Critical Reception
| Professional ratings | |
|---|---|
| Review scores | |
| Source | Rating |
| Allmusic | |
| Los Angeles Times | |
| Wilson & Alroy's Record Review | |
The album was praised by critics. Jason Birchmeier of Allmusic gave Bachata Rosa 4.5 out of 5 stars and referred to the record as a "milestone effort", writing "Not only is it his career-defining work, it's also one of the finest tropical albums of its era, or any other, for that matter". Don Snowden of the Los Angeles Times gave the album a 3 out of 4 star rating and praised the arrangements of the album as "punchy" and "well-crafted". David Wilson of Wilson & Alroy's Record Review gave the album a 5 star rating and said that Guerra "perfected his approach to bachata". He calls "Rosalia" and "La Bilirrubina" "irresistible" merengues, and describes "A Pedir su Mano" as "the incredible slice of Afro-pop". Wilson closed the review by stating "there's not one track here I'd be reluctant to play at a party."
At the 34th Grammy Awards, the album received the award for Best Tropical Latin Album. At the 1991 Lo Nuestro Awards, Guerra received three awards: Tropical Song of the Year for "Burbujas de Amor", Video of the Year for the music video of "A Pedir su Mano", and Tropical Group of the Year. A year later, Guerra received two Lo Nuestro awards: Tropical Album of the Year and Tropical Group of the Year.
Read more about this topic: Bachata Rosa
Famous quotes containing the words critical and/or reception:
“Much of what contrives to create critical moments in parenting stems from a fundamental misunderstanding as to what the child is capable of at any given age. If a parent misjudges a child’s limitations as well as his own abilities, the potential exists for unreasonable expectations, frustration, disappointment and an unrealistic belief that what the child really needs is to be punished.”
—Lawrence Balter (20th century)
“To the United States the Third World often takes the form of a black woman who has been made pregnant in a moment of passion and who shows up one day in the reception room on the forty-ninth floor threatening to make a scene. The lawyers pay the woman off; sometimes uniformed guards accompany her to the elevators.”
—Lewis H. Lapham (b. 1935)