“This zapateado is in the first show by Mercedes Ruiz. I use it to close the concert. I really like it. I came out with it when I was sixteen and it stayed that way. Sometimes, you shouldn’t think about the compositions so much for them to be able to reflect your stages. If not, you’d only make one album in your entire life, as Paco de Lucía used to say. That’s why I think many guitarists don’t record. I don’t care; may he who likes it listen to it and he who doesn’t, well that’s all right. I know that I’m always respecting flamenco”.

“This is the track I like most. It’s made for the album and it’s the one that best reflects my latest stage; the search for other sounds, the search for my personality”.

“The taranta is a toque I love, which I feel really at ease with. I have stuff composed which is already intended for orchestra, a sort of counterpoint”.

“They’re not tangos as such, but rather a song, melody, refrain... which try to reach the crowd”.

“The rondeña is composed for the show ‘Gestos de mujer’ by Mercedes Ruiz. And it has gone from being a song done for the show to a song on the album. It’s a composition, not a series of falsetas”.

“The bulería is composed for the show ‘Juncá’, the latest one by Mercedes Ruiz”.

“’Siempre ahí’ is a very flamenco song. I think it’s original in the whole of the album. It has some really high-energy choruses”.

“The soleá has the title of the album, which is a play on words. When I wanted to record, I was told that solo guitar is really hard. A priori, it’s nearly impossible to be a flamenco guitar soloist. I think it’s harder than managing to play for Real Madrid. Nobody bets on flamenco guitar; pessimism is always widespread”.

“I composed it when I was sixteen. It has like a Brazilian touch, but more in the rhythm than the harmony”.