El día que me quieras is an Argentine tango with music by Carlos Gardel and lyrics by Alfredo Le Pera. It is considered one of the most popular songs of the 20th century and one of the best Latin songs of all time. Originally featured in the 1935 film of the same name, sung by Gardel himself, it became a heavily recorded tango standard, even by artists outside of the realm of tango. It has subsequently been covered by various artists such as Luis Miguel, Julio Iglesias, Michael Bolton Roberto Carlos, Raphael de España and Shlomo Idov who translated the song to Hebrew. The song was inducted into the Latin Grammy Hall of Fame in 2001. "El día que me quieras" was honored at the 2014 La Musa Awards as "La Canción de Todos los Tiempos". It was among the tango standards selected by Plácido Domingo for his 1981 album Plácido Domingo Sings Tangos. In addition to Domingo, the song has been covered by operatic tenors including José Carreras, Juan Diego Florez, Christian Ketter, and Alfredo Kraus.
Bachata Rosa is the fifth studio album by Dominican singer-songwriter Juan Luis Guerra and his group 4.40. It was released on December 11, 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.
Ojalá Que Llueva Café is the fourth studio album by Dominican singer-songwriter Juan Luis Guerra released in 1989 by Karem 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.
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.
Areíto is the sixth album by Juan Luis Guerra with his band 440, released on December 8, 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 December 8, 1992.
"Fría Como el Viento" is a ballad written, produced and arranged by Juan Carlos Calderón and performed by Mexican singer Luis Miguel. It was released as the first single from the Grammy-nominated studio album Busca una Mujer (1988). The song became the third number-one single for the singer in the Billboard Hot Latin Tracks chart after "Ahora Te Puedes Marchar" in 1987 and "La Incondicional", the preceding single.
"Tengo Todo Excepto a Ti" is a pop song written, produced, and arranged by Juan Carlos Calderón, and performed by Mexican singer Luis Miguel. It was released as the lead single from his studio album 20 Años (1990). It reached the number one position all over Ibero-America, became his fourth number-one single in the Billboard Hot Latin Songs chart after "Ahora Te Puedes Marchar", "La Incondicional" and "Fría Como el Viento" and was nominated for Pop Song of the Year at the Lo Nuestro Awards. The parent album peaked at number two in the Latin Pop Albums chart and sold more than 600,000 copies in its first week of release.
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.
"Hasta Que Me Olvides" is a song written by Juan Luis Guerra and performed by Mexican recording artist Luis Miguel. It was released as the second single from his album Aries in August 1993. The song reached number one on the Billboard Hot Latin Songs chart in the United States, becoming his tenth number one song on the chart. It received a nomination for Pop Song of the Year at the 6th Annual Lo Nuestro Awards, but lost to "Nunca Voy a Olvidarte" by Cristian Castro.
"Todo y Nada" is a song written and performed by Mexican singer Vicente Garrido Calderón released in 1957. It was covered by Mexican singer Luis Miguel on his album Segundo Romance (1994) where it was released as the third single from the album in 1995 and reached number three on the Billboard Hot Latin Songs and number one on the Latin Pop Airplay charts, becoming his third number-one song on the latter chart. "Todo y Nada" became Miguel's third consecutive number-one song from Segundo Romance in Mexico; and became a top-five hit in Chile, Panama and Puerto Rico.
"Burbujas de Amor" is a song by Dominican Republic singer-songwriter Juan Luis Guerra released as the third single for his album Bachata Rosa (1990). It is widely considered one of Guerra's most popular songs. The song was a commercial success a become international hit in Europe and Latin America. It peaked a number 2 at Hot Latin Songs tracks and peaked at number one on Mexico Airplay, Chile and Uruguay. The track received universal acclaim by the critics and was praised by it sophisticated lyrics and elegance. It was listed at number 21 at Rolling Stone`s 50 Greates Latin Pop Songs. In 2015, it was placed 8th at Billboard's Top 50 Best Latin Songs of All Time. It won Tropical/Salsa Song of the Year at Premios Lo Nuestro 1991. It was the 8th best performed Latin Song of the United States of 1990. It was named Song of the Year of 1990 by Billboard's Latin music critics.
"El Costo de la Vida" is a song by Dominican Republic singer-songwriter Juan Luis Guerra released as the third single from his sixth studio album Areito (1992). The track is collaborated by the famous Congolese musician Diblo Dibala on guitar and is a Spanish cover of his own soukous song "Kimia Eve". The lyrics to the song make references to the poverty, corruption and low-life standards in Latin America. Also, lyrics about poor conditions in many Latin American countries, the celebration of the 'discovery' of America and the double standards of first-world nations. The music video was banned in several countries for been to graphic and sparked some controversy due to many considered the lyrics contained on the song had anti-capitalist tendencies.
"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.
"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 contributed 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.
Frio Frio or Frio, Frio is the lead single of the sixth studio album Areito by Dominican superstar Juan Luis Guerra. The track is a bachata and was wrote based on a poem by Federico García Lorca and was released in August 1991. The track was receive positive reviews by the critics and was nominated for Tropical Salsa Song of the Year at the 4th Lo Nuestro Awards. Frio Frio was a success peaking at number 4 on Billboard Hot Latin Tracks and at the Top 5 airplay in Panama and Uruguay.
Señales de Humo is the second single of Juan Luis Guerra sixth studio album Areito (1992). The track is divided in two parts: The first part is a bachata and the second one the rhythm transformed to Mambo with elements of son and salsa. The title made reference of the communication that the indigenous use between vast and unpopulated areas and that are made by bonfires. The song met with critical acclaim and won Song of The Year at the 1994`s BMI Latin Awards. The track was a great success in Latin America and Billboard US Latin charts. The track was included on Guerra`s compilation album Colección Romantica (2001).
"Mal de Amor" is the fourth single from Juan Luis Guerra's sixth studio album Areíto, released in 1993 by Karem Records. The song was written and produced by Guerra. The track encompasses traditional merengue with Cumbia. The song was the fourth consecutive single from the album to reach the top-ten on the Billboard Hot Latin Songs chart in the United States. It also reached the top-ten in Venezuela.
Rompiendo Fuente(English: Water Break) is the sixth single of Juan Luis Guerra sixth studio album Areito, released in 1993 by Karem Records. The song was written and produced by Juan Luis Guerra and his band 4:40. The tracks is a merengue with some elements of Afropop inspired Taino Indigenous. The song is a metaphor lamenting precarious situation of a woman working on a factory that is giving a birth to a girl. The track receive farovable reviews by the critics. Howell Llewelyn from Billboard on an article wrote about the song "the most touching song ever written by a man on the subject of giving birth".
Cuando Te Beso(English: When I kiss you) is the seventh and final single of Juan Luis Guerra sixth studio album Areito, released on 1993 in Europe and in January 1994 in the United States by Karem Records. The album also contained other version of the track performed by the Santo Domingo Philharmonic Orchestra. The song peaked at number 28 on the US Hot Latin Songs and reached the top-ten in Chile and Panama. The track receive positive reviews by the critics. Ramiro Burr from Austin American Statesman stated that track is "an affecting tale of devotion". Robert Hilburn from Los Angeles Times wrote that the track had percussion "had some wonderfully affecting ballad work".
La Cosquillita is the lead single seventh studio album Fogarate! by dominican superstar Juan Luis Guerra. It was released on June 21, 1994 by Karem Records. The rural merengue track, Perico Ripio. track was written and produced with the collaboration of the Dominican accordionist Francisco Ulloa and his band. About the success of the track, Guerra stated "With the `perico ripiao' we are doing the same thing that we did with the `bachata,' breaking down the barriers that prevent it from reaching all of Dominican society, and then exporting it". The song became Guerra's first number-one hit in his native Dominican Republic; and became a top-ten hit in Spain, Venezuela and the US Hot Latin Songs chart.
