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1993 studio album by Carlos Vives
From Wikipedia, the free encyclopedia
Clásicos de la Provincia is the sixth album by Colombian singer/composer Carlos Vives.
| Clásicos de la Provincia | ||||
|---|---|---|---|---|
| Studio album by | ||||
| Released | 28 August 1993 | |||
| Genre | Vallenato | |||
| Length | 50:55 | |||
| Language | Spanish | |||
| Label | Sonolux | |||
| Producer |
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| Carlos Vives chronology | ||||
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Released in late 1993, and internationally on February 22, 1994, the album is a collection of Colombian vallenato standards, updated with a modern twist. It became Vives' breakthrough album, making him Colombia's first singer to sell over one million albums globally. Propelled by the global chart-topper ("La gota fría"); the album won the Billboard Latin Music Awards Best Album, and popularized the vallenato genre, both for the younger generation in Colombia and international audiences.
Background and musical style
In 1991, Carlos Vives was the lead actor for the Colombian telenovela Escalona, un canto a la vida (produced by Caracol Television) which was based on the life of Colombian vallenato singer-songwriter Rafael Escalona, whom Vives portrayed.[1] Escalona was a leading vallenato songwriter who significantly influenced the sound of the genre.[2][3] The telenovela produced two soundtracks featuring Escalona's songs performed by Vives, which were released by Sony Music Colombia. Both albums were a commercial success in Colombia.[1] Previously, Vives was only recognized as a ballad singer and his records with Sony had little impact in sales.[4]
The soundtracks led to Vives to proposing an album where he covers vallenato songs, which was turned down by Sony. Instead, the proposal was accepted by Sonolux, a Colombian record label owned by Organización Ardila Lülle (one of the largest conglomerates in the country), and the project was backed by its founder Carlos Ardila Lülle.[1] Clásicos de la Provincia features fifteen vallenato standards covered by Vives. For the album, Vives recruited musicians who shared his enthusiasm of vallenato music by forming a band called La Provincia and the record was promoted by RCN Television.[1][5]
Musically, the production incorporates the music of vallenato with elements of pop and rock.[6] Instruments used on the album include a Dominican tambora and traditional Colombian gaitas, alongside guitars, saxophones, and a piano.[1] Egidio Cuadrado, who plays accordion on the album, was vallenato king at the Vallenato Legend Festival in 1985.[1] Lyrically, most of the songs are described as "straightforward, albeit poetic, love songs" by AllMusic editor Janet Rosen, with the exceptions being "La Gota Fría", "Altos de Rosario", and "Contestacion a la Brasilera".[7] "La Gota Fría" recounts a vallenato duel between the song's composer Emiliano Zuleta and Lorenzo Morales.[8] "Altos de Rosario", named after the town of the same name, narrates a nostalgic tale where the singer leaves his hometown.[9] "Contestacion a la Brasilera" tells of "wherein a friend is counseled to steer clear of the charms of foreign women."[7]
Promotion
Critical reception
| Review scores | |
|---|---|
| Source | Rating |
| AllMusic |   [7] |
| Los Angeles Times |  [10] |
Clásicos de la Provincia won the award for the Pop Album of the Year by a New Artist at the 1995 Billboard Latin Music Awards,[11] At the 7th Lo Nuestro Awards in the same year, it was nominated in the category of Pop Album of the Year,[12] but lost to Segundo Romance (1994) by Luis Miguel.[13]
Legacy
Track listing
| No. | Title | Writer(s) | Length |
|---|---|---|---|
| 1. | "La Gota Fría" | Emiliano Zuleta | 3:33 |
| 2. | "Amor Sensible" | Freddy Molina | 4:26 |
| 3. | "Alicia Adorada" | Juancho Polo Valencia | 4:15 |
| 4. | "La Hamaca Grande" | Adolfo Pacheco | 3:07 |
| 5. | "El Cantor de Fonseca" | Carlos Huertas | 3:08 |
| 6. | "Matilde Lina" | Leandro Díaz | 3:57 |
| 7. | "Altos del Rosario" | Alejo Durán | 3:56 |
| 8. | "Honda Herida" | Rafael Escalona | 3:04 |
| 9. | "La Cañaguatera" | Isaac Carrillo | 3:12 |
| 10. | "Lirio Rojo" | Calixto Ochoa | 2:48 |
| 11. | "La Tijera" | Luis Enrique Martínez | 3:28 |
| 12. | "Compae Chipuco" | Chema Gómez | 3:16 |
| 13. | "Pedazo de Acordeón" | Durán | 4:06 |
| 14. | "La Celosa" | Sergio Moya Molina | 4:15 |
| 15. | "Contestacion a la Brasiliera" | Armando Zabaleta | 0:48 |
Charts
Weekly charts
|
Year-end charts
|
Certifications and sales
| Region | Certification | Certified units/sales |
|---|---|---|
| Argentina (CAPIF)[18] | Gold | 120,000[19] |
| Chile[20] | 2× Platinum | |
| Colombia[21] | Gold | 1,500,000[22] |
| Mexico (AMPROFON)[23] | 2× Gold | 200,000[24] |
| Spain (Promusicae)[25] | 3× Platinum | 300,000^ |
| United States (RIAA)[26] | Gold (Latin) | 400,000[27] |
| Summaries | ||
| Worldwide | — | 4,000,000[28] |
|
^ Shipments figures based on certification alone. | ||
Personnel
Performance Credits
- Carlos Vives - Primary Artist, Director, Vocals
- Egidio Cuadrado - Accordion, Vocals (Pedazo de Accordion), Backing Vocals
- Ernesto "Teto" Ocampo - Acoustic Guitar, Electric Guitar, Guitar
- Luis Ángel Pastor - Bass
- John Jairo Lemus - Conga
- Luis Pacheco - Conga, Guache, Tamboura, Tambourine
- Alexa Hernández - Vocals, Choir
- Amparo Sandino - Vocals Choir
- Aníbal Rivera - Electric Guitar
- Antonio Arnedo - Gaita, Soprano Saxophone
- Eder Polo - Guacharaca
- Bernardo Ossa - Keyboards, Percussion
- Michael Egizi - Piano
- Alfredo Rosado - Tamboura, Tambourine
- Heberth Cuadrado - Violin, Vocals ("Pedazo De Acordeón")
Technical Credits
- Eduardo de Narváez - Arranger, Engineer, Producer
- Ernesto "Teto" Ocampo - Arranger
- Bernardo Ossa - Arranger
- Carlos Vives - Arranger, Direction
- Rafael Mejía - Art Direction
- Phil Austin - Engineer
- Jorge Díaz - Engineer
- Robin Jenny - Engineer, Mastering
- Manuel Riveira - Representation
Release history
| Region | Date | Label | Ref(s). |
|---|---|---|---|
| Colombia | 28 August 1993 | Sonolux | |