17.99 Out Of Stock
The revelation of 1998's Los Super Seven sessions, which united Los Lobos members Cesar Rosas and David Hidalgo with Freddie Fender, Flaco Jimenez, and the lights of country and Tejano music, was Rick Treviño. Even though he was one of the first country singers to release albums in Spanish-language versions, Treviño's facility with Latin music was up for grabs. But as he's proved successively with Los Super Seven, the follow-up Canto, and his Latin debut, Mi Son, Treviño is not to be taken lightly. From the opening huasteca "El Gustito," he deploys a soulful falsetto the envy of many a mariachi and on the son montuno "El Tira y Jala," his vocal attack bristles with the confidence of a born cantante. It's no surprise, really, since American country music has always been a natural analogue for the musica del pueblo, and profound vocal talent is as treasured in trail ballads as boleros. Speaking of which, Treviño aquits himself nicely on selections alternately rootsy (the huapango "Cupido") and rareified (the bolero "La Hiedra" with Super Seven vocalist Ruben Ramos, the vibes-led Latin jazz of "Ojos"). Factor in support from Super Seven mates Rosas, Hidalgo, and Ramos, as well as Raul Malo of the Mavericks; production from Lobo Steve Berlin; and a sweet country closer, "The Long Goodbye," and it's obvious that Treviño's Son is rising.