The cover shows a variant of the National Lampoon, January 1973 cover If you don't buy this magazine, we'll kill this dog.[7] The man being held up on the cover, while reversing the roles with Willie on the floor on the reverse, was José R. Padrón.
^Everynight Life: Culture and Dance in Latino America Celeste Fraser Delgado, José Esteban Muñoz - 1997 p 220 0822319195
"It is impossible to speak of salsa and not touch upon productions such as Lo Mato, ..."
^Salsa Rising: New York Latin Music of the Sixties Generation Juan Flores - 2016 0190499532 "The defining role of Lavoe's colloquial Spanish in the performance of these songs is obvious, as are the historic compositions of the revered songwriter from Puerto Rico, Tite Curet Alonso, in much of Colón's repertoire. ... and violence of the first four, and anticipating the next four to come, La Gran Fuga (The Great Escape), El Juicio (The Verdict), Lo Mato (I'll Kill Him), and Crime Pays (title in English)."
^Music, Writing, and Cultural Unity in the Caribbean Timothy J. Reiss - 2005 p 240 "All contributed to create the image of Colon and Lavoe as the bad guys of salsa and their band as a gang of the Latin community. After Lo mato, Colon broke up the group in order to make other experiments with Latin music (Rondon).
^Pablo Yglesias - 2005 Cocinando!: Fifty Years of Latin Album Cover Art p 113 156898460X "Taken as a unit, Colon's early album covers trace a cinematic trajectory of the Latino as criminalized outlaw, starting with ... (La Gran Fuga) and trial (El Juicio), and finally culminating with the artist as a hostage-taking terrorist (Lo mato). "
