Enrique Iglesias Albums (9)
What The Critics Say
Insomniacs, of course, can't sleep, so they stay up all night -- and who better to provide a soundtrack to sleepless nights than Enrique Iglesias, the heir to the Latin loverman throne that his father Julio claimed in the '80s. Unlike his dad, Enrique became a global superstar at a relatively young age, and he also came of age in an era that's decidedly flashier than Julio's, so even if he shared a taste for corny romantic ballads with his father, he had a far hipper persona than his dad, and nowhere is that more evident than on 2007's Insomniac, his fourth English-language album and first to really be pushed to a younger audience. Sure, there's a surplus of slow-burning romantic ballads, but Insomniac also has a stylish shimmer designed for clubs and even those slow tunes can get down and dirty, as on "On Top of You," which is every bit the sub-R. Kelly bump-n-grind the title indicates. But Enrique is too much of a crossover guy to spend the entire album doing the nasty -- he's sharp enough to spend just enough time to give the impression that Insomniac leans toward that sleek, sexy club sound, but loads up the rest of the record with songs that can fit into smooth pop radio stations the world over. Sometimes, he pushes too hard in either direction -- complete with a Lil Wayne cameo, the dirty-dancing anthem "Push" (as in "push push/back upon it/don't stop until the morning") tries way too hard and has the opposite effect as intended, while some ballads drown in syrup -- but sometimes Iglesias strikes the right balance between crossover pop and stylish retro-new wave production, as on "Stay in Tonight," a tune that's sleek and propulsive but not edgy, a tune that could have fit into adult contemporary pop radio at any time since the late '80s, and Sean Garrett's production on "Do You Know? (The Ping Pong Song)" is the inverse, sounding tailor-made for the moment of its release. Both are similar in one regard: they're the kind of song that works for Enrique because it glides by on its sound and doesn't rely on him to do the heavy lifting, either as a singer or a seducer. But what works on this slick, snazzy makeover is what always works for him: the ballads and the middle-of-the-road pop tunes. They may not be hip, but they're part of the family tradition, and when he sticks to them, he's as good as ever. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
While on his Spanish-language albums Enrique Iglesias allows himself to focus on ballad material, his English albums must please a wider audience -- scattered Latin pop fans, straight pop listeners, Wal-Mart shoppers, and of course, his passel of female worshipers. 7 accomplishes all that and more, positioning Iglesias as not only a drop-dead pop crooner who whispers everything middle-aged housewives want to hear, but also as a hip, knowing postmodern vocalist closer to Kylie Minogue than Ricky Martin. Iglesias can please several crowds at once because, first of all, they're not that different and, second, his production team deftly arranges the hipness while he can remain the earnest balladeer. Alex Ander and Rob Davis, one of two main teams working on the record, quote freely but well: "California Callin'" is "The Boys of Summer" by way of New Order, while "The Way You Touch Me" and "Break Me Shake Me" are very good Fleetwood Mac rewrites. Given arrangements with teeth, Iglesias responds with a set of solid performances, ones that suit his audience but also offer something to listeners who aren't immediately captivated by the faraway look in his eyes on the cover. Pardon the occasional pandering lyric, as on "Free" ("...free to do the dirty things you like"), as well as the occasional awkward tenderness ("I was alone, grasping for my sanity/Your beauty came, free of vanity/Opened my mind, gave me your anatomy"), or that Latin cry he occasionally inserts into his voice; 7 is a solid pop album from an artist with someone to seduce, if not something to say. ~ John Bush, All Music Guide
What The Critics Say
Enrique Iglesias' first Spanish-language album in several years doesn't depart from the usual approach for Latin audiences: emotion-drenched, ballad-driven fare that harks back to American pop formats of the '80s. It is quite a departure from the previous year's Escape, however, which flattered English listeners (and, largely, the American audience) with rangy material and a roster of studio-driven arrangements. Quizás has all the hallmarks of Latin fare; only two songs ("Mamacita," "Pienso en Tí") are even close to up-tempo songs, and the rest have similar arrangements, synthetic production, and a similarly inconsolable Iglesias pouring his heart out, whether the title is "Tres Palabras" or "La Chica de Ayer." ~ John Bush, All Music Guide
What The Critics Say
If money is the great influence, then call Enrique Iglesias the most influential Latin music artist in the world, having sold a record-breaking number of albums over a stretch of several years. With Escape, his sophomore English-language release, he brings the whole Latin Invasion to a screeching halt, or "maybe" a gentle halt, making for an opportune screeching question: Have Latins traded in their musical roots for the American musical dream? When Latin-flavored music came flooding into the United States in the late '90s, it sounded a lot more, well, "Latin" than it sounds these days. Repetition and popularity certainly have something to do with it, and keep in mind that the likes of Ricky Martin, Christina Aguilera, and Jennifer Lopez have had the benefit of hits from American pop writer heavyweights like Diane Warren, Carl Sturken, and Evan Rogers. Here, however, is an album executive produced by and with every song written (with collaborators) by Iglesias. The musical result is not exactly consecrated to his native country of Spain, nor his Miami upbringing. Touring with musicians from the bands of Billy Joel, Elton John, and Bruce Springsteen might have shaken loose the rock soul inside of him. Escape is a pop/rock album through and through, and it is also reminiscent of classic pop albums of the 1980s -- short (ten original songs), sweet, and wildly catchy. It is not without Spanish flavor, if only for Iglesias' pronunciations and three added Spanish-version tracks; it just has other priorities in mind. Though Iglesias' songs always turn up as remixes and at dance clubs, and though he could just as easily thicken the sound effects to overtake the basic melodies, he remains reserved in sound and lyric. On "One Night Stand," he makes reference to intimate belongings left behind by his "girlfriend." There is such a childlike vulnerability in his voice that listeners get the impression this scenario may not have ever happened to him. While Escape is not excessively stylized, it is meticulously styled in the way great albums are, where surprises are hidden in every corner. The surprises here include hushed female vocals that glide into the choruses (most notably on "Don't Turn Off the Lights") and the rippling echoes and vocal distortions that begin on the title track and run like a theme throughout the rest of the album. There are also the natural gifts that he brings, his singing for one, which is both trembling and direct -- he creates anticipation for the moments when he will break the latter syllables of a word into a lilting high note or an unyielding holler. No one will ever blame Iglesias for lack of emotion and, if his music inspires heart tugging, his voice -- always in control even when it sounds on the verge of tears -- is the culprit. He may milk it excessively on a drippy ballad like "Love to See You Cry," but it is perfect for the beautiful "Hero." Elsewhere, driven by guitar strumming and drum rattling, "Maybe" carries the essence of the whole album. The simplicity of the lyrics "Maybe you'll say that you want me, maybe you'll say that you won't" will not earn high points with art appraisers, but the day pop music demands intellect over emotion is the day love songs serve no purpose. Some people have questioned how "Hero," a song about longing for romantic love, was accepted as an anthem for the World Trade Center tragedy. Despite lyrics like "Would you tremble if I touch your lips," it makes sense. At the time of its release, in the wake of war and broken hearts, Iglesias' new album, and indeed the song "Hero," are a reminder that love, no matter how seemingly out of reach, is the conquering force. Maybe the Latin Invasion has ended. Maybe Latin musical roots are now growing in American listeners in the same way American rock has been ingrained into other cultures for years. And maybe that is why Escape is not just an English-language album by a Spanish artist, it is a universal album about love. Love is a greater influence than money and, as Iglesias sings, "In the end, our love mattered." ~ Peter Fawthrop, All Music Guide
What The Critics Say
Enrique Iglesias' Interscope debut Enrique was designed to be a massive crossover success, breaking him to the pop audience that devoured Ricky Martin and "Livin' la Vida Loca." So, the Latin roots were pushed to the background and the record leaned heavily on mainstream dance-pop and adult contemporary ballads. Iglesias and Andres Restrepo served as executive producers, overseeing a number of producers whose work all sounds fairly cohesive. That may be because each specialized in a certain area: dancefloor numbers or slow-burners. It's all impeccably crafted and appealing, the way a big-budget record like this should be. Song wise, there are a couple of stretches that are a little rote but not unappealing, and for the most part, the tunes are endearing; as a matter of fact, the first breakthrough hit, "Bailamos," pales in comparison with much of the first half of the album, including "Rhythm Divine," "I Have Always Loved You," and "Oyeme." If Enrique doesn't pack a knock-out punch, it's because it wasn't structured that way. It was made to be a sturdy and satisfying mainstream crossover effort, and that's exactly what it is. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
Enrique Iglesias' Vivir is a wonderful collection of contemporary Latin pop, dance-pop and adult love ballads, all graced with his rich, alluring vocals. ~ Terry Jenkins, All Music Guide
'Master Pistas'
Release Date 1/21/1997
Tracks 10
Label Spartacus Discos
See Album Tracklist and Review
