Juanes visits the origins of his inspiration in 10th album

NEW YORK – Just after experimenting with distinct varieties of new music, Juanes returns to his roots with “Origen,” a covers album in which he pays tribute to the most influential artists in his existence and occupation, from Joe Arroyo and Bruce Springsteen to Bob Marley and Juan Luis Guerra.

Through 12 tracks such as Carlos Gardel’s “Volver,” Joaquín Sabina’s “Y Nos Dieron Las Diez” and Bob Marley’s “Could You Be Loved,” the Colombian rock star travels to his childhood and adolescence for his 10th studio album.

“I imagine it was some thing that my soul was asking for,” Juanes mentioned in a the latest movie interview from Miami. “After experimenting with distinct types of audio, at this point in my vocation and at my age I understood that returning to that origin was quite important.”

The album encompasses types as numerous as tango, merengue, heavy metal, folk, reggae, vallenato, pop and, of course, rock. It consists of the singles “El Amor Después Del Amor” by Fito Páez, in a rock and gospel version, and Springsteen’s basic “Dancing In The Dark” as a slower folks and in Spanish.


Unveiled on Friday by Common New music Latin, “Origen” is accompanied by a documentary on Amazon Primary, developed by José Tillán and directed by Kacho López, in which Juanes explains why he chose every single of the tunes. He also talks to Guerra, Sabina and Páez about their tunes, and channels iconic performances from the ’60s via the ’80s which includes the initially Beatles visual appeal on “The Ed Sullivan Show.”

The two-time Grammy and 23-time Latin Grammy winner told the AP about the affect of Kraken — a rock band from his native Medellin — on his final decision to be a musician and laid out how he options to make new music from now on.

Solutions have been edited from brevity and clarity.

AP: The album contains 12 songs. Ended up any remaining that you would have liked to involve?


JUANES: So a lot of! I produced a big playlist of music that had connected with me in my lifetime, but we chose these 12 for many strong reasons. These are the ones that experienced much more effects on the memory of my youth, my adolescence, my childhood. It was an remarkable workout to set on one more song kind of like a gown, as if I had been an actor.

AP: And you really don’t only put on it metaphorically. In the documentary, you channel the Beatles and other artists, transforming yourself with wigs and make up and outfits. What was that like?

JUANES: We experienced a ton of fun undertaking this documentary. We needed to have that visible ingredient and also we took a hazard by performing this, due to the fact we claimed, “What if we are like the Beatles in ‘The Ed Sullivan Show’, when they arrived to the United States, but singing ‘Volver’ by Gardel, or Juan Gabriel?” It was so entertaining just to knowledge that variety of performing.

AP: You also present in the documentary the reactions of some creators of the primary tunes to your handles. What was Bruce Springsteen’s reaction to your Spanish model of “Dancing in the Darkish?”


JUANES: He beloved the music. We sent the song to his administration months ago before we shot the documentary and he cherished it. He mentioned, “OK, this is excellent for me, you guys can release that.” And for me that was enormous, you know? We got his Okay and that was genuinely essential. Not just from him, but from all the other artists.

AP: You sing “Could You Be Loved” in English. Why translate “Dancing in the Darkish?”

JUANES: You know, when I went to Bruce Springsteen’s music and I saw the lyrics, I found the song quite highly effective in a way that is really human and incredibly vulnerable, and I imagine at that level — that was throughout COVID — I just desired for all Spanish talking people today to realize it. And we take the tune like to a mid-tempo, it is more like a folks type of vibe, but with the lyrics is Spanish it seems so impressive. I just appreciate it.

AP: You performed very with the rhythms of the tracks. Guerra’s “La Bilirrubina” is no for a longer time only a merengue, for occasion.


JUANES: Element of the preliminary idea was not to continue to be near to the authentic because competing versus those people variations would be difficult. So what we did was obtaining away as a great deal as we could, while respecting the melody and the tempo of the song and the tonality of most of the songs. I co-created this album with Sebastián Krys and our do the job together was extremely distinctive. It was like when we ended up in university and the instructor reported “free drawing,” that you could do no matter what you desired, and that imaginative flexibility was incredibly interesting — getting capable to go for the bachata, the reggae, bringing things of Colombian percussion, the guitar’s rock, the drums. And the way we recorded the album was incredibly natural and organic, there is almost nothing programmed right here, these are folks playing. I seriously needed that way too.

AP: You communicate in the documentary about the band Kraken and what a good impact it had on you. What memories do you have of that time?


JUANES: Effectively, with Kraken, I was in high college and I try to remember Hugo Restrepo going to faculty and it was as if a hero came to faculty due to the fact he was Kraken’s guitarist. And at that time there was no rock audio playing on commercial radio, it was something unattainable. Kraken was one of these first remarkable bands. It was the to start with rock concert I went to and to see how this character and the band alone impacted me — when I observed them I said: “Wait! I want to be up there! I want to do that for life. It remodeled me so substantially, that I try to remember that concert like it was yesterday.

AP: Now that you have gone back again to your origins, in which do you see you shifting ahead?

JUANES: I’m undoubtedly gonna preserve going in the similar direction, near to this seem, you know, natural and rock oriented, and also provide things from people tunes like percussion, all the percussion from the Pacific and the Atlantic and the Caribbean, I definitely appreciate that form of detail. I wanna perform with musicians. I wanna truly feel the drum behind me and the bass guitar and the guitar and the keyboards, and I wanna come to feel that on the stage and also on the recording studio, since I have been experimenting with distinct types of songs and in fact I get the job done by myself with a laptop or computer most of the time, but I wanna record once again with musicians. I genuinely love that and I missed that a good deal.



Sigal Ratner-Arias is on Twitter at https://twitter.com/sigalratner.

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