| 1980s .1990s in Latin music. 2000s |
This article includes an overview of trends in Latin music in the 1990s, namely in Ibero-America (including Spain and Portugal). This includes the rise and fall of various subgenres in Latin music from 1990 to 1999.
According to the Recording Industry Association of America (RIAA), Latin music sales grew by almost 25% from 1996 to $490 million in 1997 ($909.818 million in 2022). There were 44.1 million Latin albums shipped in the United States. According to the RIAA, the increase in Latin music during this period is due to major record companies forming joint ventures with specialty indie labels familiar with the market, an increase of Latin artists on major labels providing them greater exposure, as well as an increase in radio stations playing Latin music which provided an expansion in Latin music awareness. [2]
Like the previous two decades, Latin pop was mainly dominated by baladas . Unlike the Latin balladeers of the 1970s and 1980s however, Latin crooners in the 1990s such as Luis Miguel, Cristian Castro, Ricky Martin, Enrique Iglesias, and Alejandro Fernández, were much younger (being in their 20s) and appealed to a more youthful audience. [3] Luis Miguel, whose early recordings consisted of soft rock and pop ballad tunes, [4] released Romance , a collection of bolero covers, in 1991. The album's popularity led to a renewed interested in the genre in the Latin pop field. [5]
Baladas were not the only popular form of Latin pop music in the 1990s. Martin, despite the positive reactions of his first two ballad-laden albums, his 1991 self-titled album and Me Amaras (1993), experimented with the sounds of the Spanish-speaking Caribbean for his third studio album A Medio Vivir (1995), despite the reluctance of his record label Sony Discos. [6] The album spawned the hit single, "María", which made the artist's popularity expand outside of Latin America, particularly in Europe. The song captured the attention of FIFA, who requested Martin to record the theme for the 1998 World Cup. This led to the single "La Copa de la Vida". [7] Ricky Martin's performance of the song at the 41st Annual Grammy Awards on February 24, 1999, was said to be a "game-changer for Latin music worldwide" according to Billboard's Leila Cobo. [8] The popularity of Martin's performance was followed by the release of his song, "Livin' la Vida Loca", became an international success, and was credited with for the starting "Latin Pop Explosion" in 1999. [9]
Other artists who became famous in the mid-1990s with the rhythmic take of Latin pop included Mexican singer Fey and former Timbiriche member Thalía. [10] [11] Around the same time, artists from Italy such as Eros Ramazzotti, Laura Pausini, and Nek successfully crossed over to the Latin music field by recording Spanish-language versions hits of their songs. [12]
Mexican rock in the 1990s was a period of growth with several Mexican bands such Café Tacuba, El Gran Silencio, and Plastilina Mosh fusing rock music other genres such as punk and alternative as well as other Latin rhythms. According to Janet Sturman's book, The SAGE International Encyclopedia of Music and Culture (2019): "The decade resulted in such a wide variety of styles that it became complicated to categorize all of them just as rock". [13] Maná became one of the most well-known Latin rock band internationally due to their "prosaic but remarkably popular strain of Latin-influenced rock music". [14]
Elsewhere, particularly in South America, rock en español remained popular in Argentina. Fito Páez's El amor después del amor (1992) became one of the best-selling albums in Argentina having been certified diamond by CAPIF. [15] [16] Colombian rock en español bands tended to sell more outside of their native country. When Shakira released Pies Descalzos in 1995, she became the first rockera in the country to achieve success within and outside Colombia. [17] Shakira was dubbed the "Latina Alanis Morissette" in the 1990s. [18]
Guatemala's Ricardo Arjona became known, not only for his pop rock sound, but as well as his political and social commentaries in his albums. [19] In the late 1990s, Latin alternative bands emerged into popularity such as Aterciopelados, Gustavo Cerati, Illya Kuryaki, King Changó, and Los Amigos Invisibles. [20]
On January 10, 1990, EMI Latin bought Bob Grever's Cara Records, beginning the golden age of Tejano music. [21] [22] Tejano music's growth exploded, [23] as journalist Ramiro Burr put it as "a stubborn brushfire spread over the horizon", the genre converted radio stations into playing Tejano music. [24] This garnered the attention of record labels across the United States who were eager to expand their current rosters. [23] In 1991, Warner Nashville created Warner Discos specifically for Tejano artists crossing over into country music while Arista Nashville erected Artista Texas with the same objective. [25] Other labels such as PolyGram Latino and WEA Latina began deliberations on opening operations to exclusively sign Tejano acts, while Fonovisa began signing Tejano musicians. [26] These incentives helped expanded performers' fanbases beyond Texas and the southwest, [27] it also brought the genre to territories unfamiliar with the genre. [24] The golden age is generally considered by journalists to have ended on March 31, 1995, when Selena was shot and killed. [27] [28] Tejano music posted a five consecutive year sales and concert attendance record beginning in 1990. [21] Mario Tarradell of The Dallas Morning News wrote that the singles from Amor Prohibido elevated Selena to success on Latin radio whose promoters had not previously taken the singer seriously. [29] As a result of Selena's commercial success, female representation in Tejano music increased as record companies began investing heavily in that market, which historically had been inescapably male-dominated. [30] By 1994, Tejano acts were effortlessly selling 100,000 units of their albums, while La Mafia and Selena were the two most commercially successful Tejano artists. [24] Selena's music led the genre's 1990s revival and made it marketable for the first time. [31] [32] [33] [34] Tejano music is believed by Jose Behar to have hit Mexico "like an atomic bomb" by 1994. [24] While Tejano singer Emilio Navaira decided on a crossover into American country music, preparations began for Selena's crossover into American pop music. [35] The singer was fatally wounded after a confrontation with a former associate of her fan club, and boutiques. [36] Selena's unfinished crossover album, Dreaming of You (1995), became the first mostly-Spanish album to debut and peak at number one on the US Billboard 200 chart. [37] Tejano music suffered and its popularity waned following Selena's death, and record labels began abandoning their Tejano artists. [38]
By the mid-1990s, Tejano music was replaced by Latin pop as the dominant Latin music genre in the United States, [39] while radio stations in the US switched from Tejano to Regional Mexican music. [38] Regional Mexican music radio stations began dominating the airways in California and in Chicago. Almost half of all reporting stations in the US for Billboard magazine were from regional Mexican music stations. [40] By 1996, regional Mexican music genres such as banda, norteño, and ranchera, began experiencing explosive growth in the US and Mexico. Largely ignored by major record companies, regional Mexican music indie labels began joint ventures with major US and Mexican record companies interested in growing their footprint in the market. According to Camelot Music, its chain of stores saw an increase in purchases of regional Mexican music by consumers throughout the country, including in states such as Ohio and Georgia, areas where regional Mexican music traditionally was not selling. According to Henry Cardenas, a music promoter based in Chicago, the rise in popularity of regional Mexican music was the artists' flexibility and overall positive attitudes compared to their Latin pop counterparts. Latin music artists such as salsa singer Olga Tanon and Tejano artists La Mafia, Navaira, and before her death Selena, began experimenting with regional Mexican music genres in their repertoires. [41] As a result of an increase in immigration from Mexico into the US, DISA saw an increase of 40% year-over-year by 1998 from their regional Mexican music artists. Vicente Fernandez, who was inducted into the Billboard Latin Music Hall of Fame, filled seven stadiums to their capacity in Colombia, as well as one in Los Angeles. His son, Alejandro Fernandez scaled to the top of the Billboard album charts within a few years span, and he became the first act to simultaneously peak atop the Latin Pop Albums and Regional Mexican Albums charts with Me Estoy Enamorando (1997) and Muy Dentro de Mi Corazon (1996), respectively. [42]
Elsewhere in Mexico, the Mexican cumbia and grupera continued to remain relevant in the Region Mexican field as they did in the 1980s, but by the late 1990s, both genres moved to a slower-paced rhythm. Grupera and Mexican cumbia artists such as Grupo Limite, Grupo Bronco, and Los Mier dominated the grupera genre in the 1990s. [43]
The salsa romántica movement, which dominated the late 1980s and continued to do so in the early 1990s. [44] Artists who were backing vocalists such as Jerry Rivera and Víctor Manuelle gained attention as soloists and adapted their form of Puerto Rican salsa romántica. [45] Rivera's album Cuenta Conmigo (1992) became the best-selling salsa album since Siembra (1978) by Willie Colón and Rubén Blades. [46] The New York style of salsa music, which was dormant in the 1980s due to the decline of Fania Records' popularity, saw a revival in the 1990s. Having founded the self-titled RMM in 1987, Ralph Mercado recruited Sergio George. [44] Mercado, who had established himself a business promoter for salsa music, had recruited many salsa veterans from the Fania Records-era to his label including Celia Cruz, Tito Puente, and Oscar D'Leon. [47] Newer salsa acts such as such as Marc Anthony and La India worked with George to fuse salsa with the sounds of R&B, soul, and hip hop. [48] Anthony would later become the best-selling tropical/salsa artist of all time. [49] George further experimented with salsa and hip hip and formed Dark Latin Groove with frontman Huey Dunbar. [50]
The Dominican Republic merengue also continued rival salsa in popularity. [51] Wilfrido Vargas and Johnny Ventura were attributed to its success and began being accepted in Puerto Rico. However, due to the boycott of merengue orchestras by the Federation of Puerto Rican music in the island, several Puerto Rican merengue acts began to emerge. [52] These included Grupo Manía, Los Sabrosos del Merengue, and Limi-T 21. [53] Former Grupo Manía member Elvis Crespo's song "Suavemente" became an international success and pushed the genre's popularity outside of Latin America. [52] In the early-to-mid 1990s, Dominicans living in New York City fused the sounds of merengue and hip hop to create merenhouse. Proyecto Uno's "Tiburón" became the most well-known song in the merenrap field. [52] As with Puerto Rico, Venezuelan adopted their form of merengue called technomerengue. The trend started in the late 1980s and continued in the early 1990s with acts as Los Fantasmas del Cariba, Karolina, and Los Melodicos. [54]
Also from the Dominican Republic is bachata. This was generally regarded as lower-class music in the Dominican Republic and was ignored by the media. When Dominican Republic singer-songwriter Juan Luis Guerra released Bachata Rosa in 1990, led bachata to become a mainstream genre in the country. [55] After Bachata Rosa, many other Dominican Republic artists have been recognized as important to the growth of the genre in the 1990s including Luis Vargas, Antony Santos, Raulín Rodríguez, and Elvis Martínez. [56]
Cuban music saw of resurgence of popularity in the decade. In 1993, Gloria Estefan (whose Miami Sound Machine band had popularized Latin pop sound to the Anglo market in the 1980s) released Mi Tierra , her first album in Spanish. The record draws from the music of Cuban during the 1940s and 1950s including son and boleros and sold over a million copies in the United States alone. [7] [57] Four years later, American musician Ry Cooder collaborated with Cuban musical group Buena Vista Social Club to release their self-titled album. Despite the lack of promotion on radio stations the musicians being elderly, and the music in Spanish, [57] the album found international success and sold over 12 million copies. [58]
In a similar vein to Miguel's Romance, in 1993 Colombian singer Carlos Vives released Clásicos de la Provincia , a collection of classic vallenatos. The record exposed the genre to a wider audience outside of its native country as Vives gave the tracks an updated take. [59] The cumbia villera developed in the slums of Argentina in the mid-1990s. Although cumbia always had a following in the country, utilized keyboards and electric drums with the lyrics emphasizing on drugs, crime, and provocative sexual content. [13]
The success of hip hop in the Western world resonated with the poor working class of Latin America, especially within the Afro-Latino community. Artists such as Vico C and El General experimented the sounds of hip hop with the sounds of Latin America. This would later give birth a new genre known as reggaeton which became prevalent in the 2000s. [60]
A new form of Afro-Brazilian music, known as axé, from the Bahía region, began to emerge in the late 1980s and continued into the early 1990s. Daniela Mercury, a white Bahian singer, expanded the genre's popularity outside of the Afro-Brazilian community. [61] A form of samba music known as pagode was also very commercially success in the country during the 1990s with bands such as Só Pra Contrariar. [62]
In 1999, Sony Discos was named the most successful record label of the 1990s on the Top Latin Albums chart. Below are the 10 best-selling albums of the decade from the record label according to Billboard. [63]
| Rank | Album | Artist |
|---|---|---|
| 1 | Mi Tierra | Gloria Estefan |
| 2 | Vuelve | Ricky Martin |
| 3 | Suavemente | Elvis Crespo |
| 4 | Me Estoy Enamorando | Alejandro Fernández |
| 5 | Dónde Están los Ladrones? | Shakira |
| 6 | Tango | Julio Iglesias |
| 7 | Dance with Me: Music from the Motion Picture | Various artists |
| 8 | Sentimientos | Charlie Zaa |
| 9 | Píntame | Elvis Crespo |
| 10 | Éxitos En Vivo | La Mafia |
In 1999, Sony Discos was named the most successful record label of the 1990s on the Hot Latin Songs chart. Below are the 10 best-performing songs of the decade from the record label according to Billboard. [63]
| Rank | Single | Artist |
|---|---|---|
| 1 | "Si Tú Supieras" | Alejandro Fernández |
| 2 | "Yo Nací Para Amarte" | Alejandro Fernández |
| 3 | "Vuelve" | Ricky Martin |
| 4 | "Dejaría Todo" | Chayanne |
| 5 | "Es Demasiado Tarde" | Ana Gabriel |
| 6 | "Livin' la Vida Loca" | Ricky Martin |
| 7 | "No Sé Olvidar" | Alejandro Fernández |
| 8 | "Vida" | La Mafia |
| 9 | "En El Jardín" | Alejandro Fernández featuring Gloria Estefan |
| 10 | "Cosas del Amor" | Vikki Carr and Ana Gabriel |
Selena Quintanilla-Pérez was an American singer. Referred to as the "Queen of Tejano Music", her contributions to music and fashion made her one of the most celebrated Mexican-American entertainers of the late 20th century. In 2020, Billboard magazine put her in third place on their list of "Greatest Latino Artists of All Time", based on both Latin albums and Latin songs chart. Media outlets called her the "Tejano Madonna" for her clothing choices. She also ranks among the most influential Latin artists of all time and is credited for catapulting the Tejano genre into the mainstream market.
José Roberto Pulido Jr., known professionally as Bobby Pulido, is an American singer, songwriter, guitarist, and actor. He is acclaimed for pioneering the dissemination of Tejano music to a youthful audience, subsequently ascending as a teen idol and becoming one of the most influential Tejano recording artists among Mexican-American teenagers.
Amor Prohibido is the fourth studio album by American singer Selena, released on March 22, 1994, by EMI Latin. Having reached a core fan base, the label aimed to broaden her appeal with the next studio release. Finding it challenging to write a follow-up hit after "Como la Flor" (1992), Selena's brother A. B. Quintanilla enlisted the assistance from band members Ricky Vela and Pete Astudillo with writing the album's songs. The resulting album has a more mature sound featuring experimental production that blends diverse musical styles from ranchera to hip-hop music. Amor Prohibido is a Tejano cumbia album modernized with a synthesizer-rich delivery using a minimalist style that was quintessential in early 1990s Tejano music.
Entre a Mi Mundo is the third studio album by American singer Selena, released on May 6, 1992, by EMI Latin. The label endeavored to bolster Selena's popularity within the Latin music market in the United States with this release. Selena's brother, A. B. Quintanilla kept his role as the singer's producer and, in collaboration with Selena y Los Dinos members Pete Astudillo and Ricky Vela, composed tracks for the album. The ensuing recording encompassed an eclectic array of songs, attributable to the members' diverse backgrounds, which facilitated the modernization of the many genres they explored. Entre a Mi Mundo is a Tejano cumbia album that encapsulated Selena's quintessential sound, characterized by engaging tunes harmonized with her distinctive, plaintive vocals and a relaxed, danceable cumbia beat. The album incorporates musical inspirations from power pop, R&B, disco, rock, funk, and synthesized Tejano music.
Selena is the debut studio album by American Tejano singer Selena, released on October 17, 1989, by EMI Latin. Its music incorporates a range of contemporary genres with a mix of cumbia and regional styles of Mexican music. The album was released following company president Jose Behar's failed crossover request for the singer. The project was denied by the heads of EMI Records' pop division, believing the singer should first strengthen her fanbase. Selena's brother and principal record producer and songwriter, A.B. Quintanilla III fought to remain the singer's producer. The band introduced Pete Astudillo and Joe Ojeda, who contributed to the album's experimental production and songwriting. Aside from A.B., Selena worked with two Mexican songwriters, Alejandro Montealegre and Reinaldo Ornelas.
Live! or Selena Live! is a live album by American Tejano pop singer Selena, which was released on May 4, 1993, by EMI Latin. The album was re-released on September 22, 2002, as being part of the Selena: 20 Years of Music collection; which included spoken liner notes by her family, friends and her former band members Selena y Los Dinos. Live! includes three cumbia-influenced studio tracks, while the rest of the album consists of live versions of previously released songs. The album was recorded during a free concert at the Memorial Coliseum in Corpus Christi, Texas, on February 7, 1993. It was certified gold by the Recording Industry Association of America in its first year, double platinum in 1995, and 8× platinum in 2017.
American singer Selena released eleven studio albums, three live albums, three boxsets, three remix albums, two soundtrack albums, and twenty compilation albums. Credited for elevating a music genre into the mainstream market, Selena remains the best-selling Tejano recording artist in history, selling over 18 million records worldwide. She was named the top-selling Latin artist of the 1990s decade in the US by Billboard magazine.
Anthology is the first box set by American singer Selena. It was released posthumously on April 7, 1998, through EMI Latin to commemorate the singer's works. The collection comprises 30 tracks, dispersed across three genre-themed discs: "Pop / English" showcases uptempo pop compositions, "Mariachi" highlights Mexican ballads featuring poignant narratives of heartache, and "Cumbia" presents danceable tropical rhythms. The album encompasses recordings from a 14-year-old Selena on her Alpha (1986) album to the posthumous "Disco Medley" (1997). With a limited number of unaltered tracks, Anthology predominantly features reworked and remastered musical arrangements, while preserving the singer's original vocals. Selena's death in March 1995 prompted an influx of requests from her admirers. The singer's father and manager, Abraham Quintanilla, expressed a desire to maintain his daughter's legacy through her music. However, Selena's family has faced criticism from both fans and the media, who accuse them of capitalizing on her death and commodifying her repertoire.
All My Hits: Todos Mis Éxitos Vol. 2 is a greatest hits album by American singer Selena that was released on February 29, 2000, through EMI Latin. After Selena's murder in 1995, her father Abraham Quintanilla stated his commitment to preserving her music and EMI Latin pledged ongoing support for her releases. In 1999, the label's president José Behar acknowledged Selena, who remained the label's top-selling artist, for her contributions to establishing EMI Latin as "the house that Selena built". In March 1999, to commemorate the label's tenth anniversary, it released All My Hits: Todos Mis Éxitos; it achieved commercial success and a sequel was announced. All My Hits: Todos Mis Éxitos Vol. 2 contains 16 songs ranging from tracks featured on Selena's Muñequito de Trapo (1987) to the posthumous 1997 club remix of "Enamorada de Ti" (1990).
"No Me Queda Más" is a song by American singer Selena on her fourth studio album, Amor Prohibido. It was released as the third single from the album in October 1994 by EMI Latin. "No Me Queda Más" was written by Ricky Vela, and production was handled by Selena's brother A.B. Quintanilla. A downtempo mariachi and pop ballad, "No Me Queda Más" portrays the ranchera storyline of a woman in agony after the end of a relationship. Its lyrics express an unrequited love, the singer wishing the best for her former lover and his new partner.
"Bidi Bidi Bom Bom" is a song recorded by American Tejano singer Selena. It was released as the second single from her fourth studio album, Amor Prohibido (1994). Originally written about a cheerful fish swimming freely in the ocean, the song's title is an onomatopoeic phrase suggesting the palpitating heartbeat of a person lovestruck by the object of their affection. "Bidi Bidi Bom Bom" was written by Selena and her backup vocalist and dancer Pete Astudillo.
Pedro Astudillo, is an American singer-songwriter, record producer, and dancer. Referred to as "the Latino Babyface" by The Daily Journal, he is regarded as the architect behind Selena's sound, as he collaborated or coauthored the singer's top-selling and most popular recordings that cemented him into music history. Astudillo wrote or collaborated on some of the most popular Tejano music songs of the 1990s and was inducted into the Tejano Roots Hall of Fame in 2019. His impact on the United States Latin music scene lies in his role as a songwriter collaborator, according to Billboard magazine.
"Techno Cumbia" is a song recorded by American singer Selena for her fourth studio album, Amor Prohibido (1994). It was posthumously released as the b-side track to "Dreaming of You" through EMI Latin on August 14, 1995. Techno Cumbia would be put on her fifth and final studio album Dreaming of You (1995) and would be the fourth single for Dreaming Of You. "Techno Cumbia" was written by Pete Astudillo and co-written and produced by Selena's brother-producer A.B. Quintanilla. The song is a dance-pop and tecnocumbia recording with influences of dancehall, rap, Latin dance, and club music. Lyrically, Selena calls on people to dance her new style the "techno cumbia" and calls out those who cannot dance.
"Amor Prohibido" is the title song of American Tejano singer Selena's fourth studio album of the same name (1994). Released as the lead single through EMI Latin on April 13, 1994, it was written by Selena, her brother and music producer A.B. Quintanilla III, and her band's backup vocalist Pete Astudillo. A popular interpretation compares it to Romeo and Juliet.
Regional Mexican Albums is a genre-specific record chart published weekly by Billboard magazine in the United States. The chart was established in June 1985 and originally listed the top twenty-five best-selling albums of mariachi, tejano, norteño, and grupero, all subgenres of regional Mexican music. The genre is considered by musicologists as "the biggest-selling Latin music genre in the United States", and represented the fastest-growing Latin genre in the United States after tejano music entered the mainstream market during its 1990s golden age.
Las Reinas del Pueblo is a compilation album by American Tejano music singer Selena and Mexican banda singer Graciela Beltrán. It was released on April 4, 1995, by EMI Latin in the wake of Selena's death on March 31, 1995. The decision to produce a compilation album featuring Beltrán emerged after her tribute to the singer at a Houston memorial. The title was inspired by Mexican newspapers that referred to Selena as "an artist of the people" during a 1992 press tour in the nation and subsequently dubbed her "La Reina del Pueblo" in the aftermath of her death. Las Reinas del Pueblo encompasses six tracks by Selena and six by Beltrán, encapsulating their respective tenures with EMI Latin. Las Reinas del Pueblo peaked at number four on the US Billboard Top Latin Albums and Regional Mexican Albums chart, both behind other Selena releases. The recording peaked at number 147 on the American Billboard 200 chart. The album peaked at number ten on the Spanish albums chart in 2010. Beltrán's participation in the album yielded substantial promotional and sales enhancements.
Latin music is a term used by the music industry as a catch-all category for various styles of music from Ibero-America, which encompasses Latin America, Spain, Portugal, and the Latino population in Canada and the United States, as well as music that is sung in either Spanish and/or Portuguese. It may also include music from other territories where Spanish- and Portuguese-language music is made.
This is a list of notable events in Latin music that took place in 1995.
The Billboard Guide To Tejano and Regional Mexican Music is a music reference and encyclopedia on Tejano and Regional Mexican music. Written by San Antonio Express-News music editor Ramiro Burr, the music guide was published in 1999 by Billboard Books. It was published during the 1990s "Latin music explosion", a period when Latin music entered the popular market and during the end of the golden age of Tejano music.
Women have made significant contributions to Latin music, a genre which predates Italian explorer Christopher Columbus' arrival in Latin America in 1492 and the Spanish colonization of the Americas. The earliest musicians were Native Americans, hundreds of ethnic groups across the continent, whose lyrics "reflect conflict, beauty, pain, and loss that mark all human experience." Indigenous communities reserved music for women, who were given equal opportunities with men to teach, perform, sing, and dance. Ethnomusicologists have measured ceramic, animal-bone, and cane flutes from the Inca Empire which indicate a preference for women with a high vocal range. Women had equal social status, were trained, and received the same opportunities in music as men in indigenous communities until the arrival of Columbus in the late 15th century. European settlers brought patriarchal, machismo ideologies to the continent, replacing the idea of equality between men and women. They equated native music with "savagery" and European music with "civilization". Female musicians tended to be darker-skinned as a result of the slave trade, and contemporary society denigrated music as a profession. Latin music became Africanized, with syncopated rhythms and call-and-response; European settlement introduced harmony and the Spanish décima song form.
..y el más reciente El amor después del amor ( 92 ) , una de las discografías de mayor peso dentro del rock en español .
{{cite journal}}: Cite journal requires |journal= (help)Arjona sings about political and social matters with pop - rock guitars laying the background
{{cite journal}}: Cite journal requires |journal= (help)Estos hechos hizo de 'Cuenta Conmigo' el disco de salsa de más venta desde el legendario 'Siembra:' de Willie Colón y Rubén Blades, manteniéndose en el primer lugar de los rankings de ventas de la mundialmente famosa revista Bilboard por más de tres meses.
En la década de 1990 , la mejor época para el merengue en función de la difusión en Puerto Rico, acapararon la atención de los medios grupos puertorriqueños como : Los Sabrosos del merengue, Grupo Manía, Límite 21...