Collecting all the biggest Christmas hit songs of the preceding half-decade, it’s a true show-of-force by the mighty Marvela label. The first album, published some five years earlier, is a bit of a hit monster. And then, as an almost exact equivalent from Puerto Rico, there’s Cantares de Navidad, Vol II. I may be blasphemous for saying so, but Elvis Presley’s second and Bing Crosby’s… sixth? ( I Wish You a Merry Christmas) are both considerably superior to their respective artists’ mega-selling debuts. There are probably only a handful of follow-up Christmas records that are better than the first. Somehow, the concentrated spirit of the first Christmas album never truly gets matched in a follow-up. Some all-time greats, like Asalto Navideño and The Sound of Christmas, had direct, numbered sequels instead, trying their best to replicate the original recipe for success – but of course, that didn’t work out either. And that’s just when an artist tries to change. Ella Fitzgerald’s first was peppy, inventive and energetic, her second sedate, mature and a bit bland. Mahalia Jackson’s first Christmas album was a tense masterpiece, the second mediocre country-tinged schlock. The group's members changed throughout its run, with only Fernandito Álvarez remaining as the original member.Reviewed by Johan Palme on 14th December, 2017Īre follow-up Christmas albums inevitably cursed to be lesser than their illustrious originals? Can a hit Christmas record never truly be replicated? Sometimes, it seems that way. From this collaboration, the Trio Vegabajeño was born. When Benito De Jesús (one of the founding members) moved to the capital, San Juan, he was invited to participate with his guitar in an already established duo with Fernandito Álvarez and Octavio Gonzáles. The soundtrack during this historical time was the Trio Vegabajeño. During World War II the economy of Puerto Rico was changing from more agricultural life to a more industrial one, reflected by the migration to the bigger cities.
Within the popularity of the trios, they were considered ambassadors of Puerto Rico. Trio Vegabajeño started in 1943 and had a long trajectory until the 1980s. The group follows the traditional format of the trio bolero ensemble that spread extensively in Latin America, and in the Latin-American communities in the US. The Trio Vegabajeño is a historically important musical ensemble from Puerto Rico.
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