¿Qué quieres de mí? (Dany Lozada) [click here for full lyrics]

With "Qué quieres de mí" Lozada finally gets to sing one of his own songs, a very catchy track with strong blues overtones that fits perfectly into the flow of the album. This is the second in what might be called the "Beso Ruso de Queso Trilogy", three songs tied together by a variety of lyrical and musical ideas. It began in Lozada's previous band, "Conexión Salsero", and continued, after he left Charanga Habanera, with the title track of his and González' album, "Tanto le pedí".

The lyrics are packed with double entendres. Unfortunately, even the single entendres went right over the head of your faithful author, but for those interested in trying their hand at unraveling the mysteries of this song, we provide the full lyrics in Spanish and a couple clues. First of all, "beso ruso" or "Russian kiss" refers to a casual social greeting kiss, but with the Russians, it's on the lips instead of the cheek. Second, the Abacuá , a secret all-male tribal sect, (well, I guess it couldn't be that much of a secret), forbids its members to perform oral sex. (Make what you will of that choice tidbit of information). We don't even know if Dany Lozada is a member of the Abacuá, (what with it being so secret and all). Finally, we've been assured that the song almost certainly has nothing to do with foot fetishism, so it's back to square one with such lines as "con esos pies tan lindos que tú tienes yo no puedo, mami". Is this a subtle reference to Fats Waller's "Don't Wantcha Cuz Yo' Feet's Too Big"? Well, all right, that's probably not it either. Suffice to say, I have no idea whatsoever what the lyrics to this song mean -- but I love they way sound!

But if the meaning of "Qué Quieres de Mí" eludes most yuma listeners, the tumbaos and magically interlocking contratumbaos are deeply steeped in good old American R&B. After the synth opens the track with its bluesy contratumbao, listen to the way the piano slides in and wraps its part around the synth line, throwing off about five sublime fills in the process. [audio example 48]. Those interested in a more technical analysis of this song can refer to our "Clave Analysis of Tremendo delirio" article.

Some critics have accused Timba's cuerpos of veering too close to the universally-despised genre of salsa romantica, but there's no danger of that here. Lozada is a very talented songwriter whose style is closer to Juan Luis Guerra or even sometimes Don Henley. After a very satisfying cuerpo with plenty of non-romantica hooks, a bloque leads to a blues-laced coro and Lozada cuts loose with an incredible melodic rap (ahora eres tú, la que me pides que te quiera de esta manera pero yo no puedo, nena!"), and then a series of inspired guías. Meanwhile the piano and synth are having a field day with their funky interwoven tumbaos. [audio example 49]

end of cuerpo: yo te puedo jurar que jamás te daría ese beso
para no caer en esto
no, no
así no puedo seguir en eso
lo confieso, qué va!

coro 2: después de pedirte tantos besos
hoy eres tú la que pides eso

Lozada: ahora eres tú, la que me pides
que te quiera de esta manera
pero yo no puedo, nena!

coro 2: después de pedirte tantos besos
hoy eres tú la que pides eso

Lozada: me pides
que ahora te entregue mi amor
y yo no puedo caer en eso...qué va!

coro 2: después de pedirte tantos besos
hoy eres tú la que pides eso

Lozada: tú no sabes lo que estás pidiendo, nena
por favor cambia ya ese tema

As the deranged lyrics move on to "besos de queso", the piano introduces a very catchy blues tumbao that would be frequently copied by future generations of pianists, and this leads to a great bloque. [audio example 50]

We can't leave this track without highlighting the mambo, featuring one of the majestic synth lines that CH pioneered and continues, even with the latest album, to use to great effect. [audio example 51]