by Evan C. Gutierrez

Don Omar's King of Kings Live album highlights the struggle between Omar's considerable talent and reggaeton's inability to produce a good live record. Although the album's title might seem boastful to some, Don Omar is truly the genre's most powerful creative force. As a reggaeton MC he's unstoppable, but perhaps more unique is his capacity for sophisticated R&B ballads in a genre that doesn't really do them. The string of expressive balladry consisting of "Vuelve," "Tu No Sabes," and "Angelito" in the middle of the first disc reveals Omar to be capable of range and understatement. The moments where the crowd goes truly wild in the course of the disc are in the more sensitive, emotive material such as "Pobre Diabla." That's significant in a style embraces very little variety. The use of strings and traditional instruments is evocative and enticing in a way that few of Omar's contemporaries can manage. If listeners could clearly hear all that was going on, King of Kings would be one of the strongest records of the year. The sound lacks the stomach thumping quality of Omar's studio productions. Similarly, there are musical interludes that probably made complete sense in connection with the stage choreography. Both of these shortcomings can be chalked up to a problem of maturity. Reggaeton hasn't figured out how to make a good live record. King of Kings is one of several "live in concert" reggaeton records, many of which experienced the same pitfalls. When Omar's producers catch up with his talent, they'll make quite a team.