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Julio Jose Iglesias de La Cueva was born
in Madrid, Spain, on September 23, 1943, to the eminent
physician Julio Iglesias Puga and his wife, Maria Del Rosario
de La Cueva y Perignat.
As a young man in Madrid, Julio studied law with the hopes
of becoming a career diplomat, even though his first true
love and ambition lied on the soccer field. A remarkable athlete,
he later landed his dream job as goalkeeper for the professional
soccer team Real Madrid. These dreams, however, were soon
shattered when a near-fatal car accident left him partially
paralyzed and unable to walk for almost two years.
During his recuperation at Madrid's
Eloy Gonzalo Hospital, Julio would listen to the radio and
write poems, many of which were sad and romantic verses questioning
man's mission in life. Strumming away on an old guitar his
father's assistant had given him as a therapy to exercise
his fingers and pass the time, he began to dress his poems
with music and soon discovered a new passion that took over
his life.
In that turn of events, Julio went
on to surprise everyone, including himself, by winning the
most prestigious song festival in Spain, the Benidorm, with
his own composition La Vida Sigue Igual, (Life goes On) in
1968. In Benidorm he began a serenade to the world that has
never ended.
For the next fifteen years, Julio composed
his own music and established himself as an international
superstar. In 1983, Julio received the first and only Diamond
Record Award ever given to a performer by the Guinness Book
of World Records, for selling more records in more languages
than any other musical artist in history. His first English
release in 1984, 1100 Bel Air Place, immediately went multi-platinum
and formed an all-important bridge between European and American
music. In 1985, a Star with his name was unveiled on the Hollywood
Walk of Fame.
In addition to these honors, Julio
was appointed Special Representative for the Performing Arts
by UNICEF in 1989, a title he holds dearly to this date. "The
world has given me so much, it's important to give something
back" he says, pointing out that UNICEF supplies an outlet
for him to impact the lives of so many he is otherwise unable
to reach.
The man who wrote his first hit thirty years ago has gone
on to earn over 2,600 platinum and gold records, having now
recorded 76 albums and sold over 250 million. A perfectionist
at heart, he is his own worst critic and is always striving
to improve his abilities. A record breaker as well as a record
maker, Julio delves deeply into his heart and soul with each
new project.
Julio Iglesias has enjoyed an extraordinary
recording career, with a list of achievements that will likely
never be matched.
[For most recording artists, it would seem] quite odd for
the artist's 77th album to be the most significant disc in
his career. But it is well known that Julio Iglesias is not
just any recording artist - he is an enduring icon who keeps
an active vigil over a career that knows no boundaries or
limitations. Thus, "Noche de Cuatro Lunas" is Julio's
latest artistic masterpiece that contains 15 tracks, on which
Julio sings - by his own admission - like he never has before.
Julio co-wrote 10 songs on the disc
with the estimable producer Estefano. Also helming tracks
on "Noche de Cuatro Lunas" were exalted singer/songwriter
Ruben Blades; Robi Rosa, composer of Ricky Martin's smash
hits "Maria," "La Copa De La Vida," and
"Livin' La Vida Loca"; and Alejandro Sanz, who cut
the mega-smash "Corazon Partio" in 1997.
Julio says the concept for the disc
came from Tomas Munoz, senior VP of A&R, Sony Music International.
Munoz, a highly respected industry veteran, suggested Julio
team up with young, top-notch producers such as Sanz, Rosa
and Estefano. "So, Tomas talked to me about this project,"
says Julio. "And I said, 'Well, you have to talk to these
guys and see if they want to do it. And, in an instant they
were delighted to do the project. Alejandro, Robi, Estefano
- they were all so generous."
Julio recalls that recording with the different producers
made for different creative situations. To sing with Robi
represented a difficulty because Robi writes music that is
different than what I am able to sing," says Julio. To
sing with Estefano, with whom I write, was more comfortable
because Estefano is earthier and less galactic. Singing with
Alejandro was galactic for his phrasing. Ruben has a very
personal style."
Apart from recording with a crew of young producers, Julio
decided to compose songs for the first time in 20 years. He
ended up co-authoring 10 songs with Estefano. And, even though
he had not penned a tune for a long time, his collaborations
with Estefano were finished in quick order. "We have
a fluid communication," says Julio. "There was nothing
complicated or strange."
Was it difficult to compose again after not having done so
for many years?
"No, no," replies Julio, "because these chiquillos
throw out phrases that never would occur to you and, from
these offerings that they give you, it stimulates you to write."
Regarding himself as el padre of the current crop of Latino
stars, Julio adds that his disc demonstrates that "these
young people have been open to singing with their father.
There are young people that don't want to know anything about
their fathers. There are young people who are interested in
everything about their fathers. And these chiquillos are interested
in knowing their father.
When asked if respect for him by young collaborators played
a role in the project, Julio says no. "Respect is one
thing, but the point is that they want to record with me and
spend two months of their time on this project," states
Julio.
While he is not sure if his work with his younger colleagues
is a historic meeting of generations, Julio notes, "All
I know is that they were enthused. I didn't ask them, 'Hey,
are you happy working with me?' But surely they are happy
because they have forced me to sing things that are in the
outer reaches. Everyone knows how to drive. But it is harder
to drive when there is no signpost to tell you that there
is a 180-degree curve up ahead."
Musically, the album sports a blend of appetizing grooves
from the Hispanic Caribbean, Spain and the U.S.
Pleased with his latest disc, Julio says that even--keeled
partnership with his young cohorts played a key role in the
production of the album.
"At times," says Julio "when you work with
a lot of different talent, desperation can set in very quickly
because the talent levels can be disproportionate. The singer
can ask a lot of the producer or the producer can ask a lot
of the singer. In this case, it has been a balanced marriage...everyone
is in the same cathedral."
Julio also points out that if he had the same strong control
of the production of "Noche de Cuatro Lunas" as
his previous albums, "it would not have the attitude
to be one of the best albums I have done - and best in the
sense of its contemporary feel, which is to say that you would
hear it on the radio and feel the excitement it would cause
among young people," continues Julio. "To have this
album produced by the young guys who are the strongest nowadays
in the Latin field arouses this excitement."
Interview by John Lannert for Billboard Magazine Issue Date
- May 27, 2OOO
Over the course of his 76-album career (soon to be 77), Spain¹s
most famous singer has sold more than 250 million units -
the most by any artist, according to the Guinness Book Of
World Records. Further, Spain's most famous singer has earned
an astounding 2,650 gold and platinum records. And while James
Brown is known as the hardest-working man in show business,
surely Julio cannot be far behind as he has played nearly
4,600 shows on five different continents.
”To communicate with myself, I have to rediscover myself.
The best singer is the one who keeps pushing on, touching
different generations.” (By Julio Iglesias)
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