Bobby Cruz - Return To Puerto Rico

Return To Puerto Rico

In 1970, Cruz and Ray opened a nightclub in San Juan, Puerto Rico. However they found that managing the club required too much of their time as they had a lot of other commitments to attend to and so decided that it would be much better if they sold the nightclub.

In addition to the duets, Cruz also sang solo when in 1972 he recorded Bobby Cruz canta para Tí (Bobby Cruz sings for You), produced by Richie Ray. He also reached No.1 in the Latin Music Hit Charts with 'Ya ni te Acuerdas" (You don't even Remember).

In 1974, they won first place in the Festival of Orchestras for the composition "La Zafra", whose lyrics describe the struggles of sugar cane workers in western Puerto Rico and elsewhere. Later that year Ray became a Christian convert. Initially Cruz refused to accept his friend's change, however two months' later he himself became a convert.

As an experiment, they recorded what would become their most popular song, the salsa-merengue fusion "Juan en la Ciudad" (Juan in the City), in which Cruz's lyrics narrate the Parable of the Prodigal Son. It became a huge salsa hit in Latino markets in the United States and in Latin America, mostly because of its catchy, danceable refrain/chorus. Two full albums followed with religious-themed songs. "Pa' Atrás y Pa' Atrás" (Backwards and Backwards) was a minor hit at the time.

Read more about this topic:  Bobby Cruz

Famous quotes containing the words return to and/or return:

    Adolescence is a time when children are supposed to move away from parents who are holding firm and protective behind them. When the parents disconnect, the children have no base to move away from or return to. They aren’t ready to face the world alone. With divorce, adolescents feel abandoned, and they are outraged at that abandonment. They are angry at both parents for letting them down. Often they feel that their parents broke the rules and so now they can too.
    Mary Pipher (20th century)

    To save the theatre, the theatre must be destroyed, the actors and actresses must all die of the plague. They poison the air, they make art impossible. It is not drama that they play, but pieces for the theatre. We should return to the Greeks, play in the open air; the drama dies of stalls and boxes and evening dress, and people who come to digest their dinner.
    Eleonora Duse (1859–1924)