Dulcinea Lyrics & Reviews

SUN’S GONE DOWN LIKE A ROCK
I’M STUNNED AND STONED AND STILL IN SHOCK
THIS CITY GOT THE BEST OF ME TODAY

I’M BEAT UP, TIRED AND SORE
TURN ON THE RADIO AND LOCK THE DOOR
I START TO FEEL A LITTLE BETTER
AS THE MEXICAN ACCORDION PLAYS

AND I PRAY (THAT) SOMEHOW YOU WILL WRITE
AND THAT THIS BOTTLE OF TEQUILA WILL HELP ME MAKE IT THROUGH THE NIGHT

SO I POUR A SHOT FOR ME
AND A DOUBLE ONE FOR YOU
TONIGHT I’M DRINKING FOR TWO

IT WASN’T ALL THAT LONG AGO
IN LAS CRUCES NEW MEXICO
YOU SANG LAS MANANITAS SOFT AND SLOW

WE MADE OUR WAY OUT TO L.A.
BUT I ALWAYS FELT YOU COULDN’T STAY
NOW IF I WANT YOU BACK I’LL JUST HAVE TO GO

SO I PRAY (THAT) SOMEHOW YOU WERE RIGHT
AND THAT THIS BOTTLE OF TEQUILA WILL HELP ME MAKE IT THROUGH THE NIGHT

SO I POUR A SHOT FOR ME
AND A DOUBLE ONE FOR YOU
TONIGHT I’M DRINKING FOR TWO
TONIGHT I’M DRINKING FOR TWO

© 2007 T. Zamora (PerroFlaco Music ASCAP)
P. Marshall (Paul Marshall Music ASCAP)

CAN’T QUITE RECALL JUST WHERE I’VE BEEN
BACK ON THE STREETS, REMINDED OF EVERY SIN
BEEN LIVING IN A DOORWAY I CAN’T PASS THROUGH
CLOSE MY BLEARY EYES, CLEARLY I SEE YOU

THEN IT FEELS LIKE WE’RE BACK IN A GEORGIA RAIN
WARM AND SWEET THE SMELL
JUST HANGS LIKE A STUBBORN STAIN
WE WERE BOTTOMLESS AND SOAKED IN LOUISIANE
COULDN’T WASH AWAY, COULDN’T WASH AWAY WHO I AM

COULD YOU EVER HOLD ME AGAIN?
AND DO YOU EVER THINK ABOUT US NOW AND THEN?
I KNOW IT ALWAYS FELT LIKE A RUNAWAY TRAIN
BUT COULD YOU EVER HOLD ME AGAIN IN A GEORGIA RAIN?

I KNOW THAT I’VE BEEN KIND OF OFF
BUT I HAD TO GET THROUGH THE WINTER
THOUGHT I’D NEVER SHAKE THAT COUGH
STILL I THINK OF THAT STORM IN LOUISIANE
IT COULDN’T WASH AWAY, COULDN’T WASH AWAY WHO I AM

COULD YOU EVER HOLD ME AGAIN?
AND DO YOU EVER THINK ABOUT US NOW AND THEN?
I KNOW IT ALWAYS FELT LIKE A RUNAWAY TRAIN
BUT COULD YOU EVER HOLD ME AGAIN IN A GEORGIA RAIN?

©2007 T. ZAMORA PerroFlaco Music ASCAP

YO SOY UN HOMBRE QUAJIRO
CON UNA VIDA SENSILLA
TRABAJO COMO LOS GUEYES
PA GANAR PAN DE CADA DIA

Y COMO CUALQUIER HOMBRE
QUE PIERDE SU REALIDAD
EN ESTE MUNDO MODERNO
AY QUE BUSCAR SU FELICIDAD

AY PAPI NO LLORES
NO LLORES POR LA NOVELA
AY PAPI NO LLORES
NO LLORES POR LA NOVELA

NO PIDO NADA DE A LA VIDA
NI SOY MAL CONOCIDO
ERO AY QUE ENTRETENERSE
Y MI NOVELA NECESITO

Y CUANDO VIENE LA NOCHE
Y PRENDO LA TELEVISION
YO LLORRO CON MI NOVELA
AY MAMITA QUE OBSESSION

CHORUS

Y CUANDO PREGUNTA MI VIEJA
JUANITO A DONDE VAS?
ME LARGO Y NO RESPONDO
Y NO PIERDO NI UN COMPAS

ME BUSCA POR LA MANANA
ANTES QUE SAL EL SOL
ME PICO CON MI NOVELA
AY MAMITA QUE DOLOR

© 2007
(T. ZAMORA, C. DELUNA, E. BAYTOS, J. HERNANDEZ)

I’m just a little while, away from my home
Only a few short miles and I won’t be alone
And I’m just a little tired but I want to see all my friends
Like a man with an old blue song
Trying to get through the end

Darkness came over me, sorrow did remain
But I’ve been working my way back
Through the wind and the rain
Though I’m just a little drop in this sea of despair
Sadness will soon dry up when he answers my prayer

I’m just a little shy to see you again
Like a tattoo of an old lover, kind of hard to defend
And I’m just a little calm right before the storm
’ve been standing out in the rain
Feeling mostly alone

Darkness came over me, sorrow did remain
But I’ve been working my way back
Through the wind and the rain
I fall to my bended knees and Lord I hear what you say
Now I know my way home; because you showed me the way

Though I’m just a little drop in this sea of despair
Sadness will soon dry up when he answers my prayer
Sorrow will find an end when he answers my prayer
You know I’ll be coming home when he answers my prayer

Copyright 2007 Tony Zamora
PerroFlaco Music ASCAP

If you ever want or need to see me again
you’ll have to go down to Mexicali
I’ll be drinking hard, playing my guitar
and sitting in with my old band
I’m no low down gambler but I’d bet my Rambler
You would take it all from me again
The things I used to do never bothered you
but that was way back when

We used to smoke and drink and dance
and laugh at love, and monkey all night long
I do believe that we had it all but somehow it all went wrong

We had to change our ways and move to Cudahy
about a mile from the 710. I turned a page for you
and sold my Harley too I felt six feet from the end

but honey I ain’t dead yet my eyes are open wide
you know I’d never want to quit you baby
but I can’t lay down and die

Honey you ain’t said yet a single thing to make me stay
Do what you have to do all I can say to you
is I’m leaving here yesterday

I’ve been three months now in this border town
ain’t seen hide nor hair of Javier
and the Yuma crew did the same thing too
and disappeared into thin air

You won’t believe my dear what waited for me here
Not just a chance to see who’s left around
But what was here to see is what’s become of me
I’m at the phone booth on the edge of town

But honey I ain’t dead yet, no my eyes are open wide
You know I’d never want to hurt you baby
but I had to come here and try

And honey you ain’t said yet, a single thing in my defense
So why’d I go and do the things to act a fool
Cause it’s the only thing that made no sense

I’m down to fighting weight wondering about my fate
Lord I think of only you all day
If it were only enough I’d be right on that bus
headed straight for Cudahy

and now your telling me there’s something else to be
just as natural as the break of day
If what you say is true I’m coming home to you
And I’m never going to leave L.A.

Honey I ain’t dead yet, no my eyes are open wide
You always knew that I’d do right by you
And finally I would come alive

And honey you ain’t lost that bet
You kept it all just a big surprise
We got just what we need, another mouth to feed!
Got a reason to live and die

© 2007 T. Zamora PerroFlaco Music ASCAP

Goodbye Miss Lynn, I hope that it’s been
As much fun as we both recall
You can lean my way on any other day
So long as we don’t have to fall

Mid November is a fading light
Fallen leaves lay trampled on the ground
I wouldn’t hedge my bet with a country wife
Bare footsteps fall softly without a sound

Goodbye Miss Lynn, I hope that it’s been
As much fun as we both recall
You can lean my way on any other day
So long as we don’t have to fall

Time and again I say the same old thing
You just smile with the pearl moon in your eyes
With the night air being as bitter cold as it’s been
I’ll wait tomorrow and kiss you at sunrise

Goodbye Miss Lynn, I hope that it’s been
As much fun as we both recall
You can lean my way on any other day
So long as we don’t have to fall

It’s only right that it’d be raining hard
the Winter snow you said is surely on it’s way
In the spring we were young but had to part
I know we’ll do it all again some day

Goodbye Miss Lynn, I hope that it’s been
As much fun as we both recall
You can lean my way on any other day
So long as we don’t have to fall

© 2007 (T. ZAMORA) PerroFlaco Music ASCAP

I WAS STANDING ON A CORNER ONE MORNING
IN THE CITY OF NEW ORLEANS
WHEN SHE CAME ON LIKE A STORM WITHOUT WARNING
I FELT A WARM RAIN FALL OVER ME

“COME OVER HERE”, I SAID SOFTLY
“I THINK WE CAN STAY A BIT MORE DRY”
WITH A SLOW TWIRL SHE LOOKED STRAIGHT UP
AND LET THE RAIN FALL IN HER EYES

CAME THE OLD STREETCAR WE WAS WAITIN’ FOR
SOAKIN’ WET WE CLIMBED ABOARD
SHE SAT DOWN AND PULLED A WINDOW UP
I WATCHED THE OTHERS SHUFFLE
THROUGH THE DOOR

THEN SHE TURNED AND ASKED THE FOLKS BEHIND HER,
“IS THIS TOO MUCH FOR Y’ALL?”
THEY JUST SMILED AND SAID, “NO NOT AT ALL,
IN FACT WE LOVE THE RAINFALL”

THIS MY DARLING IS REALLY ME
AND IT NEVER FEELS FALSE
THE RAIN MY DARLING FEELS RIGHT TO ME
LIKE AN OLD CAJUN WALTZ

AS THE GARDEN DISTRICT WENT FLOATING BY
AND THE WARM RAIN KEPT SNEAKING IN
I FELT LIKE I WAS FINALLY ALIVE THOUGH I THOUGHT
I’D HAVE TO LEARN TO BREATH AGAIN

SO DROP-BY-DROP LIKE THE RAIN I FELL
EVEN NOW I RECALL THE TIME
EVERY SIGHT, EVERY SMELL
AS THAT SWEET RAIN FELL
AND WE ROAD TO THE END OF THE LINE

SO IT’S FARE THEE WELL MY DARLING ONE
I DON’T KNOW IF WE’LL EVER MEET AGAIN
AND DO YOU LOVE ME TRUE
AND CAN I BE WITH YOU
OR HAVE I SQUANDERED
EVERY CHANCE I EVER HAD?

WE MIGHT OF FOUND A MOMENTS PEACE
LIKE ONE PRECIOUS DROP OF RAIN
BUT MY TONGUE BECAME TIED
BY THE TIME I TRIED
SO I SMILED AND SAID, “GOODBYE” IN VAIN

THIS MY DARLING IS REALLY ME
AND IT NEVER FEELS FALSE
THE RAIN MY DARLING FEELS RIGHT TO ME
LIKE AN OLD CAJUN WALTZ

© 2002 (T. ZAMORA) PERRO FLACO MUSIC ASCAP

ON A HILL IN EAST L.A.
THERE’S A LANDMARK HIGHLY FAVORED
AND THE MEMORIES THAT ARE SPOKEN
TO OUR CHILDREN AND OUR NEIGHBORS
BRING TO LIFE THE RHYTHMS OF THE BANDSTAND
AND THE FEET THAT FILLED THE FLOOR
ABOVE THE WHISPERS OF THE WALLFLOWERS
A MARIACHI TRUMPET SOARS

EN LA CASA DEL MEXICANO
EVERYDAY’S THE FIRST DAY OF SPRING
HIGH ON A HILL THERE UNDER THE MOONLIGHT
OUR YOUNG HEARTS LEARNED TO SING

EVERY NIGHT FROM DUSK TILL DAWN
ROMANCE AND MUSIC TOUCHED OUR HEARTS
I CAN STILL SMELL HER PERFUME
AS WE DANCED THERE IN THE DARK
“CERCA DEL MAR” FLOATING IN THE DISTANCE
LOSING MYSELF INSIDE HER EYES
ABOVE THE WHISPERS OF THE WALLFLOWERS
I ASKED HER TO BE MY BRIDE

EN LA CASA DEL MEXICANO
EVERY NIGHT’S A NEW SURPRISE
AND EVERY TURN ON THE DANCE FLOOR
ANOTHER STEP CLOSER, CLOSER TO PARADISE

EL RECUERDO DE ESE TIEMPO
ILUMINA A MI CORAZON
COMO ESTRANO AQUIEL AMBIENTE
Y LA ALEGRIA DE SU CANCION
PERDIENDOME EN TUS OJOS
ARDIENTE Y SUTIL COLORES
SOBRE LOS SECRETOS DE LA PARED
EN LA FERIA DE LAS FLORES

EN LA CASA DEL MEXICANO
CONOSI A MI GRAN AMOR
EN EL JARDIN DE MI SUENOS
ABRAZANDO A SU PRIMOR

“UN BESITO CORAZON”

© 2007
Wm. Garcia Wagamita Music BMI
T. Zamora PerroFlaco Music ASCAP

I got a woman that loves to squawk
First thing morning she loves to talk
She sure got a sexy walk
Eyes be on her like a hawk
Her big ol’ pretty fine smile
Makes me walk a country mile

But I wouldn’t change a thing, no I wouldn’t change a thing
But I wouldn’t change a thing, no I wouldn’t change a thing

Boss say tell her don’t call no more
You ain’t getting your job done
Actin’ like a kid in a candy store
Time stands still for no one

But I wouldn’t change a thing, no I wouldn’t change a thing
But I wouldn’t change a thing, no I wouldn’t change a thing

But I wouldn’t change a thing, no la quiero cambiar
But I wouldn’t change a thing, no la quiero cambiar

In the door she’s on the phone
Jaw-jackin’ tellin’ every little detail
Wait till I get her all alone
I’d rather be the hammer on a nail

Hocicona never misses a trick
Hold ten conversations at the same time
All she need is one chopstick
Talkin’ and chewin’ on the same thin dime
I wish I could turn that chatter off………………!!!!!!

Ay que escuchar lo que dice la senora
pero como me gustar a pagar la Hocicona

©2007
H. Brown, T. Zamora, C.Estrada, D. Hidalgo, L.Oskar

I WENT TO SEE YOUR OLD ABUELITA
SHE TOLD ME JUST WHAT YOU HAVE DONE
SHE SAID, “LE HACE FALTA SU FAMILIA”
YOU CAN’T LIVE THIS LIFE BORRACHON

HOW MANY DAYS DO YOU THINK YOU HAVE LEFT
BEFORE THIS STOPS BEING FUN?
IF YOU MUST DANCE THE DEVIL’S 2-STEP
THEN AT LEAST STOP PLAYING WITH THAT GUN.

YOUR NEIGHBORHOOD HAS ALL BEEN TALKING
VIEJITAS SQUAWK LIKE CHICKENS ON THE RUN
IF YOU COULD SEE YOUR WEAVE WHEN YOU’RE WALKING
THEN YOU’D KNOW HOW YOUR LIFE HAS COME UNDONE

HOW MANY DAYS DO YOU THINK YOU HAVE LEFT
BEFORE THIS STOPS BEING FUN?
IF YOU MUST DANCE THE DEVIL’S 2-STEP
THEN AT LEAST STOP PLAYING WITH THAT GUN

NO ME DISPARES, POR FAVOR
ES POR TU BIEN TE LO DIGO CON PAVOR
NO NACISTES TAN BURRO
DECIRLE LO FUE DURO
IMAGINO ESCUCHAR LO ES PEOR

FUI A VER A TU ABUELITA
DEL CAMINO QUE TOMASTES LAMENTO
DIJO “LE HACE FALTA SU FAMILIA”
LA TARJETA EL BORRACHO TE SALIO

HOW MANY DAYS DO YOU THINK YOU HAVE LEFT
BEFORE THIS STOPS BEING FUN?
IF YOU MUST DANCE THE DEVIL’S 2-STEP
THEN AT LEAST STOP PLAYING WITH THAT GUN

© 2007
T.Zamora, (PerroFlaco Music, ASCAP)
B. Watts (Sweet Willy Music, ASCAP)
J. Cruce (PerroFlaco Music, ASCAP)

NOW I WON’T DENY THAT SOMETIMES I JUST CAN’T SEE
BUT I WOULD NEVER BLAME ANOTHER
AND THAT PRETTY DRESS YOU WORE JUST FOR ME
LIES IN THE ARMS OF SOME OTHER

NOW I’M SLIDING AROUND IN MY OLD SUIT
TRYING TO IMPRESS
TRYING TO SHOW WHAT’S LEFT OF ME
AND I DON’T NEED TO KNOW BUT I STILL TRY TO FIND
THE MISSING PART TO THIS BROKEN DREAM

WHAT A GOOD DAY TO START CRYING
AND LET MY TEARS JUST HIT THE GROUND
BUT IF I DO I WILL START DROWNING
BUT WHAT A GOOD DAY TO GO DOWN

IT’S LIKE I’M FLOATING ON AN ENDLESS SEA
GOD ONLY KNOWS WHAT I’LL DISCOVER
I KNOW A HEART THAT’S BROKEN
BUT REFUSES TO BLEED
WILL JUST GROW HARD AND NOT RECOVER

IT MIGHT HAVE BEEN STOLEN
OR IT MIGHT’VE BEEN LOST
OR IT MIGHT HAVE BEEN SOMETHING
THAT JUST SHOULDN’T BE
ANYWAY I HEAR THEM NOW
HEARTS ARE BREAKING ALL AROUND
HOLD ON TIGHT TO YOUR MISERY

WHAT A GOOD DAY TO START CRYING
AND LET MY TEARS JUST HIT THE GROUND
BUT IF I DO I WILL START DROWNING
BUT WHAT A GOOD DAY TO GO DOWN

I CLOSE MY EYES AND IN THE DARK I SEE
A BREATH WE SHARED WITH EACH OTHER
AND BABY I ADORE HOW IT MADE ME FEEL
LIKE I COULD NEVER TOUCH ANOTHER

I MIGHT’VE BEEN STUBBORN
AND I MIGHT’VE GROWN CROSS
AND YOU NEVER KNEW WHAT WAS WHAT WITH ME
I HELD ON TOO TIGHT AND WHEN I TURNED TO LET GO
THERE WAS NOTHING LEFT BUT THIS MEMORY

WHAT A GOOD DAY TO START CRYING
AND LET MY TEARS JUST HIT THE GROUND
BUT IF I DO I WILL START DROWNING
BUT WHAT A GOOD DAY TO GO DOWN

WHAT A GOOD DAY TO START FLYING
GET MY FEET UP OFF THE GROUND
BUT TO FEEL THAT GOOD WOULD BE LIKE LYING
SO WHAT A GOOD DAY TO STAY DOWN
WHAT A GOOD DAY TO STAY DOWN
WHAT A GOOD DAY TO STAY DOWN

© 2001 T. ZAMORA
PERROFLACO MUSIC ASCAP

Tremoloco
Dulcinea
Casa Julia Records

The eclectic cross-pollination whipped up by Tony Zamora’s expanding and contracting all-star group Tremoloco has been called Mexican-Americana. Which is an apt a tag as any for the Angelinos’ mix of conjunto, country, Cajun, blues, Latin, jazz, and roadhouse rock and roll.

Dulcinea was recorded primarily in Los Angeles and Austin, taking advantage of stellar roots musicians from both locales – like drummer/pianist/co-producer Cougar Estrada and his Los Lobos bandmate David Hidalgo, steel guitarist Greg Leisz and guitarists Bob Robles and Johnny Lee Schell (who also engineered) from the former and twang guru Redd Volkaert, lap steeler Cindy Cashdollar, accordionist Joel Guzman, Faces pianist Ian Mclagan and Stephen Bruton from the latter.

Other guest include Cougar’s dad, vibes great Ruben Estrada, Hidalgo’s son Vincent (on jarana), War harpist Lee Oskar, Thee Midnighters vocalist Willie G. fiddler Brantley Kearns and Max Baca on drums and bajo sexto.

For his part, Zamora recalls the great Doug Sahm – handling most lead vocals, playing guitar, bass, guitarron and percussion and writing all 14 tunes. In just the first three songs, Robles trades wiggly electric bends with Kearn’s fiddle on the cumbia “Mi Novela”; Cashdollar’s dobro adds just the right amount of moan to the country weeper “Drinking for Two”; and Volkaert, Leisz, and Guzman weave in and out of the polka “Abuela’s Lament”.

If you appreciate Los Lobos’ open-minded approach to roots music, you should dig this. Then again, if your cup of tea is George Jones (or, for that matter, Tito Puente), there’s probably something for you here, too.

DF

TREMOLOCO
Dulcinea
***
Tremoloco, a new band from the Los Angeles area, deliver the traditional sounds of Tex-Mex music with their debut album, Dulcinea.
The record is a fascinating journey, which takes the listener from LA to Las Cruces, with a stop in New Orleans before heading back to New México for a run to Mexicali. The album is musically-rich, and full of geographic references, in which urban rock, Latin-influenced music and Tex-Mex fusion go hand in hand.

The band bears no resemblance to any other, not even to Los Lobos or the Sones De México— they are a multi-ethnic band led by Tony Zamora. With him are Bob Robles, Cougar Estrada (of Los Lobos),
Billy Watts, Mike Tovar and David Raven. Also impressive is the
list of guests appearing on the album: David Hidalgo, Greg Leisz, Johnny Lee Schell, Red Volkaert, Cindy Cashdollar, Joel Guzman,
Max Baca, Cody Bryant, Ian MacLagan, Stephen Bruton, Willi G, and many others.

The record was conceived between Los Angeles and Texas, where the air one breathes is Mexican, which you will find among the disc’s border ballads and rock passages. The banner song is certainly La Casa Del Mexicano, of pure Tex-Mex flavor, partly sung in English and partly sung in Spanish, with a warm melody and the accordion of Joel Guzman making it all the more beautiful. This is a defining song in which it is made clear that this band is here to stay- perhaps even on the same level as Los Lobos, but with a sound that is even more traditional. They don’t share the same rock element or range of sounds as “The Wolves from East LA”- instead, these beautiful songs bring back a genre of music that has perhaps been slightly forgotten in recent years.

The fusion of Mexican and American music is always rare and difficult to find, but in Tremoloco, exists the beautiful reality, and if they are fortunate enough, then we may be able to count on them to deliver it.

Dulcinea begins with Mi Novela, a diverse and original song. The accordion immediately stands out in this recording that mixes México and Carlos Vives, with South American fusion and Cuban influences. In Drinking for Two, the ever-present accordion veers slightly into rock. Abuela’s Lament is a Mexican dance, a passage straight from a ‘fiesta campesina’, rhythmic and full of ‘gritos’ (cries).
The guitar is swirling in motion as the steel guitar and accordion slide down the back of Zamora’s voice. A cross between Tex-Mex and country, this song is pure pleasure!
The most American sounding song is In A Georgia Rain, which opens up with the violin. It has all the makings of a classic Americana-style song, and is sung with passion and played cleanly and directly.

The record greatly surpasses 50 minutes, exceeding the standard. Other noteworthy songs are the campesino-style dance song Doble del Cuchillo, which is both enthralling and creative, the slower Just a Little While, and the steaming Mexicali, in which country and rock and roll come into their own sublimation. Goodbye Miss Lynn is a nostalgic composition which is very country-oriented, and reminiscent of country rock from the 1960’s, while Koombia Loco is a Latin-style dance song. Cajun Waltz takes you beyond borders to a Mexican-style ‘hacienda’ where Texans and Latinos come together to play music.
The record finishes up with the western-themed Cowboy Lullaby, while Hocicona blends the styles of Tom Waits and Los Lobos. Dulce’s Dream and Tremoloco, two instrumental pieces, close the record with dignity. A beautiful discovery, that is completely original.

Even though they are from East Los Angeles and have close ties to Los Lobos, there are few repertoires that scream “Gulf Coast” like Tremoloco’s. No matter whether the language is Spanish or English; the style honky-tonk, Tex-Mex or rock and roll; the dance a two-step, zydeco stomp or slow drag, Tremoloco plays it with a mastery that makes most of our local honky-tonk heroes sound like weekend warriors at best. The accordions whir, the guitars smoke and the blues is the blues no matter the language. To properly listen to ‘Loco’s magnificent debut, Dulcinea, one needs the clinking of ice in glasses, the low barroom hubbub of voices and laughter and the occasional Freddy Fender “ay-yay-yay.” The material ranges from the hilarious “Mi Novela” (my soap opera), in which a macho husband can’t get enough of the daily Latin television dramas, to “Tremoloco,” a super-cool instrumental track that should be on a tape loop in every bedroom in America where clothes are on the floor and the sheets are tangled. With Los Lobos drummer Cougar Estrada, Dave Alvin alum Rick Shea on guitars and Tony Zamora’s earthy lyrics and vocals, this band should rapidly become favorites here in H-Town, where belt buckle polishing is part of the genetic code. Throw Tremoloco on the jukebox anywhere between Los Skarnales and Clifton Chenier, between Freddy Fender and Los Lobos, between Ruben Ramos and Bill Black’s Combo, and you’re on Tremoloco’s musical terra firma, a robust Tex-Mexican Americana.

You’re on a runaway tour bus through music’s bazaar. At the wheel is Tony Zamor, leader of Tremoloco, whose CD “Dulcinea” (Casa Julia) is a rich, dizzingly cross-cultural experience.

Zamora formed Tremoloco to do songs by groups like the Texas Tornados, Los Super Seven, Los Lobos etc.. Those bands gave a Mexican flavor to C&W and rock. Or did they give a C&W/rock flavor to Mexican music?

Whatever the case, Zamora broadened the spectrum.

He’s been a guitar tech (and sometimes stand-in member) for Los Lobos. More back up story is upcoming. But now, re-board the bus. seat belts are not permitted. We speed through Tex-Mex Polka with “Abuela’s Lament”, replete with chickens, pistols and the devil. We careen through “Cajun Waltz” with rollicking solos from lap steel and accordion. But amid the revelry, like a ghost’s hand across your face, comes a waft of Appalachia from Ann Cusack’s backup vocals.

Nothing ghostly about “Hocicona”. Scary, maybe! The bus barrels down a mean street in L.A. with a confrontational soundtrack: R&B, reggae and cawing harmonica.

“La Casa Del Mexicano” is simply beautiful. It’s about a Chicano ballroom. This work of aural art affirms that no matter what disparities certain forces try to cram between us, we are one on the dance floors of our collective past.

Good humored “Mi Novela” poses the dilemma of a man whose secret is – he’s hooked on Mexican soap operas! Barbing the melody is an upstroke guitar spank of the sort found in ska and Cleveland polkas. (Except on a Cleveland polka, a banjo would make the spank. Interesting, how different idioms , from different ethnic factions have uniting rhythmic facets).

Time for a breath. Jump off the bus for that back story! (more coming soon)

Speaking of Casbeers, the live-music joint/restaurant is the home away from home for bands from East L.A. When The Blazers, Big Manny, Dale Peterson and their associates come to town, they end up at Casbeers sooner or later.

Saturday, another music-maker from East Los Angeles, Tony Zamora, will make his Casbeers debut with his band Tremoloco. Singer, songwriter and multi-instrumentalist Zamora is touring with a new CD, “Dulcinea,” a fusion of alt-country, folk, rock and traditional Mexican influences. Zamora’s music is being described as “Mexican Americana.”

“Dulcinea,” produced by Zamora and Los Lobos percussionist Cougar Estrada, features hip tunes, including “Mi Novela,” “Abuela’s Lament,” “In a Georgia Rain,” “Koombia Loco,” “Cajun Waltz” and “Cowboy Lullaby.” Zamora is not afraid to cross borders.

The “Dulcinea” disc is packed with guests, including Lobo David Hidalgo, stringed-instrument wizards Stephen Bruton, Cindy Cashdollar, Redd Volkaert, Max Baca and Johnny Lee Schell, keyboard legend Ian McLagan, accordion ace Joel Guzman and many others.

The live Tremoloco crew also is a high-powered bunch: Zamora, Estrada and guitarists Rick Shea, Bob Robles, Mike Tovar and Juan Chacon. For the Casbeers show, Tremoloco also will include storied singer Ruben Ramos and bajo sexto champ Max Baca. There’ll be some Tex in the Mexican Americana.

Tremoloco – Dulcinea
(Casa Julia Records)
www.tremolocos.com
www.cdbaby.com

Tremoloco are an interesting spanish roots rock band from Los Angeles. In their debut album, Dulcinea, we can find a long list of special guests like Greg Leisz, Joel Guzman, Los Lobos, Cidy Cashdollar and Ian McLaglan and a lot of great tracks.

Esordio con il botto quello dei Tremoloco, Spanish roots rock band di Los Angeles, che con Dulcinea ha messo a segno il primo grande colpo della loro carriera. Innanzitutto al loro fianco troviamo una lunghissima lista di ospiti ma la qualità dei brani è assolutamente eccelsa, e questo disco ha tutta l’aria di essere il party record dell’anno. I Tremoloco, va precisato, non sono affatto degli illustri sconosciuti ma un gruppo di musicisti e tecnici ben noti nell’ambiente, come Cougar Estrada (batteria e piano già con i Los Lobos), ma anche di Tony Zamora (voce, chitarra e basso), Sammy Sanchez e Billy Watts. Al loro fianco non è dunque soprendente vedere David Hidalgo alle chitarre, Greg Leisz alla steel, Joel Guzman all’accordion, Ian McLaglan al piano, Cindy Cashdollar al dobro e alla lap steel e soprattutto Johnny Lee Scheel che ha curato i suoni in qualità di ingegnere. Così Dulcinea è esattamente quello che si può immaginare possa nascera dall’unione di musicisti di tale calibro, tra cubie, tex mex, brani rock e ballate roots rock, niente sembra lasciato al caso. A di mostrazione di ciò basta ascoltare il brano di apertura Mi Novela, una cumbia che non avrebbe certo sfigurato in un disco dei Los Lobos, ma anche il tex mex di Abuela’s Lament e Cajun Waltz e soprattutto il border sound di Drinkin’ For Two. Nel mezzo stano brani di ottimo impatto come la ballata Casa Del Medicano o l’incredibile salsa blues di Hocicona ma anche qualche lieve sbavatura come i roots rock Medicali e la ballata Goodbye Miss Lynn. Il meglio del disco arriva con In A Georgia Rain una ballata sontuosa colorata dal violino e che conferma a pieno che le due anime latin e roots di questa band, negli anni a venire regaleranno numerose sorprese. Insomma un disco senza cadute che piacerà agli amanti del genere ma che consigliamo vivamente a tutti. Splendido.

Salvatore Esposito
Il Popolo del Blues

NEWSLETTER April 2008

Mexican Americana/Latin Alternative Folk

Your eclectic genres punch through brilliantly (tex-mex, americana, folk, cumbias, cajun). Mixing multiple genres for style recognition is not always easy, you do it very well. Slide on “Drinking For Two” awesome! Cohesive and captivating lyrics, so true to life, universal, and easy to connect with. The caliber of musicianship doesn’t get better! Your songs have beautiful structure and great dynamics that create tons of emotion and connectedness to the listener. Awesome instrumentation. They have tons of placement potential in film and TV. Very polished with superb production and engineering!

TREMOLOCO
“Dulcinea”
(Casa Julia Records)
(4,5) J J J J J

To us this is without a doubt the new roots sensation of the fall, these seven from LA are lead by the very talented singer-songwriter Tony Zamora.
“Dulcinea” their debut album is produced by Cougar Estrada. It’s set up reminds you of earlier albums by Los Lobos. While ‘The Wolves’ in their early hay-days made a successful mix between roots rock and traditional Mexican sounds, Zamora and his mates on this debut album are in search of a comparable fusion between Americana, alt. country folk and the inheritance of their forefathers.
The result of this album can be compared with “And A Time To Dance”, “How Will The Wolf Survive”, By The Light
Of The Moon”, “ LA Pistola Y El Corazon” or early Blazers music. And this is in no way a detraction or a minor accomplishment!

“Dulcinea” is first of all an enormously rich and varied album. Polka’s, cumbia’s, two-steps, instrumentals with lots of feeling, folk or alt. country type ballads, it’s all possible! And how!! Haven’t often heard a record, so full of joy, you can feel the artists enjoyment! Zamora and his band are constantly surrounded by excellent company. If you can get people the caliber of David Hidalgo, Greg Leisz, Johnny Lee Shell, Cody Bryant, Ian McLagan, Stephen Bruton, or Brantley Kearns to lend their names as references, it means two things. One, you MUST be very good, and two, musically there’s not much that could go wrong. It leaves one to conclude that it was made with tons of consistent enjoyment one moment in party mood and the next relaxed.

For instance there is the butt shaking tracks “ Mi Novela”, Doble Del Cuchillo” and “ Mexicali”, the R&B feel of “Hocicona” or the delicious Tex-Mex stomper “ Abuela’s Lament”, then there’s the aptly titled short instrumental “Koombia Loco”. “Cajun Waltz” will immediately invite your better dance moves. Americana types will love “Drinking for Two”, “In a Georgia Rain” and “La Casa De Mexicano” which are more relaxed and an easy listen.
All in all a killer record! A must have!
Available @ CD Baby/ITunes

TREMOLOCO
“Dulcinea”
(Casa Julia Records) **** 4 stars

The fans of bands like Los Lobos, The Blazers, Hacienda Brothers, Doug Sahm, and Flaco Jimenez have found in Tremoloco another band to hold close to their collective heart. Frontman Tony Zamora and his comrades are, where else, from Los Angelos and have but one goal, to blend Country, Mexican, Tex-Mex and Americana into a fun, listenable, danceable and heartfelt good time.
With their debut album “Dulcinea” they graduated “Cum Laude” and with professors David Hidalgo, Greg Leisz, Johnny Lee Shell, Red Volkaert, Joel Gruzman, Cody Bryant, Stephen Bruton, Brantley Kearns, Ian McLagan and Cindy Cashdollar as such it would be difficult for them to be objective about the end result because they all had an interest in the outcome of the CD.

Together with producer Cougar Estrada (Los Lobos) and “The Original Lowriders” Harold Brown & Lee Oskar they belong to the extended circle of friends of singer/songwriter/guitarist/ Tony Zamora and they all lent more than a hand at Ultra Tone Studio’s.

Despite the rivalry/comparison between the named bands the result is undoubtedly pleasant.
Sometimes busy but beautiful, moody and atmospheric instrumentals “Cowboy Lullaby”, “Koombia Loco” and “Tremoloco” work wonders. With Folky & alt.Country ballads, polkas, cumbias and two steps Tremoloco has, with respect for the classic recipes permitted itself some original and fun excursions.

Opener “MI Novela” (Which would be a greater embarresment to a macho Latino male: Infidelity or sensitivity?) immediately sets the tone with it’s first carefree, danceable steps. It’s then taken over by a more serious subject that if you are a tee totaler you wouldn’t understand..…”Drinking for Two” has the tequila flowing like a river and I feel strongly that this song might soon be on The Hacienda Brothers playlist, this would indeed be “Spek voor de Bek” a Belgian expression meaning: “an exact fit” being perfect for the duo of Chris Gaffney/Dave Gonzales.

Our Dutch friends of Rowwen Heze would undoubtedly go for the fun of “Abuela’s Lament” and when Zamora and band bundle their powers and ask (Vicky Hill) to take care of the duet/harmony vocals on “In a Georgia Rain” the first “Fato Morgana” star is in.
The waltz “La Casa De Mexicano” (+vocal by Willie G) and the lounger “Just a little While” that resembles Lester & Denwood’s “’Sing Sing”, a Belgian hit from the seventies takes care of number two.

The rock/roots are then pulled open in “Mexicali, and the pedal steel has a wonderful duel with the accordion in “Goodbye Miss Lynn”. “Cajun Waltz” is where (Ann Cusack, vocals) makes her entrance then “Tremoloco” and “Hocicona” releases reggae vibes on us. Undoubtedly stars 3 and 4 are in!
Without a doubt Tremoloco & guests are the best that LA and Austin have to offer us, but we do miss one person who needs to be and was thanked but who isn’t part of the set (yet ) ….Ra Ra Ra….Dave Alvin!
**** (SWA)

[Casa Julia records 2008]
*** 1/2

Potrebbe anche essere il party record ideale per questo freddo inverno alle porte, sicuramente si tratta di un’operazione discografica sulla carta assai interessante, vista la quantità incredibile di ottimi musicisti coinvolti. Potrei infatti riempire le righe che restano alla fine di questa recensione citando semplicemente la lunghissima lista di ospiti che hanno contribuito alla stesura finale di Dulcinea, esordio dei Tremoloco da Los Angeles, ma non sarebbe corretto nei confronti della stessa band che ha composto, arrangiato e prodotto in proprio i quattordici episodi. Allora mi limiterò a segnalare qualche nome che non può evidentemente passare inosservato: dalle chitarre di David Hidalgo alla steel di Greg Leisz, dall’accordion di Joel Guzman al piano di Ian McLaglan, dalla lap steel e dobro di Cindy Cashdollar allo stesso ingegnere del suono Johnny Lee Schell, si tratta di una compagnia davvero invidiabile per i Tremoloco, i quali, è presto detto, sono strumentisti e tecnici che hanno avuto tutti prima o poi a che fare con i personaggi citati poc’anzi. Da qui svelato l’arcano di una tale partecipazione, un parterre da fare invidia a chiunque, a disposizione di un disco indipendente eppure suonato con impeccabile gusto. Tirano le fila del gruppo Tony Zamora, voce, chitarre, basso e percussioni, e Cougar Estrada (già con i Los Lobos), batteria e piano, arricchiti dalla presenza di altri cinque musicisti tra cui spiccano gli strumenti a corda di Sammy Sanchez e Billy Watts. Dulcinea è esattamente quel “pasticcio” latin rock che ti aspetteresti da una simile riunione di musicisti: fra echi di tex mex, cumbie, rock’n’roll e persino ballate di impronta country roots si procede senza sbagliare una sola nota. Mi Novela introduce il ballo, è proprio il caso di dirlo, con una cumbia degna dei “Lupi” di Hidalgo, sgusciando poi verso il border sound di Drinkin’ For Two. Non sono originali i Tremoloco, girano la ruota che altri hanno sfruttato prima di loro, ma la preparazione e la tecnica non possono essere disconosciute. Proprio i brani di maggiore impronta latina sono alla fine quelli più coinvolgenti: impossibile restare fermi di fronte al tex mex trascinante di Abuela’s Lament e Cajun Waltz, dove la presenza dell’accordion è centrale nella conduzione della melodia, così come la sciolta ballata La Casa Del Mexicano è degna di Cesar Rosas e dei ricordi della Pistola Y El Corazon, grande opera di divulgazione dei Los Lobos qualche anno addietro. Hocicona è persino più coraggiosa, uno strano intruglio fra ritmi salsa e rock blues condotto da armonica e percussioni. Qualche punto in meno invece negli episodi più “americani”, dal roots rock di Mexicali alla ballata Goodbye Miss Lynn, che affievoliscono un poco l’impatto complessivo del disco. Fra tutte spicca soltanto In a Georgia Rain, ma mi pare chiaro a questo punto che i Tremoloco siano assai più preparati e soprattutto coinvolgenti sul primo versante della loro anima musicale.