16 Super Exitos Originales

Following the 1989 Tejano Music Awards, Selena y Los Dinos signed with EMI Latin and released their debut studio album that same year. The label hesitated to let A. B. Quintanilla maintain his role as the group's producer. However, given the uncertainty of Tejano music's future, the company acquiesced, allowing A. B. to stay on as producer but cautioning that failure would result in his replacement by a company-approved candidate.[1] Following the debut album by the band, lead by vocalist Selena, surpassing the performance of other female Tejano artists' releases,[2][3] A. B. secured his position.[4]

The golden era of Tejano music was ushered in with the acquisition of Bob Grever's Cara Records on January 10, 1990,[5] catalyzing a shift in the genre's emphasis from polkas to cumbia music. Despite the waning demand for Manny Guerra's production and music engineering services amidst the genre's surge in popularity,[6] he contributed his services for 16 Super Exitos Originales.[7] Following Selena's endorsement agreement with Coca-Cola, subsequent to her contract with EMI Latin, the group decided to invest their earnings in acquiring new equipment.[8] Empowered by these advancements, Selena resolved to learn Spanish, driven by escalating demand for press interviews. The singer recorded songs phonetically initially, Selena expressed her aspirations to attain fluency in the language, recognizing the value of bilingualism as a catalyst for personal and professional growth, believing it to be a testament to enhanced intelligence and broader opportunities in both business and interpersonal communication.[8]

EMI Latin sought to release a greatest hits album of the band's recordings predating their contractual agreement; they aspired to curate an album that encapsulated the group's musical trajectory up to that point.[7] The group re-recorded the songs under new arrangements at Master Productions in Weslaco, Texas,[9] which paradoxically manifested as a tin-clad garage structure. A. B., in re-telling his experience in producing 16 Super Exitos Originales, noticed that the material intended for roofing purposes adorned the entirety of the edifice's exterior, rendering his experience memorable. Although the studio was a sought-after recording facility among prominent Tejano musicians, A. B. found it to be encompassing rudimentary recording techniques, though enjoyed experiencing the recording studio as an exceedingly fortuitous opportunity.[7] This was the final album to include guitarist Roger Garcia, who was briefly replaced by Mike Orosco.[10]

The compilation encompasses 16 tracks re-recorded under new arrangements, ranging from compositions recorded through Freddie Records in 1983 to the group's Dulce Amor (1988) album. The record commences with "Estoy Contigo", originally recorded in 1983 for Cara Records.[11] This is followed by "Sentimientos", a cover version of Al Hurricane. Originally taken from 1986's Alpha, "Acuérdate de Mi" opens the third track, following "Tú No Sabes" (1987), the group's first mariachi-style recording. "Tú No Sabes", written by keyboardist Ricky Vela, was originally conceived as a melancholic mariachi piece; however, A. B. advocated for a cumbia direction and undertook its reformation during the band's rehearsal session preceding the recording.[7] The following tracks, "Costumbres" and "Siempre", are covers of Juan Gabriel, while the seventh song, "Dame Un Beso", is an original song written by A. B. and Vela in 1986.[12] "Dame Un Beso" materialized as a result of A. B.'s futile endeavor to procure compositions from Luis Silva, who was the recipient of many Songwriter of the Year awards. Silva spurned and disregarded the group during the beginning phases of their music careers.[13]

The eighth track on 16 Super Exitos Originales, "Yo Fui Aquella", was one of the first songs A. B. composed. Although he expeditiously composed the melody for the song, it required several days of diligent effort before A. B. ultimately finalized the lyrics.[7] The subsequent tracks, "Cariño, Cariño Mío" and "Dulce Amor", are both taken from the Dulce Amor (1988) album, while "Quiero Estar Contigo" and "Terco Corazón" are taken from Preciosa (1988).[14] While "Dime" originally appeared on Dulce Amor, "Ya Se Va" was one of the first singles released by Selena y Los Dinos in 1983.[11] Vela expressed elation upon Selena's recording of "Cien Años" (1988), as it evoked poignant reminiscences of his childhood of listening to songs by Pedro Infante.[7] "Quiero", from the Preciosa album, serves as the concluding track for the compilation.[15]

Professional ratings

Review scores
Source	Rating
AllMusic	[16]

16 Super Exitos Originales preceded the 1990 Tejano Music Awards, held on March 9, 1990, and followed Selena's appearance at Fulmore Junior High talking to students about the importance of getting their high school diploma that was sponsored by the Texas Commission on Alcohol and Drug Abuse.[17] The compilation was released on March 3, through EMI Latin. It peaked at number 22 on the US Billboard Regional Mexican Albums chart, on the issue dated May 5, 1990.[18] As part of a commemoration of Selena's twentieth year since entering the music industry, EMI Latin re-issued nine albums of the singer in a series of releases, including 16 Super Exitos Originales, repackaged as Mis Primeros Exitos on August 13, 2002.[19] The reissue included a bonus track containing spoken liner notes with commentary from Selena's family, friends, and band, retelling the creative process and inspiration behind the album.[7]

Texas Monthly's Joe Nick Patoski listed 16 Super Exitos Originales as one of his recommended listen as part of his article on the best Texas music albums.[20] As Selena's biographer, Patoski believed EMI Latin's swift release of 16 Super Exitos Originales served as a manifestation of the singer's appeal and allure.[6] Writing for Billboard, Leila Cobo called the reissue "a collection of Selena hits".[21] Latin Style magazine found the songs to have substantiated Selena's status as a dominant figure in the Tejano music market, they found the album to have served as a vehicle to introduce Selena to a broader audience, delineating the path she would embark upon as a performer.[9] Houston Chronicle's Joey Guerra called 16 Super Exitos Originales as a comprehensive examination of Selena's early career.[22]

Credits adapted from the liner notes of 16 Super Exitos Origianles by EMI Latin.[7]

• Latin American music in the United States
• Women in Latin music