El tren de los momentos

Alejandro SanzNovember 7, 2006
Europe℗ 2006 Warner Music Benelux B.V.
55
Listen to this album and millions more. First month free.

El Tren de los Momentos is the eighth studio album recorded by Spanish singer-songwriter Alejandro Sanz, It was released by WEA Latina on November 7, 2006. which counts with the collaborations of Juanes, Antonio Carmona, Shakira and Calle 13. It contains ten songs produced by him and Lulo Pérez and this diversity of voices allows approaching social, political and faith topics from differing points of view.
It was recorded in Havana, Miami, Bahamas and Madrid, with most recording taking place in a studio that Sanz has at his house in Miami.
The album won the Grammy Award for Best Latin Pop Album at the 50th Annual Grammy Awards. Also was nominated for a Latin Grammy Award for Album of the Year, in the 8th Annual Latin Grammy Awards which was awarded to La Llave de Mi Corazón by Juan Luis Guerra.

Description provided by Wikipedia under Creative Commons Attribution CC-BY-SA 4.0

Read more
Collapse
Songs
Popularity
1
Enséñame tus manos3:51
2
A la primera persona5:01
3
Te lo agradezco, pero no4:33
4
Donde convergemos4:56
5
En la planta de tus pies3:57
6
La peleíta4:45
7
Se lo dices tú3:51
8
Se molestan3:06
9
Te quiero y te temo3:13
10
El tren de los momentos3:00
4.6
55 total
5
4
3
2
1
Loading...

Additional Information

Tracks
10
Released
November 6, 2007
Label
℗ 2006 Warner Music Benelux B.V.
File type
MP3
Access type
Streaming and by permanent download to your computer and/or device
Internet connection
Required for streaming and downloading
Playback information
Via Google Play Music app on Android v4+, iOS v7+, or by exporting MP3 files to your computer and playing on any MP3 compatible music player
Like clockwork, Spanish superstar Alejandro Sanz has been releasing a new studio album every three years for the past fifteen. 2012's La Música No Se Toca is the successor to 2009's Paraíso Express, and it introduces one significant change in Sanz's career: namely that he changed records labels after spending more than 20 years with Warner Bros, ever since his 1990 solo debut Viviendo Deprisa. Sanz's switching allegiance to Universal may have to do with the fact that, in times of decreasing record sales and mounting competition at home from all those "Operación Triunfo" young alumni, his last two albums did not perform as well as expected. Perhaps for the same reason, this time around Sanz refrains from the genre experiments and high-profile duos of No Es Lo Mismo, El Tren de Los Momentos, or Paraíso Express, which included stabs at reggaeton, some political content, and guests such as Calle 13, Shakira, Alicia Keys, Juanes, Maná, or Carlos Baute. Instead, he prefers to play to his strengths and deliver a collection that makes sure to touch all the bases of his now patented singing and songwriting style. This includes plenty of romantic ballads ("Mi Marciana," "Para Decirle Adiós"), and midtempo numbers with a slight flamenco groove ("Me Sumerjo," "Camino de Rosas"), all armed with rousing choruses and defiantly sung in his trademark, rootsy Andalusian voice. Both leading singles "No Me Compares" (automatically nominated in two Latin Grammy categories upon its release) and "Se Vende" are good examples of Sanz's approach to La Música No Se Toca, but in truth, almost any song could have been chosen instead, as they are largely cut from the same cloth. The only exceptions are the few uptempo selections thrown in to stir things up, like the opener "La Música no Se Toca," which promises a different, more rebellious kind of album that never materializes; the snarling rock of "Llamando a la Mujer Acción," and the closer "Down," featuring American rapper Fat Joe. Production by Colombian Julio Reyes is typically immaculate, but overall, La Música No Se Toca is ultimately an album that will not make people change their minds about Alejandro Sanz: those who find his songs inspiring will find much to like, and those who reckon his writing and arrangements are a tad trite will do better to stay away. The formula, however, still seems to work, as La Música No Se Toca debuted at the top of the charts in Spain and several other countries worldwide, quickly reaching double platinum status. [A CD/DVD version was also released.]
Like clockwork, Spanish superstar Alejandro Sanz has been releasing a new studio album every three years for the past fifteen. 2012's La Música No Se Toca is the successor to 2009's Paraíso Express, and it introduces one significant change in Sanz's career: namely that he changed records labels after spending more than 20 years with Warner Bros, ever since his 1990 solo debut Viviendo Deprisa. Sanz's switching allegiance to Universal may have to do with the fact that, in times of decreasing record sales and mounting competition at home from all those "Operación Triunfo" young alumni, his last two albums did not perform as well as expected. Perhaps for the same reason, this time around Sanz refrains from the genre experiments and high-profile duos of No Es Lo Mismo, El Tren de Los Momentos, or Paraíso Express, which included stabs at reggaeton, some political content, and guests such as Calle 13, Shakira, Alicia Keys, Juanes, Maná, or Carlos Baute. Instead, he prefers to play to his strengths and deliver a collection that makes sure to touch all the bases of his now patented singing and songwriting style. This includes plenty of romantic ballads ("Mi Marciana," "Para Decirle Adiós"), and midtempo numbers with a slight flamenco groove ("Me Sumerjo," "Camino de Rosas"), all armed with rousing choruses and defiantly sung in his trademark, rootsy Andalusian voice. Both leading singles "No Me Compares" (automatically nominated in two Latin Grammy categories upon its release) and "Se Vende" are good examples of Sanz's approach to La Música No Se Toca, but in truth, almost any song could have been chosen instead, as they are largely cut from the same cloth. The only exceptions are the few uptempo selections thrown in to stir things up, like the opener "La Música no Se Toca," which promises a different, more rebellious kind of album that never materializes; the snarling rock of "Llamando a la Mujer Acción," and the closer "Down," featuring American rapper Fat Joe. Production by Colombian Julio Reyes is typically immaculate, but overall, La Música No Se Toca is ultimately an album that will not make people change their minds about Alejandro Sanz: those who find his songs inspiring will find much to like, and those who reckon his writing and arrangements are a tad trite will do better to stay away. The formula, however, still seems to work, as La Música No Se Toca debuted at the top of the charts in Spain and several other countries worldwide, quickly reaching double platinum status. [A CD/DVD version was also released.]
©2019 GoogleSite Terms of ServicePrivacyDevelopersArtistsAbout Google|Location: United StatesLanguage: English (United States)
By purchasing this item, you are transacting with Google Payments and agreeing to the Google Payments Terms of Service and Privacy Notice.