Los Van Van

[Juan Formell] was convinced that he could capture the imagination of Cuba's younger generation by infusing Revé's arrangements with elements of North American rock and roll, creating an odd new style that he called changüí 68.

Early the next year, almost exactly a decade after Revé's band had jumped ship to form [Orquesta] Ritmo Oriental, .

Formell incited the most famous of the Revé mutinies and absconded with the majority of the musicians to form a group which has stayed at the true leading edge of its country's music longer than any other .

rhythmically, the 1969 group made the transition from changüí 68 to the first incarnation of a style which Formell called songo (Moore 2011).

[1]The original personnel of Los Van Van were Juan Formell (leader, bass guitar, vocals); Orlando Canto (flute); Raúl "El Yulo" Cárdenas (congas); Blas Egües (drum kit); Luis Marsilli (cello); José Luis Martínez (electric guitar, vocals); Julio Noroña (güiro); Pupy Pedroso (keyboard); Miguel Angel "Lele" Rasalps (vocals); William Sánchez (electric guitar), and Gerardo Miró, Jesús Linare, Fernando Leyva, and Iván Rocha (violins).

Juan Formell states that the main piano guajeo of "La lucha"s (1969) montuno section was inspired by the Afro‐Cuban folkloric batá drum rhythm chachalokefún.

Changuito greatly expanded the parameters of songo, and introduced a revolutionary conga and timbales technique, by incorporating snare drum rudiments.

Changuito's rhythmic contributions coincided with Formell's maturation as a songwriter and LVV launched into a six year period which alone would have been sufficient to establish them as one of Cuba's most important bands.

LVV's recordings from 1970 to 1976 are the definite starting point for anyone seeking to learn about the enigmatic genre of songo (Moore 2011).

[4]The original single of "Pero a mi manera" (c. 1972) introduced harmonies and arranging ideas never before used in Latin music.

Proceeds from the sales were donated to raise awareness and money to fight AIDS/HIV and related health and social issues.

Along with pianist Cesar "Pupy" Pedroso, Juan Formell has written some of the most intriguing verses in popular dance music, including stories that run over several albums and, contrary to trends in timba, all types of social commentary.

The jury noted that "the imaginative approach in implementing its director Juan Formell, brought new sounds and ideas in Cuban dance music, which merged violins, flute charanga style with a trombone section, drums and electric guitar intro, bass and keyboards".

Past members with successful careers as solo artists include Pedro Calvo, Angel Bonne, Changuito, José Luis "El Tosco" Cortés (founder of the first timba band NG La Banda), César "Pupy" Pedroso and others.