The Singles Jukebox

You still totally would.

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[7.11]

Olivia Rafferty: The basic gist I got from lyric translations was that Ricky Martin wants to take a shower with me and then have us purse lips and blow on each other until we’re dry. I am okay with this. Especially if this is the soundtrack. His and Maluma’s vocals are rich and breathy in all the right places, the song throbs with a summery glow. The melodies move beautifully, especially in the bridge section. What comes together is a rhythmic, sexy little earworm which will refuse to let you go after first listen. Recommended listening for those who, like me, just can’t get enough: versión salsa. Also, Ricky: call me.
[10]

Juana Giaimo: I’d rather listen to Ricky Martin’s club hits than to his ballads. The melodrama in his voice turns sensual and warm, and can still sound genuine, even when he is just singing about pure physical attraction. There is a certain secrecy in the way he sings the chorus of “Vente Pa’ Ca,” as if he was flirting with the listener. And you only have two options after his proposal: reject him or accept and give in to the hook. Unfortunatly, Maluma is left aside — radio always cuts his part! — when his smooth flow could have benefited this so much.
[7]

Alfred Soto: In the years since he eschewed crossover dreams, Ricky Martin has become a more compelling figure: his voice huskier and authoritative, his anonymity is that of a PE coach or formidable dance instructor. Sashaying over these mild Swedish beats is what he was put on Earth for.
[6]

Claire Biddles: I know I said I was bored of reggaeton a mere three weeks ago, but this is really enjoyable — it has a smoothness and energy that makes it feel effortless where a lot of generic reggaeton is laboured and clunky. Ricky Martin has always had an inherent corniness that is very charming when he commits to it in his performance, which helps him get away with the slightly dated sound of “Vente Pa’ Ca.”
[7]

Ryo Miyauchi: That riff-happy keyboard hums a hook of joy, and Ricky Martin reciprocates. He coasts with a breezy delivery for a breezy tune, but he seems to really be one with the beat when he catches that double-time bug before he lets the instrumental sing the rest. His switch-up also plays as a suave segue for Maluma, who’s more than happy to show off. Radiating with such a shine, this is a good reminder that it’s about to be summer in the southern hemisphere.
[7]

Thomas Inskeep: You’d never know this has nine co-writers (six for the English-language original, another three for the Spanish-language translation), largely I think because Martin sells this sexy come-on so smoothly. The rhythm is correspondingly light. Maluma’s largely here for a touch of commercial spice; this is Ricky’s rooftop pool party through and through, and he sings this quite seductively. 
[7]

Edward Okulicz: Without the intusion of beats, this would make me nostalgic for… yeah, “Lambada,” which was legit my favourite song as an 8-year-old. Not quite as smooth and gorgeous, but Martin gives it his all to take it nearly to that level. Someone less wholesomely sweet would have taken that “vente pa’ ca-haaa-haaaah!” and sounded like a knife-wieldng maniac. Bless cuddly Ricky Martin for I can sleep tonight.
[6]

Rebecca A. Gowns: Space-age love song, in the turn-of-the-millenium mode: chrome, white plastic, echoing vocals, a lot of sound compressed into a thin little chip. I love the promises and how they sound so rehearsed; the words teeter between sincere and insincere, depending on whether you read the soft wooden quality as shy lust or a calculated play. It’s whatever you want, baby.
[8]

Cassy Gress: Ricky Martin has this soft, whispery intimacy he drops on syllables here and there, notably on “arreglaaamos,” and that is giving this song at least 2 points by itself. It counters Maluma, who is admittedly seductive, but in a more crowded way.
[6]