Pete Rodriguez - 1966 - I Like It Like That

Pete Rodriguez

1966

I Like It Like That

01. I Like It (I Like It Like That) 4:26

02. El Hueso 5:52

03. Pete's Madness 4:49

04. Micaela 5:06

05. 3 And 1 4:15

06. Si Quieres Bailar 5:05

07. Soy El Rey 3:05

The Boogaloo Blockbuster That Shimmied Its Way to Stardom

In the sweaty, syncopated summer of 1966, as New York City’s barrios pulsed with the rhythms of a new musical rebellion, Pete Rodríguez’s I Like It Like That (A Mi Me Gusta Así) (1966, Alegre Records) burst onto the scene like a piñata stuffed with groove. This album, a cornerstone of the Latin boogaloo movement, is a jubilant fusion of Afro-Cuban rhythms and African American soul, a soundtrack for Nuyorican youth who danced their way through the cultural crossroads of Spanish Harlem and the South Bronx. With its titular hit, a crossover sensation that strutted onto American Bandstand and later inspired Cardi B, the album cemented Rodríguez as a boogaloo pioneer, even if salsa purists later scoffed at his “poppy” antics. 

To appreciate I Like It Like That, one must step into the vibrant, volatile world of mid-1960s New York, where Puerto Rican and African American communities in East Harlem (El Barrio) and the South Bronx were forging a new cultural identity. The 1960s were a time of profound change: the Civil Rights Movement was reshaping the nation, Nuyorican pride was emerging alongside Black Power, and the Cuban Revolution of 1959 had thrown New York’s Latin music scene into disarray. The U.S. trade embargo severed ties to Cuban musicians and records, leaving the mambo era—once epitomized by the Palladium Ballroom—in a state of decline. By 1966, when the Palladium closed its doors, Latin music was gasping for relevance, desperately seeking a sound to capture the bilingual, bicultural spirit of a younger generation.

Enter boogaloo, the musical equivalent of a street party where everyone’s invited, regardless of whether they know the steps. Boogaloo fused Afro-Cuban rhythms—son montuno, guaguancó, mambo—with the soulful swagger of R&B, doo-wop, and Motown, creating a mid-tempo, danceable sound that was as infectious as it was rebellious. Its bilingual lyrics and loose, interpretive dance style resonated with Nuyorican youth, who were as likely to groove to James Brown as to Tito Puente. Pete Rodríguez, a Bronx-born pianist and bandleader, was a key architect of this movement, and I Like It Like That was his breakout moment, a record that captured boogaloo’s cross-cultural energy and catapulted it into the mainstream.

Released in 1966 by Alegre Records, I Like It Like That arrived at the dawn of boogaloo’s golden age, just as the genre was gaining traction in New York’s dancehalls and radio stations. The album’s title track, “I Like It Like That,” became a national hit, peaking at #25 on the Billboard R&B chart and earning Rodríguez a spot on American Bandstand, a rare feat for a Latin artist. Its success was a slap in the face to the Latin music establishment, which viewed boogaloo as a simplistic, commercial fad—cue the collective eye-roll from mambo purists clutching their claves in despair. Yet, as we shall see, I Like It Like That was a masterfully crafted album, executed by a talented ensemble that balanced Latin tradition with pop accessibility.

I Like It Like That (A Mi Me Gusta Así) is a 12-track album that clocks in at just over 30 minutes, embodying boogaloo’s ethos of delivering maximum groove with minimal fuss. Its sound is defined by Rodríguez’s piano-driven orchestra, featuring piano, trumpet, bass, percussion, and vocals, with a leaner, funkier aesthetic than the brass-heavy mambo bands of the 1950s. The album’s production, overseen by Alegre’s Al Santiago, is crisp yet raw, capturing the energy of a live barrio performance. Rodríguez’s piano provides the melodic backbone, while the vocals—often handled by Tony Pabón or Alberto González—blend soulful crooning with Latin bravado. The rhythm section, anchored by congas and timbales, locks in with a syncopated swagger that makes every track a dancefloor magnet.

I Like It Like That (A Mi Me Gusta Así) is a boogaloo masterpiece, a record that captures the exuberance and rebellion of 1966 New York with infectious energy and musical finesse. Its strength lies in its balance of accessibility and depth: the tracks are catchy enough to hook casual listeners but intricate enough to reward close analysis. Rodríguez’s piano and the band’s tight rhythm section create a sound that’s both Latin and soulful, while the vocals—by Pabón and González—add charisma and heart. The production, though raw by modern standards, enhances the album’s authenticity, evoking the energy of a live performance at a Bronx dancehall.

The album’s cultural significance is immense. At a time when Latin music was struggling to redefine itself post-Cuban Revolution, I Like It Like That offered a bold new vision, embracing the bilingual, multicultural identity of Nuyorican youth. Its crossover success—particularly the title track’s American Bandstand appearance—challenged the music industry’s racial and cultural barriers, proving that a Bronx band could rival Motown’s finest. Yet, the album’s triumph is tinged with irony: boogaloo’s pop appeal made it a target for salsa purists, who dismissed it as a fleeting fad. One can almost hear Tito Puente muttering, “Trumpets? In my mambo? ¡Qué horror!” as Rodríguez’s band took the stage.

I Like It Like That (A Mi Me Gusta Así) is a cultural touchstone that captures the spirit of 1966 New York, a city buzzing with cultural fusion and youthful rebellion. The album’s bilingual lyrics and blend of Latin and soul reflected the Nuyorican experience, bridging Puerto Rican and African American communities at a time of racial tension. Tracks like “I Like It Like That” and “Micaela” became anthems of cultural pride, played at block parties, dancehalls, and radio stations across the city. The title track’s American Bandstand appearance was a landmark moment, proving that Latin music could break into the mainstream without sacrificing its roots.

The album’s influence extends far beyond the 1960s. Its boogaloo sound laid the groundwork for salsa, Latin soul, and even hip-hop, with the title track’s sampling in Cardi B’s “I Like It” (2018) showcasing its timeless appeal. The album’s revival in recent years, fueled by bands like the Boogaloo Assassins and vinyl collectors, underscores its enduring energy, as new generations rediscover its infectious grooves. Yet, the album’s legacy is steeped in irony: boogaloo’s pop appeal made it a target for salsa purists, who dismissed it as a commercial gimmick, ushering in Fania’s salsa juggernaut by 1970. One can imagine Rodríguez shaking his head, muttering, “We gave you American Bandstand, and you repay us with clave purism? ¡Por favor!”

From a scholarly perspective, I Like It Like That is a case study in cultural hybridity, illustrating how marginalized communities can create art that transcends boundaries. Its musical innovations—bilingual lyrics, piano-driven grooves, soul-infused rhythms—challenged the conventions of the Latin music industry, paving the way for future experimentation. However, the album’s occasional repetitiveness (e.g., “Azúcar Mami” and “Listen to Louie” feel like variations on a theme) and lack of lyrical depth in some tracks are minor flaws in an otherwise stellar record. Listening to I Like It Like That today is like crashing a 1966 barrio party—vibrant, chaotic, and impossible to resist. It’s a reminder that the most revolutionary art often comes from the dancefloor, not the conservatory.

I Like It Like That (A Mi Me Gusta Así) is the boogaloo blockbuster that shimmied its way to stardom, a record that captures the exuberance and defiance of 1966 New York with infectious energy and musical finesse. Pete Rodríguez, with his piano prowess and Nuyorican swagger, crafted an album that’s both a historical document and a timeless dancefloor filler. His backing band—Tony Pabón, Alberto González, Tony Cofresí, Bobby Marín, Manny Corchado, and an unsung bassist—were the unsung architects of this masterpiece, turning Rodríguez’s vision into reality with their virtuosity and groove. The album’s legacy—its influence on salsa, hip-hop, and modern Latin music—proves that boogaloo was no mere fad, but a cultural force that still resonates.

So, crank up “I Like It Like That,” ignore the salsa snobs, and let Rodríguez’s boogaloo bravado wash over you. In a world that often takes itself too seriously, I Like It Like That is a glorious reminder to dance like nobody’s watching—even if the mambo police are lurking, ready to confiscate your trumpet.