This work is distinguished by its profoundly intimate and autobiographical character, exploring a variety of styles ranging from rock, ballad, and country to milonga, merengue, rumba, rap, and ranchera. Among the most significant pieces, the one that gives the album its title, *19 días y 500 noches*, stands out for its narrative strength. We also find *Cerrado por derribo*, a song that Sabina recorded with two different lyrical approaches, with *Nos sobran los motivos* being its other side. *Una canción para la Magdalena*, with music contributed by Pablo Milanés, and *Dieguitos y Mafaldas*, inspired by a relationship the singer-songwriter had with an Argentine woman, are other highlights. The album's atmosphere is enriched by the participation of Chavela Vargas in a recitation within *Noches de boda*. Furthermore, the influence of writer Antonio Oliver is perceived in the authorship of some lyrics, and the title *Donde habita el olvido* pays homage to the work of Luis Cernuda, who in turn was inspired by verses from Gustavo Adolfo Bécquer.
The impact of *19 días y 500 noches* was considerable. Months after its release, Joaquín Sabina was recognized with the Premio Ondas (Ondas Award) as the best Spanish artist of 1999. Rolling Stone magazine in Spain included it at number 7 on its list of the 50 best Spanish rock albums. The Argentine edition of the album, moreover, featured an expanded selection of tracks with two additional songs.
