an artist when the crowd applauds his work and values his talent onstage. Perfect for dancing, this track still warms up the legs, hips and waists of Puerto Rican rumberas.
Written by Puerto Rico's Perín Vázquez, “Campanera” is yet another son montuno. In Spanish, the expression campanear means to comment and gossip about other people's lives. A real campanera gets up early in the morning in order to unleash her tongue on her victims, just like the media does today, invading the private lives of celebrities with its voracious appetite for dirt. At eight minutes, "Campanera" is also ideal for dancing.
The influence of the Latin American nueva trova movement on salsa is evident on Adalberto and Roberto's cover of the Pablo Milanés classic “La Vida No Vale Nada”. Their version is devoid of a montuno and chorus and follows a circular pattern. The singer's delivery emphasizes social injustice, whereas the arrangement of the piece adds jazzy texture through solos on trumpet and Roena's own bongo.
The importance of Caribbean boleros and Mexican ranchera in salsa becomes apparent on the versions of “Dios Me Libre”, by Cuban composer Lino Borges, and “Te Solté La Rienda” by the legendary José Alfredo Jiménez - his songs have also been covered by salseros such as Ray Barretto, Rubén Blades, Willie Colón, Celia Cruz and Ismael Miranda.
Adalberto demonstrated his versatility as a crooner with the bolero “Cómo Agradezco” and “Yo Tenía Una Mujer” a track that Roena had already recorded with singer Tito Cruz on the album Apollo Sound 4, gives him a chance to display his imagination when it comes to vocalizing soneos about unrequited love. The “Súper Apollo” version lasts almost ten minutes, and Adalberto enriches it by adding verses from the guajira "Te Llevo Conmigo" by Juan Cadavieco, recorded on the Típica 73 session La Candela. Roberto's funky cowbell and Papo Pepín's conga solo prove that, at the time, salsa was far from losing its essence.
The release of “Súper Apollo” was a fitting finale to the collaboration between Roberto Y Su Apollo Sound and Fania Records. The combination of Roena and Adalberto was profitable for the label. Record sales were healthy, but Roena saw very little money, since Adalberto, who lived in New York City at the time, was often not available to perform concerts with the Apollo Sound.
Written by Jaime Torres-Torres
Credits:
Roberto Roena – Leader, Bongos, Percussion
Adalberto Santiago – Maracas, Güiro
Juancito Torres – Trumpet (Solo on "Vigilándote")
Elías Lopes – Trumpet
Mario Cora – Trumpet
Papo Lucca – Piano
Hector "Lutty" Maldonado - Trombone
Coco Andujar – Sax/Flute
Sal Cuevas – Bass
Domingo "Cuqui" Santos – Timbales
Papo Pepín – Congas (Solo on "Yo Tenía Una Mujer")
Adalberto Santiago – Lead vocalist
Coros – Cheíto Quiñones, Mario Cora, Adalberto Santiago, Pete "El Conde" Rodríguez
Produced by: Roberto Roena
Executive Producer: Jerry Masucci
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