In the spring of 2010, Juan Luis Guerra releases his eleventh production ASONDEGUERRA, which he will offer usual mix of


songs and son g s wit h d e e p


social messag es. “In this production, as in all of my albums, I am searching for one thing -- to make excellent music.”


The together two


Juanes. Then Mambo,” number to


a Lola, the cumbia album


geniuses. On one side is “La reggae of


big


jazz trumpeter Chris Botti. Several of songs on “ A Son Guerra” have social


example messages,


darkly humoristic to


failures of system.


comment


uses a mixture of son, rap and


“La Guagua” guaracha on


Vámonos” is an upbeat merengue


“Apaga with


our social y


l y r i c s


lyrics the


with


pointed for


the de


featuring


singer’s dog famous


dedicated


featuring “Lola’s band


a musical


Calle,” rock- with


bit brings spirit u a l


romantic a n d


the


that in


importance of personal in tegrity. Ever


to


and a react ion encounter with people


The a


Bendicion,” taking


powerful message entitled “Arregla


los papeles.”


He in


album like “Caribbean Blues” as well as a t ribute


Dominican in


where the to


musical landscape he


describes popular keys. island’s small


“Cayo he


his native Republic Arena,”


paints a as of


one but English included on


songs this


joyful salsa Psalm al


Guerra’s wife years, Nora


romantic song inspiration


spiritual hymn “Son on a


Rey” album also to


scrut inize


the


to Dominican rhythms, Gu erra


“Bachata en Fukoka,” a


musical testimony his trip


his impressions of the country.


offers “Mi


103, and with


a


Vega, a called based


of


likely from 25


of Nippon


Japan to


faith ful in clu d e s


his the and


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