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By Jesse Monteagudo
Latin music is in. The unexpected success of Puerto Rican
heartthrob Ricky Martin proves that a Spanish name and body is no detriment
to pop success. The Menudo-alum's achievements blazed a trail that the
likes of Marc Anthony, Enrique Iglesias and Carlos Ponce hope to travel.
That Ricky only made it after he dyed his hair, corrected his accent and began to sing in English does not seem to deter them, nor does the fact that, deep down, there is not much Latin in "Latin pop". Like their Anglo counterparts in the Video Age, Latin pop prefers looks over talent, to the extent that a marginally-talented but hunky artist like Martin becomes a superstar. Artists like the great Israel "Cachao" Lopez, with lots of talent but not much sex appeal, would not make it in the Age of Ricky Martin.
Thus it is proper that the first Latina to come over on this new wave of Latin music is Jennifer Lopez, who played Selena in the Tejana's 1997 film biography. There, however, the similarities end. On the Six (Sony), the Bronx-born Lopez's first album, blends disco-influenced R&B with a traditional but slight Spanish flavor. ""It's a mix of urban and Latin influences," Lopez said in an interview, "stuff that makes me dance." On the Six's first hit, the bouncy "If You Had My Love," already replaced Martin's "Livin' La Vida Loca on the top of the Billboard Hot 100 chart, showing that Lopez has what it takes. But at what cost? When Lopez began her movie career she was a stunning, swarthy Latina, as befit a Selena look-a-like. In the video for "If You Had My Love" Lopez is bleached-blond and looks for all the world like a vapid Valley Girl. Though she is still attractive, Lopez's vocal talents leave much to be desired, though that didn't stop Madonna either.
The songs on this album, penned by the likes of Babyface and Diane Warren, sound
more like Mariah Carey rejects than the stuff breakthrough albums are made of. Only
"No Me Ames", a duet with fellow Nuyorican Marc Anthony, hits the spot.
Following in Jennifer Lopez's high-heeled footsteps is the Colombian Shakira, whose full name is Shakira Isobel Mebarak Ripoll. Already an established singer in Latin America, Shakira's status as the Latin Alanis Morisette caused fans all over the world to have a "Shak-Attacks." "Latino people have a golden key in their hands, a common treasure," Shakira said in an interview. "That treasure is fusion. The fusion of rhythms, the fusion of ideas. We Latinos are a race of fusion, and that is the music we make. And so at the dawn of a new millennium, when everything is said and done, what could possibly happen besides a fusion?" Shakira hopes to test her fusion theory in the States next year, when her first English-language album is released. In the meantime you can check her latest Spanish album, Donde Están Los Ladrones (Where Are The Thieves) (Sony), which won a World Music Award and was nominated for a Grammy for Best Latin Rock/Alternative Performance. Donde Estàn Los Ladrones combines Alanis Morisette-like angst with monster dance tracks like "Ciega, Sordamuda" (Blind, Deaf and Dumb). Though I am not a big fan of Shakira's music myself, I recognize talent when I hear it, and I only hope that Shakira doesn't dilute it when she makes her big English-language debut. Albita Rodriguez was already a star in her native Cuba when she defected to the U.S. in 1993. Since then Albita has wowed them at Miami clubs, where she artfully pursues her mission ""to perform authentic Cuban music in a contemporary framework". In Una Mujer Como Yo (A Woman Like Me) (Sony) makes a slight move away from her Cuban country roots with a sassy house/freestyle/dance set that was nominated for a Grammy for Best Tropical Latin Performance. "This album is full of new and exciting possibilities for me," said Albita in an interview. "For the first time, I'm singing totally festive songs: songs of joy, songs that create a party atmosphere." Cuts like the title song, "Rie Rie" (Laugh Laugh) and "Tanta Lucha Pa' Que" (So Much Struggle for Nothing) blend merengue, salsa and Ballonato with Albita's unique stylings. Those who want a more traditional Albita should check her first post-exile album, 1995's No Se Parece A Nada (Unlike Anything Else) (Sony). Introspective artists like Shakira are good if you want to look at clouds from both sides now. However, if you want to get down and par-ty, no one does it better than Puerto Rico's own Olga Tañón. The undisputed Queen of Merengue, who was dubbed "the most beautiful face on Puerto Rican television" (or anywhere else, for that matter), has a talent to match her looks. A case in point is Tañón's most recent album, Te Acordarás De Mi (You Will Remember Me) (WEA/Latina). Spicy dance tracks like "Tu Amor" (Your Love) have made Te Acordarás De Mi a staple in Latin dance clubs, making even the most tone-deaf gringos shake their booties. Te Acordarás De Mi also showcases the softer side of Olga Tañón, with ballads like "Engañame" (Fool Me) and "Escondidos" (The Hidden Ones), the latter a duet with Cristian Castro. Look for guest appearances by the Miami Symphonic Strings and Inner Circle." Those who want more from Olga Tañón should check out her greatest hits album, Exitos Y Mas (Hits and More) (WEA/Latina - 1995). A big crowd pleaser, Exitos Y Mas also pleased the honchos in charge of the Spanish language TV network Univision, who gave Tañón three Premios Lo Nuestro (Our Own Prizes); for Song of the Year, Tropical Artist of the Year, and Tropical Album of the Year. I should point out that Olga Tañón is a big supporter of the Pediatric Center for Children with AIDS in Puerto Rico, which shows that her heart is as big as her . . . lungs. I cannot end this article without mentioning two of the greats of Latin pop. Miami's Gloria Estefan needs no introduction, since her blend of Latin pop, R&B and disco defined the Miami Sound. Gloria! (Sony), Estefan's latest album, returns her to the spirit of "Doctor Beat" and "Conga"; with Cuban-flavored disco cuts like "Heaven's What I Feel", "Cuba Libre", Oye" and "Don't Release Me" (with Wyclef Jean). Still, Gloria is at her best when she sings in Spanish, as in her 1993 collection of Afro-Cuban standards, Mi Tierra (My Land) (Sony). 1992's Exitos de Gloria Estefan (Sony), a collection of early Spanish pop hits, is also recommended. Last but certainly not least is Celia Cruz, the Queen of Latin Soul. The Cuban Aretha Franklin - or is Aretha the American Celia Cruz? - Cruz has been singing since the early fifties, before any of the other women in this essay were even born. Cruz's latest album, My Vida Es Cantar (Singing Is My Life) (UNI/RMM), proves that Celia can still out-sing and out-salsa the competition. With producer Isidro Infante on piano and keyboards, My Vida Es Cantar is 100% azucar! (sugar). Though it is hard to pick out favorites in this album, I particularly like the title track, "El No Te Quiere Na" (He Doesn't Love You) and "La Vida Es Un Carnaval" (Life is a Mardi Gras). Those who want to sample the early Celia Cruz should pick up 100% Azucar!: The Best of Celia Cruz (WEA/Atlantic/Rhino), a collection of songs that Queen Celia recorded with Cuba's Sonora Matanzera between 1951 and 1965. Over three decades after the songs in that album were recorded, Celia Cruz is still around, still wowing audiences and showing a new generation of Latin singers how it's done. |
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