This two-CD set collects most of Celine Dion's essential recordings from her pre-superstar years, when she was a very young French singer, popular in Canada and France. This set starts with the heavily synthesized Euro pop of the 1988 Eurovision contest winner "Ne Partez Pas Sans Moi," which was the song that introduced the singer to international audiences, and is something of a milestone in her career. Many of the songs on this set are fair, and differ from the processed teen pop of the late 1990s because of the ever-present sincerity in Dion's voice. Highlights include the elegant ballads "Tellement J'ai D'amour Pour Toi," "Benjamin," and "La Voix Du Bon Dieu"; the shimmering "Avec Toi" and "Du Soleil Au Coeur"; and the anthemic "C'est Pour Vivre."
Despite being designed specifically for the US market, The Collector's Series, Volume One sells over 3 million copies worldwide. It includes several new or rare songs, such as Céline’s previously unreleased performance of The Power of the Dream at the Olympic Games in Atlanta in 1996. The album contains 16 songs in five different languages. Two of the songs are in Spanish: Amar Haciendo El Amor and Sola Otra Vez, the latter of which is a breathtaking interpretation of All By Myself. Two are French titles: Pour que tu m’aimes encore and Un garcon pas comme les autres (Ziggy). One is an Anglo-Italian duet: The Prayer with Andrea Bocelli. Another is a Japanese version of Be The Man. And finally the album includes some of Céline’s most beautiful English-language ballads, such as Where Does My Heart Beat Now, Tell Him, Only One Road and Falling Into You.
The question that must be confronted for those familiar with the breadth of her work is, "Is it even possible for Celia Cruz to record a bad album?" With elements such as producer Emilio Estefan, Jr., executive producer Angel Carrasco, and of course, la guarachera del mundo herself converging to create 2000's Siempre Vivire, the answer to that question seems clear. Celia's first album for Sony certainly captured those elements that uniquely belong to Cruz, and discriminatingly avoided any influences of the day that might adulterate those qualities or date the project. In conceiving this record, the creative team walked a very fine line by deciding on a project that could both stand among its contemporary peers and yet sound classic. It is hard in modern salsa to find the tres, a sultry bolero, or to hear plena played well. In a genre that continues to narrow its stylistic scope, it's refreshing to come across a record that can simultaneously be a citizen of the present, and reach to the past.
With her powerful pipes, stunning showmanship, and superhuman sense of timing, Celia Cruz defined her chosen genre like few other performers in the history of popular music. EXITOS ETERNOS is a collection of tracks the "Queen of Salsa" recorded during the last decade of her life that, despite the vocalist's advanced age, clearly show Cruz's talents never wavered. Known for her uncompromising attitude and refusal to sing in English, Cruz valued aesthetic purity, but never became a museum piece. A driving pulse and rhythmic toasting that recall dancehall reggae propel her 2001 hit "La Negra Tiene Tumbao," and other tracks feature subtle synthesizer textures. Unlike lesser artists, however, Cruz is able to incorporate these disparate sonic colors seamlessly, making them sound as traditional as a conga drum or guiro. Of course, the unrelenting force behind each recording is Cruz's astounding voice, the sheer energy of which makes even these later recordings sound both classic and utterly contemporary.
I first heard about the existence of the celesta during my piano studies in San Sebastián, Spain, in 2004, playing the original version of Debussy’s Les chansons de Bilitis: a dancer, two harps, two flutes, celesta, and a pseudo translation of Ancient Greek poems. So enchanting!