Luis Miguel Albums (30)
What The Critics Say
It's a wonder what took Luis Miguel so long to enlist Latin maestro Manuel Alejandro to write and produce one of his projects. As one of the most prolific and respected songwriters in Latin pop -- his clientele is a who's who that includes Julio Iglesias, Plácido Domingo, Raphael, and José José, to name but a few -- the tunesmith's timeless, smooth compositions are a natural fit for the crooner. But Cómplices is more than just their first all-out collaboration: it's the first time Miguel ever hands over the reins of a recording entirely to a third party. He's worked with his share of legends, but never has El Sol De México, no matter how legendary the contributor, had one person handle everything -- from songwriting all the way to arrangements and production. Alejandro's eye for detail as a composer is exquisite, anyway, so the relinquishment doesn't result in a big sonic departure for the vocalist, even if the songs do follow a dark thematic line -- in terms of love songs, at least, this is perhaps the most somber, hopeless set of compositions Miguel has ever sung. For someone who has made a name for himself singing ballads and Latin standards -- his Romances saga attests that much -- the brand of love Cómplices champions is the kind that can be sensual and torrid one moment, only to cheat and break hearts the next. Poetically, the material is flawless, even beautiful, but a deeper analysis sheds light on a far from perfect version of love. This love fakes kisses ("Bravo, Amor, Bravo"), fears commitment ("De Nuevo El Paraíso"), steals partners ("Se Amaban"), and is on the verge of falling apart ("Dicen") -- far from the kind of record you put on as you wine and dine a romantic interest. That's not to say Cómplices isn't a romantic album. In spots, it certainly is, but it doesn't go beyond mere romance -- the one-night stand, an illicit affair, sweet nothings whispered in the ear. Cómplices paints such a bleak, depressing picture of what love ought to be, it's easily the most hopelessly romantic disc of Miguel's career -- pristinely executed by Latin pop standards, yet ironic coming from the biggest loverman in all of Latin music. Could this be the musical companion to the singer's sensational tabloid persona? You be the judge. ~ Andree Farias, All Music Guide
What The Critics Say
Luis Miguel can do whatever he wants. With a catalog of hits like his, a string of platinum records and an unstoppable Billboard presence, anything with Miguel's name on it is guaranteed a certain level of success. Such is certainly the case with his 2006 release Navidades. This collection of yuletide favorites landed the number one spot in both the Latin Pop and Top Latin Albums category on Billboard charts. It was unquestionably the most popular Spanish language Christmas record of the year, and it's presence will probably linger for years to come. Knowing that Miguel can do whatever he wants without fearing failure or criticism, the important question that remains for Navidades is; Why? Granted, Luis Miguel has always lingered in the borderlands that separate Latin and Pop, favoring the sweet over the salty. Navidades does not linger, but crosses over completely, or perhaps more accurately, goes off the deep end. Artists like Harry Connick Jr. or Michael Buble can do a throwback big band record successfully, because they're committed to it, it's what they do. Miguel's record on the other hand, while technically perfect, with razor sharp arrangements and production, has not a drop of class or elegance that comes with such commitment. The repertoire choices are more silly than playful and his performances hit overkill by the first chorus on virtually every track. Miguel in a cheap Santa suit brandishing a glass of whiskey and a cigarette between his lips may be more truthful advertising than the candlelight photo that actually adorns the cover. What made Luis Miguel fancy himself a jazz vocalist? The world may never know. Luckily for him, his stylistic insensitivity will probably go completely unnoticed, as there's an established history of bad Christmas records that sell incredibly well. ~ Evan C. Gutierrez, All Music Guide
'México en la Piel: Edicion Diamante'
Release Date 9/6/2005
Tracks 20
Label WEA International
See Album Tracklist and Review
'Desde un Principio: Directo Al Corazon'
Release Date 4/5/2005
Tracks 15
Label EMI International
See Album Tracklist and Review
'Perfil'
Release Date 1/1/2005
Tracks 14
Label Globo/Warner Music Brasil
See Album Tracklist and Review
'México en la Piel'
Release Date 1/1/2004
Tracks 13
Label Wea Affiliate
See Album Tracklist and Review
What The Critics Say
Luis Miguel has built a sizable catalog since the early '90s, providing a variety of Latin pop albums that have ranged from excellent to merely decent. The Mexican superstar has recorded his share of gems, although at times, he has played it safe and coasted on his considerable talent. But there is no coasting on México el la Piel (Mexico in the Flesh), which is undeniably one of the finest, most enriching albums of his career. Unlike much of his catalog, this 2004 release isn't strictly an album of Latin pop; Miguel favors a more classically Mexican approach this time, embracing well-known Mexican standards and celebrating the country's rich mariachi and ranchera heritage. Miguel, in fact, is joined by none other than Mariachi Vargas de Tecalitlán, a Mexican institution that goes all the way back to the late 1890s. Over the years, the mariachi powerhouse has had numerous lineup changes -- and all of the original members, of course, have long since passed away. But then, Mariachi Vargas at this point is really about a sound, a culture, and a tradition rather than individual members; they have long functioned as Mexico's finest repertory band, and the 2004 edition of Mariachi Vargas is a definite asset for Miguel on Mexican standards like José Alfredo Jiménez's "Un Mundo Raro," Federico Méndez's "De Que Manera Te Olvido," and Alvaro Carrillo's "Luz de Luna." Miguel really soars on those gems as well as on "Paloma Querida" (another Jiménez classic) and a stunning performance of Consuelo Velásquez's "Que Seas Feliz" that has been used as the theme for Apuesta por un Amor, the telenovela (Latin soap opera) that replaced the popular Rubí on the Univision network after it concluded. Among non-Latino audiences, "Que Seas Feliz" isn't as well known as "Besame Mucho." But the song is a longtime favorite in Mexico, and Miguel has no problem doing Velásquez's poignant lyrics justice. Miguel has every reason to be proud of México el la Piel, which is definitely among his most essential releases. ~ Alex Henderson, All Music Guide
