¡Gotta Have Mßsica Cristiana!

Sounds like … . an assortment of Latin styles, from heartfelt balladry and adult contemporary pop to techno-pop, hip-hop and rock en españolAt a glance … though strangely paced and not all-inclusive of the best Spanish Christian music has to offer, this collection is still a very good introduction to this growing genreTrack Listing De Creer En Ti – Jaci Velásquez Yo Creo En Ti – Luis Pedraza Dios Lo Hará Otra Vez – Rut Mixter Fortaleza – Danilo Montero Mi Iglesia – René González Mi Testimonio – Juan Luis Guerra Padre Nuestro – Jon Montalban Revolución – Rojo Dios Es Alegre – Aline Barros Mi Maestro – Funky Al Taller Del Maestro – Alex Campos Jesús Siempre Llega A Tiempo – Samuel Hernández Canta Al Señor – Ingrid Rosario Dios De Pactos – Marcos Witt Días De Elías – Paul Wilbur Enamorada - Julissa

The field of música cristiana en español—or Spanish Christian music—has remained underground for many years in America. Unlike the predominantly English language Christian music, there's no unified body to promote it, no trade organization akin to the Gospel Music Association to protect its interests and champion its cause. There's a ton of artists, independent labels, bookstores, and radio stations out there making it, playing it, selling it, or doing their part to publicize it, but most of the music and efforts go unnoticed.

To help turn the tide, Integrity Music Latin, Sony BMG, and a number of independent artists and labels have partnered together to release ¡Gotta Have Música Cristiana! The results are historical: for the first time ever, some of the biggest names and songs in Spanish Christian music have been assembled onto one disc for a multi-faceted collection that looks to the past and the present of what the genre offers.

A lot of the selections here are unquestioned classics, like Marcos Witt's "Dios De Pactos," René González's "Mi Iglesia," Samuel Hernández's "Jesús Siempre Llega A Tiempo," and Jaci Velásquez's "De Creer En Ti." Others are inspired, like Danilo Montero's "Fortaleza," Juan Luis Guerra's "Mi Testimonio," and Alex Campos' "Al Taller Del Maestro," while entries by Julissa, Rojo and Funky show the genre's more youthful side.

The set isn't thoroughly comprehensive, as it omits key figures like Jesús Adrián Romero, Lilly Goodman, Marcos Vidal, and a few others, but on the whole, it gets it mostly right. Let's hope after this year's introductory compilation has run its course, those who put it together will rely less on archival material and feature not the best in the history of Spanish Christian music, but simply the best of what the genre has to offer today and tomorrow.