Tañón co-wrote seven of Olga Tañón y Punto`s 10 tracks, and the album demonstrates the full extent of her range. "Decirte Que No," a ballad laden with strings and electric guitars, builds to a gnashing rock chorus. The bonus track is a cover of Leonard Cohen`s "Hallelujah" that features her daughter. But she`s also still linked to the sound of the early 1990s here: the album opens with "La Gran Fiesta," which features the kind of formidable horn-work that made Tañón`s early records so hard to resist. And Manuel Tejada, who helped produce and arrange Tañón`s debut album in 1992, appears on "Vuelve a Mi," contributing piano and bass.
"Vuelve a Mi" is not a classic merengue record, though: instead, the song nods to the rippling, high guitar lines popular in bachata. It`s a lovely duet with Fernando Villalona, where Tañón harmonizes delicately before rupturing the song`s placid surface with eruptions of growling, brassy singing. "This is the second duet that I`ve had the opportunity to make with Fernando," Tañón says. "I had wanted to work with him previously because of this grand voice that he has -- I feel it`s one of the most beautiful voices in the industry."
Tañón`s latest hit, "Asi Es el Amor," moves in a different direction, acknowledging the dominance of reggaeton with a dogged verse from the rapper Wisin and some of the hard-bitten programmed rhythms that are popular on radio. The single is co-written by Descemer Bueno, the man behind Enrique Iglesias` world-conquering hit "Bailando." Tañón calls him an "excellent composer." "In life, the best people to work with are the people who have the humility to accept your ideas," she suggests. "They shouldn`t be there to create a new style, because you already have a style, and they should respect that. We would write lyrics, and whatever I didn`t like we wouldn`t use; the same with the music. It was easy."
"Asi Es el Amor" is an impressive amalgam of traditions: the reggaeton portions are fleshed out with horns, and arena-friendly kick drums smooth the transitions between the song`s interlocking segments. "We had agreed to create something together a long time ago," Tañón says of Wisin. "He said, `I love this, let’s make it,` and we did. When you overthink things too much, they don’t turn out. In this case it was very fast."