- 6 weeks ago
Marc Anthony takes Billboard through his chart history on songs that built his legendary career. From early salsa breakthroughs like “Hasta Ayer” and “Y Hubo Alguien” to crossover hits including “I Need to Know,” “You Sang to Me” and “My Baby You,” Marc reflects on the moments that changed everything.
He also opens up about global smashes like “Vivir Mi Vida,” “Rain Over Me” with Pitbull and “La Gozadera” with Gente de Zona, plus collaborations like “No Me Ames” with Jennifer Lopez, and his tribute to Héctor Lavoe with “Aguanile.” Along the way, Marc shares personal stories behind the music, his creative process and how these records helped define his path across salsa, Latin pop and beyond.
He also opens up about global smashes like “Vivir Mi Vida,” “Rain Over Me” with Pitbull and “La Gozadera” with Gente de Zona, plus collaborations like “No Me Ames” with Jennifer Lopez, and his tribute to Héctor Lavoe with “Aguanile.” Along the way, Marc shares personal stories behind the music, his creative process and how these records helped define his path across salsa, Latin pop and beyond.
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MusicTranscript
00:00Hey, hey, hey, this is Marc Anthony, and this is my Billboard chart history.
00:06Can you believe it?
00:22Wow.
00:27I still know that one.
00:29That song was a game changer for me.
00:31It was confirmation.
00:32You know, the first album was a great album as an experience, but I was so inexperienced.
00:37I had a great relationship with a writer called Omar Alfano, who started writing for me, and it was just
00:44right up my alley.
00:46Whenever I would record, I would record probably, you know, like seven songs a day kind of thing, right?
00:51I've done, you know, vocals in one day for one whole album.
00:57But that song, I remember Omar Alfano played it in my house.
01:00I was like blown away.
01:03That was the catalyst for me starting that album.
01:06I didn't know what sound I was going to go with, and I went to Puerto Rico, and I tried
01:11something different outside of my comfort zone.
01:13I didn't know how good it was going to do, but I know how good it felt.
01:21And that whole album, actually.
01:23I remember feeling that I was making a statement.
01:26It was daring, but I loved it.
01:28I loved it, and I loved that song.
01:30Sing it till this day on tour.
01:33After the first album, I was like, oh, if you like that, wait till you hear this.
01:39And it was like a 2.0 version of my first album because I was more confident in the language,
01:45the interpretation.
01:46I had more experience on stage by the time I recorded this, and I did it with just, with that
01:52fervor, if you will.
02:08It's one of those songs that changes your life forever.
02:10Red One played me that song in my kitchen in Long Island, but it was by Chep Khaled.
02:17It was a French version that he had done.
02:20And he goes, man, I just did this song, and it's huge, like in Europe and Morocco.
02:27He puts it on, on his laptop, and I'm like, what the f*** is this?
02:33It was one of those, it was a combination of sounds that I was like, my God, that's a chorus.
02:39Coincidentally, my son Ryan, he was like five years old, comes running over.
02:45What song was that?
02:46Put it on again?
02:48And I was like, yeah, put it on again.
02:50And he goes, wait a minute, I'm going to go get Christian, his brother.
02:54And they both go, you got to hear this song.
02:56Put it on again, put it on again, put it on again.
02:59I go, I have to record that in Spanish.
03:02But the thing about that song was, it was so powerful in every way, shape, or form.
03:07I knew how I wanted to produce it.
03:08The production, everything I do is live.
03:10So I have 17 musicians in front of me, and I arrange on the fly.
03:15That's why I could do seven songs a day.
03:17So I'm like, all right, cool.
03:18Let's start with horns, and I sing the horn lines and stuff like that.
03:20All right, cool.
03:21Let's lay down the horn.
03:22I want the rhythm, but they're there.
03:24They're just live humans, right?
03:25And I had about a couple hours before I had to fly, set up the session, and I just stopped
03:29in.
03:30I said, I got to go, so I have an idea for the global sound of this song.
03:38Did it, laid it down, and left.
03:41Had I arranged that song the next day, it would have been a totally different song,
03:44because it's stream of consciousness.
03:46It's what happens in the room.
03:47So every arrangement that you hear, every song, happened that day.
03:53It happened within a half hour.
03:55When I wrote the lyrics with Julio Reyes and his wife, I went to him, because I said,
04:01I want this one to be special.
04:04And we started talking about, like, all right, just life.
04:07Like, people are just too hard on themselves.
04:10And blah, blah, blah.
04:11What's going to happen?
04:12So what?
04:13It happens, man.
04:14I'm surprised when life doesn't happen, man.
04:16And I was, like, on that mode.
04:18Just, like, get over it.
04:19Like, you need to spend three days sulking about something.
04:22Move on.
04:23It happened.
04:23Yeah.
04:24You know, the first iteration was just, let me tell you how to live life.
04:28You know what?
04:28When this happens, I was, like, I'm not going to preach it.
04:34I made one change that changed the whole song.
04:36I said, we have to put it in the first person, because people are going to sing this.
04:39Voy.
04:40Not, tienes que reír, tienes que...
04:43Like, when you're singing it loud.
04:46The second I chose, it has to be in first person.
04:49It's me saying it, and it's an affirmation.
04:54They owned it from day one, and it was a phenomenon.
05:12It was exploration.
05:16You know, just musical exploration.
05:18It was in Jennifer's thing, in my genre anyway.
05:21Duets is not sort of a thing, you know, like, Salcedo Duets, or...
05:26But this was an exception.
05:28I sort of had a feeling about this one, that something was going to be different because of who she
05:33was, and who I was, and us coming together for the first time.
05:36And I felt it was going to be something musically, and it was.
05:40It was an Italian song.
05:43She had come to me, she's like, let's try to find a song.
05:47And I said, there's this one song that I'm fascinated with, but it's in Italian.
05:54I think the melody is great.
05:55I think it lends itself to, for a duet.
06:00That's the tone, right?
06:03And I found the song, played it, she loved it, and then we had to translate it.
06:07And it worked out well.
06:08You know, everything just clicked.
06:10That video was Jennifer's idea.
06:12At the end of the day, I was like, of course, that is so you.
06:16You know, like the worst makeup to make me look gaunt and sick, and then you gloan.
06:21No me ames, te lo ruego, mi amargura, déjame.
06:31Ahora quien?
06:37That was another transitional part.
06:39I moved to Miami, and I found this amazing stable of producers and writers, and I did a pop album,
06:45and then I did a salsa version of the song.
06:48Again, exploration.
06:49Again, I found this fertile ground with Stefano and Julio Reyes and Pagan, and just, I became a studio rat
06:59again.
06:59It was me finding myself, because I always wanted to do a ballad album.
07:02See, I'd done salsa, and then I'd done the pop.
07:05I wanted to do, like, just a pop album, like a ballad version.
07:07When we couldn't make noise in the house, because my wife was sleeping, dude, we would write in the closet.
07:12Like, that's how intensely I wanted to get all my ideas down.
07:16So a lot of those songs were written in the closet.
07:21I remember those days.
07:23They would come up and just slide a sandwich under the door.
07:29It started out with the ballads, and the ballads were really intense and lush, and, you know, it was Bocelli
07:35-ish, and Celine Dion-ish, and Lara Fabian-ish.
07:46And me curé, like, I got it out of my system.
07:50And then the songs were so good.
07:51But I knew that a lot of salseros back then, basically what we do is, if there's a song, pop
07:59song, on the radio, they'll be like, I'll do a salsa version.
08:02So I knew that they were going to take all my make salsa version, so I said, I might as
08:06well just do it.
08:09And so I made a double pop and salsa.
08:12We went a lot on that one.
08:14I think that the video really captured the scope, the gravitas of the song, especially the ballad version.
08:21I thought it was clever, and it was fucking expensive.
08:24I remember friends, famous friends, just knowing that I was in town, and they would stop by the set.
08:29It was a lot of fun.
08:31It was a lot of fun, life-changing.
08:48First English album.
08:49Time Mottola really, really, really had a vision for me and really believed in me.
08:54And it surrounded me with great producers for that album.
08:56I started writing in English and producing in English since I was in my early teens, you know, with house
09:04music and freestyle.
09:06I did a lot more writing on the English albums, but I worked with the Cory Roonies, the Walter Afanasievs
09:12of the world, just the best producers at that time.
09:16And that song was fun.
09:19I was trying to find a way to do like a hybrid, the cowbell and the conga.
09:24And I'm just like, how would I do that?
09:26Because I knew salsa well, and I knew pop well.
09:29And I was just like, and I think that we hit a mark.
09:31It was right down the middle.
09:33And it was a good time for it, too.
09:34What they called it, like the Latin boom.
09:36It was me, Ricky, Jennifer, Enrique, Gloria Estefan.
09:40That song makes me happy every time I hear it.
09:42I don't know why, because it was the first song I wrote on the album.
09:46For the first time, it was a different process.
09:49How I ended up doing it was sitting with Cory Rooney in my farm, upstate New York, and just lock
09:56ourselves there, just write, write, write.
09:58There was no such thing as a bad idea.
10:00And then I'd go to San Francisco and live with Walter Afanasiev for two weeks and just write, write, write.
10:06And so it was different.
10:08And I wrote almost every song on that album.
10:11Again, daring, bold.
10:12I was ready for the, you know, I could do this.
10:16And that's when I started working with, you know, Stevie Wonder's and the Paul Simons and the Whitney's.
10:22Just really cool stuff came out of that.
10:24It changed the landscape, if you will, you know, because you could be topping the charts in Spanish, but then
10:31in English as well.
10:34I mean, that was a game changer all the way around as far as general market is concerned and what
10:38I represent, you know.
10:55That was a good time.
10:56That particular song, if I remember correctly, I was writing an English album with Red One.
11:01He gets a call from Armando.
11:03He goes, bro, like, are you going to finish this song?
11:07I'm sitting right there.
11:08And he goes, yeah, yeah, yeah.
11:10I'll send it right over.
11:12And he goes, bro, I know I'm here with you, but I have to finish this song for a bit.
11:18And like 15 minutes.
11:20I was like, bro, I'm writing my, you know.
11:23And he put on the track, he goes, do you think you could just come up with something?
11:26And I was like, come on, come on, come on.
11:29And I wrote it like two minutes, laid it down.
11:32And I'm like, come on, let's get back to my stuff.
11:34And when Pitt heard it, recorded it, bro, bro, bro, bro, bro, this has to be bro, bro.
11:41And I was like, awesome.
11:44Let's go.
11:45I think it was the first video I ever had that had like 1.7 billion views or something like
11:49that.
11:49I remember Pitt saying, that's the Mark Antony effect.
11:52I was like, huh?
11:53Filmed me the video in the middle of the f***ing desert.
11:55It was epic.
11:57You know, he really went for it.
11:59Performing it live with Pitt is just a, that's my boy, that's my boy, that's my boy.
12:04And I love him, I'm proud of him.
12:05Great to hear it and know that I was a part of his story, he's a part of mine.
12:23It's such a good song.
12:24Pitt introduced me to them.
12:25Pitt came over to my house for one of those sessions and Pitt was like, hey, yo, I'm in town,
12:30I want to play you some stuff, blah, blah, blah.
12:32And we'd always sit around and just go, what are you up to, what am I up to, play songs.
12:37He played something.
12:39And I was like, who's that?
12:42And it was Gente de Zona.
12:44And he's like, yeah, man, I know them.
12:45You know them?
12:47You have anything I could hear, like anything else?
12:50He's like, no, man, I can call them.
12:51They'll run over.
12:53They came over the house and they wouldn't play anything.
12:56They were just like shell-shocked and just sitting there.
13:01And at the end of the night, I was like, Pitt played me something.
13:04He's like, can I play you something else?
13:06I go, yeah, that's the point.
13:07They put that song on.
13:09It was already mastered.
13:10It was about to come out as a single.
13:13I said, halt, halt, halt, halt, halt, halt.
13:16I'm jumping on that one.
13:18They're like, what?
13:19They halted everything.
13:20They filmed the video.
13:22I was like, no, no, no, no, no, no, no.
13:24Don't play me shit I can't be on.
13:26I don't want to hear it.
13:27And I had just started Magnus, my media company.
13:29They got signed to Magnus.
13:31We were booking them, producing them, and all through that song.
13:37And I jumped on it.
13:38The response to that song was just, it's another one.
13:41It's like 1.7 billion, almost 2 billion views in Europe.
13:45So all over the world, that song was just, it's a fun one.
13:51You know, like it was born from that fun place.
13:53I remember my response to it was like, I need to be on that
13:57because I need to feel that euphoria.
14:00I'm like, what is that?
14:01I was like, I got to be a part of that.
14:03I got to be a part of that.
14:04You know, Gente de Zona, they're just cut from a different cloth.
14:07They're real musicians.
14:09And like, we're part of each other's DNA now.
14:26You could tell, like, when an album has four, five, six number ones, or just, right,
14:32that we caught something.
14:34You know, but again, that combination of writers and where I was.
14:39I loved the song, but I wanted to dress it up as like an international, earthy.
14:46I remember having that in mind.
14:50Just like more of an anthem-ish kind of.
14:55That was my first foray into like this anthem-ish kind of, just more global.
15:00So that song in particular, again, great team, great moment.
15:04It's Latin music.
15:05It's salsa music, but it just grounded with elements that, you know,
15:10claps that people can join along in and stuff like that.
15:13So I remember being very, very specific about that.
15:15That's the sound I wanted for that particular song, that production.
15:19And it worked.
15:20I still sing that song to this day.
15:21And I love, I love when that song comes up on the set list,
15:25because I know I'm about to leave.
15:28It's the second one before the end, and I'm just going,
15:31you know, crowd pleaser.
15:33And people have enjoyed it all over the world.
15:53I wrote that song in about 15 minutes, and it was one of those things.
15:59I was so inspired back then, I had a crush on somebody.
16:02And I just wanted to write the majority of those songs for that one person.
16:07I was feeling like I inspired and all gushy.
16:13I remember those days.
16:14My dad is in that video.
16:16My dad plays the Homeless Angel.
16:18That was a good one.
16:19It was fun.
16:20And it was a big production.
16:22I remember we closed down the whole avenue,
16:25and they had, you know, cranes,
16:27and shut down Brooklyn Bridge, and, you know.
16:31But I feel it to me when you sing to me.
16:46One of those things that come about when, you know,
16:50you're friends with artists.
16:51Me and Tito are close.
16:53We had this producer named Luisito,
16:54who was just a great writer, and I was,
16:56I think he was underrated, you know.
16:58Tito Bambino's sound was not necessarily my sound,
17:01but I was a fan of his.
17:02We found the perfect crossroads in my house,
17:04in Long Island, in my studio.
17:06I loved it.
17:06It was fun.
17:07People loved it.
17:09People didn't see it coming at all.
17:11But I loved it like that.
17:13You know, just like,
17:14and something great came out of it.
17:16I wanted the sound to be earthy,
17:20you know, the mountains of Colombia and Ecuador.
17:23Just, just, just, just more.
17:26Like this gallop, you know.
17:28It makes me smile every time I hear it.
17:50I love that song.
17:51That song, me and we sing,
17:54we've been talking for about,
17:55I don't know, 10, 12 years going,
17:58Bobby, we've got to do something together, Bobby.
18:00I'm like, yeah, yeah, yeah.
18:00I said, it has to be the right one.
18:02He sang about 10 songs.
18:03I'm like, I'm picky as f***ing.
18:06I just don't jump on anything.
18:07And years and years and years passed.
18:09Every time we'd see each other at the award shows,
18:10at the, wherever, it was like,
18:13Oye, look,
18:14I said, bro,
18:16when it's for you, it's for you.
18:17I said, trust me, it's out there,
18:19because I'm dying to do it with you.
18:20I was with Lenin one night,
18:23he was playing me all these songs and stuff like that.
18:26He played it.
18:28It wasn't quite like that,
18:29but I was like,
18:30play it again.
18:32I said, I found Luis Singh's song.
18:34I just,
18:35and called him up,
18:36he's like,
18:36Loco, let's go.
18:38Sent him, loved it.
18:39He loved it.
18:39Everybody, like,
18:40I loved it.
18:41But it's such a feel-good song.
18:45I had fun recording it.
18:48Just everything about it ticked every box for me.
18:50It's world music,
18:51but then it's colloquial,
18:53you know,
18:55it's bachata,
18:56and then it's anthem-ish,
18:58and that was a lot,
18:59a lot of fun.
19:00Even listening to it
19:01just puts a dumbass smile on my face.
19:16I love that song.
19:16That song was proof positive again.
19:20People went crazy for that song.
19:22Opened up Europe like you wouldn't believe.
19:24He started me thinking about it.
19:25It started out with Salsa.
19:26Then I did,
19:27you know,
19:28the English album, right?
19:30And some were up-tempo,
19:32and some were ballads,
19:33and all right,
19:35but that's in English.
19:36And then I do this album,
19:38but same thing,
19:38pop album,
19:39and some are up-tempo and ballads.
19:42So I got to scratch that itch
19:43in both languages.
19:44It happened pretty fast
19:46because we were just jamming,
19:47three guitars,
19:48you know,
19:49and I was like,
19:50oh,
19:50there's a pulse to that,
19:52you know what I mean?
19:52We got the chorus right away,
19:54and then I said,
19:55well,
19:56what is it going to be about?
19:57And then we gave it
19:59the narrative,
20:00that was one of those
20:00where we were just like,
20:01you know,
20:02just having a couple beers,
20:03like,
20:04by the pool,
20:05and then we were like,
20:06yo,
20:06let's just go lay it down.
20:08And,
20:08you know,
20:09at least we don't,
20:10and we captured the essence
20:12of that,
20:13of that spirit.
20:14The ballet version
20:15is gorgeous as well.
20:17We recorded,
20:18I think,
20:18with the London Symphony Orchestra.
20:19I sent Julio Reyes over,
20:21and I remember,
20:22I said,
20:23send me videos
20:24of,
20:25because I can't be there.
20:26And he's conducting
20:27the London Symphony Orchestra
20:28crying,
20:29it's like,
20:30his dreams,
20:31it's like,
20:32his arrangement,
20:33just like,
20:33just,
20:34it's just a beautiful moment,
20:36but even having the guts
20:37and the balls
20:38and just saying,
20:38hey, look,
20:39I don't care how much it costs,
20:41I'm investing in myself,
20:42and we're talking about it
20:44to this day,
20:45is,
20:45is,
20:45is,
20:46that's how you do it,
20:47you know what I mean?
20:47It was all worth it,
20:48you know?
21:04I remember loving the sound
21:06that we had come up with,
21:07that I could write these,
21:09these up-tempo,
21:12groovy,
21:12like,
21:13stacked production.
21:14It landed right when I was recording that album.
21:17That was coming off of the success of the first one.
21:20Yeah,
21:20we got to work with Rob Thomas,
21:21Corey Rooney again,
21:23and double down on a couple of things,
21:24and just going,
21:26if that's the sound,
21:27that's the sound,
21:27and I wasn't so sure on that album
21:30for some reason.
21:31I remember having to record it
21:34because of a deadline kind of thing.
21:36I didn't get to enjoy the process
21:37of the second album
21:38as much as I did the first one.
21:40It felt more like a chore
21:41because I recorded it
21:43in the middle of a tour.
21:44If I had three days off,
21:45it wasn't off,
21:46it was just to the studio,
21:48and right,
21:48it didn't feel as personal
21:49as the first one
21:50when I was exploring
21:51what my sound was going to be.
21:53Sort of knew what my sound
21:54was going to be on the second one.
21:55It was like,
21:55all right,
21:55same producers,
21:56this approach,
21:56it's this,
21:57it's that.
22:13That whole album
22:14was a tribute to Hector
22:17because I was starring
22:18in the movie
22:18playing Hector.
22:20I mean,
22:20Hector was just this figure,
22:23you know,
22:24it was this mythical figure
22:26that I was born and raised
22:28in New York,
22:28we all grew up on.
22:30And getting to play him
22:32in a movie,
22:33game changing,
22:34life changing,
22:34all the way around.
22:35End of the day,
22:36you just have to connect
22:37with the fact
22:38that he was the most human.
22:41He hated his voice.
22:43He would cry.
22:44Didn't think he had a good voice.
22:45He thought he was defrauding.
22:46But he's like,
22:47I'm a fraud.
22:48I don't know why people
22:49like my voice.
22:50It's mediocre.
22:51Just so,
22:51I mean,
22:52there was so much,
22:53so many layers
22:54to his sadness
22:56in a way.
22:57And people just loved him
22:58for what,
23:00how broken he was almost,
23:02right?
23:04There was nothing
23:04pretentious about him.
23:05He's like,
23:06I am you.
23:06And when I sing a song,
23:08I am you.
23:09I am Pueblo.
23:10I am the street.
23:11I am,
23:12you know,
23:13I'm no different than you.
23:14The only things that you guys
23:15pay to come see me.
23:16Having the responsibility
23:17of playing him
23:18in the movie,
23:19I had to record his songs.
23:22That was quite a task
23:23because I couldn't sing it
23:25the way I would.
23:26I had to sound as much
23:27like him as possible.
23:30And I realized
23:31how difficult
23:31his phrasing was.
23:32He would do some tricky
23:34that I was like,
23:35I would have never thought of that.
23:36Always wanted to sing that song.
23:38And on the stage,
23:40it's a powerhouse.
23:42It's galvanizing.
23:43Especially,
23:45I don't do it often anymore,
23:46but I used to open my show's
23:48acapella just
23:49with the longest note
23:51you ever heard
23:53starting Aguanile.
23:55And I used to enjoy that.
23:57That's how I used to warm up
23:58for the show
23:58was just,
23:59I would be backstage
24:00and a voice would just come out
24:02and I would just start singing
24:03it acapella
24:03and then the rhythm would come
24:04and then the show would start.
24:11I'm glad it's a part of my
24:14discography for sure.
24:15It's one of those things
24:15that you don't believe
24:16will ever happen
24:17when you're a kid.
24:18It's like,
24:18oh.
24:19Like I'm rubbing elbows
24:21with people who are just
24:23untouchable at some point.
24:25You know?
24:26And then you get to know them
24:27and then you get to know
24:27their story
24:28and then you get to be them
24:29in a movie
24:29and then you get to
24:30sing their music
24:33in a movie.
24:33Dreams come true.
24:35Yeah.
24:35Hello, hello.
24:52That song kills me.
24:53I miss my daughter
24:54and I wrote her a letter
24:56and I was in San Francisco
24:57for those two weeks
24:58with Walter Afanasiev
25:00and I was just missing her
25:01so bad.
25:02She was a little
25:03she was a baby.
25:05On the flight down there
25:07I wrote her a little letter.
25:09She was too young
25:09to read it
25:10but I was just
25:13missing her
25:14and just telling her
25:15that no matter what
25:16blah, blah, blah.
25:17I think the song
25:18says it all.
25:19I wouldn't say I was sad.
25:21I was just wondering
25:25why it felt so empty
25:26to be so far from her
25:28and I read it
25:28to Walter Afanasiev
25:30and Tommy
25:32and I was like
25:32that has to be a song.
25:33I said there's no way
25:34that's going to be a song.
25:35That's too personal.
25:37I do this for my daughter.
25:39No, no, no.
25:39I don't do that.
25:40You're doing it.
25:42You got to.
25:43Didn't want to put it
25:44on the album.
25:44It's hard to even listen to
25:47still to this day.
25:48I didn't sing it
25:50for many, many, many, many years.
25:52I sang it once
25:53at Madison Square Garden.
25:54I broke down crying
25:55because she was in the audience
25:56and I was like
25:57I sold out.
25:59I should have never done that.
26:01And I never sang it again
26:02and now I'm singing it
26:03in Las Vegas.
26:04You're the reason I feel
26:09so alive
26:17like William and Hidilio.
26:21Woo!
26:23Yeah.
26:24Nathie Peluso.
26:25I urge everybody watching this
26:27to go and check out.
26:30She's a phenom.
26:32I was always a fan
26:33and always kept in touch with her.
26:36She loves salsa.
26:37That's like
26:38but she's not a salsera.
26:40She's a rapper, rock star, grunt.
26:43She's a beast of a talent.
26:45I hadn't done a duet,
26:48a salsa duet
26:49in 30-something years.
26:51She sent me this song.
26:53When I heard it
26:54it was just everything, everything.
26:55And it had her vocal on.
26:58Thank God
26:58because I wasn't so...
27:01Because when I sing
27:02I'm a little,
27:05you know, I do my s***, right?
27:07I wasn't afraid
27:08whether she can keep up.
27:10But salsa's different.
27:11Like hard-hitting salsa
27:12you need to put on your pants
27:14and go along for the ride
27:16and if you're singing
27:17with somebody
27:18who's gonna,
27:19what's up?
27:20You have to, right?
27:21She whooped my ass on that one.
27:22She jumped on that horse
27:24and was like,
27:24what's up?
27:25And that's so her.
27:26And we enjoyed it.
27:27I love her to death.
27:29Such an amazing talent.
27:31But at this stage of the game
27:31to be working with young artists
27:33who were raised on my music.
27:36You know,
27:36and now to get to work with them
27:38and achieve success
27:39and especially for them,
27:41you know,
27:43for me it's just like,
27:43I told you so.
27:45I told you that was it.
27:46But for them it's like,
27:47you know,
27:48game-changing.
27:49You know,
27:50like the Gente de Sonas
27:52and the Nati Peluso.
27:55That's so,
27:55so gratifying.
28:04I should probably do this
28:06more often than...
28:07I don't think about my music
28:09enough to,
28:10you know,
28:11to be proud
28:11and I just keep plowing through.
28:13But listening to them
28:14like this in a row,
28:15it's really effective.
28:17You know,
28:17but I think about
28:18every single person
28:19that crossed my path
28:20while I was making it going.
28:22I hope they feel
28:23as proud as they deserve.
28:25I could sit here now
28:26and say,
28:26man,
28:29man,
28:29you're either lucky
28:30or I don't know, man.
28:32But I've been able
28:32to do this for 40 years
28:33and it's like,
28:34and I'm still enjoying it.
28:36I'm in the middle
28:36of recording now.
28:38Songs that I know
28:39that next year
28:41when people hear them
28:42that they're gonna love.
28:43I just,
28:44that's how I feel.
28:45And the day that stops,
28:47I guess,
28:48you know,
28:48the engine stops.
28:50Baila y goza
28:51que la vida es una sola.
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