We say “yes” (mostly) to the King.
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[6.71]
Jessica Doyle: The “My name is Romeo” introduction is pointedly unnecessary, since most of those listening likely have already made the acquaintance of the King of Bachata. Between that and the relaxed delivery, “Propuesta Indecente” plays like overhearing one-half of a dialogue between Santos and his fans. And that half I hear makes me tense. Steal a kiss and then ask if the woman’s angry, lift up her skirt and offer a martini to help her relax — lacking all context, that’s much more off-putting than sexy. As an alternative, this performance of “Llvame Contigo” has the low-key performance, the playful lyricism, and the fan love, but doesn’t raise the spectre of the assumption that no one would dare say no to the King.
[4]
Jonathan Bogart: I’ll admit: I laughed out loud when I first played it. Santos seems bound and determined to pull every classy Latin music ever into the orbit of his ultra-smooth bachata, and interlacing this “indecent” proposal with classic tango riffs and bolero guitar lines makes it almost parodically Latin-loverly, saved only by his astonishingly precise pop craftsmaship. It hangs together as a song even if it really shouldn’t — so many clashing elements, more divided than united by a slickly seductive lyric — pretty much through force of personality. Real bachata heads hate Santos’s watered-down pop moves, but like pretty much everyone who’s ever been accused of watering down a music for pop, he’s working on multiple levels.
[7]
Alfred Soto: The epicene insistence of Santos’ vocal is a delight: rarely has the tired alcohol/kiss conceit received such ravishment. Whether strummed or plucked, those guitars rule.
[8]
Brad Shoup: The first section gives Santos a chance to use rests and ascend a lovely scale. Then? He lolls about in a velvet thicket of nylon-stringed guitar, requinto guitar, and a hypnotic electric figure. “It’s good to be king,” he burbles, the reverb forming benign contrails in the magenta-colored sky.
[8]
Edward Okulicz: Santos sings like the song and microphone are so delicate they would break if a single stop consonant happened to be out of place — and it’s pretty great. Although the quick switch to a spoken English bit sounds a bit jarring, I love how the outro mixes sung Spanish and English with the same softness and smoothness; whether it’s clever use of the sounds of the two languages, taking advantage of its audience’s knowledge of both, or just cynical entryism for non-Latins doesn’t matter one bit.
[8]
Will Adams: Romeo’s wafer-thin voice is a nice fit for the ruffled guitar lines, but when he slips into gruff “hey girl” moments, he halts the momentum.
[5]
Daniel Montesinos-Donaghy: I threw this on during VMA ad breaks and was immediately calmed, cleansed, ready anew for punishment. I’m certain you’re supposed to want to sleep with someone — I just felt like I could sleep happy. Comfort food bachata.
[7]