CHUITO & THE LATIN UNIQUES FROM STREET RARE ORIG '66 SPEED LATIN SOUL/BUGALU LP

$

255

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·       CHUITO AND THE LATIN UNIQUES – FROM THE STREET  – INSANELY RARE ORIGINAL 1966 SPEED RECORDS MONO LP SM-106

·       ORIGINAL U.S. PRESSING

·       ORIGINAL CHARTREUSE (PALE YELLOWISH GREEN) SPEED LABEL WITH BLUE LOGO AND BLACK PRINT

·       THIS IS THE ORIGINAL, AUTHENTIC, FIRST U.S. PRESSING; THIS IS NOT A REISSUE, AN IMPORT, OR A COUNTERFEIT PRESSING.

·       ORIGINAL, THICK CARDBOARD COVER (AMERICAN STYLE)

·       COVER IS STILL IN ITS ORIGINAL SHRINK (CELLOPHANE) WRAP

·       CLEAN, WEAR-FREE LABELS

·       THICK, HEAVY VINYL PRESSING

·       THE RECORD HAS A 'BELL SOUND' STAMP IN THE TRAIL-OFF VINYL (DEAD WAX) AREA

·       MACHINE-STAMPED MATRIX NUMBER IN TRAIL-OFF VINYL (DEAD WAX) OF THE RECORD

 (►PLEASE SEE THE IMAGE OF THE COVER, LABEL OR BOTH, SHOWN BELOW)

(Note: this is a REAL image of the ACTUAL item you are bidding on. This is NOT a "recycled" image from our previous auction. What you see is what you’ll get.  GUARANTEED!)

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In the late 60s, Latin New York was dominated by the boogaloo and Latin Soul. From the music’s first flowering with Johnny Colon’s “Boogaloo Blues” and “Joe Cuba’s ‘Bang Bang” it was clear that this sound of the 2nd and 3rd generation New York born children of Puerto Rican immigrants was bringing a new fervour, mixing traditional Latin music with the sounds of the soul music that was in the air of the city. For the next few years, until it was blown away by the juggernaut of salsa this was the sound of Latin New York.

In the wake of its success independent labels and producers dominated the scene. Richard Marin with his production deal with Decca, George Goldner’s Cotique and of course the fledgling Fania Records, a label that would eventually come to dwarf all of the labels. One of the most vital, but smallest was Speed, run by Stan Lewis, with producers Morty Craft and Bobby Marin, the younger brother of Richard. The label released a handful of singles and LPs but the quality was consistently high, and today every release is sought after by collectors. The most in demand of them all is the one that you now hold in your hands, Chuito and the Latin Uniques “From The Street”.

According to Bobby Marin, Jesus ‘Chuito’ Santiago was a kid from ‘Brooklyn or the Bronx’ who had a hip band that Bobby thought would be worth recording. They were in fact similar to scores of other groups on the scene and would have remained so, but for the fact that they got a chance to record. The album mixed up straight Latin cuts such as “Ponte A Sonar” and “Aqui Llegó” with soul cuts, and band originals with specially written tracks by Lewis, Craft and Marin. When the album appeared it came housed in a sleeve showing Chuito looking sharp, smart and cool, standing on a New York street by a manhole cover. However despite the release of the album’s one single on two separate occasions on two separate labels the album disappeared without leaving much of a trace.

In recent years the album has become a sought after item by fans of Latin soul, but it’s initial afterlife came courtesy of that very single. The opening track on the album was called ‘Spanish Maiden’, and was voiced by a singer called Tony Middleton whose voice was a kind of supper club RnB. As Bobby Marin explains it: “I was walking along the street with an engineer friend of mine, explaining to him that I needed a soul singer to sing on a song I was producing. Suddenly he pointed at a guy across the street and said ‘That’s him, Tony should be your singer’, he was standing at the stage exit of a theatre, he was in ‘Hair’ or something’. Middleton sang the song and it was released as a single on both Storm and Speed, the double release presumably because of had some local success. It was also released on a 12 inch single on Disco International in the mid 70s. It was from this release that it was initially picked up by the UK’s northern soul club scene, where Middleton was a cult hero, and it became a dancefloor hit. Middleton would record another single with Marin, the non-album “Return To Spanish Harlem”, also a collector’s item today.

This is a special record. What makes it special are the singers Danny Agosto, Norberto Carrasquillo, and Tony Middleton; they lay down some of the most soulful and moving vocals I've ever heard on a Latin soul record.

On "Wish I Could," Danny Agostoa laments his lost loves and loneliness while longing to love again. His pain is pure and real and should resonate with anyone who's known the terrible burning heaviness of heartbreak.

Tony Middleton offers up his own story of pain and heartbreak on "Spanish Maiden." Perhaps because of the impossibility of asking/accepting her back after the deep hurt she caused him, Tony aches simply to know why she left, "leaving [him] in such misery and grief." He attempts to reason with her, begging her to remember the good times, yet knowing deep down that those heart-warming memories that once filled their worlds are now merely eroding islands in an ocean of hurt.

Not to be outdone, Norberto Carrasquillo displays his beautiful and very versatile voice on sonically spectacular songs like "Si Tu Me Quieres A Mi," "Ponte A Sonar," "Candela," and "Aqui Llego"—almost stealing the show with his first sublime verse on "Si Tu Me Quieres A Mi" alone.

For additional historical information on this album, including track listing ►CLICK HERE

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·                               CONDITION:

·                               RECORD

 (IMPORTANT NOTE: unless otherwise noted, ALL records are graded visually, and NOT play-graded!; we  grade records under the strong, diffuse room light or discrete sunlight)

(a)          WE GRADE THE VINYL AS STRONG VG++, just a notch below NEAR MINT. A few light abrasions (probably just sleeve scuffs inflicted in storage over the years) ARE VISIBLE, but they appear fairly  insignificant relative to the overall condition of the vinyl, and are only moderately visually distracting. For most part, the vinyl looks impeccable, without any MAJOR visual flaws or imperfections. Much of the original luster is intact, and the vinyl shines and sparkles almost like new.

(b)          The record is pressed on a beautiful, thick, inflexible vinyl, which was usually used for the first or very early pressings. Usually, the sound on such thick vinyl pressings is full-bodied, vivid, and even dramatic. Do not expect to obtain such a majestic analog sound from a digital recording!

(c)           Of course, this is a full-bodied ANALOG recording, and not an inferior, digital recording!!!

·       COVER

COVER IS (WEAK) NEAR MINT,  STILL IN ITS ORIGINAL ►SHRINK WRAP

The following flaws or imperfections are noted on the cover:

-        Three small, faint water stains noted on the back panel (less than 4 square inches in size, total)

-         Cover shows JUST A HINT of yellowing on back side, apparently from aging.

-         Minor shelf wear noted on the opening side (nothing significant)

NO OTHER IMPERFECTIONS ON THE COVER:

-        No split seams

-        No ring wear

-        No cut-out (drill) holes.

-        No cut-out corners

-        No saw-marks or indents

-        No dirt/dust rubbing stains (friction marks caused by rubbing against other covers)

-        No wrinkles or creases

-        No writing

-        No stamps

-        No tearing: no chips, dents or nicks on the seams

-        No peel-off marks

-        No mold or mildew spots

-        No stickers or labels

-        No water damage

-        No razor marks, scratches, pressure marks, lines, streaks, or  cuts.

-        No warping

-        No wax, glue, paint or liquid drops on the cover

-        No glue traces or wax residue.

-        No bar codes

-        No RIAA stamps or stickers. 

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POSTAGE & SHIPPING:

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