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Born in Madrid, Spain, on December 18, 1968, Alejandro Sánchez Pizarro was the youngest son of María Pizarro and Jesús Sánchez, both of whom are Andalusians. His father played guitar professionally and was a significant influence on Alejandro, who learned to play guitar as a boy. As a teenager, Sanz performed at local venues and eventually became acquainted with Miguel Angel Arenas, a music industry maven perhaps best known at the time for his association with Mecano, a successful Spanish pop/rock group of the 1980s. Arenas helped Sanz find work in the recording industry, and the young performer initially signed a contract with the Spanish label Hispavox, which issued Los Chulos Son Pa' Cuidarlos (1989), an album that was met with indifference upon its release and is now a curious collector's item. Sanz was billed as Alejandro Magno on the album. Remaining aligned with Arenas, Sanz subsequently moved to WEA Latina, where he began recording music under his present billing. His early albums -- Viviendo de Prisa (1991), Si Tu Me Miras (1993), Basico (1993), and 3 (1995) -- were loaded with hit singles and consequently were all successful, each reaching platinum status many times over in Spain. Comprised largely of romantic songs, these early albums connected well with sentimental listeners, particularly women, who tended to be as taken aback by the music as they were by Sanz's handsome looks. "La Fuerza del Corazón," from 3, was his first major hit to have an international reach, opening a door to greener pastures.
The stage was now set for the breakthrough success of Más (1997), which boasted "Corazón Partío," a hit so big it changed the course of Sanz's career. Driven by the across-the-board appeal of "Corazón Partío," as well as additional singles "Y, ¿Si Fuera Ella?," "Amiga Mía," "Aquello Que Me Diste," and "Siempre Es de Noche," Más became the most successful Spanish pop record ever, selling millions worldwide. El Alma al Aire (2000) was a comparable commercial success, selling well internationally. However, the album wasn't as solid as its predecessor and accordingly spawned fewer hits: "Cuando Nadie Me Ve," "Quisiera Ser...," and "El Alma el Aire," each of which was a big hit nonetheless. By this point, Sanz had garnered a sizable following across the Atlantic, and his next recording, MTV Unplugged (2001), was a clear effort to further his growing popularity in the Americas. The intimate concert performance featured a newly written single, "Y Sólo Se Me Ocurre Amarte," which became a hit, as did "Aprendiz," a song written by Sanz previously recorded by Malú in 1998. MTV Unplugged moreover showcased the bounty of career highlights Sanz now had to his credit, as one hit after another was performed during the concert.
When Sanz returned to the studio to begin recording his next album, No Es Lo Mismo (2003), he decided to broaden his musical style to reflect his own interests. The album is harder-hitting and more street-savvy than past ones, even including a bit of rap and touches of electronica. The romantic songs are still front and center, granted, but Sanz wrote an album that is far from generic, illustrating his growing reluctance to cater to the expectations of his audience (for the first time, he co-produced the album himself). Though bolder than before, No Es Lo Mismo was yet another international smash success, reaching number 128 on the all-inclusive Billboard 200 album chart -- a notably high ranking for a Latin pop album circa 2003 -- and generating several hits, none bigger than the title track, which broke the Top Five on the Hot Latin Tracks chart (the first time Sanz did so since 1998) and was licensed by Coca-Cola for a promotional campaign in Latin America. Furthermore, No El Lo Mismo won a Latin Grammy in 2003 for Best Latin Pop Album, and Warner Music Latina issued a special CD/DVD edition of the album the following year in commemoration of Sanz's Latin American tour. In 2004, Warner also released a pair of greatest-hits compilations, Grandes Éxitos 91_96 and Grandes Éxitos 97_04, as well as a three-disc package, Grandes Éxitos 91_04, that includes a disc of rarities.
Sanz didn't release the follow-up to No Es Lo Mismo, El Tren de los Momentos, until late 2006, but in the meantime, he was featured in the biggest Latin hit of 2005, Shakira's "La Tortura." He co-wrote the Grammy-winning song and co-starred in its heavily aired pair of videos, which featured the two Latin pop stars in some rather sultry positions. "La Tortura" exposed Sanz to an even greater audience, and when he finally released the lead single to El Tren de los Momentos, "A la Primera Persona," the reception was rapturous. The song was among his biggest hits yet, his first to break into the all-inclusive Hot 100 chart, and El Tren de los Momentos was likewise well received. Stylistically similar to No Es Lo Mismo yet significantly more refined, El Tren de los Momentos is notable for its several superstar features, which include collaborations with Shakira, Juanes, Alex González of Maná, and Residente of Calle 13.
Sanz returned three years later with 2009s Paraiso Express, considered a return to form by critics, the album saw Sanz return to the more melodic sound of his earlier work. The single Looking for Paradise which featured Alicia Keys reached the number one spot on the Billboard Hot Latin Songs chart and in 2010 Paraiso Express was nominated for Album of the Year at the Latin Grammy Awards. After some twenty years with Warner, Sanz announced that he had signed a new contract with Universal Music at the beginning of 2011 and in 2012 released his ninth studio album La Musica no se Toca. ~ Jason Birchmeier, Rovi