By: Albie Monterrosa
---- On My Way ----
In
the early months of 2006 the band went to stay at the Sonic Ranch,
a 2,000 acre pecan ranch/recording studio in Tornillo, Texas.
We had heard of this really cool creative place on the Texas/Mexico
border through our friends Michael Ramos and David Garza. The
minute I heard of the studio and its location in the desert,
I knew it was someplace we needed to be. I called the owner Tony
Rancich and told him that the band needed some time away to write
our next record. Tony opened his studio and his home for us to
live and be creative for however long we needed. We soaked up
the vibes and got to work. We were there for a little more than
a month.
Sonic Ranch was as beautiful as I expected, and to top it
off the Mexican border was only 3 miles straight down Tony's long driveway.
His ranch was literally on the border. Most days I'd take a ride down to the
border and just sit and stare over the Rio Grande into the rolling hills that
divide Central America and the "Land of the Free". I would think
and wonder about all the people who had crossed the "line" looking
for their piece of the pie. This trek, this journey, has always fascinated
me. I've always wondered what lengths I would go to if it were me on the other
side of the fence. My parents had the guts to leave and take a stab at a new
life when they came to the U.S, would I have done the same?
Everyday on Tony's property, you'd see people running over
the border. Running desperately not to get caught, looking franticly for a
tree to hide behind. In the mornings you'd find wet clothes strewn around;
pants, shirts, socks, underwear. I learned that after crossing the Rio Grande,
and getting soaked, these folks would change into something dry and leave the
wet clothes behind. Mexicans, Nicaraguans, Salvadorians, folks from the other
side of the fence trying to get over to America. What we were watching on T.V,
we were smack in the middle of. I felt connected to these men and woman, I
found myself cheering and yelling to them in encouragement "GO MAN, GO"!!!
sending them off with well wishes.
The desert spoke volumes to me, I fell in love with the place.
In the mornings I would chose a direction, and walk into Tony's 2,000 acres,
find a place that felt right, sit down and start connecting with the elements,
giving thanks for the day. One early morning on my way back from my daily offerings
I heard James banging on his drum and singing "I'm on my way, to the promised
land, that's where i'll go, I'm on my way" over and over and over again.
He had found a mantra, was in the zone and wasn't letting it go. James always
comes from the heart when he writes or performs His lack of knowledge of scales
and harmony gives him the upper hand to go straight to the source, his heart
and soul.
"On My Way" started as a chant, and as a peoples spiritual
hymn. James made sure that as I began writing lyrics to the story, that
I not stray too far away from the simple message of those universal words.
Even when I was fishing around to change or evolve the chorus lyrics, he was
there to keep reminding me to stay simple. The chorus is the same as the day
James sang it outside sitting on the desert floor that January morning.
"On My Way" represents movement from one place to the next,
with intention. When we were deciding on a title for the record, we didn't
search too hard. I remember feeling that we had gone through, and learned so
much as a band that we were ready and on our way to something big. "On
My Way" was a perfect title.
I'd like to thank Tony Rancich for opening his house, studio,
and land to all of us, and allowing the start of this record to come through
to us there at the Sonic Ranch. Although we didn't get to record the album
down there, it was a huge inspiration for us to live in Tornillo Texas for
a month. Thanks again Tony!
---- Letter From San
Juan ----
---- Sing
It All Night ----
---- Mona
Lisa ----
---- Every
Little Love Song ----
---- Goodnight
Love ----
---- Ghost
in the House of Texas ----
---- Santos ----
---- El
Salvador ----
Believe it or not "El Salvador" started
as a song called "Ode to Rock n Roll". Even though
I felt that writing a song, dedicated to the all powerful force
of Rock-n-Roll was a strong idea...our producer Jon didn't feel
the same way. Now looking back, I kind of laugh at what I was
thinking. "El Salvador" is such a great song.
In November we had just returned back from our tour in the
Middle East, and we rented a house in Deal, New Jersey on the ocean. The living
room was set up with all our gear, and in my room I had my own little set up
where I would demo songs. Jon came to the house one evening and spent some
time with me, listening to song bits. I was insecure about playing him the
chords and melody of what was to become "El Salvador". Although Jon
would always say to me "Just show me everything you got, don't discriminate
your ideas, show me what ever is coming from your heart" I was still insecure.
I hit play on my 8 track recorder, closed my eyes, and let him listen to this
3/4 piano ballad that I had secretly been writing. I say secretly because I
felt the song would be too left field for deSoL. "A 3/4 ballad?", "no
way", "not rhythmic enough". "No one will want to dance
and rock out to that". Actually deciding to record "El Salvador" was
one of the catalysts that made me say, I want to write a deeper record this
time, not just a "Latin Rock" record. Jon loved the feeling of the
piano and my voice together. He encouraged me, as he would say to "chase
the dream".
We laid down the basic arrangement of "Ode to Rock n Roll" one
morning in December, Jon on drums and me on the piano and voice. During play
backs, Jon would always ask me to re-think and evolve the lyrics. He would
say "is there something else you can be singing besides "Oh Rock
n Roll?", its not speaking to me". Always being careful not crush
my ideas, Jon had all of us in the studio start coming up with different titles
that rhymed with Rock-n-Roll. As ideas were being tossed out, I mumbled "El
Salvador" and Jon turned to me and said "thats it" "isn't
that where your parents are from?" "you need to write a song about
your heritage" still feeling married to the whole "Rock n Roll" idea,
I left that night not sure if I wanted to give up on my initial inspiration.
I don't know why but it took me a few weeks to really see the
light. Even as I finished and sang the lyrics to the newly finished "El
Salvador" I wasn't sure if it would make sense to anybody, I wasn't sure
if I had hit the mark. One day after separating myself from "El Salvador",
I listened back with fresh ears and when the song was done playing, I couldn't
believe my ears. The feelings I had bottled up in me for so many years, my
hang ups, and disconnectedness with my heritage were all there in a song. Jon
always saw beyond the present day, and he constantly encouraged me to search
for deeper meanings in my song writing.
The nylon string, 3/4 guitar strum is a nod to the Ranchero, Central
American players that my parents constantly played growing up in my house.
I always loved the feeling of the 3/4 waltz played choppy on the nylon string,
In "El Salvador" I wanted to emulate "Vicente Fernandez" or "Freddie
Fender" on their horses riding into the mountains.
The powerful vocal ensemble of Andy and Chris really took "El
Salvador" to a totally different level. Andy and Chris' voices on "El
Salvador" are one of my all time favorite things. Within minutes in the
vocal booth the pair began working on complex vocal harmonies and arrangements.
I remember Andy and Chris coming out of the booth to listen and reassess what
they were creating. Chris mentioned the 10cc song "im not in love" and
Andy Spoke about all those awesome Queen harmonies in the 70's and then both
ran back into the booth to finish what they had started. When the night was
over, we listened back, cheered, and slapped each other on the back in celebration.
The guys had performed some successful magic on "El Salvador".
A Few weeks later Kevin was up to bat, he knew where to go with the
song. A big loud Les Paul guitar was his vision, and no matter how much we
wanted to stay away from the Brian May sound, at the end of the day we couldn't
help ourselves. It's too much fun to reach back and pull in the flavors of
the Rock Gods we grew up with. The climax at the end of the song wouldn't be
there with out the stylings of chris andy and kevin.
---- Teardrops ----
---- Lagrimas ----
---- Vivir
en tu Aire ----
The funniest experience I had during the
recording of these new songs, was recording the clap/laughter
track to "Vivir en tu Aire".
About 2am one late night/early morning, Andy, Jon (producer)
Rob-O (engineer) and myself were the last standing musicians in the studio.
Most all of our sessions would begin at 10 am and end whenever we became too
exhausted to continue creatively or productively. At the end of this one particular
session I was "toast", totally drained. I had wanted to go home earlier,
but couldn't muster the energy to get up, jump in my car and leave. Just when
i thought we were done for the night, Jon decided to get us to record one more
track.
I had always envisioned a clap track on "Vivir". Jon
felt the time would be perfect to record something so simple and mindless,
something that wouldn't take too much mind energy to accomplish.
So at 2am the three of us went into the vocal booth, put on our
head phones, and got ready to clap. I suppose Jon felt my grumpy attitude cause
as the song started and we began to clap Jon blurted out something so indecent
and out of context that I instantly bursted out into laughter. The remaining
4 minutes and 26 seconds of the track was filled with jon, andy, and myself
laughing our asses off and just acting silly as we clapped. We took 5-6 takes
of the clap track, each one getting more ridiculous and silly, put them all
together and the result sounds like a party of people having loads of fun.
The laughs we had that night in the vocal booth will be with me forever.
I feel what we accomplished that night brought a certain innocence
and happy air to this already youthful upbeat song. "Vivir en tu aire" is
one of my favorite sounding songs on this new record.
Andys organ work in the verse and chorus' adds a loose unrehearsed
feeling. I remember andy taking one take of his organ track and being done
with it. Only until the next day, when we listened back, did i fall in love
with the organ line and his 60's farsfiza approach.
During kevin's guitar take I remember feeling unsure if the song
even needed an electric guitar. Kevin automatically reached back to his years
living on the island of St. Thomas and laid down a solid clean rhythm guitar.
Kev's style on "Vivir en tu Aire" brings alive the island and caribbean
spirit. The opening line reminds me of what Paul Simon did on "Mother
and Child Reunion". Anything sounding reminiscent to Paul Simon is alright
by me.
Another special flavor is the "phili soul" back ground vocals
Chris and Andy sung in the pre choruses. Chris and Andy have a special bond
when they are creating together. I love watching them work.
---- Free
Again ---- |
