Ray Barretto
1968
Acid
01. El Nuevo Barretto 6:49
02. Mercy Mercy Baby 2:42
03. Acid 5:05
04. A Deeper Shade Of Soul 2:42
05. The Soul Drummers 3:46
06. Sola Te Dejare 3:48
07. Teacher Of Love 2:26
08. Espiritu Libre 8:25
Producer – Harvey Averne, Jerry Masucci
Bass – Big Daddy
Congas – Ray Barretto
Piano – Louis Cruz
Timbales – Orestes Vilato
Trumpet – René López, Roberto Rodríguez Jr.
Vocals, Bells – Adalberto Santiago
Vocals, Guiro – Pete Bonet
The Boogaloo-Meets-Soul Concoction That Left Mambo Purists Fuming
In the steamy, syncopated cauldron of 1967 New York City, where the barrios of East Harlem and the South Bronx pulsed with the defiant rhythms of Nuyorican youth, Ray Barretto’s Acid (1967, Fania Records) dropped like a psychedelic bomb on the Latin music scene. This album, a pivotal entry in the Latin boogaloo canon, is a daring fusion of Afro-Cuban rhythms, African American soul, and a dash of jazz-tinged experimentation, served with a side of barrio swagger. Barretto, a conga maestro with 0 credentials, dove headfirst into boogaloo’s youthful rebellion, crafting a record that bridged the Palladium’s fading glory with the dancefloor’s future—much to the chagrin of salsa purists who clutched their claves in horror.
To appreciate Acid, one must step into the vibrant, turbulent world of 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 decade was 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 disarray. The U.S. trade embargo severed ties to Cuban musicians and records, leaving the mambo era—epitomized by the Palladium Ballroom—in a state of decline. By 1966, when the Palladium closed, Latin music was scrambling for relevance, desperately seeking a sound to capture the bilingual, bicultural spirit of a younger generation.
Enter boogaloo, the musical equivalent of a barrio block party where everyone’s invited, even if they flub the clave. 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 grooved to James Brown as readily as Tito Puente. Ray Barretto, a Nuyorican conguero with a storied career in mambo and Latin jazz, was an unlikely boogaloo convert, but Acid marked his bold embrace of the genre, blending his virtuosity with the youthful energy of the barrio.
Released in 1967 by Fania Records, Acid arrived at the peak of boogaloo’s popularity, when the genre was dominating New York’s dancehalls and radio stations. Tracks like “A Deeper Shade of Soul” and “Mercy, Mercy, Baby” became instant anthems, showcasing Barretto’s knack for crafting danceable hits with a soulful edge. The album’s title, a nod to the psychedelic counterculture, was a cheeky provocation, suggesting a “trip” through Latin soul that left mambo traditionalists muttering, “Congas in my boogaloo? ¡Qué horror!” Yet, as we shall see, Acid was a masterfully crafted album, executed by a talented ensemble that balanced Latin roots with soulful innovation.
Acid is an eight-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 Barretto’s conga-driven orchestra, featuring congas, piano, bass, trumpets, and vocals, with a gritty, soul-infused aesthetic that contrasts with the polished productions of peers like Ricardo Ray. The album’s production, overseen by Fania’s Jerry Masucci, is crisp yet raw, capturing the energy of a live barrio performance. Barretto’s congas provide the rhythmic backbone, while the vocals—handled by Adalberto Santiago and Pete Bonet—blend soulful crooning with Latin bravado. The trumpets add a jazzy, festive flair, making Acid a versatile bridge between mambo, boogaloo, and soul.
Acid is a genre-bending masterpiece that captures the exuberance and experimentation of 1967 New York with raw, soulful brilliance. Its strength lies in its versatility: Barretto blends boogaloo’s danceable grooves with Latin jazz, soul, and psychedelic flourishes, creating a sound that’s both accessible and sophisticated. The production, crisp yet gritty, enhances the album’s live energy, evoking a barrio dancehall in full swing. Barretto’s congas are the heartbeat, while Santiago and Bonet’s vocals add soulful charisma. The trumpets and piano provide melodic color, making Acid a bridge between mambo’s past and boogaloo’s present.
The album’s cultural significance is profound. At a time when Latin music was struggling to redefine itself post-Cuban Revolution, Acid offered a bold new vision, embracing the bilingual, multicultural identity of Nuyorican youth. Tracks like “A Deeper Shade of Soul” and “Mercy, Mercy, Baby” became anthems of cultural pride, resonating with a generation navigating identity and social change. Yet, the album’s triumph is tinged with irony: boogaloo’s soulful 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, “Soul in my Latin music? ¡Qué desastre!” as Barretto’s congas thundered on.
Ray Barretto’s orchestra for Acid was a talented ensemble of Nuyorican and Puerto Rican musicians, many of whom were young players in New York’s Latin music scene. Fania’s focus on bandleaders often left sidemen in the shadows, but the following sketches highlight the key contributors, based on historical accounts and Fania’s roster. Their collective talent brought Acid to life, even if their names were overshadowed by Barretto’s conga-driven star power.
Acid is a cultural artifact that captures the spirit of 1967 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 “A Deeper Shade of Soul” and “Mercy, Mercy, Baby” became anthems of cultural pride, resonating with a generation navigating identity and social change. The album’s psychedelic title and experimental edge connected it to the broader counterculture, making it a unique entry in the boogaloo canon.
The album’s influence extends far beyond the 1960s. Its Latin-soul fusion laid the groundwork for salsa and Latin funk, while its raw energy influenced hip-hop’s early sound. Barretto’s later salsa classics, like “Cocinando,” built on Acid’s experimentation, and the album’s revival in recent years—fueled by bands like Spanglish Fly and vinyl collectors—underscores its enduring appeal. Yet, Acid’s legacy is steeped in irony: boogaloo’s soulful 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 Barretto shaking his head, muttering, “I gave you ‘A Deeper Shade of Soul,’ and you repay me with clave purism? ¡Por favor!”
Acid is a case study in cultural hybridity, illustrating how marginalized communities can create art that transcends boundaries. Its musical innovations—conga-driven boogaloo, bilingual lyrics, jazz and soul fusion—challenged the conventions of the Latin music industry, paving the way for future experimentation. However, the album’s occasional repetitiveness (e.g., “The Soul Man” and “Love Beads” feel like variations on a theme) and shorter tracks limit its depth compared to Barretto’s later, more expansive work. Still, these are minor quibbles in a record that delivers so much energy and innovation. Listening to Acid today is like crashing a 1967 barrio dancehall—gritty, vibrant, and impossible to resist. It’s a reminder that the most revolutionary art often comes from the dancefloor, not the conservatory.
Acid is the boogaloo-meets-soul concoction that left mambo purists fuming, a record that captures the exuberance and experimentation of 1967 New York with raw, soulful brilliance. Ray Barretto, with his conga virtuosity and barrio-born vision, crafted an album that’s both a historical document and a timeless dancefloor filler. His backing band—Adalberto Santiago, Pete Bonet, Louis Cruz, Orestes Vilató, Roberto Rodríguez, Renaldo Jorge, and an unsung bassist—were the unsung architects of this masterpiece, turning Barretto’s vision into reality with their talent and groove. The album’s legacy—its influence on salsa, Latin funk, and modern Latin music—proves that boogaloo was no mere fad, but a cultural force that still resonates.
So, crank up “A Deeper Shade of Soul,” ignore the salsa snobs, and let Barretto’s conga-fueled bravado wash over you. In a world that often demands conformity, Acid is a glorious reminder to groove like nobody’s watching—even if the mambo police are lurking, ready to confiscate your congas.
