The New York Band
Reviewed on this page:
Nadie Como Tú -
Dame Vida... Always -
The New York Band -
Sudando Amor -
Poder De Acero
This NY-based salsa/merengue group was created by producer Chery
Jiménez, and his son Cherito has been the primary lead singer as
well as an effective songwriter. They made their mark with a couple of
romantic merengues, following the trail blazed by Juan Luis Guerra. and by announcing their band
name in every single song. Originally a quartet with Alexandra,
Johnny, and Miosotis, the group has gone through a number of lineup
changes - the most recent album I have features an
all-male lineup, with Cherito the only holdover. None of them
have been great singers, but the constant has been catchy dance music
that doesn't get too complicated.
They've kept chasing trends, with varying degrees of success, but
because Cherito's a good songwriter, and both he and his father are
savvy producers, you can never count them out completely. (DBW)
Lineup:
Cherito Jiménez, Alexandra, Johnny,
Miosotis, all vocalists. Johnny and Alexandra replaced by
Tony and Maggie, 1992. Johnny and Maggie replaced by
Andy and Ariel, around 1995.
 Nadie Como Tú (1989)
I don't know whether this was the band's first release or not; it's the
earliest one I've seen. Either way, they're already at their peak, with
Alexandra belting out sly salsa like "Mejor Me Mato" and "Házme
Tuya" (both by heavyweight Palmer Hernandez), and Cherito exploring
Caribbean rhythms on "Dancing Mood" (originally written by Arrow), and
contributing the plaintive "Quiero Ser Todo En Tu Vida." Most of the
arrangements are by Manuel Tejada, who shows verve as well as
versatility even on the lesser tracks ("Los Defectos De Dolores," sung
by Johnny, whose voice is nothing to write home about). The album's
highlight, though, is the lovely Cherito-penned title track present in
both salsa (arranged by Sergio
George) and merengue versions - the merengue was the hit, and it's a
masterpiece of dramatic arranging. Miosotis is featured on the album
cover but doesn't sing any leads, which makes me think she only joined
after the record was already in the can. This can't rate higher
because it's so unoriginal, but it's very enjoyable. (DBW)
 Dame Vida... Always (1990)
They basically repeat the formula, only the tunes aren't quite as good:
Cherito's "Dame Vida" is a love song in two versions, merengue and
"tecnobachata"; "Always" is a ballad with embarrassing
English-language lyrics. There are some other dance
numbers ("Si Lo Supieras, Volverias"), one punta/soca blend ("Chin
Pun... Calla'o") and a spooky cross between merengue and Michael Jackson-style electronic funk, "Ayudame
A Encontrar El Amor." Most tunes are written by Cherito, Palmer
Hernandez or Mario Diaz, and arrangements are by Tejada or George, so
it's all solid and professional. This time many of the cuts are duets
("Corazón de Azúcar"), but since they were switching off
leads anyway, this makes less difference than you might think. This
time Johnny wasn't shown on the album cover, though he was clearly still
in the band. Go figure. (DBW)
Live (1991)
I have seen this one around, but not often. (DBW)
 The New York Band (1991)
I don't know what happened here. They deliver some romantic salsa,
including the similarly-named "Y Tú No Estás" and "Si
Tú No Estás," but they're routine. The best song here is a
straight merengue, "María" sung by Johnny, but even that's
nothing special. Cherito didn't write anything this time around,
and though big names Palmer Hernandez and Jorge Luis Piloto write one
tune each, most of the tracks are by people I've never heard of like
Mari Trini, Sullivan Massadas, Nano Prado... I'm assuming Chery was
still producing, though my CD doesn't list a producer. Miosotis doesn't
sing any leads, and I don't know if she's actually on the record.
(DBW)
Sudando Amor (1992)
Johnny and Alexandra were replaced by Tony and Maggie, and there's
another sudden shift of direction. Cherito dominates the songwriting
this time, and even co-produces, but he doesn't come up with anything
original or particularly catchy: the title track is ripped off from
Haitian dance band Tabou Combo's "Zap-Zap," and it's one of the record's best tunes.
The soca influence is very strong (Arrow's "Longtime-Baila Tus
Problemas"), but the band doesn't do anything interesting with it ("Ohe!
Ohe!"). (DBW)
 Poder De Acero (1995)
By now the trend was merengue tipico, a simpler accordion-based style
exemplified by Francisco Ulloa, and
the band follows right along (though they use synth instead of
accordion). I find this style repetitive and
monotonous even when a genius like Juan Luis Guerra is doing it, and I'm
certainly not crazy about Cherito's take on it: the breakneck
arpeggiation and relentless three-chord structures are energetically
performed ("Pónteme A La Tantalá"), but they still drive
me crazy after a while. It doesn't help that the new boys (Ariel and
Andy joining Cherito and Tony) can barely sing. Fortunately there is
some relief: "Te Voy A Volver Loca" is a pleasant ballad (by
Cherito), "Caña" is high-voltage salsa fun.
(DBW)
Si lo supieras, volverias.
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