Artist: Jennifer Pena
Genre(s):
Rock
Pop
Latin
Discography:
Confesiones
Year: 2005
Tracks: 8
Seduccion
Year: 2004
Tracks: 13
Houston Rodeo Live
Year: 2004
Tracks: 11
Mis 20 Exitos
Year: 2002
Tracks: 20
Libre
Year: 2002
Tracks: 17
For the first phase angle of her career, Jennifer Peña was invariably compared to Selena, with whom she had professional ties, just with time she came into her have stylistically and became one of the more accomplished young singers in popular Latin music. Peña's ties to Selena go back to 1995, when she performed onstage at the latter's Houston Astrodome tribute concert. This was the performance that launched Peña's life history, as she later on was interpreted under the wing of Selena's family, the Quintanillas, wHO would manage and produce her EMI Latin recordings as share of the tejano chemical group Jennifer y los Jetz. As share of this chemical group, Peña, barely a stripling at the time, enjoyed a favourable sum of success on the regional Mexican circuit with hits like "Ven a Mi," "Tengo Miedo," and "Abrázame y Bésame." When she turned 18, she signed a new recording contract and embarked on a solo career with Univision as a Latin pop isaac Merrit Singer, beginning with Libre (2002). Peña stab to fame at this decimal point, as her debut solo undivided, "El Dolor de Tu Presencia," spent eight-spot straight weeks atop the Hot Latin Tracks chart. Her s album, Seducción (2004), followed suit with another chart-topping ballad, "Vivo y Muero en Tu Piel." Both of these albums were number ones, each selling all over three hundred,000 units. Peña's vocation took a slender flex in the eld that followed. She entered the reality of motion-picture show, for case, and dated fellow Latin pop asterisk Obie Bermúdez, with whom she co-wrote her tierce album, Dicen Que el Tiempo (2007), which she as well co-produced.Born on September 17, 1983, in San Antonio and raised in Corpus Christi, Jennifer Marcella Peña Cantú began her professional career at age 11, when she performed onstage at a Selena testimonial concert held at the Houston Astrodome. Her recording vocation commenced just a year subsequently with Dulzura (1996), after she'd signed a management deal with Selena's forefather, Abraham Quintanilla, Jr. (i.e., Q Productions), and a recording contract with EMI Latin, Selena's sometime mark. Produced by Selena's buddy, Abraham Quintanilla III, aka A.B. Quintanilla of Los Kumbia Kings fame, the album was clean successful, spawning a pair of hits, "Pura Dulzura" and "Ven a Mi." The Quintanillas shaped Peña into a younger version of Selena, whom they'd likewise managed and produced: Jennifer y los Jetz, as she was billed, purposefully resembled Selena y los Dinos, as did the group's music, which was a candied mix of tejano, cumbia, and ballads. A few more Jennifer y los Jetz albums followed, each produced by Quintanilla III: Jennifer y los Jetz (1997), Mariposa (1998), and Abrázame y Bésame (2000). The sometime iI featured a few minor hits ("Tu Castigo," "Cosquillitas," "Tengo Miedo"), whereas the latter became a major success. Essentially an album by Quintanilla III's group, Los Kumbia Kings, with Peña as the frontwoman, Abrázame y Bésame boasted a string of hits ("Abrázame y Bésame," "Si Tú Te Vas," "Contigo Otra Vez," "No Te Voy a Perdonar") and was nominated for a Grammy (Best Regional Mexican Performance).At this point, with her future never brighter, Peña split from the Quintanillas and pursued a solo career. She gestural a new recording contract, this one with Hispanic media giant Univision, and when she made her mark debut, Libre (2002), the title spoke volumes. Free of her sometime handlers as well as the stylistic confines of tejano, Peña was teamed with Latin pop hitmakers Rudy Pérez and Kike Santander and broadened her style substantially. In particular, she indulged in sweeping wild-eyed balladry such as lead single "El Dolor de Tu Presencia," which topped the Hot Latin Tracks chart for octad straight weeks, in the process drive Libre all the way to turn two on Billboard's Top Latin Albums chart. The album's 2 further strike singles, "Entre el Delirio y la Locura" and "A Fuego Lento," were both ballads besides. The manic album-closer, "Vamos al Mundial," which was elect by the Univision tv set net as peerless of the official songs of the 2002 World Cup, showcased a a great deal more than upbeat side of Peña. And, of course, there was slew of tejano, albeit of a comparatively watered-down form, to be plant elsewhere on the album, in addition to respective cumbia versions tacked on as bonus tracks. Overall, Libre was a considerable leap forrad for the 18-year-old late Princesa de la Música Tejana, and it earned her a long list of accolades, including some other Grammy nominating address (Topper Mexican/Mexican-American Album), a Premios Lo Nuestro Award (Female Regional Mexican Artist of the Year), 2 South Texas Music Awards (Female Vocalist of the Year, Female Entertainer of the Year), and 4 Billboard Latin Music Award nominations.Peña followed up her solo breakthrough with a similar record album, Seducción (2004). Again helmed by producers Rudy Pérez and Kike Santander, with Emilio Estefan also providing supervising, the album is strikingly interchangeable in approach to Libre. If anything, there's a greater emphasis on the sweeping ballads that proven so successful on the late go-round. Lead single "Vivo y Muero en Tu Piel," written by Pérez, was one such ballad, and it spent basketball team weeks atop the Hot Latin Tracks chart, affirming Peña's gift for delivering slick, big-sounding love affair. "Hasta el Fin del Mundo," the second single, as well written by Pérez, this time in alignment with Manny López, followed the same template: a glossy lay with an uplifting, multi-tracked chorus and a contact of electric guitar soloing on the bridge. "Si Yo Me Vuelvo a Enamorar," the other single to break the Hot Latin Tracks Top 20, was the exception, employing aspects of regional Mexican music. "No Hay Nadie Igual Como Tú," a Spanish-language cover of "Can't Take My Eyes Off You," and so of late popularized by Lauryn Hill, was too released as a single. Seducción didn't clear Peña the accolades that her Univision debut had, in time it solidified her hearing, merchandising merely as well (three hundred,000-plus units) and topping the Latin album chart in the process. While the album was still equitation high on the charts, Univision released Samuel Houston Rodeo Live, a Top Ten-charting concert album that had been recorded in front of 45,000 fans at the Astrodome during the Houston Livestock Show and Rodeo.Peña's third solo record album, Dicen Que el Tiempo (2007), reflected the growth she experient during her clip sour in the stir up of the back-to-back successes of Libre and Seducción. For one, Peña dated Obie Bermúdez, a likewise young and successful Latin come out artist; notably, the deuce appeared together on El Show de Cristina, where they american ginseng a duet. Secondly, Peña began performing in films, get-go with the MTV production All You've Got (2006); another load-bearing role followed, in the main plastic film Amexicano (2007). When Peña did return to the studio to start work on Dicen Que el Tiempo, she entered with Bermúdez at her side, along with his producer, Sebastián Krys, world Health Organization has a long runway record of hitmaking. Moreover, she'd co-written ten-spot of the 12 songs that would close up on the album, and ennead of those ten had been written with Bermúdez, world Health Organization is a talented songwriter. The one cover song, Juan Gabriel's "Pero Qué Necesidad," is a span featuring Peña and Bermúdez. The album's track individual, "Como Entender," unsurprisingly was a sweeping ballad; however, it's one of the few on the record album, which showcases a novel width of styles. There's no escaping the imprint of Bermúdez on Dicen Que el Tiempo, for the album plainly resembles recent releases of his such as Lo Que Trajo el Barco (2006) and Todo el Año (2004). Upon its release, Dicen Que el Tiempo didn't match the commercial succeeder of its predecessors, though it was intimately received by fans and critics alike.
