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)

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——————————–


INCOTERMS® 2010 Rules – a reprint

Guide to the Incoterms® 2010 Rules
As reprinted from the ISM website.

The Incoterms® 2010 rules* (International Commercial Terms) were developed by the International Chamber of Commerce (ICC) as a uniform set of rules to clarify the costs, risks and obligations of buyers and sellers in international commercial transactions.  Because they address issues relating to import and export, Incoterms® 2010 rules are most appropriate for use in international shipping; they are, however, used for U.S. domestic shipping as well.

Incoterms® 2010 rules are periodically revised and multiple versions are available for use by contracting parties.  The Incoterms® 2010 rules became effective January 1, 2000, and remain in effect. The Incoterms® 2010 rules are effective as of January 1, 2011.

Refer to the ICC Web site at www.iccwbo.org/Incoterms/id3040/index.html for information about these terms and their definitions, which are copyrighted by the ICC.

Note:  Although the new Incoterms® 2010 rules became available for use as of January 1, 2011, Incoterms®  2000 rules continue to be available.  It is incumbent upon contracting parties to determine which term they want to use and to designate the version being applied.

For some time Incoterms® rules have consisted of 13 terms. Incoterms® 2010 rules eliminate four of the previously-existing terms (DDU, DES, DEQ and DAF) and add two new terms (DAT and DAP), resulting in a total of 11 terms.  The new version is made available for both domestic and international use; contracting parties should, however, review the applicability of these terms to the domestic environment prior to applying them.

The terms are structured to increase incrementally the obligations (control, risk and cost) on one party while decreasing the obligations of the other, depending on the specific term chosen.  Each term clarifies which party is responsible for:

  • Inland freight (transportation within the origination country)
  • Forwarder selection
  • Export clearance
  • Carrier selection and scheduling
  • International freight
  • Import clearance
  • On-carriage (transportation within the destination country)

Delivery occurs (and risk of loss transfers) at the point designated by the term selected.  Transfer of title is NOT covered by any of the Incoterms® 2010 rules and must be separately specified by the parties.

Incoterms® 2010 rules can be divided into two groups – multi-modal (available for multiple forms of transport, including land, air and waterway transportation) and single mode (applicable only to waterway transportation). The terms in each group are listed on page 2 in order of increasing responsibility for the seller (and correspondingly decreasing responsibility for the buyer).  So, for example, using the term EXW makes the seller responsible only for making the goods available at its own premises; delivery occurs and risk of loss transfers at that point.  When the term DDP is used, the seller becomes responsible for everything except on-carriage where the location for delivery is not the buyer’s actual location.  DDP is the only Incoterms® rule that makes the seller responsible for import clearance.

Buyers in the United States who are likely to be familiar with delivery terms defined within Articles 2 and 2A of the Uniform Commercial Code (UCC) should pay particular attention to the overlap in the use of certain terms/abbreviations between the Incoterms® 2010 rules and the UCC.  “Free on board” (F.O.B.), “free alongside” (F.A.S.) and “C.I.F.” are all used in the UCC, but their definitions there are much different from the definition of the same terms in the Incoterms® 2010 rules. Under the Incoterms® 2010 rules all three of the overlapping terms (FOB, FAS and CIF) fall into the “single mode” group, meaning they can only be used for waterway transportation.  Under the UCC only F.A.S. is limited to use with a vessel.

Numerous publications and seminars are available through the International Chamber of Commerce (http://store.iccbooksusa.net/ or http://www.iccbooks.com/Home/Home.aspx) as well as from other organizations explaining in depth the application of both the Incoterms® 2000 rules and Incoterms® 2010 rules.

  TERM – DEFINITION
The multi-modal (available for multiple forms of transport, including land, air and waterway transportation) terms are:
⊕ Unchanged in Incoterms® 2010 rules Ex works (EXW) named place (seller’s location) –

An Incoterms® rule under which the price that the seller quotes applies only at the point of origin. The buyer takes possession of the shipment at the point of origin and bears all costs and risks associated with transporting the goods to the destination. This Incoterms® rule is regarded as the most open-ended. There is generally nothing specific regarding delivery and there is a mutually convenient pickup time for exporter and importer agreed upon. Used for any mode of transport.

See Also Incoterms® rules  

Compare: Delivered Duty Paid

⊕ Unchanged in Incoterms® 2010 rules Free Carrier At (FCA) named place (seller’s country) –

An Incoterms® rule under which seller delivers goods, cleared for export, to the buyer-designated carrier at a named location. Used for any mode of transport. Seller must load goods onto the buyer’s carrier. The key document signifying transfer of responsibility is receipt by carrier to exporter.

See Also: Incoterms® rules

⊕ Unchanged in Incoterms® 2010 rules Carriage Paid To (CPT) named place of destination –

An Incoterms® rule used for any mode of transportation. Buyer assumes title and risk of loss when goods are delivered to the carrier. Seller pays shipping to destination. CPT delivery takes place when the exporter hands over goods to the carrier. The exporter is given bill of lading or equivalent document (air waybill, sea waybill, multi-modal bill of lading).

See Also: Incoterms® rules

Compare: Carriage and Insurance Paid To

⊕ Unchanged in Incoterms® 2010 rules Carriage Insurance Paid (CIP) named place of destination –

An Incoterms® rule under which seller delivers goods to seller-designated carrier, pays cost of carriage to named destination and must obtain insurance to cover buyer’s risk of loss in transit. Buyer bears risk of loss and any additional costs after seller’s delivery to carrier, protected by seller’s insurance. Used for any mode of transportation; same as CPT, but seller pays for insurance and names buyer as beneficiary.

See Also: Incoterms® rules

Compare: Carriage Paid To

⊕ Eliminated in Incoterms® 2010 rules Delivered Duty Unpaid (DDU)  named place of destination –

An Incoterms® rule under which seller bears the risk and expense of getting the goods to a named destination, but excluding duties, taxes and other official charges payable on import. Some variations on DDU are possible if the seller is to pay some of the import charges. Delivery takes place when the exporter places goods at the disposal of the importer in city of delivery. There is no corresponding transportation document, although a bill of lading is usually used. Used for any mode of transportation. Same as Delivered Ex Quay (DEQ), except that the buyer and seller can specify delivery of the goods to a warehouse or other destination point. Seller must arrange for ground transport in the buyer’s country. Buyer bears responsibility for import customs duties.

This term is defined in the Incoterms® 2000 rules.  It has been eliminated in the Incoterms® 2010 rules, but the Incoterms® 2000 rules can still be used by contracting parties if they so agree.

See Also: Incoterms® rules

Compare: Delivered Duty Paid, Delivered Ex Quay, Delivered at Terminal, Delivered at Place

⊕ New in Incoterms® 2010 rules Delivered at Terminal (DAT) named place of destination –

An Incoterms® rule under which seller delivers goods to a named terminal in the destination country.  Buyer is responsible for import clearance and any further in-country carriage.  This term is one of two terms considered to be replacement terms for Delivered Duty Unpaid (DDU), which is eliminated from Incoterms® 2010.

See Also:  Incoterms® rules

Compare:  Delivered at Place, Delivered Duty Unpaid, Delivered Duty Paid

⊕ New in Incoterms® 2010 rules Delivered at Place (DAP) named place of destination –

An Incoterms® rule under which seller delivers goods to the buyer’s facility or another named location (other than a terminal) in the destination country.  Buyer is responsible for import clearance and any further in-country carriage.  This term is one of two terms considered to be replacement terms for Delivered Duty Unpaid (DDU), which is eliminated from Incoterms® 2010 rules.

See Also:  Incoterms® rules

Compare:  Delivered at Terminal, Delivered Duty Unpaid, Delivered Duty Paid

⊕ Unchanged in Incoterms® 2010 rules Delivered Duty Paid (DDP) named place of destination –

An Incoterms® rule under which seller (exporter) is responsible for all costs involved in delivering the goods to a named place of destination and for clearing customs in the country of import. Seller provides literally door-to-door delivery, including customs clearance in the port of export and the port of destination. Thus, seller bears the entire risk of loss until goods are delivered to the buyer’s premises. Full term is “DDP named place of destination.” Delivery takes place when exporter places goods at disposal of importer in city of delivery. There is no corresponding transportation document, although bill of lading is usually used. Used for any mode of transportation. Seller bears all risk and customs responsibilities until the goods are delivered to a specified location and clear import customs. Buyer assumes risk and title when the goods are delivered to the buyer’s specified location.

See Also: Incoterms® rules

Compare: Delivered Duty Unpaid, Ex Works, Free On Board (UCC), Delivered at Terminal, Delivered at Place

The single mode terms (which can only be used with waterway transportation) are:
⊕ Unchanged in Incoterms® 2010 rules Free Alongside Ship (FAS) named vessel at loading port –

An Incoterms® rule used only for maritime trade (transport by vessel) Under this arrangement, the supplier agrees to deliver the goods in proper condition alongside the vessel. The buyer assumes all subsequent risks and expenses after delivery to the pier. This term can only be used for waterway transportation. 

See also: Incoterms® rules

Compare: F.A.S – UCC

⊕ Unchanged in Incoterms® 2010 rules Free On Board (FOB) named vessel at loading port –

An Incoterms® rule used only for maritime trade (transport by vessel) under which responsibility for the shipment transfers from exporter to importer when shipment is loaded aboard the vessel. Seller must load the goods onto the ship. Centuries of maritime tradition says that the FOB point is the Ship’s Rail, also referred to as “Freight on Board.” This is the older maritime term of trade. If the freight falls while loading, however, it is the exporter’s responsibility if it lands on quay, but it is the importer’s responsibility if it lands on ship. The documentation of delivery is the ocean bill of lading or sea waybill. This term can only be used for waterway transportation.

See Also: Freight Collect, Incoterms® rules

Compare: Free On Board – UCC

⊕ Unchanged in Incoterms® 2010 rules Cost & Freight (CFR)  named port of destination

An Incoterms® rule under which goods are considered to be “delivered” (and buyer assumes risk of loss) when they pass the ship’s rail in the port of shipment.  The seller is responsible for clearing the goods for export and for costs and freight to bring the goods to the destination port.  This term can only be used for waterway transportation.

See Also: Incoterms® rules

Compare: C.&F. – UCC, C.I.F – UCC, CIF – Incoterm, Carriage Paid To

⊕ Unchanged in Incoterms® 2010 rules Cost, Insurance & Freight (CIF) named port of destination –

This Incoterms® rule is similar to Cost & Freight (CFR) where goods are considered to be “delivered” (and buyer assumes risk of loss) when they pass the ship’s rail in the port of shipment.  The seller is responsible for clearing the goods for export and for costs and freight to bring the goods to the destination port.  Under CIF the seller must also obtain marine insurance against buyer’s risk of loss or damage in transit.  This term can only be used for waterway transportation.

See Also: Incoterms® rules

Compare: C.&F. – UCC, C.I.F – UCC, Cost and Freight, Carriage Insurance Paid

⊕ Eliminated in Incoterms® 2010 rules Delivered Ex Ship (DES) named port

An Incoterms® rule under which seller’s delivery obligation is satisfied when goods are placed at buyer’s disposition on board a vessel at a designated destination port, not cleared for import.

This term is defined in the Incoterms® 2000 rules.  It has been eliminated in Incoterms® 2010 rules, but Incoterms®  2000 rules can still be used by contracting parties if they so agree.

See Also: Incoterms®  rules

Compare: Delivered Ex Quay

⊕  Eliminated in Incoterms® 2010 rules Delivered Ex Quay (DEQ) named port

An Incoterms® rule used for ship transport. Signifies that the seller is responsible for all risks and costs incurred to have the goods delivered and unloaded at a named port of destination. This includes the obligation to contract and pay for freight and transportation costs by sea or inland waterway, unloading fees, export and import licensing fees, and other taxes (unless specifically excluded in the contract). The buyer is obligated only to assist in obtaining any import license or other official authorization necessary to import the goods.

This term is defined in the Incoterms® 2000 rules.  It has been eliminated in the Incoterms® 2010 rules, but Incoterms®  2000 rules can still be used by contracting parties if they so agree.

See Also: Incoterms® rules

Compare: Delivered Ex Ship

⊕ Eliminated in Incoterms® 2010 rules Delivered at Frontier (DAF)

An Incoterms® rule under which seller’s delivery obligation is satisfied when goods are placed at buyer’s disposition on arriving means of transportation, cleared for export but not import, and not unloaded. Delivery takes place when the vehicle is placed at disposal of importer at designated border city. There is no specific documentation for transfer, although some carriers provide some. Used for any mode of transportation. Buyer acquires title, risk and responsibility for import customs clearance.

This term is defined in the Incoterms® 2000 rules.  It has been eliminated in the Incoterms® 2010 rules, but the Incoterms® 2000 rules can still be used by contracting parties if they so agree.

See Also: Incoterms® rules

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Reference: https://www.instituteforsupplymanagement.org/glossary/Glossary.cfm
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