Gold Standard

RAFAEL ESPARZA-RUIZ's work as a songwriter-producer has gained him a host of Gold and Platinum records – and the admiration of a world of artists

Born in Spain and now residing in Los Angeles, Rafael Esparza-Ruiz has stood out as a successful, versatile and prolific songwriter-producer. His songs cover a broad range of genres, from rock and pop to Regional Mexican and Tropical. Over 60 of his compositions have been recorded by national and international artists, gaining him Gold and Platinum records along the way. Among the luminaries who have recorded Rafael's songs are Chayanne, Luis Fonsi, Azucar Moreno, Marisela, Giselle, La Mafia and Edith Marquez, to name a few. Rafael has also contributed music to U.S. films. His songs "Duena De Tus Besos" and "Eres" appeared in the critically acclaimed, hit independent feature film, Gabriela, from Grindstone Pictures.

He recently collaborated with another ASCAP notable, Yoel Enriquez, co-writing the next first single from Latin superstar Cheyanne's upcoming album. The song has just started to get airplay on radio stations in Latin America, U.S., Puerto Rico and Spain. Playback recently spoke with Rafael about his gift for music.

When did you discover you had a gift for creating music?

I was probably 10 or 11 years old. My uncle had a band, and they rehearsed in my grandparents' garage. They left the instruments there, so I tried playing the guitar and the drums with no musical sense at the moment. I was not sure I had a gift, but I knew I liked it a lot. A short time later, I asked my parents if I could start attending guitar classes.

Who are your musical influences?

I don't have clear music influences. I was born in the 70's, so when I was a kid I used to listen to the music that was being played on the radio, like the Bee Gees, disco music, Grease, etc. As a teenager, I really liked rock and heavy metal. Bands like AC/DC, Kiss, Judas Priest, Def Leppard, Bon Jovi and The Police were among my favorites, but I also appreciated more commercial music like Madonna, The Bangles, Phil Collins, etc. Ironically, it wasn't until I arrived to the U.S. from Spain that I was introduced to a great variety of music in Spanish, I then started buying records and listening to them very frequently.

As you started becoming more successful as a songwriter, was it difficult to keep a pulse on your own artistic identity because you were writing for so many people?

I never had that singer-songwriter need to be distinctive, so I don't think I had that unique sound that many of the professional songwriters that come from that background have. From the very beginning I adapted my music to the style of the artist I wanted to pitch my song to. I guess, I would describe myself as some sort of a music chameleon.

How did you get started in the music business?

During my music studies in the U.S., one day I learned the existence of music publishing companies. I also learned that these companies would pay money to songwriters to write songs for them. That day, my entire world as I knew it changed. At that very moment, I realized I wanted to become a professional songwriter. I started to submit demo reels to publishing companies and landed some single-song deals as well as getting my first cuts. About a couple of years later, I received a call from a young and very talented publisher named Nir Seroussi (now Vice President, Marketing/A&R of Sony BMG). He told me that he really liked a demo I submitted to him, and that he would love to meet me in person. Months later, I was signed to them as an exclusive songwriter.

As a songwriter, do you find it easier to write lyrics first then compose the music, or vice versa?

When I write on my own, I rarely do lyrics first. Usually, I start with the music and afterwards work on some lines. If I'm collaborating with someone else, we usually write the music first. When I do long distance collaborations, I either send music to someone else that can start working on the lyrics or I write words to music that is already composed that has been submitted to me. However, I don't mind at all getting lyrics from a collaborator and writing music to them. It happens occasionally and the approach is more like a movie score. I try fitting the music to the feeling of the words and that makes it very inspiring as well.

— Karl Avanzini


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