The Singles Jukebox

They put the jaunty in our swoony, or did they put the swoony in our jaunty?

[Video][Website]
[6.00]

Katherine St Asaph: Swoony and jaunty don’t quite work together, at least here where every part of the ballad, instrumental and conceptual, works against the others.
[3]

Crystal Leww: “Solo Con Verte” was written for the moment in the romantic movie where the hero emerges from the hill with the sun shining behind him to apologize to the girl and tell her that he’s never going away. Nicholas Sparks never did much for me, but I can understand if people like it.
[5]

Cassy Gress: Such a sweet, enamored vocal, and the muted trumpets are surprisingly sweet as well. And there’s something devotional (both amorously and also religiously) in the way the chord drops down at the end of “suspirar” and “cambiar” in each chorus. This is a song for swooning.
[7]

Josh Langhoff: Ever since that Ed Sheeran song about Alzheimer’s knocked my socks off during last year’s Grammycast, I’ve grown less stingy about allocating slow jam points. These things can groove, you know? In the case of “Solo Con Verte,” the groove comes courtesy of the low brass section, their every note possessed by a rhythmic twitch as delicate as the caresses of that eternally happy slow-mo couple in the video. The tune’s a keeper, too. As for Horacio Palencia‘s lyrics — well, sometimes it’s just satisfying when words rhyme.
[6]

Brad Shoup: For a second I thought they were working in slo-mo, not half-speed. Even at their chosen effect, it’s sweet: the brass and woodwinds and the vocalist urging each other towards heartfelt.
[6]

Thomas Inskeep: A swooning, gorgeous, brassy ballad with some of the most romantic lyrics I’ve ever heard. This so perfectly crystallizes how I feel about my boyfriend that it’s possible I’m a little blinded, critically; I make no apologies.
[10]

Jonathan Bogart: The comments on YouTube consist of page after page of people sending messages to loved ones, like they used to ask DJs to do back when people listened to the radio. Big-picture, that is of course one of pop music’s greatest uses: organizing and regularizing emotion in order that the listener can feel themselves to be living in a romance (whether comic or tragic is up to the song). It also means, of course, that people who do not share the song’s sentiments, or who do not want to, may not be able to get a whole lot out of it.
[5]