Featured

“4SocialDancing” – a playlist of dance-able tunes of yesteryear.

I. Introduction

This blog is about my collection of 18 popular dance-able tunes of yesteryear i.e., roughly, more than an hour (01:10:32H, to be exact) of dancing and/or listening pleasure.

You have the option of playing it on your Browser OR, using the Soundcloud App which I recommend. Uninterrupted sequential-listening can be achieved by clicking on the White PLAY-button in the Soundcloud-player below, which also toggles as a PAUSE-button.

Fig. 00 – Soundcloud Dashboard

Selective playing can also be done by scrolling the tracks-gallery above and click-toggling on the selection-icons at the left side—this, may require clicking on the X-icon at the player’s top-right corner when moving back to the selection-menu.

If you are brought to or, happen to land at the Soundcloud playlist-website, you may do the following:

  1. PLAY/ PAUSE a particular track by clicking on its image-icon which will automatically convert into a play/pause-button.
  2. MORE SONGFACTS can be viewed by clicking on the song-title.
  3. Clicking the webpage’s BACK-ARROW (<-) will bring you back, to the webpage where you came from.

A. Rationale

I love to dance, and found it to be an effective way to satisfy our basic socialization instinct. To all of us who share this passion, I dedicate this project.

I also have, in several occassions, heard the Electronic Dance Music (EDM) being played in the air-waves and dance-floors—mostly, by Millenials. While I appreciate any kind of music that conform to my current mood, but I am worried that if the current momentum of EDM will persist, the traditional social-dance music will eventually become extinct.

It was on this note that I did my own research and documentation of all dance-genres that impacted my life since childhood, and enticed some of my cyber-musician friends to remotely collaborate with me for this project.

B. Track Selection, Processes and Resources

Selecting the eighteen tracks posed a great challenge to me as I practically loved all the tunes that I have covered. It was, therefore, with a heavy heart that I did it with the help of the following criteria i.e., the tunes must:

  1. Be already available in my current Soundcloud archives;
  2. Have been been originally released during the decades when I have personal experience on them—more particularly the 1950-2000s; and
  3. Maximize the inclusion of dance-genres during the above mentioned era—at least, one track each.

All the selections in this playlist were remotely recorded thru the Soundtrap cloud-facility, in collaboration with my cyber-musician friends. Mixing and mastering was done by MIDWAV Audio Arts, Graphic-support was provided by PASGARTS, and project-managed by yours truly.

II. The Playlist

Based on the above mentioned criteria, listed below are the dance-music artists/ tunes that were included—in the same sequence that they are presented in the playlist:

  1. Dean Martin – “Sway”, 1954;
  2. Fred Buscaglione – “Criminal Tango”, 1957;
  3. Chuck Berry – “Rock and Roll Music”, 1957;
  4. Chubby Checker – “Let’s Twist Again”, 1960;
  5. Engelbert Humperdinck – “The Last Waltz”, 1967
  6. VST & Company – “I-swing Mo Ako”, 1977;
  7. The Bee Fees – “Stayin Alive”, 1977;
  8. Gary Moore – “Pariesienne Walkways”, 1978;
  9. Irene Cara – “Fame”, 1980;
  10. Michael Jackson – “Billie Jean”, 1982;
  11. Irene Cara – “Flashdance – What A feeling”, 1983;
  12. Sade – “Smooth Operator”, 1983;
  13. Kaoma – “Lambada”, 1989;
  14. Los Del Rio – “Macarena”, 1996;
  15. Santana and Rob Thomas – “Smooth”, 1999;
  16. Santana and Product G&B – “Maria Maria”, 1999;
  17. Luis Fonsi et al – “Despacito”, 2016; and
  18. Camilia Cabello – “Havana”, 2017.

The selections were, by intent, all executed with Rock-flavors (N.B.: Bass & Drum lines) and presented chronologically starting from the sociable Tangos of the 50s, up until the advent of Electronic Dance Music (EDM), but not limited to the following dance-genre: 1-Waltz/ 2-Tango/ 3-Slow-dance/ 4-Rock&Roll/ 5-Boogie/ 6-Swing*/ 7-Twist/ 8-Cha-cha/ 9-Rumba/ 10-Lambada/ 11-Macarena/ 12-Reggae/ 13-Hip-hop.

III. Track Contents

More information on each of the playlist-contents are presented in the same sequence below, and selective listening to each can likewise be done by clicking on the corresponding artwork-images.

A. “Sway” Theme (3:14′)

Fig. 1 – “Sway” Theme

An instrumental rendition of Dean Martin’s 1954 Latin-bossa hit “Sway”. More song-facts can be viewed here.

Performers/ Writer(s): Rhythm guitar by Mon Enriquez; Harmonica by Clemens W.; Electric grand piano by Wilson H.; Drums and percussion by Mike D.; Precision bass guitar by Bonnie B.; Keyboard synthesizer by Romy R.; Words and music by Pablo Beltran Ruiz and Norman Gimbel.

B. “Criminal Tango” Theme (3:32′)

Fig. 2 – “Criminal Tango” Theme

An instrumental rendition of Fred Buscaglione’s 1957 tango hit “Criminal Tango”. More song-facts can be viewed here.

Performers/ Writer(s): Rythym acoustic-guitar by Mon Enriquez; Lead distorted electric guitar by Romy R.; Drums and percussions by Mike D.; Precision bass guitar by Bonnie B.; Harmonica by Clemens W.; Words and music by Sly Dunbar et al.

C. “Rock & Roll Music” Theme (2:28′)

Fig. 3 – “Rock & Roll Music” Theme

An instrumental rendition of Chuck Berry’s 1957 rock & roll hit “Rock & Roll Music”—which was further popularized by the Beatles in the 60s. More song-facts can be viewed here.

Performers/ Writer(s): Rythym acoustic-guitar by Mon Enriquez; Lead distorted electric guitar by Romy R.; Drums and percussions by Mike D.; Precision bass guitar by Bonnie B.; Harmonica by Clemens W.; Words and music by Sly Dunbar et al.

D. “The Twist” Theme (2:07′)

Fig. 4 – “The Twist” Theme

An instrumental cover of Chubby Checker’s 1960 rock & roll hit “The Twist”. More song-facts can be viewed here.

Performers/ Writer(s): Rythym acoustic guitar by Mon Enriquez; Trumpet by Jerome L.; Keyboard synthesizer by Romy R.; Drums and percussion by Mike D.; Precision bass guitar by Bonnie B.; Trombone by Clemens W.; Words and music by Hank Ballard and Nathalie Nath .

E. “The Last Waltz” Theme (3:21′)

Fig. 5 – “The Last Waltz” Theme

A rock-flavored instrumental cover of Engelbert Humperdinck’s 1967 slow pop-rock hit “The Last Waltz”. More song-facts can be viewed here.

Performers/ Writer(s): Rhythm acoustic guitar by Mon Enriquez; Lead jazz guitar by Romy R.; Electric grand piano by Clemens W.; Keyboard synthesizer by Dexter C.; Drums and percussion by Mike D.; Precision bass guitar by Bonnie B.; Words and music by Barry Mason and Les Reed.

F. “I-swing Mo Ako” Theme (2:41′)

Fig. 6 – “I-swing Mo Ako” Theme

An instrumental cover of VST & Company’s 1977 Pinoy/OPM-Swing hit “I-swing Mo Ako”. More songfacts can be viewed here.

Performers/ Writer(s): Rythym acoustic guitar by Mon Enriquez; Trumpet by Jerome B.; Keyboard synthesizer by Romy R.; Drums and percussions by Mike D.; Precision bass guitar by Bonnie B.; Acoustic piano by Clemens W.; Words and music by VST & Company.

G. “Stayin Alive” Theme (4:46′)

Fig. 7 – “Stayin Alive” Theme

Th A rock-flavored instrumental cover of The Bee Gees’ 1977 pop-rock hit “Stayin Alive”. More song-facts can be viewed here.

Performers/ Writer(s): Rhythm acoustic guitar by Mon Enriquez; Lead jazz guitar by Romy R.; Electric grand piano by Clemens W.; Keyboard synthesizer by Dexter C.; Drums and percussion by Mike D.; Precision bass guitar by Bonnie B.; Words and music by Barry Mason and Les Reed.

H. “Parisienne Walkways” Theme (6:44′)

Fig. 8 – “Parisienne Walkways” Theme

An instrumental-cover of Gary Moore’s 1978 bluesy slow-rock hit “Pariesienne Walkways”. More song-facts can be viewed here.

Performers/ Writer(s): Rythym acoustic-guitar by Mon Enriquez; Lead overdrive electric guitar by Romy R.; Drums and percussion by Mike D.; Precision bass guitar by Bonnie B.; Trumpet by Clemens W.; Keyboard synthesizer by Wilson How; Words and music by Gay Moore.

I. “Fame” Theme (4:56′)

Fig. 9 – “Fame” Theme

An instrumental-cover of Irene Cara’s 1980 pop-rock hit, “Fame”. More song-facts can be viewed here.

Performers/ Writer(s): Acoustic guitar and overall direction by Mon Enriquez; Electric Piano by Dexter C.; Keyboard-synthesizer by Romy R.; Trumpet by Wilson H.; Drums and percussion by Mike D.; Precision Bass by Bonnie B.; Words & Music by Dean Pitchford, Michael Gore .

J. “Billie Jean” Theme (4:40′)

Fig. 10 – “Billie Jean” Theme

An instrumental cover of Michael Jackson’s 1982 pop rock hit “Billie Jean”. More song-facts can be viewed here.

Performers/ Writer(s): Rythym acoustic-guitar by Mon Enriquez; Keyboard synthesizer by Romy R.; Drums and percussions by Mike D.; Precision bass guitar by Bonnie B.; Trumpet by Clemens W.; Words and music by Michael Jackson .

K. “Flashdance – What A Feeling” Theme (3:33′)

Fig. 11 – “Flashdance – What A Feeling” Theme

An instrumental-cover of Irene Cara’s 1983 pop-rock hit, “Flashdance – What A feeling”. More song-facts can be viewed here.

Performers/ Writer(s): Acoustic guitar and overall direction by Mon Enriquez; Electric Piano by Dexter C.; Keyboard-synthesizer #1 by Romy R.; Trumpet by Wilson H.; Drums and percussion by Mike D.; Precision Bass by Bonnie B.; Words by Irene Cara & Keith Forsey; Music by Giorgio Moroderand .

L. “Smooth Operator” Theme (4:44′)

Fig. 12 – “Smooth Operator” Theme

An instrumental-cover of Sade’s 1983 pop-rock-bossa hit, “Smooth Operator”. More song-facts can be viewed here.

Performers/ Writer(s): Acoustic guitar and overall direction by Mon Enriquez; Electric Piano Piano by Dexter C.; Keyboard-synthesizer by Romy R.; Trumpet by Wilson H.; Drums and percussion by Mike D.; Precision Bass by Bonnie B.; Words and Music Sade adu and Ray St. John .

M. “Dancando Lambada” Theme (4:20′)

Fig. 13 – “Dancando Lambada” Theme

An instrumental cover of Kaoma’s 1989 latin-pop-rock hit “Lambada”—a tune written and recorded by the Bolivian Andean pop group Los Kjarkas in 1981 bearing the title “Chorando Se Foi (Lambada).” More song-facts can be viewed here.

Performers/ Writer(s): Rhythm guitar by Mon Enriquez; Trumpet by Jonathan C.; Electric grand piano by Dexter C.; Drums and percussion by Mike D.; Precision bass guitar by Bonnie B.; Keyboard synthesizer by Romy R.; Words and music by the Bolivian Andean pop group Los Kjarkas 1981 .

N. “Macarena” Theme (3:50′)

Fig. 14 – “Macarena” Theme

An instrumental cover of Los Del Rio’s 1996 latin-pop-rock hit “Macarena”—a song that also popularized a dance-craze of the same title back in the late 90s. More songfacts can be viewed here.

Performers/ Writer(s): Rhythm guitar by Mon Enriquez; Harmonica by Clemens W.; Electric piano by Dexter C.; Drums and percussion by Mike D.; Precision bass guitar by Bonnie B.; Keyboard synthesizer by Romy R.; Words and music by Jesus Bola and Manuel Soler .

O. “Smooth” Theme (4:49′)

Fig. 15 – “Smooth” Theme

An instrumental rendition of Santana and Rob Thomas’ 1999 Latin jazz-rock fusion hit “Smooth”. More song-facts can be viewed here.

Performer(s)/ Writer(s): Rhythm acoustic-guitar by Mon Enriquez; Lead distorted electric guitar by Romy R.; Drums and percussions by Mike D.; Precision bass guitar by Bonnie B.; Trumpet by Clemens W.; Words and music by Rob Thomas and Itaal Shur .

P. “Maria Maria” Theme (3:47′)

Fig. 16 – “Maria Maria” Theme

An instrumental rendition of Santana and Product G&B’s 1999 R&B hit “Maria Maria”—which won the 2000 Grammy for Best Pop Performance By A Duo Or Group With Vocal. Just the same its lyrics are being provided below, and more songfacts can be viewed here.

Performers/ Writer(s): Rythym acoustic-guitar by Mon Enriquez; Lead distorted electric guitar by Romy R.; Drums and percussions by Mike D.; Precision bass guitar by Bonnie B.; Harmonica by Clemens W.; Words and music by Wycleaf Jean et al .

Q. “Despacito” Theme (3:07′)

Fig. 17 – “Despacito” Theme

An instrumental rendition of Luis Fonsi et al’s 2016 Latin-reggae hit “Despacito”—a song that revitalized the Latin pop music in the mainstream music scene once again. More song-facts can be viewed here.

Performers/ Writer(s): Rhythm nylon-guitar by Mon Enriquez; Harmonica by Clemens W.; Lead acoustic jazz-guitar by Dexter C.; Drums and percussion by Mike D.; Precision bass guitar by Bonnie B.; Keyboard synthesizer by Romy R.; Words and music by Erika Ender, Luis Fonsi and Ramon Ayala .

Q. “Havana” Theme (3:35)

Fig. 18 – “Havana” Theme

A rock-flavored instrumental cover of Camilia Cabello’s 2017 Rumba/ Slow-Chacha dance-hit “Havana”. More song-facts can be viewed here.

Performers/ Writer(s): Rhythm acoustic guitar by Mon Enriquez; Acoustic piano by Romy R.; Electric piano by Dexter C.; Trumpet by Clemens W.; Drums and percussion by Mike D.; Precision bass guitar by Bonnie B.; Words and music by Camilia Cabello et al.

IV. Concluding Remarks

I hope that I was able to cover most, if not all, of the traditional dance-genre—as differentiated from the currently in vogue Electronic Dance Music (EDM).

THANK YOU Lord, for the music; to the -audience for taking the time to listen; and likewise, to the following cyber session-musicians who have contributed their talents to this project—-their respective roles were duly acknowledged in each track that they were involved: Brodie, Bonnie (US), Bulax; Flor (GB), Cable, Dexter (US); Dalaws, Mike (PR); Dews, Alex (CH); Enriquez, Mon (PH); How, Wilson (SG); Lubugues, Nancy (UK); Rodowsky, Romy (HR); and Wuger, Clemens (AT).

This project have demonstrated how the limitations in Time and Space can be overcome, by embracing the state-of-the-art AI, SCM and ICT technologies that resulted to enhanced quality and efficiency in showcasing their respective talents to an extended audience.

Depending on the feedback that I will be receiving, a second-volume may be justified in the near future. Plans are already underway for possible CD-publishing and online-streaming. Updates will be posted in our Facebook-page—do Visit/ Follow/ Like us there…

Fig. 19 – MF&TG Facebook Page

(For comments/ suggestions, use the box provided below)

Featured

The Best of Mon Enriquez & His Guitar – the playlist/ album.

I. Introduction

This blog is about my recent 16-tracks playlist that were extracted from the solo-acoustic tracks that I have released during the past six-years, after getting-off the fastlane of my corporate career i.e., about 46 minutes continuous-playtime of my personal choice acoustic songs and music.

Unawaringly, I now have uploaded well over 200 recorded songs and music tracks to my Soundcloud sites, cutting across the classical, folk-rock, slow-rock, pop-rock, and to some extent latin-jazz-rock genres—in both their solo-acoustic and full-band renditions.

A. Rationale

The idea of developing this solo-acoustic playlist came about from a fan-inquiry that was brought to my attention recently i.e., the possibility of publishing some of my songs collection either by online-streaming and/ or CD-formats.

Secondly, I also longed of expressing my “Harana” (Eng.: Serenade) instinct that I acquired during my youth. The Harana culture has been long gone and forgotten, but it provides us with a romantic heritage that we could nostalgically look back to.

My provincial teen-life back in the 70s, revolved around my studies, house-chores, basketball games and nighttime serenade sorties—more particularly, during school-breaks when pretty lasses from the various city study-centers flock to our province, to spend their vacations. That was the time when you really have to bring/ hand carry your Guitar if you want to showcase your guitar-playing talent i.e. there were still no internet, no wifi, no music streaming, no facebook etc.

Because of its accessibility/ inexpensiveness, simplicity, mobility, and (most of all) romantic multi-timbre capability, my musical tool of choice back then was the Guitar. Undeniably, it has contributed a lot to my musical awareness, growth and maturity.

B. Track Selection, Processes and Resources

Selecting the sixteen tracks posed a great challenge to me. I loved all the song that I covered, so it was with a heavy heart that I did it with the help of the following criteria:

  1. The song must be already available in my current Soundcloud archives;
  2. The song must be acoustic-friendly, particularly with the Guitar;
  3. The song has been released prior to the turn of the century—more particularly, during the 1960-1990s; and
  4. The playlist must maximize the participation of musical artists that I idolized during the above mentioned era—at least, one track each.

All the selections in this playlist were recorded, mixed, and mastered by MIDWAV Audio Arts—a few instances, with a little help from my friends at Soundtrap; the necessary Graphic-support was provided by PASGARTS; Guitar music- and/ or tab-sheets courtesy of GuitarPro/ PowerTab; and I personally performed and directed their respective productions, this playlist included.

II. The Playlist

Based on the above mentioned criteria, I managed to include the following great artists of the 70s, in the same sequence that they are presented in the playlist:

  1. Don McLean – And I Love You So,
  2. Simon & Garfunkel – For (Emily), Wherever I May Find Her,
  3. Elton John – Your Song,
  4. Michael Johnson – I’ll Always Love You,
  5. Stephen Stills – One and Sixty (Four and Twenty),
  6. John Denver – My Old Guitar,
  7. James Taylor – Something In The way She Moves,
  8. Eric Clapton – Tears In Heaven,
  9. Gordon Lightfoot – If You Could Read My Mind,
  10. Don McLean, – Castle in the Air,
  11. Jim Croce – I’ll Have To Say I love You In A Song,
  12. Peter, Paul & Mary – Don’t Think Twice, It’s Alright,
  13. Sting – Fields of Gold,
  14. Crosby, Stills, Nash & Young – See The Changes,
  15. *Mon Enriquez – Hug and Handshake, and
  16. Francisco Tarrega – Capricho Arabe.

I, however, took some exceptions of including one of my original musical creation, “Hug and Handshake” (Track#15) and my favorite acoustic-guitar-solos, “Capricho Arabe” (Track#16), which culminated my formal guitar training and (in the process, by choice) aborted my aspirations of becoming a classical guitarist—under the erstwhile tutelage of Maestro Jose Valdez.

A. Listening directly to the playlist

Uninterrupted sequential-listening to this playlist can be achieved by clicking on the White PLAY-button in the Soundcloud-player below, which also toggles as a PAUSE-button.

Soundcloud Player

Selective playing can also be done by scrolling the tracks-gallery above and click-toggling on the selection-icons at the left side—this, may require clicking on the X-icon at the player’s top-right corner when moving back to the selection-menu.

B. The Soundcloud playlist-site

If you are brought to/ happen to land at the Soundcloud playlist-site, you may do the following:

  1. PLAY/ PAUSE a particular track by clicking on its image-icon which will automatically convert into a play/pause-button.
  2. MORE SONGFACTS can be viewed by clicking on the song-title.
  3. Clicking the webpage’s BACK-ARROW (<-) will bring you back, to the webpage where you came from.

III. Track Contents

More information on each of the playlist-contents are presented in the same sequence below, and listening to each can likewise be done by clicking on the corresponding artwork-images.

A. And I Love You So (3:57′)

An acoustic-cover of Don McLean’s 1970 folk-rock hit “And I Love You So”—which was released on his 1970 debut album, Tapestry. Its chorus features an unusual rhyming scheme for a popular song: A-B-B-A versus the usual A-B-C (or A)-B.. More songfacts can be viewed here.

Performers/ Writer(s): Vocals and nylon acoustic-guitar by Mon Enriquez; Words and music by Don McLean.

B. For Emily, Whenever I May Find Her (2:06′)

This is an acoustic-cover of Simon & Garfunkel’s 1966 folk love-song release “For (Emily), Wherever I May Find Her”—noting that Emily could be anyone whom you cared about. Its lyrics and more songfacts can be viewed by clicking here.

Performers/ Writer(s): Vocals and nylon acoustic-guitar by Mon Enriquez; Words and music by Paul Simon.

C. Your Song (4:02′)

Fig. 3 – Your Song Artwork

This is an acoustic-cover of Elton John’s 1970 slow-rock hit “Your Song”. Its lyrics and more songfacts can be viewed here.

Performers/ Writer(s): Vocals and nylon acoustic-guitar by Mon Enriquez; Words and music by Elton John/ Bernie Taupin.

D. I’ll Always Love You (3:31′)

Fig. 4 – I’ll Always Love You Artwork

This is an acoustic-cover of Michael Johnson’s 1979 soft-rock ballad “I’ll Always Love You”—three audio tracks and as simple as it can be, where my minimalistic instinct reigned supreme. Its lyrics and more songfacts can be viewed here.

Performers/ Writer(s): Vocals and nylon acoustic-guitar by Mon Enriquez; Steel acoustic-guitar by Romy R.; Words and music by Eric Kaz and Tom Snow.

E. One and Sixty [Four and Twenty] (2:15′)

An acoustic cover and remake of Stephen Stills’s 1970 folk-rock release “Four and Twenty”—appropriately retitled here as “One and Sixty”, as it was recorded during my 61st-birthday. More songfacts can be viewed here.

Performers/ Writer(s): Vocals and steel acoustic-guitar by Mon Enriquez; Writer: Stephen Stills.

F. This Old Guitar (3:21′)

Fig. 6 – This Old Guitar Artwork

This is an acoustic-cover of John Denver’s 1974 folk-rock release “This Old Guitar”—a tribute to the several-guitars that I owned, starting with the first-guitar that I bought when I was 14-yo (a Php40 Mactan-made guitar*, from the Christmas-gift proceeds given by my Uncle Celso). I always brought each of them wherever I was deployed around the world. Its lyrics and more songfacts can be viewed here.

Performers/ Writer(s): Vocals and nylon acoustic-guitar by Mon Enriquez; Words and music by John Denver.

G. Something In The Way She Moves (2:59′)

Fig. 7 – Something In The Way She Moves Artwork

This is an acoustic-cover of James Taylor’s 1968 folk-rock hit “Something In The Way She Moves”—the song that inspired The Beatles’ George Harrison to create his own pop-rock version “Something”, which also became a hit in its own right. Its lyrics and more songfacts can be viewed here.

Performers/ Writer(s): Vocals and steel acoustic-guitar by Mon Enriquez; Words and music by James Taylor.

H. Tears In Heaven (3:13′)

Fig. 8 – Tears In Heaven Artwork

This is an acoustic cover of Eric Clapton’s 1992 slow-Rock hit “Tears In Heaven”, which he penned as tribute to his four-year-old son Conor who died after falling from a 53rd floor window of his Mom’s NY-apartment. Its lyrics are being provided below, and more song-facts can be viewed here.

Performers/ Writer(s): Vocals and nylon acoustic guitar by Mon Enriquez; Words and music by Eric Clapton.

I. If You Could Read My Mind (3:50′)

Fig. 9 – If You Could Read My Mind Artwork

This is an acoustic-cover of Gordon Lightfoot’s 1971 folk-rock hit “If You Could Read My Mind”. Its lyrics and more songfacts can be viewed by clicking here.

Performers/ Writer(s): Vocals and 2nd steel acoustic-guitar by Mon Enriquez; 1st/ lead acoustic-guitar by Romy R.; Words and music by Gordon Lightfoot.

J. Castles In The Air (3:35′)

Fig. 10 – Castle In The Air Artwork

This is an acoustic-cover of Don McLean’s 1969 folk-rock hit “Castles In The Air”. Its lyrics and more songfacts can be viewed by clicking here.

Performers/ Writer(s): Vocals and steel acoustic-guitar by Mon Enriquez; 2nd-guitar by Romy R.; Words and music by Don McLean.

K. I’ll Have To Say I Love You In A Song (2:09′)

This is an acoustic-cover of Jim Croce’s 1973 folk-rock hit “I’ll Have To Say I Love You In A song”—a posthumously-released single for the American singer-songwriter Jim Croce who died in a small-plane crash in September of 1973. Its lyrics and more songfacts can be viewed by clicking here.

Performers/ Writer(s): Vocals and nylon acoustic guitar by Mon Enriquez; Lead nylon acoustic guitar by Romy R.; Words and Music by Jim Croce.

L. Don’t Think Twice, It’s Alright (3:22′)

Fig. 12 – Don’t Think Twice, It’s Alright Artwork

This is an acoustic-cover of Bob Dylan’s 1963 Folk Rock hit “Don’t Think Twice, It’s Alright”, which was further popularized by the Peter, Paul & Mary trio shortly thereafter. Its lyrics and more songfacts can be viewed by clicking here.

Performers/ Writer(s): Vocals and nylon acoustic-guitar by Mon Enriquez; Words and music by Bob Dylan/ Peter, Paul & Mary.

M. Fields Of Gold v2 (3:30′)

Fig. 13 – Fields Of Gold Artwork

This is an acoustic-cover of Sting’s 1993 slow-rock release “Fields of Gold”—also covered by Eva Cassidy. Its lyrics and more songfacts can be viewed by clicking here.

Performers/ Writer(s): Vocals and steel acoustic-guitar by Mon Enriquez; Lead steel acoustic-guitar by Romy R.; Words and music by Gordon Sumner and Ragupahty Dixit.

N. See The Changes (3:01′)

This is an acoustic-cover of Crosby, Stills, Nash, and Young (CSNY) 1977 folk-rock release “See The Changes”. Its lyrics and more songfacts can be viewed by clicking here; and about the CSNY band here.

Performers/ Writer(s): Vocals and nylon acoustic-guitar by Mon Enriquez; Words and music by Stephen Stills/ CSNY.

O. Hug and Handshake (3:17′)

Fig. 15 – Hug and Handshake Artwork

This is one of my earlier creations which was based on my poem “Ode To Bro Ed”, both of which are tributes to the 62nd-birthday of my younger brother Eddie. Its lyrics and more song-facts can be viewed by clicking here.

Performer(s)/ Writer(s): Vocals, Nylon acoustic-guitar, Words and Music by Mon Enriquez; Acoustic bass by Boni B./ Drums & percussions by Mike D.

P. Capricho Arabe – Guitar Solo (4:00′)

Fig. 16 – Capricho Arabe Artwork

This is a guitar-solo cover of Capricho árabe (Arab Capriccio), considered to be a showpiece and classical guitar standard by Spanish composer Francisco Tárrega in 1892. This piece culminated my formal guitar-trainings and (in the process, by choice) aborted my aspirations of becoming a classical guitarist. Its music-sheet can be downloaded here, and more artistfacts can be viewed here.

Performers/ Writer(s): Classical nylon-guitar by Mon Enriquez; Music by Francisco Tarrega.

IV. Concluding Remarks

I only did covers of great songs, a number of which were Grammy award-winning songs. That is why limiting the choice to sixteen tracks was really a difficult challenge for me. Depending on the feedback that I will be receiving, a second-volume may be justified in the near future.

Plans are already underway for possible CD-publishing and online-streaming. Updates will be posted in our Facebook-page—do Visit/ Follow/ Like us there…

Fig. 17 – MF&TG Facebook Page

(For comments/ suggestions, use the box provided below)

Featured

Remembering “Tiyo Celso”, my brave hero.

This blog is a tribute to my very own hero, in commemoration of today’s “Araw ng Kagitingan”event.

My Uncle (“Tiyo”) Celso is one of them heroes who participated in defending the beaches of Matina (Davao) against the invading Japanese forces during the early-days of World War II. He later on, took command of a bunch of guerrilla-fighters in the hills of Cebu, and continued the Filipino resistance movement against the Japanese up until US liberation day.

World War II adventures

When we (I and my siblings) were kids, after taking supper and doing our respective school homework, we then gathered around Tiyo Celso who was a great story-teller—remember that televisions and gadgets were not yet in vogue during those days.

Admittedly, as I have observed, my Tiyo Celso was gifted with above-average memory especially when recalling the minutiae of his war experiences; and he was able to maintain that ability even deep into his senior years. I would surmise, it must have been due to the peanuts and dried “dilis” that he is fond of taking, and his good physical conditioning (he loves to walk, a lot)

We were so fascinated and amazed by the war-adventure stories that he narrated to us, just like watching some war movies; and I would like to summarize them as follows (feel free to click on the web links, for more detailed information): 

Fig. 1 – The Mindanao WWII invasion theater
  • From his recruitment and military training in Marawi at the onset of WWII (he was in his mid-twenties then) as a USAFFE Philippine Scout trainee, where and when he was brain-washed by his American drill-masters that “a good Moro, is a dead Moro”; to his
  • Rush deployment to the beach-defenses of Matina (Davao) when they were transported from their Marawi camp by a military convoy under night-cover. He was emphatic in telling us his amazement upon seeing the speed and agility of the then newly deployed Willy’s Jeep military service vehicle—the precursor of our world-renowned Jeepneys; to his
Fig. 2 – The Willy’s Jeep military service vehicle
  • Retreat to a nearby schoolhouse after the beach defenses of Matina (Davao) succumbed to the superior invading Japanese forces. It was in this place and time that he and his comrades, having ran out of bullets, came face-to-face with the pursuing Japanese soldiers and engaged them into hand-to-hand combat. Consequently, he was injured and subsequently captured and imprisoned; to his
  • Escape from the Japanese prison-camp, trekking back to his home province Cebu by foot, and crossing the sea (a la island-hopping) via a small “banca” sailboat.  After making a surprise and quick visit to his family, he then enlisted and joined the guerrilla forces under the overall command of then US Army’s Lt. Col. James M. Cushing; to his
  • Ambushes of, and skirmishes with the occupying Japanese forces in the hills and roadways of Cebu island. He was also duty-bound in locating, identifying, and to some extent executing proven Japanese spies/ informers. He also took note of the fact that the Korean-recruits (of the then Imperial Army) were more cruel to the Filipinos during WWII; and his
  • Rendezvous aboard a “banca” sailboat (under night-cover) with a US submarines in the waters between Negros and Cebu islands. That particular submarine brought war materiel, personnel and vital US-liberation intelligence information; and on its departure, brought with them some American citizens who sought refuge among the Cushing’s guerrillas.

Military awards

In consideration of the above-mentioned combat incidents and actions, he was awarded recognition medals from both the US and Philippine governments, prominent of which are:

  1. The Purple Heart Medal, for the wounds that was inflicted on him during battle, and
  2. The Bronze Star Medal, for his acts heroism and meritorious service in the battlefield.
Fig. 3 – Purple Heart Medal
Fig. 4 – Bronze Star Medal

Of course, they were in addition to the usual benefits and privileges that were granted to bonafide WWII-veterans.

Post-war career

After the war and with support from the war veterans educational funds, he pursued his university studies and earned bachelor degrees in Commerce from the University of San Carlos(USC), and Law from the University of Visayas (UV). He eventually joined the civil service and pursued a career in the Bureau of Customs (BOC), where he rose to the position of BOC Collector, Port of Dadiangas City prior to his retirement from the government service.

Personal life

Tiyo Celso remained single by choice, and was so generous in supporting me and my siblings through college. As a parent (and brother to my Father), he was a strict disciplinarian. He used what he learned from the military in molding us kiddos. It took some time for me to appreciate his methods. I realized later on, and fully understood him when I had a family and children of my own. In fact, I’m convinced that the military way is still the more-effective method in molding the character and mission-orientation of a person.

Tiyo Celso migrated to the US in 1986 to pursue his dream of becoming a US-citizen, and reaping more benefits and privileges of a US WWII veteran. He decided to settle in San Diego CA where Filipinos abound, and was granted his US citizenship the following year—a dream that he cherished throughout his lifetime. I recalled that he actively campaigned for the Philippine statehood movement back in 60s.

Coming home

Tiyo Celso suffered a massive stroke at his San Diego apartment while taking a bath, and was brought to the hospital by his building administrator friend, who dutifully informed us of his predicament. He eventually died of multiple-organ failure on October 1, 2001 at the Scripps Mercy Hospital in San Diego City CA at the age of 85. He was dutifully cared-for at his deathbed by my wife, Gay; and my elder brother’s wife, Zoraida.

Fig. 5 – Scripps Mercy Hospital

The cardiac-arrest incident was so sudden that we (my siblings and I, Tiyo Celso’s nearest kins), after considering our respective options and prior commitments at that time, decided to urgently dispatch Gay and Zoraida to provide the necessary care/ assistance to the bed-ridden Tiyo Celso. Fortunately, Gay who was visiting his sister in Las Vegas at that time, arrived  in San Diego first. Zoraida, on the other hand, has to work his way from Iligan City, Northern Mindanao, Philippines. They faithfully executed our family’s decisions that were remotely relayed to them over the phone and internet. (I have to recall Gay a few days later, after learning of her Mom’s death on October 7, 2001 i.e., six-days after Tiyo’s death.)

Tiyo Celso’s remains was cremated and the ashes were brought by Zoraida on her homeward trip, and was eventually interred at the Cebu Memorial Park.

Fig 6. – Tiyo Celso as a young Philippine Scout cadet

I will never forget my very own brave and generous hero, Lt. Col. (Ret.) Celso C. Enriquez—may God rest his soul in eternal peace.

——————————End——————————–


Some Positive Climate-actions for Carbon—the Polluter Pays Principle

The “Polluter Pays Principle” (PPP) was first introduced in 1972 by the Organization for Economic Cooperation and Development (OECD) guiding Principles concerning International Economic Aspects of Environmental policies where the polluter is going to be held responsible for the environmental damage and pollution it may cause. It is based on an age-old adage of “cleaning your own mess“. For instance, a factory that produces a potentially poisonous substance as a by-product of its activities is usually held responsible for its safe disposal. 

In consideration of the fact that the scientific debate on GHG (particularly CO2) as the major cause of Climate Change has long been concluded and putting the PPP to use, it is on this premise that we should encourage governments of the world to agree on a global carbon price for all carbon-emitting products and services—in the process, discouraging their excessive use.

Figure 1 – PPP Foundational Concept

Sample courses of action

  • Countries, regions, and the U.N. implementing carbon taxes.
  • Establish a common methodology of measuring carbon-emission.
  • Encourages the use of sound Environmental Accounting principles to supplement the traditional Accounting practices.
  • Grassroots campaigns generating public support for carbon pricing.

Big Messages

  • Pricing carbon is a high leverage strategy. It both reduces the carbon intensity of the energy supply and reduces the overall energy demand.
  • Its implementation should consider existing taxes that are being imposed on CO2-releasing products and services.

Some Key Dynamic

  • When the carbon price is increased, demand for Coal, Natural Gas and Oil is expected to go down at varying degrees. Renewables, on the other hand, increases as the relative cost of wind and solar make them more attractive.
  • Just like the taxation option, a significant carbon price increases energy costs, which will consequently reduce the demand and consumption of energy.

Potential Co-Benefits

  • Renewable energy becomes relatively cheaper, which can incentivize job creation in the sector.
  • Reducing the use of fossil fuels improves air quality, increasing healthcare savings and worker productivity.
  • Revenue from carbon pricing can be allocated to social programs that can be shared with everyone.s.

Equity Considerations

  • As carbon taxes reach effective levels, companies may try to pass costs to customers, where the poor are most at risk of being impacted. Policies can be developed that limit this impact.
  • Workers employed in fossil fuel industries risk losing their jobs if companies shrink workforces in response to higher costs of production, so job transition plans should be in place and protections for workers ensured.
  • Due to the political nature of fossil fuel production, government corruption and rent-seeking could create the possibility of certain industries avoiding the carbon price due to loop holes or exemptions.

Remarks

My upcoming Blog on this subject will quantitatively assess the effects of carbon-pricing policy-scenarios on the established climate-metrics of post-industrial global mean Temperature-Increase and Sea-level Rise—using the world climate simulator EnROADS.

Standby…


References: 1.) EnROADS Reference Guide, 2.) U.N. webpage https://www.un.org/en/sections/issues-depth/climate-change/ 3. The PPP http://www.lse.ac.uk/GranthamInstitute/faqs/what-is-the-polluter-pays-principle/ 4. Carbon Pricing https://www.worldbank.org/en/programs/pricing-carbon

Some Positive Climate-actions for the Transportation Sector

Emissions from the transport sector are a major contributor to climate change—about 14% of annual emissions (including non-CO2 gases) and around a quarter of CO2 emissions from burning fossil fuels. Even more concerning: At a time when global emissions need to be going down, transport emissions are on the rise, with improvements in vehicle efficiency being offset by the increasing volume of travel activities. Considering that the scientific debate on GHG (particularly CO2) as the major cause of Climate Change has long been concluded, it is on this premise that we should encourage the purchases and use of electric vehicles (EVs).

An EV, uses one or more electric motors or traction motors for propulsion. An electric vehicle may be powered through a collector system by electricity from off-vehicle sources, or may be self-contained with a battery, solar panels or an electric generator to convert fuel to electricity. EVs include, but are not limited to, road and rail vehicles, surface and underwater vessels, electric aircraft and electric spacecraft. Using electric motors for transport helps reduce greenhouse gas emissions, especially if the electricity is from low-carbon sources like solar and wind—plus, the fact that it generates less-polluting substances to the environment.

Figure 1 – Gas-emissions from Cars

Sample courses of action

  • Investments into electric vehicle charging infrastructure.
  • Research and development into the technologies for vehicles, batteries, and charging.
  • Corporate commitments to the manufacturing, sales and servicing of electric vehicles.
  • Goevrnment programs to offer rebates and incentives to electric car purchases and use.

Big Messages

  • Considering that the world is largely dependent on coal and natural gas for electric power, the net effect of electrification will only be a slight change in emissions and temperature-impact.
  • Switching to electric modes of transport makes the biggest impact for the climate when electrical energy sources are low-carbon i.e., when EVs operates and recharges within a carbon-free electric-grid.

Some Key Dynamics

Increased Transport Vehicles Electrification will normally result to the following climate-advantages:

  • Overall efficiency is greater for electrified transport than for internal combustion engines, therefore, less fuels will be needed to power transport vehicles using electricity than oil.
  • Oil demand goes down as we electrify transport. However, (in the absence of a carbon price or other taxes) it is inevitable that some electrical demand for charging the eVehicles will have to be powered by coal and, to a more limited extent, renewables.

Potential Co-Benefits

  • Improved air quality from fewer internal combustion engines increases healthcare savings and worker productivity.
  • Creation of jobs in manufacturing, selling and servicing of electric batteries and vehicles.

Equity Considerations

  • Although costs will be expected to go down, but electric vehicles may not be affordable or available to everyone.
  • Mining of lithium and copper, two necessary ingredients for the batteries used in electric vehicles, can be damaging to precious ecosystems and threaten the well-being of communities near mining sites. 
  • Electric charging station locations may not be accessible or the electric battery range may be insufficient for some situations.

Remarks

My upcoming Blog on this subject will quantitatively assess the effects of electric-transport policy-scenarios on the established climate-metrics of post-industrial global mean Temperature-Increase and Sea-level Rise, using the world climate simulator EnROADS.

Standby…


References: 1.) EnROADS Reference Guide, 2.) U.N. webpage https://www.un.org/en/sections/issues-depth/climate-change/, 3.) Transport Sector Emissions https://www.wri.org/blog/2019/10/everything-you-need-know-about-fastest-growing-source-global-emissions-transport

Some Positive Climate-actions for Coal

Coal is considered as the most harmful fossil fuel in terms of carbon emissions, as well as in air pollutants that cause severe health impacts. It is a dominant source of energy globally, however, because it is relatively inexpensive to mine and transport.

The scientific debate on GHG (particularly CO2) as the major cause of Climate Change has long been concluded, and it is on this premise that we should discourage the mining of coal and its burning in thermal power plants—and other similar facilities.

Figure 1 – CO2 emission coming from Coal-fueled Thermal Power Plants

Sample courses of action

  • Government policies that phase out power plants or make them more expensive in any way, such as taxes on coal.
  • Financial services industry (e.g. banks) or global development institutions (e.g. World Bank) limiting access to capital for new coal mining, refining, and power plant infrastructure.

Big Messages

  • Discouraging coal is a high leverage strategy for reducing future temperature change. It keeps coal in the ground, increases the cost of energy, and reduces energy demand.
  • Discouraging coal also improves public health and saves medical costs through improved air quality.

Some Key Dynamics

  • When coal is discouraged, by taxing it, its demand automatically will be reduced as in any other commodity. It is one of the most sensitive energy supplies to any increase in cost. Unlike oil, it can often be substituted for natural gas and renewables.
  • Taxing coal also reduces energy demand (see graphs “Final Energy Consumption” and “Cost of Energy”). When energy prices are higher, people tend to use energy more efficiently and conserve energy. However, tax policies must be implemented with considerations for poor and working-class communities who can be harmfully impacted by high energy prices.

The Potential Co-Benefits

  • Reduced air pollutants from coal burning improves air quality and health outcomes for surrounding communities.
  • Less coal mining reduces heavy metal drainage and waste from mine sites which improves water quality and helps protect wildlife habitats, biodiversity, and ecosystem services.

Equity Considerations

  • Taxing coal can raise energy costs for households and businesses that rely on coal for energy needs.
  • Low-income communities often suffer the worst health outcomes yet make up the majority of individuals who produce coal. Providing pathways for these people to find new jobs will be essential.

Remarks

My upcoming Blog on this subject will quantitatively assess the effects of various Coal policy-scenarios on the established climate-metrics of post-industrial global mean Temperature-Increase and Sea-level Rise, using the world climate simulator EnROADS.

Standby…


References: 1.) EnROADS Reference Guide, 2.) U.N. webpage https://www.un.org/en/sections/issues-depth/climate-change/