Recent studies have suggested that Jose Luis Perales's songs express a masculinity crisis that occurred during the Spanish transition to democracy. In this article I show that the notion of a crisis of masculinity is valid only if one considers a small group of his songs. Based on the analysis of a wider corpus of his hit songs, I argue that the dominating topos in Perales is one of happy love in which male characters present a masculinity that can hardly be described as in crisis. Additionally, I consider the ways in which Perales has been listened to and understood by women writers and journalists following the 2016 feminist movements. Perhaps surprisingly, the feminist wave has celebrated Perales's masculinity in contrast with that of his contemporaries, from Julio Iglesias to Joaquin Sabina.