After establishing herself as one of the top merengue superstars of the 1990s, Olga Tañón broadened her style to include not only tropical music but also Latin pop, and while some of her crossover efforts failed to earn the praise of critics, she re-established herself strongly in 2005 with a back-to-basics album, Una Nueva Mujer, that awarded her with substantial acclaim. Throughout it all, even during the most trying times of her career, the Puerto Rican singer nonetheless maintained a devoted following. Tañón was most passionately adored during the mid-'90s, when she was the undisputed Queen of Merengue (a title debatably passed along to Milly Quezada) and was known as La Mujer de Fuego. Her embrace of Latin pop -- first with a regional Mexican album of Marco Antonio Solís songs, Nuevos Senderos (1996), and then with an album helmed by pop-crossover producer Kike Santander, Te Acordarás de Mí (1998) -- brought about some rifts among her fan base; however, it also expanded her market reach substantially, breaking her out of the tropical music bin and into the greater Latin continuum. As Tañón was breaking into the Latin pop mainstream, she was also experiencing some upheaval in her personal life, which, along with the mixed reception of her albums Yo por Ti (2001) and Sobrevivir (2002), left her career increasingly on rocky ground. A wave of retrospective releases, including =Exitos en Video (2002), A Puro Fuego (2003), and Como Olvidar: Lo Mejor de Olga Tañón (2005), bought time while she prepared her grand comeback, Una Nueva Mujer (2005). This purely tropical album proved successful on all counts, and Tañón found herself back in the limelight, a year later moving from Warner Music Latina, the label she called home throughout her career, to Univision, a mass-media conglomerate based in Mexico City.