| Anthology | ||||
|---|---|---|---|---|
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| Box set by | ||||
| Released | April 7, 1998 (1998-04-07) | |||
| Recorded | 1985–1995 | |||
| Studio | Q-Productions | |||
| Genre | ||||
| Length | 1:50:01 | |||
| Language | English, Spanish | |||
| Label | EMI Latin | |||
| Producer |
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| Selena chronology | ||||
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| Selena remix chronology | ||||
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Anthology is the firstbox set by American singerSelena. It was released posthumously on April 7, 1998, throughEMI 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" highlightsMexican ballads featuring poignant narratives of heartache, and "Cumbia" presents danceabletropical rhythms. The album encompasses recordings from a 14-year-old Selena on herAlpha (1986) album to the posthumous "Disco Medley" (1997). With a limited number of unaltered tracks,Anthology predominantly features reworked andremastered musicalarrangements, 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.
The album garnered favorable acclaim frommusic critics, withStephen Thomas Erlewine describingAnthology as a "comprehensive overview" of Selena's musical career. Erlewine posited that the compilation offers a diverse showcase of the artist's multifaceted talents. Echoing this sentiment,The Orlando Sentinel's critics noted thatAnthology effectively demonstrates Selena's adeptness in performing across various genres. Upon its release,Anthology debuted at number one on the United StatesBillboardTop Latin Albums andRegional Mexican Albums chart, selling 10,500 units in its inaugural week. The album also reached number 131 on theBillboard 200 chart and maintained its position atop the Regional Mexican Albums chart for 11 weeks—the longest duration for any album in that year.Anthology ended 1998 asthe best-selling Regional Mexican Albums chart in the US, while it placed 12th on the Top Latin Albums year-end chart.Anthology has been certifiedDiamond (Latin) by theRecording Industry Association of America (RIAA), denoting 600,000 units consisting of sales and on-demandstreaming.
On March 31, 1995, AmericanTejano music singerSelena wasshot and killed byYolanda Saldívar, her friend and former manager of the singer'sboutiques.[1] Concurrently, the artist was engrossed in the development of acrossover, designed to propel her into theAmerican pop market.[2] The aftermath of her death yielded adverse consequences forLatin music, as the genre—which she had thrust into the mainstream market—experienced a decline in popularity in the wake of her death.[3][4][5] The envisaged crossover album,Dreaming of You was posthumously released on July 18, 1995, debuting and peaking atop the United StatesBillboard 200 albums chart, an unprecedented feat for a predominantly Spanish-language recording in the chart's history.[6][7] This release incited a "buying frenzy" amongHispanic and Latino Americans for any merchandise associated with or featuring Selena.[8] The ongoing dissemination of Selena's oeuvre fulfills a commitment made byAbraham Quintanilla to his family in the aftermath of his daughter's death, vowing to perpetuate Selena's memory through her music.[9][10][11] As stated byA. B. Quintanilla,Suzette Quintanilla, and Selena, the trio had collectively concurred that, should any misfortune befall one of them, their desire would be to persist with their musical endeavors.[12] A. B. recounted that Selena expressed a wish for her presence to "never go away".[13] In the years since Selena's death, her family has faced censure from fans and the media, who have accused them of exploiting the singer and capitalizing on her murder by commodifying her repertoire.[14]
Enclosed withinAnthology is a biographical booklet penned by Abraham, in which he recounts the numerous requests he received from individuals seeking a compilation of the singer's oeuvre, expressing his hope that the album fulfills the demand.[15] EMI Latin laudedAnthology as the inaugural collection produced in honor of Selena.[16] Throughout the production process, Abraham characterizes his family's emotions as a manifestation of "a labor of love" and dedicates the album to Selena's fans. He extends gratitude to them for their unwavering support in aiding Selena in realizing her musical ambitions.[15]
Anthology encompasses a wide array of songs, ranging from a 14-year-old Selena's recordings featured on herAlpha (1986) album to the posthumously releasedclub remix of "Disco Medley" (1997).[17][18] As asserted by EMI Latin,Anthology commemorates the singer's works, encapsulating her earliest recordings up to some of the final sessions before her death.[16] With a paucity of tracks in their original form,Anthology incorporates recordings that have been reimagined and refreshed with newlyremastered musicalarrangements, while preserving the singer's original vocals.[15] The production team extracted Selena's vocals and thoroughly restructured the musical components. Selena'sLos Dinos band expressed satisfaction with the album's final result.[19] The compilation features tracks recorded by Selena prior to her affiliation with EMI Latin in 1989, while songs released during her engagement with the label were recorded under her father's studio,Q-Productions.[16]
The first disc, thematically titled "Pop / English", commences with "Always Mine", an upbeat composition that became Selena's initial foray into English-language pop music, a long-standing aspiration for both her and A. B. upon entering the music industry. The remix rendition of "No Quiero Saber" featured onAnthology originates fromVoces Unidas, the official Latin album for the1996 Atlanta Olympics. The third track, "Don't Throw Away My Love" is a remix version of Selena's initial songwriting credit "My Love", derived from her 1989debut album. The subsequent song, "La Bamba" is acover of the eponymous track recorded byRitchie Valens in the 1950s. The ensuing piece, "I'm Getting Used to You" underwent remixing byDavid Morales. "Yo Fui Aquella" initially appeared as aranchera, but was revamped with updated arrangements, transitioning it into aballad. This modification strips away the majority of the instrumentation, accentuating Selena's capacity to carry a tune unaided.[20] The seventh track, "Captive Heart", was among the final songs Selena recorded before her death. The following tracks, "Amame" and "Missing My Baby", originally appeared onEntre a Mi Mundo (1992). "Disco Medley" (Club Remix) concludes the first disc's track listing.[18] This track comprises amedley of disco-era songs, includingDonna Summer's "Last Dance" (1978) and "On the Radio" (1979),Van McCoy and the Soul City Symphony's "The Hustle" (1975),Gloria Gaynor's "I Will Survive" (1978),Lipps Inc.'s "Funkytown" (1979). Selena performed "Disco Medley" live at theHouston Astrodome on February 26, 1995, widely acknowledged as her final concert before her death.[21] Writing forThe Orlando Sentinel, music critics Natalie Pignato and Umatilla High observed that the first disc maintains its rapid, accelerated beats from the initial track to the last.[17]
The second disc, designated and themed "Mariachi", commences with "El Ramalazo", recorded by Selena in 1986.[22] The subsequent track, "Dame Tu Amor", represents the inaugural collaborative composition between Abraham and keyboardistRicky Vela in 1985.[23] The version onAnthology is abolero, enhanced withstring andbrass accompaniments.[20] The third track, "Pa'Qué Me Sirve La Vida", originally a ranchera, undergoes a transformation into a "mariachi-valseada" through updated arrangements onAnthology.[20] "Diferentes" was recorded by Selena in 1986 after appreciatingRocío Dúrcal's rendition of the piece.[22] The fifth song, "Siempre Hace Frío", was initially intended for theDon Juan DeMarco (1995) soundtrack but was ultimately shelved by the music producers.[24] The subsequent track, "¿Qué Creias?", frequently featured Selena performing onstage alongside a male volunteer from the audience who assumed the role of her former lover, while Selena rebuked them as the aggrieved partner.[25] The seventh track, "Quiero Estar Contigo", penned by A. B., originally employed theaccordion and keyboards in its 1987 incarnation, coinciding with the zenith of keyboard-driven track popularity. The following song, "Rama Caída", represents one of Selena's earliest recordings, executed when she was only 14 years old. The ensuing song, "Sabes", was composed by Vela and particularly admired by Abraham, who lauded it as one ofVela's finest works.[22] The track is succeeded by themariachi composition "Tú Sólo Tú", also initially intended for theDon Juan DeMarco soundtrack,[24] which concludes the second disc's track listing.[22] The second disc exudes a subdued presence, encompassingMexican ballads characterized by narratives of heartbreak.[17]
Initiating the third disc, titled and themed "Cumbia", is "Yo Te Daré", which was modernized forAnthology alongside "La Puerta Se Cerró". The former, originally asalsa track from 1988, was updated to mirror the arrangements found in "Si Una Vez" (1994).[26] In the album, it manifests as a cumbia with comprehensive mariachi instrumentation, accentuated by accordion andrequinto elements.[20] The third track, "Corazoncito" appears onAnthology in what Abraham dubs "an even funkier arrangement."[26] Originally recorded in 1985 as a ballad, "Enamorada de Ti" commences slowly but swiftly metamorphoses into a contemporary pop cumbia. The fifth track, "No Debes Jugar" originally appeared onSelena Live! This is succeeded by "Cariño Mío", which ranked among the most-requested songs for Selena to perform in the 1980s. The track underwent a transformation from cumbia totropical salsa. The subsequent song, "Salta La Ranita", is updated with an accordion, offering listeners a richer tapestry of instrumentation compared to its original minimalist rendition. In the eighth song, "Te Amo Solo A Ti", producers extracted Selena's vocals from the initial track and overlaid them onto a hybrid rhythm fusing cumbia and ranchera. Abraham expressed astonishment at the updated song's natural sound, given the stark stylistic disparities between cumbia and ranchera.[26] The penultimate song, "La Llamada" features the protagonist's former lover contacting her and asserting his innocence; however, rejecting his justifications, she demands he cease contacting her.[27] The third disc culminates with "Baila Esta Cumbia", previously included inVen Conmigo (1990).[28] According to critics Pignato and High, the third disc encompasses a greater number of Selena's finest works compared to the preceding discs.[17]
| Review scores | |
|---|---|
| Source | Rating |
| Allmusic |   [29] |
Originally slated for release on March 31, 1998,Anthology was deferred to April 7 due to insufficient inventory in music stores. The label, anticipating high demand for the album, deemed this a "sensitive issue" and consequently postponed the release by an additional week.[19]Anthology is a triplebox set comprising 30 tracks across three compact discs orcassette tapes, with each genre-themed volume containing ten tracks.[17][18]
The album has garnered positive responses from music critics. Writing forAllmusic,Stephen Thomas Erlewine describedAnthology as a "comprehensive overview" of Selena's musical career, providing listeners with a diverse array of the singer's talents. However, he noted the absence of some of her best works, such as "Dreaming of You" (1995).[29] Echoing Erlewine's sentiments,The Orlando Sentinel's music critics Pignato and High asserted thatAnthology exemplifies Selena's prowess in recording songs spanning various genres. They further opined that the album represents the singer's "crossover dream come true" more so than its posthumous predecessors, deeming it a "must-have for fans".[17] Rosanna Ruiz ofFort Worth Star-Telegram contended that the album showcases Selena's extensive talents across the three explored genres.[19]
Like its predecessors,Anthology is designed to highlight Selena's aptitude for singing an assortment of styles—from Anglo pop to mariachi—without alienating her devoted Tejano fanbase.[30] Joey Guerra of theHouston Chronicle asserted thatAnthology offers fans a glimpse of a singer refining her skills and embracing her talent. In addition to featuring rarely heard tracks, the album spotlights the production talents of A. B., who produced the songs with fresh arrangements.[31] Jesse Katz inTexas Monthly observed thatAnthology eschews labeling any section as Tejano, a genre that is not marketable in larger markets such asNew York andMiami, where salsa andmerengue music dominate. Conversely, Tejano music encompasses pop melodies that are excessively Americanized for thebanda andnorteño markets inMexico andSouthern California.[32] In his review of the subsequent release,All My Hits: Todos Mis Éxitos (1999),Newsday music critic Richard Torres recommendedAnthology for those interested in exploring more of Selena's songs.[33]
Fernando del Valle, writing forThe Monitor, discovered multiple music retailers in theRio Valley displayingAnthology in advance of its official release. Laura Fajardo, manager ofCamelot Music in Harlingen, Texas, observed that while "Selena fever" persists, it is not as fervent as before.[34] A record store inFort Worth similarly reported customers inquiring about the album, though interest has diminished compared to the period immediately following her death.[35] EMI Latin distributed 300,000 units to stores throughout the US in anticipation of the release.[36]
Anthology debuted at number one on the USBillboardTop Latin Albums andRegional Mexican Albums chart on the issue dated April 25, 1998. This marked Selena's third consecutive Top Latin Album number-one debut, followingSiempre Selena (1996) andDreaming of You (1995).Anthology extended Selena's record for the most cumulative weeks an artist has spent at number one, totaling 65 weeks atop the Top Latin Albums chart sinceNielsen SoundScan began tabulating Latin album sales in 1993. The album sold 10,500 units, less than its predecessorSiempre Selena, which debuted with 14,500 units,[37] while it entered theBillboard 200 chart at number 144.[38] The album's sales contributed to pushing Latin album sales in the United States above 90,000 units for the first time in a month, surpassing sales of Latin albums in the US during the same period in 1997.Anthology sold 3,500 more units thanRicky Martin'sVuelve, displacing it from the top position.[37]
TheMother's Day weekend holiday typically represents one of the highest-selling periods for Latin albums in the United States. However,Anthology sold 8,500 units, a 5% decrease from the previous tracking week. John Lannert ofBillboard magazine expressed surprise thatAnthology did not experience a sales increase that week. The album maintained its number one position on the Top Latin Albums and Regional Mexican Albums charts for the sixth consecutive week, while it slipped to number 151 on theBillboard 200 chart.[39]Anthology remained at the summit of the Regional Mexican Albums chart for 11 weeks, constituting the most weeks an album has held the number one position, and secured the third-most weeks atop the Top Latin Albums chart for the year.[40]Anthology's performance contributed to EMI Latin's ranking as the third-best-performing record imprint on Billboard's Latin music recap report, with the album placed at number nine in the Top Latin Albums recap report.[41]Anthology ended 1998 as the best-selling regional Mexican album in the United States, while it placed 12th on the Top Latin Albums year-end chart.[42] The set sold 116,000 units by December 1998, making it the best-selling album by EMI Latin for the year.[43] The album was certified diamond by theRecording Industry Association of America (RIAA), denoting 600,000 units consisting of sales and on-demandstreaming.[44]
| No. | Title | Writer(s) | Remixed by | Length |
|---|---|---|---|---|
| 1. | "Always Mine" (previously onDulce Amor) | A. B. Quintanilla | A. B., Chris Fonseca | 3:36 |
| 2. | "No Quiero Saber" (previously onVen Conmigo) | A. B.,Pete Astudillo | 3:40 | |
| 3. | "Don't Throw Away My Love" (previously unreleased remix of "My Love") | Selena Quintanilla—Perez | A. B., Fonseca | 3:38 |
| 4. | "La Bamba" (previously onAnd the Winner Is...) | Luis Martínez Serrano,Ritchie Valens | Brian "Red" Moore, Ray Paz | 3:52 |
| 5. | "I'm Getting Used to You (Def Club Remix)" (previously on "I'm Getting Used to You" single) | Diane Warren | A. B., Fonseca, David Morales | 8:36 |
| 6. | "Yo Fuí Aquella" (previously onPreciosa) | A. B. | 3:34 | |
| 7. | "Captive Heart" (previously onDreaming of You) | Mark Goldberg,Kit Hain | A. B., Fonseca | 4:23 |
| 8. | "Amame" (previously onEntre a Mi Mundo) | Selena, Astudillo | 3:38 | |
| 9. | "Missing My Baby" (previously onEntre a Mi Mundo) | A. B. | 3:51 | |
| 10. | "Disco Medley: Last Dance/The Hustle/On the Radio (Club Remix)" (previously on "Disco Medley" single) | Van McCoy,Giorgio Moroder,Donna Summer | A. B., Fonseca | 6:10 |
| No. | Title | Writer(s) | Arranged by | Length |
|---|---|---|---|---|
| 1. | "El Ramalazo" (previously onMuñequito de Trapo) | Tomás Méndez | "Red", Paz | 2:52 |
| 2. | "Dáme Tu Amor" (previously onAlpha) | Abraham Quintanilla,Ricky Vela | "Red", Paz | 3:45 |
| 3. | "Pa'Qué Me Sirve La Vida" (previously onAlpha) | Jesús Monge | "Red", Paz | 2:52 |
| 4. | "Diferentes" (previously onMuñequito de Trapo) | Juan Gabriel | "Red", Paz | 3:16 |
| 5. | "Siempre Hace Frío" (previously onSiempre Selena) | Cuco Sánchez | Jose Hernandez | 3:13 |
| 6. | "¿Qué Creías?" (previously onEntre a Mi Mundo) | A. B., Astudillo | "Red", Paz | 3:30 |
| 7. | "Quiero Estar Contigo" (previously onPreciosa) | A. B., Jankarlos Nunez | "Red", Paz | 2:28 |
| 8. | "Rama Caída" (previously onMuñequito de Trapo) | Juan H. Barrón | "Red", Paz | 4:26 |
| 9. | "Sabes" (previously onPreciosa) | Vela | "Red", Paz | 2:24 |
| 10. | "Tú, Solo Tú" (previously onDreaming of You) | Felipe Valdés Leal | Hernandez | 3:12 |
| No. | Title | Writer(s) | Arranged by | Length |
|---|---|---|---|---|
| 1. | "Yo Te Daré" (previously onAnd the Winner Is...) | A. B. | "Red", Paz | 3:14 |
| 2. | "La Puerta Se Cerró" (previously onDulce Amor) | Copyright Control | "Red", Paz | 3:49 |
| 3. | "Corazoncito" (previously onAlpha) | A. B.,Manny Guerra | "Red", Paz | 2:48 |
| 4. | "Enamorada de Ti" (previously onMunequito de Trapo) | Luisa Fatello, Teresa Presmanes | "Red", Paz | 4:00 |
| 5. | "No Debes Jugar" (previously onSelena Live!) | A. B., Vela | Los Dinos | 2:51 |
| 6. | "Cariño Mio" (previously onPreciosa) | Vela | "Red", Paz | 3:35 |
| 7. | "Salta La Ranita" (previously onAnd the Winner Is...) | Víctor H. Garza | "Red", Paz | 3:12 |
| 8. | "Te Amo Solo a Ti" (previously onAnd the Winner Is...) | E.J. Ledesma | "Red", Paz | 3:33 |
| 9. | "La Llamada" (previously onSelena Live!) | A. B., Astudillo | Los Dinos | 3:09 |
| 10. | "Baila Esta Cumbia" (previously onVen Conmigo) | A. B., Astudillo | Los Dinos | 2:54 |
| Total length: | 1:50:01 | |||
Credits are adapted from the album's liner notes.[45]
Musicians
| Production
Packaging
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Weekly charts[edit]
| Quarterly charts[edit]
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| Chart (1998) | Peak position |
|---|---|
| US Top Latin Albums (Billboard)[48] | 12 |
| US Regional Mexican Albums (Billboard)[49] | 1 |
| Region | Certification | Certified units/sales |
|---|---|---|
| United States (RIAA)[44] | Diamond (Latin) | 600,000‡ |
‡ Sales+streaming figures based on certification alone. | ||
| Studio albums | |
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| Soundtrack albums | |
| Live albums | |
| Remix albums | |
| Compilation albums |
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| Video albums | |
| Family |
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| Related articles | |
