Commercially, a change of direction can be risky business for an artist -- even if the change is not a radical one. In Diana Reyes' case, the change wasn't dramatic; she started out in one area of regional Mexican music (norteño) and switched to another (duranguense). It wasn't like she gave up norteño in order to reinvent herself as a goth-rock, industrial, or death metal artist. Nonetheless, even a minor change of direction is still a change of direction. But thanks to very effective marketing, Reyes' switch to duranguense has paid off commercially for the spirited Mexican vocalist. Reyes continues in a duranguense direction on 2008's Insatisfecha ("Unsatisfied"), which has a fair amount of Latin pop appeal but overall, has a stronger ranchera factor than 2005's La Reina del Pasito Duranguense (an album that did a great deal to make Reyes a major name in duranguense). When Reyes made the transition from norteño to duranguense, her work became more pop-minded and less traditionally ranchera. But Insatisfecha does a fine job of balancing Latin pop and ranchera considerations, always maintaining a duranguense orientation -- and regardless of whether a particular track is more Latin pop or more ranchera, Reyes' originality is a major asset. Reyes may not have the wildly eclectic outlook of los Horóscopos de Durango, but she is always distinctive on Insatisfecha; the minute she opens her mouth on "Tu Nuevo Cariñito" ("Your New Sweetheart"), "Me Estoy Volviendo Loca" ("You're Driving Me Crazy"), "La Lámpara" ("The Lamp") or "Sedúceme" ("Seduce Me"), there is no question that one is listening to a Diana Reyes album. Reyes' switch to el pasito duranguense continues to yield fresh-sounding results on Insatisfecha. ~ Alex Henderson, All Music Guide
Diana Reyes is a rarity -- a female solo artist in the male-dominated duranguense area of regional Mexican music. Reyes isn't the only woman singing duranguense; Armando Terrazas, founder of Chicago's long-running los Horóscopos de Durango, made a daring and commercially successful move when -- after years of overseeing male-oriented lineups -- he decided to put his daughters Vicky and Marisol Terrazas right up front. But it is safe to say that historically, las mujeres (women) have been the exception instead of the rule in durganguense, which receives a very pop-minded treatment from Reyes on La Reina del Pasito Duranguense (The Queen of Duranguense). The Mexican singer, for the most part, doesn't use duranguense for traditionally ranchera purposes on this 2005 release; Reyes caters to those who like their duranguense laced with a big dose of Latin pop. Try to envision a duranguense interpretation of Selena, Ana Bárbara, or Priscila y sus Balas de Plata; that is essentially where Reyes is coming from on hooky, infectious, pop-drenched tracks like "Que Me Ame Mas" ("May He Love Me More"), "Como una Mariposa" ("Like a Butterfly"), "Mentiras" ("Lies"), and "El Me Mintio" ("He Lied to Me"). Some might describe this type of regional Mexican ear candy as a "guilty pleasure," but then, there's no reason to feel guilty about enjoying ear candy as long as it's well done -- and Reyes, like Bárbara, definitely provides above-average ear candy (although unlike Bárbara, she isn't working in the grupero realm). La Reina del Pasito Duranguense isn't as eclectic or far-reaching as albums by los Horóscopos de Durango; nonetheless, this memorable, pleasing disc is well worth obtaining if one is seeking something fresh from duranguense. ~ Alex Henderson, All Music Guide