Fania Records at 60: Artists and Industry Experts Weigh In

If Rauw Alejandro’s beautifully crafted 2024 album Cosa Nuestra taught us anything, it’s that Raulito is a huge salsa fan. But more importantly: Fania Records’ influence remains strong among boricuas and the entire Latinx community. On the 60th anniversary of the venerable label, you can hear its influence deep in Rauw’s music — the title track off Cosa Nuestra samples “Qué Lío” by Héctor Lavoe and Willie Colón. The album shares the same name as Lavoe and Colón’s 1969 opus, and even visually, Alejandro pays homage to an iconic image of Lavoe pointing to a black eye. All this is to say, Fania and all their All Stars (Celia Cruz, Rubén Blades, Ray Barretto, Cheo Feliciano, etc.) run through the musical veins of today’s Latinx superstars. As we close out the year, we spoke to over 30 artists and music industry experts about their love for Fania. Long live Fania and long live salsa.

Akapellah
Rapper

Fania is what I grew up listening to at home with my family. To me, it represents true music and serves as a school of incredible musicians. They were the first to break into the American market and cross borders. I see them as a model to follow and the first Latino figures to succeed abroad. I’ve watched videos of Fania triumphing even in Africa. Obviously, we all aspire to be like Héctor Lavoe and José Feliciano.

At home, we had a collection of Fania’s greatest hits on cassette. This was the music playing while my mom cooked, and we spent the day listening to it. Many of these hits became the soundtrack of my life, such as “Pedro Navaja,” “Fuego en el 23,” “Juanito Alimaña” and “Quítate Tú Pa Ponerme Yo.”

Alejo
Vocalist

Even though my area of music is super different, I feel like people and stuff like La Fania was the music that took us there. So I know that not only they influenced in their era, but they’re influencing now. That’s what I was telling you. I feel like a lot of reggaeton artists — I know because I see the interviews — they say that that was the muse for the music, and to start reggaeton. People like Daddy Yankee have all said that, so I mean that’s just amazing. Not inspiring only their type of music, but our type of music. So that’s crazy.

Nino Augustine
Vocalist

I grew up in a salsa household, with my mother being a huge fan of Fania Records. Salsa has always been a part of my life. As a kid, knowing I wanted to pursue a music career, I dreamed of one day being a part of it somehow. I listened to the music, watched the vintage concerts and even still collect the records. From studying every artist on the roster to learning about the business and its founders, Johnny Pacheco and Jerry Masucci, I can genuinely say it’s a big reason why I make music today. It means the world to me.

I can’t pick just one favorite artist, but I can narrow it down to two. First, the great Héctor Lavoe — his style, voice and entire vibe were undeniable. Then, being from Panama, I have to mention Rubén Blades. He brought a unique style to salsa, blending political and social consciousness with incredible compositions, and gave us Siembra, the highest-selling salsa album of all time. They both contributed to making Fania the legendary label it is today. I love them both.

Julio Bague
Producer

Fania Records captured the urban Caribbean musical movement that came out of New York City in the ’60s and ’70s called salsa, and exposed it to the world. The label developed and promoted these musical icons whose music, lyrics, lifestyle and swagger influenced hip-hop, dance music, pop music, Latin music and jazz, which is basically all the music I listen to!

For a young Puerto Rican musician growing up in the States, Fania was ground zero in understanding and identifying with my roots and where I came from both musically and spiritually. I’m as crossover as the music itself!

My favorite Fania artist is definitely Willie Colón. I’ll never forget listening to Siembra, Lo Mato and Fantasmas and thinking that I can’t believe these albums were all produced by the same person. He’s a musical visionary and his ability to adapt to the voices he’s working with is an inspiration to me as a producer.

Cosmo Baker
DJ

There are so many albums on Fania that it’s almost impossible to pick one — the Fania sound is ubiquitous to salsa and, in a way, to New York City. But if I had to pick one, I would say maybe Roberto Roena y Su Apollo Sound’s 2, which is a banger front to back and worth it for the Santana cover “Shades of Time” alone! 

Rick Brown
Percussionist

I moved to NYC in ’75, ostensibly to get a college education. I went to school to study mathematics, but music distracted me. There was the punk explosion, there were jazz gigs both mainstream and “out,” and I started to discover the fantastic Latin music scene in my new town. My dad’s record collection had a few Latin records, and he’d been a fan of the Gillespie/Pozo/Machito/Bauzá interactions, so I knew a little something. But seeing the great bands playing real New York salsa up close at places like Casino 14, S.O.B’s and the Village Gate’s Salsa Meets Jazz series was super exciting, musically influential to me, and the basis for my continuing, and deepening, love and appreciation for African Caribbean musics.  

It’s a struggle to single out a Fania album for mention here, as I love so many, but, while its cover probably raises eyebrows even more now than it did in ’81 when it was released, I value the Fania All Stars’ album Latin Connection very highly. All of the label’s great singers are here (Celia, Cheo Feliciano, Héctor Lavoe and more), and the hot band Johnny Pacheco put together. I especially dig the version of “Bilongo” (aka “La Negra Tomasa”) sung by the wonderful Ismael Rivera, with great solos by Roberto Roena and Luis “Perico” Ortiz. The album also now really evokes for me the experience of seeing a couple of amazing multi-band, multi-singer shows at Madison Square Garden around this time — with the Fania All Stars as a central act.

Caleb Calloway
Producer

Fania Records, to me, is the unification of tropical music. The label gave a voice to all these different rhythms and brought it back as one “salsa.” For me, the biggest achievement is giving a voice to the Afro Caribbean artists who were marginalized. From Celia to Maelo, Afro Spanish speakers had a voice for the first time.

Fania has had a huge impact on my life since I was born. From my grandmother and father’s radio in the car to the college bars in Río Piedras we used to hang out at, Fania was everywhere. The swag and the marketing Fania was able to perfect made me want to make my own collective of artists and labels, and bring together talent from all over to one place.

My favorite Fania All Star is Ismael Rivera, “El Sonero Mayor.” He’s not only a family friend but a representation of the Afro Puerto Rican in the mainstream. His music, his swag, his legacy can be found all over the urban genre till this day. I think not only is he the most influential Fania artist but the most influential artist from Puerto Rico. I hope one day to be able to work and sample some of his work from Esto Fué Lo Que Trajo El Barco.

Jorge Luis Chacin
Vocalist, guitarist

Fania All Stars has been one of the most important and transformative discoveries of my life. For me, their music not only represents an opening to a world of infinite artistic possibilities, but it’s also a bridge between tradition and innovation. Their fusion of rhythms, cultures and styles has deeply inspired me, not only as a listener but also as a creator.

The impact of Fania on my artistic life has been immense. More than a musical genre, it has been a constant source of inspiration and a reminder of the importance of cultural identity in art. Its energy, its innovation and its mix of rhythms have influenced me to break creative barriers and experiment with new forms of expression. It has taught me to be more free and daring in my own work, to value authenticity, and to not be afraid of fusing the traditional with the modern.

Leila Cobo
Journalist

The music of Fania played a very personal and beautiful role in my childhood. My father was a huge salsa fan and an excellent dancer. Although he was Colombian, he went to college in New York when he was very young and learned how to dance there. So his taste and movements were intrinsically linked to the music of the city and to Cuban music, which he loved. In fact, long before I was born, Celia Cruz actually played at my dad’s house in an after-party during La Feria de Cali. As you can imagine, he devoured those Fania albums. When I was a teen, my dad’s Fania collection was part of the soundtrack of our lives. He taught me how to dance to Celia.

Huge impact [on my life]. Huge. All my knowledge of tropical music and salsa derives from the Fania albums. Even though as someone from Cali I would of course later go into the Cali bands — Niche, Guayacán — we always saw the Fania artists as the masters, and particularly the older acts: Celia, Johnny Pacheco, and then later Willie Colón and Rubén Blades in particular. The Fania albums taught me how the music should be played, what live instrumentation sounds like, and it made me appreciate the musicianship necessary to play that music. Those recordings were fundamental in illustrating that music can be excellent and commercial. It’s a very high standard. And, on a personal note, it just reminds me of my dad. I can’t help loving that music.

Celia, Willie Colón, Rubén. Celia is unparalleled. And Willie, quite frankly, is a genius: producer, arranger, singer, trombonist. My God. Who else can do that? Then a few years back, my husband, Arthur Hanlon, invited Cheo Feliciano to participate with him in his PBS special Encanto del Caribe, which he filmed at Castillo San Cristóbal in San Juan. Arthur loves “El Raton,” and he did this very bluesy version and then Cheo came out as a surprise. It was the most fantastic night. It made it onto the album, and I believe it was Cheo’s last recording, in fact. It was magical and sensational. And to see Cheo Feliciano onstage with someone I love, after growing up with his music, it was unbelievable. Truly a highlight in my life.

Luis Figueroa
Vocalist

The music of Fania is part of the legacy of Latin music and our culture. Fania was able to commercialize the music they labeled salsa for worldwide audiences. They created a sound that helped to modernize salsa for their time. They opened the doors to help us today be free to create and innovate the genre as they did in their time. Having the liberty to bring your own artistic creativity and essence to an established genre is something they inspired for me.

Salsa has been in my blood since a very young age through my family. As a child, I recorded my first album of all salsa music. I was invited to perform alongside one of the Fania legends, Ismael Miranda, when he came to Philadelphia for a concert. Sharing the stage with him at such a young age left a strong impact on my development as an artist.

Héctor Lavoe and his music. Creating timeless masterpieces is something all artists strive to achieve, and for our songs to stand the test of time. This for me is the testament of Héctor’s work. I recently had the invitation to honor him as part of the Fania tribute on Premios Juventud, which will always be a memorable moment in my career.

Oscar Hernández
Pianist

Fania was a huge part of my formative years as a musician. That era was all about the cultural development of Latinos in NYC, and music was a significant part of that. Fania was analogous to Motown, but for Latin music. I was a young and up-and-coming pianist making a name for himself and would get calls for some of their recording sessions, as well as many of their artists, to play many of their gigs. Fania’s impact was palpable in the NYC music scene.

Favorite Fania albums. Well, I was the pianist on quite a few. Ray Barretto: Rican/Struction, Rhythm of Life, Giant Force et cetera, and all early Barretto albums on Fania. Ismael Miranda’s Asi Se Compone un Son. Pete “El Conde” Rodriguez’s Este Negro Si Es Sabroso. [Johnny] Pacheco albums, Los Compadres et cetera. And Larry Harlow’s Tribute to Arsenio Rodriguez. Celia Cruz, all of her recordings, as well as Sonora Ponceña, all their albums. Cheo Feliciano, all albums. Rubén Blades, all Fania albums. Willie Colón and Héctor Lavoe, especially their later albums.

J Balvin
Vocalist

Definitely Héctor Lavoe inspired me a lot. The power of music is how one song can change your life. So when I heard “El Cantante,” he basically was speaking out for all of us. People don’t know what’s behind the artist. They see the artist and they see them on stage and they look happy and everything looks as it could but, at the end of the day, we’re all humans, and this song, ‘El Cantante,’ is definitely the song that when I die, I want my friends to play it over and over again. Because it really connects with who I am as a person and the things we go through as an artist. So, the power of a song. Imagine — I’m still alive and now I know what’s gonna be the song at my funeral because this guy really talks about the things we go through. And the feelings and the situations. So Héctor Lavoe, definitely a big inspiration. “El Cantante” changed my life.

JHAYCO
Vocalist

The Fania music, for me, is everything. It’s culture. I’m really a salsa-loving guy, you know? It’s just what I grew up with. What I used to hear my grandparents play, my aunts play. It’s what you hear when you go to the beach. And also here, in New York, there’s a lot of that, you know? Fania was based here. I mean, it’s everything for us. It’s everything.

Héctor Lavoe, that’s the top, you know? The best album for me, I would say, I like El Malo.

Jon Z
Rapper

My favorite Fania artist is Héctor Lavoe, especially the album Comedia, from which comes the song “El Cantante.” I listened to it all the time with my grandfather; it brings back beautiful memories, and despite my young age, I could already understand the concept of his songs. Now that I am an artist, the feeling is much deeper and I identify much more with his music.

Kapo
Vocalist

Fania Records is history. It’s an incredible legacy. And it’s not just the artists who are there, but all the people who make us part of this beautiful thing that is music. What Fania was, what Fania is, and what it will continue to be for the hearts of all salseros. All the time you felt that flavor, that affinity of life, of what was happening to us with all those songs that at that moment marked history.

La Cruz
Vocalist

The music of Fania Records represents my childhood, since my family is a big, big, big fan of Latin music, and salsa in particular. In my house, I couldn’t miss a good song by Willie Colón, Celia Cruz or Héctor Lavoe.

It all comes from being able to discover the history of these Fania Records artists, and identifying with the fact that many had to leave their homeland to be able to succeed in another country, and to be able to achieve their goals. I am a big fan of a song by Celia Cruz called “Por Si Acaso No Regreso,” which is dedicated to Cuba. It is a song that every time I listen to it, it conveys its history to me. I know that they are different themes and worlds, but it makes me feel quite sentimental because I identify with it a lot.

La India
Vocalist

The music of Fania Records holds deep significance for me because I grew up surrounded by it. It wasn’t just the soundtrack of my family life — it resonated throughout my entire life and community. Fania has always been an integral part of my identity. Its presence has accompanied me through every stage of my life, becoming more than just music — it’s a cultural and educational legacy that will endure. For me, Fania represents a time that will never be forgotten, a treasure that continues to teach and inspire.

I describe Fania All Stars and Fania Records as profoundly impactful. Their music has been a constant in my life, shaping my upbringing. Family gatherings were always filled with the voices of the Fania artists — each song a piece of who we were. Fania’s influence went beyond just enjoyment. It shaped my creative path, allowing me to explore various genres like dance music, Latin jazz, freestyle and tribal house music. The vibrant, genre-defying sound of Fania from the ’70s laid the foundation for many up-and-coming producers and DJs in my generation. Its influence is undeniable and transformative.

Lisa Lisa
Vocalist

The Fania All Stars album is my music in the key of life. My growth. My childhood. Everything.

My first concert, I think I was 12 or 13 years old when I went to see the Fania All Stars at Radio City. It was everything. Everything.

Victor Manuelle
Vocalist

Fania, for me, signifies my growth. I was born the year Fania practically began its peak. It was very common throughout [to hear it] my neighborhood. My dad was a die-hard salsa fan, so having Fania records at home and listening to the voices of all those incredible talents was a revolution. I believe that the impact of Fania was not only on me as an artist. I think that everything that generation implied, the one I was born into, they were the revolutionaries. It was a group of young Latinos who settled in New York City — Cubans, Dominicans, Venezuelans, Puerto Ricans — with a very different energy, right?

Sergio Mejía
Bassist

For me, Fania was my first introduction to salsa. I remember that the first salsa albums I heard were under the Fania label.

La-33’s first songs, many of them were under the Fania label. Since Fania was in charge of collecting some of the main exponents of salsa from the seventies. From which La-33 based its sound.

[One Fania favorite is] the album and documentary Our Latin Thing, which is about the Latin music scene in New York. It centers on a concert created by the management of Fania Records at the Cheetah Nightclub in Manhattan, with a group of Fania artists called the Fania All Stars. Artists like Héctor Lavoe, Cheo Feliciano and Ismael Miranda, among others.

Our Latin Thing resonates with me a lot because it’s like the sound we were looking for with La-33. And seeing where the artists came from, their environments, has been part of our artistic growth.

Aquiles Navarro
Trumpeter

The music of Fania Records is built by those who made the music — the people, the musicians, singers, arrangers, composers, producers, visionaries and very important, the audience. There was a very close relationship with Fania releases and the Panamanian crowd. Being from Panamá, I grew up listening to my father’s music collection, which included Ismael Rivera, Roberto Roena, Rubén Blades and Bobby Valentín, just to mention a few. I was told that the label would first try out their new tunes in Panamá before the actual release, just to see if the song would actually be a hit. Panamá was known to be a tough crowd because of its knowledge of the music and rhythmic ability that is vital in this music.

Some of the people who built Fania and its sound were very close to me, as was my teacher, master musician trumpet player Victor “Vitín” Paz. You can hear him shaping the sound of this music on some of the most important releases this label had to offer, such as Eddie Palmieri’s The White Album, in which he recorded all four trumpet parts, including solos. And his favorite trombone player, Barry Rogers, recorded all the trombone parts. Hailed as one of the most brilliant recorded horn sections of this music. He was the first trumpet chair on all releases he was a part of, this being a huge responsibility that requires lots of discipline, studying and consistency. A short story about this: I was at Riverside Park in Harlem during the Covid days. I believe it was Labor Day weekend, so people were out in the park, but at a distance. I was sitting by a tree with the Harmon mute in my trumpet, doing some long tones, and I had a Panamanian hat on. And after about 40 minutes, this man on a bike asks me about my hat, and I said, “It’s from Panamá.” He responded, “Aw, man, I love Panamá!,” and proceeds to tell me, “You know … I put out Rubén Blades’ first record.” I was like, “Wait … what?” It was Alex Masucci I was speaking to, Jerry Masucci’s younger brother. So we had a nice conversation about how the early days in the industry were, and when I mentioned I was a student of Victor Paz, he said, “Wow! He was the absolute best. Never missed a note!!” And shared about their experience when they went to Zaire! Well, that was Victor. Master musician that meant business. He would even play first trumpet for both Tito Puente and Tito Rodriguez on the same nights when they had their band-offs at the Palladium! Yes!!

Some of my favorite Fania recordings where you can hear Victor Paz include Palmieri’s The White Album; his solo on “Sala Gente,” by Ismael Rivera y Sus Cachimbos, from the album Vengo Por La Maceta; his solo on Pete “El Conde” Rodríguez’s “Soy La Ley”; and a solo he does on Willie Colón’s ballet El Baquine de Angelitos Negros, on the 42-second interlude track titled “Angelitos Negros, Part 2.” His solo on that track gives me chills every single time.

I would like to shed light on Panamanian master singer and interpreter Camilo Azuquita. The tone of his voice and delivery are pure elegance, beauty and sabor all the way! His sound takes me back home instantly and puts me in a state of joy and true “candela” — how we say fire in the music. His sense of clave was pure mastery. Whether it was his own releases, such as Azuquita y Su Orquesta’s Pura Salsa Melao — what an amazing album! — or his contributions with Tito Puente or my next artist to mention, Roberto Roena.

In 2016, I had the amazing opportunity to perform in the trumpet section with Roberto Roena y Su Apollo Sound for his 45th anniversary celebration that took place at Lehman College in the Bronx. I mean, when I told my father I had that gig, I think he was more excited than me! I was invited by my friend Tito Mangual, who grew up working with Roberto Roena, so shout out to Tito! Being able to rehearse and perform all the classics of the Apollo Sound with the original singers — Carlos Santos, Papo Sánchez, Sammy González, Tito Crúz; Roberto Roena on the bongos and cowbell, conducting; and maestro Papo Pepín on the congas, in front of a beautiful New York crowd, was a dream come true! Performing “Marejada Feliz,” “Cui Cui,” “Que Se Sepa,” “Lamento de Concepción” and having to play the trumpet solo on “Tu Loco Loco, y Yo Tranquilo” with Tito Crúz singing! I mean, does it get any better than that?

To bring it down to one record is quite difficult for me. But one gets me every time, including childhood sound memories combined with my adult life in the music. I would like to share with the world “Mi Desengaño” by Roberto Roena y Su Apollo Sound, from the album Lucky 7, released in 1976.

Frankie Negrón
Vocalist

Fania Records is the blueprint of salsa music. It’s the sound that shaped our culture and our communities. Growing up, the music of Fania was the soundtrack to family gatherings, parties and celebrations. Fania’s music has this raw energy, a passion that speaks to the heart of Latin identity. For me, it’s a reminder of where salsa began and how it evolved, and it continues to be a source of pride and inspiration.

Fania Records has been pivotal in shaping my career as an artist. I grew up listening to their records, and those rhythms and arrangements became part of my musical DNA. The artists on Fania set the standard, and in many ways, they paved the path for me to follow. Their passion, their innovation, and their ability to blend different musical elements — jazz, soul, Afro Cuban beats — showed me what was possible. It pushed me to experiment and helped me develop my own voice as a salsa artist while respecting the roots of the genre.

It’s hard to choose just one [artist], but I have to say Héctor Lavoe has always been one of my biggest influences. His voice, his delivery, and the way he could tell a story through a song was unmatched. One of my favorite albums has to be La Voz. It was the first time I truly understood the depth of emotion that could be conveyed in salsa. And as for live performances, seeing Willie Colón and Rubén Blades perform live for the first time was unforgettable. The energy, the storytelling, the musicianship — it was a masterclass in what it means to command a stage.

NOREH
Vocalist

Rubén Blades influenced my music a lot. I remember that since I was 6 years old, I listened to songs like “Pedro Navaja,” “Ligia Elena,” “Amor y Control,” “El Padre Antonio y su Monaguillo Andrés” and it wasn’t until I got to university that I understood what his real contribution was. Such great lyrics and stories added to the Latin genre, salsa or Latin jazz, which I feel changed the course of Latin music, both in storytelling and in harmony and intonation. Something that caught my attention was also his role as a composer of pieces for other artists, such as “El Cantante,” which was performed by Héctor Lavoe, and also his collaborative albums with other Latin music stars.

La Cassandra
Vocalist

When I think of Fania, I think of raw innovation. To think about what these young artists from NYC, PR, Cuba and elsewhere were able to translate through their rough upbringing and environment into raw and new sounds that spread to every corner of the world. They created lightning in a bottle from the rough New York streets.

As an artist, Fania has had a deep impact on my life. From growing up listening to them, to the countless artists and generations that were inspired by them, it’s hard to imagine what my sound would be today without their impact.

paopao
Vocalist

To me, Fania Records is basically the definition of Latin music.

When you’re a kid, you’re not really attaching the music to “Oh, this is Fania Records,” but it’s the music my grandparents listen to, my parents listen to, and I definitely still listen to. As far as the impact, Fania music has been in every Latin celebration, in every Christmas house gathering, in every birthday. It’s been a massive part of my life.

Oh, favorite Fania artist? That’s too hard. I mean, Celia Cruz, Héctor Lavoe, Rubén Blades. I think I don’t really have a specific live memory other than I remember seeing “Pedro Navaja” with my stepdad and him telling me the meaning behind the song, and my first internship was with Gloria and Emilio Estefan and Celia was all over that studio. I didn’t realize until a few years later that Celia was a Fania artist. But yeah, Fania has been a massive part of my life, and I hope it continues to be that way.

Chichí Peralta
Vocalist

La Fania’s music is an authentically unique sound where drumbeats, harmonic piano tumbaos with jazz influences and brass riffs with contrasting melodies of tasty big band influences came together, with so many stars that in unison they became an incredible and magical sound constellation that is impossible to ignore and forget after so many years. As the great teacher Daniel Barenboim says, “everything is connected,” and for me all the wateke, the flavor, the cadence that traveled a path of smiles, tears, blood and fire from Africa to the Caribbean, and then drank from the harmonies of jazz and blues, continue to be the synthesis of our true Spanish-American sound. For me, who had the opportunity to learn about this legacy and have the joy of recording with Tito Puente and Richie Ray in that beautiful special dedicated to Don Rafael Hernández in Puerto Rico; to be able to meet Roberto Roena, Ray Barretto and my compatriot Johnny Pacheco, with his mastery and his magic flute, who was a super important part of the interstellar machinery; they left an indelible mark on my soul, since it is the indisputable basis of our Hispano Caribbean American music.

It had an incredible impact [on me] due to the virtuosity of each of its members, since they later demonstrated, both in their solo projects and in their recordings, why they lived up to the name of Fania All Stars when they were together. Their rhythms, fusions and diverse sound nuances took them back to the cradle of the drum, Africa. (Guess where the music I bring you started.) It encompassed an entire sound journey of Afro Caribbean and Latin American influences masterfully interpreted. How would it not impact the globe?

The entire legacy is incredible. “El Ratón” live in Africa, and Santana’s solo already announced what was coming with him, like Feliciano, Johnny Pacheco, Ismael Miranda, Héctor Lavoe, Ray Barretto, Celia Cruz. That is, tell me which member of Fania wasn’t great alone, either. Together, too much for the body, gentleman! May La Fania live forever, and may it continue to be a reference for true Afro Caribbean and Latin American music.

Pj Sin Suela
Rapper

The music of La Fania, for me, is cultura. Culture. And it reminds me, obviously, of Puerto Rico. I remember my dad putting salsa — and my grandfather, actually — putting all different types of salsa. I think that part of our swag, or our flow, comes from La Fania. The whole collective and all the musicians that made part of that band and that record label.

In my life, I believe that artists that were in La Fania, like Héctor Lavoe, Rubén Blades, and their stories [had an impact on me]. I like writing stories as a musician, and I think that they were the best storytellers. I think that you listen to classic albums, and how salsa had different stories from beginning to end, it was like a little movie. And that impacted me personally as a musician and as a creative, because I would tell you that my favorite movies, my favorite songs, are all stories, and a lot of it comes from listening to salsa.

Definitely Héctor Lavoe [is a favorite Fania artist], because I’m from Ponce. His album Comedia, which has “El Cantante,” and all those songs are very iconic. I have a lot of memories of Siembra, by Rubén Blades [and Willie Colón] … from “Plástico” to “Pedro Navaja.” It was my dad’s favorite album, so it definitely touches home. Also Tite Curet, Ismael Rivera, Celia Cruz, a whole bunch of different artists that set forward a generation. Salsa always comes hard. 

I’ve always been a fan of Fania and on my last album, Toda Época Tiene Su Encanto, two songs have trumpet by Charlie Sepulveda, who recorded with some of the members in La Fania. So for me, I heard his stories and they’re all crazy. And for me it’s a pleasure to have a collaboration with someone who was part of Fania.

Eliezer Ponce-Castro
Vice President, A&R USA Fonovisa-Disa

Fania is more than music to me — it’s the soundtrack of my Puerto Rican heritage, it’s HOME. It’s a legacy that I proudly carry with me, source of inspiration, pride, and love for mi patria and Puerto Rican heritage.

Fania’s impact on my life has been profound, shaping not only my own musical journey but also how I connect my heritage and raise my multicultural children. Seeing my son dance to Fania is a testament to the enduring power of music to transcend generations. Through Fania, my children will experience the soul of Puerto Rico in a way that will resonate with them. It fosters a sense of pride in their roots and creates a beautiful link to the island, even though they’re growing up far from its shores.   

Choosing a favorite Fania artist is like choosing a favorite child — impossible. But Cheo Feliciano and Roberto Roena, que en paz descansen, hold special places in my heart. Narrowing down a favorite album is just as tough, but Asalto Navideño: Vol. 1 & 2 saw me through some tough times.

One of my favorite, most beloved memories is with my uncle in Ponce, PR, en el Barrio San Antón, in an iconic establishment called Sarabanda. I was a teenager, and there was a band playing salsa, and among them was Giovanni Hidalgo en las congas, Roberto Roena en los bongos and Cheo Feliciano y Andy Montañez cantando. To me, that is Fania, la gente, el barrio, la cultura y mucho sentimiento.

Dafnis Prieto
Drummer

I started listening to Fania's music when I arrived in New York, 1999, from Cuba. Of course at that time Fania was no longer active. Yet I started to enjoy listening to their records and watching video clips of their live concerts, the way they worked on their arrangements and the way they told the stories in the songs, connecting directly with the people. Their music was infused with Cuban, Puerto Rican, the USA, but also many other countries from Latin America. It was a real mixture of cultures, just the way people were experiencing their own lives, especially in New York City. It was a cultural and social phenomenon all together.

[Some of my favorite artists are] Héctor Lavoe, Eddie Palmieri and Cheo Feliciano, to mention a few. From the three, I have had the honor and pleasure to play and tour with Eddie Palmieri on many occasions. I would say that by getting to know Eddie, I could see through and still feel the energy, the attitude, the drive, the humor and the artistic display in the lives of that generation, the generation that created and supported the Fania movement.

riela
Singer-songwriter

Fania Records brought and kept salsa, boogaloo and Latin jazz alive in the U.S. It made sure the people of Latino America —more specifically people of D.R., Cuba, Puerto Rico and Panama — didn’t lose the sounds of their islands or land when starting a new life elsewhere. All these sounds inspire me in my own music. It also helps me paint a vivid picture of what life was like before immigrating to the U.S. for my Cuban and Panamanian family, beyond the stories they would tell me.

As a child, I’d see how happy the music of Fania Records made my family at our gatherings, specifically Noche Buena. When we listened and danced salsa together, nothing else mattered. It’s definitely something I keep in mind when making music. These artists would come together and create music that resonated with people. Fame was just a “side effect” of having fun and building with your community.

I grew up listening to Rubén Blades, Celia Cruz, Héctor Lavoe and Johnny Pacheco. It’s very hard for me to pick a favorite Fania artist, but the Siembra album from 1978 goes insanely hard.

Smash Hits
Record label

Fania Records is one of the companies that established a change in Latin music. They managed to unite the best musicians in New York, including salseros, jazz players, bolero artists … The diversity among that entire group of elite musicians generated a unique sound that has been an inspiration for all of us who seek to elevate musical quality. 

For us, Fania Records are a role model. Well, we are an independent record label that since we began this journey, our goal has always been to elevate musicality. Now with our new project, “Calle Soul,” we feel that we can become very familiar with Johnny Pacheo and Jerry Masucci’s vision of bringing together the best artists with the best musicians.

That’s why one of our favorite albums is Fania All Stars. We cannot say a favorite artist or musician because there have been many who have passed through Fania, but we can say that we are fans of their brand and their purpose in Latin music.

Yung Pleit
Rapper

Fania Records’ music is so much more than just music to me. It was such a significant part of my childhood that I don’t even perceive it as just music — I see it as a chapter in my life. Growing up, I vividly remember listening to this music or hearing my parents play it, especially on Sunday mornings when my mom would clean the house. My dad, being a multi-instrumentalist, would practice these songs, playing the piano, bass and guitar, rehearsing them for shows and presentations. I would hear them over and over again, so they became much more than music — they became my life. I was surrounded by it so much that I didn’t realize Fania Records would be such a big part of my upbringing, both as an artist and as a Latino. Now, when I sit down and listen to the music again, and see how it has inspired today’s sounds, it makes a huge difference. Reminiscing about the music and realizing the quality it had, even back then, makes me appreciate it more. I took it for granted until I truly understood the importance of embracing your roots and the music that came before you.

The lyrics from Fania Records artists are so poetic, and I didn’t realize how much they would influence me as a songwriter. I grew up as a musician, playing various instruments, mostly hand percussion. I loved playing the congas, bongos, timbales and other instruments. A lot of my practice music came from Fania Records artists like Héctor Lavoe and Willie Colón. When I studied at Berklee College of Music, these Fania Records artists were revered — posters of them were everywhere, and they were always spoken of with high regard. I was surrounded by their phenomenal music, and even as we celebrate 60 years of Fania, it’s incredible to see how this music remains influential today. Music doesn’t stay relevant without a reason. The impact Fania Records had on my dad also influenced me. Watching his performances, attending his rehearsals, and seeing him play these songs live — recreating them with his own salsa twist — was a beautiful experience. The timbales players sounded almost identical to the records, which inspired me to achieve the same level of skill. Listening to Fania Records artists always makes me happy; it takes me back to a time before songs like “Hips Don’t Lie” by Shakira, making you want to dance and have a great time. One thing I admire about music, in general, is how quickly it can change your emotions and feelings just by listening to one song or one artist. Fania Records also impacted my life as a Latino, making me proud to be Latino and to share the same morals, passions and art. We Latinos share a lot of art, and music is one of those things that unites us. Fania Records brought together artists from all over the world to create beautiful work.

I can’t really pick a favorite song because there are so many — each artist has such an incredible catalog. However, if I were to mention a memorable moment, it wouldn’t be a literal live performance, but I remember my dad playing Willie Colón’s live performances over and over again. He would watch one live performance after another, and I remember seeing the full orchestras on TV. That inspired me, and my dad had a surround sound system at home, so the music sounded amazing. I recall those Saturdays or Sundays when he was off work, just enjoying the music, sometimes bringing out his keyboard to play along. That’s what music is all about. Honestly, I don’t know where Latin music would be without Fania Records. I believe Fania Records paved the way for today’s Latino artists and played a significant role in their success.

Miguel Zenón
Saxophonist

To me, Fania represents the epitome of salsa music. Some of my earliest musical memories of listening to any music (with family, friends) is connected to the Fania catalog. Ismael Rivera, Ray Barretto, La Sonora Ponceña, the list goes on and on. It really is hard to think about salsa excellence without the word Fania coming to mind.