Charo has long been a larger-than-life presence on American television, celebrated for her quick wit, flamboyant style, and that irrepressible “cuchi-cuchi” catchphrase. But with Olé Olé, her second album for Salsoul Records, she makes a strong case for being recognized as more than just a variety-show personality. Here, Charo steps onto the dance floor with confidence, delivering a record that not only embraces the sound of 1978 but also injects it with her ubiquitous Spanish heritage.

At its core, Olé Olé is pure disco: pulsing bass, four-on-the-floor percussion, and soaring strings that beg to be blasted under the mirrored lights of a club. What sets it apart is Charo herself. She sings with passion, slipping easily between English and Spanish, while adding unmistakable flamenco guitar accents that give the album its cultural flavor. The result is a record that bridges continents, marrying the rhythms of Madrid with the glitz of Studio 54.

The singles have helped cement the album’s legacy. The title track, “Olé Olé,” became a favorite in the clubs, its infectious chorus and Spanish flair making it instantly recognizable on the dance floor. Even more notable is “Stay with Me,” specially remixed for its single release and previewed by a disguised Charo in the gay clubs of West Hollywood. That track, with its soaring strings and sultry vocal, struck a particular chord with disco’s most loyal and discerning audiences, proving that Charo had genuine appeal in the very spaces where the genre thrived.

The real secret weapon here, however, lies behind the console. Producer Tom Moulton, the undisputed pioneer of the 12-inch remix, lends the album his signature sense of pacing and grandeur. His touch is felt in every buildup and breakdown, crafting tracks that unfold with a cinematic sweep tailor-made for the dance floor. Meanwhile, John Davis—of Monster Orchestra fame—handles arrangements and mixing duties. Davis’s brass and string sections shimmer with Philadelphia soul influence, while his mixes balance the energy of the orchestra with Charo’s spirited performances.

Together, Moulton and Davis have created a lush backdrop that allows Charo to shine without ever tipping into parody. This is no novelty record; it’s a polished, professional production that can hold its own against the year’s most ambitious disco releases. Tracks bristle with energy, full of the theatricality that made disco both glamorous and irresistible.

Olé Olé may not have reinvented the genre, but it didn’t have to. What it offers is Charo at her most authentic: exuberant, dramatic, and unafraid to blend tradition with trend. For those who only know her from the talk-show circuit, this album is a revelation. For disco fans, it’s another sparkling gem from the ever-reliable Salsoul Records catalog. With the success of its singles and the craftsmanship of its production team, Olé Olé is more than just a curiosity: it’s a vibrant entry into the disco era, one that celebrates both the universal power of the dance floor and the unmistakable stamp of Charo’s Spanish soul.