ENRIQUE IGLESIAS

Escape

Interscope

Ricky Martin and Jennifer Lopez may have started the Latin boom a few years back, but few artists have been able to uphold the stellar reputation of Latin music. Let’s face it: Martin’s “Livin’ La Vida Loca” was nothing more than a bland cheese fest. Subsequent releases from the Latin crooner justify this notion. And we’re left wondering where exactly Lopez comes up with those poorly produced songs of hers. (Maybe she pulls them right out of her ghetto booty?)

One of the true talents, however, has to be Enrique Iglesias. No longer living in the shadow of his legendary father, Julio Iglesias, Enrique has come into his own as an internationally known superstar. The success of the superb single “Bailamos” in 1999, off Will Smith’s film Wild Wild West, set this Latino’s US recognition in motion.

The first single, “Hero,” is Iglesias’ first ballad. All of the songs from Enrique, his last 6x worldwide platinum album, were uptempo: “Bailamos,” “Be With You,” “Rhythm Divine” and his “Could I Have This Kiss Forever” duet with Whitney Houston. But hearing all of these great songs, it was obvious Iglesias had the vocal ability to release a soaring ballad. And he surprises us by doing just that with the first release off Escape, as “Hero” is a tender song that has also become a sort of theme for the bold exploits of brave men following the Sept. 11 tragedy. Music as an “escape” to another place was, in fact, the inspiration for the record’s title.

Teaming once again with dance beat masters Paul Barry and Mark Taylor, Escape basks in gentle breezes of tropical rhythms and graceful Latin guitar touches. Iglesias controls his voice like few other male artists: alluring, rich and controlled vocals, along with appealing scratched up edges, blend to create a masterful sense of musical balance.

Barry and Taylor create guitar and drum-heavy numbers on “One Night Stand,” “She Be the One,” and “Love to See You Cry.” Each number is sung with deep-down soul delivered with the intricacy and musical balance that sets this album as one of the best Latin albums of the year. Starting off with thrashing guitar licks, “She Be the One” bangs and jives as Iglesias warns of a dangerous woman taking a man on a bumpy ride but knows he won’t be able to stop himself.

What is most interesting on Escape is the adventurous leap the production has taken, which creates a subtle, but different, sound for Iglesias. The way his voice shapes itself to the beats (both naturally and, surprisingly well, digitally), harsh sounding guitars beats, and the stop-and-go rhythms, make this album a cross between a samba and a sway. These creative stretches outdistance Martin’s lame Latin compositions, making his hip-swivels seem like child’s play (hope you’re taking notes Martin!).

The most experimental track and also the best track is “Don’t Turn off the Lights.” With its slow start to a gradual crescendo of percussions behind the strong vocals of this Latin stallion, this song is destined to be a gargantuan club hit. Returning producer Lester Mendez also helped give him a new edge with this new album. Mendez co-wrote/co-produced the bass thumping “World Crashes Down,” a rock-and-roll turn for the ever-inventive Iglesias.

The title track employs the vocoder stretching the voice of Iglesias as he professes his love and undying devotion to a woman torn. He croons “you can run, you can hide/ But you can’t escape my love” as his voice rises and falls like crests on waves.

The beats on the naughty “Making Love for Fun” drop like candy as drum beats kick into high gear, lacquered in Iglesias’ pensive vocals passionately singing, “Oh, baby just relax, and let me do my thing.”

Iglesias hasn’t forgotten his roots, as he is reluctant to record an album entirely in English. Three songs are also recorded in Spanish: “Escape,” “Don’t Turn off the Lights” and “Hero.” Such is apparently his instinct for the pleasurably romantic, hit-ready tracks.

Iglesias, who co-wrote and co-produced nearly every song on Escape, may have felt the pressure of producing another follow-up similar to Enrique but instead crafted an album entirely on ingenuity that pounces above the efforts of his Latin cohorts. It is clear a great amount of time went into mixing each song, the aural precision and detail shows through on each and every song. Escape comes as a welcome addition to the over-hyped, under-performing Latin landscape of the past year.