The style of the arrangements, too, continued the process of simplification which had begun with Blas Durán and continued through Antony Santos, Luis Vargas and Raulín Rodriguez. The songs in “El Cieguito Sabio”, however, while certainly cabaret bachata in many cases, were romantic enough and melodic enough to touch a nerve in segments of society which had never before been willing to accept bachata. Reyes had been singing and composing bachata for many years, and had written some of the most brazen doble sentido songs ever recorded. It was probably with Teodoro Reyes’ album, “El Cieguito Sabio”, in 1992, that the Dominican middle class began to accept genuine (as opposed to “tecno-“) bachata as its own, both in the Dominican Republic and in New York. The music’s audience grew as well, and with each step towards a larger market the genre moved away from the cabaret and doble sentido styles which had been so important in consolidating it. The frontier bachateros, with Antony Santos at their head, continued to enjoy success throughout the 1990s, and bachata continued to become both simpler and more romantic than it had been previously.
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