Alejandro Fernández Albums (15)
'De Noche: Clásicos a Mi Manera'
Release Date 12/2/2008
Tracks 14
Label Sony International
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What The Critics Say
Relative to his previous album, the Latin pop blockbuster Viento a Favor (2007), the old-fashioned boleros performed on De Noche: Clásicos a Mi Manera are a modest effort by Alejandro Fernández. The Mexican superstar tends to alternate his contemporary pop albums with less ambitious releases, generally in-concert recordings or collections of traditional material, so a modest effort such as De Noche shouldn't surprise his legion of devoted fans who are no doubt accustomed to his steady if varied output. Directed musically by Pedro Ramírez, the longtime producer of both Alejandro and his father, Vicente Fernández, De Noche is a refreshing change of pace for El Potrillo, whose contemporary pop efforts are at times overwrought. In contrast, De Noche is breezy. It's so breezy, in fact, its 16 tracks seem to fly by, wrapping up all too soon with a playful version of Puerto Rican composer Rafael Hernández's "Perfume de Gardenias." The arrangements of Ramírez are on grand showcase throughout the hourlong De Noche, gracing the album with a consistent style and mood that feels timeless. The vocals of Fernández are also showcased impressively throughout, as he instills this collection of old-fashioned boleros with a modern touch and youthful vigor. The songs are indeed vintage, predating not only Alejandro but sometimes even his 68-year-old father. The most notable songwriters represented on De Noche are Armando Manzanero, one of the leading Mexican composers of the postwar era; Roberto Cantoral, a composer of numerous Latin standards as well as a member of Los Tres Caballeros; and Agustín Lara, arguably the leading Mexican composer of the prewar era. Each of these three composers is represented by a pair of songs, all of them album highlights: Manzanero's "No" and "Contigo Aprendí," Cantoral's "El Reloj" and "Regálame Esta Noche," and Lara's "Piensa en Mí" and "Noche de Ronda." Other standouts include Julio Iglesias' "Abrázame" and Carlos Gardel's "Un Día Que Me Quieras." With such classic material, plus the musical direction of Ramírez and an impassioned performance by Fernández, there's a lot to like about De Noche. In particular, it's nice to think that legendary Mexican composers such as Manzanero, Cantoral, and Lara (not to mention more obscure composers featured here such as Luis Demetrio, Cuates Castilla, and Graciela Olmos) might be rediscovered by the younger generation of music listeners drawn to Fernández as opposed to more elderly singers such as his father or Javier Solís, who draw a more gray-haired demographic. If there's a problem with De Noche, however, it's that about a third of these songs were performed previously on past albums by Fernández: "Abrázame" on Muy Dentro de Mi Corazón (1997), "No" on En Vivo: Juntos por Ultima Vez (2003), "Nadie Simplemente Nadie" on Mi Verdad (1999), "Contigo Aprendí" on Piel de Nina (1993), and "A Pesar de Todo" on Grandes Exitos a la Manera de Alejandro Fernandez (1994). Great songs all of them, yet couldn't Fernández have picked some others he hadn't already recorded? ~ Jason Birchmeier, All Music Guide
What The Critics Say
Viento a Favor, the first studio album by Alejandro Fernández in three years, is in several ways a continuation of the modern Latin pop style showcased on his previous effort, A Corazón Abierto (2004). Though producer/songwriter Kike Santander is nowhere to be found on Viento a Favor, his co-producer on A Corazón Abierto, Aureo Baqueiro, is once again at the helm. Not only does he produce the album, giving it a modern touch that is both vibrant and dynamic; he also earns a couple songwriting credits. Also collaborating with Fernández once again are songwriters Leonel García (of the Latin pop duo Sin Bandera), Gian Marco, and Jaime Flores; each was responsible for one of the three standout hits on A Corazón Abierto: "Me Dediqué a Perderte" (García), "Canta Corazón" (Marco), and "Qué Lástima" (Flores). Singer/songwriter Reyli Barba (aka Reyli, formerly of the band Elefante) also collaborates with Fernández again, contributing two songs this time, including "Amor Gitano," a duet with Beyoncé co-written with Flores. If that weren't enough production and songwriting talent on hand, Fernández also recruited the songwriting abilities of García's groupmate in Sin Bandera, Noel Schajris (who contributed the song "Solitario y Solo"), and up-and-coming Columbian singer/songwriter Fonseca ("Eres"). So, like its predecessor, Viento a Favor is studded with some of the best Latin pop production and songwriting talent of its time. This is most evident on the album-opening lead single, "Te Voy a Perder," an emotionally moving break-up song, as well as the follow-up single, "No Se Me Hace Fácil," another emotional song about love gone bad, this one decked out in multi-tracked vocals, soaring strings, hard-hitting drums, and even an electric guitar solo toward the end of the song. As for Fernández himself, he sounds engaged throughout Viento a Favor, putting his heart into the songs and singing with true emotion. If sometimes he sounds like one of the numerous hired hands involved with the making of an album this extravagant, that's simply the consequence of crafting a blockbuster pop album such as this. Those who prefer the more stripped-down, intimate ranchera efforts of Fernández such as Niña Amada Mía (2003) may be disappointed with the level of popcraft showcased throughout Viento a Favor, which, like A Corazón Abierto before it, is intended for a mainstream audience. But for those who enjoy Fernández's mainstream efforts, there's plenty to enjoy here on this well-crafted album, surely one of his best pop efforts to date. ~ Jason Birchmeier, All Music Guide
'Mexico-Madrid: En Directo y Sin Escalas'
Release Date 10/25/2005
Tracks 12
Label Sony International
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'A Corazon Abierto'
Release Date 9/7/2004
Tracks 16
Label Sony International
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What The Critics Say
On A Corazón Abierto Mexican superstar Alejandro Fernández returned to Latin pop music for the first time in four years. Despite several album releases in the meantime, including Orígenes (2001), Un Canto de México (2002), Niña Amada Mía (2003), En Vivo: Juntos por Ultima Vez (2003), and Zapata: El Sueño del Héroe (2004), Fernández chose with each to focus on traditional Mexican music, particularly the ranchera style with which he had begun his career. Prior to A Corazón Abierto, the last pop album by Fernández was Entre Tus Brazos (2000), a chart-topping collaboration with producer/songwriters Emilio Estefan, Jr., and Kike Santander, who three years earlier had helmed his mainstream breakthrough, Me Estoy Enamorando (1997), a blockbuster pop-crossover effort that spawned four Billboard chart-topping hit singles. Consequently, the release of A Corazón Abierto was something of an event, a much-hyped return to pop by Fernández that was either long awaited (by those who enjoy his pop efforts) or unwelcomed (by those who would prefer that he remain focused on traditional Mexican music). Regardless of your preference, there's no question that A Corazón Abierto is exceptionally well crafted and graced with numerous first-rate songs. While Estefan is a no-show this time around, Santander plays a major role in the outcome of A Corazón Abierto. Not only does he produce the album alongside Aureo Baqueiro; he also is credited with writing five of the 12 songs. The production of Santander is key to the success of A Corazón Abierto. Glossy and multi-layered, his production work is broadly appealing and well suited to the pop-crossover market, yet at the same time, it remains firmly rooted in ranchera and other regional Mexican styles long associated with Fernández and his father, Vincente Fernández. Another key to the success of A Corazón Abierto is the stable of songwriting talent on hand. In addition to Santander, the album boasts the songwriting of Leonel García (of the Latin pop duo Sin Bandera), Gian Marco, Jaime Flores, and Reyli Barba (aka Reyli), each among the best Latin pop songwriters of his day. The result is a batch of well-crafted songs, particularly the hit singles "Me Dediqué a Perderte," "Canta Corazón," "Qué Voy a Hacer con Mi Amor," and "Qué Lástima." If Fernández sounds less in command of the music, that's simply the nature of a blockbuster pop album such as this, where the producers and songwriters are arguably as key to the success of the album as the vocalist. Relative to his previous pop albums, though, Fernández sounds more at ease on A Corazón Abierto, as if he's truly enjoying himself and singing from the heart. That he sounds more at home makes A Corazón Abierto perhaps his best pop album to date. Granted, it's not a monumental release the way Me Estoy Enamorando was back in 1997, breaking Fernández into the Latin pop mainstream as it did and establishing him as a crossover star in the process. But it's arguably a better album overall, in no small part because it's more respectful of his roots, and was well worth the wait for fans of Fernández the hitmaker. ~ Jason Birchmeier, All Music Guide
'100 Años de Música Mexicana en Vivo'
Release Date 6/1/2004
Tracks 10
Label Vene
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'Nina, Amada Mia'
Release Date 3/11/2003
Tracks 12
Label Sony International
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'100 Anos de Musica Mexicana'
Release Date 11/5/2002
Tracks 20
Label Sony International
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What The Critics Say
It's hard to fault Alejandro Fernandez for his aim on this project -- to present some of the great Mexican songs of the last century. And to do it on a live recording, rather than in the safety of the studio, is definitely ambitious. There's little argument with the song selection, with focuses on Agustin Lara. José Alfredo Jiménez, Juan Gabriel, and songs associated with his father, the great Vicente Fernandez. So far, so good. The problem comes in the execution. This is music with very strong roots that ends up smothered in old-style Hollywood strings, making the concert the equivalent of a giant supper club. Even the classic "Besame Mucho" gets slathered in a warmed-over Hollandaise of recycled cabaret stylings. There's improvement on the second CD, when trumpets and guitar form the main backing to Jiménez's "Ella," and the strings manage to retain some Mexican flavor; "Cuando El Destino" could be from nowhere but South of the Border. However, by "Amaneci Entre Tus Brazos," we're firmly back in the middle of the road. Luckily, it's just a detour on the road back to Mexico, and the CD continues to show some spirit, although the choir on "Serenata Huasteca" might be overkill. Fernandez is reverent with a medley of his father's work -- and considering he invites direct comparison, in spite of the fact he doesn't have a voice as big as his dad's, more power to him -- and he brings out the emotion of Juan Gabriel's songs. All in all, a mixed bag -- or two mixed bags, really. Just make sure you discard the first one. ~ Chris Nickson, All Music Guide
What The Critics Say
Owner of one of the most sensuous voices in the Latin music scene, Alejandro Fernández has kept his father, Vicente Fernández's heritage, getting involved in different popular rhythms as well. Produced by Kiko Campos and Pedro Ramírez, Orígenes was entirely recorded in Mexico, comprising romantic ballads and mid-tempo songs such as the Caribbean-flavored "Tu Desvario," the South American Andean folk-inspired "Pajaro Perdido," and the album's first single, "Tantita Pena." After a few blank tracks following "Tu Regresaras," Orígenes has a hidden version of the classic "Las Mañanitas." ~ Drago Bonacich, All Music Guide
'Entre Tus Brazos'
Release Date 4/25/2000
Tracks 13
Label Sony International
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What The Critics Say
After re-examining his ranchera roots on Mi Verdad, Alejandro Fernandez returned to concentrating on the romantic ballad style for which he's best known on Entre Tus Brazos. Fernandez wraps his rich baritone around the ballads and rancheras here, mixing pop savvy with mariachi-flavored instrumentation. In terms of his standing in contemporary Mexican music, fans believe Fernandez deserves to be placed in the upper echelon alongside Luis Miguel, and the performances here only strengthen that case. ~ Steve Huey, All Music Guide
'Mi Verdad'
Release Date 5/11/1999
Tracks 13
Label Sony International
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What The Critics Say
Although it doesn't have any surprises, Mi Verdad balances love ballads with danceable mariachis and rancheras, resulting in a solid, enjoyable record that should please Alejandro Fernandez's fans. ~ Terry Jenkins, All Music Guide
