Latin Record Label Polishes Up Its Gold

· "La Voz," the 1975 solo debut by the late Puerto Rican singer Héctor Lavoé -- probably salsa's most transcendent (and still underrated) voice. Produced by musical partner Willie Colón, the collection includes Lavoé hits such as the joyful "Rompe Saragüey" and the mystically tinged "El Todopoderoso."

· Eddie Palmieri's "Vámonos Pa'l Monte," a 1971 masterpiece of manic salsa and dissonant jazz. The title track delivers a memorable moment of pure Latin psychedelia: Eddie plays heavy electric piano chords while his brother Charlie introduces a sinuous melody on the organ. When Ismael Quintana starts singing, all hell breaks loose.

· Enveloped in lush string arrangements, Cuban diva La Lupe belts out bitterly melodramatic ballads on the 1969 session "La Lupe Es La Reina (The Queen)." "Puro Teatro" is a three-minute Latin soap opera -- alternately beautiful and hysterical.

· 1970's "Fuego En El 23," by La Sonora Ponceña, one of Puerto Rico's most revered orchestras. Led by keyboardist Papo Lucca, La Ponceña emphasizes tight arrangements and velvety piano solos.

· Rubén Blades and Willie Colón's 1978 musical manifesto "Siembra." For years, the best-selling salsa album of all time.

More than just a label, Fania was the expression of a particularly fruitful time in Latin music, a gentlemanly club of like-minded artists. "We helped each other," Pacheco points out. "The star singers would sing backup choruses on other people's records. We'd get together at the office just to come up with new songs and have a good time."

Consider the personnel listing on Feliciano's "Cheo" album. Backup vocals were done by Pacheco and three celebrated singers: Palmieri's lead vocalist Ismael Quintana, Justo Betancourt and Tito Puente veteran Santitos Colón. On the piano was Larry Harlow, a formidable bandleader in his own right. Pacheco was enlisted to play congas on the record when Ray Barretto didn't show up as scheduled. As Pacheco wistfully recalls: "It was a beautiful movement."