Amor/Sway/Come Closer To Me/Perfidia/Granada/Sweet & Gentle/Quizas Quizas Quizas/Frenesi/Souvenir Of Mexico/Besame Mucho/Love Me Love Me/Spanish Harlem
Latin themed debut album from Ben E. King, the former lead singer of The Drifters, backed by a large orchestra. The title track of Spanish Harlem was an American top ten hit single. (US:57)
“The arrangements on this LP can cross the line into 'muzaky', but it seems to work for Latin tunes with an early 60s atmosphere, and most of it is more hip than that.”
“Ben E. King was the definition of R & B elegance. King's plaintive baritone had all the passion of gospel, but the settings in which it was displayed were tailored more for his honey smooth phrasing and crisp enunciation, proving for perhaps the first time that R & B could be sophisticated.”
“I feel as though the record company was trying to capitalize on the title song by producing an entire album with a Spanish theme and somehow it just doesn't work.”
“Ben's voice sparkles all the way through tracks which have a Latin feel, making it a perfect listen on a summer’s night. His lush voice breathes new life into Sway, Besame Mucho and the old favourite Quizas. He brings the album to a close with Spanish Harlem and let's face it nobody sings it like Ben.”
“After his work with The Drifters it was logical that former lead singer King should turn out an album of Latin classics with a distinctly Mexicana-romantica flavour. If the late 50s full-on lush escapism of Latin America appeals then this album is a cracker. The classic Spanish Harlem is left to the end, with the glorious strings and rococo soprano sax phrases. Even the usually overblown Granada is credible in King's masculine yet caressing tones. The album really sparkles when considered in context - Latin lounge music with vim.”
“Contains Latin songs, all of which Ben sings well, backed by a large orchestra, which is superb. I think that one of the best tracks is Love Me Love Me which Ben wrote. Ben does a really good job on Granada and on Frenesi.”
“On Spanish Harlem, we hear King in a Latin setting, crooning atop the Cuban percussion and sweeping strings.”
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