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A las Buenas y a las Malas

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Download links and information about A las Buenas y a las Malas by Rosana. This album was released in 2009 and it belongs to Latin genres. It contains 14 tracks with total duration of 54:28 minutes.

Artist: Rosana
Release date: 2009
Genre: Latin
Tracks: 14
Duration: 54:28
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Tracks

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No. Title Length
1. Llegaremos a Tiempo 5:30
2. Tu Eres Mi Suerte 3:51
3. Hago saber 4:05
4. Víno el Sol 3:26
5. Demasíado 3:19
6. Lo Que Quiero y Lo Que No 4:15
7. A las Buenas y a las Malas 3:04
8. Para Nada 4:01
9. Se Fue 4:29
10. Aprendí 4:04
11. Con Víento a Favor 3:14
12. Sirénas de Ciudad 3:51
13. Mañana 4:21
14. A las Buenas y a las Malas (versión Guitarra y Voz) 2:58

Details

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A las Buenas y a las Malas is something of a stylistic change for the Spanish superstar Rosana, who tried to shift away from the trademark Latin pop toward a more rock-oriented style, but chances are that those who hadn't followed her career closely would not be overly impressed — though still may enjoy the record for its positive attitude and occasional flashes of brilliance. The opener, for example, is a captivating piece of folk-rock, sporting a good dramatic buildup and catchy throughout, but many of the songs that follow feel dated — happy pop from the ‘80s, early ‘90s, and sometimes even earlier periods, not exactly hook-free, but lightweight just because of not trying to update the sound. Granted, Rosana has her sights on good examples, from the almost Beatlesque "Hago Saber" to the likes of Eric Clapton, Bob Dylan, and Dire Straits and even a riff that goes back to Green Day's "When I Come Around" in "Vino el Sol," though seriously watered down here. But still, the record feels almost embarrassingly stuck in the past: pop is supposed to be hip, but what passes for hip here went out of fashion years and even decades ago. That said, the problem is mostly limited to the upbeat songs, which are a minority here — after getting a few obligatory hits out of the way, Rosana delves into the blues-tinged folk-rock she opened the record with, and there, it clicks. Sure, the songs are built around simple acoustic guitar strumming, but this sort of music does not need to push the envelope; it must only be emotional enough (better still, without unnecessary histrionics) — and she pulls that off, giving the record a somewhat surprising but all the more pleasant tinge of maturity.