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Pop - Erschienen am 30. Oktober 1992 | Epic

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Lateinamerika - Erschienen am 15. August 2020 | Sony Music Latin

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Aus aller Welt - Erschienen am 22. Juni 1993 | Epic

Gloria Estefan's first U.S. Spanish-language album, Mi Tierra is one of her most satisfying, and a step above her English-language pop albums. Her voice is extremely well suited for the material, and the result is a breezy, sunny album with moments of melancholy and longing -- in short, one of her most consistent albums to date. Additionally, some of the best-known and most well-respected Latin musicians were employed to further embellish the album. There are plenty of happy upbeat songs on this set, including "Montuno," the anthemic "Mi Tierra," "¡Sí Señor!...," "No Hay Mal Que por Bien No Venga," and "Hablemos el Mismo Idioma," which are all perfect for a summer cocktail pool party. The ballads are among her most compelling, among these "Con los Anos Que Me Quedan," with beautiful lyrics and guitars augmenting the lovely melodies. That song, incidentally, later resurfaced as the English-language "If We Were Lovers," which can be found on her Greatest Hits, Vol. 2 collection. Other ballad highlights include the longing "Mi Buen Amor" and "Volveras." The lyrics, which are included in their English translations, resonate much more in Spanish. This set easily ranks as one of Estefan's best albums, albeit least commercial. True fans of the artist will love this set, which showcases her as much more of an organic talent than her pop songs demonstrate. On "Hablemos el Mismo Idioma" she suggests, "Brother, give me your hand, let's speak the same language," and that language is music. An album such as this deserves to be listened to and appreciated by everyone, Spanish-speaking or not. A true pleasure. © Jose F. Promis /TiVo
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CD11,49 €

Pop - Erschienen am 4. Februar 2011 | Epic

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CD14,49 €

Aus aller Welt - Erschienen am 22. Juni 1993 | Epic

Gloria Estefan's first U.S. Spanish-language album, Mi Tierra is one of her most satisfying, and a step above her English-language pop albums. Her voice is extremely well suited for the material, and the result is a breezy, sunny album with moments of melancholy and longing -- in short, one of her most consistent albums to date. Additionally, some of the best-known and most well-respected Latin musicians were employed to further embellish the album. There are plenty of happy upbeat songs on this set, including "Montuno," the anthemic "Mi Tierra," "¡Sí Señor!...," "No Hay Mal Que por Bien No Venga," and "Hablemos el Mismo Idioma," which are all perfect for a summer cocktail pool party. The ballads are among her most compelling, among these "Con los Anos Que Me Quedan," with beautiful lyrics and guitars augmenting the lovely melodies. That song, incidentally, later resurfaced as the English-language "If We Were Lovers," which can be found on her Greatest Hits, Vol. 2 collection. Other ballad highlights include the longing "Mi Buen Amor" and "Volveras." The lyrics, which are included in their English translations, resonate much more in Spanish. This set easily ranks as one of Estefan's best albums, albeit least commercial. True fans of the artist will love this set, which showcases her as much more of an organic talent than her pop songs demonstrate. On "Hablemos el Mismo Idioma" she suggests, "Brother, give me your hand, let's speak the same language," and that language is music. An album such as this deserves to be listened to and appreciated by everyone, Spanish-speaking or not. A true pleasure. © Jose F. Promis /TiVo

Pop - Erschienen am 3. Oktober 2006 | Epic - Legacy

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CD14,49 €

Pop - Erschienen am 27. September 1993 | Epic - Legacy

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CD19,99 €

Pop - Erschienen am 6. Oktober 2006 | Epic - Legacy

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Pop - Erschienen am 1. Juli 1989 | Epic

Leveraging the runaway success of her previous album, Let It Loose, Gloria Estefan furthered her indulgence in spare, moody love ballads and club-ready dance-pop jams for Cuts Both Ways and scored herself another Top Ten album. The transformation of Gloria Estefan the lead singer of Miami Sound Machine to Gloria Estefan the pop star is complete here. While Let It Loose had been the first Miami Sound Machine album to co-bill Estefan (that is, "Gloria Estefan and Miami Sound Machine"), Cuts Both Ways is billed simply to the star herself. And it plays that way, too, with a heavy reliance on Gloria-spotlighting ballads -- roughly half the album, discounting the album-ending Spanish-language versions. Miami Sound Machine's patented Latin dance-lite style is sidelined a bit, for better and for worse. Sure, "Ay, Ay, I," "Say," "Oy Mi Canto," and "Get on Your Feet" are all club-ready with their big late-'80s synth-drum patterns, but only "Get on Your Feet" comes close to matching the majesty of past club hits like "Conga," "Rhythm Is Gonna Get You," and "1-2-3." And more tellingly, there aren't any straight pop songs here like "Bad Boy" or "Betcha Say That." Cuts Both Ways goes only both ways -- either ballad or jam -- which makes for a very up-and-down listening experience as the tempos alternate drastically from one song to the next. All this over-analysis aside, there are some super songs here, namely "Here We Are," "Say," "Oy Mi Canto," "Don't Wanna Lose You," and "Get on Your Feet." That's a lot of super-ness for one album, even if on the whole Cuts Both Ways seems overly calculated and sadly foreshadows the audience displacement that Estefan would experience in subsequent years as she drifted even further away from the unabashed Miami Sound Machine-style dance-pop of yesteryear. Even so, Cuts Both Ways is one of her best and, without question, was one of her most successful, clear affirmation that Estefan had indeed become one of the biggest pop stars in the whole wide world as the '80s came to a close. © Jason Birchmeier /TiVo

Pop - Erschienen am 8. Oktober 2006 | Epic - Legacy

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Released in the same year as The Essential Gloria Estefan, The Very Best Of is much less comprehensive, but still features 15 U.K. Top 40 hits from Cuba's biggest musical export. One of the most underrated artists of the late '80s, Gloria Estefan -- together with her husband's Miami Sound Machine -- was responsible for some of the most infectious and joyous pop hits of the decade, opening the doors for the likes of Shakira and Jennifer Lopez in the process. Her unique blend of Latin beats and synth-heavy pop on such tracks as "Rhythm Is Gonna Get You," "Conga," and "1-2-3" helped her first two albums Anything for You and Cuts Both Ways, sell a million copies. But her ballads were just as strong, particularly the haunting "Can't Stay Away from You" and the beautiful "Don't Wanna Lose You Now." Her '90s output, however, was more inconsistent. The official theme for the 1996 Atlanta Olympics, "Reach," is perhaps her finest moment, a motivational power ballad complete with gospel choir and tribal drums, while the Caribbean-flavored "You'll Be Mine," later sampled in Will Smith's "Miami," is an effortlessly uplifting party track. But there were several ill-advised attempts at high-energy disco-pop, particularly the two tracks from 1998's Gloria!, "Heaven's What I Feel" and "Don't Let This Moment End," and the three straight covers from Hold Me, Thrill Me, Kiss Me represent Estefan during her least creative period. With two of her three last albums in Spanish, just two songs from the noughties appear, the world music-inspired title track from 2003's Unwrapped and her biggest chart hit, Mylo's reworking of "Dr. Beat" on "Doctor Pressure," featured here alongside the original. There are a few surprising omissions, notably the Top Ten hit "Christmas Through Your Eyes" and her Oscar-nominated *NSYNC duet "Music of My Heart." But with a track list spanning 20 years and seven albums, The Very Best of Gloria Estefan is still an enjoyable and well-assembled hits collection from the undisputed Queen of Latin Pop. © Jon O'Brien /TiVo
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Pop - Erschienen am 26. September 1995 | Epic

Abriendo Puertas (Opening Doors) is Gloria Estefan's second Spanish-language album released in the U.S. Abriendo Puertas is about opening doors to the myriad Latin American cultures; therefore, this album features several different Latin styles of music from different parts of the world, including Venezuela, Cuba, Colombia, and the Caribbean. The music combines salsas, merengues, boleros, Afro-Cuban rhythms and chants, and other styles, resulting in a varied, sunny, and delightful album. This set differs from her other Spanish albums because at least half the songs are holiday tunes, with ample reference to Christmas and the New Year (the ballad "Mas Alla" even has Christmas bells in the background). In Latin America, Christmas is in summer, and so, in essence, this is a summer holiday album, which is quite an unusual concept for North American audiences. The songs are naturally positive, with well-meaning wishes for the New Year being a concurrent theme throughout the album. Estefan, as is always the case on her Spanish albums, sounds completely at ease with the material. The music on this album is traditional; therefore, there are no true American-style pop or club/dance songs, which is fine because the album should be taken and enjoyed for what it is -- a bright, multicultural Latin American semi-holiday album. © Jose F. Promis /TiVo
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CD14,49 €

Pop - Erschienen am 6. Februar 2001 | Epic

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Pop - Erschienen am 9. September 2013 | Sony Music Latin

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Pop - Erschienen am 29. Januar 1991 | Epic

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Pop - Erschienen am 18. Oktober 1994 | Epic

A stretch for Estefan, it's a genuinely worthy one, even if it sometimes strays too far from her Latin roots. This album of classic covers includes brilliant pop hits ("How Can I Be Sure," "Turn the Beat Around"), moments of genuine pathos ("Traces," "It's Too Late"), and some pure dreck ("You've Made Me So Very Happy"). While the record enhances Estefan's reputation as a savvy, sophisticated pop singer, it also lays bare her limitations, confirming that she's more stylist than soulstress. © Eddie Huffman /TiVo
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Pop - Erschienen am 23. März 2000 | Epic

"Alma Caribena", ihre karibische Seele hat Gloria Estefan wieder hervor gekramt, nachdem die zuletzt erschienen Alben auf den Mainstream-Markt Amerikas abzielten und doch recht glatt geraten waren. Wer sich an die billigen Sounds und vom Drumcomputer simpel gestrickten Rhythmen des Vorgängeralbums Gloria erinnert, wird sich beim Hören von "Caribbean Soul" erstmal verwundert den Schmalz aus den Ohren pulen, so frisch und lebendig klingt Glorias Bekenntnis zu ihren Wurzeln. Dass ihr 12. Album ausgerechnet zum Höhepunkt des Latin-Hypes erscheint, nennt Gloria Estefan einen glücklichen Zufall. Vier Jahre habe sie an dieser Scheibe gearbeitet, und tatsächlich orientiert sich "Caribbean Soul" nicht etwa trendy an der Laune des Zeitgeistes. Anders als Ricky Martin oder Jennifer Lopez streut Gloria nicht nur hier und dort das eine oder andere spanische Wörtchen ein, sondern singt das komplette Album in ihrer Muttersprache - zum ersten Mal seit "Abriendo Puertas" (1995). Auch stilistisch ist die musikalische Hommage an Kuba eindrucksvoll gelungen, eingängige Popmelodiechen oder Schmachtsoulfetzen braucht der Hörer nicht zu fürchten. Statt dessen wartet "Caribbean Soul" mit äußerst vielschichtigen rhythmischen und harmonischen Strukturen auf. Gewiss, "Te Tengo A Ti" und das im Duett mit José Feliciano gesungene "Tengo Que Decirte Algo" sind schreckliche Schnulzen, die aber mit Herzschmerz, klagenden Streichern und vibrierenden Stimmen alles mitbringen, was Schnulzen schrecklich schön macht. Andere Tracks sind von fröhlicherer Stimmung und hauchen mit Polyrhythmik und schneidigen Bläsersätzen alten Stilen wie dem Son neues Leben ein. Glorias Rückkehr zu ihren karibischen Ursprüngen: Ein musikalischer Fortschritt! © Laut
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Pop/Rock - Erschienen am 9. Juni 1987 | Epic

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Pop - Erschienen am 23. Juni 1997 | Epic

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Pop - Erschienen am 18. September 2007 | Burgundy Records

„90 Millas” ist eine Sammlung von Werken Gloria Estefans mit Schwerpunkt auf ihren Wurzeln, insbesondere die Musik Kubas (Estefans Heimatland). Auf diesen 14 spanisch gesungenen Tracks erkundet die Sängerin zwar die traditionellen kubanischen Musikformen und Rhythmen, überzieht diese aber mit ihrem ganz eigenen Crossover-Flair. Auch wenn das Material und die Performances konsistent stark sind, ist es die gigantische Gästeliste, die „90 Millas“ zum Glänzen bringt. So sind es unter anderem die lateinamerikanischen Jazzkünstler Arturo Sandoval, Paquito D'Rivera und Cachao, die das Salz in der Suppe sind, wogegen anderswo Latino-Rock- und Popstars zum Einsatz kommen, die dem amerikanischen Publikum mehr als vertraut sind (auf „No Llores“ beispielsweise, der ersten Single auf dem Album, sind Beiträge von Carlos Santana, Jose Feliciano und Sheila E. zu hören). Das Ergebnis ist ein in hohem Maß hörbares Tribut an Estefans Heimat und die reiche musikalische Tradition Kubas. © Anthony Tognazzini /TiVo
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Pop - Erschienen am 4. Juni 1996 | Epic

With Destiny, Gloria Estefan ties together the Cuban and Latinbeat influences she had been exploring on her Spanish albums with the adult contemporary pop that dominated her early-'90s records. It's a stylish concept and, for the most part, Estefan pulls it off. Like most of her albums, Destiny suffers from uneven material and a creeping sense of sameness between the songs, but Estefan's voice keeps getting stronger with age, which helps her rescue the weaker material on the record. And the best moments of Destiny -- including the Olympic anthem "Reach," "I'm Not Giving You Up," and "Higher," among others -- rank with her finest work. © Stephen Thomas Erlewine /TiVo