[6][7] The album contains thirteen tracks, the first eleven being original songs and the last two being covers, these tracks range from blues rock songs like "Hojas de Té" and "Tírate", ballads such as "Me Rompió el Corazón" and "Moizefala", the rockabilly "La Espada & la Pared", the funkier "Partir de Cero" and the instrumental "V & V", among others.

[8][1] Themes of life, death and tragedy run through the album with significantly more poetic lyrics by Henríquez, "Déjate Caer" opens with the lines "Déjate caer, déjate caer, la tierra está al revés, la sangre es amarilla, déjate caer" ("Let yourself fall, let yourself fall, the ground is upside down, the blood is yellow, let yourself fall") while the chorus for "Tírate" says "Y si me dices que te vas, que no lo quieres intentar, entonces abre la ventana, y tírate" ("And if you tell me that you are leaving, and that you don't want to try, open the window then and throw yourself"), both songs making potential references to death and even suicide.

[9][2] The song "Moizefala", originally written for the short film Moizéfala, la desdichada directed by Germán Bobe and later included to the album, tells the story of the lead character of the short film, Moizefala (played by Moisés Ammache), a renowned transexual during the dictatorship of Chile who was constantly reviled by her cousin Humedad and fought against her for the love of rock musician Darioleto Benítez (played by Henríquez himself).

[10] Tim Sheridan from AllMusic gave the album four out of five stars, calling the album "a unique effort from a band that deserves to realize the crossover dream", writing that "their Latin pop mixes in blues licks ("Hojas de Té"), rockabilly (the title track) and even a little soul ("Moizefala") for an adventurous, if somewhat over-ambitious mix".

[11] Alfredo Lewin from Chilean radio station Sonar FM, considered the album a pivotal album for the identity of Chilean society and youth during the ninetees saying that "Chile, an anxious country, by the mid ninetees, searched sonething to hold onto and if there is a photography of the first half of the decade was that of La Espada & la Pared, Los Tres were the first rock stars in the post-Prisioneros era to achieve international success (via MTV) without having to leave the borders of the country".