“Salispuedes” Lyrics
Ay mi Temo, mira lo que miro
¿Sera la marea que te jala a tu amor?
La luna juega trucos en el agua
O sera la bella llamando a este pescador
Ay Temo
Este viento te sopla las velas
Se te suben los humos
Que no hay ninguno
Que pueda quitar tu valor
Ay Temo
Este viento tiene calor
Pero escucha lo que te dice
Ya no estan triste
Ni causa dolor
Oye Temo, tal vez sea la noche
Que bonito perfume que llena en este aire
la media luna me recuerda a tu corazon
hasta que los dos se toquen en el baile
Ay Temo
Este viento te sopla las velas
Se te suben los humos
Que no hay ninguno
Que pueda quitar tu valor
Ay Temo
Este viento tiene calor
Pero escucha lo que te dice
Ya no estan triste
Ni causa dolor
Music T. Zamora, M. Tovar
Lyrics T. Zamora, M. Antillon
© 2012 PerroFlaco Music ASCAP
I WENT LOOKING FOR MY LOST PONY
AND I DON’T KNOW WHY SHE RAN FROM ME
I NEVER FENCED HER IN NO SOUTH FORTY
WITH SILVER MOONLIT CLOUDS SHINING
THROUGH OAK TREES
I REALIZED, I RIDE IN VAIN
TRYING TO HIDE MY PAIN
UNDER A WESTERN SKY
AND I REALIZED
HOW I MISS GETTING LOST
IN THOSE BIG BROWN EYES
UNDER A WESTERN SKY
THIS AIN’T THE FIRST TIME
I’VE BEEN SADDLE SORE
AND THIS DUSTY TRAIL
SEEMS LONGER THAN BEFORE
AND I’VE BEEN THROWN A COUPLE
THREE TIMES OR MORE
BUT I AIN’T NEVER HAD TO RIDE
THIS HARD BEFORE
AND I REALIZED, I RIDE IN VAIN
TRYING TO HIDE MY PAIN
UNDER A WESTERN SKY
AND I REALIZED
HOW I MISS GETTING LOST
IN THOSE BIG BROWN EYES
UNDER A WESTERN SKY
GO AHEAD AND RUN
ALONG THAT WESTERN SHORE
GO AHEAD AND RUN
CAUSE I CAN TAKE LOTS MORE
GO AHEAD AND RUN
AND I’ll I’LL GET UP OFF THE FLOOR
AND I’LL RIDE THROUGH THE NIGHT
LIKE I DID BEFORE
UNDER A WESTERN SKY
© 2012 T. ZAMORA
PERROFLACO MUSIC ASCAP
There must be some way, there must be some way
for me to tell you how I feel
I could have shown you, I should have shown you
but I got lost and just couldn’t deal
So come on, Carolina just come right on
come see about me, see about me
There must be some time, there’s got to be a right time
for me to tell you how I feel
If I had told you, I always was true
there’d be no reason for me to heal
So come on, Carolina just come right on
come see about me, see about me
There must be some place, there’s got to be some place
in this big old world, with all there is to see
Where I wouldn’t have to, think like I always do
what’s a woman like you, want with a man like me?
But come on, Carolina just come right on
come see about me, see about me
T. Zamora
PerroFlaco Music ASCAP © 2011
La lechuza vendió su alma, para olvidarse de la calma
El ruido del rasguño, se oye en mi ventana
En la noche vestido negro, volaba de su nido
Esperando su llegada, que me da un scalo frio
Mira La Lechuza que me arde el corazon
Una seductora que me entierra el talón
Mira La Lechuza no tiene ni razon
Que me pasa mi
Que me pasa mi
La Lechuza en la fiesta, con ojos alrededor
Ella hipnotizandó con una danza de amor
Desde la primera vez, quise estar en su mundo
Ahora soy, el tonto pobre, adentro tan profundo
Mira La Lechuza que me arde el corazon
Una seductora que me entierra el talón
Mira La Lechuza no tiene ni razon
Que me pasa mi
Que me pasa mi
Tony Zamora
Music T. Zamora, R. Banda, M. Tovar, B. Robles
Lyrics T. Zamora, M. Antillon
PerroFlaco Music ASCAP
© 2011
Well, I set out running with a girl, Claudine
she was the cutest thing that I ever seen
She looked so fresh, little did I know
that it wasn’t Claudine’s first rodeo
Oh Claudine …
How’d you go and get so mean?
you was such pretty sweet thing
on our wedding day
You were sexy and saucy
now you’re so damn bossy
all you do is put me down
fuss and frown
Whatever happened to my sweet Claudine?
We got married on the first of June
we were doin fine, for a while we were right in tune
It was right around August when it all went south
I wound up waking to a woman with a vicious mouth
Oh Claudine..
How’d you go and get so mean?
you was such pretty sweet thing
on our wedding day
You were sexy and saucy
now you’re you’re just plain bossy
I’m tired of hearing you cry and cuss
bitch and fuss
Whatever happened to my sweet Claudine?
Oh Claudine..
How’d you go and get so mean
you was such pretty sweet thing
on our wedding day
You were so big hearted
now don’t you get me started
I’m tired of hearing you cry and cuss
bitch and fuss
I’m just about to put you back on that bus
Somehow you got your little claws in me
Whatever happened to my sweet……. claw…. deen?
T. Zamora, D. Raven © 2012
Now I won’t apologize for what I’m thinkin’
or the way I start to talk when I’ve been drinkin’
but we’ve done all that we can
so I know you’ll understand
why I’m pullin’ up stakes and crossin’ the Rio Grande
It was 16 years ago this last November
and there’s lots of good times there we can remember
but the luck we had when we began
has slipped right through our hands
that’s why I’m pullin’ up stakes and crossin’ the Rio Grande
It’s raining in this valley
that’s reason enough to go
all the way to the Yucatan
on the Gulf of Mexico
I know it’s not what we had planned
but I’ve stood all I can stand
that’s why I’m pullin’ up stakes and crossin’ the Rio Grande
Mis lagrimas comienzan cuando te canto
pero mi sangre se llena de vida en mi país
No sé dónde nos llevará
pero mi carino quiero ir con ti
Now all these heart worn tears are soft and tender
like when the last teardrop falls from Freddy’s fender
and when it does finally land
I’ll take you by the hand
we’ll be pullin’ up stakes and crossin’ the Rio Grande
So let’s go while we can
back to where it all began
yeah, we’ll be pullin’ up stakes and crossin’ the Rio Grande
T. Zamora
R. Shea
PerroFlaco Music ASCAP
© 2011
I WAS HOLED UP IN A DUSTY OLD CANTINA
REMINISCING WITH A BUNCH OF OTHER OLD MEN
WE WERE DRINKING AND WATCHING THE YOUNG WOMEN WALKING
AND PLAYING OUT OUR LAST FEW HANDS
AS WE HOLD ON TO, AS WE HOLD ON TO WHAT’S LEFT
BY 1952 I HAD SAID I DO, BY 59′ SHE WAS ALREADY GONE
SHE NEVER WANTED TO LEAVE, DIDN’T WANT ME TO GRIEVE
LORD ONLY KNOWS HOW SHE LASTED SO LONG
AND I HOLD ON TO, YEAH I HOLD ON TO WHAT’S
WHAT EVER IS LEFT
NOW I’M DRUNK AND I’M PISSED AND I’M OLD AND I’M MEAN
AND LATELY I’VE BEEN THINKING ABOUT EVERYTHING
BECAUSE DEEP IN MY BONES I KNOW I’M RUNNING SHORT ON TIME
STILL I HOLD ON TO, YEAH I HOLD ON TO WHAT’S MINE
AND I HOLD ON TO, YEAH I HOLD ON TO WHAT’S MINE
WHAT EVER’S LEFT THAT’S MINE
T. Zamora
PerroFlaco Music ASCAP
© 2011
I’m glad you came all by yourself
you walked through a wall of flame
never blamed anyone else
Glow of town on the horizon, it’s coming into view
Bloody knees, you’ve been praying for the so called “chosen few”
Now stand in front of your accusers
Two by, two by two
You’re not afraid, you’ve seen it all before
they’ve all said your name
whispered soft behind closed doors
Big yellow moon sinking low by the riverside
Gentlemen walking slow but you know how to slide
They’re talking, laughing and spilling lies
Two by, two by two
From where you came
there are no pearls before swine
Yeah they’ve memorized death and pain
in a world that can spin out of time
But here your beautifulness goes unrecognized
in a thousand different ways
and countless ones go on sleeping not knowing the price you’ve paid
There’s a hundred million souls wandering
Two by, two by two by two
T. Zamora
PerroFlaco Music ASCAP © 2011
Me llaman Esperanza
Estoy llevando comida a la tumba de mi abuelita
Caminando con mi prima we’re running and laughing
The moon’s hanging low over Misión San Fernando
The voices of our loved ones are whispering cariños
Like music floating through the arms of los robles
The warmth that I’m feeling is from my heart beating
Las estrellas align y las almas have something for me
Estoy muy cansado
Y este país no a sido fácil para mi
Caminando con mis suenos, like the moon I’m alone
Though no one ever says it, mi nombre es “Che” Cienfuegos
Y gracias mi ángel, no quiero molestar
“De nada, my family always welcomes a stranger”
The warmth that I am feeling is from my heart beating
Las estrellas align y las almas have something for me
Ahora las sombras bailan a la luz de las velas
La noche esta encantada
Y no tenga miedo, he is as mean as he looks
But I know in my heart, my Papi he will like you
Mama says, “Mijita con quien estas hablando?
There is no one there just the graves, the wind and trees”
My eyes are drawn to a worn head stone
Jose “Che” Cienfuegos rests here far from home
The warmth that I am feeling is from my heart beating
two worlds lost in time, and a love that will never be
T. Zamora
P. Marshall
PerroFlaco Music ASCAP
© 2011
YOU BRING ME BREAKFAST IN BED, THAT’S A LOVING THING TO DO
YOU SAY YOU LIKE IT WHEN I PLAY GUITAR,
YOU TOLERATE MY SINGING TOO
IF I HAD ANY SENSE I’D BUY A DIAMOND RING FOR YOU
BUT I’M A BROKEN WHEEL, THAT JUST KEEPS ROLLING ON
MANY MILES GONE BY, YOU KNOW THE ROAD IS LONG
SOMETIMES I WISH I WAS THE KIND WHO COULD SETTLE DOWN
BUT I’M A BROKEN WHEEL, AND I’M LEAVING THIS OLD TOWN
I HAD TO STOP FOR REPAIRS AND THERE YOU WERE WHAT A SIGHT TO SEE
IT WAS A SUNNY SUNDAY AFTERNOON, AND YOU WERE COOKING FOR YOUR FAMILY
AND WHEN YOU FLASHED THAT SMILE I SAW A MILLION POSSIBILITIES
BUT I’M A BROKEN WHEEL, STILL I KEEP ROLLING ON
MANY MILES GONE BY, YOU KNOW THE ROAD IS LONG
SOMETIMES I WISH I WAS THE KIND WHO COULD SETTLE DOWN
BUT I’M A BROKEN WHEEL, AND I’M LEAVING THIS OLD TOWN
I’LL GET OVER YOU…………SOMEDAY
YOU CAN’T LEAVE AND I DON’T KNOW HOW TO STAY
CAUSE I’M A BROKEN WHEEL BUT I KEEP ROLLING ON
MANY MILES GONE BY, YOU KNOW THE ROAD IS LONG
SOMETIMES I WISH I WAS THE KIND WHO COULD SETTLE DOWN
BUT I’M A BROKEN WHEEL AND I’M LEAVING THIS OLD TOWN
I’M JUST A BROKEN WHEEL, LEAVING THIS OLD TOWN
T. Zamora, P. Marshall
PerroFlaco Music ASCAP
PaulMarshall Music ASCAP
© 2012
It was Texas in July rolling on I-35
Northbound around Lorena hot and happy to be alive
Heading towards Dallas where it was only a hundred and three
The ghetto bus was rolling hard and it was time to eat
Plugged into the satellite trying to get a little help from big brother
We weren’t exactly lost but it was getting hard to tell
Chale, you can go to hell
In these parts soul food’s easy as taking a bite
We pulled into a place that looked just right
Food was smelling good when she walked out the kitchen door
A vision of Latina loveliness like I’d never seen before
Just a natural woman, blessed with a beauty so sublime
Thoughts felt like sins but we were under her spell
And for that
Chale, you can go to hell
We sat at her table made us all feel like “El Rey”
Every move she made, had that certain sexy sway
A man can look like a troll, be old and slow as he please
But it won’t stop him from thinking
he’s got a shot at the major leagues
Yeah it’s stupid and sometimes it’s really not all that much fun
But some caveman imprint makes more than our egos swell
And for that
Chale, you can go to hell
We were about to pay the bill, it’d be the first time I’d see
A tattoo on our angel as she reached right in front of me
Like cholo tagged graffiti right across her upper left arm
It was only one word “Chale” right then we were warned
Oh man, come on that’s right where her inoculation should be
So did we learn a single thing or just have this story to tell
Chale, you can go to hell
T. Zamora
PerroFlaco Music ASCAP © 2012
I thought I saw you on Olvera Street walking on that old brick and stone
With a suitcase tripping up your feet
made you look like you might be alone
Out of New Orleans the Sunset Ltd.
I reckon must’ve brought you here
For a Union Station rendezvous again after so many years
Even in a city full of angels beauty like yours cannot hide
You stopped at the old plaza church but you did not go inside
You made the sign of the cross and walked away like a vision of Saint Clare
Still my eyes refused realize that maybe you just weren’t there
And I don’t believe in miracles but I’m sure it was you again
So I followed you through that old marketplace trying catch up to way back when
I thought I saw you on Olvera Street talking to a Mexican boy
He looked up and smiled, you touched his cheek and gave him a bright wooden toy
And it brought me back to an innocence we thought we’d love without end
Said our goodbyes at Union Station swore we’d see each other again
For a Union Station rendezvous again, after so many years
T. Zamora
PerroFlaco Music ASCAP © 2012
I know I let you down
You were only trying to help,
I was flat on the ground
And I know I made you cry
But there is no resurrection before you die
Just so you will know
It only will get harder the longer you go
It’ll get harder
It’ll get harder in each moment
It’ll get harder with each tear
It’ll get harder
It’ll get harder my love
It’ll get harder my dear
I hoped you’d never change your mind
But one can only take so much
One can only be so blind
I know just where we’ve been
But I ain’t looking for redemption
‘Cause I’d just find a new sin
Just so you will know
It only will get harder the longer we go
It’ll get harder
It’ll get harder in each moment
It’ll get harder by the year
It’ll get harder
It’ll get harder my love
It’ll get harder my dear
T. Zamora
PerroFlaco Music ASCAP
© 2011
Reviews
“Tremoloco” is the brainchild of singer and songwriter Tony Zamora from Los Angeles. It is an Mexican-Americana roots collective with new, original Country rock songs, Tex-Mex songs and ballads recorded in both English and Spanish. In September 2008, on these pages much praise was written about this band and “Tremoloco” became highly recommended to fans of the “Texas Tornados” and other Tex-Mex performers.
The reason for this was the release of their debut album “Dulcinea” where many famous artists had collaborated which included accordionist Joel Guzman, multi-instrumentalist Greg Leisz, pedal steel guitarist Cindy Cashdollar and ‘Los Lobos’ singer David Hidalgo. The two drummers Cougar Estrada (also producer of the CD) and David Raven drummed merrily along.
Both are again present on “Salsipuedes” the second album from Tremoloco this one for a change was produced by David Raven. The contribution of Cougar Estrada this time is playing drums and piano. Other famous names who participated on this album are bajo sexto legend Max Baca ( “Texas Tornados” and “Los Texmaniacs’), accordionist Josh Baca, pedal steel guitarist Rick Shea, violinist Mike Sandoval and The Blasters’ singer Dave Alvin who plays electric guitar on two songs.
“Salsipuedes” contains 16 new songs in the familiar Tremoloco style with influences from Americana and Mexicana and once again alternating between English and Spanish songs. Country rockers like the first single “Claudine” and “La Mexicana” are expertly blended with the blues rocker “The Riverside” (with Dave Alvin) or with very danceable songs like the salsa in opening track “Temo” or the rumba of Union Station (Olvera Street).
There are also some handsome country ballads with “Western Sky”, “Carolina Yes”, “Crossing the Rio Grande” and the closing song “Harder”. Other very enjoyable moments are given to us through the harmonica infused instrumental “Salinas to San Antonio ” and the wonderful bilingual sung waltz “Viejo”.
Karina Nistal is a young female singing talent in LA (originally from Houston) and she sings impressively in duet with Tony Zamora on the beautiful cajun accordion song “Misión San Fernando”. The song “La Lechuza” begins with a Spanish version of the children’s song that we know as “Brother John” and then in pure Tex-Mex style becomes a Calexico-like tune including the indispensable mariachi trumpets and violins. Something similar happens a little later with the violin and bajo sexto dominated traditional song “La Gata”.
The only thing that is a bit of a pity about this CD “Salsipuedes” from Tremoloco is that it took almost five years for new work from this wonderful group to get on the market. But if we assume that quality prevails over quantity, then everything is a bit more bearable and we are even willing to wait another five years (though that’s really not necessary).
October 2012
TREMOLOCO
“Salsipuedes” (Casa Julia Records)
(4 ****)
Some four years ago we praised to the high heavens the seven member group from LA on the occasion of their debut album “Dulcinea”, and we are only too happy to do so again in response to their follow-up as Tony Zamora gives us evidence with “Salsipuedes”.
Indeed we described them once as “the next best thing to” early Los Lobos yet still with their own Southern Roots focus. Under the motto “Eclecticism rules!” The aim here is sixteen songs long, going after the greatest possible variation. There is Tex-Mex with the slow truly stunning “Viejo”, the whirlwind “Misión San Fernando” (which is a duet with Karina Nistal) and “Union Station (Olvera Street)”), there is Americana with “Salinas To San Antonio” and “Harder”, Country with the relaxed shuffle of the extraordinary “Western Sky” and “Crossing the Rio Grande”, Western Swing with the completely instrumental “Ridin ‘With Cliffie”, Folk with “Carolina Yes”, Roots Rockers like “Claudine “, Blues with Dave Alvin’s electric guitar featured prominently on “The Riverside”, the laid back “Broken Wheel” and the steamy “La Mexicana”, also Cumbias with “Temo”, and “La Lechuza”, and a Mexican Huapango with “La Gata”, as briefly mentioned it is all here. And it’s precisely this diversity which gives us our sense of calm weather from “Salsipuedes” and makes it such a strong album. You the listener will realize that there is no second chance to get bored as it should be and so, we like it!
Guest contributions in addition to the already mentioned Dave Alvin include Rick Shea, and Max and Josh Baca. The production/recording of “Salsipuedes” credits go to David Raven.
Published Tue., Aug. 14 2012 at 7:00 AM
Nothing gets Lonesome, Onry and Mean’s blood pumping like opening the mail and finding a long overdue album from Los Angeles roots outfit Tremoloco. The band’s previous release, 2008’s Dulcinea, was in heavy rotation on the jukebox at our local water hole for several years, and the album seldom left our truck.
The band supported the album with a stupidly funny video of opening track “Mi Novela” (the Spanish term for soap opera).
But with the first listen to 16-track Salsipuedes, with its mix of barroom weepers, Spanish-language ballads, and funked-up country-rockers like “Claudine” and “La Mexicana,” we immediately knew that Tony Zamora, Bob Robles, Cougar Estrada, Mike Tovar, Johnny “Vatos” Hernandez Jason Lozano, Juan Chacon were back in the same cool East L.A. groove that made Dulcinea so great.
The album also spotlights the always clean playing of longtime Dave Alvin sideman Rick Shea, who co-wrote a couple of the tunes.
From a local standpoint, the best news was the utility players the band brought in. Not only does former Blaster Dave Alvin add star power and rip his guitar on “Claudine” and “The Riverside,” but down in the fine print, we discovered two local names: Accordionist Roberto Rodriguez III (Nick Gaitan & the Umbrella Man, Pistoleros de Tejas) and vocalist Karina Nistal.
Rodriguez has done two tours of the Northwest with the band since first meeting them here in Houston at a Tremoloco gig at Under the Volcano in 2009, and, according to Zamora, Rodriguez was instrumental in bringing Nistal, the popular Houston vocalist who decided to try her luck in Los Angeles last year, into the recording mix.
Rodriguez spent a couple of weeks with Zamora preparing for last year’s tour and Zamora took the opportunity to add Rodriguez’s accordion to four tracks.
According to Rodriguez, “I was staying with Tony and he wanted a female vocalist, so I told him about Karina. Once he saw her show, he liked her and asked her to duet on the album,” he says. “I think he’s also had her open some shows for them.”
Nistal absolutely nails it on her duet with Zamora on the brassy “Misión de San Fernando.” Zamora notes, “She really worked hard on her stuff. We were very impressed with her effort and her work ethic.”
According to Zamora, the album title has several meanings.
“The best translation is ‘leave if you can.’ It was originally three words, sal si puedes,” he says. “There’s a Salsipuedes Creek in California, a point break in Baja, and a town in Mexico. But it has now morphed into just one word.
“The original connotation was a place that is so beautiful you simply couldn’t leave. It’s a bit darker with us, of course, like at this point, for better or worse, we are who we are,” adds Zamora. “We may love it and/or hate it but we ain’t changin’, just lying in the bed we made. We’re just a bunch of old-ass writers, musicians and artists who don’t know anything different.”
Tremoloco’s last album, 2008’s “Dulcinea,” sported a pronounced Tex-Mex flavor, befitting music that explored connections between Texas and California with a robust cast of musicians that included Los Lobos’ David Hidalgo, members of the original War band including harmonica player Lee Oskar, Small Faces keyboard player Ian Maclagan, guitarists Red Volkaert, Cindy Cashdollar and the late Stephen Bruton (who helped bandleader Tony Zamora coin the band’s name when they were “kicking around ideas”).
When Zamora went back into the studio to record “Salsipuedes” which was released last fall, he consciously strove to give it more of a California feel with his core local players and guests like the quintessential California roots artist Dave Alvin and Mario “Boomer” Lalli.
“I felt blessed to have some of the Austin and L.A. players we had on “Dulcinea,” Zamora says. I was a bit surprised at how willing they were to be involved in the project-a band of sidemen making a record. They were all supportive and it was great. But we did get the question, “How do they play that material without all those guests like the Lobos and War guys?”
On this record I wanted to have the guys who actually play with me live, and I wanted it to have a California feel, with West Coast players, and L.A. specifically.
The album he had in mind didn’t just conform to one specific country or Conjunto niche, veering as it does from steel-and harmonica-burnished cowboy tunes like “Western Sky” to to more rocking tunes like “Claudine” and “La Mexicana” to the wide open, dusty folkiness of “Broken Wheel”. He hoped audiences would follow his lead and so far they have especially the dancers.
“I kind of learned early on from some of the older players: you just make yourself happy. As an artist you can tend to second guess, be insecure. But what do you do, go out and take a poll? You really can’t.”
Live, Tremoloco members are seasoned veterans at playing to the room. Zamora is usually accompanied by a nimble crew that includes longtime drummer and producer Cougar Estrada and country-rock guitarist Rick Shea among others.
While “Salsipuedes” incorporates elements of Blues, Cumbias, Bakersfield Country, Norteño and Western Swing, Zamora and his bandmates expand their rhythmic template even further when they’re onstage with rocking jams that can turn psychedelic.
“I still like to do the jam stuff”, Zamora acknowledges. “it may be self indulgent but it’s fun. Canadian audiences especially seem to go crazy for that stuff…..we’re nothing if not very eclectic.
That eclecticism has elicited approving reviews from critics, especially in Europe, but Zamora says it has it’s drawbacks too.
“People don’t know how to categorize or market you,” he explains.
Do they book us on folk festivals, country and roots festivals or what? In the end if we are just ourselves and joyous onstage it all works out, then we’re okay.”
Posted by Michalis Limnios BLUES @ GREECE on September 2, 2012 at 8:00pm
Tony Zamora Interview