Seductive, and worth the wait

Ely Guerra

“Sweet & Sour, Hot & Spicy” (Higher Octave)

*** 1/2

It’s been five years since this talented alt-Latina singer-songwriter released the extraordinary “Lotofire,” her last studio album in Mexico. That’s a long wait for a new CD, especially one titled like a Chinese menu, expressing duality much less artfully.

But don’t judge this bewitching, occasionally brilliant new CD by its cover, which shows Guerra with a spoofy new look -- a big Afro and sex-kitten gown evoking ‘70s blaxploitation films.

Guerra, 32, explores new ground through songs that set aside social concerns to plumb the depths of a woman’s mature sexuality. The album creates intoxicating moods with organic arrangements that seem to breathe, vibrate and tremble along with her dynamic, sometimes stunning vocals.

Like her previous work, this album requires an investment of time and attention. The listener must surrender to the music’s swirling groove like a daydream, letting Guerra create her trance with a voice that soars unpredictably from a whisper to a wail.

The enchantment is most irresistible on “Mi Playa” (My Beach), a beautiful song of surrender that’s so tender you realize you’re holding your breath on Guerra’s hushed, prayer-like promise to give all of herself, her strengths and weaknesses, her favorite photos, her human condition. Yet at the end she holds back just one thing, an image of a guardian saint that protects her. In love, she seems to be saying, she still needs to guard her deepest vulnerability.

Many of her songs contain such revealing twists. In the hypnotic “Tu Boca” (Your Mouth), she gives in to her fantasies against her better judgment, a wounded woman desperate to find healing release in love.

These are songs of smoldering desire and quivering sensitivity from a daring artist not afraid to peel away her calculated exterior and reveal her hungry soul.

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It’s tough walking in his own shoes

Juanes

“Mi Sangre” (Surco/Universal)

** 1/2

Listening to a new CD is like judging presidential debates -- a lot depends on expectations. This Colombian singer-songwriter set such a high standard with his acclaimed debut CD, 2000’s “Fijate Bien,” he was perhaps doomed to fall short forevermore.

In his third solo album, the former metal rocker from Medellin continues his metamorphosis into a global pop celebrity. In this world of award shows and magazine covers, just as in politics, style and image often count more than substance.

This work is again coproduced by Gustavo Santaolalla, the respected dean of the alt-Latino generation. But most of the adventurous spirit of alternative Latin music, which Santaolalla helped define, has been squeezed out of “Mi Sangre” (My Blood).

It has no surprises, no insights, no defiance. It sounds great but goes nowhere.

Even the love songs, Juanes’ central theme since becoming a husband and father, are not especially poetic. In “Para Tu Amor” (For Your Love), he offers his woman “a moon, a rainbow and a carnation” and thanks her “for existing.” In “Nada Valgo Sin Tu Amor,” the first single, he tells her he’s worthless without “her love and companionship in my heart.”

Clunky, yes, but it has a peppy refrain you can’t resist, like ‘50s rock. Juanes has always had a way with good beats and catchy melodies, which lately have redeemed his cliched lyrics. But his earnest, breathless vocal delivery, so effective on the piercing themes of “Fijate Bien,” becomes almost an affectation on this more lightweight material.

Musically, “Sangre” has an edgier, punchier feel than the smash sophomore CD, 2002’s “Un Dia Normal,” which made Juanes an international star and sex symbol. And the new album has its high points: The bad-boy, bluesy “Damelo”; the dark and rootsy “La Camisa Negra” (The Black Shirt); the corrido-like drug narrative “Rosario Tijeras.”

For many other artists, a few good songs would be enough. For Juanes, whose first album still reveals new dimensions and discoveries with every listening, maybe we expect too much.

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Mariachi meets pop; love blooms

Alejandro Fernandez

“A Corazon Abierto” (Sony Discos)

** 1/2

The son of Mexico’s mariachi king, Vicente Fernandez, returns with a smooth and silky set of love songs that may not break new ground but that offer a seductive soundtrack for that candlelight dinner date for two.

On seven of 12 tunes, Fernandez reteams with Miami-based hit-maker Kike Santander, whose work can be saccharine and routine. The other half is produced by Aureo Baqueiro, who recently worked with Mexico’s bright young singer-songwriter Natalia Lafourcade.

Baqueiro’s influence is subtle, found in his light touch and occasional bossa nova guitar chords. He’s credited on the album’s most tender and lovely song, Gian Marco’s aching “Tengo Ganas” (I Desire). The spare string backup perfectly complements Fernandez’s warm, intimate vocals and proves once again that less can be more.

After a while, though, even romance can get tiring. But instead of tagging a lame salsa version of one of the ballads to the end, a real rousing ranchera would have made a great nightcap.

But that’s another album -- and a different date.

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Quick spins

A look at other recently released Latin albums:

Pepe Aguilar

“No Soy de Nadie” (Sony Discos)

***

The title (“I Belong to Nobody”) could not be more apt for this popular Mexican crooner, son of Antonio Aguilar and Flor Silvestre. Just weeks ago, the thirtysomething singer suddenly left his old label, Univision, citing creative differences. He quickly popped up on rival Sony with this ready-to-go new record, a varied set of rancheras, boleros and pop ballads.

Aguilar attempts to branch out here on a couple of pop tracks that have electric guitar and sax touches. But pop’s not Pepe’s strong suit. On the remaining dozen numbers, he re-asserts his real value as a contemporary interpreter of an endangered genre that he and a handful of Mexican stars are keeping alive.

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Gilberto Santa Rosa

“Autentico” (Sony Discos)

***

This Puerto Rican vocalist is a living link to the great ‘70s era of salsa dura, or heavy salsa. But he’s no relic. He’s kept the flame alive while remaining fresh and forceful.

Santa Rosa brings to his work superb taste for songwriting, and this album is no exception. He’s selected tunes by Cuba’s Giraldo Piloto and Adalberto Alvarez and Puerto Rico’s Pedro Flores and Johnny Ortiz, among others.

Logically, lyrics are critical to Santa Rosa, one of salsa’s best soneros, or improvisational singers. His inventive phrases riff off the written verses with ease, imagination and fine timing.

Produced by Jose Lugo, the album uses two sets of top-notch studio musicians on a smorgasbord of Afro-Caribbean rhythms. The final three tracks feature the rootsy, seasoned alternate band with the stellar piano of Sonny Bravo and the tasty trumpet of Chocolate Armenteros.

By the end, Santa Rosa has fully earned the CD title. Authentic, indeed.

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Roberto Torres & Cha Cha Cha All Stars Orchestra

“Con Mucho Swing”

(REGU Records)

***

The veteran Cuban singer, known for his 1980s version of “Caballo Viejo,” returns to front a traditional charanga group featuring veterans such as pianist Alfredo Valdes Jr. and trombonist Generoso Jimenez. His aging voice strains on the demanding “Bruca Manigua” but settles into the softer boleros and smooth cha-cha-chas from the 1950s. This is strong, joyful Cuban dance music to work around the house by.

Albums are rated on a scale of one star (poor) to four stars (excellent). The albums are already released unless otherwise noted.