Tego Calderón is known and loved for his politically correct, "alternative" reggaeton which is often injected with traditional latin music elements. Though he kinda missed the big reggaeton hype, he is still regarded as one of the three strongholds of the genre (along with Daddy Yankee and Don Omar).

The Underdog/El Subestimado is his major label debut, so you might expect a more mainstream gangsta sound instead of his typical fusion style. Luckily, that's not the case — Tego even dropped all of his bling bling after visiting a diamond mine in Sierra Leone. No diamonds, a seventies afro, sunglasses two sizes too big — you wouldn't say this guy just made the only good reggaeton album ever recorded.

The Underdog is the new sound of the latin urban genre, a sound that blends Afro-Caribbean influences with some of the hottest beats around. It's hip hop and reggaeton with soul and fuego. Production is near-perfect, everything sounds crystal-clear and basses dig deep. Tego proves himself as the master lyricist, pouring explosive raps on politics, racial issues and personal emotions.

Some examples of the innovating fusion that mark the album. "Mardi Gras" is what reggaeton would sound like in New Orleans, with a blues guitar backing Tego's raging raps. "Llora, Llora" is a salsatón duet with Venezuelan master Oscar D'León, and (unlike previous salsa-reggaeton collaborations) it's a perfect symbiosis of latin rhythms. "Llevatelo Todo" is a sunny hip hop song influenced by traditional Puerto Rican bomba. Don Omar joins in on "Chillin', where reggae organs and steel drums take you to a Kingston slum. And "Los Maté" features a sample of an old mariachi song, pitched up to a slightly irritating speed (too bad this song was chosen to be the first single — watch the video).

Tego sees himself more as a hiphop artist, but I must disagree. The hiphop cuts on the album lack variety. His smooth flows are best accompanied by a heavy reggaeton beat. "Cuando Baila Reggaeton" (featuring Yandel) is a certain floor-filler, albeit lacking the specific Tego touch. When the beat kicks in on "Extremidades" it will make all your extremities randomly shake. Fuego!

The album boasts a few big surprises, mostly related to Tego's emotional side. "Chango Blanco" is a risky cover: a pure salsa song, talking about racial difficulties and black pride. A successful experiment if you ask me. "Bureo, Bureo" is delightfully funky, a bit too short though. "O Dios" (Odios?) and "A Mi Papa" are both personal songs, with Tego respectively rapping about the frustrations of shared custody, and his recently deceased father.

So unlike others, who call themselves King of Kings and release mediocre albums, Tego achieved — in all his modesty — the true mastership over latin urban music with this essential record. Hopefully The Underdog will do for Tego Calderón what A Lo Cubano did for Orishas — give him worldwide exposure and critical acclaim.