Siempre Selena | ||||
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Remix album / Compilation album by | ||||
Released | October 29, 1996 | |||
Recorded | 1986–1994 | |||
Genre | ||||
Length | 29:00 | |||
Language | Spanish | |||
Label | EMI Latin | |||
Producer | A.B. Quintanilla, Nelson Gonzalez | |||
Selena chronology | ||||
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Singles from Siempre Selena | ||||
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Selena remix chronology | ||||
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Siempre Selena (English:Always Selena) is the second posthumously released album by American singer Selena,released by EMI Latin on October 29,1996. The album contained mostly unreleased recordings and remixes of previously released content. Songs on the album range from a 14-year-old Selena on "Soy Amiga" (1986) to the shelved Don Juan DeMarco (1995) soundtrack song "Siempre Hace Frio". Siempre Selena was a result of the impact of Selena's death in March 1995,where the singer's father and manager Abraham Quintanilla Jr. began receiving requests from fans of her music. Abraham rediscovered forgotten tapes of songs Selena recorded for various projects. Following her death,Abraham expressed how he wanted to keep the singer's legacy alive and that public knowledge of Selena was very important to him. Critical reception of Siempre Selena was mixed,with varying reviews suggesting that the album was more for Selena's fan base and found no particular track on the album to be of any interest,while others favored its diversity and remastered songs.
Music retailers believed that Siempre Selena would be another sellout due to the commercial success of Dreaming of You (1995),as well as strong presale copies and demands for the album by fans,and by local disc jockeys who were hyping the album. Retailers reported "modest" sales,while other stores reported that sales for the album had flattened. Manolo Gonzalez,marketing director of EMI Latin,explained to media outlets how the company intentionally did not market Siempre Selena aggressively. An Austin American-Statesman editor called corporate EMI Latin's marketing team an "oxymoron" on their marketing scheme. [1] Despite sluggish sales,Siempre Selena debuted and peaked atop the US Billboard Top Latin Albums and Regional Mexican Albums chart with 10,500 units sold in its first week. It peaked at number 82 on the Billboard 200 chart. It remained at number one for two consecutive weeks on the Top Latin Albums chart and 14 consecutive weeks atop the Regional Mexican Albums chart. The lead single,"Siempre Hace Frio" peaked at number two on the US Billboard Hot Latin Songs and Regional Mexican Songs chart,while "Costumbres" peaked within the top 15. In November 2017,the Recording Industry Association of America (RIAA) has certified the album triple platinum for shipments of 300,000 units in the United States. [2]
In March 1995,American Tejano music singer Selena was shot and killed by Yolanda Saldívar,her friend and former manager of the singer's boutiques. [3] At the time of her death the singer was working on a crossover album that would have propelled her into the American pop arena. [4] The impact of the singer's death had a negative impact on Latin music,her genre—which she catapulted it into the mainstream market—suffered and its popularity waned following Selena's death. [5] [6] [7] The crossover-planned album Dreaming of You was released posthumously in July 1995,debuting and peaking atop the United States Billboard 200 albums chart,the first majority Spanish-language recording to do so in the chart's history. [8] [9] The album's release started a "buying frenzy" for anything related or containing Selena among Hispanic and Latino Americans. [10] Selena's father and manager Abraham Quintanilla Jr. explained to Mario Taradell of The Odessa American that "there is an insatiable hunger for Selena's music out there". [11] He further said how he constantly receives letters and phone calls from fans requesting the singer's music. [11] Following his daughter's death,Abraham began going through boxes and found "more songs that Selena recorded that we had forgotten about." [11] He explained how he wanted to preserve Selena's legacy and that it's important to him that public consciousness of the singer remains intact. [11] Selena's brother and principal record producer,A.B. Quintanilla explained on Biography that Selena's wishes were for her fans to "never forget about her". [12] Since Selena's death,her family has been criticized by fans and the media for exploiting the singer and cannibalizing on her murder by releasing more music. [13]
Siempre Selena contains mostly unreleased recordings and remixes of previously released content. [11] The oldest song on the album,"Soy Amiga" was recorded when Selena was 14-years old. [11] Taradell called it a "breezy Latin pop number." and found that the singer's vocals "were kept intact but the music was redone to fit today's radio sound." [11] Chris Riemenschneider of the Austin American-Statesman did not approve of the remastered version of "Soy Amiga",calling it a "fluffy pop song" that lacks "any passion." [1] Along with "Soy Amiga",other songs on the album including,"Como Quisiera" and "Costumbres",were released prior to Selena signing a recording contract with EMI Latin in 1989. [11] "Como Quisiera" was originally a "Tex Mex tune" and remixed into a midtempo mariachi recording,while Juan Gabriel's "Costumbres",was turned into a "feisty yet palatable cumbia style" track. [11] Lyrically,"Como Quisiera" is about a girl who "deeply loves" a guy who broke her heart. [14] The unreleased demo that was intended for the crossover market,"Only Love",was recorded in 1990 and was shelved. Abraham told Taradell how the song was "too adult contemporary and we wanted to go with something more pop." [11] Taradell called it a "faceless pop ballad." while editors of the Orlando Sentinel called it a contemporary R&B track about "whether to go on with life without the man she loves." [14] Taradell found "A Million to One" as being "a slightly sensuous flavor" due to the introduction of the saxophone on the recording. [11] Riemenschneider found "Only Love" and "A Million to One" to be musically similar as "jazz-light" numbers that failed to convey the singer as having mainstream potential. [1] The producers of the soundtrack of the 1995 romantic comedy-drama film Don Juan DeMarco —in which Selena played a mariachi singer—decided not to include her recordings of "TúSólo Tú","El Toro Relajo",and "Siempre Hace Frio". Christopher John Farley of Time magazine said the producers who excluded the songs regretted this move following the impact of Selena's death. [15] The latter two were included on the Dreaming of You album,while "Siempre Hace Frio" was added to the Siempre Selena set list. [11] "Siempre Hace Frio",which is a "soulful mariachi song." lyrically describes a woman who wants her boyfriend back,though he is with another girl. [14] Riemenschneider called the track a "lazy,mournful mariachi" that finds Selena "belting her own special borderland blues,but she leaves little to cry at the end." [1] He added how "Selena's doubters who think she was more about image than talent" should listen to "Siempre Hace Frio". He wrote shock jock Howard Stern—who poke fun of the singer's death and her mourners—as one of those "Selena's doubters". [1]
Songs such as "No Quiero Saber","Ya No",and "Tu Robaste Mi Corazon" have all been remixed. [14] "Tu Robaste Mi Corazon",originally recorded as a duet with Emilio Navaira,was re-recorded with Pete Astudillo,former Selena y Los Dinos band member. [14] The remix version of "No Quiero Saber" on the album was remixed in early March 1996 for the 1996 Summer Olympics Latin-themed album,Voces Unidas. [16] It entered the US Billboard Hot Latin Songs chart at number 35 in the week ending May 11. [17] It peaked at number six on the week ending June 22,1996,while peaking at number 10 a week later on the Latin Pop Songs chart. [18] "Siempre Hace Frio" was released as the lead single from the album in October 1996,it debuted at number 21 on the Hot Latin Songs chart and number ten on the US Billboard Regional Mexican Songs chart. [19] It peaked at number two on the Hot Latin Songs and Regional Mexican Songs chart in its seventh week,following the album's debut on the Top Latin Albums chart. [20] It remained at number two on the Regional Mexican Songs chart for three consecutive weeks, [21] and four consecutive weeks at number two on the Hot Latin Songs charts before falling. [22] "Costumbres" was released as the final single in January 1997,debuting at number 24 on the Hot Latin Songs chart in the week ending January 25. [23] In its second week Selena's version outperformed Banda El Recodo's version on the Hot Latin Songs chart on the week ending February 1. [24] In the following week,"Costumbres" peaked at number 15. [25] At the 1997 Tejano Music Awards,"Siempre Hace Frio" won the Tejano Music Award for Song of the Year,while "No Quiero Saber" won Crossover Song of the Year. [26]
Review scores | |
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Source | Rating |
AllMusic | [27] |
Austin American-Statesman | [1] |
The Desert Sun | [28] |
Mario Tarradell of The Odessa American called the album "Selena's musical scrapbook." [11] He favored its diversity,calling it "more impressive than most posthumous repackingings" essentially for having previously unreleased tracks. [11] He believed it was "timed to set up the media blitz" on the then-upcoming soundtrack to the Selena biopic. [11] The Desert Sun 's Fred Shuster panned the album as "second-rate material at best." [29] He called the ballads on the album "dreary" and found the album to be generated towards "fans awaiting the Selena movie." [29] Shuster noted that if the listener has "a weakness to slow love songs [then] forget it." [28] Because of the new mixes and unreleased content,Natalia Pignato and Umatilla High of the Orlando Sentinel reported that they "love this CD" and that it displays "the bittersweet success of unfulfilled promise." [14] In a poll conducted by News-Press in January 1997,DJs were asked to pick their top ten albums they would bring on a deserted island,Siempre Selena was among those chosen. [30]
AllMusic called Siempre Selena a "posthumous collection of rarities and lesser-known songs." [27] The website found the album to be "of interest to dedicated fans" and noted that there "are a few worthwhile items" throughout the recording. [27] Ramiro Burr wrote in The Billboard Guide to Tejano and Regional Mexican Music (1999),that Siempre Selena contained "vocal tracks [that] were lifted and combined with different instrumental tracks". [31] John Lannert of Billboard magazine called the album "a collection of previously unreleased English- and Spanish-language tracks" with what he said to be "sonically touched up early Latino numbers". [20] Paul Verna,also from Billboard,called the recording as "slickly packaged" and a "so-so grab bag [that contains] romantic ballads" that he believed "is sure to appeal to [Selena's fan base] vast and loyal legion of fans". He found that Selena's fan base has "not grown weary of slow-paced love songs [such as] "Como Quisiera" and "Tu Robaste Mi Corazon." [20] Riemenschneider found the album to "[offer] a wide and impressive range of mostly unheard music from Selena's too short career." [1] He opined that Siempre Selena "proves [the singer] was the queen of her domain." [1]
On October 19,1996,it was revealed that Siempre Selena would be commercially available on October 29. [32] Local music shops reported that interest in the album reached far back as a few weeks before the album was released. [33] Local Tejano disc jockeys further hyped the craze predicting that the album would be "wildly popular" because of Selena's fans. [34] Presale copies and interest in the album gave music retailers high hopes for the recording,believing it would be a sellout. [33] [34] Roughly 500 people had pre-screened the album at Hastings Books in Midland,Texas,the night before it went on sale. [35] Music retailers were flabbergasted that sales for the album had flattened,though reported that sales were "modest". [33] According to South Texas music retailers,sales for the album were considerably lower in comparison to Dreaming of You. [34] [36] [33] All That Music in El Paso reportedly was "busy [in] filling the demand for [the album]",while other stores in the same area reported that "sales were slow". [36] The album wasn't selling much but "a handful of copies" at a Blockbuster Music store in San Antonio. [37] Local businesses predicted that sales would eventually pick up towards Christmas. [34] Marketing director of EMI Latin,Manolo Gonzalez expressed how the company intentionally went "low-key" in marketing Siempre Selena in comparison to Dreaming of You. Gonzalez said how he wanted to be "very conservative with this album" and that EMI Latin had shipped 400,000 units throughout the United States. [11] Riemenschneider called EMI Latin and the singer's family an "oxymoron" for their marketing scheme,or rather lack thereof of Siempre Selena. [1] Riemenschneider believed their reasoning behind the insignificant promotion to be an avoidance of "Selena overkill" with the soundtrack and biopic that were due in a few months. He found their move in having little promotion to be a "mistake",calling Siempre Selena the one "Selena's caretakers should have promoted [following her death]". [1]
The album became a sleeper hit, [38] debuting atop the US Billboard Top Latin Albums and Regional Mexican Albums chart with 10,500 units sold in the week ending November 23,1996. On the Billboard 200,Siempre Selena debuted and peaked at number 82. [20] The album also helped increased sales to Selena's other works,including Dreaming of You and Amor Prohibido (1994). [20] After two weeks at number one,Siempre Selena was displaced by Julio Iglesias' Tango album in the week ending December 7. [39] Siempre Selena finished 1996 as the 44th best-selling Latin album of the year,her Dreaming of You album remained that year's best-selling record. [40] After 14 consecutive weeks at number one on the Regional Mexican Albums chart,Siempre Selena was dethroned by Grupo Limite's Partiendome el Alma. [41] On its 19th week,the album regain the number one position on the Regional Mexican Albums chart on the week ending March 29,1997,following the release of the Selena soundtrack. [42] During the second anniversary of the singer's death on March 31,sales of Siempre Selena jumped 48% remaining atop the Regional Mexican Albums chart and climbing the Top Latin Albums chart at number three,a position higher from the previous week. [43] The album remained at number one for three additional weeks before it fell from the top spot on the week ending May 10. [44] It was subsequently nominated for Female Album of the Year at the 1997 Billboard Latin Music Awards. [45] In its quarterly recap of the top selling Latin albums of 1997,Siempre Selena ranked third behind Enrique and Julio Iglesias' albums,respectively. [46] The recording finished 1997 as the fourth best-selling Latin album in the United States,while it finished second on the Regional Mexican Albums year-end list. [47] In December 2002,the RIAA certified Siempre Selena double platinum for shipments of 200,000 units;her 10th certified album. [48] They re-certified the recording triple platinum (180,000 album-equivalent units sold) in November 2017. [2]
No. | Title | Lyrics | Production | Length |
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1. | "Siempre Hace Frio" (with Mariachi Sol de Mexico, previously unreleased, 1994) | Cuco Sánchez | Jose Hernandez | 3:15 |
2. | "Only Love" (previously unreleased, 1990) |
| K.C. Porter | 4:12 |
3. | "Soy Amiga" (previously on Alpha, 1986) | Ricky Vela | A.B. Quintanilla | 3:59 |
4. | "Como Quisiera" (previously on Preciosa, 1988) |
| A.B. | 3:08 |
5. | "A Million to One" (previously on Munequito de Trapo, 1986) | Phil Medley | A.B. | 3:21 |
6. | "Costumbres" (previously on Dulce Amor, 1988) | Juan Gabriel | A.B. | 3:40 |
7. | "Cien Años" (previously on Preciosa, 1988) |
| A.B. | 3:11 |
8. | "Tu Robaste Mi Corazon" (with Pete Astudillo, previously on Live! , 1993) |
| A.B. | 3:50 |
9. | "Ya No" (previously on Amor Prohibido , 1994) |
| A.B. | 3:41 |
10. | "No Quiero Saber" (previously on Ven Conmigo , 1990) |
| A.B. | 3:22 |
Total length: | 35:49 |
Credits adapted from the liner notes of Siempre Selena. [27]
Vocal credits
Instruments
| Technical and production credits
Visuals and imagery
|
| Quarterly charts
|
Chart (1996) | Position |
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US Top Latin Albums [40] | 44 |
Chart (1997) | Position |
US Top Latin Albums [47] | 4 |
US Regional Mexican Albums [47] | 2 |
Region | Certification | Certified units/sales |
---|---|---|
United States (RIAA) [49] | 3× Platinum (Latin) | 180,000‡ |
Mexico | — | 14,500 [50] |
‡ Sales+streaming figures based on certification alone. |
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.
Dreaming of You is the fifth and final studio album by American singer Selena. Released posthumously on July 18, 1995, by EMI Latin and EMI Records, it was an immediate commercial and critical success, debuting atop the United States Billboard 200—the first predominately Spanish-language album to do so. It sold 175,000 copies on its first day of release in the U.S.—a then-record for a female vocalist. With first week sales of 331,000 units, it became the second-highest first-week sales for a female musician since Nielsen Soundscan began monitoring album sales in 1991. Billboard magazine declared it a "historic" event, while Time said the recording elevated Selena's music to a wider audience. It won Album of the Year at the 1996 Tejano Music Awards and Female Pop Album of the Year at the 3rd annual Billboard Latin Music Awards.
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).
Ones is a compilation album by American singer Selena, released in the United States on October 1, 2002 by EMI Latin. It was released on November 11, 2002 in Spanish-speaking countries, while the limited edition included a bonus DVD of her music videos. Ones was released building on the popularity of the 1997 biographical film Selena. The album was aimed at Selena's new generation of fans, and its release marked the singer's twentieth year in the music industry. Ones features six number one singles namely, "Amor Prohibido", "Bidi Bidi Bom Bom", "No Me Queda Más", "Fotos y Recuerdos", and her duets with Álvaro Torres on "Buenos Amigos" and the Barrio Boyzz on "Donde Quiera Que Estés".
Momentos Intimos is a compilation album by American singer Selena and released posthumously on March 23, 2004, through EMI Latin. The album contains 24 tracks, though the last eight are spoken liner notes provided by the singer's family, friends, and her Los Dinos band. The songs on the album range from "Como Te Quiero Yo A Ti" (1988), a re-recorded version modernized and remixed on the album, to "Puede Ser", an unreleased duet with Nando "Guero" Dominguez, recorded two weeks before Selena was shot and killed in March 1995. Following Selena's death, her father Abraham Quintanilla expressed his interest in persevering his daughter's memory through her works. Selena's family has been criticized by fans and the media for exploiting the singer and cannibalizing her murder by commercializing her repertoire.
"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, known as Pete 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.
"I Could Fall in Love" is a song recorded by American Tejano singer Selena for her fifth studio album, Dreaming of You (1995), released posthumously by EMI Latin on 15 June 1995. "I Could Fall in Love" and "Tú Sólo Tú" were the album's lead promotional recordings and her first English language songs to be featured as singles, showcasing her musical transition from Spanish-language to English-language songs. The lyrics explore feelings of heartbreak and despair and express the singer's fear of rejection by a man she finds herself falling in love with. Composed by Keith Thomas, "I Could Fall in Love" is a pop ballad with R&B, soul and soft rock influences.
"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.
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.
"Ámame" is a song by American singer Selena, taken from her third studio album, Entre a Mi Mundo (1992). Selena and Chris Pérez began secretly dating subsequent to Pérez's reintegration into Selena y Los Dinos in the summer of 1991, despite her father's objections. The song was written by Selena and conveys her sentiments towards Pérez as they concealed their liaison from familial scrutiny. Pete Astudillo contributed to the lyrical development of the composition, while A. B. Quintanilla handled production. It was released as the fourth and final single from the album in April 1993.
"Buenos Amigos" is a down-tempo, pop ballad duet recorded by Salvadoran recording artist Álvaro Torres and American recording artist Selena for Torres' sixth studio album Nada Se Compara Contigo (1991). The song was released by EMI Latin in 1992, as the album's second single. Its lyrics explore a friendship built on the strong, unrequited feelings of the male narrator. Torres composed "Buenos Amigos" after attending a showcase event at which Selena was performing.
"No Quiero Saber" is a song recorded by American recording artist Selena. It was originally a track on her second studio album Ven Conmigo (1990). It was composed and produced by her brother, A.B. Quintanilla III. Pete Astudillo, a backup singer with Selena y Los Dinos, produced the song with Quintanilla. The recording was later remixed by Quintanilla III for Selena's 1996 first remix album, Siempre Selena. It was released posthumously by EMI Latin in June 1996, as the album's second single, behind "Siempre Hace Frio".
"Siempre hace frío" is a ranchera song written by Mexican singer-songwriter Cuco Sánchez in 1956. Sánchez first recorded it as a 45-rpm single for the Mexican record label Columbia. His recording features guitarist Antonio Bribiesca and harpist Benito Martínez. That same year Flor Silvestre sang it in the film La justicia del gavilán vengador, which was released in 1957.
"Donde Quiera Que Estés" is a duet recorded by American Latin pop quintet the Barrio Boyzz and American Tejano singer Selena. Released on the Barrio Boyzz' album of the same name, "Donde Quiera Que Estés" was written by K. C. Porter, Miguel Flores, Desmond Child, and produced by A.B. Quintanilla III, Domingo Padilla and Bebu Silvetti. The lyrics explore feelings felt after a breakup between first-time lovers who hope that their love will one day return. "Donde Quiera Que Estés" is a dance pop song with influences from hip-hop music.