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La Sonora Matancera is a Cuban band that played Latin American urban popular dance music. Founded in 1924 and led for more than five decades by guitarist, vocalist, composer, and producer Rogelio Martínez, musicologists consider it an icon of this type of music.
Silva had become an international singing star and was known as "The Queen of the Guaracha" by her fans in Latin America. From 1949 to 1950, she was the lead singer in the popular Cuban ensemble, La Sonora Matancera, at the same time continuing to compose. She received a good deal of recognition for her groups' performances throughout Latin ...
During her 15 years with Sonora Matancera, she appeared in cameos in some Mexican films such as Rincón criollo (1950), Una gallega en La Habana (1955) and Amorcito corazón (1961), toured all over Latin America and became a regular at the Tropicana.
Shortly before starring in the film Al son del mambo (1950), the Cuban rumbera Amalia Aguilar highlights of this musical film with a minimal plot. Fortunately, the dramatic moments of the film are buried by musical interventions of Daniel Santos, Bienvenido Granda, La Sonora Matancera, Los Panchos, Rita Montaner and the explosive presence of Amalia, who brings a sensuality and rhythm out of ...
El bigote que canta wanted to be paid more than his fellow band members even though La Sonora was a cooperative. His legacy with the band is unmatched as no vocalist recorded more songs with La Sonora Matancera than Bienvenido Granda. He put on vinyl over 200 songs with this group. [citation needed]
The following article lists the monthly number-one songs on the Mexican Selecciones Musicales chart from January 1950 to December 1960. The source for these charts is the book Musicosas: manual del comentarista de radio y televisión by Roberto Ayala, who was the director of the Selecciones Musicales magazine.
Knight was a trained trumpeter, and a "powerfully expressive" musician, according to Sue Stewart of The Guardian.At age 23, he joined the Havana-based, Afro-Cuban conjunto band, La Sonora Matancera ("the sound of Matanzas", a port with a large black population), that produced, highly rhythmic dance music rooted in traditional, Africa-based styles of son and guaracha, as revived decades later ...
The song was censored in Spain in the mid-1950s for being "against public morality." [2] In its list of the 50 best Colombian songs of all time, El Tiempo, Colombia's most widely circulated newspaper, ranked the version of the song recorded by Nelson Pinedo with La Sonora Matancera at No. 26. [3]
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