The concept of a multifaceted star who can easily switch from pop balladry to rancheras backed by a mariachi ensemble is part of the very DNA of Mexican music—an art cultivated by such a wide array of singers as Alejandro Fernández, Pepe Aguilar, and Rocío Dúrcal. In November of 2004, Luis Miguel left aside the ballads and boleros that cemented his worldwide fame and released his first mariachi album. Every choice associated with this project was flawless, from the decision to produce it himself to enlisting Armando Manzanero as musical director and selecting the prestigious Mariachi Vargas de Tecalitlán to back him up. Whereas the albums in which LuisMi resurrected the bolero engaged in a total sonic reinvention of the genre, his incursion into mariachi territory anchored itself in a reverence for authentic roots. The songs on México en la Piel appear to float on a luscious cloud of strings, trumpets, and vocals—calibrated with a refined sense of restraint. His voice—always ready to emote passion and longing—takes a leading role on occasion, but also shares the spotlight with the lavish accompaniment at hand. At times, the album remains faithful to the rugged moods of traditional ranchera, like the somber spirit that colors the José Alfredo Jiménez gem “Un Mundo Raro.” “Paloma Querida”—also by José Alfredo—and “Échame a Mí la Culpa” shimmer with emotional revelation. But on “México en la Piel,” an award-winning composition from 1990, and “Sabes Una Cosa”—one of the collection’s catchiest tunes—the silky backing vocals evoke the immediacy of pop. The singer’s bolero journey had already demonstrated the seriousness with which he tackles genres that are foreign to him. México en la Piel was a huge commercial success, backed by a two-year-long tour. It was also an artistic triumph. A production of extraordinary subtlety, it is one of the most stunning mariachi albums of its era.
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