album, which has 12 tracks, will supply everyone's needs, because it has Latin tracks, such as the Brazilian batucada, and others that they will enjoy." He further added, "Something that people will like is a song in the vein of Cher, where Thalia does an excellent job. Actually, this song and the other ones have different styles." Thalia herself commented about the album's multiple styles, saying, "My music has always been Latin pop, but in this record it has a dance vibe, a little bit of rap and R&B, in a way that they blend perfectly." The album opens with the slow ballad "Entre el mar y una estrella" ("Between the Sea and a Star"), which was praised by critics, who called it a "majestic" song. "Regresa a mí" ("Come Back to Me") follows, with its dance-pop style and Thalia's autotuned vocals, while the third track "Reencarnación" ("Reincarnation"), co-written by Draco Rosa, is a heavily dance-inspired track about reincarnation. The fourth and title track, the techno-infused "Arrasando" ("Razing"), was considered "tailor-made for peak-hour club play". The fifth track is the soothing "No Hay Que Llorar" ("There's no Need to Cry"), while "Tumba la Casa" follows the high-energy style of previous songs. The album also recorded a version of Miriam Makeba's hit "Pata Pata", while the closing track, "Rosalinda", the theme song of Thalía's soap opera of the same name, being the most traditionally Mexican song on the set. Critical reception The album received mainly positive reviews from music critics. Jason Birchmeier of Allmusic gave the album a rating of 3.5. out of 5 stars, claiming that Arrasando, "firmly established her as a full-fledged superstar in 2000," calling the album "a trendy one, very much of its time – that is, right at the turn of the millennium, when high-intensity, trancy dance music was all the rage in fashionable circles." Birchemeier also noted the "abundance of synthesizers and dance beats, as well as its ecstatic choruses, which seem to reach for the stars song after song." He also noted that "it certainly differs from its predecessor (Amor a la Mexicana) and successor (Thalia). All are among her best efforts, with Arrasando being probably the most contrived. It's more adventurous than the streamlined Thalia, yet it's not as free-flowing as Amor a la Mexicana. Of the three, it surely sounds the most dated, and for all these reasons, it's a strangely curious