Walter Romero’s 2002 release Libre al Fin, issued by Magenta, assembles fourteen tracks rooted in cuarteto and merengue traditions. The album includes “Ponte Dura,” a featured track that typifies Romero’s engagement with rhythmic vitality and regional dance forms. Other titles such as “Ya llegó el verano” and “Las mujeres de guerra” suggest a varied emotional and thematic range across the set.Libre al Fin is a modest artifact within early 2000s Latin American popular music, resonating through just over five thousand Last.fm scrobbles. Its modest circulation preserves the particular blend of percussion and brass characteristic of cuarteto’s lineage, though details on session musicians or recording locations remain elusive. This record holds interest for collectors tracing the genre’s lesser-known expressions beyond its Argentine stronghold.

Walter Romero’s 2002 release Libre al Fin, issued by Magenta, assembles fourteen tracks rooted in cuarteto and merengue traditions. The album includes “Ponte Dura,” a featured track that typifies Romero’s engagement with rhythmic vitality and regional dance forms. Other titles such as “Ya llegó el verano” and “Las mujeres de guerra” suggest a varied emotional and thematic range across the set.Libre al Fin is a modest artifact within early 2000s Latin American popular music, resonating through just over five thousand Last.fm scrobbles. Its modest circulation preserves the particular blend of percussion and brass characteristic of cuarteto’s lineage, though details on session musicians or recording locations remain elusive. This record holds interest for collectors tracing the genre’s lesser-known expressions beyond its Argentine stronghold.