Manuel Bruce Delbridge | Manuel Is Back...with friends

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World: South American Blues: Harmonica Blues Moods: Mood: Funny
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Manuel Is Back...with friends

by Manuel Bruce Delbridge

Wide variety, funny, and entertaining. Multiple artists, Blues, Latin, Bossa Nova, 60's rock. Good vocal harmonies, multi-instrumental. Great guitar music. Some instrumental.
Genre: World: South American
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  Song Share Time Download
clip
1. Can't Go To Work Anymore
Cielo Azul
3:36 $0.99
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2. Hot Chicken Soup
Cielo Azul
3:12 $0.99
clip
3. I Feel So Good
Cielo Azul
3:42 $0.99
clip
4. Nostalgia
Cielo Azul
4:28 $0.99
clip
5. Caraparicito
Cielo Azul
2:50 $0.99
clip
6. Sleepwalk
Cielo Azul
4:08 $0.99
clip
7. Moose Trax
Cielo Azul
3:41 $0.99
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8. Manha De Carnaval
Cielo Azul
5:06 $0.99
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9. La Lechera
Cielo Azul
3:41 $0.99
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10. Melody of Love
Cielo Azul
2:04 $0.99
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11. You Send Me
Cielo Azul
2:41 $0.99
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12. Recuerdos De Alhambra
Cielo Azul
3:12 $0.99
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13. Going to New York
Cielo Azul
3:43 $0.99
Downloads are available as MP3-320 files.

ABOUT THIS ALBUM


Album Notes
MANUEL IS BACK WITH FRIENDS

Biography


Drawing inspiration from a fascinating lifetime of musical experiences and the synergy of many of his talented longtime musical compadres, singer, songwriter and harmonica veteran Manuel Bruce (pronounced Broo-say) presents Manuel Is Back With Friends--an eclectic 13-track collection of vocals and instrumentals, originals and creatively arranged cover tunes that draws from numerous stylistic wells: folk/Americana, South American music and the classic rock he grew up on.

While it is Manuel’s fifth album overall, it’s the first time he’s worked with this brilliant ensemble of musicians and marks the first recorded collaboration between him and 30 year musical veteran Alejandro Diaz, his frequent collaborator of the past five years who plays guitar, mandolin and other stringed instruments. The set includes five of Manuel’s colorful original tunes (“Can’t Go To Work Anymore,” “Hot Chicken Soup,” the instrumental “Nostalgia,” “Caraparicito” and “La Lechera”) and dynamic new interpretations of Santo & Johnny’s “Sleepwalk,” the Sam Cooke classic “You Send Me,” the Brazilian classic “Manha De Carnaval” and “Recuerdos De Alhambra” (traditionally a solo classical guitar piece, here enhanced with mandolin and flute).

While he currently divides his time between homes in Fairbanks, Alaska and Tucson, Arizona, Manuel has a colorful history of performing for several years in Peru and later Bolivia, where he became something of a minor celebrity in La Paz and became the warm up act for—and later contributed a song to—the famous Bolivian group Los Payas. He later toured the U.S. with internationally renowned Bolivian charango artist Ernesto Cavour. There’s no song that sounds like the typical Andean piece on Manuel Is Back With Friends, but Caraparicito and La Lechera are typical of the tropical Bolivian Taquirari. Returning to Fairbanks after an extended time in South America, he helped create the Fairbanks Folk Festival (which has run for over 20 years) and formed several Latin music groups, including a Bolivian style quartet called Toyos which recorded two albums of Bolivian and Peruvian music.

The opportunity to record the album arose spontaneously when the owners of 10th Planet Studios, located in the deep woods of Fairbanks, Alaska and, appropriately, well off the beaten path, cut a deal with Manuel, a plumber by trade, for the extensive plumbing work he had done for them. Rather than pay him in cash, they offered him the chance to record there. Diaz, who performs with Manuel mostly in Tucson, happened to be visiting Alaska at the time and the timing to finally record seemed perfect. After recording tracks with Diaz, Manuel decided to invite many of his other friends to participate: guitarist Lindy Raines (of the Fairbanks blues band the Mighty Untouchables); San Diego based saxman Jim Abbey; renowned “Nashville picker” Robert Couch, who toured with Willie Nelson (he contributes the jaunty blues instrumental “Moose Trax” to Manuel Is Back with Friends); and blues singer and piano player Professor Paul, who cut his teeth in Chicago and played with Big Walter and other blues greats.

“The fact that I have stepped out in front as the lead dog on the team is a little different for me but a role that I have relished,” says Manuel. “I sing the lead on the first two songs because I wrote them, although Alejandro arranged “Hot Chicken Soup.” I also sing the lead on ‘Caraparicito’ and ‘La Lechera’ for the same reason but these two songs were released on previous albums. I left the lead singing to Lindy on ‘I feel So Good’ and Jim Abbey on ‘You Send Me’ and Professor Paul on ‘Going to New York’ because I liked their voices better on those tunes than mine. I sing harmony on all of the songs that I don't sing lead on and play harmonica, pan flute, or bass harmonica on every other tune. My picture is on the front cover but I know when to step back and let someone else lead. I think the album is a nice collection of music that I like and it's been a pleasure to work with all of the great performers that show up in the mix.”

Manuel considers this his most satisfying recording project to date because he feels it’s the best showcase yet for his strengths as a songwriter. He’s especially proud of the instrumental numbers, particularly ‘Nostalgia’ which he co-wrote with Diaz. The rich affinity for melody that he discovered in creating these tunes has inspired him to declare that in the future, he will only record songs that “have an interesting melody to wrap my head around.” His hope is that those who listen to Manuel Is Back With Friends will notice that these tunes are much more than two note songs with lyrics repeated over and over. Although “Nostalgia” is presented as an instrumental, he wrote lyrics to it after the melody was completed—a first. While he has some serious songs in the works, he is most at home writing sons that have a comic edge.

“I think this may be a new chapter in my creative life,” says Manuel. “My favorite part of the whole experience was just having the ability to go into the studio and take my time, work with so many incredible musicians and ‘tinker’ much more than I can ever do in a live performance. When I play live, I have the moment and hope it comes across as I wanted it to. In the studio, I have the unlimited ability to work on every detail until it’s just right and sounds the way I want it to.”


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