Una nueva mujer

Editorial Reviews

Barnes & Noble - Mark Schwartz
Not a year has gone by without an album from Olga Tañón, the Puerto Rican–born merengue phenomenon whose career has come to embrace styles from pop to salsa to Mexican norteño and cumbia. Una nueva mujer is her first studio release since 2003's merengue-stocked A puro fuego, though, and the extra time pays off: It's easily her most successful fusion yet. Running the gamut of Latin styles, it finds an expressive middle ground rooted in tropical dance music but unafraid of flamenco flourishes, rap, or electric guitars. The single "Bandolero" comes in three flavors, but original is the best: a Gypsy-style hoedown replete with violin and suitable bad-man lyrics. Dámelo ...
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Editorial Reviews

Barnes & Noble - Mark Schwartz
Not a year has gone by without an album from Olga Tañón, the Puerto Rican–born merengue phenomenon whose career has come to embrace styles from pop to salsa to Mexican norteño and cumbia. Una nueva mujer is her first studio release since 2003's merengue-stocked A puro fuego, though, and the extra time pays off: It's easily her most successful fusion yet. Running the gamut of Latin styles, it finds an expressive middle ground rooted in tropical dance music but unafraid of flamenco flourishes, rap, or electric guitars. The single "Bandolero" comes in three flavors, but original is the best: a Gypsy-style hoedown replete with violin and suitable bad-man lyrics. Dámelo todo is merengue with an exciting rap near the end, and Abre tu corazón revisits tropes minted by Carlos Vives, including crunchy guitars, Colombian rhythms, and huge choruses. A Latin pop album has to have a drippy ballad, and Tañón doesn't disappoint, but offenses such as "Maldito seductor" are few. This is a celebratory album, varied and danceable -- if Olga is indeed a new woman, it's a welcome transformation.
All Music Guide - Jason Birchmeier
There's a sharp difference between Una Nueva Mujer and Olga Tañón's previous all-new studio album, Sobrevivir, which had been released two and a half years earlier, in late 2002. More to the point, there's a sharp difference between Una Nueva Mujer and her previous three all-new studio albums. Not since Llévame Contigo, released in 1997 -- a long eight years -- had Tañón released a new album of entirely tropical music, and not since Llévame Contigo had she released such a thrilling album, one that warrants a full listen, with practically each and every track worthy of inclusion. Una Nueva Mujer is the album a growing legion of disillusioned devotees had been waiting for: her return to form i.e., tropical music, merengue in particular, and away from the generic pop-crossover aspirations of her previous few increasingly ill-received albums. This isn't a straightforward merengue album like Siente el Amor... or Llévame Contigo, the two mid-'90s albums hardcore fans seem to cherish and reminisce about most. For better or worse, by 2005 the heyday of merengue had slowly but steadily faded from popular consciousness, displaced by the popularity of newer styles like bachata and, most explicitly, reggaeton. So it's understandable that Una Nueva Mujer is a fairly diverse album of tropical music, one that accounts for the recent changes in popular music. The most exemplary instance of this is the album opener, "Bandolero," a magnificent hybrid of the commonplace and the exotic, as well as of tropical and pop. If one song were to bridge Tañón's straight merengue past with her pop flirtations, this song would be it, as it seems to encompass the best aspects of both. Following this wonderful curtainraiser, Una Nueva Mujer breaks into its tropical core, beginning with the title track, a great throwback to the merengue bliss of Tañón's zenith. The album continues unabated, slowing down for the occasional light-tropical song like "Muero de Amor," but mainly keeping the rhythms fast-paced, almost dizzying at times. A couple low-key ballads close the album, admittedly, but they're modest songs -- not bombastic Latin pop -- and the album-closer, "Sin Ti No Puedo Vivir," is particularly touching. It's a heartfelt duet with Tañón's young daughter. About as fine a return to form as fans could have hoped for -- given the state of popular Latin music in 2005, that is -- Una Nueva Mujer also serves as a welcome reminder of Tañón's positive presence as a strong feminine individualist within the sometimes misogynistic Latin scene. [The special edition swaps out the merengue and cumbia versions of "Bandolero" appended to the end of standard edition, replacing them with reggaeton versions of "Bandolero" and "Vete Vete." It's debatable which set of versions is more recommended, as all the versions are very good. The special edition also adds a bonus DVD of videos and photos, however, which tips the scale enough to make this reissue preferable.]
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Product Details

  • Release Date: 3/21/2006
  • Label: Sony U.S. Latin
  • UPC: 827865701428
  • Catalog Number: 57014

Tracks

Disc 1
  1. 1 Bandolero (4:33)
  2. 2 Una Nueva Mujer (4:22)
  3. 3 Muero de Amor (3:45)
  4. 4 Vete Vete (3:54)
  5. 5 Desde Que Llegaste a Mi (3:52)
  6. 6 Dime Si Tu Me Puedes Querer (4:16)
  7. 7 Abre Tu Corazon (3:38)
  8. 8 Damelo Todo (4:30)
  9. 9 Cuidado Con el Deseo (3:52)
  10. 10 Maldito Seductor (3:15)
  11. 11 Sin Ti No Puedo Vivir (4:42)
  12. 12 Bandolero (3:34)
  13. 13 Vete Vete (3:03)
Disc 2
  1. 1 Bandolero
  2. 2 Bandolero
  3. 3 Vete Vete
  4. 4 Photo Gallery
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Album Credits

Performance Credits
Olga Tañón Primary Artist
Sal Cuevas Bajo Sexto
Juan Rizek Coro
Manuel Tejada Bass, Piano, Keyboards, Coro, Dirigida, Musical Direction
Camilo Valencia Arreglos
Luis Aquino Trumpet
Henry Garcia Coro
Jose Luis Mateo Trumpet
Rafael Carrasco Tamboura
Alfredo Oliva Concert Master
Richard Bravo Percussion, Drums
Angel Torres Alto Saxophone, Tenor Saxophone
Iker Gastaminza Accordion
Pablo Manavello Acoustic Guitar
Milton Salcedo Piano
Scott Flavin Violin
Jose Flete Trombone
Orlando J. Forte Violin
Chris Glansdorp Cello
Jorge Guzmán Coro
Mei Mei Luo Violin
Yasmil Marrufo Acoustic Guitar, Bajo Sexto, cuatro
Carlos Puchi Coro
Joan Faigen Violin
Robin Espejo Coro
José Luis Arroyave Keyboards
Vicky Echeverri Coro
Gershan Suero Alto Saxophone, Tenor Saxophone
Pedro Alfonso Violin
Ivelisse Gel Coro
Sergio Minski Acoustic Guitar, Coro
Scott ODonnell Viola
Kurt Coble Violin
José Luis Morín Acoustic Guitar, Rap, Arreglos, Sintetizador, Organo
Luis Quino Trumpet
Technical Credits
Olga Tañón Composer, Producer, Musical Producer
Bob Ludwig Mastering
Eddie Montilla Composer
Carlos Pérez Graphic Design
Manuel Tejada Arranger, Programming, Producer
Willie Torres Contributor
Camilo Valencia Arranger, Programming
Richie Perez Engineer
Iker Gastaminza Composer, Programming, Producer, Engineer
Pablo Manavello Composer, Producer
Kike Santander Producer
Juan Jose Virviescas Engineer
Victor Lopez Engineer
Cristian Zalles Composer
Edgar Cortazar Composer
José Luis Arroyave Arranger, Programming, Producer
Juan Antonio Salazar Arranger, Programming
José Luis Morín Arranger, Programming, Producer, Engineer, Digital Editing
Ximena Muñoz Composer
Eric Schilling Engineer, Digital Editing
Carlos Alvarez Engineer, Digital Editing
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