Pete "El Conde" Rodríguez
Singer, Composer, Percussionist and Orchestra … Read Full Bio ↴Pete "El Conde" Rodríguez
Singer, Composer, Percussionist and Orchestra Director
FULL NAME: Pedro Juan Rodríguez Ferrer
DATE OF BIRTH: January 31, 1933
PLACE OF BIRTH: La Cantera, Ponce, Puerto Rico
DEATH: December 2, 2000 in Bronx, New York (USA)
Pete "El Conde" Rodríguez is not only recognized as one of the most extraordinary vocalists in the history of salsa, but also as the one that best assimilated the essence of son among those born in our country. That is why, in Colombia, Venezuela, Peru and other international places in the salsera culture - including Cuba -, connoisseurs often identify him as "the most Cuban of Puerto Rican soneros".
This teacher of rumba, son, salsa and bolero Antillean was the second of three children born by Emiliano Rodríguez and Anatilde Ferrer Colón. Intuitive musician. At the age of ten years he was already playing the bongo in the Conjunto El Gondolero, which was directed by his progenitor. At thirteen, he went to live with his family in the Barrio Latino, in New York. In this metropolis would spend almost the rest of his life. At 17, he began to work in a printing press, a job he held until he was recruited by the US Army to perform his military service in the Korean war. During this period (1953 - 1956) he was parachutist of the Air Force.
After his discharge and return to the Great City, he found accommodation in the set of Johnny Soler. Shortly afterwards he joined the Cuban Oriental Orchestra, whose repertoire followed the most genuine sonic tradition. From that organization went to another focused on the same wave: The Young Stars of Cuba, directed by the trumpeter and singer Roberto Rodriguez, who later would be the bastion of the orchestra of Ray Barretto and Fania All Stars. His internship for this group covered the period 1959 - 1961. It was then that he had the opportunity to record for the first time.
After appearing briefly in the Orquesta Típica Novel, by pianist Willie Ellis (1961 - 1962), he was recruited alongside Chivirico Davila and Monguito El Único to replace Rudy Calzado and Elliot Romero in Johnny Pacheco's charanga. From then on he would begin his promotion to fame. From his first stage with collective boy dating hits like "Suavito" (1963); "As Mango" and "I am Guajiro" (1964); "Alto Songo", "Guachinango" and "Soy del Monte" (1965). However, frictions between his colleague Monguito and he motivated him to leave this successful group. He then joined the sensation group of pianist Ray Roig (1964 - 1966). But when Monguito decided to go to the ranks of the orchestra of Larry Harlow, he returned to the charanga de Pacheco. The binomial that formed with this, which the fanaticada salsómana known as "The Perfect Combination" and "Los Compadres" - a term that alluded to the title of one of his most successful albums, although they were also in real life - has been One of the most striking and influential in the history of salsa.
Although Pete "El Conde" Rodríguez directed his own band during the period 1974 - 1980, he never separated artistically from Pacheco, who was the producer par excellence of his recordings. In 1980 - enthusiastic for the success of his performances in Puerto Rico accompanied by the Orchestra La Terrífica, by trumpeter Joe Rodriguez in 1979 - he tried to project his career from his homeland and settled here with his family. He then organized a new band. During the first few years he did very well. But from the second lustrum of that decade, due to the fever generated by the merengue genre and the boom of the so-called erotic sauce, the work began to be scarce, being necessary to return definitively to the New York square.
Still, "El Conde" lived one of the most significant nights of his career on Saturday, September 7, 1996 when he presented the lucid spectacle "35 years of royalty" at Teatro La Perla in his native Ponce. He celebrated three and a half decades of musical career - in fact, he had been in the stages for more than 40 years - surrounded by many of the companions and friends with whom he had shared during such a long journey. In this event, produced by businessman Frankie Moreno, were present: Johnny Pacheco, Papo Lucca & La Sonora Ponceña, Andy Montañez, Ismael Miranda, Bobby Valentin, Camilo Azuquita, Los Guayacanes de San Antón and Ruth Fernández. Their children Pedro Emilio "Little Pete" and Cita also participated in the function.
As evidence of his personal life emerges that Pete "El Conde" Rodriguez married Frances Caraballo. Fruits of this union are Pedro ("Cholo"), Lydia, Pedro Emilio and Cita. Pedro Emilio "Little Pete" is trumpeter, arranger and singer.
On the other hand, it can be added that the last performance of this talented Ponceño before his compatriots was in the concert "Masterpiece", presented / displayed by Eddie Palmieri & Orchestra Tito Bridge with the singers that intervened in the recording of the same title, in the Theater Amphitheater Tito Puente, on the night of Thursday, October 26, 2000. He then toured South America with Richie Ray & Bobby Cruz.
Pete "The Count" Rodriguez died while sleeping at his home in Bronx, New York (USA) on December 2, 2000, as a result of cardiac arrest. His remains were exhibited in the Bomb Park of his hometown and at the Buxeda Funeral Home in Hato Rey. On Thursday the 7th they were creamed, being buried in the National Cemetery of Bayamón. Shortly afterwards, Calle Mayor Cantera, principal of the La Cantera neighborhood where it was raised, was renamed with its name.
It should be noted that Pete "El Conde" Rodríguez always assured that his first idol in musical art was the great Pedro Ortiz Dávila «Davilita» (1912 - 1986). Likewise, his main artistic influences were received from Felix Chappotín and Sus Estrellas with sonero Miguelito Cuní and the no less revered Cheo Marquetti, Abelardo Barroso and Benny Moré.
Awards and recognitions:
• Tribute, shared with Johnny Pacheco, by the administration of the Tropicana Club, in Hato Rey, in the framework of a dance - show in which Sonora Ponceña, Los Hijos de la Salsa and other popular orchestras participated (April 28, 1989).
• Homage by the Association of University Teachers (APPU); The Students Council of the University of Puerto Rico and the folk groups Paracumbé and Plena de Ponce in the Amphitheater. 1 of the UPR (1990)
Discography as a soloist:
• "El Conde" (Fania, SLP - 459), 1974. Includes the jitazo "Babaila" (by Tite Curet
Alonso).
• "This black is tasty" (Fania, SLP - 489), 1976. Music Producer: Louie
Ramírez. Contains the hit "Catalina La O" (by Johnny Ortiz).
• "A Touch of Class" (Fania, SLP - 00519), 1977. Music Producer: Louie Ramírez.
• "I am the law" (Fania, SLP - 550), 1979. Music Producer: Louie Ramírez. It generated two hits: "Mi negra Mariana" and "Soy la ley" (by Ramón Rodríguez).
• "Fiesta con el Conde" (Fania, SLP - 606), 1982.
• "The King" (Fania, JM - 663), 1990.
• "Generations" (Trademarks 700B690A), 1993.
• "Pete & Papo" (RMM, RMD-697), 1996. Of boleros. Music Producer: Papo Lucca.
Discography with Johnny Pacheco:
• "Suavito" (Alegre, SLPA - 8220), 1962.
• "Spotlight on Pacheco" (Alegre, A - 827), 1964.
• "Cañonazo" (Fania, SLP - 325), 1964. First production in the history of the company.
• "Pacheco at the NY World's Fair" (Fania, SLP-326), 1965.
• "Typical flavor" (Fania, SLP - 339), 1968.
• "Flying Low" (Fania, SLP - 363), 1969.
• "Perfect combination" (SLP - 380), 1970.
• "Los compadres" (Fania, SLP - 00400), 1972.
• "Three of coffee and two of sugar" (Fania, SLP - 00436), 1973.
• "Pacheco and" El Conde "with Celia Cruz" (Fania / Vaya, V - 90), 1980.
• "New Los Compadres" (Fania, SLP - 625), 1983.
• "Jícamo" (Fania, JM - 638), 1985.
• "Salsobita" (Fania, JM - 644), 1987.
• "Celebration" (Fania, JM - 652), 1989.
Basic Discography as a Lead Vocalist or Guest Artist:
• Ray Roig & Orchestra Feeling: "Swing" (TLPR 4602), 1965. It generated three successes: "El rincón", "Baila conmigo" and "El pregón pastelero".
• Fania All Stars: "Live at Red Garter", Vols. 1 & 2 (1968, edited in 1969); "Live at Cheetah", Vols. 1 & 2, and "Our Latin Thing", soundtrack of the homonymous film (1971, published in 1972); "Live in Africa" (1974); "Live at Yankee Stadium," Vols. 1 & 2 (JM-465/1975); "Tribute to Tito Rodríguez" (JM-493/1976); "Commitment" (JM-564) and "California Jam" (Latin Music, ML-583/1980); "Latin Connection" (JM-595/1981); "What people ask for" (JM-629/1984);
"Viva la Charanga" (JM-640/1986); "Bamboleo" (JM-628/1988) and "Fania All"
Stars With Pete «The Count» Rodriguez (Sony International, ASIN-B000002 /
nineteen ninety six ). Compilation.
• Larry Harlow & Junior Gonzalez: "Hommy" (Fania), 1973.
• Tito Puente & Orquesta: "Tribute to Benny Moré, Vol. 2" (Tico, TLP-1436),
1979.
• Larry Harlow & Latin Legends Band: Idem (Fania / J & N, LP-82449), 1998.
• Jimmy Bosch & Orchestra: "Soneando trombón" (Ryko Latino, RL-1004), 1999.
Vocalizes the theme "Seagull", original of Jimmy.
• The Gold Stars: "Salsa Mask / Enjoying!" (Asefra Music), 1996
Singer, Composer, Percussionist and Orchestra … Read Full Bio ↴Pete "El Conde" Rodríguez
Singer, Composer, Percussionist and Orchestra Director
FULL NAME: Pedro Juan Rodríguez Ferrer
DATE OF BIRTH: January 31, 1933
PLACE OF BIRTH: La Cantera, Ponce, Puerto Rico
DEATH: December 2, 2000 in Bronx, New York (USA)
Pete "El Conde" Rodríguez is not only recognized as one of the most extraordinary vocalists in the history of salsa, but also as the one that best assimilated the essence of son among those born in our country. That is why, in Colombia, Venezuela, Peru and other international places in the salsera culture - including Cuba -, connoisseurs often identify him as "the most Cuban of Puerto Rican soneros".
This teacher of rumba, son, salsa and bolero Antillean was the second of three children born by Emiliano Rodríguez and Anatilde Ferrer Colón. Intuitive musician. At the age of ten years he was already playing the bongo in the Conjunto El Gondolero, which was directed by his progenitor. At thirteen, he went to live with his family in the Barrio Latino, in New York. In this metropolis would spend almost the rest of his life. At 17, he began to work in a printing press, a job he held until he was recruited by the US Army to perform his military service in the Korean war. During this period (1953 - 1956) he was parachutist of the Air Force.
After his discharge and return to the Great City, he found accommodation in the set of Johnny Soler. Shortly afterwards he joined the Cuban Oriental Orchestra, whose repertoire followed the most genuine sonic tradition. From that organization went to another focused on the same wave: The Young Stars of Cuba, directed by the trumpeter and singer Roberto Rodriguez, who later would be the bastion of the orchestra of Ray Barretto and Fania All Stars. His internship for this group covered the period 1959 - 1961. It was then that he had the opportunity to record for the first time.
After appearing briefly in the Orquesta Típica Novel, by pianist Willie Ellis (1961 - 1962), he was recruited alongside Chivirico Davila and Monguito El Único to replace Rudy Calzado and Elliot Romero in Johnny Pacheco's charanga. From then on he would begin his promotion to fame. From his first stage with collective boy dating hits like "Suavito" (1963); "As Mango" and "I am Guajiro" (1964); "Alto Songo", "Guachinango" and "Soy del Monte" (1965). However, frictions between his colleague Monguito and he motivated him to leave this successful group. He then joined the sensation group of pianist Ray Roig (1964 - 1966). But when Monguito decided to go to the ranks of the orchestra of Larry Harlow, he returned to the charanga de Pacheco. The binomial that formed with this, which the fanaticada salsómana known as "The Perfect Combination" and "Los Compadres" - a term that alluded to the title of one of his most successful albums, although they were also in real life - has been One of the most striking and influential in the history of salsa.
Although Pete "El Conde" Rodríguez directed his own band during the period 1974 - 1980, he never separated artistically from Pacheco, who was the producer par excellence of his recordings. In 1980 - enthusiastic for the success of his performances in Puerto Rico accompanied by the Orchestra La Terrífica, by trumpeter Joe Rodriguez in 1979 - he tried to project his career from his homeland and settled here with his family. He then organized a new band. During the first few years he did very well. But from the second lustrum of that decade, due to the fever generated by the merengue genre and the boom of the so-called erotic sauce, the work began to be scarce, being necessary to return definitively to the New York square.
Still, "El Conde" lived one of the most significant nights of his career on Saturday, September 7, 1996 when he presented the lucid spectacle "35 years of royalty" at Teatro La Perla in his native Ponce. He celebrated three and a half decades of musical career - in fact, he had been in the stages for more than 40 years - surrounded by many of the companions and friends with whom he had shared during such a long journey. In this event, produced by businessman Frankie Moreno, were present: Johnny Pacheco, Papo Lucca & La Sonora Ponceña, Andy Montañez, Ismael Miranda, Bobby Valentin, Camilo Azuquita, Los Guayacanes de San Antón and Ruth Fernández. Their children Pedro Emilio "Little Pete" and Cita also participated in the function.
As evidence of his personal life emerges that Pete "El Conde" Rodriguez married Frances Caraballo. Fruits of this union are Pedro ("Cholo"), Lydia, Pedro Emilio and Cita. Pedro Emilio "Little Pete" is trumpeter, arranger and singer.
On the other hand, it can be added that the last performance of this talented Ponceño before his compatriots was in the concert "Masterpiece", presented / displayed by Eddie Palmieri & Orchestra Tito Bridge with the singers that intervened in the recording of the same title, in the Theater Amphitheater Tito Puente, on the night of Thursday, October 26, 2000. He then toured South America with Richie Ray & Bobby Cruz.
Pete "The Count" Rodriguez died while sleeping at his home in Bronx, New York (USA) on December 2, 2000, as a result of cardiac arrest. His remains were exhibited in the Bomb Park of his hometown and at the Buxeda Funeral Home in Hato Rey. On Thursday the 7th they were creamed, being buried in the National Cemetery of Bayamón. Shortly afterwards, Calle Mayor Cantera, principal of the La Cantera neighborhood where it was raised, was renamed with its name.
It should be noted that Pete "El Conde" Rodríguez always assured that his first idol in musical art was the great Pedro Ortiz Dávila «Davilita» (1912 - 1986). Likewise, his main artistic influences were received from Felix Chappotín and Sus Estrellas with sonero Miguelito Cuní and the no less revered Cheo Marquetti, Abelardo Barroso and Benny Moré.
Awards and recognitions:
• Tribute, shared with Johnny Pacheco, by the administration of the Tropicana Club, in Hato Rey, in the framework of a dance - show in which Sonora Ponceña, Los Hijos de la Salsa and other popular orchestras participated (April 28, 1989).
• Homage by the Association of University Teachers (APPU); The Students Council of the University of Puerto Rico and the folk groups Paracumbé and Plena de Ponce in the Amphitheater. 1 of the UPR (1990)
Discography as a soloist:
• "El Conde" (Fania, SLP - 459), 1974. Includes the jitazo "Babaila" (by Tite Curet
Alonso).
• "This black is tasty" (Fania, SLP - 489), 1976. Music Producer: Louie
Ramírez. Contains the hit "Catalina La O" (by Johnny Ortiz).
• "A Touch of Class" (Fania, SLP - 00519), 1977. Music Producer: Louie Ramírez.
• "I am the law" (Fania, SLP - 550), 1979. Music Producer: Louie Ramírez. It generated two hits: "Mi negra Mariana" and "Soy la ley" (by Ramón Rodríguez).
• "Fiesta con el Conde" (Fania, SLP - 606), 1982.
• "The King" (Fania, JM - 663), 1990.
• "Generations" (Trademarks 700B690A), 1993.
• "Pete & Papo" (RMM, RMD-697), 1996. Of boleros. Music Producer: Papo Lucca.
Discography with Johnny Pacheco:
• "Suavito" (Alegre, SLPA - 8220), 1962.
• "Spotlight on Pacheco" (Alegre, A - 827), 1964.
• "Cañonazo" (Fania, SLP - 325), 1964. First production in the history of the company.
• "Pacheco at the NY World's Fair" (Fania, SLP-326), 1965.
• "Typical flavor" (Fania, SLP - 339), 1968.
• "Flying Low" (Fania, SLP - 363), 1969.
• "Perfect combination" (SLP - 380), 1970.
• "Los compadres" (Fania, SLP - 00400), 1972.
• "Three of coffee and two of sugar" (Fania, SLP - 00436), 1973.
• "Pacheco and" El Conde "with Celia Cruz" (Fania / Vaya, V - 90), 1980.
• "New Los Compadres" (Fania, SLP - 625), 1983.
• "Jícamo" (Fania, JM - 638), 1985.
• "Salsobita" (Fania, JM - 644), 1987.
• "Celebration" (Fania, JM - 652), 1989.
Basic Discography as a Lead Vocalist or Guest Artist:
• Ray Roig & Orchestra Feeling: "Swing" (TLPR 4602), 1965. It generated three successes: "El rincón", "Baila conmigo" and "El pregón pastelero".
• Fania All Stars: "Live at Red Garter", Vols. 1 & 2 (1968, edited in 1969); "Live at Cheetah", Vols. 1 & 2, and "Our Latin Thing", soundtrack of the homonymous film (1971, published in 1972); "Live in Africa" (1974); "Live at Yankee Stadium," Vols. 1 & 2 (JM-465/1975); "Tribute to Tito Rodríguez" (JM-493/1976); "Commitment" (JM-564) and "California Jam" (Latin Music, ML-583/1980); "Latin Connection" (JM-595/1981); "What people ask for" (JM-629/1984);
"Viva la Charanga" (JM-640/1986); "Bamboleo" (JM-628/1988) and "Fania All"
Stars With Pete «The Count» Rodriguez (Sony International, ASIN-B000002 /
nineteen ninety six ). Compilation.
• Larry Harlow & Junior Gonzalez: "Hommy" (Fania), 1973.
• Tito Puente & Orquesta: "Tribute to Benny Moré, Vol. 2" (Tico, TLP-1436),
1979.
• Larry Harlow & Latin Legends Band: Idem (Fania / J & N, LP-82449), 1998.
• Jimmy Bosch & Orchestra: "Soneando trombón" (Ryko Latino, RL-1004), 1999.
Vocalizes the theme "Seagull", original of Jimmy.
• The Gold Stars: "Salsa Mask / Enjoying!" (Asefra Music), 1996
Primoroso Cantar
Pete "El Conde" Rodriguez Lyrics
We have lyrics for these tracks by Pete "El Conde" Rodriguez:
Amor de Mis Amores Poniendo la mano sobre el corazon quisiera decirte al compas…
Azuquita Mami Cuando yo te apriete a ti nunca podrás olvidarme y me puede…
Azuquita mami (live) Cuando yo te apriete a ti nunca podrás olvidarme y me puede…
Blanca Paloma Supe que anda de boca en boca el rumor de que al…
Catalina La O I: Catalina la o catalina la o con cadencia de plata…
Dulce Con Dulce Los Viejos se alborotaron en la fiesta del solar Los Viejos…
Encantigo No, no, no, ne, no, na no, no, no, ne, no,…
I Like It Come on (come on let me show you where it's…
I Like It Like That Come on (come on let me show you where it's…
La Esencia del Guaguancó Escuche usted la esencia del guaguancó... Escuche usted la e…
Mi Negra Mariana Toda la mañana mañana me encontrarás cocina en la tarde así …
Sonero Descarga el Tono "Sonero" Sonero nunca olvides tu son sonero…
Tumbakutun Cuando me convidan a una rumba cuando me convidan a un…
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Salsero
Haciendo casi lo mismo
Entre las islas de Puerto Rico y Cuba habia una gran afinidad y compartian en común su simpatia revolucionaria por lograr su emancipación y libertad de los españoles. Entre ambas islas habia un transito de músicos y compañias músico teatrales lo cual contribuyó a que músicalmente guardaran una correlación y compartieran muchas cosas en común, que los llevo a crear sus propias danzas criollas. Particularmente esto se dio, en las influencias españolas o del contredanse francés, aunque a decir verdad no hay indicios de que hubiera contacto entre músicos negros de ambas islas de mediados o fines del siglo diecinueve. Todo tiende a indicar que al contar con elementos coincidentalmente similares hubo un paralelismo en el desarrollo músical entre ambas islas. Así las cosas, mientras los puertorriqueños de finales del siglo 19 e inicios del 20, practicaban sus danzonetes aguarachados, La Guaracha, la Bomba, la Plena, la música jibara o de campo con sus décimas y sus danzas, en Cuba, se comenzaba a practicar el Son, como sus Rumbas, su música campesina con sus décimas y danzas de la época, estabamos hacienda practicamente lo mismo. Habia además un transito intracaribeño y en Guantanamo se establecio una colonia grande de puertorriqueños que iban y venian, fué casualmente de Guantanamo que nos llegaron a Puerto Rico, los primeros bongoes a finales del siglo 19. No era de extrañar que en Guantanamo diera inicio el movimiento músical cubano, hubo muchas iinfluencias y allí habian miles de puertorriqueños. Sobre los bongoes, Se cree que estos aún no habian llegado a la Habana y demás provincias hasta después del 1909 que es cuando llega el Son a la Habana. De Guantanamo a Puerto Rico se llegaba por mar dependiendo del tiempo, primero que a la Habana, pues era un viaje directo, sin paradas.
Entre Guantanamo y Puerto Rico hubo continua comunicación, miles de
puertorriqueños y sus familias, se ubicaron en esta área
como hacendados, capataces y obreros
Mig Ponce
No wonder they called him “The Count” - Pete “El Conde” Rodríguez was one of the most gentlemanly singers that Afro-Caribbean music has ever known. True, he could be appropriately rough and gritty in the process of generating some serious salsa combustion, but he never lost his aristocratic demeanor in the process. With a perennial smile of contentment in his face, The Count was always in control of the swing.
Other salsa vocalists like Hector Lavoe and La Lupe were edgier and more idiosyncratic. El Conde was reliable to a fault. He never made a bad record.
Much like the Fania label itself, he found success by bridging together the worlds of Cuba and Puerto Rico. The son of a carpenter and amateur musician, he was a native of Ponce and spent the first years of his life in la Isla del Encanto (The Enchanted Island), until his mother shipped him to New York in search of better horizons.
His phrasing had the unique boricua flavor that distinguishes every Puerto Rican singer from Ismael Rivera to Cheo Feliciano. But El Conde found success by embracing the raw vocal style of quintessential Cuban crooners like Beny Moré and Miguelito Cuní, while favoring material that paid reverential tribute to the sweet afro-pop confections of La Sonora Matancera.
El Conde's career will be forever associated with another tropical legend, Dominican bandleader and Fania co-founder Johnny Pacheco. It was Pacheco - who spotted El Conde singing with pianist Johnny Soler at local club Los Panchos - who invited him to become part of his band.
Rodríguez began his collaboration with Pacheco on the 1963 release Suavito for the Alegre label. Most importantly, he was the lead vocalist on the 1964 LP Cañonazo, the first release on the Fania label and the session that marked Pacheco's momentous transition from the innocence of Cuban charanga to the traditional conjunto format à la Sonora Matancera. Pacheco, who has worked with renowned singers such as Celia Cruz, Rolando Laserie and Héctor Casanova, has always stated that El Conde was his favorite singer.
We begin our anthology of Pete 'El Conde' Rodríguez highlights with "Alto Songo," an old fashioned hit single from the 1964 album Pacheco At The New York World's Fair. Notice the understated elegance in the sonero's delivery, as well as the catchy chorus of this musty Cuban standard.
"La Esencia del Guaguancó” is a huge leap forward in terms of swing and the tightness of the arrangement. El Conde adds fuel to the fire; his timing is implacable here, and the composition (an original gem by Puerto Rican songwriter Tite Curet Alonso) leads us into a salsa dancer's paradise. El Conde continued performing extended versions of this song in his concerts until his death.
lopz33
Un día como hoy, 31 de enero de 1933, nació en el Barrio Cantera, Ponce, Puerto Rico, el cantante y percusionista Pedro Juan Rodríguez Ferrer, mejor conocido como Pete "El Conde" Rodríguez. Maestro, lo seguimos echando de menos. 🎵🎤🎶😢😢😢😢😢
Baron De Dios
Con ese negro no había más q buscar ese el mejor de su época ese era un verdadero cantor. Paz a su alma
David Santos
😢😢😢😢😭
Felipe Nieves
Señores, El Conde Negro, no tiene nada que envidiarle a ningun sonero de esa epoca, sea el sonero mayor, mediano, etc. Su estilo es tan unico, que de cualquiera que sepa de este genero, lo identifica rapidamente. El Conde era el Conde y punto. Con una fuerza interpretativa y juego verbal dificil de imitar. Era clase A, Totalmente. Como dijo en aquel tumbao con Fania: "cualquiera puede cantar, cuando se copia de otro, el cantar original lo ejecutan muy pocos, por eso estoy orgulloso cuando me pongo versar, no es que quiera criticar, ni que sea alavansioso. te lo digo camará que este negro si es sabrosoooo". El publico ese dia enloqueció por el dominio del verbo de este señor, si no lo creen, estudien con los que saben de esta gloriosa epoca de la Salsa Mundial.
Juan erazo
El no compite
Carlos Abcd
El conde grande entre los grandes.
Maikel Adrian Hernandez
Si de soneros se trata pete el conde tiene la llave . Se decía el esclavo del remeneo o si no miren las películas la forma tan original que tenía . Vean las películas donde estaban los soneros propios Miranda lavoe., Santitos colon y pete era grande entre esos
hary martinez
Felipe Nieves ya usted lo dije todo !!!!!! El Conde tiene su estilo único ! Su aceite propio! Elegante al cantar ! Ese negro es único en su estilo .... aunque mi sonero favorito es Maelo .... pero al cesar lo que es del cesar .
Fabio santa torres
También hay que decir que hay que tener mucho oído para no confundir a HÉCTOR CASANOVA con el CONDE
Osbaldo Davila
Pete Conde Rodriguez es sinónimo de calidad musical e interpretativa , el Conde le imprimía un toque único a cada una de sus interpretaciones , dicen los conocedores que después de el Gran Sonero Mayor Ismael Rivera está el Pete por su manera de sonear y conocer la clave a la perfección, viva este gran Sonero y la Salsa......