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In the first half of the 1960s, the New York produced Latin music that became known as salsa in the '70s was dominated by labels such as Alegre (co-founded in 1956 by Al Sanitago), Tico, Seeco and United Artists, who issued recordings by the likes of Johnny Pacheco, Charlie and Eddie Palmieri, Tito Puente, Machito, Joe Cuba Sextet, Tito Rodríguez and Ray Barretto. Central to the music in the second half of the '60s and '70s was the Fania label, formed in '64 by Pacheco and Jerry Masucci, whose roster included Pacheco, Larry Harlow, Bobby Valentín, Barretto, Willie Colón (and his lead vocalist Héctor Lavoe), Roberto Roena and the house band, Fania All Stars. Fania also had stablemate labels Vaya (founded in '71) and Inca (acquired at the beginning of the '70s), absorbed most rival NYC labels (including Cotique, and the older Tico and Alegre labels), creating a virtual monopoly.One of the few outside the empire was Salsoul (a subsidiary of Mericana formed in '75), which recorded the jazzy Libre and Grupo Folklorico y Experimental Nuevayorquino, and the descargas (Latin jam sessions) of Israel "Cachao" López, through to the progressive típico of Saoco and the Cuban purism of Roberto Torres. Another independent and avant-garde force was Angel Canales, with his own Selanac label founded in '79. These and others created a salsa boom which peaked in the mid-'70s, just as it was being discovered by non-Latin fans who thought it was something new. At the end of the '70s salsa was tending toward overproduction, as in the successful (but heavily produced) Colón LP Solo '79 on Fania. In the early '80s it swung back to its roots again, the típico revival led by Torres and his SAR label. - John Child