juan luis guerra songs – Juan Luis Guerra, Jesse & Joy Win At Latin Grammys

Their 1998 release, Ni Es Lo Mismo Ni Es Igual, garnered Guerra three Grammys for Best Merengue Performance, Best Tropical Song for “El Niagara en Bicicleta,” and for Best Engineered Album at the first annual Latin Grammy Awards in fall 2000.

juan luis guerra songs burbujas amor – Juan Luis Guerra Biography

JUAN LUIS GUERRA7 June 1957, Santo Domingo, Dominican Republic. His most recent album is named Literal, which was released early this year. It is Guerra’s 14th studio album, and includes the opening track of the night’s set list called “I Love You More”. In a true Juan Luis Guerra music genius fashion, the instrumentation is inspired by Franz Liszt’s “Hungarian Rhapsody No. 2”, which is most evident in the saxaphone solo section around midway through the length of the song. I know this may not mean a whole lot to some people, but it is truly fascinating to a music nerd like myself.

After identifying and defining his genre, Guerra began to produce hit after hit. In 1990, his album Bachata Rosa became a radio favorite with songs like La bilirrubina” Rosalia” and Burbujas de amor.” The combination of jazz, pop, meringue, and other rhythms not only helped him sell 5 million copies of the album but also earned him his first Grammy award.

The album’s impact on the musical style known as bachata , and even its integral connection to that style, are on the other hand much more questionable. To begin with, the songs are far removed, musically, both from the bachata which was being recorded at the time and from the bachata which has become popular since. Indeed, if a listener unfamiliar with bachata were to be introduced to the style through Juan Luis Guerra’s recordings, he or she would be hard pressed to recognize the work of more genuine bachateros as belonging to the same genre. One only has to listen to a recording of Guerra’s side by side with a sampling of bachata as it has developed over the years to cast serious doubt upon Juan Luis Guerra’s credentials as a bachatero.

Guerra attracted controversy in 1992 after he released his next album, Areíto (which is a Taíno word for song and dance). It featured the hit single “El costo de la vida” (The Cost of Living), whose video clearly has an anti-capitalist message. Other songs included in this album protest the poor conditions in many Latin American countries, the celebration of the ‘discovery’ of the Americas (“1492”), and the double standards of first-world nations. “El costo de la vida” was his first number-one hit in the Hot Latin Tracks.

Despite having dozens of hit singles to his name, there are probably (though we doubt it) people who have never heard Guerra’s music. When asked which would be the ideal song to introduce someone to his music, the star couldn’t quite decide on one.

Before his experiment with the genre in Bachata Rosa, Juan Luis Guerra had established himself as a conscientious musician who helped to revitalize merengue over the course of the 1980s. His work was not particularly successful in a commercial sense, and he had difficulty getting gigs for his group, 4:40, even after the release of the popular single Ojala que llueva café”. His music was innovative, however, in its use of styles like soukous and High Life from Africa, as well as Afro-Dominican folk forms like palo, and Guerra’s prestige was great, particularly among the middle and upper classes. Nothing in his career up to that time, however, had presaged the enormous economic and artistic success of his foray into bachata-inspired bolero.

The singer and songwriter of such classics as “La Bilirubina,” “Ojalá Que Llueva Café,” “Visa Para Un Sueño,” “Las Avispas,” “Niagara en Bicicleta,” to name just a few, will perform all of his greatest hits plus the new songs from his upcoming studio album including the new hit “Kitipun,” which since its release on April 5th, has revolutionized social media around the world for its rhythm and choreography.

In making an objective balance of the successes achieved by Juan Luis as a composer, arranger, songwriter, as the leader of the 440 band and as a Christian and solidaristic man, we can conclude that we are before the presence of an outstanding artist and a human being of exceptional dimensions.

In the early ’80s he returned to his native country, the Dominican Republic, where he composed jingles for advertisements for a time before he formed his own group, 4:40. The group was made up of Maridalia Hernández, Mariela Mercado, and Roger Zayas-Bazán. Back then, fame and popularity seemed like a distant dream as the four friends drove around Santo Domingo in a Volkswagen Beetle hoping to hear one of their songs on the radio. Eventually they did begin to hear songs from their first three albums: Soplando, Mudanza y Acarreo, and Mientras Más Lo Pienso…Tú. It wasn’t until 1989 that Guerra began to dominate the airwaves with the album Ojalá Que Llueva Café, a musical homage to the earth and its bounty, featuring majestic lyrics accompanied by idyllic rhythms. That was Juan Luis Guerra’s first solo project.

Pop star Ricky Martin, salsa singer Victor Manuelle, Mexican actress-singer Lucero, and the Cuban rap group Orishas were among the stars who performed in his honor at the Mandalay Bay’s North Convention Center on the eve of the Latin Grammys.

Juan Luis Guerra Net Worth: Juan Luis Guerra is a Dominican musician, composer, and producer who has a net worth of $45 million dollars. Born in 1957 in Santo Domingo, Dominican Republic, Juan Luis Guerra is one of the most famous Latin artists in recent times. He attended Universidad Autonoma de Santo Domingo for literature and philosophy and later studied music at El Conservatorio Nacional de Musica de Santo Domingo before moving to the United States to enroll at the Berklee College of Music in Massachusetts. After graduating, Guerra moved back to the Dominican Republic and released his debut album, “Soplando”, in 1984 with several local musicians. They formed the group Juan Luis Guerra y 440 and he became the band’s lead singer during the late ’80s. 440’s 1991 album, “Bachata Rosa”, scored Guerra his first Grammy win as it sold more than five million copies around the world. The group’s 1992 album, “Areito”, generated controversy for its apparently anti-capitalist undertones.

This year, the single that gives his latest CD its name spent four weeks at No. 1 spot of Billboard’s Hot Latin Songs chart. He is also nominated for Album of the Year, Song of the Year, Best Merengue Album, and Best Tropical Song.JUAN LUIS GUERRA

Known for fusing many sounds, from Afro-Latin to merengue and more, Guerra has spent a career creating music that has been embraced around the world. He’s also credited with helping take bachata to a larger audience.

The Caribbean rhythms of Guerra’s homeland translate to an upbeat party atmosphere on stage and it’s impossible not to move your feet when he unleashes his clave beats and sonorous vocals. If music is the language of love, then Spanish comes in a close second, for Guerra is also a gifted romantic. In one song, the crooner recalls the beauty of his lovers, comparing them to the moon and stars. In another, the sound of a woman’s laughter is greater than a symphony. Guerra moves audiences in two ways – on the dancefloor and in their hearts.

In the spring of 2010, Juan Luis Guerra released his eleventh production, A Son de Guerra, in which he offered the usual mix of romantic songs and songs with deep spiritual and social messages. The album brings together two musical geniuses. On one side is La Calle,” rock-reggae with a bit of cumbia featuring Juanes. Then Lola’s Mambo,” a big-band number dedicated to the singer’s dog Lola, featuring famous jazz trumpeter Chris Botti. Several of the songs on A Son de Guerra have pointed social messages; for example, La Guagua” uses a mixture of son, rap, and guaracha with darkly humoristic lyrics to comment on the failures of our social system. Apaga y Vámonos” is an upbeat merengue with lyrics that scrutinize the importance of personal integrity. Ever faithful to Dominican rhythms, Guerra includes Bachata en Fukoka,” a musical testimony to his trip to Japan and a reaction to his encounter with the people and his impressions of the country.

Guerra’s conversion to Christianity in 2004 ignited enthusiasm as well as criticism from fans and others in the Latin music community. It also inspired the religious songs on his next album, Para Ti. The popular track, Las Avispas, was the first song to win in both the Gospel Pop and Tropical Merengue categories at the Billboards (in 2005). Guerra would drop the religious lyrics in favor of his usual romantic lyrics for his 2007 album, La Llave De Mi Corazón. That year, he would win each category he was nominated in for a total of five Latin Grammys in the following categories: Best Tropical Song, Best Merengue Album, Record of the Year, Song of the Year and Album of the Year.

The tropical March wind blowing off the ocean in Santo Domingo feels much like a late summer breeze in Boston. Temperatures of 80 degrees Fahrenheit and above are typical year-round for the coastal capital of the Dominican Republic, and the air is always heavy with humidity. This is where Christopher Columbus landed in 1492, the site of the first contact between the people of the old and new worlds. Five hundred-plus years later, the specter of centuries of political and economic struggle still haunts the island. Many Dominicans have to really hustle to earn their daily bread. Entrepreneurial vendors are everywhere hawking fruit, vegetables, soft drinks, paintings, clothing, and everything else from sidewalk displays, bicycle baskets, or the beds of pickup trucks.

It wasn’t until 1989 that Guerra began to dominate the airwaves with the album Ojala que Llueva café”, a musical homage to the earth and its bounty featuring majestic lyrics accompanied by idyllic rhythms. This was Juan Luis Guerra’s first solo project.

He is devoutly religious, and his witty, poetic songs often tackle social issues. El Niágara en bicicleta, the big hit off his last album, Ni es lo mismo, ni es igual (1988), compared the trials of going to a Third World hospital with crossing the famous Niagara Falls on a bicycle.

If you grew up listening to Juan Luis Guerra—especially if you’re Dominican—chances are you remember your parents playing his songs with his group 440 on the regular. They most likely had Requiem Sobre El Jaragua (Le Dien Dinamita)” on repeat.

Stateside, campaigns with Walmart and AT&T have supported the single, which entered Billboard’s Hot Latin Songs chart April 24 at No. 50 and rose to No. 6 during the week ended May 16. Walmart released the track April 6 as a physical single, with a previous Guerra single, Como Ti,” as a B-side on the vinyl version, marking the first time Walmart has released a physical Latin single.

Juan Luis Guerra show was just amazing. Himself and the 4.40 Band (what a hell of a band!) filled the Smart Financial Center with great energy, intelligent lyrics and outstanding music. Two hours concert that comprised several rithms like merengue, bachata, tradtional merengue (perico ripiao), salsa, and other kind of various jazzy and interesting sounds. Janina Rosado at the keyboards, singing, dancing and direction makes an outstanding job. And of course JLG, who does not dance or moves along the show, but fills the whole stage with his charisma and unique talent. A must see.

Juan Luis Guerra has created a synthesis of slinky bachata and posh merengue rhythms, and when he performs it live, he brings a slice of the Dominican Republic’s culture to the stage. As one of the DR’s biggest musical exports, the suave crooner has captivated legions of fans with his sophisticated folk formula. He’s joined forces on stage with some of the best, including Sting, The Rolling Stones, Paul Simon and Maná.

One of his most recent albums, Ni es lo Mismo ni es Igual (1998), garnered much critical acclaim. It won three Latin Grammys in 2000. Juan Luis Guerra is one of the most internationally recognized Latin musicians.

In 1990, 440 released their next album, Bachata Rosa , which became a major hit and earned Guerra his first Grammy award. With sales over five million, the album let Guerra keep touring Latin America, USA and Europe. It contains memorable love songs such as “Burbujas de amor” (Bubbles of Love), “Bachata Rosa”, “Rosalía”, “Como abeja al panal” (Like a Bee to the Honeycomb), “A pedir su mano” (Asking For Her Hand), “Carta de amor” (Love Letter), and “Estrellitas y duendes” (Little stars and elves).

The title of his latest tour, “La Travesia (The Journey),” is an apt one for Guerra’s career. In the early 1990s, he became an international ambassador for the bachata, the Dominican version of a romantic bolero. The genre originated in countryside fiestas and brothels and is recognizable for its slow, sensual sound marked by bongos, maracas and the pluck of the guitar.

The popular hit, Bachata Rosa, was released in 1990 and earned Juan Luis Guerra his first Grammy. Some said the song gave bachata instant international recognition and helped legitimize the genre that for a long time was not respected. However, those who are familiar with bachata music have pointed out that the popular hit song with bachata in its name is actually a balada. The song does not have the same characteristic instrumentation, is not danceable as a bachata, and contains the romantic lyrics of a balada instead of singing about barrio life as other bachateros of the time were doing. In addition, it seems that his other bachata tracks share the same lack of bachata-ness. So what might explain this discrepancy? The reasons Latin music enthusiasts have come up have ranged from Guerra’s history of mixing musical genres to his insufficient study or even ignorance of bachata music.

Guerra wasn’t the only Latin music legend in the house last night. Puerto Rican singer Olga Tañon was in the first row dancing and singing along, and was surprised yet delighted when Juan Luis pointed her out. In true Latina fashion, she waves and blew kisses to the stage and the crowd, but never stopped dancing.

Guerra became a controversial figure in the Dominican Republic after he released his next album, Areito. “Areito” (1992), featured the hit single “El costo de la vida,” (“The Cost of Living”) but the video version was banned in several countries.

Guerra founded a charity named after his music group, Group 440, in the early 90s. Now named La Fundación Juan Luis Guerra, the organization’s charitable activities won Guerra the Spirit of Hope award at the 2005 Billboards. The foundation is primarily focused on providing assistance and resources to needy children in the Dominican Republic, particularly in the areas of health, sports and education. Its activities have ranged from providing soccer fields and equipment for marginalized neighborhoods to offering rehabilitation services to young drug and alcohol addicts. The foundation is currently focused on providing assistance to orphanages and infant hospitals. In a message on his website, Guerra credits God with giving people the desire to help others.

The singer and songwriter of multiple classics will perform all of his greatest hits plus new songs from his upcoming studio album including new hit “Kitipun.” Juan Luis Guerra has become a living legend and in indisputable reference to music and has broken attendance records with each of his tours.

Guerra is the son of a professional baseball player and grew up next to the National Music Gallery. As a teen, he was influenced by the Beatles and by the music of the U.S. hippies. Initially, he taught himself the basics of guitar playing, but after winning a contest, attended the National Conservatory on a scholarship. One of his instructors then helped Guerra get into the prestigious Berklee College of Music in Massachusetts and the many genres of jazz. In time, he found he missed his native Dominican Republic and so returned to experiment with blending local African-influenced music, folk songs and jazz with his group 440. The band takes its name from the universal tuning pattern of the A note, 440 Hertz. The name was chosen by Guerra’s brother, José Gilberto, who used to sit and watch them rehearse. One day he commented that they seemed so obsessed with staying in perfect tune that they should call themselves that.

Sound good to you? Share this page on social media and let your friends know about Juan Luis Guerra at Agganis Arena. Mucha informacion, pero con un marcado interes en restarle meritos a Juan Luis Guerra, Por eso cae en el exceso de comparaciones de generos y artistas, innecesarias.

Bachata’s turn, over the last ten years, toward carefully crafted romantic songs, has been in large part the result of the introduction of vallenato into the genre, most notably by the duo Monchy y Alexandra. This trend dates from the considerable success of Luis Vargas with the vallenato Volvió el dolor” in 1997. Vallenato lyrics by groups like El Binomio de Oro are more international and universal than the bachatas of Santos and Rodriguez, which have a distinctly Dominican flavor. As the form has grown more popular internationally, bachateros have sought ways to appeal to audiences in places like Central America and Mexico, and the recording of vallenatos as bachatas has been a key part of that effort. Juan Luis Guerra’s lyrics, while certainly as universal as those of the most popular vallenato composers, do not seem to have had a direct influence on the stylistic changes which have taken place since Volvió el dolor”.

The album’s impact on the musical style known as bachata , and even its integral connection to that style, are on the other hand much more questionable. To begin with, the songs are far removed, musically, both from the bachata which was being recorded at the time and from the bachata which has become popular since. Indeed, if a listener unfamiliar with bachata were to be introduced to the style through Juan Luis Guerra’s recordings, he or she would be hard pressed to recognize the work of more genuine bachateros as belonging to the same genre. One only has to listen to a recording of Guerra’s side by side with a sampling of bachata as it has developed over the years to cast serious doubt upon Juan Luis Guerra’s credentials as a bachatero.

The album also offers a romantic song, Mi Bendición,” likely taking inspiration from Guerra’s wife of 25 years, Nora Vega; a spiritual hymn called Son al Rey” based on Psalm 103; and a joyful salsa with a powerful message entitled Arregla los papeles.” He included songs in English on this album like Caribbean Blues,” as well as a tribute to his native Dominican Republic in Cayo Arena,” where he paints a musical landscape as he describes one of the island’s small but popular keys.

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