All My Hits/Todos Mis Exitos is a compilation of Selena's greatest songs. It also features a commemorative gold rose pin with her name on it.

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All My Hits/Todos Mis Exitos
Greatest hits album by Selena
Released	March 9, 1999 (1999-03-09)
Recorded	1990–1995
Studio	Zaz Studios, AMEN Studios, Q-Productions
Genre	Tejano cumbia Latin pop
Length	57:32
Language	English, Spanish
Label	EMI Latin
Producer	A.B. Quintanilla
Selena chronology
Anthology (1998) All My Hits/Todos Mis Exitos (1999) All My Hits/Todos Mis Exitos Vol. 2 (2000)

Background

On March 31 1995, American Tejano music singer Selena was shot and killed by Yolanda Saldívar, her friend and former manager of the singer's boutiques.[1] At the time of her death the singer was working on a crossover album that would have propelled her into the American pop market.[2] The impact of the singer's death had a negative impact on Latin music, her genre—which she catapulted into the mainstream market—suffered and its popularity waned following Selena's death.[3][4][5] The crossover-planned album Dreaming of You was released posthumously on July 18, 1995, debuting and peaking atop the United States Billboard 200 albums chart, the first majority Spanish-language recording to do so in the chart's history.[6][7] The album's release started a "buying frenzy" for anything related or containing Selena among Hispanic and Latino Americans.[8] All My Hits/Todos Mis Exitos continues a promise Abraham Quintanilla told his family following his daughter's death, that he will continue to keep Selena's memory alive through her music.[9][10][11] According to A.B. Quintanilla; himself, Suzette Quintanilla, and Selena collectively agreed that if anything were to happen to any one of them, their wish would be to continue on with their music.[12] A.B. said that one of Selena's wishes was for her to "never go away".[13] Since Selena's death, her family has been criticized by fans and the media for exploiting the singer and cannibalizing on her murder by commercializing her repertoire.[14]

By 1999, Selena remained EMI Latin's top-selling artist, outselling living musicians such as Thalía and Carlos Ponce.[15] In the past five years, Selena has been the record company's top-selling performer, according to Nielsen SoundScan.[16] Jose Behar, who discovered the singer at the 1989 Tejano Music Awards, recognized Selena for her contributions that made EMI Latin "the house that Selena built".[15] Industry executives collectively agreed on Selena's impact on EMI Latin, they credited Selena with propelling the label to the top of the US Latin music industry.[16]

Music

The album contains 16 tracks ranging from Selena's second studio album Ven Conmigo (1990) to the posthumous 1997 movie soundtrack. Offering listeners many of the singer's most recognizable songs,[17] the recording starts off with "Amor Prohibido", penned by Selena, A.B., and her backup dancer/vocalist Pete Astudillo.[18] Originally released on Amor Prohibido, it ended 1994 as the most successful US Latin single on Billboard magazine.[19] The song is followed by the mariachi track "Tú Sólo Tú", originally intended for the Don Juan DeMarco soundtrack, which was shelved by music producers. Following the impact of Selena's death, Christopher John Farley of Time magazine, wrote how the producers are most likely regretting their decision.[20] "Tú Sólo Tú" peaked at number one on the US Hot Latin Songs chart and Mexico's Grupera songs chart.[21][22] The next track "Como la Flor", became Selena's signature song with essayist Ilan Stavans suggesting the emergence of Latin pop in the United States in the 1990s is attributed to the popularity of "Como la Flor".[23][24] The fourth song on the album, "I Could Fall in Love" was previously on the planned crossover album Dreaming of You. Written by Keith Thomas, "I Could Fall in Love" peaked at number one on Canada's RPM Adult Contemporary chart and at number eight on the US Hot 100 Airplay.[25][26] The fifth track, "El Chico del Apartamento 512", is a lighthearted and comical song following the protagonist's attempts at finding "the guy in apartment 512".[27] This was followed by "¿Qué Creias?", a song Selena often performed onstage with a male volunteer from the audience who portrayed her former lover, while Selena scorches them as the wronged partner.[28] The seventh track, "Baila Esta Cumbia", was previously on Ven Conmigo, and was written by Astudillo and A.B. following a medley A.B. had in his head while resting.[29] "Dreaming of You", was originally intended for the R&B group The Jets in 1989, though was turned down. Written by Tom Snow and Franne Golde, Snow recalled how Golde never gave up on the song and provided it to Capitol Records during a selection screening.[30] "Dreaming of You" was among a selection of songs Selena was provided with from Capitol Records to choose from, the label vehemently controlled the entire crossover project and only allowed Selena to choose one song of her choice from this selection. Selena chose "Dreaming of You" for its lyrical content and message, while A.B. initially disliked the song based on the demo provided by the label.[31] Posthumously released, the song peaked at number 22 on the Billboard Hot 100 and was certified gold by the Recording Industry Association of America (RIAA), which denotes 500,000 units consisting of sales and on-demand streaming.[32][33]

Track number eight, "Bidi Bidi Bom Bom" was improvised during a rehearsal starting off as a song with few, if any, lyrics. Selena started singing, coming up with lyrics "as ideas came to her". It started off with lyrics about a cheerful fish swimming freely in the ocean,[18] which Astudillo likened to a nursery rhyme,[34] organized around a wah-wah guitar riff using a crybaby improvised by Selena's husband and the guitarist of the group Chris Pérez.[18] "Bidi Bidi Bom Bom" transitioned into a cumbia and reggae song,[35] its onomatopoeic title and its nonsensical lyrics suggest the sound of a woman's heart palpitating for the object of her affection.[36] The following track, "La Llamada" follows the protagonist's former lover calling her and protesting his innocence, not buying his excuses, she tells him to refrain from calling her again.[37] The eleventh song, "No Me Queda Más", was penned by keyboardist Ricky Vela, who had romantic inclinations toward the drummer of the group, Suzette, which he kept private from her.[38] After hearing of her wedding to Bill Arriaga in September 1993, Vela wrote of his feelings of betrayal and unrequited love and hid the lyrics that he wrote based on these feelings. Vela eventually provided Selena with the lyrics and she recorded the song for Amor Prohibido. According to Abraham, Selena provided an emotional delivery while recording the track and was seen sobbing in the recording studio because "she knew how [Vela] felt" about Suzette.[39] "No Me Queda Más" ended 1995 as the most successful US Latin single on Billboard magazine.[19]

The next song, "I'm Getting Used to You" was written by Diane Warren and produced by Rhett Lawrence. Writing for Newsday, Ira Robbins found the track's arrangement to be "slightly outdated" that masked any indications of Selena's Hispanic background.[40] This was dramatized by Christian Serratos in the Netflix two-part limited drama Selena: The Series (2020-21), where the singer felt a sense of dissociation with the song. Warren commented that the scene was not how she recalls her time with Selena, who in reality loved the song.[41] This was followed by "La Carcacha", which was inspired by a broken-down car in Ovalo, Texas.[29] Biographer Joe Nick Patoski recognized that "La Carcacha" contained lyrics of teenage love that Selena never experienced. He wrote how A.B. would sometimes ask Selena about songs he should write for her, and Selena would request songs with storylines atypical of what she experienced.[42] The fourteenth track on the album, "Disco Medley", is a medley of disco-era songs "Last Dance" and "On the Radio" by Donna Summer, "The Hustle" by Van McCoy and the Soul City Symphony, and "I Will Survive" by Gloria Gaynor and "Funkytown" by Lipps Inc. "Disco Medley" was performed live at the Houston Astrodome on February 26, 1995, cited as her last concert before she was murdered.[43] Track number fifteen, "No Debes Jugar", was written by A.B. and Vela and was originally released on Selena Live!. Jim Beal of the San Antonio Express-News hailed the song as the best track off of Selena Live!.[44] "Missing My Baby" finishes the tracklisting of All My Hits/Todos Mis Exitos. Originally on Entre a Mi Mundo, "Missing My Baby" includes Full Force as backing vocalist. The track posthumously ranked on Billboard peaking at number 22 on the US Rhythmic Top 40 chart.[45]

Critical reception

Professional ratings

Review scores
Source	Rating
Austin American-Statesman	[17]

Writing for the Austin American-Statesman, John T. Davis proclaimed that the release of All My Hits/Todos Mis Exitos marked the day that Selena had more posthumous releases than those released during her lifetime. Davis noticed an uptick in sales for anything containing Selena during the annual markings of her death and felt that recent releases have suffered in quality in order to meet demand. He found All My Hits/Todos Mis Exitos as a solid release, containing much of the singer's best songs, though found that it was neither remarkable or complete of Selena's best works. Davis opined the album for those curious on works done by Selena or casual fans. He found it peculiar that the recording was marketed for die-hard fans and believed that they were the least to benefit from the album. Applauding its wide marketing, Davis concluded that All My Hits/Todos Mis Exitos misses the mark in the quality afforded by the label.[17] Alisa Valdes-Rodriguez of the Los Angeles Times believed that All My Hits/Todos Mis Exitos, as well as her death anniversary, reintroduced Americans to Selena. Abraham was inundated with reporters worldwide on the well-being of the family, reporting that he feels horrible, though less so compared to the day of Selena's death. Abraham reported that his family's pain "comes and goes". Montes suggested that these feelings would be less severe if All My Hits/Todos Mis Exitos did not mark her death anniversary, calling it "another tribute album".[15] Writing for Newsday, Richard Torres believed that the album encapsulates Selena's versatility, calling the collection a "sharp compendium".[46]

Release and marketing

On February 8, 1999, it was revealed that All My Hits/Todos Mis Exitos would be commercially available on March 9. It was hailed as the final release by the singer for the millennium.[47] The album marked EMI Latin's 10th anniversary in operation as a subsidy of Capitol Records. All My Hits/Todos Mis Exitos also coincided with the fourth anniversary of Selena's death.[17] EMI Latin rebuffed the idea that the album was an exploitive ploy on their part, citing that All My Hits/Todos Mis Exitos was originally planned for a January release, but was delayed due to packaging issues.[15] Behar wanted to release a commemorative album that was exceptional and would help continue to preserve Selena's music. He decided on mirroring Capitol Nashville's marketing strategy for Garth Brooks's The Hits (1994). He issued All My Hits/Todos Mis Exitos for a limited distribution release of three months and provided consumers who ordered the album through their TV advertisements, with a commemorative pin bearing Selena's name. Those who order the cassette variant from the direct-TV ads would receive the commemorative pin, while the CD version in-stores will include the pin. Behar wanted the album to be a collector's item and marketed All My Hits/Todos Mis Exitos as containing a majority of Selena's hit singles. TV advertisements were released throughout the United States on March 15 through English and Spanish-language networks. Behar negotiated with network executives to push All My Hits/Todos Mis Exitos and promised a cut of the profits that were generated from the advertisements. John Lannert of Billboard called the direct-TV campaign the first of its kind. The first two networks to air the advertisements were cable channels Gems TV and Spanish-language channel Galavisión. Other Spanish-language channels such as Telemundo and Univision jumped on the campaign as well. English-language networks that participated included Lifetime, The Nashville Network, MTV, and VH1. The direct-TV campaign was headed by Castilian Music, who previously done Pure Moods for Virgin Records.[16]

Lupe de la Cruz, marketing director for EMI Latin, hoped that the direct-TV campaign would generate interest. De la Cruz confessed that consumers haven't bought "as much as we would want them to" from previous direct-TV campaigns. He believes that consumers might make a connection when browsing through a music retailer and remembering that they saw All My Hits/Todos Mis Exitos on TV and might be more inclined to purchase the album. He also hoped that with the push into English-language networks, those who saw the Selena film, might be interested in listening to All My Hits/Todos Mis Exitos since it contains more of Selena's Tejano music repertoire. Ritmo Latino, a music chain mostly in California, believed the album will be "a strong seller". The company reported that they are supporting All My Hits/Todos Mis Exitos with in-store ads, and radio and print advertisements.[16] The pin bearing the singer's name, provided "every young girl who's already a Selena fan" something they would want.[17] De la Cruz believed that the pin would help distinguish All My Hits/Todos Mis Exitos from previous Selena releases that contained unreleased material.[15]

Commercial performance

All My Hits/Todos Mis Exitos was expected by industry forecasters to debut atop the Billboard Top Latin Albums as well as debuting within the higher reaches of the US Billboard 200 charts. As a result of some retailers releasing the album ahead of its debut, All My Hits/Todos Mis Exitos debuted at number 24 on the Top Latin Albums chart on the week ending March 20, 1999.[48] The album peaked at number one on the Top Latin Albums and Regional Mexican Albums chart the following tracking week. It received the greatest album sales gain for any Latin album on the chart from the previous tracking week. All My Hits/Todos Mis Exitos unseated Ricky Martin's Vuelve from the top spot. Selena and Martin's albums contributed the most to the 167,500 units measured by Nielsen SoundScan of Latin albums sold in the United States for that week.[49] All My Hits/Todos Mis Exitos debuted at number 59 on the Billboard 200 chart selling 25,380 units in its first week of availability. The album remained atop the Top Latin Albums and Regional Mexican Albums chart in the following week, though slipped from number 59 to number 74 on the Billboard 200 chart with 23,500 units sold in its second week. This was 1,000 units more than Martin's Vuelve album, while both remained the largest contributors to the Latin albums sold in the United States for the tracking week of April 3, 1999.[50] In its third week, the album fell to number two on the Top Latin Albums chart by Martin's Vuelve, and to number 86 on the Billboard 200 chart, though remained at number one on the Regional Mexican Albums chart.[51] The album sold 27,825 units and remained at its position on the Top Latin Albums and Regional Mexican Albums charts, while climbing to number 77 in the following tracking week.[52] EMI Latin shipped 500,000 units to retailers and by April 9, 1999, All My Hits/Todos Mis Exitos sold 250,000 copies in the five weeks of availability, according to the label.[15] In its sixth week, the album sold 26,500 units and received the greatest gainer honor on the Top Latin Albums chart, the sales spike helped All My Hits/Todos Mis Exitos to peak at number 54 on the Billboard 200 chart. On the Regional Mexican Albums chart, the album remained at number one for its fifth consecutive week.[53] In its seventh week, All My Hits/Todos Mis Exitos sold 20,500 units and remained at the same position on the Latin charts, though fell to number 62 on the Billboard 200 chart.[54]

In the following week, All My Hits/Todos Mis Exitos sold 18,000 units and remained at the same position on the Latin charts, though fell to number 67 on the Billboard 200 chart.[55] For the sixth consecutive week, All My Hits/Todos Mis Exitos remained at number two on the Top Latin Albums chart behind Martin's Vuelve and at number one for its eight consecutive week on the Regional Mexican Albums chart. It sold another 18,000 units and slipped to number 72 on the Billboard 200 chart.[56] According to Nielsen SoundScan, All My Hits/Todos Mis Exitos sold 176,705 units by May 22, 1999. The album represented 8% of the 1.5 million copies sold of Latin albums in the United States in the first quarter of 1999. It was the second-highest sold Latin album, behind Martin's Vuelve for the quarter, despite only being available for two months. On the charts, All My Hits/Todos Mis Exitos fell to number three on the Top Latin Albums chart and remained atop the Regional Mexican Albums chart. It sold 17,000 units and fell to number 89 on the Billboard 200 chart.[57] In the following week, All My Hits/Todos Mis Exitos remained atop the Regional Mexican Albums chart for its tenth consecutive week and remained at number three on the Top Latin Albums chart. Selling 12,000 units, the album fell to number 101 on the Billboard 200 chart.[58] Selling 11,000 units in the following week, All My Hits/Todos Mis Exitos remained atop the Regional Mexican Albums chart for its eleventh consecutive week, though fell to number 119 on the Billboard 200 chart.[59] The album sold 10,500 units in the following tracking week, remaining atop the Regional Mexican Albums chart and falling to number 126 on the Billboard 200 chart. All My Hits/Todos Mis Exitos received a platinum certification from Music Canada, selling 100,000 units in the country by June 12, 1999, and received a gold certification from the Recording Industry Association of America (RIAA), denoting 500,000 units shipped in the United States.[60] All My Hits/Todos Mis Exitos sold 10,000 units in the following week, remaining atop the Regional Mexican Albums chart for its thirteenth consecutive week, though it fell to number 133 on the Billboard 200 chart.[61] The album reclaimed the top spot of the Top Latin Albums chart for the week ending June 26, selling 11,500 units, a 26% increase from the previous week. Lannert called the sales spike surprising, though believed it could have been as a result of the impending June 30 deadline, which would end production of the album. The album jumped to number 120 on the Billboard 200 chart, and remained atop the Regional Mexican Albums chart for its fourteenth consecutive week. Nielsen SoundScan reported that All My Hits/Todos Mis Exitos sold 207,500 units by June 1999, ranking at number three on their year-to-date Top Latin Albums chart.[62] In the following week, the album falls to number six on the Top Latin Albums chart, though remained atop the Regional Mexican Albums chart for its fifteenth consecutive week. It sold 10,000 units and fell to number 151 on the Billboard 200 chart.[63] Near its production end, All My Hits/Todos Mis Exitos fell to number 192 on the Billboard 200 chart in the following week, it also fell to number two on the Regional Mexican Albums chart.[64]

Track listing

Charts

Weekly charts

Chart (1999) Peak position US Billboard 200 (Billboard) 54 US Top Latin Albums (Billboard) 1 US Regional Mexican Albums (Billboard) 1 Quarterly charts Chart (Q1 1999) Peak position US Top Latin Albums[57] 2 Certifications and sales Region Certification Certified units/sales Canada — 100,000[65] Mexico (AMPROFON)[66] 3× Gold 100,000[67] United States (RIAA)[68] Diamond (Latin) 600,000 Sales+streaming figures based on certification alone. References Verhovek 1995, p. 1. Jasinski 2012. Untiedt 2013, p. 127. Schone 1995, p. 3. Shaw 2005, p. 50. Stavans & Augenbraum 2005, p. 5. Arrarás 1997, p. 22. Patoski 1996, p. 211. Garcia & Gamboa 2022. Paul 2022. Mendoza 2022. Smoothvega 2020. Quintanilla 1997. Falcon 2015. Valdes-Rodriguez 1999, p. 215. Lannert & 1999 (a), p. 8. Davis 1999, p. 38. Amor Prohibido 1994. Anon. & 1998 (a), p. LMQ3. Cole & Farley 1995, p. 2. Anon. & 1995 (a). Anon. & 1995 (b), p. 32. Parédez 2009, pp. 1034, 1053. Stavans 2014, p. 407. Anon. & 1995 (c). Anon. & 1995 (d), p. 92. Perone 2012. Salazar 1995, p. 27. Ven Conmigo 1990. Snow 2010. Dreaming of You 1995. Anon. & 1995 (e), p. 37. Anon. & n.d. (b). Guerra 2017. Anon. 2005, p. 388–390. Patoski 2020. Patoski 1996, p. 113. Ramirez & 2011 (a), p. 21. Fletcher 1999. Robbins 1995, p. 87. Spenser 2021. Patoski 1996, p. 118. Perry 2017. Beal 1994. Anon. & 1995 (f). Torres 1999, p. 141. Anon. & 1999 (a), p. 18. Lannert & 1999 (b), p. 52. Lannert & 1999 (c), pp. 66, 102. Lannert & 1999 (d), pp. 55, 94. Anon. & 1999 (c), p. 82. Anon. & 1999 (d), p. 92. Lannert & 1999 (e), pp. 47–48. Lannert & 1999 (f), p. 40. Lannert & 1999 (g), p. 42. Lannert & 1999 (h), p. 50. Lannert & 1999 (i), pp. 1, 47, 99–100. Lannert & 1999 (j), p. 41. Lannert & 1999 (k), pp. 88, 134. Lannert & LeBlanc 1999, pp. 38, 41, 87–88. Lannert & 1999 (l), pp. 49, 83. Lannert & 1999 (m), pp. 56, 60. Lannert & 1999 (n), pp. 55, 111. Anon. & 1999 (e), p. 99. LeBlanc 1999, p. 41. "Certificaciones" (in Spanish). Asociación Mexicana de Productores de Fonogramas y Videogramas. Type Selena in the box under the ARTISTA column heading and All My Hits/Todos Mis Exitos in the box under the TÍTULO column heading. Anon. & 1999 (b), p. 40. Anon. n.d. Works cited "Billboard 200 > July 10, 1999". Billboard. 111 (28). July 10, 1999. Retrieved 22 May 2022. "Billboard 200 > April 17, 1999". Billboard. 111 (16). April 17, 1999. Retrieved 22 May 2022. "Billboard 200 > April 10, 1999". Billboard. 111 (15). April 10, 1999. Retrieved 22 May 2022. Lannert, John (July 3, 1999). "Latin Notas". Billboard. 111 (27). Retrieved 22 May 2022. Lannert, John (June 26, 1999). "Latin Notas". Billboard. 111 (26). Retrieved 22 May 2022. Lannert, John (June 19, 1999). "Latin Notas". Billboard. 111 (25). Retrieved 22 May 2022. Lannert, John; LeBlanc, Larry (June 12, 1999). "Latin Notas". Billboard. 111 (24). Retrieved 22 May 2022.{{cite journal}}: CS1 maint: ref duplicates default (link) Lannert, John (June 5, 1999). 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