Gone were the raging guitars and cathartic vocals; in came the bright synths and sing-a-long melodies. Bomba has been keeping it lit ever since. Originally written as a breezy Latin jazz cut by mambo legend Tito Puente in 1963, “Oye Como Va” saw then-rising rock act Santana create a new dimension in the burgeoning Latin rock sound.

The best in culture from a cultural icon. American fans may cite his English-language crossover, hallmarked by his 1998 single “Livin’ La Vida Loca,” as the defining moment of Martin’s career; but before he beguiled English speakers with “She Bangs,” he had the rest of the world swooning upon the 1995 release of “María,” his first of many international hits. While fans most fondly recall his jubilant performances of smash hits “Mi Gente,” or the Rubén Blades-authored “El Cantante,” Lavoe’s timeless recording of the Tite Curet Alonso original, “El Periódico de Ayer,” possessed a gravity unmatched by any salsa song to this day. Known as is the direct predecessor to what is now known as reggaeton and carries many of the same rhythmic and stylistic foundations. Juanga masterfully melds Sinatra-style orchestral pop with a Beatles-approved backbeat into a fiery lament of desperation. Related: The Best Reggaeton Songs, Hands Down Previous Next Start Slideshow . While the song ultimately failed in the U.S., its international success piqued the attention of American labels, who moved quickly to capitalize on the momentum. An early hit in a then-nascent scene, “Tu Pum Pum” from El General, who’s considered to be the father of , exhibits some of the first traces of reggaeton fundamentals: thick dembow riddims, rapid yet rhythmic vocals and highly sexualized lyrics (“Tu Pum Pum” essentially refers to a woman’s privates). Their remake – released as the second single off the band’s 1970 album, – passed with flying colors, reaching Number 13 on the Hot 100 chart. “Ay Amor,” an opulent, heartbreaking power ballad, has also come to define Gabriel’s performance and songwriting style: powerful lyrics amplified by her raspy, operatic vocals. , Puerto Rican salsa singer La India recorded “Ese Hombre” – originally performed by Spanish singer Rocío Jurado – andFormed by three siblings in Mexico during the early Eighties, the Los Ángeles Azules are credited for popularizing , a variation of the cumbia genre that implements accordions and synthesizers to meld the folkloric rhythm with modernized electronics.

(That is, until Sony BMG stepped in to distribute in 2003.) Mentored by Spanish new wave singer Miguel Bosé, the gang of six was a mixed-gender cornucopia of musical prodigies that brought forth pop royals like Paulina Rubio, Thalía and many more. After they performed the song live at the Latin Music Awards in 2012, 3BallMTY took home the Latin Grammy Award for Best New Artist that same year.

Powered by a driving dembow beat, a brutal rap flow and salacious innuendo, “Gasolina” carries all the elements that make reggaeton a thrilling genre.

The track’s legacy has only grown since its release, with queer artists like Javiera Mena and Alex Anwandter citing it as a direct influence. Unlike many of his big band contemporaries, Moré refused to leave his home in Cuba, and died due to complications from liver failure in 1963. Iglesias later released two additional Portuguese renditions, separately aimed at Brazilian and Portuguese audiences, once again steering an already-global hit into new territory. Fear that he’s become a slave to money. This summer “Latino Gang” Cardi B, Bad Bunny and J Balvin By reading Anglophone music media, one might think Latin pop’s ubiquity in the United States is a sudden one – but it’s hardly as recent a phenomenon as new listeners believe.

Frustrated by writer’s block, Venegas tore up the playbook in search of pop perfection, resulting in her 2003 album . “Who cares if you like Green Day?/Who cares if you like Coldplay?” asks MC Residente – addressing Boricua hipsters who turn their noses up at urban music. He resurrected the Latin American in “La Incondicional,” and passionately channeled the spirit of Seventies-era crooners like José José and Camilo Sesto. It was brought to the United States by RCA, and eventually, the song's dance steps caught on. “The first thing to come out of my mouth was to give respect to the ladies.

Moré, along with fellow Cuban icons La Lupe and Pacho Alonso, was signed to RCA subsidiary label Discuba in 1956.

One might argue that the possibilities for Latin rock fusion began with their remake – just listen to Saúl Hernández’s haunted, spine-chilling wails against the vampiric cumbia backdrop.