VIA PRESS RELEASE | Perhaps the greatest interpreter of salsa music, singer Héctor Lavoe (1946–1993) was instrumental in popularizing the genre during the ’60s, ’70s, and ’80s. Known for his impeccably bright vocals, seamless phrasing, and ad-libbed anecdotes, it’s no surprise that Lavoe earned the nickname “El Cantante” after his 1978 hit of the same name (penned for him by the great Rubén Blades).
Born Héctor Juan Pérez Martínez in Ponce, Puerto Rico, the singer relocated to New York City at 17, where he picked up his stage name and began performing in bands led by Roberto García, Kako, and Fania Records owner, Johnny Pacheco. It was through Pacheco that Lavoe met 16-year-old Willie Colón, with whom he would form one of Latin music’s most celebrated partnerships. Beginning in 1967, Lavoe appeared as a vocalist on ten legendary studio albums with the Willie Colón Orchestra, including the boogaloo classic, El malo (1967), plus best-sellers like Cosa nuestra (1969), Asalto Navideño (1971), and Lo mato (1973).
By the mid-’70s, however, Colón had shifted his focus to production, allowing Lavoe the opportunity to break out on his own. Salsa was reaching its peak popularity in the US, making it the perfect moment for the singer to carve out a spot as one of the genre’s biggest stars. His acclaimed, 1975 solo debut, La voz, was met with critical and commercial success—thanks to such breakout hits as “Mi gente” and “El todopoderoso.” With a newfound confidence, Lavoe returned to the studio for his sophomore album, De ti depende (It’s Up to You). But this time, he held the title of bandleader.
Embracing his new role, the singer reunited with members of Colón’s orchestra (including percussionists José Mangual Jr. and Milton Cardona, pianist “Professor” Joe Torres, and bassist Santi Gonzalez). Lavoe also sought out a varied selection of material that showcased his versatility as an interpreter. In addition to Afro-Caribbean rhythms, the singer chose several bolero themes, including the captivating “Tanto como ayer” and the lilting title track. Written by fellow New Yorker Miguel Angel Amadeo, “De ti depende” also features a standout cameo by the celebrated guitarist/cuatroist (and Lavoe’s frequent collaborator), Yomo Toro.
Other highlights include Perucho Torcat’s “Vamos a reír un poco,” guaracha song “Mentira,” and the dramatic, Tite Curet Alonso-penned “Periódico de ayer,” which remains one of Lavoe’s biggest hits. The autobiographical “Hacha y machete,” meanwhile, finds the singer reflecting on his longtime musical partnership with Colón. Released in 1976, De ti depende (It’s Up to You) was an immediate bestseller, proving Lavoe’s prowess as a vocalist and leader, while securing his place as one of Latin music’s most talented artists. Today, it remains a classic title in the salsa canon.
In the years following, De ti depende, Lavoe released six additional solo albums—including Comedia (1978) and the GRAMMY®-nominated Strikes Back (1987)—while he reunited with Colón for the 1983 Vigilante soundtrack. Lavoe also stayed busy as a regular guest with the celebrated Fania All Stars, appearing on more than a dozen live and studio albums with the collective.
While Lavoe’s life was tragically cut short at the age of 46, his legacy continues to live on through his vibrant catalog of music. Over the decades, his extensive contributions to Latin music have been honored in New York and Puerto Rico through a myriad of street dedications, statues, and murals. Lavoe’s life also inspired an off-Broadway play, a tribute album, and two feature films, including the Marc Anthony/Jennifer Lopez-led El cantante (2006). In 2000, Lavoe was inducted into the International Latin Music Hall of Fame.
