Eco [Bonus Track]

1	Eco 3:22
2	Deseo 3:44
3	Todo Se Tranforma 3:35
4	Guitarra y Vos 3:55
5	Transporte 4:14
6	Milonga del Moro Judío 3:54
7	Polvo de Estrellas 3:57
8	Se Va, Se Va, Se Fue 3:05
9	Don de Fluir 3:55
10	Fusión 3:40
11	Salvapantallas 4:32
12	Al Otro Lado del Río Bonus Track 3:14

Barnes & Noble

Fans of Caetano Veloso will thrill to the first U.S. release by Uruguayan singer-songwriter Jorge Drexler. Drexler's left-field Oscar win for "Al otro lado del rio," the Motorcycle Diaries soundtrack title that took home the Best Song prize, introduced him to international audiences, and it's been appended to Eco. But it offers only a glimpse into what this talented songwriter can do. Nor does Drexler's light, unadorned voice betray the depth of his literate wordplay and clever rhymes. A better place to start is "Guitarra y voz," where in a clipped, rap-like monotone, the singer proclaims his reliance on technology, even as he claims to need nothing more than his guitar. "There's no art without emotion / Nor is there precision without handcrafts / There couldn't be a guitar without technology." The backing, by Bajofondo Tango Club DJ / producer Supervielle and band, completes the equation with tick-tocking beats, turntable scratches, and acoustic guitar. Throughout, Drexler's delicate musings are matched with compelling sonics -- tango-inflected hip-hop, a wonderfully tannic string section, and on a few tracks the piano of Ben Sidran. For an exotic mix of South American songcraft, Spanish poetry, and sophisticated urban production, Eco is a recommended listen. Perhaps the Oscars aren't as out of touch as we'd thought. Mark Schwartz

All Music Guide

Eco is the third album produced by Juan Campodónico, Carlos Casacuberta, and Jorge Drexler. The production is warmer than that of Drexler's previous album, Sea. That does not mean electronic arrangements are abandoned, but there's a more balanced guitar/voice sound that works better with his delicate songs. If you are a Drexler fan, you won't find many surprises here, just the spoken word of "Guitarra y Vos," one of the best moments of this album. Drexler knows the right buttons to push when he wants to charm listeners, and this is what he does on the track that closes the album, the engaging "Salvapantallas." Although it does not break new ground, this album is direct, attractive, and inventive. He has done it again. [The album was reissued with a bonus track, "Al Otro Lado del Río," a song from the soundtrack of Diarios de Motocicleta.] Ivan Adaime