About Rio Grande Songs,In His Words...
Many people ask why I have utilized the general theme of the Rio Grande
Songs for the music I compose and record.
The Headwaters of the Rio Grande are outside of Silverton, Colorado, and
the river runs for 1885 miles to empty into the Gulf of Mexico. The river
flows past Albuquerque, New Mexico, Las Cruses, New Mexico, as well as the
Texas towns of El Paso, Del Rio. Laredo, and empties into the Gulf of
Mexico at Brownsville. I have either lived or spent extensive time in all
these cities along the river which embody the sights, sounds and aromas of
my music.
Having played steel string electric guitar since age fourteen, I quit
playing for nine years and then picked up a nylon string classical in
1994. Immediately I began composing the Rio Grande Songs.
I currently record with a Le Patrie concert series acoustic nylon with
D'Addario J46 strings and perform with a Kirk Sand custom, hand made nylon
electric also with the J46 strings. The Sand guitar is an incredible
instrument that continually brings out more that one would think possible
and needs to be kept in a cage instead of a case. Kirk Sand hand crafts
between thirty and forty instruments a year. He is a top Luthier and has
his shop in Laguna Hills, California.
My Le Patrie is normally recorded with two Nueman tube microphones in
stereo. I record exclusively at Rosewood Studios in Tyler, Texas. Gary
Leach does my arranging and programming, Greg Hunt engineers and mixes and
Austin Deptula masters on site.
Moreover, I am constantly asked about what influences the music and
especially the titles. The following list of the compositions contains
this information…………..
THE RIO GRANDE SONGS
"Lonely Gringo"
While living in El Paso, Texas, after being discharged from the U.S. Army,
I rented
a "back porch" apartment in a Hispanic neighborhood and would often spend
evenings
listening to music and would experience occasional loneliness that was
more pronounced
due to the sounds of the Spanish language all around me.
This feeling together with my ensuing life experiences formed the basis of
"The
Rio Grande Songs" collection.
"The Juarez Waltz"
My first thoroughly original composition, a true three beat to the measure
waltz
that captures the pure mariachi two trumpets and violin harmony line. The
basic
melody has stuck in my mind since the early 1960's and I used bits and
pieces
of it to lull the babies to sleep. Having lived in Juarez, Mexico, for a
year
and a half obviously influenced the feel for this composition.
"Cross The Border"
A two movement composition that represents my experience of living in
Juarez,
Mexico, in a $20 a month apartment at Posada de Fredrico's hotel and
crossing
the international border at the main Juarez/El Paso bridge four and five
nights
a week to play with bands in El Paso. Each of these nights I would cross
the border
into El Paso, play the gig and go back across the border from El Paso to
Juarez.
Many mornings as I awakened in my apartment in Juarez I would go out the
small
French doors to the verandah overlooking the main street and think to
myself,
"What a life experience. Here I am a young man (22 years of age) totally
independent,
living in Mexico and supporting myself playing music. I will remember this
all
my life"…. I remember.
"The Lonely Flower"
While in the high desert foothills outside of Cuchillo, New Mexico, I was
climbing
up to a ledge under the crest of a mountain peak. Upon reaching the level
directly
beneath the peak I stopped to rest and saw a small yellow and purple
flower growing
out of the rocks and gravel. I thought to myself, "What a lonely little
flower
growing here all alone nourished seemingly only by rocks and pebbles, the
sun
and an occasional drop or two of rain."
"Rio Grande"
Many sections of the Rio Grande River is reduced to shallow puddles due to
irrigation
and networks of dams, one of which is Lake Cochita on the Cochita Indian
Reservation
between Santa Fe and Albuquerque, New Mexico. Other sections of the river,
due
to the Spring snow melt, flow deep and rhythmically especially in the
areas of
Las Cruces, New Mexico, and Brownsville, Texas. I have sat on the banks of
the
river and watched as it created a slow, flowing, steady rhythm that I used
for
the framework of the composition.
"Laredo Nights"
As a child I lived in Laredo, Texas, and remember the feeling of the warm
sun
on my body (There seem to be a few sans diaper pictures from that era
somewhere
in the family photo album). I do not remember anything more specific about
the
experience but I remember what it sounded like.
"Desert Breeze"
The daytime heat of the high Desert Mountains is intense but as the sun
sinks
down a breeze softens and cools the darkness of night. This particular
rhythm
track has a syncopated bass line that jumps ahead to the next chord
change. Many
listeners are of the opinion that the song has a haunting quality to it.
"Desert Rider"
A Clint Eastwood "Spaghetti Western" sound that came to me while horseback
riding
at the Wueco Tanks in New Mexico where the water source is derived from
the Rio
Grande. A lope along rhythm that matches the sound of hoofbeats on the
desert
floor. The rhythm sound of the hoofbeats represent a steady gait and a
gallop.
The composition is licensed to Arizona Mills Mall in Tempe, Arizona for
their
phone and communications system.
THE RIO GRANDE SONGS II
"Agua Verde" (Green Water)
As the Rio Grande flows through the Big Bend Country of Southwest Texas
the water
takes on a distinct green hue. Nowhere else have I seen this color of
water. The
lazy rhythm of the river projects a certain magnificence. The trumpet in
the introduction
announces the flavor of the composition which ends with a flowing
repetitive chorus.
"Rio Amour" (River Love)
To see the Rio Grande in the Spring as it runs full and strong in areas is
to
leave a special part of creation. The rich orchestral arrangement lends to
a deep
appreciation of the wonder of nature created by God and still untouched by
man.
"Rainbow Chaser"
A high desert rainbow extends from one end of the horizon to the other and
while
it's vastness gives an appearance of being relatively close, the closer
you get
the farther away it moves. Always chasing the horizon but never reaching
it. The
chorus of the song is strong and vibrant but ends in a resolve not unlike
one
experiencing exhaustion before resting up to return to the verse.
"Star Gazer"
A very special composition announced with a haunting viola. A true Spanish
classical
feel. Originally I wrote the song with a fast tempo. After accidentally
playing
back a scratch work tape at low speed below pitch, the song took on an
entire
new feel which I immediately responded to on a spiritual level. The song
begins
with a distinctive low register followed by a much higher register
culminating
with a chorus that to me explains the mystery of life as a full circle as
the
viola introduction starts the cycle all over again. I must say that of all
the
compositions I perform in public, Star Gazer stops certain people in their
tracks
as they are struck by the devotional emphasis it projects. I have been
asked by
many, "Is your music gospel music?" My answer is that the music is not
sold or
marketed as gospel music. However, through the music many people have been
touched
emotionally and especially by Star Gazer.
"Dream Catcher"
A simple, light hearted melody that builds to a full movement without any
segue.
A rich, full orchestral experience that leaves one at peace. The chorus
seems
so very powerful that it attracts the attention of certain people and
touches
them in some spiritual way. Dream Catcher is used in the soundtrack of a
movie
short entitles, The Hundred-Dollar Bum, that we filmed in the Yuma
Preserve outside
of Yuma, Arizona and Las Vegas, Nevada.
"La Linda"
The Big Bend country of Southwest Texas is a wonderful river-rafting
excursion
when the Rio Grande runs full and deep with the Spring melt off from the
north.
Along the way the river glides through the Santiago Mountains as the
International
Border between the United States and Mexico. Outside of Terlingua, Texas,
the
river rushes past the little village of La Linda, where the rafts pull
ashore
so that one can walk across the small international checkpoint into Mexico
to
the tiny two street village to have a beer or Coke thus officially having
"visited
Mexico". Then it is back across the checkpoint and back onto the rafts to
continue
the river journey.
"Desert Dream"
A passionate music experience with an angelical background chorus
beginning with
the second verse. This composition has the potential to bring one face to
face
with the unconditional love of the Creator. It has the potential to soften
the
hardest of hearts. To this day I do not remember writing nor recording
this song
yet when I perform it, I myself am struck with an intense feeling of
adoration.
"Senor Toro" (Mr. Bull)
Trumpets, castanets and the bull ring was the inspiration for this
composition.
After reading a number of Hemingway's books recounting his intense
interest in
the bull rings in Spain, I was left with mixed feelings concerning the
subject.
My having experienced bullfights in Mexico did not measure up to the
descriptions
by Hemingway as he researched the background, breeding and raising of
fighting
bulls throughout Spain. From his books I came away with the feeling that
Toro
was afforded a measure of respect and honor as well as judged for courage
and
personality. Animal Rights Activists groups would certainly disagree with
all
issues herein but the feeling for the composition was not judgmental but
rather
a musical interpretation of a visual interpretation. The title of Mr. was
a measure
of respect.
THE RIO GRANDE SONGS III
"Desert Eyes"
While
Dining in a small café outside of Yuma, Arizona, during the warm winter
season,
I looked up to see a women walk in and remove her sunglasses. Her face
was
tanned and wind burned but was untouched by the sun where her sunglasses
protected her
face from the elements. Her face reminded me of a raccoon with the colors
reversed
and without thinking I remarked, "Look, she has Desert Eyes". The term
stuck
with me and led me to compose the song. Desert Eyes is licensed by the
University Of
Texas at San Antonio Cultural Affairs Department for use on their Website.
"Shadow Dancer"
The introduction is a classical Spanish movement that seagues into a
shadowy,
swaying, motion that to me projects an image of dancers clothed in
shadows. This
particular composition causes children and infants to sway back and forth;
apparently
many for the first time to the amazement and delight of their parents.
Tease-a-me"
This composition was named by my wife. I claim no knowledge as to the
meaning!
"La Boda" (The Wedding)
A long violin introduction brings the composition into focus at the altar.
After
the vows of the Sacrament the song modulates to a higher declaration of
Love with
an Angelic Chorus Background. To date, La Boda has been used in many
wedding ceremonies
that I am aware of.
"Ms Margarita"
A fun song that develops a serious nature in the bridge or second
movement. Again
the classic mariachi twin trumpets with a violin in between provides a
path for
the guitar harmony melody line. Ms Margarita is used in their soundtrack
of a
movie short we filmed in Baja California, Mexico, entitled "Stone Curse".
"The Last Bull"
Originally composed at the direction of now deceased Movie Producer,
Steven Reed,
for use in the Soundtrack of a film adapted from a screenplay written by a
former
American born Matador who was seriously injured in the Plaza deToros in
Madrid,
Spain, and was deported back to the U.S. when it was discovered that he
was not
a true Spaniard. I actually had written two separate compositions and was
displeased
with both of them. Out of desperation I tied the two together and was
still unhappy.
However, my arranger, Gary Leach convinced me through a series of his own
visual
interpretations that the song accomplished the desired effect, so I kept
it as
it is. Unfortunalty, the Movie Project was canceled, due to the death of
the Director/Producer.
"Border Woman"
To date my most drastic two movements composition. Many times I have spent
hours
looking across the International Border of the Rio Grande outside of the
small
town of Eagle Pass, Texas. I have viewed Mexican families living in a
totally
different society and environment just across the river and on one
occasion I
watched as a mother came out of the woods on the Mexican side of the
river. She
had two young boys at her side and a baby cradled under one arm and with
her free
arm she was washing a garment in the river. From where I was standing I
could
see the strength and resolve in her face as she stood up and looked across
the
river where I stood. The river was very narrow at this particular spot and
I could
clearly see her strong facial features immediately dissolve into
tenderness as
she must have realized that just a mere 30 or 40 feet width of the river
separated
our worlds. She made the sign of the cross across her chest, gathered her
children
and walked away from the river back into the woods. I felt certain that
her request
to God was for strength and a continued willingness to be faithful to her
obligations
and commitment to accept reality as a Border Woman.
"El Rio" (The River)
I wrote the melody and chorus as it was given to me as I had considered it
to
be the final track with no thoughts of a future Rio Grande Album. The
bridge of
the song was an idea that had swirled around in my mind since the early
70's from
an idea given to me by Ray Navarez, in Redwood City. If anyone is from the
Rio
Grande Valley of Texas and hears El Rio, they will invariably come up to
me and
ask if I am from "The Valley" because the song immediately reminds them of
home.
I lived in the area as a child but left at the age of six. There is no
definable
sound for the area that has been identified or marketed but somehow I seem
to
have captured a sound that commands the attention of anyone from that
area. Perhaps
I will someday be considered as one who developed the Rio Grande Valley
sound!
THE RIO GRANDE SONGS IV
"Secret Dreams"
A composition
that portrays
the appreciation of Flamenco style while at the same time attempting
to
retain a romantic posture. Actually, I wrote the composition in approximately ten minutes
the
night prior to going into the studio to finish recording the background music
tracks.
I was unhappy with one of the songs that already had the background
tracks recorded
and decided to replace the entire composition. The next day I went into
the studio,
produced all the background musical tracks and later overdubbed the lead
guitar
lines. My style of production dictates that all the background tracks are
recorded
and put into work tape which I study for some time prior to returning to
the studio
to record the final guitar solos.
"Always In My Heart"
This composition is another special effort to reach the heart. I wrote
this song
in approximately one hour while looking out over the Pacific Ocean in San
Antonio
Del Mar in Baja California, Mexico. I try to spend the summers there to
escape
the heat and actually wrote most of the music for this album while living
there
and this song happened to be the first. Usually the first song comes very
fast
and sets the mood for the remainder of the album. This song seems to touch
all
nationalities of people and is one of the most requested of all The Rio
Grande
Songs.
"Riverdance"
A very strong brassy composition with trumpets in the chorus. This song
was initially
recorded and had the title of #3 for the studio log. All the other songs
were
recorded and titled but #3 just didn't draw me to any specific ideas for a
title
until I was in Laredo, Texas, and saw some children splashing and dancing
in the
water on the bank of the Rio Grande and the title "Riverdancer" came to
mind.
After returning to the studio to complete post production I still didn't
like the
title and finally settled on the current title. Approximately a month
later I
saw the first excerpts of the Irish production Riverdance and wished I had
followed
my original idea. People still come up to me and ask if the song is Irish.
Actually,
the title of the song is not subject to copyright, but rather the
contents. The
Irish production of Riverdance is not a specific title of a composition,
but a
title of an entire production.
"Adios, mis Amigos" (Goodbye, my
Friends)
This song was written as a farewell to my brother-in-law Gary McDaniel;
Steve
R. Reed, my friend in the movie industry; and "Wild Bill" McCollough, my
friend
at Cactus Tree RV park in Yuma, Arizona, where I normally use as a winter
base
of operations. These three individuals were so very supportive of my music
and
were among those who inspired me to continue writing and recording. The
three
of them were taken by cancer within a five-month period.
"Quinceanera" (She's Fifteen)
The "coming out" celebration for a Mexican girl on her fifteenth birthday.
Also
known as Quince Anos. I have seen many of the celebrations over the years
and
started to notice that the Mother, Aunts, and Grandmothers of the girls
would
be very caught up in the event and ultimately would become emotional and
shed
tears. My feeling is that they were remembering their own Quinceanera and
this
was a way for them to relive their own experience. So the composition was
really
written for them. Perhaps this would explain why explain why the song has
a tenderness
that touches especially the Mothers, Aunts, and Grandmothers. When I
perform the
song they are the very ones that exhibit a distant, sentimental
expression.
"Dream for Me"
A very moody song that is announced by the violas and bass in unison and
repeated
in the half intro between verses and at the ending. When performing the
song I
notice a quiet, inquisitive expression exhibited by those listening that
seems
to slow down all movement and activity. The title deals with the subject
of dreams
commonly found in The Rio Grande Songs catalogue. I personally experience
ideas
and answers to decision in awakening from sleep and this song asks for
someone
else to dream in my behalf. Many of my songs are initially in bits and
pieces
and at times I will awaken, reach for a guitar and immediately complete the
composition.
In fact I have awakened to instantly compose an entire song.
"Gypsy Joy"
Written for my wife and partner Joy. Perhaps the most happy song of all
The Rio
Grande Songs. Joy says she always wanted to live like a Gypsy since her
childhood
experiences with a circus group. We have fulfilled that desire by
traveling constantly
since 1994 and meeting new friends everywhere along the way. It is a
mobile life-style
that demands constant movement. The appearance of our bus tells our
friends that
we are back and in a few days we are gone again. Our travels have taken us
from
coast to coast and we generally try to follow the path of favorable
weather. We
look for warmth in the winter and coolness in the summer and each year we
meet
many of our friends who follow the same path. The chorus of the song
expresses
a happiness in the anticipated arrival to a familiar place as well as
embarking
on a journey to the next destination whether it be new or revisited. Our
bus has
been our permanent residence for the past six years but the experiences we
enjoy
and the kind people we meet along the way is rewarding and we always keep
our
eyes and ears open for a new song.
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