Bad Bunny – Un Verano Sin Tí: Review

Though I wasn’t the craziest on El Último Tour Del Mundo, what he did with a futuristic concept lyrically, was awe-inspiring, especially as he continued to grow artistically. Similarly, the album prior, Yo Hago Lo Que Me Da La Gana, did as the title suggested. Bad Bunny came at it with something new and different, blending various notes from diverse genres and showing us a free-spirited approach to the music. That continues on Un Verano Sin Tí. It’s an album resonant on the vibes, particularly in its construction, which plays in a nearly perfect crescendo from start to finish. He brings fresh features and unique directions we’ve heard a sampling of before; however, here it’s refined, coming at you with various sounds fit its beach/summery aesthetic, despite some lesser tracks, comparatively. It all culminates in excelling the idea Bad Bunny had when creating Un Verano Sin Tí.

In an interview with The New York Times, Bad Bunny noted that the Un Verano Sin Tí is “a record to play in the summer, on the beach, as a playlist,” so it’s not something you can just play while sitting down and indulging. I’m not saying you can, but like many reggaeton albums, the impact’s embedded in the rhythm and how your hips vibe to the beat. He knows how to create these larger-than-life moods/vibes, and he has a constant synergy with his featured artists. We get to hear Bad Bunny with some great pop and reggaeton artists, like Chencho Corleone, Tony Dize, Bomba Estereo, and The Marías, and they don’t disappoint. It’s a monstrous smash that starts at the top of Track 1, “Moscow Mule.”

Opening with a decadent reggaeton number in “Moscow Mule,” it teases you with a perfect concoction containing great harmonies, melodies, and infectious lyrics without being overly ambitious. Like its namesake, the production hits on all fronts, adding a mellow dance vibe while still working as the starter pistol as you casually fix yourself a drink. But with the mentality of a playlist for Un Verano Sin Tí, you can start with any track, the enjoyment will still be there, but it won’t have the same impact as that smooth crescendo from start to finish. He uses the simple and core rule of making a linear playlist–clean patterns between the track’s tempo. After a modest ascension with “Moscow Mule,” it takes you through some incredible songs with vibrant sounds, like “Despues De La Playa.

“Despues De La Playa” has luscious synths riding an electronic vibe before flipping in style after a minute. Bad Bunny turns it on its head, blending various percussion elements of mambo and merengue. It sounds like something aligned with what prominent artists did to crow the groove, like Juan Luis Guerra and Miriam Cruz. When Bad Bunny does this, it returns with some of his most significant hits, like “Yonaguni” and its use of J-Pop-like synths and subtle percussion. He doesn’t want to feel confined to be all reggaeton, but he allows it to be a stepping stone for other directions he can take. It isn’t all reggaeton, and instead, it’s an eclectic mix that feels free as it diverts from the confines of standard album construction by filling the album with numerous “Track 3s,” or the powerhouse hook that reels you many guaranteed hits. 

These hits are continuous in heavy spurts with incredible momentum. The ever-shifting styles offer a lot, even when certain styles hit you better than others. So whether you love a riotous variety of electronic vibes–“Ojitos Lindos,” which incorporates touches of cumbia, or the more house-driven “El Apagón”–reggaeton bangers–“Tarot” and “Me Porto Bonito”–island vibes–“Me Fui De Vacaciones”–Un Verano Sin Tí has something for you. It’s ever-shifting without detracting you during its play. As I revert to that one anecdote from his New York Times interview: “a record to play in the summer, on the beach, as a playlist,” having that consistency to keep a loop where, if played as he described, or home alone dancing, it’ll be an excellent time for the 81 minutes. It has seamless transitions that keep it from being overly rough. In a continuous loop, you’ll feel varied emotions, translating from your pace of dancing, whether speedy or tempered.

This synchronization boosts the overall quality as Bad Bunny takes us in different directions without getting hindered by the switches in tempo. One moment you’re on a melancholic-acoustic vibe on “Yo No Soy Celoso,” and the next, he is throwing curveballs with a smooth reggaeton banger featuring Tony Dize on “La Corriente.” Unfortunately, it doesn’t always translate as you get lost in the winds of the vibe. Despite lauding a smooth crescendo from start to finish, the only drawback is that some tracks are mild compared to others with a similar tone. The weak chorus and verse deliveries in the first half of “Tití Me Preguntó” take away from the whimsical shift in the second half, where it isn’t an issue. It’s like “Al Apagón,” however, that shift adds to and elevates the song exponentially. Similarly, “Efecto,” compared to the other reggaeton tracks, isn’t as strong but still effective. Since Bad Bunny included the 2019 track “Callaíta,” switching “Yonaguni” with “Efecto” would have offered some extra sauce on the palette he is serving. 

Un Verano Sin Tí succeeds as intended with visceral production and monstrous melodies. It’s an album with awe-inducing consistency that elevates not only the tracks but how they mesh within the confines of a tangential mix orchestrated to play like a playlist. It honestly left me happy by how much of an improvement this was to El Último Tour Del Mundo, though keeping in line with expanding his range and delivering hybrids as impactful, if not more, than some of his past singles. However, it is a vibes album, and it’s hard to quantify how it will translate come to Winter, but it’s hitting hard now and will for the rest of the summer.

Rating: 9.5 out of 10.

Daddy Yankee – LEGENDADDY: Review

2022 has been one helluva of a year–from the postponement of the annual Grammy Awards to April 3rd to Maury Povich retiring and Goldman Sachs CEO David Solomon performing this summer at Lollapalooza–nothing has churned more emotions than the announcement of Daddy Yankee’s retirement: the architect of who defined reggaeton as a genre. It’s bittersweet for fans, but he leaves with a monstrous send-off on his 8th and final studio album, LEGENDADDY. Being his first album in a decade, we’ve seen reggaeton’s growth from nuanced ballads to pop-bangers which bridge samples of sonic influence. It’s all relative to your cultural roots and the music that inspired you from youth. Daddy Yankee made reggaeton what it is today, allowing for a free flow of ingenuity to become universally accepted as new artists create their foundation. LEGENDADDY takes various eras of reggaeton and weaves them into a musically transcendent timeline of music history, with Daddy Yankee surprising us at almost every turn.

Let’s not mince words: we’ve heard singles throughout the last few years, each showing different directions with auspicious production and captivating flows and melodies as Daddy Yankee ignites a flame into these new, younger artists who he’s influenced. LEGENDADDY features some of these artists as they match wits with the DY, expressing themselves within the sounds they’ve refined themselves. Myke Towers joins Daddy Yankee for “PASATIEMPO,” a stellar dancefloor electro-pop/reggaeton anthem that incorporates more melodies than the reggaeton-trap hybrid “ZONA DEL PERREO” and “HOT.” Whenever Daddy Yankee is trying to command the dancefloor, he juxtaposes these sounds to give us an essence of his range in style. Following “PASATIEMPO,” Daddy Yankee sings and raps over tropical-laced percussion on “RUMBATÓN,” taking away the house-pop sample for authentic representation. 

We hear elements of salsa, bolero, or bachata in its rhythm phase of the 2000s, to its hip-hop side and trap/perreo side of today. It’s organized chaos, allowing us to marvel at the work he delivered throughout the years. The production is as vibrant as ever, and each track has its value on the dance floor. Unfortunately, not every track lands on all notes. “ZONA DEL PERREO” suffers from redundant lyricism; it’s a simple track about dancing, particularly perreando or dancing Doggystyle. The production is lush and feels like a waste, as Natti Natasha and Becky G become forgettable with poor mixing and autotune. It isn’t like “AGUA” with Rauw Alejandro and Nile Rodgers, which precedes it. “AGUA” mixes the complexions of reggaeton with disco, bringing a slightly funky bass to round it out while Daddy Yankee and Rauw Alejandro rap and sing in a beautiful tangent.

Daddy Yankee is more than the surface layer reggaeton tracks we hear. Beneath the production, Daddy Yankee rarely takes a step-back with his lyricism, as he flexes and expresses these emotions in coded melodies that have us gyrating whenever we stop doing the 1-2-3 step of Bachata. Within these songs, we hear Daddy Yankee flexing his status as a legend, his humble beginnings, and aspects of relationships–like “IMPARES,” which sees Daddy Yankee lamenting the emotional distance between him and his wife due to his mistakes. Following the previous song, Daddy Yankee raps about his imperfections while finding acceptance in his faults as he justifies opposites attract–this gets juxtaposed by how it expresses hiccups within the relationship. The multiple layers on these tracks come from commanding confidence behind the board and microphones, as Daddy Yankee and his producers create these productions that feel fresh and different than last.

Beyond proclaiming his status on “CAMPEÓN,” Daddy Yankee takes the time to reaffirm it. After a few danceable and emotional bangers, Daddy Yankee comes with “UNO QUITAO Y OTRO PUESTO,” which encapsulates his youth with potent energy in an attempt to lay down his legacy in music form. It’s a true reggaeton-hip hop hybrid that he is known for–it has been one of the reasons I’ve personally been in awe of his talent, from the “Rompe Remix” to “Gangsta Zone” and “TATA Remix,” there isn’t a moment that he fails to show how extensive that utility belt is. This energy is rampant throughout LEGENDADDY, showing in different ways, but nothing as mesmerizing as tracks where he drapes it with powerful verses, like on “ENCHULETIAO,” where he raps about being hooked to the hustle.

LEGENDADDY is a triumph. It shows why Daddy Yankee has been the driving force behind the escalation of the genre today with his influence for the next generation, bridging many genres and languages together. We forget Daddy Yankee was making songs with Fergie and Snoop Dogg before we saw Bad Bunny make a song with Will Smith or DeLaGhetto making a song with Fetty Wap. It’s a fantastic album that plateaus him higher than most pop artists, and his name will remain in the ears of many for years to come.

Rating: 9 out of 10.