“One day, all these scores will be yours.”
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[6.12]
Jer Fairall: Far more traditional than the millennial pop crossover that is an increasingly smaller percentage of the reason that Marc Anthony is known outside Latin music circles, this is pleasantly florid in such a way that constantly borders between pretty and saccharine before finally settling somewhere in the neighbourhood of unassuming.
[5]
Josh Langhoff: Tito’s happy because his new lady doesn’t, to his knowledge, lie, and his happiness bubbles up in the crisp beat and the matter-of-fact busyness of the strings. Next to him, Marc Anthony as The Overwrought Buddy sounds like he’s playing for laughs. Put it all together and you’ve got good humor that still recognizes sadness, maybe even with some affection.
[8]
Alfred Soto: Marc Anthony sings like he’s spreading cream cheese on a bagel: messily and covering all corners, but this setting suits him more than hyperemotive pop.
[5]
Edward Okulicz: The song has a lush sadness about it, understandable when it speaks of a former lover who lied and manipulated, but this makes it hard to square how Tito doesn’t perk up when he sings of his new flame, or why Anthony sings as if he’s breathing in laughing gas. Still, the horns give this a sumptuous sound that’s worth a few points.
[6]
Iain Mew: The sunburst entry of the horns and strings is the highlight, and their sparing use works well throughout to provide some finesse that’s missing from the vocals. Less being able to follow the words, there still isn’t anything about the song that sticks with me when it’s over.
[5]
Anthony Easton: Juicy, sophisticated horns, used as punctuation to that terribly clever percussion. I ignored Marc Anthony throughout his marriage to J. Lo, but if he keeps making choices like this, it’s mea culpas all the way down.
[8]
Daniel Montesinos-Donaghy: Tito’s off-the-hook swearing on the final chorus feels like a calculated attempt to differentiate himself from the ultra-professional Marc Anthony, who’s at home on this type of gloopy salsa. However, the song is less about competition than it is about two men sharing their sadsack romance troubles with one another. You can almost see Marc Anthony nodding, cigar in hand, as Tito reflects with glassy eyes. I was more touched by this than I wanted to be but, if you’d pardon my impartiality, this is exactly the type of song I grew up with in my household. This strain of Latin pop and mainstream salsa is irrevocably linked with Christmases and birthdays and home – even when it’s merely okay like “¿Porque Les Mientes?,” there’s a nostalgic comfort in knowing these songs exist, that the singers singing these songs will always be haunted by past loves, and that Marc Anthony isn’t just Dakota Fanning’s dad from that one movie.
[5]
Brad Shoup: Bullshit rarely smells this sweet.
[7]