While many of his songs start slow, they quickly change up by the chorus, incorporating variation in terms of rhythm and production. The overall positivity that radiates from his music is really infectious and a dominant characteristic of Latin pop.
John determined the song was too short and added the final verse himself.[8] According to Taupin, "The sentiments in that song, in fact, didn't mean anything. The great thing about Elton's last verse was he tried to put it all into perspective. That song is probably two totally separate songs."[9]
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On the difference in sound between Johns' and Szymczyk's productions, Henley said: "There's a lot less echo with Bill, for one thing. There's more of a raw and funky presence. Glyn had a stamp he put on his records which is a deep echo that is really smooth like ice cream". He thought that the production on the two songs that Johns produced was good and necessary.[7] Frey, however, found that L.A. country-rock records were "all too smooth and glassy", and wanted a "tougher sound".[13] Their friend and collaborator J. D. Souther ascribed the change of producer to "Eagles' desire to get more of a live, thin sound on the albums".[7]
"Already Gone", "James Dean", and "Best of My Love" were released as singles from the album, and information on these songs can be found in their respective articles. The following are other noteworthy tracks[according to whom?] from the album:
David Geffen played to Glenn Frey a demo of three songs by Tom Waits; Frey loved this song and took it to Henley suggesting that they split the vocals on the song. Frey said: "It's such a car thing. Your first car is like your first apartment. You had a mobile studio apartment! "Ol' 55" was so Southern California, and yet there was some Detroit in it as well. It was that car thing, and I loved the idea of driving home at sunrise, thinking about what had happened the night before."[18]
Ricky Munoz, lead singer of Intocalbe, performs in Juarez, Mexico earlier this month. Intocable, a band popular on both sides of the border, is inspired by Mexican music, country hits and rock bands like Def Leppard. Kainaz Amaria/NPR hide caption
In some ways, borders that divide countries are concrete and inescapable. The border between Mexico and the U.S. is very real for the thousands who have died trying to cross it without papers; for those whose families are divided by it; for those living the nightmare of getting caught in the crossfire of a drug trade that seeps in through the borders' darkest hidden crevices.
The mythology surrounding the border has always been powerful. It's a place where the law takes on visible, tangible expressions: a giant wall, a military presence, a fence. Yet border towns are always places of legal ambiguity and cultural transgression.
NPR recently took a trip alongside the U.S.-Mexico border as part of a visually stunning series called Borderland. It was a long drive, during which a lot of music played a key role. Join us for this episode of Alt.Latino as Morning Edition co-host Steve Inskeep regales us with stories of his borderland adventures and the music he collected en route. His notes and anecdotes about the different songs are included in our playlist below.
This old tune is played here by one of the great performers of conjunto music, a border style played by a small group, usually including an accordion and a bajo sexto (a kind of 12-string guitar). I discovered this rendition just before our trip, and my colleagues had to hear it 100 times as we passed through the towns where the song takes place, San Antonio and Laredo. It explores an eternal theme of conjunto music, frustrated love. The title translates as "I'm leaving you in San Antonio," but I'm not sure he is. In the final verse of the song, the narrator starts off saying he will dump her. But by the very next line, maybe he's not: "Ya me voy, ah te dejo en San Antonio, Tu maniita no te la puedo quitar, Hay momentos que pareces el demonio, Cuando mueves la cintura pa bailar." ("Now I am going, leaving you in San Antonio. Your tender hand I cannot give up. There are moments when you seem like the devil. When you move your waist as you dance.")
In the border town of Zapata, Texas, we met Ricky Muoz, the lead singer of this group that's hugely popular from one end of the border to the other, not to mention considerable distances from either side of it. Zapata is his hometown. The harmonies in this song are magnificent, and the theme suggested by the title ("I Want the Best for You") is the classic breakup line: It's not you, it's me. "Siempre me diste lo mejor de ti, y que hoy me vaya no es tu culpa. Aunque no creas es mejor as, t vas a estar mejor sin m." ("I always gave my best to you. That I am leaving today isn't your fault. Although you don't believe it's better this way, you'll be better without me.")
This song involves a run across the border to Juarez, Mexico. The version to listen to is from Cash's famous recording at Folsom Prison. When he describes getting high, shooting his woman and taking a nap, the prisoners actually cheer. In fairness, they cheer again when he's caught in Juarez. In the end, the theme is similar to the frustrated love in conjunto music; as in Flaco Jimenez's "Ay Te Dejo en San Antonio," the narrator blames the woman for what he does. "Early one mornin' while makin' the rounds, I took a shot of cocaine and shot my woman down. I went right home and I went to bed. I stuck that lovin' .44 beneath my head. Got up next mornin' and I grabbed that gun. Took a shot of cocaine and away I run. Made a good run, but I run too slow. They overtook me down in Juarez, Mexico."
Our party was deeply divided on the merits of this song, in which the narrator seems to be far from the border, listening to the radio stations that have for generations beamed their signals across the U.S. What I can say is that we played the song while rolling over Mexico's incredible Sierra de Juarez mountains; ever since I was a kid, I have remembered absurdist lines like this: "I wish I was in Tijuana, eating barbequed iguana."
Dixie drags me down the street when the kids set of fireworks! Then she sits and watches the show. Yes, a very strange dog. Then again, while we are pretty sure she is half border collie, or (adult) kids are convinced she is a lot jackal.
I sing to Dixie after her bedtime walk. My repertoire is a few simple hymns from when I was in Rainbow Girls, some minstrel show songs from Gramps (Pete the Minstrel Man), or fight songs from high school. One a night. She is the only one who appreciates my singing. Well, Maggie Da Cat seems to hang around to listen.
Six foot eight and severely dyslexic, Brandon Vanderkool has always had an unusual perspective—which comes in handy once his father pushes him off their dairy farm and into the Border Patrol. He used to jump over the ditch into British Columbia but now is responsible for policing a thirty-mile stretch of this largely invisible boundary. Uncomfortable in this uniformed role, he indulges his passion for bird-watching and often finds not only an astonishing variety of species but also a great many smugglers hauling pot into Washington State, as well as potentially more dangerous illegals. What a decade before was a sleepy rural hinterland is now the front line of an escalating war on both drugs and terrorism.
Life on either side of the border is undergoing a similar transformation. Mountaintop mansions in Canada peer down into berry farms that might offer convenient routes into the budding American market, politicians clamor for increased security, surveillance cameras sprout up everywhere and previously law-abiding citizens are tempted to turn a blind eye. Closer to home, Brandon's father battles disease in his herd, and his mother something far more frightening. Madeline Rousseau, who grew up right across the ditch, has seen her gardening skills turn lucrative, while her father keeps busy by replicating great past inventions, medicating himself and railing against imperialism. And overseeing all is the mysterious masseuse who knows everybody's secrets.
Rich in characters contending with a swiftly changing world and their own elusive hopes and dreams, Border Songs is at once comic and tender and momentous—a riveting portrait of a distinctive community, an extraordinary love story and fiction of the highest order.
In our debut album, we express complex emotions of us being on the borderline of being on debut. In our second album, we tried to convey the complex emotions that we have whiling enjoying this complex new world. We want to keep on creating music that everyone can relate to.
We deliberately chose our first songs to be catchy, but gradually more bulky songs and formats will follow, which should go beyond the typical scene without losing the actual Beyond Border sound. It is and remains exciting.
Yes, B-Sides Love Live & Others is our current release, which came on the market as a limited-edition mega-fan box and was actually virtually sold out before delivery. The songs will be offered to fans worldwide for a while, then also on the usual platforms, as otherwise we would not be able to reach many people at the moment. At concerts, if there are any, we will still be able to offer a few CDs.
During our collaboration with Vox Cordis, I got to hear about their respective music journeys. Alejandro, one of the close friends I made, sang me a few of the beautiful songs he composed and told me that he would love to record them, but doing so is too inaccessible and expensive. Still, he is studying music at school and plans to pursue a career in it, posting videos of his music on social media platforms for others to enjoy.
I loved asking the locals what their favorite type of music is. Some answers were relatively universal and expected, like Reggaeton, but I was surprised by the number of people who responded with artists like Michael Jackson, The Beatles, and Ella Fitzgerald. The love for older but classic singers and songs was something that we could all relate to, indicating the power of these artists in creating music that transcends borders. 0852c4b9a8
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