Entre el cielo y el suelo

The recording of Entre el cielo y el suelo took place in various studios: Audiofilm in Madrid, Lillie Yard and Lansdown in London, and Hot Nights. The programming was done at Fairlight Studios, owned by Nacho Cano. They had the participation of musicians such as drummers Sergio del Castillo and Peter Bernacle, and bassists Manolo Aguilar and Andy Pask. Sound engineering was handled by Luis Miguel González, Austin Ince, Simon Humphrey, Curis Dibble, and Juan Miguel Sánchez. The mixing of Nacho Cano's tracks was done at Work House studios in London, while those of José María Cano were done at Audiofilm, Madrid, under the supervision of Luis Fernánez Soria. The graphic design was by Studio Gatti, and the photo session was by Alejandro Cabrera.

Five singles were released from the album. The first, Ay, qué pesado, was written by Nacho Cano and, like in 50 palabras, 60 palabras o 100, the Roland R-8 drum machine was experimented with for percussion. Later, Cruz de navajas was released, a track with influences of blues, congas, and saxophone, which was recognized as the best song of the year in Spain in 1987. It was followed by Me cuesta tanto olvidarte, a ballad notable for its piano and keyboard accompaniment that simulated violins. The fourth single was No es serio este cementerio, characterized by its dark humor, and the last was Hijo de la Luna, a tragic narrative about love and deception, inspired by gypsy superstitions, which has become one of Mecano's most covered songs.

The international editions of Entre el cielo y el suelo presented variations. In the United States and Latin America, the album included ten songs and a slightly different cover, omitting Las cosas pares and Te busqué, which only appeared on cassette and CD formats. The versions for Germany and France contained fourteen tracks, combining songs from the Spanish album with others from their next work, Descanso dominical, such as Héroes de la Antártida and Fábula.