Belén Arjona

A spunky young guitar rocker with a good amount of attitude, Belén Arjona began her profession as a increasing star special to her local Spain — until a shock 2006 Latin Grammy nomination, that’s, which garnered some international attention for the twentysomething madrileña. Delivered Belén Arjona García in Madrid on Oct 5, 1981, she promises to have started singing at age group three, later understanding how to play electric guitar at 13 and developing her first music group at 16. Her affects are wide-ranging, from Janis Joplin and Ella Fitzgerald, to Alanis Morissette and Tahures Zurdos, towards the Prodigy and Garbage. With her music group in tow, Arjona authorized a agreement with Warner Music Spain and proceeded to record her debut recording, O Te Mueves O Caducas (2003). Made by Juan Sueiro and released when she was just 21 years of age, O Te Mueves O Caducas spun off several strike singles: the name monitor, “Me Voy de Fiesta,” “Si No Estás,” and “Sangre en la Nevera.” Arjona got a lot of airplay on MTV España, as soon as her debut recording ran its program commercially, Warner released an edición especial of O Te Mueves O Caducas in January 2005, adding a Dvd and blu-ray and several reward tracks to the initial track listing. The most known addition is usually a cover of “Vivir sin Aire,” a rock and roll en español traditional originally performed by Maná in 1994. Another hit solitary with an associated video, Arjona’s cover is usually a duet with Guyá lead vocalist Fher Olvera. In summer time 2005, shortly after “Vivir sin Aire” faded out, Warner released Arjona’s second recording, Infinito, made by Alejo Stivel. Showcasing a far more thoughtful selection of topics amid its lyrics, the recording spun off several singles — the name monitor, “No Habrá Más Perdón,” and “Sola Otra Vez” — and highlighted a cover of Aerosmith’s “Crying,” retitled in Spanish as “Y Lloré.” Furthermore, Infinito was nominated to get a Latin Grammy in 2006 (Greatest Rock Single Vocal Record). The award eventually visited Gustavo Cerati for Ahí Vamos (2006), the nomination by itself was a significant honor for the youthful singer/songwriter/guitarist. Until this aspect, she hadn’t however garnered any significant interest beyond Spain, and with this nomination emerged publicity, leading to evaluations to fellow youthful Latina electric guitar rocker JD Natasha aswell as lots of notices of Arjona as “la Avril Lavigne española.”