These two albums are quite different for me, in conception. Top Percussion for RCA is a display of various Cuban styles, featuring sacred music on side one (including vocals of ritual texts), and secular on side two (dance and carnival rhythms, including piano). Puente in Percussion for Tico has only the secular rhythms in more of a descarga (jam session) context, with long solos for three of the drummers featured (Puente, Santamaria, and Valdez), no vocals, and only a string bass supporting. Like the five guys entering the studio, opening a bottle of rum and passing it around (or a joint, or none of this, if you prefer), and cutting loose. They were in top form, and Puente said somewhere they wouldn't have been able to repeat this as they all were playing their best that day. Maybe Puente had to fulfill his Tico contract and this was the fastest way to do it - that label was not to go for the concept albums Puente recorded for RCA, I think I read somewhere. All of Puente's RCA albums had a conceptual idea behind them, even though the first tracks were recorded with 78 rpm records in mind. More arranged and such, like in Top Percussion. Both are classics in their different ways, for Cuban percussion, the RCA for the concept, the Tico for the soloing, which is textbook stuff all the way through.