It featured collaborations with Latin hip hop artists including Mexicano 777, Bimbo and K-7 while the album's production was handled by a variety of musical producers; Luny Tunes, DJ Nelson, Noriega, and Iván Joy were enlisted, while DJ Adam produced a majority of the tracks.

Lyrically, the album explored female empowerment, infidelity, heartbreak and love with "a veritable compendium of her artistic passion, femininity, and culture".

After the failed commercial attempts of Ivy Queen's first two studio albums, En Mi Imperio (1997) and The Original Rude Girl (1998), she was dropped from the Sony label and took a hiatus from her musical career in 1999.

In 2003, Queen and her then-husband Gran Omar signed with Real Music, an independent label based in Miami, Florida and established by Jorge Guadalupe and Anthony Pérez.

Collaborations on the album include "Guillaera", "Money Making", which also features rapper Japanese, the remix of "Babe" and "Quiero Saber" with her then-husband Gran Omar; "Sangre" with Mexicano 777; "Bounce" with Bimbo; and "Dile Que Ya" with K-7.

[14] Queen desired to name the album La Potra, however, Universal Music Latino would not sign off on the title as they considered it to be too threatening.

Making the connection of the sport of boxing to reggaetón, which are both a male-dominated arena; Queen "alludes to her previous video for "Muchos Quieren Tumbarme" (Many Want To Knock Me Down) in which she takes the role of a female boxer, while also referring to women's power as underestimated.

[18] According to Kalefa Sanneh of The New York Times, "Drama" sets her "rapid-fire monologue atop a sublime, head-nodding hip-hop beat.

"[19] On "Tuya Soy", (I'm Yours) she explains "the story of woman who suspects her husband of infidelity", a controversial theme which has been prominent in Queen's lyrical content.

[15] "Alerta" (Alert) features "choppy rhythms, handclaps, and vaguely nefarious horns, plus an ingratiating synth line played by a one-fingered android".

"[19] Ramiro Burr of Billboard stated "Papi Te Quiero" showcases how "effortlessly and quickly she alternately sings and raps, claiming that she has a distinct vocal style that evokes Gwen Stefani".

[30] Sarah Bardeen of Rhapsody said the album established Queen as "the voice for women", complimenting her "self-assured delivery".

[28] She claimed that the tracks in which featured guest artists "get the sense that the guys she's trading verses with are trying to keep up with her and not the other way around," noting that the platinum edition "launched the monster hit "Quiero Bailar".

[19] An editor for the Chicago Tribune selected the album as one of three to "add to your reggaetón collection" other than Daddy Yankee's Barrio Fino (2004).

[32] The album was highly anticipated and acclaimed and widely regarded as a factor in reggaeton's mainstream exposure in 2004 along with her next studio album Real (2004), Daddy Yankee's Barrio Fino and Tego Calderon's El Enemy de los Guasíbiri (2004), after being certified Platinum in the Latin field signifying sales of over 100,000 by the Recording Industry Association of America (RIAA).

[36] Kid Curry, of Rhythmic Top 40 WPOW (Power 96) cites Ivy Queen's release of "Yo Quiero Bailar" as "the last reggaetón super-hit".

[42] "Papi Te Quiero" was selected as one of the hits from "The Golden Era of Reggaetón" which lasted from 2003 until 2007 by Jesus Trivino of Latina magazine.

"[57] She added: "When I read Sony's reports and they tell me my albums are being heard in London and my song is number one, I [got] surprised and look[ed] for explanations.