Detalle del videoclip Intro del álbum Los Champions, de Yomil y El Dany. Foto: Jungl Yomil y El Dany / YouTube).
Detalle del videoclip Intro del álbum Los Champions, de Yomil y El Dany. Foto: Jungl Yomil y El Dany / YouTube).

Los Champions / Yomil y El Dany

5 minutes / Jesus Jank Curbelo

15.09.2020 / Reviews

I find goodbyes in almost every stanza of El Dany. From the first topic after the Intro. Maybe they are not even and they seem so to me because of all the mystery of their latest stories on Instagram. For those posts that appeared later where he played with death. But topic after topic, her voice leaves me with the sensation of seeing a film for the second time, knowing the ending and looking for subliminal messages, deeper things that I didn't notice the first time.

Messages for his wife: "Promise me that you will be strong / that everything will be forever / that in good times and in bad you will be there"; to himself: "I don't know tomorrow if the world ends, but today I am going to be myself / I am going to live my way, without saying no"; for us: "Cry for what, may he do well alone / don't hurt yourself any more, don't continue loving him."

With these mediations in mind, I feel Los Champions (Jungl Yomil and El Dany, 2020) as a forward, mature album, an exercise in union in that reggaeton world of ego and discord. And it also feels like a sad record.

In so many years together, Yomil and El Dany have reached such a degree of affinity that they do not seem like a duo, but rather a person who speaks for two. They surpassed the traditional reggaeton duo scheme, which has roles: a rapper & a melodic. And they broke the ordinary song design: rap-chorus-rap-chorus. You never predict where one is going to end and the other begins, or who is going to do the backing vocals and who is going to rap.

Having achieved all this, his seventh record production is a test of versatility: of how to fit, among so many styles, the flow of each one and the flow that they form together. "The last thing we needed to demonstrate and convince." I emphasize this: 28 guests over almost an hour and a half: 24 songs where, as they assure in the Intro, they let “an entire island and an entire institution know that Cuban reggaeton deserves respect”.

It would have been the true tour through the history of Cuban reggaeton if its precursors were not missing: Candyman, El Médico, Cubanito 2002.

Hubiera sido el verdadero tour por la historia del reguetón cubano si no le faltaran sus precursores: Candyman, El Médico, Cubanito 2002.

However, the tour is beautiful: the reference to King Elvis Manuel in Witchcraft; the figurations of almost everyone who marked times: Baby Lores, El Micha, El Chacal, Jakarta, Osmani García, Señorita Dayana; the union of Damián and Norlam, who were part of Los 4; participation, of those who now mark the show business: Diván, Chesco, Lenier, Alex Duvall.

The absence of Chocolate and Lobo King Dowa, those who invented the cast, is noticeable. And no, it is not compensated with El Úniko, nor with El Kamel, nor with Un Titico. The absence of Gente de Zona is noted.

Rhyme classes: "I spend it smoking all 'the weekend / I have three putangas on speaker / under the water as Flipper / you let me know when Billboard qualifies them / when you went I came, this is counting the tickets."

Clases de rima: “Me la paso fumando to’ el weekend/ tengo tres putangas en speaker/ por debajo del agua como Flipper/ me avisas cuando Billboard los califique/ cuando tú ibas yo venía, en esto es contando los tickets”.

Clases de perreo: “Ella le mete al dembow/ rakatán, rakatón/ siempre high, nunca slow"

Clases de constancia: “Más me odia, más trabajo/ más trabajo, más me escucho/ más me escucho, más ingreso/ andamos cogidos pa’ eso”.

Expedition at last, the album goes through the dembow of a lifetime, morpha, a bit of trap, a bit of kudurazo. Co-productions by DJs Unic, Conds, Lucky, J. Cuban, Adriano, Gomeko. Base that march that distinguishes them, traptón, with DJ Wongk behind the machines.

Within hours of its release, the album debuted at # 1 on Apple Music. It reached the third position in sales in Spain, fourth in the United States and seventh in Italy. Also, according to VISTAR, it entered the markets of Germany, Switzerland and France.

A pocas horas de su lanzamiento, el álbum debutó en el primer puesto de Apple Music. Alcanzó la tercera posición en ventas en España, cuarta en Estados Unidos y séptima en Italia. También, según VISTAR, entró en mercados de Alemania, Suiza y Francia.

In these days where life is difficult and I am more time on the street looking for food than in quarantine, I find this album everywhere. In queues, on Wi-Fi, on the Internet, in any building. La partieron, Dany. Yomil and you are the most popular artist currently in all of Cuba. Rest knowing it.

Jesus Jank Curbelo

Reportero de Periodismo de Barrio. Columnista en El Toque e Hypermedia Magazine. Ha publicado Los Perros (novela, 2017).

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    Excelente descripción los más visionarios Yomil Y El Dany



    Me gustaron siempre y este disco esta barbaro, los felicito, Dany DEP dejaste un magnifico trabajo



    Excelente comentario sobre el disco, muy exacto. Todavia no entiendo como en un país tan musical lo que más escuchan las personas es lo que menos apoyo tiene de las instituciones culturales. Se dice que si es un género chavacan, que si las letras no dicen nada…, habría que preguntarse por qué entonces gusta tanto, aún después de casi 20 años que el regueton llegó a Cuba se sigue siendo un poco marginado. Mis respetos para todos estos artistas que lo que han logrado en Cuba y a nivel internaciona(con premios, ventas y reconocimiento) ha sido por su propio esfuerzo. Saludos

    Ladislao Alt


    Jesus, te escribia desde Miami cuando estabas en Granma. Escribeme.

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