Raymond Castellón
Reaping what he sows

by Javier Bustamante
Translation: Jessica Alas
Feb 2007

On this particular occasion, this talented, simple and charismatic Puerto Rican artist took time off to chat about his start in the industry and experience producing music videos. He also reveals why he fused so many rhythms to create Campo Urbano. Incidentally, his new CD is one of those superbly produced albums that have almost become obsolete. Therefore, we need to congratulate him on his effort and wish him all the best of luck in the New Year.  

Why did you name your new album Campo Urbano?
‘Cause Campo Urbano is a fusion of where I come from, who I am and what I’m about. My mother is Dominican and my dad’s Puerto Rican, and I’ve got both of those cultures instilled deep in me.  Plus I enjoy the tres, the cuatro, the accordion, and the sounds of Spain—or shall I say world music. So I don’t have a specific genre, per se. Thank God that I’m doing what I like to do; I get to travel and soak up different cultures and stuff. You know that I was in this group called Unik-ko where I had the chance to travel and learn a lot. This fusion of rhythms is the essence of my sound.

Besides having a knack for making music, you’ve also produced several music videos. Tell me about this facet.
Well, I released a successful solo album called Brilla in Spain and then I was forced to take a three-year break. I devoted myself to producing. I had the pleasure of collaborating with Pablo Croce, one of today’s top Latino directors, for three very enlightening years. We worked on videos for Alejandro Fernández, Tego Calderón, Ednita Nazario and others. Thank God all that has made what I do now much easier. Music has always been there, man. Ever since I was a little kid, music has been in my blood. I wanted to take it easy and drop a record that was well thought out and that I could be proud of… and I got the chance to produce it with Dennis Nieves. Witnessing the final product has been remarkable, ‘cause it’s what I really aimed for musically. 

So how long did it take you guys to finish the album?
Around three years; we really took our time with it. There was no rush—nobody was sittin’ there waiting for us. We really thought it out thoroughly; we didn’t do it just to do it, you know. I forced myself to take my time with it.

Did you write all the tracks?
Miguel Yadam, a Cuban songwriter who lives in Spain, wrote “Se Me Va la Vida,” the album’s first promotional single. I penned three tracks, two with Nestor Martin, one with Dennis Nieves and Sacha Nairobi. I’m the type of guy who is inspired by other composers. I really think that your work becomes richer if you share it and there’s lots to gain from working with all the talent that’s out there. I enjoy variety and I like to involve myself in the creative process.
 
Let’s talk about whom you worked with on the reggaeton version.
It was a real honor to work with John Eric; he’s an awesome reggaeton artist, as well as Sacha Nairobi, an incredible Venezuelan singer who’s also on this track. To do a reggaeton version and to be featured in the La Calle – Volumen 1 CD alongside artists like Calle 13, Julio Voltio and others…it’s like having two sets of fans, you know. You got the urban ones who listen to reggaeton on one side and then you have the other ones who like pop. The feedback has been positive, thank God; I’m not labeled in one particular genre, as I’ve been lucky enough to partake in what’s happening with another one. 

What has been the public’s reaction to Campo Urbano?
The truth is that I am very happy, ‘cause the people have responded positively. And the media has really enjoyed the album, too. I hope that in 2007Campo Urbano will reap what it has sowed and for all the people who are reading this interview to enjoy my music. But above all I don’t want them to let their lives pass them by (as in the album’s first single “Se Me Va la Vida”) without enjoying themselves.

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