1970s–1980s
Blades earned multiple degrees in political science and law at the Universidad Nacional de Panamá and performed legal work at the Bank of Panama as a law student.
Blades' first recording in the US was the solo album De Panamá a New York, with the Pete Rodriguez Orchestra, which included original compositions such as "Juan Gonzalez", "Descarga Caliente" and "De Panamá a New York", recorded in 1969 at The Sound Factory studio in California and released by New York City-based label Alegre Records in 1970. He then returned to Panamá and finished his degree.
In 1974, he moved to the United States, initially staying with his exiled parents in Miami, Florida, before moving to New York City where he began working in the mailroom at Fania Records. Soon Blades was working with salseros Ray Barretto and Larry Harlow. Shortly thereafter, Blades started collaborating with trombonist and bandleader Willie Colón. They recorded several albums together and participated in albums by plena singer Mon Rivera and the Fania All Stars.
Blades's first notable hit was a song on the 1977 album Metiendo Mano that he had composed in 1968, "Pablo Pueblo", a meditation about a working-class father who returns to his home after a long day at work. The song later became his unofficial campaign song when he ran for president of Panama. The Colón and Blades recording on the same album of Tite Curet Alonso's composition, "Plantación Adentro", which dealt with the brutal treatment of Indian natives in Latin America's colonial times, was a hit in various Caribbean countries. He wrote and performed several songs with the Fania All Stars and as a guest on other artists' releases, including the hits "Paula C", written about a girlfriend at the time; "Juan Pachanga", about a party animal who buries his pain for a lost love in dance and drink; and "Sin Tu Cariño", a love song, featuring a bomba break. The latter two songs feature piano solos by the Puerto Rican pianist Papo Lucca.
In 1978, Blades wrote the song "El Cantante"; Colón convinced him to give the song to Colón's former musical partner, Héctor Lavoe, to record, since Lavoe's nickname was already "El Cantante de los Cantantes" ("the singer of singers"). Lavoe recorded it that same year, and it became both a big hit and Lavoe's signature song; a biographical film about Lavoe took the same title. (The film El Cantante, starring executive producer Marc Anthony and then wife Jennifer López, told a fictionalized version of this story, in which Blades tells Lavoe he wrote the song for him.)
The Colón and Blades album Siembra (1978) became the best-selling salsa record in history, with Blades writing all but one of the songs. It has sold over 3 million copies, and almost all of its songs were hits at one time or another in various Latin American countries. Its most famous song was "Pedro Navaja", a song inspired by the 1928 song "Mack the Knife"; it tells the story of a neighborhood thug who is killed by a street walker who knows him (he stabs her, she shoots him, they both die, a bum finds them, and takes their belongings). The song inspired a 1980 Puerto Rican musical, La verdadera historia de Pedro Navaja, and a 1984 Mexican film, Pedro Navaja, neither of which had Blades' involvement. Blades wrote and sang a sequel song, "Sorpresas", (surprises) on his 1985 album, Escenas, which revealed that Pedro had survived the incident and was still alive.
Blades became dissatisfied with Fania and tried to terminate his contract, but was legally obliged to record several more albums, released after his departure.
His 1981 song "Tiburón" (with Willie Colon) protested against military interventions by the United States (the metaphorical "shark" in the song's title) in Latin America. It received little airplay in the US because of its controversial political message, with Blades being accused of sympathizing with communism and becoming particularly unpopular with the Cuban community in Miami. Blades would later state that "I was out of the radio for fifteen years in [the US] because of 'Tiburon'." Although he explicitly characterized "Tiburón" as "an anti-imperialist song", he also sought to distance himself from radical Anti-Americanism among the Latin American Left. A 2016 study concluded that "Regardless of his constant efforts not to be cornered ideologically [...] Blades always identified himself as a Panamanian and a Latin Americanist", inspired by Simón Bolívar.
In 1982 Blades got his first acting role, in The Last Fight, portraying a singer-turned-boxer vying for a championship against a fighter who was played by real-life world-champion boxer Salvador Sánchez. In 1984, he released Buscando América, and in 1985, Blades gained widespread recognition as co-writer and star of the independent film Crossover Dreams as a New York salsa singer willing to do anything to break into the mainstream. Blades also began his career in films scoring music for soundtracks. Also in 1985, he earned a master's degree in international law from Harvard Law School. He was the subject of Robert Mugge's documentary The Return of Rubén Blades, which debuted at that year's Denver Film Festival. He also recorded a segment for the 60 Minutes television program, interviewed by Morley Safer.
In 1984, Blades left Fania, and signed with Elektra, although Fania continued to release recordings compiled from their archives for some years afterwards. Blades assembled a band (known variously as Seis del Solar or Son del Solar) and began touring and recording with them. His first album with them, Escenas, included a duet with Linda Ronstadt (1985), won Blades his first Grammy Award, for Best Tropical Latin Album. He then recorded the album Agua de Luna, based on the short stories of writer Gabriel García Márquez, in 1987. The next year he released the English-language collaboration Nothing but the Truth, with rock artists Sting, Elvis Costello, and Lou Reed whose song "The Hit" aka its main chorus "Don't Double Cross the Ones You Love", appeared in the opening and closing credits of Sidney Lumet's 1990 crime drama film Q & A; also in 1988 he released the more traditionally salsa Antecedente, again with Seis del Solar, which again won a Grammy Award.
