Marco Antonio Muniz was born on September 16, 1968, in New York City, Marc Anthony went on to international fame as a singer, actor, and songwriter. Getting his start as a backup singer for acts such as Menudo and the Latin Rascals, Anthony became a headliner when his style shifted to a more Spanish-based sound. In 2004, Anthony married Jennifer Lopez, herself a Puerto Rican singer and actor.
Growing up, Marc listened to rock and R&B, and got his start writing songs and performing with such pop acts as Menudo and the Latin Rascals. Eventually, he began singing solo in New York City night clubs, and met up with house producer Little Louie Vega, who he would go on to collaborate with.
His first release was a record called “Rebel,” which debuted in 1988 from Bluedog Records, based in the Bronx. Marc Anthony continued perform in the New York club scene and also wrote songs, often teaming with Little Louie Vega and Todd Terry.
In 1992, Vega and Anthony played New York City’s Madison Square Garden as an opening act for Tito Puente.
Soon after, Anthony changed his singing style from Freestyle and House to salsa and other Spanish music. Taking his inspiration from greats such as Puente, Ruben Blades, and Juan Gabriel, Marc Anthony released his first Spanish-language album in 1993. TitledOtra Nota, it included the salsa hit “Hasta que te conoci” (Until I Met You).
Todo a Su Tiempo, released 1995
Summary:Anthony dedicated this album to Puerto Rico, and it went on to receive a Grammy nomination. Although it did not win in 1996, many fans and critics contend that this is his best album to date.
Contra La Corriente, released 1997
Summary:This mix of salsa, R&B and pop helped Anthony win the 1999 Grammy for Best Tropical Latin Performance. It’s his third Spanish language album and was recorded with the help of the well-known arranger Angel “Cucco” Pena.
Desde Un Principio: From the Beginning, released 1999
Summary:This modern salsa album won the 2001 Billboard Latin Award for Latin Greatest Hits Album. It features songs from 1993’s “El Ultimo Beso” to “No Me Ames,” his 1999 duet with Jennifer Lopez.
Summary:This self-titled album won the 2000 Latin Grammy Award, and was nominated for the 2000 Grammy Award for Best Male Pop Vocal Performance and the 2000 Latin Grammy Award for Best Male Pop Vocal Performance.
3.0 Released latest
3.0, Marc Anthony hadn’t recorded an original salsa album since 2004’s Valio la Pena. Co-produced by Anthony with longtime collaborator Sergio George — also his pianist and bandleader — most of the set was cut live in the studio with a full band, with overdubs added later. The opener is “Vivir Mi Vida,” and the chart-topping single proves a canny yet interesting choice; it isn’t a typical salsa number. With its big, anthemic backing chorus introducing it, before the claves and piano and percussion kick in, it’s obvious this is a big, “baila baila” number, and not what the singer usually delivers as salsa. Its melodic hook is unmistakable, the interplay between the vocal and horns in the verses with the organic rhythms percolating right up front, and that enormous chorus makes it irresistible. And the salsa groove, once established, never lets go. But this isn’t the album’s strongest cut by a long shot. It’s followed by another feint in “Volver a Comenzar,” which commences as a sparse bittersweet ballad but quickly picks up in intensity, keeping the wistful flavor in a tropical groove. The bright soulful “Cambio de Piel,” with its lithe piano, bright horns, and soaring, emotive vocal, is another highlight. The set’s masterpiece, however, is “Espera,” written by Ettore Grenci and Monica Velez. One suspects that the entire album was built around this glorious song. Commencing as a minor-key ballad, this sensual brooder is introduced by pronounced moody piano chords and bubbling congas before it opens wide about a minute in and George’s piano begins with a series of percussive, swinging montunos leading wide-ranging, punchy horns — the trombones act almost as a second bassline — allowing Anthony to cut loose, pushing the rhythmic components of the melody in his improvisational phrasing to draw maximum emotion from its lyric. The string-laden ballad “La Copa Rota,” featuring Rene Luis Toledo’s gorgeous nylon-string guitar solo gliding atop the horns, moves toward son near the end, and the guitarist throws a curve by closing it with a tight 12-string solo. Aside from the compression in its horn production, “Hipocresía,” by Julio Reyes (who contributes several tunes here), would have been right at home on an album by Cheo Feliciano or Ismael Rivera with Anthony’s soaring improvisation in the break. The only complaint is the inclusion of the pop version of “Vivir Mi Vida” as a closer. It’s totally unnecessary and changes the flavor of the album after the wrenching ballad-turned-burner “Cautivo de Este Amor,” which would have been the perfect ending. That said, it’s a small nick on 3.0, which is otherwise a solid, passionate — and long overdue — return by the great salsero to the roots music that established his career.