Arrasando by Thalía (CD, Apr-2000, EMI Music Distribution)

Album Features
UPC:	724352623228
Artist:	Thalía
Format:	CD
Release Year:	2000
Record Label:	EMI Music Distribution
Genre:	Banda, International

Track Listing
1. Entre el Mar y una Estrella
2. Regresa a Mi
3. Reencarnación
4. Arrasando
5. No Hay Que Llorar
6. Quiero Amarte
7. Suerte en Mi
8. Menta y Canela
9. Tumba la Casa
10. Pata Pata
11. Siempre Hay Cariño
12. Rosalinda

Details
Playing Time:	49 min.
Distributor:	EMI Music Distribution
Recording Type:	Studio
Recording Mode:	Stereo
SPAR Code:	n/a

Album Notes
Personnel includes: Thalia (vocals); Rene Toledo, Joel Somalian, Manny Lopez, Leonardo Quintero, Tim Mitchell (guitar); Ed Calle (alto, tenor & baritone saxophones); Kenny Anderson (alto & tenor saxophones); Tom Timko (alto & baritone saxophones); Heman "Teddy" Mulet (trumpet, trombone); Dana Teboe (trombone); Dan Shea (keyboards, drums, programming); Lawrence P. Demer (keyboards, programming, background vocals); Sal Cuevas (electric bass); Kike Santanader (bass, background vocals); Archie Pena (drums); Edwin Bonilla, Daniel Lopez, Alvaro Leon (percussion); Freddie Pinero, Jr. (programming); Angino Chinno, Lena Perez, Marco Flores, Jennifer Karr (background vocals).Producers: Kike Santander, Robert Blades, Emilio Estefan, Jr.Engineers include: Robb Williams, Charles Dye, Javier Garza.Recorded at Crescent Moon Studios, Miami, Florida.ARRASANDO won the 2001 Latin Grammy Award for Best Engineered Album. The album was also nominated for the 2001 Latin Grammy Award for Best Female Pop Vocal Album.Personnel: Joel Someillan, Manny López (guitar); Mei Mei Luo, Tina Marie, Mariusz Wojtowica, Leonid Sigal, Gennady Aronin, Gustavo Correa, Carol Cole, Joan Faigen, Sania Derevianko, Gary Miller, John DiPuccio, Robert Rozek (violin); Steve Svensson (viola); David Cole, Ross Harbaugh, Susan Moyer, Claudio Jaffe (cello); Kenny Anderson (alto saxophone, tenor saxophone); Ed Calle, Tom Timko (alto saxophone, baritone saxophone); Herman "Teddy" Mulet (trumpet, trombone); Dana Teboe (trombone); Lawrence Dermer (keyboards, programming, background vocals); Archie Pena, Daniel Lopez (percussion); Freddy Piñero, Jr., Daniel Betancourt (programming); Willy Pérez Feria, Rachel Perry, Lena Pérez, Marco Flores, Angie Chirino, Roberto Blades, Jennifer Karr (background vocals).Audio Mixers: Javier Garza; Sebastián Krys.Recording information: Barking Door Studios, New York, NY; Crescent Moon Studios, Miami, FL; Lobo Studios, NY; Sony Music Studio, New York, NY.Director: José Antonio Molina.Arrangers: Freddy Piñero, Jr.; Herman "Teddy" Mulet; Lawrence Dermer; Marco Flores; Ralph Stemmann; Roberto Blades; José Antonio Molina.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 ...