《King of Kings》 sure doesn't seem like only Don Omar's second album proper. In the three years since The Last Don, his impressive debut album from 2003, he remained omnipresent. A live album (The Last Don: Live), a couple one-off hits ("Pobre Diabla," "Reggaeton Latino"), and an odds-and-ends compilation (Reggaeton Latino) kept him continually at the forefront of eggaeton, as did persistent media attention. Yet indeed King of Kings is only Omar's second album, which only adds to the sense of why it feels like such a remarkable achievement. It's a major statement, for sure, not only because of its bold, contentious title, but also because it's so stylistically bitious. In theory, sophomore albums are supposed to be commercially safe.