Los Van Van - Biography
As identifiably Cuban as Fidel Castro, Havana Club Rum, and Montecristo cigars, Los Van Van have been both hugely popular and influential on a global scale since their formation in 1969. Their name—which is a play on “The Go-Go’s”—sets the tone for a contemporary sensibility and states the group’s mission of motion clearly. One could argue that Los Van Van are the single most important Latin dance band of their time, with a fan base that stretches from South America to Europe, Japan, the Caribbean and across the United States. They have remained relevant with a demanding audience of Cuban dancers for over 40 years and have scored numerous hits, several of which must be considered bona fide anthems that define distinct epochs in Cuban cultural history.
Founded by bassist/composer Juan Formell upon his departure from Elio Revé y su Charangon—another long-running Cuban musical institution which would also enjoy success to the present day—Los Van Van were launched December 4, 1969. Formell added pop-rock elements into the traditional Cuban charanga format, characterized by its use of violins and flute. Joining Formell and also coming from the band of Elio Revé was César “Pupy” Pedroso, whose rhythmic approach and compositional skill would contribute greatly to their success.
Their first recording is simply referred to as Los Van Van Vol. 1 (1969 Egrem) because like many of their early LPs the title is unclear from the cover art. It contains a couple Elio Revé tracks, notably “Yuya Martínez.” Although not a stellar production, it’s clearly driven by Formell’s bass-lines and shows compositional adventure, although heavy on the charanga legacy of strings and flute. Before their next recording Formell made a critical change by bringing in drummer José Luis Quintana, who would become a legend in his own right under his nickname “Changuito.” His innovative trap/timbale hybrid drum set and his monster chops were the perfect complement to Formell in the rhythm section, the engine of Los Van Van which would drive the dancing audience wild.
Released in the early ’70s as a single, “La Candela,” like a flame from a lighter, was an instant and enduring hit and seemed to capture the essence of the common Cuban exclamation, shouted with enthusiasm when things are hot. With Changuito in place, Los Van Van Vol. II (1974 Egrem) starts and ends with funky drum and percussion pieces that are stunning for their display of technique and ability to inspire movement. The up-tempo “Chirrin Chirrán,” with it’s fun-to-sing-along title chorus, was an instant favorite, while the driving, slower tempo of “La Habana Joven” catches the youthful exuberance of a generation determined to enjoy socialism by partying to great music. By now Los Van Van had a truly unique sound based on familiar Cuban elements, yet they were completely modern.
The next full-length—Los Van Van Vol. III (1974 Egrem)—starts off with a long medley of two classic Cuban tunes, “Llegué Llegué/Guarey de Pastora,” and introduces the use of more electric keyboard/organ and downplays the strings. “Y No Lo Conviene” is like a soul-jazz-funk jam translated into Afro-Cuban motion, serving as a marker in their evolution. Another crucial addition would be made before Los Van Van’s fourth LP, and that was the arrival of powerful singer Pedro Calvo, whose wide-brimmed white hat, macho mustachioed presence would front the band for decades.
Formell penned all the tunes on Los Van Van Vol. IV including the popular, “Dale Dos.” The later ’70s and early ’80s was a period of much change and experimentation in the band. Synthesizers and electric guitar were experimented with, but it was the critical addition of trombones—a defining element of Nuyorican salsa—that tightened up the arrangements and pleased the dance audience. As Formell pointed out, his main inspiration when composing is the dancers.
By 1982, when Los Van Van released their seventh LP, Báilalo Eh! Ah! (Egrem), the group was 15 strong and poised to retake their prominence on dance floors. Their hit “El Baile del Buey Cansao” fit the bill as it was delivered in two versions—fast and slow.
Qué Pista (1983 Egrem) came next and, though marred by the dated inclusion of some synth-drums, the record introduced several tunes that would become timeless hits for the band. “Por Encima de Nivel”—also known as “Sandunguera”—became a smash and a staple of the group’s live play list for the next 20 years. “Que Palo Es Ese” was another enduring hit. Both songs would be re-recorded on the 1988 release, Songo (Mango).
On Los Van Van’s ninth album Anda, Ven, y Muévete (1989 Egrem), they hit it big time with the success of the title track. The tune starts simply with a fat groove and Calvo’s barrel-chested vocal delivery . . . before slowly bringing together all the elements in a hypnotic, building crescendo. Legendary salsa singer Ruben Blades recorded a version of the song and it quickly became popular throughout Latin America and Europe, propelling Los Van Van towards more extensive touring worldwide. Inspired by government propaganda, the group also penned “La Habana No Aguanta Mas,” urging Cubans not to move to the capital because it “can’t hold any more.” Sporting a fully developed, patented sound—a sound they called “songo”—Los Van Van reveled in the spotlight.
They continued touring and recording steadily through the late ’80s, enjoying popularity with songs such as “No Es Facíl (Que No Que No),” which turned one of the most common phrases heard in Cuba, “It ain’t easy,” into a celebratory hook. “El Buena Gente,” “La Habana, Sí” and “La Titimania” caught on as Los Van Van continued to capture the spirit of the common people using the language of everyday life. Their recorded material began stretching out to over seven minutes on some tracks, coming closer to a concert performance when the band would stretch tunes out well beyond ten minutes, much to the pleasure of their dancing fans. When Mango Records released Songo in 1988, the band was poised for international consumption. They closed out the decade with “El Negro No Tiene ‘Na” and the controversial “Se acabó el querer,” a comment on selfishness during Cuba’s “special period” of economic hardship. The song’s chorus says “nobody loves anybody anymore, love has ended,” a brutal observation that prompted the Cuban government to ban the song from radio play. The move gained Los Van Van a new level of credibility in the powerful Cuban exile community.
The double LP, Aquí . . . El que baila gana (1990 Egrem) kept dance floors hopping and introduced a theme song for the ban: “Yo sé que Van Van.” Although Los Van Van’s Cuban releases were exported to Europe and Latin America, availability was limited—but by the early 1990s, European and American companies released compilations, extending the band’s reach.
Formell brought in young singer and composer, Angel Bonne, and recorded Azúcar (1993 Bis). The infectious title cut, “Disco Azúcar,” pays respect to the nightclub in Cancún, México, where the group had an extended residence. “Que le den Candela” was also a huge hit, as they were experiencing more personnel changes. Drummer and “songo” architect Changuito departed for a solo career, leaving his big shoes to be filled by Samuel Formell, the young son of the band’s leader. The young and charismatic Mayito Rivera also joined as a vocalist.
Los Van Van’s next album, Lo Ultimo en Vivo, was released in the US by Qbadisc in 1994, and was recorded for a mere ten dollars—the cost of the tape which recorded them live from the sound board at Azúcar in Cancún. A transition album brimming with the energy of the band’s youthful additions, Lo Ultimo en Vivo introduced “Qué tiene Van Van,” a new theme song where the rhythmic structure and “displaced syncopations” echoed the timba movement in Cuba (which was led by the new generation of dance bands). New singer Mayito introduced his soaring voice by way of “Soy Normal, Natural” and Angel Bonne contributed fresh arrangements before parting ways the group.
With the timba movement at the forefront of Cuban music led by NG La Banda, Issac Delgado, Manolín (El Médico de La Salsa), and Paulito F.G., Formell reinvented the band by bringing in another young singer, Roberto “Guayacán” Hernández, and embracing the explosive new dance music. The new set of songs that Los Van Van began playing in 1995 led to their landmark album, Ay Díos, Ampárame (1996), which the Cuban public embraced wholeheartedly. “Soy Todo,” sung by Mayito, is based on a folkloric poem full of Afro-Cuban pride and overtly embraces religious belief (especially Santería); it became instantly popular across all generations of Cubans who looked upon it as an anthem of hope in an uncertain time.
Every song on Ay Dios, Ampárame was a major hit in Cuba and it was with that fervor that they launched their first ever tour of the United States in 1997. When they appeared for two nights of performance at San Francisco’s Maritime Hall their ecstatic performances ran for over four hours each night and they received a reception that would make any arena rock band jealous. At that point no one who saw Los Van Van perform could deny that they were the most formidable Latin dance band in the world.
The high-energy buzz of their US tour carried over into their next outing, Te Poné La Cabeza Mala (1998 Caribe Productions), the title cut becoming an instant timba-salsa classic. Perhaps a bit formulaic in its approach, each song contained an undeniable hook; Roberto Hernández delivered a great performance on “Ni Bombones Ni Caramelos” and the veteran Calvo sung the humorous song, “La Shopimaniaca,” about a shopaholic woman (and the man she ruins). Los Van Van toured the US again, performing a controversial concert in Miami in 1998 that captures the group in top form on Live at Miami Arena (2003 Universal Latino) on both CD and DVD.
Poised to conquer the American market they released a domestic recording, Llego . . . Van Van (1999 Havana Caliente), that finally gave them a level of production equal to their musical talent. With “Llego” they had truly arrived in the American marketplace, cleverly turning the concept into the opening track “Permiso Que Llego Van Van.” Calvo shows he’s still got the chops with “El Negro Esta Cocinando” and Angel Bonne is invited back to deliver the sweet “Havana City.” Van Van mania was in full force.
Entering the turn of the century, Los Van Van was surrounded by upheaval and the lifestyle began to raise health issues for Formell. César Pedroso left with a couple other “Van Vaneros” to form his own band, Pupy y los que son son, and Calvo—so intimately identified with the band—left to pursue a solo career. At this point, Formell left the directorship of the band in his son’s (Samuel) hands.
The band’s American dreams dwindled as the Bush administration made sure no Cuban bands could receive the necessary visas and security clearances to enter the US. Nevertheless, Los Van Van regrouped, bringing in more young singers and musicians. The dramatically new group released a live recording, En El Malecón de La Habana (2003 Universal Latino), that included several new tunes and showcased a looser sound.
In 2005 they returned with Chapeando (Unicornio) under the leadership of Samuel Formell and his formidable drum talent. An adventurous and diverse production, the album sports a guest performance by flamenco singer, “El Cigala,” and features a tighter unit full of the usual humor and vigor.
Historically in Cuba, the greatest bands continue beyond their founder, and Los Van Van appears headed in that direction. A venerable institution on the island and an undeniable force internationally, Los Van Van preaches a universal message of dance that knows no borders—Que Viva Van Van!
