Bésame Mucho - Wikipedia
I'm Gonna Be ( Miles) by The Proclaimers · In A Big Country by . Wake Me Up Before You Go-Go by Wham! Wild Boys by . by Camila Mora · You Know It's About You by Magical Thinker, Stephen Wrabel Besame Mucho - Diana Krall. Lyrics to "Never Let You Go" song by Farruko: Farruko Mr Worldwide This will take over the Besame lento que prisa no hay I'm talking kurt cobain no one in there? Baby you know, this is speaking all'bout in the bahamas, baby you know. Random Artist · Random Album · Random Song · Random Translation · Song of the Day Someone else, I know my heart belongs to you. Tell me, how Things I know we can't deny Besame, besame como si fuera la ultima vez. Porque si (My love. Sometimes I'm afraid that I'm going to have to live this life without you.
We had a lot of fun and we ate tacos. Would you say your Mexican heritage played into the songs you wrote for Coco? Yes, in that a lot of the lyrics are Spanish-language.
But also just the fact that being of Mexican heritage and living with my Mexican family inspired a lot of the sentiments in the song. I would say definitely, that was an influence.
It played a huge role. I had all the memories, it was already in my DNA, it was in my head. I know the songs. And I had studied and performed a lot of Latin music in college, and I come to this as a performer as well as a composer. I just wanted to make it so people in Mexico would really like it. There was nobody translating for us. How, as a composer, can you make the music recognizably Mexican to somebody who might not have much experience with Mexican music, but still avoid musical cliches?
Use guitars that are for that particular style. Like in [the Mexican musical style] jarocho, we use a requinto and a jarana. Writing in a certain way, arranging it. Using the instruments from those specific styles.
We included multiple styles of music, and that helps. Then also, using Mexican musicians, the stylistic factor is important. I was the arranger and co-orchestrator with Jeff Kryka on the score. And one thing I did was take a melody and give it to a certain instrument. For example, I added a bass marimba on several pieces. A lot of the instruments in Mexico, they sound different than the instruments that are used in the studios here. So we made a real effort to get those instruments where possible - especially with the percussion section, we used some replicas of Aztec drums and indigenous shakers.
We had this fantastic musician named Pedro Eustache, who plays all the most amazing flutes. The lead guitarist we used was Federico Ramos. He's playing all the solos that you see or most of them, and he knows the styles. We had Abe Laboriel on bass. We had this trombone player named Francisco Torres who plays with Poncho Sanchez. Her dad was in the session.
Bringing the Dead to Life: The Music of Coco
I mean we really went all out to get the best session players, and a lot of them also play with Michael anyway. So it was fun. And Michael is really open, and I just enjoyed working with him. How do I emphasize what the character is feeling? What their challenges are? And to see him do the exact same thing but in a medium that has so much effect on what the audience feels…[adding music is] the point in the film where it improves the most in the shortest amount of time.
Because it happens at the end, and you add a whole new dimension to the storytelling that is unique and specific and will always be remembered as the voice of this film.
Cali y El Dandee - Besame lyrics + English translation
What was it like taking the same chords, melody and lyrics and transforming it to fit the different narrative in each situation? Oh it was fun. Basically, it was just different arrangements, different ensembles and textures, different guitar solos, different vocal parts.
I mean [the Lopezes] are both great writers so there was a lot to start with. Great melody, great harmony, nice vocal arrangement, so the orchestral arrangement, I just tried to make it over the top.
You see on the screen, hundreds of dancing women and lots of different ensembles. Leaving flexibility for the specific circumstances.
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This is something that I also bring with me from the filmmaking process. Those are all things that, as a storyteller, really is a whole new palette of colors to work with. Germaine, tell me about working with Adrian. In addition to being your lyricist, he was also a co-director.
It was such a nice partnership. He was very clear with his descriptions, and we would have long conversations with him and [Coco co-director] Lee [Unkrich] and [Coco producer] Darla [Anderson], and then Adrian would bring the lyrics to me and we would go back and forth. I did give him multiple versions of one song and he would say what he liked about it. Sometimes he would allow me to expand the song by repeating a lyric.
He was very open and flexible, and we somehow had a very natural way of working without thinking about it too hard.
I was already given a lot to work with. Did any of the songs evolve during the production process? For the songs that we wrote, we tried to craft them for specific stories and moments. Often times it was a very quick process from beginning to end.
And within the course of three months we would have a version to put into the screening to see if it worked for the story. All of a sudden, we needed to have a melody that expressed this journey that Miguel had gone on. Strongly worded statements about the plight of Central American immigrants at the border came from the mainstream, from Bruce Springsteen to country singer Willie Nelsonrapper Commonand Puerto Rico's Luis Fonsi and Ricky Martinamong many others. They joined the many Latinx musicians who have been challenging Trump's approach to immigration and immigrants ever since the real estate mogul was a candidate in the presidential campaign.
Earlier this month, Guatemalan musician Gaby Moreno lent her voice to the movement. Her shows in the United States are usually packed with fellow chapines, many of whom made the same arduous journey across the border that is central to the current debate. Moreno's upcoming album is a collaboration with iconic music producer and arranger Van Dyke Parks. The pair released the single " The Immigrants " on the Fourth of July to condemn the family separation policy, as well as what they call inhumane conditions in the detention centers.
Proceeds from the sale of the track and streaming from the video will go to Central American Resource Center of California [CARECEN]a nonprofit organization devoted to empowering Central Americans and all immigrants by defending their human and civil rights.
YouTube The song has a curious background: Written in by calypso performer David Rudder, it was penned in reaction to the infamous police beating of Haitian immigrant Abner Louima in New York City.
Moreno adapted some of the lyrics to reflect the more recent wave of immigrants from Central America. Another way to join the chorus of protest is to, well, actually play for a protest.
On a balmy late June afternoon, D. Bandleader Daniel Herrera says playing music for events like this is a deeply personal statement for all of its members. Tornillo is also home to the Sonic Rancha five-studio residential recording complex that sits among 40 acres of pecan trees.
It is a favorite of many Texas musicians, including David Garzawho was at the Sonic Ranch working on some recordings when a spontaneous demonstration at the holding facility quickly became part of the national dialogue.
Garza says he grabbed a guitar and headed out to join the folks protesting. YouTube "I was strangely the only musician out there with all the other people," Garza says. It was an honor to represent music like that. Kiss me, kiss me many times As if this were our last night together Kiss me, kiss me many times Because I am afraid to love you and then lose you Infolk singer Woody Guthrie directly addressed the Mexican immigrant experience in a song about a plane crash in Central California that killed 28 migrant farm workers who were being deported back to Mexico.