La Tierra del Olvido

La Tierra de Olvido is the classic follow up to Carlos Vives's breakthrough album Clasicos de la Provincia. Released on July 25, 1995 it is considered as Vives's second release proper, and his seventh album overall (when counting earlier as well as independent releases). The album's success was not only important in soldifying Vives's career as one of Colombia's biggest music artists, it was also his first major record to contain original music in the vallenato style.

Overview

With the success of Clasicos de la Provincia, many fans throughout Latin America and Europe had become entranced by the budding singer's take on Colombian vallenato. A decade prior, Carlos was better known as a soap opera star in such telenovelas as La Otra and Aventurera, juggling his acting with a career as a romantic baladeer. The result of his musical aspirations resulted in three albums (Por Fuera y Por Dentro (1986), No Podrás Escapar de Mí (1987), and Al Centro de la Cuidad (1989)), which met with varying degrees of success, but were largely overlooked outside of Colombia. The popularity of Carlos's fledging fame brought about a number of new compilations, such as "20 de Collecion", and re-releases of Carlos's older work, which were largely unavailable to the mainstream public. Despite the differences that were found in Vives's older albums, fans had fallen in love with the fusion of vallenato and rock prevalent in Carlos's defining sound, introducing old rhythms into a new generation of music.

With a successful world tour, millions of sold records, and his own growing family; Carlos had become a master at reinterpreting Colombian standards into the mainstream. However, his greatest challenge would be maintaining the fire he ignited as Colombia's hottest musical export. While Clasicos de la Provincia was a rousing success, establishing his validity as an artist would only be judged by his future output. The standard from "Clasicos" had been set so high, many wondered how Carlos would face the challenge of a follow-up. By grasping the natural progression that lead to his musical breakthrough, Vives would not only prove wrong any naysayers, but would suprise the public to what would become his musical masterpiece.

The album that would appear the following fall, La Tierra de Olvido ("The Land of Obscurity") would mark Vives's most important release as a singer, not only to maintain himself as a musical force, but also as his first major release of original material. Composed of 11 tracks, the album opener "Pá Mayté" ("For Mayté") quickly proved to be the answer to "La Gota Fria" the public hoped for. Starting with the pounding percussion that beckons the listener into the song's rhythms, it is easy to understand why the song would become Carlos's most popular singles. Receiving as much attention as his previous effort, "Pá Mayté", and the "Olvido" would prove to be a tour-de-force of original vallenato music.

Backed by La Provincia, the time on the road would prove beneficial to the group's performance. Egidio Cuadrado, Carlos's right-hand man, nearly steals album once again as his accordion brings life to such songs as "Fidelina", "Zoila", and his own follow up to "Pedazo De Acordeon", "La Puya Puyá" (The Pointed Puya-Rhythm Song). Production wise, the music contains a rawer edge, much less slick, yet much more crisp in sound than its predecessor, making the listener feel as if they are in the studio with Carlos and La Provincia. Not only does "Olvido" improve on the production of "Clasicos", the monotany that seemed to plague the prior release in its song structure is no longer evident. Each composition of the album stands on its own, pieced together by the other tracks that bring the listener in a trance of forgetfullness, and into the luscious world of music that is Carlos Vives (much as the album title implies). While "Rosa" is embedded in Carlos classic vallenato, while songs such as "Ella" (She), brings a haunting sound into Carlos's rock side, with the even more guitar-driven sounds from axeman Ernesto Ocampo.

With the success of this album, "Olvido" would not only benefit from its popular airplay on latin and international markets, but from its music videos that played on Latin Amercan television. Aside from "Pá Mayté", Carlos would breathe new life into the album when his first major ballad would prove another massive hit, the album's title track. The versatility that Vives displayed on the album's chart toppers would prove his abilty to keep crowds moved in the feet as well as the soul.

With this album, Vives would prove his success as both a singer and songwriter. Having expanded on his fusion of vallenato rock, and finally made his definative album with music and lyrics were truly his, and proof that along with the great Colombian artists he covered and admired, he could hold his own as one of their peers. The result of La Tierra de Olvido's success would establish Carlos Vives as Colombia's hottest export on contemporary latin music. Many great albums would follow, but this classic easily stands as one of Vives's finest, if not, best albums.