Bachata Rosa

Last updated

Bachata Rosa
JLG bachata rosa.jpg
Studio album by
Juan Luis Guerra
Released11 December 1990 (1990-12-11)
Recorded
  • 1990
  • 440 Studio (New York, New York)
Studio
  • Audio Proceso (Santo Domingo, Dominican Republic)
  • Estudios EMCA (Santo Domingo)
  • Midilab (Santo Domingo)
Genre
Length42:25
LanguageSpanish
Label Karen
Producer Juan Luis Guerra
Juan Luis Guerra chronology
Ojalá Que Llueva Café
(1989)		Bachata Rosa
(1990)		 Areíto
(1992)
Singles from Bachata Rosa
  1. "Como Abeja al Panal"
    Released: 1989
  2. "La Bilirrubina"
    Released: 1990
  3. "Burbujas de Amor"
    Released: 1990
  4. "A Pedir Su Mano"
    Released: 1990
  5. "Estrellitas y Duendes"
    Released: 1991
  6. "Carta de Amor"
    Released: 1991
  7. "Bachata Rosa"
    Released: 1991

Bachata Rosa (Spanish for Romantic Bachata, translated literally as Pink Bachata) is the fifth studio album by Dominican singer-songwriter Juan Luis Guerra and his group 4.40. It was released on 11 December 1990, by Karen Records. It brought bachata music into the mainstream in the Dominican Republic and gave the genre an international audience. A Portuguese version of the record was released in 1992 under the title Romance Rosa; it was certified gold in Brazil. The album received a Grammy Award for Best Tropical Latin Album and two Lo Nuestro Awards for Tropical Album of the Year and Tropical Group of the Year.

Contents

Seven singles were released from the record, four of which became top-ten hits on the Billboard Hot Latin Songs chart. The album debuted at number one on the Billboard Tropical Albums. It remained the top-selling album on the chart for 24 weeks and was certified platinum (Latin field) in the United States by the Recording Industry Association of America (RIAA). In Spain, the album spent eight weeks at the number one position on the chart. In the Netherlands, the record peaked at number two on the Mega Album Top 100 and was certified gold. Bachata Rosa was praised by critics, who commended Guerra's songwriting and the record's production, citing it as one of his most important works.

Written and produced by Guerra, the record sold over five million copies worldwide as of 1994. The album's commercial success helped to introduce Bachata and Merengue music to the mainstream audiences across Europe and South America. To promote the album, Guerra embarked on the Bachata Rosa World Tour (1991–92), breaking attendance records. Those commercial and critical archivermentes, was noted by US mainstream media such as The New York Times, Rolling Stone, The Village Voice and The Wall Street Journal, becoming the first tropical artist to receive this level of recognition. Bachata Rosa topped the charts in Mexico, Spain, Chile, Argentina, Portugal, Holland and Belgium.

Background

At the time, bachata was defined as music from the rural areas of the Dominican Republic with lyrics considered too crude and vulgar to the public's taste. It was characterized by an acoustic guitar accompanied with bongo drums and maracas. [1] After releasing the album Ojalá Que Llueva Café , Juan Luis Guerra began experimenting with the genre by performing bachata alongside Dominican artist Sonia Silvestre on her album Quiero Andar. The result was an early demo of "Como Abeja al Panal" ("Like a Bee to the Hive"). Silvestre said that Guerra was dismayed when he learned that Silvestre's album Quiero Andar was in bachata; he did not become fully committed to the genre until after "Como abeja al panal" was released as a single where it was a hit in the United States. [1] The song was first released for a Barceló TV commercial. [2]

After "Como Abeja al Panal" was released as a single and achieved success, Guerra continued working on bachata music, which served as a key element in Bachata Rosa. Silvestre explained the name of the title by saying that "[Guerra's] bachatas were rosa [rosy] while mine was red". [1] Guerra's bachata focused on the language of the lower-class and used synthesizers for his production whereas Silvestre's bachata relied on a synthesized accordion for her music. [1] Recording took place in the 4-40 studio in New York City, Guerra's personal studio. The album was released by Karen Records. [3]

Musical style, writing and composition

Gnome-mime-sound-openclipart.svg
"Burbujas de Amor"
A sample of "Burbujas de Amor", a bachata track in which the performer states his desire to become a fish and make "bubbles of love" in his lover's fishbowl.
"La Bilirrubina"
A sample of "La Bilirrubina", a merengue track which the singer suffers a high bilirubin from love and can only be cured with kisses.
Problems playing these files? See media help.

The album consists of ten tracks, including four bachata songs. [1] The album starts with the opening track "Rosalia", an upbeat merengue song. [4] "Como Abeja al Panal" begins as a bachata tune and switches to salsa music in the middle of the song, falling back to bachata toward the end. [1] "Carta de Amor" is a salsa track in which he writes a letter to his lover in his journal, punctuation marks included. [5] "Estrellitas y Duendes" ("Little Stars and Elves") is a bachata about living in his love's memories as a rain-shower of little stars and elves. [1] [6] "A Pedir su Mano" ("Asking for Her Hand") is a cover of Lea Lignanzi's song "Dédé Priscilla" from the Central African Republic which combines merengue and Afropop. [7]

"La Bilirrubina" ("The Bilirubin") is a merengue song that describes a man in a hospital suffering from a high level of bilirubin from love and jealousy, which can only be cured by kisses, as no shots nor surgery are effective. [8] "Burbujas de Amor" ("Bubbles of Love") is a sexual bachata song about a man's desire to become a fish and "make bubbles of love" in his lover's fishbowl. [9] The lyrics for the song "Bachata Rosa" were inspired by the opening lines of the poem "Book of Questions" by Chilean poet Pablo Neruda. [5] The last track "Acompáñeme Civil" is a merengue song performed by Beny Peregina which deals with social awareness. [10]

Commercial reception

Album

Bachata Rosa is an album that transformed the world of bachata music and was instrumental in bringing it to the attention of listeners worldwide. [11] In the United States, Bachata Rosa debuted at number one on the Billboard Tropical Albums on the week of 12 January 1991. It remained there for 24 nonconsecutive weeks and was best selling Tropical album of the year in the United States. [12] [13] It peaked at number 19 on Billboard Top Latin Albums during the week of 24 July 1993. [14] In 2004, the album was certified platinum (Latin field) by the RIAA for shipments of 100,000 copies. [15] During 1991, the album sold more than 400,000 copies in the United States. [16] Due the album success, Juan Luis Guerra was named Top Tropical /Salsa Artist of 1991. [17]

Also, Bachata Rosa was a success across reaching the first places in many Latin America countries selling over 200,000 copies in Chile. In Argentina, it sold 100,000 copies and Guerra was named one of the top 10 best selling artist of 1991 in the country. Also, Bachata Rosa was the Top Selling Album of 1991 in Argentina and eventually it sold 500,000 copies. In Mexico, it was a massive commercial success reaching the number one spot in the charts and selling over one millions of copies. [18] [16] [19] [20] [21]

Bachata Rosa also had a lot of impact in Europe. In Spain, the album reached number one on the Productores de Música de España chart, where it spent eight weeks. [22] selling 530,000 copies in it first year of released. [23] It eventually sold more than 1 million of copies in Spain. [24] The massive album success caused a sales surge on his previous albums, holding the first and second placespot at the Spanish Album Charts simultaneously for several weeks with Ojala que Llueva Cafe in 1991, becoming the first band ever to do so. In Portugal, Bachata Rosa was the 5th Best Selling Album of 1991. Also, The album reached the top 10 in the Belgium Albums Chart. [25] [26] [19] [27] [28]

In Holland, Juan Luis Guerra topped the chart for three weeks, selling over 80,000 copies. [29] [30] The album also performed well in the Netherlands, where it peaked at number two on the Mega Album Top 100 chart and was certified gold by the NVPI. [31] [32] A Portuguese version, titled Romance Rosa, was released in 1992. It also contained songs from his earlier albums performed in Portuguese. It was certified gold in Brazil by the Associação Brasileira dos Produtores de Discos for sales of 100,000 copies a peaked at number two on the best selling CDs retail charts. [33] [34] [35]

As of 1994, the album had sold over five million copies worldwide. [36] [37] [38]

Singles

"Como Abeja al Panal" was the first single released from the album. It peaked at 31 on the Billboard Hot Latin Songs chart in 1989 and 55 on Mega Single Top 100 in the Netherlands. [39] [40] It peaked at number 5 and 2 in Puerto Rico and Venezuela Airplay. [41] [42]

"La Bilirrubina" was the second single released from the album. It reached number nine on the Hot Latin Songs chart and number 2 in Peru. [43]

The third single, "Burbujas de Amor", was the most successful single from the album. It peaked at number two on the Hot Latin Songs chart, and it was in force during the week of 1 September 1990, where it was three non-consecutive weeks. Also, it peaked at number one on Mexico Airplay, Chile and Uruguay. [44] [45] Also, it peaked at 3 in Ecuador and San Salvador and 9 in Venezuela [46] [47] This is kept out of the high position, for a combination of songs, with "Tengo Todo Excepto a Ti" of Luis Miguel, and "¿Por Qué Te Tengo Que Olvidar?" of José Feliciano. Also, was positioned in number three on the Mega Single Top 100, [48] [49] Number 3 in Holland, number 3 in Puerto Rico [50] [51] Number 4 in Belgium, 1 In Portugal. [52] [53] [54] and number 45 in the Eurochart 100 Singles. [23]

The music video for the song features Guerra performing from a porch as he watches a couple dancing in the rain. [55] The fourth single, "A Pedir Su Mano," peaked at 13 on the Hot Latin Songs chart, number 7 in Peru, Number 3 in Colombia, Number 2 in Cuba, Number 3 in Venezuela and 9 in Panama. [56] [43] [57] [58] The music video shows people in traditional African dress dancing in sugarcane fields with a cartoon of a red train traversing the landscape. [7]

"Estrellitas y Duendes", the fifth single released from the album, peaked at number three on the Hot Latin Tracks. [59] Number 2 in Dominican Republic, Number one in Cuba and Number 7 in Spain. [60] [61] [62]

The sixth single "Carta de Amor" peaked at 35 on the Hot Latin Songs.

The last single released from the album was "Bachata Rosa", which peaked at 15 on the Hot Latin Songs chart. [63] Also, it peaked at number one in Mexico, 7 in Colombia, 6 in Panama and 10 in Uruguay. The Portuguese version, reached 9 in Brazil Airplay. [56] [64] [65]

Tour

To promote the album, Guerra embakerd at the Bachata Rosa World Tour, with tour stops throughout United States, Latin America and Europe, drew over 350,000 fans. [66]

The United States leg, visited 10 cities and Billboard stated that "The first U.S. tour by Juan Luis Guerra & 4.40, the Latin equivalent of Michael Jackson's tour". The leg broke attendance records and the average price ticket was $35, higher than many rock stars at the time. The concerts in New York on 25–27 November 1991 at the Paramount, drew more than 15,000 and grossed over US$590,000 and Los Angeles gig on 23–24 November, at the two concerts at the Universal Amphitheatre had an attendance of 10,889 and gross US$332,644. In Miami, the concert at Miami arena was sold out and drew over 12,000 fans. The US leg finished up with two concerts 14–15 Dec at the Meadowlands Convention Center in East Rutherford, N.J. The concert in Miami Arena on 1 December 1991, was sold out with an attendance of 12,000. [67] [68] [69] [70] [71] [72]

In Mexico, he performed on 12 September 1991, in a sold-out concert in Mexico City on Palacio de los deportes in front of 10,000 fans. The tour also visited other cities such as, Villa Hermosa, Tabasco, Guadalajara, Monterrey, Ciudad Juarez Toluca, Pachuca and Comarca Laguenra. However, the concert at the Estado Revolución in Torreon was canceled due to bad weather and poor tickets sales. The tour wrapped at El Auditorio Nacional in Mexico City, on 7 and 8 September. [44] [73] [74] [75] [76]

In Spain, the tour had 17 concerts across Spain in July and August including a sold out 22,000 capacity Madrid bullring two nights in a row and leaving thousands of fans stranded outside in the street. The concert in Barcelona drew 20,000 fans. [77] The concert in Gijon at Hipodromo de Mestas, 30,000 fans attended. [78] [79] Over 250,000 tickets were sold in total. [80] Following that, he performed in Belgium, Germany and France.

In Chile, Juan Luis Guerra performed for the first time in February 1991 at XXXII Viña del Mar International Song Festival. During the tour, he signed a more than million dollars sponsor deal with Pepsi. [81] In Santo Domingo, Dominican Republic, Guerra performed at Estadio Olimpico with a record audience of 80,000 fans on 24 December 1991. [82]

In 1992 he toured in Latin America; he performed on 20 and 21 June in Managua at Estadio Nacional in front of 70,000 fans. Also, he performed in Paraguay, Chile, Costa Rica, Guatemala, Venezuela, Ecuador, Uruguay and Peru. In Buenos Aires, Argentina, Guerra performed four consecutive sold-out concert on 22–25 May at the Luna Park selling over 32,000 tickets and grossing US$800,000. [83] The last leg of the tour that was scheduled to visit some countries in South America and Brazil, was suspended due to an eye surgery. [84] The tour ended in Dominican Republic with a sold-out show at the Estadio Olimpico. [85] [86] [87] [88]

Critical reception

Professional ratings
Review scores
SourceRating
AllMusic Star full.svgStar full.svgStar full.svgStar full.svgStar half.svg [89]
Los Angeles Times Star full.svgStar full.svgStar full.svgStar empty.svg [90]

The album was praised by critics. Jason Birchmeier of Allmusic gave Bachata Rosa 4.5 out of 5 stars and referred to the record as a "milestone effort", writing "Not only is it his career-defining work, it's also one of the finest tropical albums of its era, or any other, for that matter". [89] Don Snowden of the Los Angeles Times gave the album a 3 out of 4 star rating and praised the arrangements of the album as "punchy" and "well-crafted". [90]

At the 34th Grammy Awards, the album received the award for Best Tropical Latin Album. [91] At the 1991 Lo Nuestro Awards, Guerra received three awards: Tropical Song of the Year for "Burbujas de Amor", Video of the Year for the music video of "A Pedir su Mano", and Tropical Group of the Year. [92] A year later, Guerra received two Lo Nuestro awards: Tropical Album of the Year and Tropical Group of the Year. [93]

Carlos Aguelo of the Latin section of Billboard magazine, named Bachata Rosa best album of 1990 and "Burbujas de Amor" best song. [94] In 2006, the Chicago Tribune ranked 19 at their Best-albums list covers gamut of genres list on the Latin section. [95]

Legacy

Prior to the release of Bachata Rosa, bachata was generally regarded as lower-class music in the Dominican Republic and did not receive media attention. [96] After Guerra released the album, bachata became socially accepted by the middle- and upper-classes. [1] The genre became mainstream in the Dominican Republic, [97] and the success of the album provided the genre with international exposure. [97] In 2015, Billboard listed Bachata Rosa as one of the Essential Latin Albums of Past 50 Years stating that "Guerra created an uplifting, love-themed experience from start to finish and stretched bachata's limits by playing with merengue, salsa and Afro-Caribbean rhythms". [98] Before Guerra's commercial success the only Caribbean rhythm known in Europe was Reggae. Bachata Rosa along with Ojala que Llueva Cafe (1989) are widely recognized for introducing merengue and bachata music to the mainstream in Europe and South America. [99] [100]

After Juan Luís Guerra's Bachata Rosa, many other artists have been recognized as important to the growth of the genre from the 1990s to the turn of the century including Luis Vargas, Antony Santos, Raulín Rodriguez and Elvis Martínez. [101] Bachata Rosa’s success paved the way for many other established bachateros to travel to New York City and other parts of the U.S. to perform for Dominicans and the greater Latino community as well. [102] According to Music&Media, Guerra was the first Latin artist to gain major success in Spain and following the success of the album named the artist the most important Latin artist of the decade. [103] In 1995, BMG Ariola Spain international label manager Antonio Garcia Oñate stated ""Juan Luis Guerra has undoubtedly helped open the market for Latin American music." [104]

Track listing

All tracks are written by Juan Luis Guerra, except where noted

No.TitleWriter(s)Length
1."Rosalía" 3:26
2."Como Abeja al Panal" 4:05
3."Carta de Amor" 4:41
4."Estrellitas y Duendes" 4:28
5."A Pedir su Mano"Lea Lignanzy4:56
6."La Bilirrubina" 4:05
7."Burbujas de Amor" 4:12
8."Bachata Rosa" 4:20
9."Reforéstame" (performed by Adalgisa Pantaleon) 4:11
10."Acompáñeme Civil" (performed by Benny Peregina) 5:00

Romance Rosa

All tracks are written by Juan Luis Guerra, except where noted

No.TitleWriter(s)Length
1."Romance Rosa" 4:14
2."Borbulhas de Amor" 4:08
3."A Bilirrubina" 5:31
4."Estrellitas y Duendes" 4:24
5."Guavaberry" 6:34
6."Oxalá Que Chova Café" 4:13
7."Como Abelha no Mel" 4:05
8."A Pedir sua Mão"Lea Lignanzy4:53
9."Carta de Amor" 4:53
10."Mujer de Callao"Julio Cesar Delgado4:17
11."La Bilirrubina" 4:02
12."Bachata Rosa" 4:15
Total length:48:55

Personnel

The following credits are from AllMusic and from the Bachata Rosa liner notes: [3] [105]

Juan Luis Guerra y 440

Additional personnel

Chart performance

Certifications and sales

Certifications and sales for Bachata Rosa
RegionCertification Certified units/sales
Argentina—350,000 [115]
Brazil (Pro-Música Brasil) [33]
for Romance Rosa		Gold150,000 [116]
Chile—300,000 [117]
Mexico—1,000,000 [118] [119]
Netherlands (NVPI) [32] Gold80,000 [30]
Spain (PROMUSICAE) [120] 7× Platinum1,000,000 [24]
United States (RIAA) [15] Platinum (Latin)500,000 [121]
Summaries
Worldwide—5,000,000 [122]

See also

Related Research Articles

<span class="mw-page-title-main">Juan Luis Guerra</span> Dominican musician

Juan Luis Guerra Seijas is a Dominican musician, singer, composer, and record producer. He has sold 15 million records worldwide, making him one of the best-selling Latin music artists. Throughout his career, he has won numerous awards including 24 Latin Grammy Awards, three Grammy Awards, and one Latin Billboard Music Award. He won 3 Latin Grammy Awards in 2010, including Album of the Year. In 2012, he won the Latin Grammy Award for Producer of the Year.

<span class="mw-page-title-main">Toño Rosario</span> Dominican musician

Máximo Antonio del Rosario, commonly known as Toño Rosario, is a Grammy Award nominee musician, best known for his role of bandleader of Merengue music act Los Hermanos Rosario. In 1990, he started his successful solo career receiving gold and platinum certifications.

<i>Para Ti</i> 2004 studio album by Juan Luis Guerra

Para Ti is the ninth studio album by singer-songwriter Juan Luis Guerra and his band 4.40. It was released on August 31, 2004, by Vene Music and distributed by Universal Latin Music. It was his first studio album in six years since Ni es lo mismo ni es igual (1998) and is his first Christian-gospel inspired album. The lyrics are inspired by his conversion to Christianity and his experience of been a born again Christian. The album explores music genres from gospel and ballads to the salsa and merengue. The album was supported by the release of three official singles: "Para Ti", "Las Avispas" and "Dinteles".

<i>Ni Es lo Mismo Ni Es Igual</i> 1998 studio album by Juan Luis Guerra

Ni Es lo Mismo Ni Es Igual is the eighth studio album recorded by Dominican singer-songwriter Juan Luis Guerra and his backup vocals 4–40. It was released by Karen Records on 15 December 1998 and distributed by PolyGram Latino. It was Guerra's comeback album after four years of silence, out of the public eye and since his conversion to Christianity. It was his first studio album since Fogarate (1994). The album production and songwriting were done by Guerra. The album was supported by the release of four official singles: "Mi PC", "Palomita Blanca", "El Niagara en Bicicleta" and "La Hormiguita". Two singles were released as promotional singles: "Vale La Pena" and "Quisiera".

<i>La Llave de Mi Corazón</i> 2007 studio album by Juan Luis Guerra

La Llave de Mi Corazón is the 10th studio album recorded by Dominican singer-songwriter Juan Luis Guerra, It was released by EMI Televisa Music on March 20, 2007. It was Guerra's first album to contain songs in English since his 1994 recording of Fogarate. The album contains fusions of mambo and tropical rhythms that Guerra himself defined as "Mambo merengue". Its production and musical structure of album is based on merengue, bachata and salsa and encompasses elements of Blues, Son, Jazz, Mambo and Bossa Nova. The album was written, arranged and produced by Juan Luis Guerra and according to the artist is his most romantic album. It is composed of four merengues, two bachatas, three romantic songs and two salsas.

<span class="mw-page-title-main">Ilegales</span> Dominican merengue band

Ilegales is a Grammy-nominated Dominican merenhouse group, which is one of the main exponents that helped to introduce and establish the merenhouse to the mainstrean and get an international audience. The band is well known by hits such as "La Morena", "Taki Taki", "Tu Recuerdo", "La Otra" and "Chucucha". They were one of the first merenhouse acts to perform at Viña del Mar International Song Festival in 1998 and 2003.

<i>Ojalá Que Llueva Café</i> 1989 studio album by Juan Luis Guerra

Ojalá Que Llueva Café is the fourth studio album by Dominican singer-songwriter Juan Luis Guerra released in 1989 by Karen Records. It is considered one of his most emblematic and important albums. The album set the musical path for his later albums, re-formulating Dominican merengue and bachata music through the contemporary elements of pop, rock, salsa, or jazz. Incorporating socially conscious lyrics with danceable merengues and romantic-poetic bachatas, the album is considered one of the most important albums of his discography.

<i>Fogaraté</i> 1994 studio album by Juan Luis Guerra

Fogaraté! is the seventh album of the famous Dominican songwriter and musician Juan Luis Guerra. It was released on July 19, 1994. The album mixed a variety of music genres including rural and flolklroic rots of merengue called "Perico Ripao" with elements of African soukus music and Tropical Music such as Reggae with the collaboration of African guitarist Diblo Dibala and Dominican accordionist Francisco Ulloa, along with Son, Bachata and Salsa. Also, the album features a particular, bachata-styled adaptation of the Lacrimosa movement from Mozart's Requiem Mass in D Minor and Guerra's first song fully in English "July 19". Exploring lyrics and themes about magical realism of Latin American literature and commenting on the politics of the Caribbean, for many fans and critics, Fogaraté! is one of his most musically complex album.

<i>Areíto</i> (album) 1992 studio album by Juan Luis Guerra and 440

Areíto is the sixth album by Juan Luis Guerra with his band 440, released on 8 December 1992, by Karem Records. The album, meant to be a tribute to the indigenous tribes of the Dominican Republic, is named after a dance that the aboriginal inhabitants of the Greater Antilles (Taínos) accompanied with songs during their festivals and religious rites. The album contains twelve tracks including "Cuando te Beso", interpret by Santo Domingo Philharmonic Orchestra. Congolese musician Diblo Dibala played guitar on the song "El Costo de la Vida", which was a Spanish cover of his own soukous song "Kimia Eve", while the last track on the album, "Naboria daca, mayanimacaná", is sung in Arawak, the language of the Taíno people. Areíto was originally set to be released in early April 1992, but was first delayed to the end of October 1992 and was finally released on 8 December 1992.

<i>A Son de Guerra</i> 2010 studio album by Juan Luis Guerra

A Son de Guerra, sometimes referred to as Asondeguerra, is the 11th studio album recorded by Dominican singer-songwriter Juan Luis Guerra, It was released by Capitol Latin on June 8, 2010. The album contains 11 tracks, and its musical structure and production are based on Merengue, Bachata, Son, Salsa, experimenting and incorporating elements of jazz, blues, funk, cumbia, rock, reggae, rap, and mambo. Lyrical themes on the album include protest against political corruption, immigration, love and romance. Featured appearances include Juanes and Chris Botti. For many fans and critics alike, it's his album with the most social content and strong social criticism since his 1992's Areito.

<span class="mw-page-title-main">Mi PC</span> 1998 single by Juan Luis Guerra & 4-40

"Mi PC" is a song by Dominican Republic singer-songwriter Juan Luis Guerra and his band 4-40 from his eighth studio album, Ni Es lo Mismo Ni Es Igual (1998). The song was released as the lead single from the album in November 1998 by Karen Records. The song was written and produced by Guerra. It is a pop merengue track in which Guerra uses computer terminology to narrate a love story. "Mi PC" was met with positive reactions from music critics who found the lyrics to be clever and its music catchy.

<i>Grandes Éxitos Juan Luis Guerra y 440</i> 1995 greatest hits album by Juan Luis Guerra

Grandes Éxitos de Juan Luis Guerra y 440 or simply Grandes Éxitos is a compilation album of Dominican singer-songwriter Juan Luis Guerra, and his band 440 released in July 1995 by Karem Records. It contained Guerra's fifteen biggest hits from 1988 to 1994 on the original version and from the albums Mudanza y Acarreo(1985) to Fogarate! (1994) on the international versions. The compilation receive positive reviews by the critics.

<i>Colección Romantica</i> 2000 compilation album / Greatest hits album by Juan Luis Guerra

Colección Romántica is a compilation album by Dominican songwriter and musician Juan Luis Guerra and 4.40. It was released in November 21, 2000 and February 6, 2001 in the United States by Karen Records.It is a dual album compilation including 20 of the group's classic songs remastered and re-recorded as ballads. The album also contained unaltered original versions of their softer songs, like acoustic ballads or bachatas. It would become Guerra's last album released under the Dominican independent music label Karen Records, as his later albums would be released under Vene Music and subsequently under EMI music and Capitol Latin.

The Dominican singer, songwriter and producer Juan Luis Guerra has released 14 studio albums, two live albums and forty-eight singles. He is one of the best selling Latin artist of all time with more 30 millions of records worldwide. He made his debut with his first studio album Soplando, released in 1984. He later released his second studio album in 1985, Mundanza y Acarreo which was his first national success and marked his first entry at the US Billboard Charts at number seventeen on Billboard Tropical Charts. In 1987, his third studio album Mientras Más Lo Pienso...Tú become his first work to gain international attention in countries such as Venezuela and Puerto Rico. Between this last two albums, it sold over two million copies worldwide.

<i>Literal</i> (album) 2019 studio album by Juan Luis Guerra

Literal is the 14th studio album by Dominican singer, songwriter and producer Juan Luis Guerra. It was released on 31 May 2019 by Universal Music Latin. Written and produced by Juan Luis Guerra, the album contains eleven tracks and encompasses a variety of tropical genres, such as 'Bachata, Merengue, Salsa and Son along with influences from Jazz, Gospel, Rock and Dominican Folklore music. The album was co-produced by Guerra's longtime collaboration and musical director Janina Rosado. It has lyrics about romance, love, nostalgia, moving on and protest against corruption.

<span class="mw-page-title-main">Burbujas de Amor</span> 1990 single by Juan Luis Guerra

"Burbujas de Amor" is a song by Dominican singer-songwriter Juan Luis Guerra, released as the third single of his album Bachata Rosa (1990). It is widely considered one of Guerra's most popular songs. The song was a commercial success and became an international hit in Europe and Latin America. It peaked at number 2 on the Hot Latin Songs chart. The track received universal acclaim from critics and was praised for its sophisticated lyrics and elegance. The song was marketed as a bachata; however, it's musical form is actually bolero.

<span class="mw-page-title-main">El Costo de la Vida</span> 1992 single by Juan Luis Guerra

"El Costo de la Vida" is a song by Dominican Republic singer-songwriter Juan Luis Guerra from his sixth studio album, Areíto (1992). The song was released as the album's third single in 1992 by Karen Records. It is a Spanish-language adaptation of soukous song "Kimia Eve" composed by Diblo Dibala. The song features Dibala on the guitar and is performed by Guerra as a merengue number. The lyrics to the song provides a social commentary to the rising cost of living, while the artist denounces the dislevel of socioeconomics as well as political corruptions in Latin America. He also references the racial identities of Latin America.

<span class="mw-page-title-main">La Bilirrubina</span> 1990 single by Juan Luis Guerra

"La Bilirrubina" is a song by Dominican singer-songwriter Juan Luis Guerra. It was written by Guerra and released by Karem Records on 1990 and 1991 in Europe as the second single from his fifth studio album, Bachata Rosa. It was nominated for Record of the Year at 1991 Lo Nuestro Awards. The merengue track is considered one of Guerra's signature songs and most popular. It receive positive reviews and was listed one of the best tracks of the album.

<span class="mw-page-title-main">A Pedir Su Mano</span> 1990 single by Juan Luis Guerra

A Pedir Su Mano is a song by Dominican Republic singer-songwriter Juan Luis Guerra released as the fourth single for his album Bachata Rosa (1990). It was released in 1990 by Karem Records and in 1992 on Europe by Ariola. The track is a merengue version of the song “Dede Priscilla,” by Lea Lignazi from the Central African Republic. The track combined music elements of Afropop and zouk with merengue. The music video shows people in traditional African dress dancing in sugarcane fields with a cartoon of a red train traversing the landscape.

<span class="mw-page-title-main">Bachata Rosa (song)</span> 1991 single by Juan Luis Guerra

"Bachata Rosa" is a song by Dominican Republic singer-songwriter Juan Luis Guerra released in 1991 and served as the lead seventh and final from his fifth studio album Bachata Rosa (1990). Along with Estrellitas y Duendes and Como Abeja Al Panal, is one of Guerra's first international hits and helped to contribute to the bachata sophistication and have recognition in Latin America and Europe. The track was a commercial success, toping the airplay charts in Mexico and was the fourth single of the album to peak insade of the top 10 at the US Hot Latin Tracks.

References

  1. 1 2 3 4 5 6 7 8 Hernández, Deborah (1995). Bachata: a social history of Dominican popular music . Philadelphia, US: Temple University Press. pp.  3, 207. ISBN   978-1-56639-300-3.
  2. ↑ Wayne, David. "Juan Luis Guerra Biography". iASO Records. Archived from the original on 3 September 2009. Retrieved 22 October 2011.
  3. 1 2 Bachata Rosa (cassette liner). Juan Luis Guerra. KAREN. 1990. K-136.{{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link)
  4. ↑ Rondón, César; Aparicio, Frances; White, Jackie (2008). The book of salsa: a chronicle of urban music from the Caribbean to New York . Chapel Hill, US: University of North Carolina Press. p.  287. ISBN   978-0-8078-5859-2. juan luis guerra rosalia.
  5. 1 2 Morales, Ed (2003). The Latin beat: the rhythms and roots of Latin music from bossa nova to salsa and beyond . Cambridge, US: Da Capo Press. p.  243. ISBN   978-1-56639-299-0. carta de amor bachata.
  6. ↑ Barzuna, Guillermo (1997). Cantores que reflexionan (in Spanish). San Pedro, Costa Rica: University of Costa Rica. p. 218. ISBN   978-9977-67-361-5. Archived from the original on 30 October 2021. Retrieved 8 November 2020.
  7. 1 2 Aparicio, Frances; Jáquez, Cándida (2003). Musical migrations: transnationalism and cultural hybridity in Latin/o America. Basingstoke, UK: Palgrave Macmillan. p. 25. ISBN   978-1-4039-6001-6. Archived from the original on 30 October 2021. Retrieved 8 November 2020.
  8. ↑ Sellers, Julie (2004). Merengue and Dominican identity: music as national unifier . Jefferson, US: McFarland & Company. p.  150. ISBN   978-0-7864-1815-2. juan luis guerra la bilirrubina.
  9. ↑ Manuel, Peter; Bibly, Kenneth; Largey, Michael (2006). Caribbean currents: Caribbean music from rumba to reggae. Philadelphia, US: Temple University Press. p. 137. ISBN   978-1-59213-463-2. Archived from the original on 30 October 2021. Retrieved 8 November 2020.
  10. ↑ Blumenthal, Howard (1998). The world music CD listener's guide. Billboard Books. p.  67. ISBN   978-0-8230-7663-5.
  11. ↑ "Los Angeles Bachata Classes: Diving Deep into Dance and Culture". Los Angeles Bachata & Salsa Dance Academy. 23 August 2023. Retrieved 2 November 2023.
  12. ↑ "Tropical Songs – Week of January 12, 1991". Billboard. Prometheus Global Media. 12 January 1991. Archived from the original on 4 August 2010. Retrieved 5 August 2010.
  13. 1 2 "The Year in Music: 1991 - Top Tropical/Salsa Albums". Billboard. 21 December 1991. p. YE-44. ISSN   0006-2510.
  14. 1 2 "Bachata Rosa – Juan Luis Guerra". Billboard. Prometheus Global Media. Archived from the original on 8 May 2011. Retrieved 7 May 2011.
  15. 1 2 "American album certifications – Juan Luis Guerra – Bachata Rosa". Recording Industry Association of America . Retrieved 7 May 2011.
  16. 1 2 Llewellyn, Howell (14 September 1991). "Guerra's Merengue Style Spawns 'Summer Sound'" (PDF). Music & Media . 8 (37): 9. OCLC   29800226. Archived (PDF) from the original on 29 September 2020. Retrieved 18 November 2020.
  17. ↑ "The Year in Music 1991" (PDF).
  18. ↑ Cubeiro, Juan Carlos (5 April 2009). "El Talento de Juan Luis Guerra". Hablemos De Tecno Talento (in Spanish). Archived from the original on 15 November 2020. Retrieved 17 November 2020.
  19. 1 2 3 4 "Archived copy" (PDF). Archived (PDF) from the original on 30 October 2021. Retrieved 4 December 2020.{{cite web}}: CS1 maint: archived copy as title (link)
  20. ↑ Getino, Octavio (1995). Las industrias culturales en la Argentina: dimensión económica y políticas públicas (in Spanish). Ediciones Colihue SRL. ISBN   978-950-581-262-2. Archived from the original on 30 October 2021. Retrieved 3 May 2021.
  21. ↑ "Argentina sales". UKMIX Forums. Archived from the original on 19 April 2021. Retrieved 19 April 2021.
  22. 1 2 Llewellyn, Howell (12 October 1991). "Global Music Pulse – Spain". Billboard. Vol. 103, no. 41. Prometheus Global Media. p. 72. Archived from the original on 26 April 2021. Retrieved 7 May 2011.
  23. 1 2 "Ratings" (PDF). worldradiohistory.com. 1991. Archived (PDF) from the original on 12 October 2020. Retrieved 18 November 2020.
  24. 1 2 Sinclair, David (1993). "Global Music Pulse, Spain" (PDF). Billboard. Archived (PDF) from the original on 27 November 2020. Retrieved 18 November 2020.
  25. ↑ "Archived copy" (PDF). Archived (PDF) from the original on 30 October 2021. Retrieved 4 December 2020.{{cite web}}: CS1 maint: archived copy as title (link)
  26. ↑ "Archived copy" (PDF). Archived (PDF) from the original on 30 October 2021. Retrieved 4 December 2020.{{cite web}}: CS1 maint: archived copy as title (link)
  27. ↑ "Portugal Charts Archive". UKMIX Forums. Archived from the original on 30 April 2021. Retrieved 30 April 2021.
  28. ↑ "Belgium Album Charts 1990 - 1995". UKMIX Forums. Archived from the original on 4 May 2021. Retrieved 4 May 2021.
  29. ↑ "Ratings" (PDF). worldradiohistory.com. 1991. Archived (PDF) from the original on 8 March 2021. Retrieved 18 November 2020.
  30. 1 2 Llewellyn, Howell (18 September 1993). "Merengue Star Sells Out Show In Rotterdam" (PDF). Billboard. p. 57. Retrieved 15 January 2023.
  31. ↑ "Juan Luis Guerra – Bachata Rosa". MegaCharts (in Dutch). Hung Medien. 10 August 1991. Archived from the original on 25 October 2012. Retrieved 7 May 2011.
  32. 1 2 "Dutch album certifications – Juan Luis Guerra – Bachata Rosa" (in Dutch). Nederlandse Vereniging van Producenten en Importeurs van beeld- en geluidsdragers . Retrieved 7 May 2011.Enter Bachata Rosa in the "Artiest of titel" box.
  33. 1 2 "Brazilian album certifications – Juan Luis Guerra – Romance Rosa" (in Portuguese). Pro-Música Brasil . Retrieved 7 May 2011.
  34. ↑ "Archived copy" (PDF). Archived (PDF) from the original on 26 October 2020. Retrieved 18 November 2020.{{cite web}}: CS1 maint: archived copy as title (link)
  35. ↑ "Jornal do Brasil (RJ) - 1990 a 1999 - DocReader Web". memoria.bn.br. Retrieved 14 November 2023.
  36. ↑ Poet, J. (23 February 1992). "THE BEAT OF AN UNSUNG GENRE". Washington Post. ISSN   0190-8286 . Retrieved 1 June 2022.
  37. ↑ White, Timothy (9 July 1994). "Juan Luis Guerra's Frantic 'Fogaraté'". Billboard. Vol. 106, no. 28. Prometheus Global Media. p. 3. Archived from the original on 30 October 2021. Retrieved 21 November 2011.
  38. ↑ "Edición del domingo, 06 enero 1991, página 46 - Hemeroteca - Lavanguardia.es". hemeroteca.lavanguardia.com. Retrieved 5 May 2022.
  39. ↑ "Como Abeja Al Panal". Prometheus Global Media. Retrieved 22 October 2011.
  40. ↑ "Dutchcharts.nl – Juan Luis Guerra – Como Abeja al Panal" (in Dutch). Hung Medien / hitparade.ch. Archived from the original on 13 March 2014. Retrieved 22 October 2011.
  41. ↑ "Discos Mas Populares en Latinoamerica". 25 June 1990.
  42. ↑ "Disco Mas Populares". h.elsiglodetorreon.com.mx. 12 January 1990. Retrieved 13 June 2022.
  43. 1 2 "Bachata Rosa – Charts & Awards/Billboard Singles". Allmusic. Rovi Corporation. Archived from the original on 30 October 2021. Retrieved 22 October 2011.
  44. 1 2 "Ventana de articulo". h.elsiglodetorreon.com.mx. Archived from the original on 30 October 2021. Retrieved 25 May 2021.
  45. ↑ "Ventana de articulo". h.elsiglodetorreon.com.mx. Archived from the original on 25 May 2021. Retrieved 25 May 2021.
  46. ↑ "Ventana de articulo". h.elsiglodetorreon.com.mx. Archived from the original on 25 May 2021. Retrieved 25 May 2021.
  47. ↑ "Ventana de articulo". h.elsiglodetorreon.com.mx. Archived from the original on 25 May 2021. Retrieved 25 May 2021.
  48. ↑ "Burbujas de Amor – Juan Luis Guerra". Prometheus Global Media. Retrieved 22 October 2011.
  49. ↑ "Dutchcharts.nl – Juan Luis Guerra – Burbujas de Amor" (in Dutch). Hung Medien / hitparade.ch. Archived from the original on 11 July 2012. Retrieved 22 October 2011.
  50. ↑ "Ratings" (PDF). worldradiohistory.com. 1991. Archived (PDF) from the original on 23 January 2021. Retrieved 18 November 2020.
  51. ↑ "Archived copy" (PDF). Archived (PDF) from the original on 28 November 2020. Retrieved 20 November 2020.{{cite web}}: CS1 maint: archived copy as title (link)
  52. ↑ "Ratings" (PDF). worldradiohistory.com. 1991. Archived (PDF) from the original on 22 January 2021. Retrieved 18 November 2020.
  53. ↑ "Ratings" (PDF). worldradiohistory.com. 1991. Retrieved 18 November 2020.f
  54. ↑ "Ratings" (PDF). worldradiohistory.com. 1991. Archived (PDF) from the original on 3 December 2020. Retrieved 18 November 2020.
  55. ↑ Wendt, Doug (1995). "Cafe Ole!". The Beat (in Spanish). 14. Bongo Productions: 40.
  56. 1 2 "Ventana de articulo". h.elsiglodetorreon.com.mx. Archived from the original on 25 May 2021. Retrieved 25 May 2021.
  57. ↑ "Ventana de articulo". h.elsiglodetorreon.com.mx. Archived from the original on 25 May 2021. Retrieved 25 May 2021.
  58. ↑ "Ventana de articulo". h.elsiglodetorreon.com.mx. Archived from the original on 25 May 2021. Retrieved 25 May 2021.
  59. ↑ "Estrellitas y Duendes – Juan Luis Guerra". Prometheus Global Media. Retrieved 22 October 2011.
  60. ↑ "Ratings" (PDF). worldradiohistory.com. 1991. Archived (PDF) from the original on 25 January 2021. Retrieved 18 November 2020.
  61. ↑ "Ventana de articulo". h.elsiglodetorreon.com.mx. Archived from the original on 25 May 2021. Retrieved 25 May 2021.
  62. ↑ "Ventana de articulo". h.elsiglodetorreon.com.mx. Archived from the original on 25 May 2021. Retrieved 25 May 2021.
  63. ↑ "Bachata Rosa – Juan Luis Guerra". Prometheus Global Media. Retrieved 22 October 2011.
  64. ↑ "Ventana de articulo". h.elsiglodetorreon.com.mx. Archived from the original on 25 May 2021. Retrieved 25 May 2021.
  65. ↑ "Ventana de articulo". h.elsiglodetorreon.com.mx. Archived from the original on 25 May 2021. Retrieved 25 May 2021.
  66. ↑ "Archived copy" (PDF). Archived (PDF) from the original on 25 July 2021. Retrieved 20 November 2020.{{cite web}}: CS1 maint: archived copy as title (link)
  67. ↑ "Archived copy" (PDF). Archived (PDF) from the original on 30 October 2021. Retrieved 22 November 2020.{{cite web}}: CS1 maint: archived copy as title (link)
  68. ↑ "Archived copy" (PDF). Archived (PDF) from the original on 30 October 2021. Retrieved 7 December 2020.{{cite web}}: CS1 maint: archived copy as title (link)
  69. ↑ "Archived copy" (PDF). Archived (PDF) from the original on 30 October 2021. Retrieved 7 December 2020.{{cite web}}: CS1 maint: archived copy as title (link)
  70. ↑ "Archived copy" (PDF). Archived (PDF) from the original on 30 October 2021. Retrieved 7 December 2020.{{cite web}}: CS1 maint: archived copy as title (link)
  71. ↑ Hernandez, Deborah Pacini (October 1992). "Bachata: from the Margins to the Mainstream". Popular Music. 11 (3): 359–364. doi:10.1017/S0261143000005195. ISSN   1474-0095. S2CID   161560854.
  72. ↑ "Latin Notas" (PDF). Billboard. 14 December 1991.
  73. ↑ "Ventana de articulo". h.elsiglodetorreon.com.mx. Archived from the original on 25 May 2021. Retrieved 25 May 2021.
  74. ↑ "Ventana de articulo". h.elsiglodetorreon.com.mx. Archived from the original on 25 May 2021. Retrieved 25 May 2021.
  75. ↑ "Ventana de articulo". h.elsiglodetorreon.com.mx. Archived from the original on 25 May 2021. Retrieved 25 May 2021.
  76. ↑ "Ventana de articulo". h.elsiglodetorreon.com.mx. Archived from the original on 25 May 2021. Retrieved 25 May 2021.
  77. ↑ "HNDM-Publicación". www.hndm.unam.mx (in European Spanish). Retrieved 30 April 2022.
  78. ↑ "Ventana de articulo". h.elsiglodetorreon.com.mx. Archived from the original on 25 May 2021. Retrieved 25 May 2021.
  79. ↑ Galilea, Carlos (19 June 1991). "Juan Luis Guerra y 440 atracción de la música tropical para el verano". El País (in Spanish). ISSN   1134-6582 . Retrieved 25 April 2022.
  80. ↑ "Edición del domingo, 04 agosto 1991, página 70 - Hemeroteca - Lavanguardia.es". hemeroteca.lavanguardia.com. Retrieved 5 May 2022.
  81. ↑ "Archived copy" (PDF). Archived (PDF) from the original on 30 October 2021. Retrieved 4 December 2020.{{cite web}}: CS1 maint: archived copy as title (link)
  82. ↑ "Ventana de articulo". h.elsiglodetorreon.com.mx. Archived from the original on 25 May 2021. Retrieved 25 May 2021.
  83. ↑ "AMUSEMENT BUSINESS®-BOXSCORE" (PDF). Billboard. 20 June 1992. p. 14.
  84. ↑ "Juan Luis Guerra sera operado". El Siglo de Torreón. 8 October 1992.
  85. ↑ "Ventana de articulo". h.elsiglodetorreon.com.mx. Archived from the original on 25 May 2021. Retrieved 25 May 2021.
  86. ↑ "Breves de Espectaculo". h.elsiglodetorreon.com.mx. Retrieved 29 April 2022.
  87. ↑ "Breves del Espectaculo". h.elsiglodetorreon.com.mx. Retrieved 29 April 2022.
  88. ↑ "Exitosa Gira hace Juan Luis Guerra". h.elsiglodetorreon.com.mx. Retrieved 29 April 2022.
  89. 1 2 Birchmeier, Jason. "Bachata Rosa – Review". Allmusic . Rovi Corporation. Archived from the original on 30 October 2021. Retrieved 4 June 2010.
  90. 1 2 Snowden, Don (29 March 1992). "Pop Music : The Caribbean—Beyond Reggae and Salsa". Los Angeles Times . Archived from the original on 6 November 2012. Retrieved 7 May 2011.
  91. ↑ "34th Grammy Awards – 1992". Rock On The Net. 25 February 1992. Archived from the original on 8 June 2011. Retrieved 5 June 2011.
  92. ↑ "Lo Nuestro 1991 – Historia de Premio lo Nuestro". Univision . Archived from the original on 6 June 2011. Retrieved 5 June 2011.
  93. ↑ "Lo Nuestro 1992 – Historia de Premio lo Nuestro". Univision . Archived from the original on 6 June 2011. Retrieved 5 June 2011.
  94. ↑ "Archived copy" (PDF). Archived (PDF) from the original on 30 November 2020. Retrieved 22 November 2020.{{cite web}}: CS1 maint: archived copy as title (link)
  95. ↑ Lechner (21 May 2006). "Best-albums list covers gamut of genres: [Chicagoland Final Edition]" . Chicago Tribune. Chicago, Ill. pp. 7–16. ISSN   1085-6706. ProQuest   420430453 – via Proquest.
  96. ↑ Sellers, Julie (2004). Merengue and Dominican identity: music as national unifier . MacFarland. p.  155. ISBN   978-0-7864-1815-2. bachata rosa.
  97. 1 2 Hernandez, Deborah (2009). Oye como va!: hybridity and identity in Latino popular music. Philadelphia, US: Temple University Press. p. 40. ISBN   978-1-4399-0090-1. Archived from the original on 30 October 2021. Retrieved 8 November 2020.
  98. ↑ "Latin Music: Essential Latin Albums of Past 50 Years". Billboard. Prometheus Global Media. 17 September 2015. Archived from the original on 18 September 2015. Retrieved 17 September 2015.
  99. ↑ "Archived copy" (PDF). Archived (PDF) from the original on 30 September 2021. Retrieved 20 November 2020.{{cite web}}: CS1 maint: archived copy as title (link)
  100. ↑ "Archived copy" (PDF). Archived (PDF) from the original on 30 October 2021. Retrieved 22 November 2020.{{cite web}}: CS1 maint: archived copy as title (link)
  101. ↑ Rojas, Eunice; Michie, Lindsay (8 October 2013). Sounds of Resistance: The Role of Music in Multicultural Activism [2 volumes]: The Role of Music in Multicultural Activism. ABC-CLIO. ISBN   978-0-313-39806-3.
  102. ↑ "Narrative: 1990s: New Musical Trends | Dominican Music in the US". dominicanmusicusa.com. Retrieved 13 November 2023.
  103. ↑ "LATIN MUSIC SPOTLIGHT" (PDF). Music&Media. 21 April 2001. p. 9.
  104. ↑ "Latin Breaks Language Barriers" (PDF). Music&Media. 13 May 1995. p. 12.
  105. ↑ "Bachata Rosa — Credits". Allmusic. Rovi Corporation. Archived from the original on 30 October 2021. Retrieved 22 October 2011.
  106. ↑ "Ventana de articulo". Archived from the original on 25 May 2021. Retrieved 30 October 2021.
  107. ↑ "CD/os mais vendidos". Jornal do Brasil (in Portuguese): 43. 26 November 1992. Retrieved 26 March 2024.
  108. ↑ "Ratings" (PDF). worldradiohistory.com. 1991. Archived (PDF) from the original on 11 August 2020. Retrieved 18 November 2020.
  109. ↑ "Ratings" (PDF). worldradiohistory.com. 1991. Archived (PDF) from the original on 8 March 2021. Retrieved 18 November 2020.
  110. ↑ "Ratings" (PDF). worldradiohistory.com. 1991. Archived (PDF) from the original on 20 January 2021. Retrieved 18 November 2020.
  111. ↑ "Ranking". www.capif.org.ar:80. 2004. Archived from the original on 10 August 2004. Retrieved 18 November 2020.
  112. ↑ "Ratings" (PDF). worldradiohistory.com. 1991. Archived (PDF) from the original on 31 December 2020. Retrieved 18 November 2020.
  113. ↑ "La verdad sobre la venta de discos '92". Humor. No. 339–351. Ediciones de la Urraca S.A. 1993. p. 56. Archived from the original on 12 July 2022. Retrieved 12 July 2022.
  114. ↑ "The Year in Music: 1992 - Top Tropical/Salsa Albums". Billboard. 26 December 1992. p. YE-54. ISSN   0006-2510.
  115. ↑ Mandim, Ana Maria (4 February 1992). "Xuxa bate os Guns". Jornal do Brasil (in Portuguese). Retrieved 15 January 2023.
  116. ↑ "Nomes famosos da MPB com trabalhos novos no mercado". A Tribuna (in Portuguese). 11 March 1993.
  117. ↑ "Juan Luis Guera" . Qué Pasa (in Spanish). 1993. p. 63. El cantante caribeño ob- tuvo el Grammy en 1992 por su disco Bachata Rosa , que en Chile ha vendido más de 300.000 copias
  118. ↑ Pujols, Daniela (12 December 2020). "Los 30 años de "Bachata Rosa" de Juan Luis Guerra". Diario Libre (in Spanish). Archived from the original on 12 December 2020. Retrieved 15 February 2022.
  119. ↑ Cabral, Euri (2008). Juan Luis Guerra y 4-40: merengue y bachata a ritmo de poesía y compromiso (in Spanish). Editora Búho. p. 189. ISBN   978-9945408171 . Retrieved 15 February 2022– via Google Books.
  120. ↑ Salaverri, Fernando (2005). Sólo éxitos. Año a año. 1959-2002 (in Spanish). Madrid, Spain: Iberautor Promociones Culturales. p. 932. ISBN   978-84-8048-639-2.
  121. ↑ "Ratings" (PDF). worldradiohistory.com. 1993. Archived (PDF) from the original on 30 October 2020. Retrieved 18 November 2020.
  122. ↑ White, Timothy (9 July 1994). "Juan Luis Guerra's Frantic 'Fogaraté'". Billboard. Vol. 106, no. 28. p. 3. Archived from the original on 5 June 2021. Retrieved 21 November 2011.

This page is based on this Wikipedia article
Text is available under the CC BY-SA 4.0 license; additional terms may apply.
Images, videos and audio are available under their respective licenses.