15 Songs, 46 Minutes

EDITORS’ NOTES

Don Omar’s debut was one of the first albums to bring reggaeton to a global audience, and The Last Don remains a classic of the genre for its author’s ferocity, passion, and precision. “Dale Don Mas Duro,” “Intocable,” and “Dale Don Dale” take hold of the listener like a Doberman pincer and thrash him around until the vicious beats are imprinted upon every fiber of his being. Even as Omar delivers some positively ferocious verses, he shows his range and depth with more introspective songs like “Quien la Vio Llorar” and “Aunque Te Fuiste.” Reggaeton is a genre that makes possible the recurring chirping barks of “Perreando” and the surprisingly straightforward hip-hop of “La Recompenza,” a ghetto lament that refuses to separate the war within Omar’s neighborhoods from the wars between countries. Still, even as he provides the voice for a younger generation of Latinos, Omar still bridges musical innovation to cultural tradition in standout tracks like “Guayaquil” and “Dile.”

EDITORS’ NOTES

Don Omar’s debut was one of the first albums to bring reggaeton to a global audience, and The Last Don remains a classic of the genre for its author’s ferocity, passion, and precision. “Dale Don Mas Duro,” “Intocable,” and “Dale Don Dale” take hold of the listener like a Doberman pincer and thrash him around until the vicious beats are imprinted upon every fiber of his being. Even as Omar delivers some positively ferocious verses, he shows his range and depth with more introspective songs like “Quien la Vio Llorar” and “Aunque Te Fuiste.” Reggaeton is a genre that makes possible the recurring chirping barks of “Perreando” and the surprisingly straightforward hip-hop of “La Recompenza,” a ghetto lament that refuses to separate the war within Omar’s neighborhoods from the wars between countries. Still, even as he provides the voice for a younger generation of Latinos, Omar still bridges musical innovation to cultural tradition in standout tracks like “Guayaquil” and “Dile.”

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About Don Omar

Don Omar became one of reggaeton's first international superstars, thanks to his early-2000s work with Luny Tunes, but even more so to "Reggaeton Latino," his 2005 anthem that became one of the style's first genuine crossover hits. Born William Omar Landrón on February 10, 1978, in Villa Palmeras, Puerto Rico, Omar involved himself in the church at a young age. He became a preacher; in fact, and it was in this role that he began honing his performance ability as well as his deep insight into the human soul. He eventually left the church (a matter later addressed in his song "Aunque Te Fuiste") and channeled his talents toward music. It wasn't that far of a stretch from his days in the church, and Omar quickly took to the burgeoning reggaeton movement then sweeping through Puerto Rico. His big break came courtesy of Héctor el Bambino (aka Héctor el Father) of the popular duo Héctor & Tito. Initially Omar produced and wrote songs for the duo, but it wasn't long before he was given the opportunity to collaborate with them vocally, as featured on the song "A la Reconquista." His solo career took off around this same time, with one of his first hits being "Desde Que Llego" in 2002. He made his album debut the following year on the VI Music label.

His album debut, The Last Don (2003), was a landmark for the reggaeton movement, which was then just beginning to make inroads into the lucrative stateside market. The album featured extensive production work by Luny Tunes and Eliel, who would quickly become the style's go-to hitmakers, the former in particular, and it spawned a few hit records, including "Intocable" and "Dile." Beyond this album, Omar was scoring further hits with Luny Tunes on their mixtape CDs, most notably "Entre Tú y Yo" from Mas Flow and "Dale Don Dale" from La Trayectoria. His biggest hit came on the Chosen Few compilation, though. That hit, "Reggaeton Latino," was the perfect anthem -- an empowering rallying call of Latino pride, arriving just as reggaeton was spreading like wildfire throughout the coastal urban centers of the United States in summer 2005. The song was so popular in the U.S. that a remix was quickly issued to further the crossover possibilities. This bilingual remix featured well-known Latino rappers N.O.R.E. and Fat Joe, and it was only the second reggaeton song to get MTV airplay in the States, not to mention the crossover radio airplay it received. The success of "Reggaeton Latino" affirmed Omar's status alongside Daddy Yankee and Tego Calderón as one of reggaeton's true leaders, and of them, he was clearly the revolutionary: a man of passion with a voice that sought to uplift his people to brighter days, not unlike what he had sought to do in his previous profession as a preacher, except now with an emphasis on the secular rather than non-secular, and with a much, much larger following.

Following a live album (The Last Don: Live, 2004) and best-of/remix compilation (Da Hit Man Presents Reggaeton Latino, 2005), Omar released his second proper album, King of Kings (2006). It easily debuted atop the Latin album chart; more notably, though, it reached number eight on the Billboard 200 overall album chart, the first reggaeton album ever to break the Top Ten. Then in the wake of the album's big debut and the popularity of lead single "Angelito," which was a number one hit, Omar released a couple mixtapes -- Los Bandoleros Reloaded (2006) and El Pentagono (2007) -- which featured further hits such as "No Se de Ella (My Space)." The futuristic concept album iDon arrived in 2009 with the protégé showcase Don Omar Presents Meet the Orphans following in late 2010. Its sequel, MTO²: New Generation, arrived in 2012, and was another number one Latin hit. The album won the award for Best Urban Music Album at the 2012 Latin Grammy Awards. Don Omar scored two hit singles in 2014, "Guaya Guaya" and "Soledad," both of which were included on his next album, The Last Don 2, which was released in June of 2015. ~ Jason Birchmeier

  • ORIGIN
    Villa Palmeras, Puerto Rico
  • GENRE
    Urbano latino
  • BORN
    February 10, 1978

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