The Latin Blues Band featuring Luis Aviles - 1968 - Take A Trip Pussycat

The Latin Blues Band featuring Luis Aviles

1968

Take A Trip Pussycat

01. Take A Trip

02. Pussycat

03. (I'll Be A) Happy Man

04. Lay An Oz On Me Baby

05. Hasta Cuando

06.  Oye Mi Guaguanco

07. Rumba Con Guaguanco

08. Pura Falsedad

09. The Cow

The Psychedelic Latin Soul Freakout That Left Mambo Purists Tripping

                                                                                                                                         

In the kaleidoscopic, rhythm-soaked haze of 1967 New York City, where the barrios of East Harlem and the South Bronx thrummed with the defiant pulse of Nuyorican youth, Take A Trip Pussycat by The Latin Blues Band, featuring Luis Aviles, Bobby Marín, and Louie Ramirez (1967, Speed Records), exploded onto the scene like a psychedelic piñata stuffed with Latin soul. This album, a wild concoction of boogaloo, Latin jazz, psychedelic funk, and raw barrio energy, is a testament to the unbridled creativity of its creators, who tossed Afro-Cuban rhythms, R&B swagger, and trippy vibes into a blender and hit “puree.” Fronted by the charismatic Luis Aviles, arranged by the vibraphone-wielding Louie Ramirez, and anchored by the percussion prowess of Bobby Marín, Take A Trip Pussycat is a sonic rollercoaster that careens through the Nuyorican experience with a wink and a middle finger to mambo purists clutching their claves in dismay.

To understand Take A Trip Pussycat, one must plunge into the vibrant, volatile world of 1967 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 crucible of change: the Civil Rights Movement was reshaping the nation, Nuyorican pride was surging alongside Black Power, and the Cuban Revolution of 1959 had thrown New York’s Latin music scene into chaos. The U.S. trade embargo severed ties to Cuban musicians and records, leaving the mambo era—epitomized by the Palladium Ballroom—gasping for air. By 1966, when the Palladium closed, Latin music was in a crisis, desperately seeking a sound to capture the bilingual, bicultural spirit of a younger generation.

Enter boogaloo, the musical equivalent of a barrio bash where the dress code is “bring your wildest moves.” Boogaloo fused Afro-Cuban rhythms—son montuno, guaguancó, mambo—with the soulful swagger of R&B, doo-wop, and funk, 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 grooved to James Brown as readily as Tito Puente. The Latin Blues Band, a loose collective led by vocalist Luis Aviles, percussionist/producer Bobby Marín, and arranger/multi-instrumentalist Louie Ramirez, was at the forefront of this movement, and Take A Trip Pussycat was their magnum opus, a record that pushed boogaloo into psychedelic and Latin soul territory with a gleefully unorthodox spirit.

Released in 1967 by Speed Records, a short-lived label founded by Morty Craft, Take A Trip Pussycat arrived at the peak of boogaloo’s popularity, when the genre was dominating New York’s dancehalls and radio stations. Tracks like “Take A Trip” and “I’ll Be A Happy Man” became instant anthems, showcasing Aviles’ soulful vocals, Ramirez’s eclectic arrangements, and Marín’s rhythmic genius. The album’s psychedelic cover—a nude figure bathed in trippy colored lights—screamed counterculture, while its raw, genre-blending sound captured the Nuyorican experience with unapologetic flair. The album was a defiant rebuke to the Latin music establishment, which dismissed boogaloo as a simplistic, commercial fad—cue the collective eye-roll from mambo purists muttering, “English lyrics in my guaguancó? ¡Qué horror!” Yet, as we shall see, Take A Trip Pussycat was a raw, innovative masterpiece, executed by a talented ensemble that balanced Latin grit with psychedelic soul.

Take A Trip Pussycat is a nine-track album that clocks in at just over 30 minutes, embodying boogaloo’s ethos of delivering maximum impact with minimal pretense while diving headfirst into psychedelic and funk territory. Its sound is defined by the Latin Blues Band’s eclectic instrumentation, featuring Aviles’ vocals, Ramirez’s vibraphone and arrangements, Marín’s congas, and a tight ensemble of piano, bass, drums, horns, and percussion. The album’s production, overseen by Morty Craft and Stanley Lewis, is raw and unpolished, capturing the energy of a live barrio performance with a trippy edge. Aviles’ vocals blend soulful crooning with Latin bravado, while Ramirez’s arrangements weave Afro-Cuban rhythms, R&B grooves, and psychedelic flourishes into a gloriously chaotic tapestry. The presence of legendary drummer Bernard “Pretty” Purdie adds a funky backbone, making Take A Trip Pussycat a standout in the boogaloo canon.

Take A Trip Pussycat is a psychedelic Latin soul freakout that captures the raw, unhinged spirit of 1967 New York with glorious chaos. Its strength lies in its audacity: the Latin Blues Band blends boogaloo’s danceable grooves with Afro-Cuban rhythms, psychedelic funk, and soulful vocals, creating a sound that’s both accessible and wildly experimental. The production, raw and unpolished, enhances the album’s barrio vibe, evoking a live performance in a Bronx basement club. Aviles’ vocals are the heart, Ramirez’s arrangements the brain, and Marín’s congas the pulse, with Purdie’s drums adding a funky backbone that ties it all together. The album pushes boogaloo into new territory, making it a standout in the genre’s canon.

The album’s cultural significance is immense. At a time when Latin music was struggling to redefine itself post-Cuban Revolution, Take A Trip Pussycat offered a bold new vision, embracing the bilingual, multicultural identity of Nuyorican youth. Tracks like “Take A Trip” and “I’ll Be A Happy Man” became anthems of cultural pride, resonating with a generation navigating poverty, racism, and identity. The album’s psychedelic edge connected it to the broader counterculture, making it a unique entry in the boogaloo canon. Yet, its triumph is tinged with irony: boogaloo’s raw 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 almost hear Tito Puente muttering, “Vibraphones in my Latin music? ¡Qué desastre!” as the Latin Blues Band tripped on.

The Latin Blues Band for Take A Trip Pussycat was a loose collective of Nuyorican musicians, anchored by Luis Aviles, Bobby Marín, and Louie Ramirez, with a stellar ensemble of sidemen, including the legendary Bernard Purdie. Speed Records’ spotty documentation leaves some personnel details murky, but the following sketches highlight the key contributors, based on historical accounts and Discogs credits. Their collective talent brought Take A Trip Pussycat to life, even if their names were often overshadowed by the band’s psychedelic star power.

Take A Trip Pussycat is a cultural touchstone that captures the spirit of 1967 New York, a city teetering between celebration and struggle. The album’s bilingual lyrics and fusion of Latin, soul, and psychedelic funk reflected the Nuyorican experience, bridging Puerto Rican and African American communities at a time of racial tension. Tracks like “Take A Trip” and “I’ll Be A Happy Man” gave voice to the barrio’s resilience, transforming hardship into anthems of pride and joy. The album’s trippy cover and countercultural references connected it to the broader psychedelic movement, making it a unique entry in the boogaloo canon.

The album’s influence extends far beyond the 1960s. Its Latin soul and psychedelic funk laid the groundwork for later genres like Latin funk and hip-hop, with tracks like “I’ll Be A Happy Man” sampled and revered by crate-diggers. The Latin Blues Band’s later incarnation as Los Astronautas (The Moon People) continued their experimental streak, but Take A Trip Pussycat remains their defining moment. The album’s rarity—original vinyl copies fetch high prices on Discogs—has fueled its cult status, with reissues by labels like Tuff City keeping its legacy alive. Yet, the album’s triumph is steeped in irony: boogaloo’s raw 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 the Latin Blues Band shaking their heads, muttering, “We gave you ‘The Cow,’ and you repay us with clave purism? ¡Por favor!”

From a scholarly perspective, Take A Trip Pussycat is a case study in cultural hybridity, illustrating how marginalized communities can create art that resonates universally. Its musical innovations—psychedelic boogaloo, vibraphone in Latin soul, bilingual lyrics—challenged the conventions of the Latin music industry, paving the way for future experimentation. However, the album’s raw production and occasional gimmickry (e.g., “Lay An Oz On Me Baby” leans into trippy excess) can feel uneven compared to more polished boogaloo records like Eddie Palmieri’s Champagne. Still, these are minor quibbles in a record that delivers so much raw energy and innovation. Listening to Take A Trip Pussycat today is like stepping into a 1967 barrio basement party—gritty, trippy, and impossible to resist. It’s a reminder that the most revolutionary art often comes from the streets, not the conservatory.

Take A Trip Pussycat is the psychedelic Latin soul freakout that left mambo purists tripping, a record that captures the raw, unhinged spirit of 1967 New York with glorious chaos. Luis Aviles, with his soulful vocals, Bobby Marín, with his conga-driven pulse, and Louie Ramirez, with his vibraphone-fueled arrangements, crafted an album that’s both a historical document and a timeless dancefloor filler. Their backing band—Bernard Purdie, an unsung pianist, bassist, and horn section—were the unsung architects of this masterpiece, turning the Latin Blues Band’s vision into reality with their talent and groove. The album’s legacy—its influence on Latin funk, hip-hop, and modern Latin music—proves that boogaloo was no mere fad, but a cultural force that still resonates.

So, crank up “Take A Trip,” ignore the salsa snobs, and let the Latin Blues Band’s psychedelic bravado wash over you. In a world that often demands conformity, Take A Trip Pussycat is a glorious reminder to groove like nobody’s watching—even if the mambo police are lurking, ready to confiscate your vibraphone.