---
canonical_url: "https://japoneson.com/en/murakami/music/1994-los-van-van-1974/"
title: "LOS VAN VAN 1974 ｜Los Van Van — Japonéson"
description: "LOS VAN VAN 1974 1994 1. Llegué Llegué 2. Guararey de Pastora 3. De todo lo mejor 4. Después de todo qué más d…"
lang: "en"
---

# LOS VAN VAN 1974 ｜Los Van Van

![](https://japoneson.com/images/wp/2024/02/1994-los-vanvan.jpg)

LOS VAN VAN 1974  
1994

* * *

1.  Llegué Llegué
2.  Guararey de Pastora
3.  De todo lo mejor
4.  Después de todo qué más da
5.  Mi ritmo caliente
6.  Sólo soy un Van Van
7.  Será tan grande el amor
8.  A ver qué sale
9.  Pues no puede ser
10.  Y no le conviene
11.  Hasta la semana que viene
12.  Son eternos el orgullo y el valor del pueblo cubano  
     All Songs written by Juan Formell except “Guararey de Pastora（Pedro Speck）”

* * *

## Liner Notes

Three years ago, in July, on my way back from N.Y., on JAL Flight 9006, I listened to an anthology of Cuban music edited by David Byrne. “Llegué, Llegué” was the seventh track. I will never forget that first shock, even now.

Partly because I chose it as the theme song for “Topaz” (Tokyo Decadence), I must have listened to it several hundred times by now, yet I never tire of it. On my third trip to Cuba, I was invited to the EGREM studio, where they let me hear the album “Los Van Van,” on which “Llegué, Llegué” is the first track. Every song was magnificent. It wasn’t just that it was magnificent music — I came to feel as though I had made some great discovery, as art.

I haven’t listened to rock since the Pistols. When the Pistols appeared, I thought, “Rock is dead, and only the beat remains.”

After that, I listened to reggae, New York salsa, the folk music of Asia and Africa and the Middle East, the jazz fusion of the American West Coast, film music, and oldies of every conceivable kind — but nothing I could call a musical experience happened to me. (Classical music aside.)

It was at such a time that I encountered the album “Los Van Van.” On the way back from Cuba to Japan it had been copied to a cassette, and I listened to the whole thing with Ryuichi Sakamoto in a hotel room in N.Y. It was the very first time Sakamoto and I had listened to an entire album together, all the way through (his own recordings aside).

“We made this album aiming for the highest level. Please, I want you to listen to it.” On the original jacket, there is such a “declaration” from the leader, Juan Formell.

The masterpiece that Los Van Van, the top band representing Cuba, created in 1974 has now, for the first time in the world, become a CD like this.

I declare with conviction that it is a monument of popular music standing alongside the Beatles’ “Sgt. Pepper’s,” the Rolling Stones’ “Beggars Banquet,” and Jimi Hendrix’s “Electric Ladyland.”

Ryu Murakami

* * *

Original Recording Staff  
Productor: Juan Pablo Torres  
Director y arreglista : Juan Formell  
Técnico de Grabación: Antonio López Alonso  
Diseño: Pablo Labaniño  
Realización: Victor Manuel Navarrete  
Fotos: Oscar Pérez / René Hedman  
Estudios de Grabación: EGREM, Habana, Cuba

CD staff  
Produced by : Ryu Murakami  
Mastering Engineer: Kazumi Sugiura (Sony Records)  
Art Direction & Design: Tomoaki Sakai (Blancchic)  
Translator: Yukiko Yoshino  
Production Service: Ayuko Yamada (Sony Records)  
Promotion: Naoko Kodama (Sony Records), Mamiko Kuroda (Sony Records)  
Supervisor: Ikuo Nabeta, Tamio Suzuki (Sony Records)  
Special Thanks to : Cary Diez, Haruhiko Kouno

Jii - oldman