![]() Together, they recorded 1964’s “Que Te Pedi,” a song that puts the full power of La Lupe’s registry on display. She made a name for herself in New York City quickly, performing with Santamaria at mainstays such as the Apollo Theatre, Club Triton, and Palladium Ballroom, and it wasn’t long before Tito Puente fell under her spell and stole her away from Santamaria’s outfit. The singer was the electrifying performer La Lupe, who had just arrived in New York City. In the 1960s, the legendary percussionist Mongo Santamaría was reading the Cuban magazine Bohemia when he came across a piece about a Cuban vocalist who was said to get possessed by spirits when she was onstage. Machito, however, was a versatile, dexterous musician who was never afraid to try something new, like boogaloo and bossa nova. As frequent headliners at the Palladium Ballroom, Machito also became known for mambo, which he brought to his early records on Tico. They were pioneers in many ways, incorporating congas, bongos, and timbales into complex arrangements, and they often experimented with jazz sounds. Machito, who was born in Cuba and arrived in New York City as a teen, was known in the club circuit for performing with his band, Machito and His Afro Cubans. ![]() While the two Titos are often remembered together, the Afro-Cuban legend Francisco Raúl Gutiérrez Grillo – otherwise known as Machito – also lives in the Mambo King lore. Less successful, but intriguing recordings from later years include Dominican merengues, South American tangos, and Mexican regional music, adding up to an expansive catalog that is timeless and full of gems to discover decades later. Tico was an early home to artists that became salsa icons, particularly Afro-Cuban stars who serve as testament to the significance of Latin music’s Black roots. Goldner remained involved creatively, but in 1974 Tico was sold to Fania Records. In 1957, with debts piling up because of gambling habits, Goldner sold shares of his labels, including the Tico imprint, to Morris Levy. While the talent roster is undeniable, the label went through a series of changes and difficulties, morphing throughout the decades. He began recording with both La Lupe and Celia Cruz in the 1960s, two powerhouse women today make up some of the most revered names in salsa music. Tito Rodríguez, Tito Puente, and Machito were among the first artists to release albums on the label, with Puente, in particular, drawing more talent to the Tico umbrella. ![]() Because Goldner had a sense of what was happening in dance halls, Tico Records’ earliest label luminaries reflected the best of the “cuchifrito circuit,” the nickname for the collection of after-hours clubs and underground spots where aspiring Latin musicians performed. In 1948, Goldner teamed up with the radio DJ and personality Art “Pancho” Raymond, and they launched Tico Records out of offices at 659 Tenth Avenue. At the time, the mambo craze was at its peak, and Goldner – an avid dancer and music aficionado – decided he wanted to record some of the sounds that captured the energy of New York’s buzzing nightlife. Tico Records was started by George Goldner, a garment manufacturer turned record impresario who began his career in music by running dance halls. In the 1940s, New York City’s clubs overflowed with the sounds of cha cha, mambo, and rumba – and one label quickly seized on all of these music trends, helping to set the stage for salsa’s dominance in the mainstream years later.
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