22nd September, 2001

Wiki | Video

In her first appearance here, all the way back in 1996, I griped that Olga Tañón was an unsatisfactory replacement for Selena, which wasn't at all fair: the surface-only view of Latin Pop to which this blog structurally adheres means that the body of her work has largely taken place out of sight. So this is only her second appearance, and she's already playing the role of a grande dame: at 34, she was already slightly older than the new generation who overran the late 90s and early 2000s. And her strong mezzosoprano voice (mostly performing in an alto range) makes her sound even older: although "Cómo Olvidar" (how to forget) is one of the most modern-sounding songs we've yet encountered in 2001, her voice resounds in a long Latin (and particularly Caribbean) tradition of deep-voiced divas, a continuum which runs from nineteenth-century flamenco and fado to twentieth-century bolero, ranchera, trova, salsa, and merengue, which last was Tañón's specialty throughout most of the 1990s.

In fact, "Cómo Olvidar" appeared on its parent album in both "merengue" and "ballad" forms, and Tañón was so much a worthwhile investment for WEA that a video was made for each one; while both were (and are) extremely popular, the ballad has about twice as many views on YouTube, so I'm taking it as the primary version. (Although both no doubt counted toward its placement at #1.)

While the orchestration (piano, synthetic strings, "smoky" guitar) is as senses-numbingly tasteful and safe as possible -- I'm reminded inevitably of Thomas Kinkade paintings and other sentimental schlock from the turn of the century -- there's an electronic pulse in place of a kickdrum to remind us it is the twenty-first century: and Tañón's voice, with one of the strongest vocal performances we've heard this century, takes cues from contemporary r&b singing (it has to, as the melodic line is all over the place, in line with millennial-era adult-contemporary tastes) as much as from full-force divas like Céline Dion.

It's still only a good, not a great, song -- even the merengue version only raises its temperature to a simmer -- but it's enough to make me revise my opinion of Olga Tañón heavily upward, and to make me eager to hear what she'll sound like on her next appearance.

No comments:

Post a Comment