Juan Luis Guerra Albums (13)
What The Critics Say
With his typical style and charm, Juan Luis Guerra delivers an intoxicating mix of merengue, bachata and salsa so expertly written and performed as to become an old favorite after the very first listen. Most comparable to 1998's Ni Es Lo Mismo Ni Es Igual for its amazing variety, La Llave de Mi Corazon surprises listeners with the unique texture and feel of each track, with evocative melodies and poetic lyrics that invite a closer look. Though the tropical music world (bachata and merengue in particular) is known for releasing records with totally homogenous repertoire -- most tracks so similar that the differences from song to song are semantic -- such is never the case with Guerra. From rollicking merengues like "Amores" to the New York salsa styled "Travesia" to the tender balladry of "Solo Tengo Ojos Para Ti," Guerra takes to each new musical terrain as if it were his native soil. Sonically, Guerra and 4.40 have found the balance between the heavily synthesized and the completely acoustic, leaning towards the raw and natural. Though the electronic sounds of days gone by have been fun, the woody warmth of Llave de Mi Corazon sounds mature and strong, serious. Though there's plenty of pop luster, there are no electronic techniques used that will date this album for future listeners. Not surprisingly, this record went straight to the top of Billboard's Latin Tropical Albums Charts, and even took a place in the Billboard Top 100. Llave de Mi Corazon may be the record that marks Guerra's ascension from genre heavy hitter to living legend. This CD was nominated for a Grammy award in 2007 for Best Tropical Latin Album. ~ Evan C. Gutierrez, All Music Guide
What The Critics Say
When Juan Luis Guerra took the stage at the history-making first ever Spanish-language presentation of the annual Latin Grammy Awards in November 2005, it marked the Dominican superstar's joyful return to the public eye after more than five years away from the recording studio. That night Guerra and his band, 4.40, won Best Tropical Song with "Avispas" -- no surprise for the man who once revolutionized the genre by bringing his elite training in jazz performance at Boston's Berklee School of Music to bear upon the traditional rhythms of home -- and a much less characteristic Best Christian Album award for Para Ti. While the news of Guerra's conversion to Christianity in the late '90s may have reached fewer music fans in the United States than had similar changes of heart by Bob Dylan or Cat Stevens, many nonetheless feared the worst -- that the man once hailed as the (secular) prophet of Dominican music would give it all up for God. But Para Ti is bound to make all but the most stalwartly areligious feel a whole lot better. Aside from a couple of isolated missteps involving a culturally displaced gospel choir and what sounds suspiciously like a wind machine, these are great songs, as danceable as they are devotional. Noteworthy among them are "Las Avispas" -- guaranteed to get you moving with a delightful bit of onomatopoeia and a vision of divine justice as a swarm of wasps -- and the rafter-shaking "Los Dinteles"; but even slow, straightforward ballads like "Tan Sólo He Venido" and "Extiende Tu Mano" are interesting in the way that they reflect Guerra's roots in the folky nueva trova movement of the '60s and '70s. ~ Jenny Gage, All Music Guide
'Ni Es Lo Mismo Ni Es Igual'
Release Date 12/15/1998
Tracks 11
Label Karen
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What The Critics Say
This three-time Grammy-winning performance by the daddy of bachata and modern merengue is a must-listen for not only the tropical music fans of the world, but any music lover with a pulse. Juan Luis Guerra, often credited with bringing his nation's music to a global audience, has created yet another landmark album for lovers of Dominican music to relish. Be it with humorous and rollicking merengues like "Mi PC," the steamy and simmering salsa "Quisiera," or the irresistibly singable "El Niagra en Bicicleta" (which won Best Tropical Song at the Latin Grammys in 2000), Guerra offers delightful surprise in song after song. His ballads "Testimonio" or "Amapola" prove as tender and poignantly written as always. Grammy winner of Best Merengue Performance, this album sets new standards of excellence for both writing and ensemble performance for generations of Merengueros to come. Sonically, Ni Es Lo Mismo Ni Es Igual proves a lush and brilliant success. Having also won Best Engineered Album from the Latin Grammys in 2000 is testament to this rich, crystal-clear studio masterpiece. Not only a brilliant songwriter but also a master arranger, Guerra is responsible for every fiery horn line and rousing coro. For both the dedicated merengue patriot and those looking for their musical maiden voyage to the Republica Dominicana, Ni Es Lo Mismo Ni Es Igual is a must-own. ~ Evan C. Gutierrez, All Music Guide
What The Critics Say
Features soukous-influenced merengue (this is something brand new!) and Fransisco Ulloa's group backing Guerra up on his unique interpretations of accordion-based típico merengue. ~ John Storm Roberts, All Music Guide
What The Critics Say
Guerra is the king of bachata romantica, a smoother, more pan-American merengue which owes much to the new lush salsa-romantica style. Incorporating large horn sections and ballad-style singing and chorus into a dance music often leads to disaster, but Guerra's tight control over the whole recording process (he produced, arranged and directed recording in his own studio) gives the songs a coherence missing from many pop recordings. It's very now and quite pretty. ~ Carl Hoyt, All Music Guide
'Mientras Más Lo Pienso... Tú'
Release Date 12/17/1991
Tracks 8
Label RCA International
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'Ojalá Que Llueva Café'
Release Date 7/1/1991
Tracks 8
Label RCA International
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What The Critics Say
Where Arieto surprised with its ambition, both in its political content and in its lyrical romanticism, this release retreats to a predictable and pleasant competency. The rhythm and horn sections percolate along, keeping everything upbeat, and the leader's voice sounds confident. Why otherwise sane record producers periodically decide to use childrens' choruses remains a mystery. The title song would have been the epitome of well-crafted Latin pop without this lapse toward the end. ~ Janet Rosen, All Music Guide
