Franco de Vita talks inspiration, influences, 5/10

One of Franco de Vita's finest songs, "Louis," is about a cab driver who dreams of a music career while he's behind the wheel. "Los Beatles son su pasión," de Vita sings: "The Beatles are his passion."

An autobiographical touch, perhaps?

"Of course," de Vita says with a chuckle, on the phone from Madrid. "The Beatles were my teachers. I learned very much from the Beatles."

Did he ever. In a recording career that launched in 1984, de Vita has created some of the most literate, evocative songs ever to grace Latin radio. The Venezuelan troubadour can be deeply romantic, as in the shimmering "Te Amo" or the lonely ache of "Y Te Pienso." At other times, he displays the sharp, perceptive eye of a reporter. "No Basta" is a vivid examination of the lack of warmth between a father and son. "Mi Amigo Sebastián" tells of a man near the end of his life, struggling to survive on the meager pittance the government gives him.

Those songs, like the best of de Vita's work, stand as gripping, four-minute character studies. The protagonists feel real, as if you could call them up and chat on the phone. But, like "Eleanor Rigby," they are merely figments of a creative imagination.

"Louis isn't real. Sebastián isn't real," says de Vita, whose conversation comfortably zig-zags between English and Spanish. "I invented them. I base my songs on life. Not just my life, but everyone's life. I write about all people, all over the world. I write songs about characters, but I don't really study people. I simply observe life and that informs the songs."

Latin-music icon

The power of his songwriting combined with an unwavering ability to come up with memorable pop hooks has earned de Vita great fame. Born in Caracas to Italian immigrants, he has emerged as a superstar in the Latin-music world. He has more than 3.5 million Twitter followers. According to his record company, he has sold more than 25 million discs around the globe, and he has scored more than two dozen hits in the United States alone. Though he has lived in Spain for the past two decades, he is the most commercially successful musician to emerge from Venezuela.

He is equally celebrated in the industry. His songs have been recorded by such varied artists as Ricky Martin, Chayanne, Luis Fonsi and Mercedes Sosa. He even crooned "The Good Life" with Tony Bennett on the 2012 disc "Viva Duets." Along the way, de Vita has picked up two Latin Grammys, an MTV Video Music Award and several honors from the American Society of Composers, Authors and Publishers. Last year, Billboard inducted him into its Latin Music Hall of Fame.

An energetic, engaging performer, he tours heavily. Surprisingly, his concert at the Celebrity Theatre on Sunday, May 10, marks his first appearance in Phoenix. At 61, he is still a regular visitor to the upper reaches of the charts and remains a consistent presence on radio, something for which he's thankful.

"There are certain artists who arrive at a place where radio's no longer important," he says with a laugh. "I mean, I don't think Bruce Springsteen worries very much about radio play. But in our Latin world, very few artists can survive without it."

New takes, old songs

De Vita's career has taken an interesting turn in recent years.

He hasn't released a studio album since 2008's "Simplemente La Verdad." In the meantime, there have been two live recordings, 2011's "En Primera Fila" (a No. 1 disc on the U.S. Latin charts) and 2013's "Vuelve en Primera Fila," which reached the Top 10. While both discs feature a few new compositions — "Tan Sólo Tú" emerged as another signature song — the emphasis is on drastic reworkings of his catalog.

The albums from the first half of de Vita's career were heavily influenced by the sounds of Billy Joel and Elton John, two of his idols (and, like de Vita, piano-playing songwriters). The arrangements, which walk the border between rock and pop, were tailor-made for American radio, albeit with Spanish lyrics.

The live albums re-imagine the songs in surprising and inventive ways. "Aquí Estás Otra Vez" has transformed from a bouncy, keyboard-driven truffle to a mellow reggae jam. "Louis" abandons its smooth-jazz sheen and adopts an acoustic vibe that makes it feel like a traditional Latin-American folk song. The piano ballad "Ya Lo Había Vivido" now sports a harmonica and burbling, bachata-style percussion.

"We've modified the songs and made new arrangements," he says. "It's a different aspect to the songs. Basically they're the same, because we haven't changed the melody, but we've changed the harmonies, the sound, the instruments. I think the songs have a new life."

It can be almost sacrilegious to alter the sound of classic recordings, but de Vita doesn't view it that way. He sees it as a personal evolution.

"I have changed," he says. "I did whatever was possible to change. I don't want to bore myself and I don't want to bore my audience. I think the only way to survive is to change. If you always do the same thing, the moment will come when you're bored and frustrated."

Still, that seven-year gap between studio recordings makes one wonder if de Vita is ever struck with writer's block. He's never been wildly prolific, but this is the longest he's gone without releasing an album of new material. He admits it can be hard to craft songs while touring.

"I can write music on the road, but not lyrics," he says. "Normally when I write, I do it in my house in Madrid or Alicante (in southern Spain). Lyrics have to be written when it's very quiet."

He has written some songs that he says are "completely different" and promises that a studio album will appear, hopefully early next year.

"I'm working on it. It's not that easy to compose 10 or 12 songs."

He laughs.

"Well, 10 or 12 good songs," he clarifies.

Reach the reporter at randy.cordova@arizonarepublic.com or 602-444-8849. Twitter.com/randy_cordova.

Franco de Vita

When: 8 p.m. Sunday, May 10.

Where: Celebrity Theatre, 440 N. 32nd St., Phoenix.

Admission: $60-$105.

Details: 602-267-1600, celebritytheatre.com.