- Rare UK 12-Inch EP Where Salsa Meets House in Willie Colón’s Boldest Studio Experiment
Released in 1987, She Don’t Know I’m Alive by Willie Colón marked a bold departure from traditional salsa, embracing the sounds of Latin jazz, house, and electro-funk. Produced in collaboration with Yvonne Turner, a rising figure in New York’s club scene, the EP reflects a unique moment where Latin rhythms met dancefloor experimentation. With extended mixes and dub versions, it showcased Colón’s adventurous spirit, bridging cultures and genres during a time of vibrant musical crossover.
"William Anthony Colón" (born 28 April 1950) is a Nuyorican salsa musician. Primarily a trombonist, Colón also sings, writes, produces and acts. He is also involved in municipal politics in New York City.
In 1987, salsa music stood at a crossroads. The genre that had conquered New York’s barrios in the '70s was evolving, opening itself to electronic rhythms and cross-genre pollination. It was the era when house music was dominating clubs, and Latin artists were starting to take notice. For Willie Colón, a pioneer of politically conscious Nuyorican salsa, “She Don’t Know I’m Alive” was both a continuation of his eclectic approach and a foray into a more experimental, club-ready soundscape.
“She Don’t Know I’m Alive” isn’t your standard conjunto session. The A-side features a lush, eight-minute vocal cut blending Latin jazz textures with electronic overlays and club-inspired beats. On the B-side, the “Alive Dub Two” pushes even further into dub territory with sparse vocals and reverb-heavy trombone echoes — a nod to Colón’s signature instrument. But it’s “Set Fire to Me (Latin Jazzbo Mix)” that steals the show: a kinetic groove driven by percussive synths, sharp brass stabs, and Afro-Caribbean polyrhythms morphing into a dancefloor invitation.
Colón had long been a genre-blender — from his collaborations with Hector Lavoe to his politically charged albums in the '70s. This EP, however, walks a finer line between Latin jazz and post-disco electronica. It’s unmistakably Latin at heart, but its structure, production, and mix architecture reflect the influence of New York’s underground club scene. You won’t find traditional montunos here; instead, you’re treated to pulsating rhythms, syncopated synth pads, and that iconic Colón trombone subtly woven into the mix.
While fans of Colón’s classic salsa work raised eyebrows at this detour into dance music, others embraced it as proof of his ability to adapt and reinvent. Critics in the Latin music press of the time questioned whether the EP was aimed more at international DJs than barrio listeners, a tension that often haunted genre-pushing records. Still, even those skeptical of the direction had to acknowledge the sophisticated layering and sonic craftsmanship that defined the record.
Produced by Willie Colón himself along with Yvonne Turner — a rising force in the dance music production scene — the EP was recorded at Fantasmas and Blank Tape Studio in New York City. These were spaces where sonic experimentation thrived, especially in the hands of artists willing to color outside the traditional lines. Turner’s influence is especially present in the mix-down aesthetics: tight drum programming, shimmering hi-hats, and layered ambient effects lend the record a depth more aligned with club culture than concert hall salsa.
“She Don’t Know I’m Alive” was issued in several formats across different markets, but the UK pressing on A&M Records (AMY 380) is notable for its particularly clear mastering and heavier emphasis on stereo separation. Some other international pressings, particularly in Latin America, featured alternate artwork and a more compressed audio profile — more suitable for radio than dancefloors. The English release, however, was clearly tailored to DJs and audiophiles, with extended track times and full-spectrum mastering.
Yvonne Turner, born in 1953 and raised in Harlem, the South Bronx, and later Hollis, Queens, emerged as one of the few female producers and DJs at the genesis of New York's underground dance music scene. Her roots were in local DJ sets and parties during the late 1970s, where she honed her ear for groove, rhythm, and sonic experimentation.
By the early 1980s, Turner joined Arthur Baker’s Streetwise Records, starting out humbly in the mailroom. But her keen musical instincts quickly propelled her into production roles. She co-created the dub version of Colonel Abrams’ “Music Is the Answer” in 1984, a version that would dominate club play and influence the emerging house music sound.
Despite her involvement in shaping such pivotal recordings, Turner was often sidelined in terms of credit — a reflection of the era’s gender and racial disparities within the industry. Her name was sometimes omitted entirely, even from tracks where her contributions were foundational.
One of Turner’s standout projects came in 1986 with the production of Willie Colón’s experimental Latin/house crossover track “Set Fire to Me.” The song’s “Latin Jazzbo Mix,” produced and mixed by Turner, pushed the boundaries of Latin music by blending Afro-Caribbean percussion with electronic drum machines and jazz phrasing. It served as a bold experiment that predated the mainstream adoption of Latin influences in house music by nearly a decade.
Turner’s remix of Arnold Jarvis’ “Take Some Time Out” in 1987 became another example of her flair for building lush, soulful grooves. Her work leaned toward what would become known as garage house — melodic, rich in vocal arrangements, and spiritually charged. She also collaborated with vocal powerhouses like Loleatta Holloway and Whitney Houston, often behind the boards or in remix duties, leaving her fingerprint on a range of influential dance tracks.
Throughout her career in the '80s, Turner faced systemic challenges, often working in the shadows of male producers who received primary credit. Her role in pioneering the house sound, particularly as a Black woman in a male-dominated industry, remained largely unsung for decades. But those in the know — DJs, producers, and crate diggers — recognized her influence.
After taking a break from the industry to work in education, Yvonne Turner re-emerged in the 2010s with a renewed mission. She co-founded a production company called Strong Enough and began advocating for recognition of women and people of color in electronic music history.
Her story is more than just a footnote in house music—it’s a vital chapter in the genre’s evolution. With every echoing synth, deep bassline, and thoughtful arrangement, Yvonne Turner helped shape the foundation of modern dance music.
This album has a thin paper sleeve
Willie Colon and Yvonne Turner at Fantasmas and Blank Tape Studio, NYC
Executive Producer: Carol Cooper
Drum Programming: Winston Jones
Sound Engineer: Bob Blank
Sound mix by Yvonne Turner at Blank Tape Studios, New York City
Mastered by Herb Powers at Frankford Wayne New York City
Produced by Willie Colon for WAC Productions
Associate Producers: Yvonne Turner and Billy Cobin
Sound Engineer: Billy Cobin
Recorded at Unique Studios and Beethoven Studios (New York City)
Drum Sound: Winston Jones
Latin Jazz / Salsa
A&M Records AMY 380
Record Format: 12" Vinyl Stereo Gramophone Record
Total Album (Cover+Record) weight: 230 gram
1987 Made in England
Front cover artwork of the 1987 12-inch vinyl EP by Willie Colón titled She Don't Know I'm Alive, featuring a layered, surreal collage-style design on a light beige background.
In the upper center-left portion, a bold, ornate blue floral pattern swirls outward like thought or speech, framing the album title in lowercase typewriter-style text: she don't know I'm alive. Just to its left, a sketch of a heart with wings appears mid-flight, pierced with a red arrow, suggesting romantic tension or longing.
To the right of the title, a yellow box contains a faded, monochromatic photo of four people walking—possibly band members—evoking a moment caught from afar. Beneath the central blue swirl, five human silhouettes made of halftone dots stand in profile. Their stance and spacing give the impression of a conversation or a passing group.
Various freehand black lines and scribbles run across the cover, with arrows, dotted borders, and a crescent moon overlaying a vintage clock face in the bottom right. The word COLÓN appears in bold black type in the top right, with "willie" in smaller lowercase letters above it.
The artwork feels like a visual diary page—fragmented, emotional, abstract—hinting at both personal storytelling and experimental musical direction.
Back cover artwork of Willie Colón’s 1987 12-inch vinyl EP She Don’t Know I’m Alive, presented in a minimalist, collage-like design filled with abstract markings and handwritten annotations over a cream-colored background.
Dominating the center is a large, light gray circle with smudged edges, suggesting a vinyl imprint. At its core, a torn piece of paper is pasted on, featuring the word “HOLE” in typewriter-style font with a small yellow rectangle beneath, flanked by black directional arrows.
Above the circle, a blue hand-drawn oval contains the numbers “1 1 1 2” in different fonts and sizes, with the number “1” in red, offering a cryptic reference to track sequencing. To the top right, the catalog number AMY 380 appears in black print.
Vertical type on the right side lists detailed production credits, including mixing by Yvonne Turner at Blank Tape Studios, NYC, and mentions of Unique Studios and Beethoven Studios. Notable names include Herb Powers for mastering and Bob Blank as sound engineer.
In the lower half, a red scribbled rectangle contains a blue “2/3” fraction and the phrase “the crucible (catharsis)” written sideways along the edge — possibly an artistic metaphor. Below this are the track titles: Set Fire to Me – Latin Jazzbo Mix* and She Don’t Know I’m Alive – Alive Dub Two.
The word “willie” is printed in lowercase near the bottom left, matching the stylized font on the front cover. Scattered dots, dashed lines, and a faint arch-like sketch near the A&M logo round out this back cover’s conceptual, deconstructed aesthetic — marrying experimental design with underground club culture.
Close-up of the Side A record label from Willie Colón’s 1987 12-inch vinyl EP She Don’t Know I’m Alive, pressed in England by A&M Records under catalog number AMY 380.
The label is a bold red-orange color with black and white text. At the top, the track title She Don’t Know I’m Alive – Vocal is printed in capital letters, followed by production credits: “Produced by Willie Colón & Yvonne Turner at Fantasmas and Blank Tape Studios, NYC.”
The left side includes key technical identifiers: catalog number “AMY 380,” side indicator “Side 1,” and duration “8:19.” It also lists the rights societies “MCPS/BIEM,” indicating licensing information, and confirms the record is in stereo format, cut at 45 RPM.
Below the track details, Willie Colón’s name is printed in large bold type, followed by mixing and mastering credits. The track was mixed by Yvonne Turner at Blank Tape Studios, engineered by Bob Blank, with drum programming by Winston Jones, and mastering by Herb Powers at Frankford Wayne, NYC. Executive production is credited to Carol Cooper.
On the right side, the official A&M Records logo is displayed prominently in white and red. Just beneath, small print reads: “Original sound recording made by A&M Records, Inc.” followed by “Made in England,” confirming this as the UK edition.
The outer edge of the label contains the standard legal disclaimer: “All rights of the manufacturer and of the owner of the recorded work reserved. Unauthorised copying, public performance and broadcasting of this record prohibited.”
Willie Colon is a Puerto Rican-American musician, composer, and producer known for his contributions to salsa music. Born on April 28, 1950, in the South Bronx, New York City, Colon is one of the most influential figures in the history of Latin music, and his legacy continues to inspire generations of musicians.
Colon's career began in the 1960s when he was just a teenager. He played trombone in several Latin bands, including the Joe Cuba Sextet, before forming his own band with the singer Hector Lavoe. Together, they created some of the most iconic salsa music of the 1970s, including hits like "El Malo," "Che Che Colé," and "La Murga."
Colon's music is known for its powerful brass arrangements, sophisticated percussion, and social and political commentary. His songs often address issues affecting the Latin community, such as poverty, racism, and immigration, and have become anthems for the Latin American diaspora.
One of Colon's most significant contributions to Latin music was his fusion of salsa with other musical genres. In the 1970s, he collaborated with jazz musicians such as Miles Davis and Herbie Hancock, creating a unique blend of Latin rhythms and jazz harmonies. He also experimented with rock music, incorporating electric guitars and synthesizers into his compositions.
Colon's influence extends beyond his music. He was an outspoken activist for the Latin American community and used his platform to raise awareness of social and political issues affecting the diaspora. He was a vocal supporter of Puerto Rican independence and was involved in the struggle for civil rights for Latin Americans in the United States.
Despite his success, Colon faced many challenges throughout his career. He struggled with addiction and spent time in prison for drug-related offenses. However, he overcame these obstacles and continued to create music that resonated with audiences around the world. Today, Colon's legacy continues to inspire a new generation of Latin musicians. His music has been sampled by hip-hop artists such as Nas and Jay-Z, and his influence can be heard in the music of contemporary salsa and Latin jazz musicians.
Éxitos is a greatest hits collection from Willie Colón, capturing the energy and brilliance of his groundbreaking salsa career. Featuring classic tracks from his work with Héctor Lavoe and solo hits alike, the album offers a vibrant journey through Colón’s golden years and the sound that defined a generation of Latin music lovers.
Learn moreThis self-titled album by Willie Colón and Rubén Blades showcases the powerful collaboration between two salsa giants. Combining Colón’s trombone-driven arrangements with Blades’ socially conscious lyrics, the album delivers a potent mix of rhythm, poetry, and political edge — here in a rare Cuban pressing.
Learn moreThis bold 12" EP from Willie Colón blends salsa, Latin jazz, and dancefloor-ready rhythms. Produced with Yvonne Turner in New York, the release features extended mixes that push Colón’s sound into electro-Latin territory. A rare experiment in crossover grooves, it highlights his fearless approach during the late 1980s.
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