Rubén Blades Albums (24)
What The Critics Say
Rubén Blades had little fame or name recognition when he first arrived in New York in the late '60s, but by 1970 he had gained a release under his own name on the highly respected Alegre label. The reasons for the confidence placed in him are evident from that LP, De Panama a New York, recorded with the orchestra of Pete "Boogaloo" Rodriguez. Although it would be four years before Blades earned another one, he made this one count, writing all but one of the songs and proving that he had the musical and vocal chops to become a star (if not in 1970, then later). At least two of the Rubén Blades skills later to become hallmarks in the salsa repertoire are here: the strong vocals that reach (and sustain) soaring heights, plus the compelling songwriting, with folk tales turned into bewitching story songs. Rodriguez's orchestra is a great complement to Blades' singing, providing not only instrumental power where needed but also subtlety on the openers to Blades' folk tales. After De Panama a New York fizzled as a commercial entity, Blades left New York for several years, but Latin fans who recognized quality marked him as someone to watch. ~ John Bush, All Music Guide
'Nothing But the Truth'
Release Date 10/30/2007
Tracks 11
Label Wounded Bird
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What The Critics Say
The first English-language album in the long and illustrious career of Panamanian salsa superstar Rubén Blades, Nothing But the Truth is a strong effort that, if less than great, is fascinating on several counts. The novelty of hearing Blades sing in English is certainly a big draw. He's a fine vocalist and he has the luxury of working with three of the English language's most eminent tunesmiths: Lou Reed (on the songs "Hopes on Hold," "Letters to the Vatican," and "The Calm Before the Storm"), Elvis Costello ("The Miranda Syndrome" and "Shamed into Love"), and Sting ("I Can't Say"). The one drawback to Blades' singing in English is that it lacks the fluidity of his native language, as each word is enunciated clearly yet a bit too slowly, as if he were reading the lyrics as he sang them. It helps, however, that the songs are topically engaging and generally in tune with their time (El Salvador, AIDS, Oliver North), so the unnaturally slow enunciation is a mixed blessing. Also a mixed blessing is the thoroughly contemporary, synth-heavy production, which screams out "1988!" As for the music, it varies from song to song and, overall, would best be tagged as late-'80s MOR with a Latin lilt. What's perhaps most surprising is the lack of salsa here -- "The Miranda Syndrome" and "Chameleons" are as close as this album comes to salsa, and even they're far removed -- and the abundance of foregrounded electric guitars (musically, "The Calm Before the Storm" is all blaring electric guitar and larger-than-life drums). Such oddities are a significant part of Nothing But the Truth's appeal, for better and for worse. ~ Jason Birchmeier, All Music Guide
'O Melhor, Vol. 2'
Release Date 11/9/2004
Tracks 14
Label Roadrunner International
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'O Melhor, Vol. 1'
Release Date 11/9/2004
Tracks 13
Label Roadrunner International
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'Una Década'
Release Date 4/1/2003
Tracks 15
Label Sony International
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What The Critics Say
If you've never seen a group of salsa musicians halt mid-conversation, mention Rubén Blades. His name is sure to be followed by a pause, wide eyes, and nods of recognition and respect. To try and compile work that spans a decade of any artist as widely respected and revered as Sr. Blades would prove daunting, but Una Década manages to meet and exceed expectation. Beginning with "Caminando" and "Amor y Control," tunes so melodically and rhythmically infectious that even non-Spanish speakers will find themselves singing the coro, it's easy to see how Rubén became a cornerstone of the New York salsa sound. As Blades' career progressed, so did his interest in a more diverse palette of Latin American musical styles, as shown by the second half of this record. With a slinky and evocative cumbia, like "Eres Mi Canción," to a dark and profound rhumba, "Estampa," the common thread throughout is the brilliant musicianship and lyrical excellence that has always set Blades apart from his fellow salseros. The story that you hear from this record is Blades' journey from a fiery, visceral young talent to a sophisticated and masterful musician's musician. From the incisive political nature of his writing to the crystalline arrangements and production, this is one decade in the history of salsa that ensures Blades' place for decades to come. ~ Evan C. Gutierrez, All Music Guide
What The Critics Say
All credit goes to Rubén Blades. He sees music as a global thing, and working from his established base of salsa, he's made some very credible connections between musics of the world, never more so than on Mundo, where Latin rhythms meet bagpipes and didgeridoos, Africa comes to Cuba, and the lilt of strings can develop into a percussion fest. In many ways, his singing -- although it's the glue that holds everything together -- is the least-important element; the joy is in the sheer diversity, as on "Primogenio," where the pipes work beautifully, or the most unusual version of "Danny Boy" ever recorded. But it's also there on "El Capitan y la Sirena," where the earthy tones of a didgeridoo underpin Latin accordion and rhythms, and in the airy, jazzy "Consideracion." Blades has always been adventurous, a real artist, but this is mature and considered, never brash or in-your-face. It makes sense and works, even when, on paper, it probably shouldn't. It's one world, and in his music Blades is attempting to bring it together. ~ Chris Nickson, All Music Guide
'Salsa Caliente de Nu York'
Release Date 4/23/2002
Tracks 14
Label Nascente
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What The Critics Say
For so many Rubén Blades fans, primarily familiar with his later and more exploratory work, this album offers up the opportunity to experience in depth the "straight down the middle" salsa that made him a household name. With selections spanning from 1970 to 1987, this disc captures New York salsa in full bloom, and shows Blades to be one of her crown princes. Unfortunately, the disc lacks consistency. The decision to include both mega-hits like "Plastico" and "Buscando Guyaba" with relatively unknown gems like "Vale Mas un Guaguanco" or "No Hay Chance" makes this collection a less-than-perfect fit for both the unfamiliar, looking for an introduction to this salsa great, and to the dedicated fan, in search of the lesser-known works. The beauty of this collection is the opportunity to hear Rubén not only as a bandleader, but also the alchemy in his collaborations with Pete "Boogaloo" Rodriguez, Ray Barretto, Willie Colón, Larry Harlow, and other great bandleaders of the day. In his climb to a strong and consistent career as leader, Blades lent his soaring, crystal-clear voice to many of the scene's heavy hitters. The sheer "dance-ability" of the material served up on Salsa Caliente de Nu York redeems this disc. Any hour and a half spent with this incendiary salsero is well spent. ~ Evan C. Gutierrez, All Music Guide
'Sembra Y Otros Favoritos Salsa Para Siempre'
Release Date 3/27/2001
Tracks 12
Label Musica Latina
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'From Panama to New York'
Release Date 10/31/2000
Tracks 10
Label Fania
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What The Critics Say
Afro-Cuban purists would have loved it if Rubén Blades had stuck with the type of straight-ahead salsa that put him on the map. But in the '80s, Blades felt the need to branch out and start experimenting with other Latin styles -- a move that disappointed salsa purists while earning him a reputation as one of Latin music's major risk-takers. Even though he was still considered a salsa vocalist in the late '90s, 1999's Tiempos is far from a pure salsa album. Rather, it's an adventurous, probing Latin pop effort that incorporates salsa along with Brazilian, Spanish, and Central American elements. On Tiempos, Blades is joined by the Costa Rican band Editus, whose members fit in perfectly and help the Panamanian singer provide an unpredictable, eclectic album. And Tiempos is as compelling lyrically as it is musically. Often sociopolitical, Blades' lyrics reflect on such topics as poverty in Latin America and corruption on the part of some governments in that part of the world. Though much of the album is melancholy, it isn't without optimism or hope for the future -- Blades sees a lot of suffering and hardship in Latin America, but he also has hopes for a brighter tomorrow. Of course, those who don't speak Spanish won't understand the lyrics; they'll have to settle for savoring the album's musical richness. ~ Alex Henderson, All Music Guide
