Arrasando [Bonus Tracks]

Arrasando [Bonus Tracks]

by Thalía
     
 

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If En Extasis and its breakthrough hit, "Piel Morena," established Thalía as a prospective Latin pop artist in 1995, and if the Emilio Estefan, Jr.-produced Amor a la Mexicana established her as a sizzling sensation in 1997, then her likewise Estefan-produced Arrasando firmly established her as a full-fledged superstar in 2000,

Overview

If En Extasis and its breakthrough hit, "Piel Morena," established Thalía as a prospective Latin pop artist in 1995, and if the Emilio Estefan, Jr.-produced Amor a la Mexicana established her as a sizzling sensation in 1997, then her likewise Estefan-produced Arrasando firmly established her as a full-fledged superstar in 2000, when it began spinning off its five hit singles. The album is a trendy one, very much of its time -- that is, right at the turn of the millennium, when high-intensity, trancy dance music was all the rage in fashionable circles. The bulk of Arrasando plays to that style, with its abundance of synthesizers and dance beats, as well as its ecstatic choruses, which seem to reach for the stars song after song. Trance music was peaking around this time, remember, and that style of dance music, which was the club sound of Europe and the coastal cities of the U.S., certainly informs Estefan's production here. It works relatively well for Thalía. That's because she's not so much a singer as she is a personality, admittedly a very attractive one. So for much of Arrasando she mainly rides the rhythms, wrapping herself in bombastic production laden with synthesizer stabs and overdubbed background vocals. The result is probably too much for anyone not inclined to dance madly; this especially goes for the title track, which is tailor-made for peak-hour club play. However, there are several slower songs that help relieve the intensity, most notably the airy "Entre el Mar y una Estrella" and the soothing "No Hay Que Llorar." Once the opening run of singles comes to an end, the album ironically gets more interesting, as Thalía tries out different styles to varying yet generally fun effect. The album closes with "Rosalinda," the theme song of Thalía's telenovela of the time. It's the most traditionally Mexican song on the set and does stand out because of that, but again, in a fun sort of way, especially given its substance and its album-closing sequencing. To step back for a moment and put Arrasando in perspective, it certainly differs from its predecessor (Amor a la Mexicana) and successor (Thalia). All are among her best efforts, with Arrasando being probably the most contrived. It's more adventurous than the streamlined Thalia, yet it's not as free-flowing as Amor a la Mexicana. Of the three, it surely sounds the most dated, and for all these reasons, it's a strangely curious album, very evocative of its time. [As part of its 2005 Thalía campaign, EMI Latin reissued the album with remastered sound and a trio of bonus tracks: a quirky banda version of "Arrasando," an overbearing, ten-minute club mix of "Entre el Mar y una Estrella," and an off-kilter medley of "Entre el May y una Estrella" and "Arrasando."]

Product Details

Release Date:
09/27/2005
Label:
EMI INTERNATIONAL
UPC:
0094634018920
catalogNumber:
40189

Tracks

Album Credits

Performance Credits

Thalía   Primary Artist
Rene Toledo   Guitar,Coros
Edwin Bonilla   Percussion
Ed Calle   Saxophone,Tenor Saxophone,Baritonos
David Cole   Cello
Sal Cuevas   Electric Bass,Bajo Sexto
Lawrence Dermer   Keyboards,Coros
Manny López   Guitar
Tim Mitchell   Guitar
Archie Pena   Percussion,Conga,Bateria
Robert Rozek   Violin
Dan Shea   Keyboards,Bateria
Ralph Stemmann   Keyboards
Dana Teboe   Trombone
Tom Timko   Baritonos
Daniel Lopez   Percussion
Randall Barlow   Arreglos
Alfredo Oliva   Concert Comedienne
John DiPuccio   Violin
Kike Santander   Bajo Sexto,Coros
Marco Flores   Coros
Huifang Chen   Violin
Angie Chirino   Coros
Gustavo Correa   Violin
Orlando J. Forte   Violin
Mei Mei Luo   Violin
Susan Moyer   Cello
Joan Faigen   Violin
Alberto Gaitán   Coros
Ricardo Gaitán   Coros
Robert Blades   Coros
Jennifer Karr   Coros
Herman "Teddy" Mulet   Trombone,Trumpet,Arreglos
Gennady Aronin   Violin
Carole Cole   Violin
Lena Pérez   Coros
Rachel Perry   Coros
Joel Someillan   Guitar
Ross Harbaugh   Cello
Gerry Miller   Violin
Steve Svensson   Viola
Sania Derevianko   Violin

Technical Credits

Miriam Makeba   Composer
Thalía   Composer
General   Composer
Lawrence Dermer   Arranger,Composer,Programming,Producer
Charles Dye   Engineer
Emilio Estefan   Arranger,Composer,Producer,Executive Producer
Archie Pena   Arranger,Producer
Dan Shea   Producer,Rhythm Programming
Ralph Stemmann   Arranger
Marcelo Añez   Engineer
Sebastián Krys   Engineer
Louis Tineo   Composer
Kevin Dillon   Studio Coordinator
Joel Numa   Engineer
Freddy Piñero   Arranger,Programming,Engineer
Ron Taylor   Engineer
Robi Rosa   Composer
Corey Rooney   Producer
Pablo Flores   Remixing
J.C. Ulloa   Engineer
Kike Santander   Arranger,Composer,Programming,Producer
Javier Garza   Engineer
Marco Flores   Arranger,Composer,Producer
Gustavo Celis   Engineer
Angie Chirino   Composer
Steve Menezes   Studio Coordinator
Thalia Sodi   Composer
José Antonio Molina   Arranger,String Arrangements,Direcccion de Cuerdas
Robert Blades   Arranger,Composer,Producer
Robb Williams   Engineer
Joel Someillan   Engineer
Robin Dermer   Composer
Daniel Betancourt   Programming
Eric Schilling   Engineer

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