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(At least, that's how long ago I wrote some of this music)

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Proudly Presents

A Collection of Original Songs by

D. Glen Cardenas

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Now Available on Compact Disc

(That is to say: You let me know you want a copy and then I make one for you)

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Mv8itce4.gif (2148 bytes)Here's What The Critics Say:Mv8itce4.gif (2148 bytes)

You have a first-class winner here!

I figured it would be good, but I'm pleasantly surprised at exactly how great it is.

The compositions were quite varied, and took some elegant turns that I
didn't expect along the way. The many changes of structure, arrangement,
instrumentation, rhythm, and composition within each song kept everything
really interesting... It never gets boring.

The quality was *sparkling* throughout, with tasty effects, neither over-
nor under-done... I find it hard to believe that this was all done with really basic synth sounds.


John Bartelt - Composer, producer (Well, OK, so he's a friend of mine too. But he's a Ph.D. and works with Jon Anderson so he's no dummy - so there!)

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Over all I like it.

I think it started to get strong on selections 4 and 5.  As is typical of me I liked about 25% and the rest, eh.  But that is as good as most commercial albums.

Dave Hallock - Drummer who told Patty Smith that he would never stoop so low as to work for her. (That's class!)

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Nice toes, dude.

Ted Perlman, Buffalo Sound - Producer and noted foot fetish freak.

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The album sounds nice and clear.... Good work!

So far, my favorite is the Tone Poem..... But I'm enjoying it very much.
I hope you get lots of great responses to it!

Keni Fink, Deep Space Records - Producer, composer, guitarist (and he was feeling depressed that day)

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Track Titles and Notes

Track 1 - Time of Your Life 6:53

Written in 1985, the song has lyrics but this is an instrumental CD so the aren't included. It's about a kid who gets fed up with small town life and decides to move to the big city where he hopes to have "the time of his life".

Track 2 - I Can't Tell You (I Don't Love You Any More) 4:08

This 50s style song also has lyrics which are mostly nonsensical and meant to be sung in one's best Elvis voice. It too dates back to the mid 1980s.

Track 3 - That Digital Touch 3:53

The lyrics of this 1990 song are only in sketch form but are quite tasteless making reference to one's "hard drive" and "mouse buttons". The style is pure punk alternative with an organ solo that is vaguely reminiscent of the solo in In-A-Gadda-Da-Vida.

Track 4 - Broken Soul 5:56

There are no lyrics for this late 1980's song except for the "hook" part of the chorus. I just never got around to it. I think I like it as an instrumental with that gut wrenching mournful sax melody.

Track 5 - Daydreams and Nightmares 5:09

I used this song as the title track for my demo cassette of a few years ago. It is a simple "new age" sort of theme that grows a bit during each cycle until it climaxes into a drum and trumpet fanfare with fluttering strings panning back and forth. The theme of this cut is very old, perhaps dating back as far as 1981.

Track 6 - Pieces of Eight - Symphonet in G Major 9:17

I never gave this a title until I was about half way through recording this CD. The title of the CD came first and then I decided to extend the title to this work.

1) Fair Seas - Even though this movement is first, it was written last. In 1990 I developed only the string pulse and let it sit until 1997 when I actually wrote a piece around it.

2) The Queen's Bounty - This movement started out as a stand-alone "Symphonic Tone Poem" in 1989 and had no piano part at that time. Actually, the opening brass fanfare dates back to 1980 and was originally part of a keyboard opening for a jazz number that never got off the ground. The piano was added in 1990 when the first movement was written and this one was modified to join it.

Track 7 - A Good Start 8:15

This is a fairly new song. It developed rather quickly one night in 1998 from a brainstorm session at the keyboard. The three sax verses were written first and then a few days later I split them and inserted the piano solo. I think the song came from a memory of having enjoyed a Boney James concert that summer. In any event, it's meant to invoke his style.

Track 8 - How Many Times (Do I Have To Tell You) 4:00

There are lyrics to this song somewhere, but I didn't like them so I'm sure they'll be re-written at some point. There is a bit of a Latin flavor to this 1989 cut. The changes for the chorus came first and date back to about 1983 or so. They were so odd and hard to move from that it took several years of playing around with them before I hit upon the right verse structure to fit them.

Track 9 - Lord Knows You Make Me Blue 3:44

Another example of brainstorming at the keyboard with no particular direction in mind, this 1998 song sprang from the "gospel" sounding changes of the opening. After playing with that for a few minutes, the old "Blood Sweat and Tears" bug bit me and the song started to rock! The Gershwin lick at the end inspired the title and sooner or later I'll write lyrics for it.

Track 10 - Tone Poem for Guitar Duet and String Ensemble 5:22

1) Valerie's Theme

2) Interlude

3) Dawn in the Arms of my Lover

These three short melodies were inspired by and written for a lady I knew and was secretly in love with in the mid 1980s. Her name was Valerie Forstman. She was the very talented principal flutist for the Evansville Philharmonic Orchestra during the season I served as the orchestra's photographer and also one of my favorite models from that time when I was expanding my body of photographic work and mounting my first gallery showings. She never heard the tunes fully arranged but did play the melodies for me one afternoon so I could hear how they sounded. Originally scored for flute, harpsichord and string trio, the arrangement evolved to a keyboard/woodwind with strings grouping in 1990, then to its current form in 1999 for this CD.

Track 11 - It's Time You Knew 4:55

I started out with the chorus in 1984 and never took the song beyond that. In 1999 I composed a melody and verse structure but couldn't think of a chorus to put with it until I re-discovered this set of changes on an old brainstorming tape. I spliced the two together and the 15 year gap closed to form this song.

Track 12 - Third of Five 3:13

OK, I admit that the name for this 5/4 tempo song had something to do with the Borg. However, in my defense, the structure and melodic cycle date back to 1990. In 1996 I expanded on the theme and gave it this name. Resistance was futile.

Track 13 - It Doesn't Have to Be That Way 3:57

This is another example of writing a song inside out. Again I developed the chorus sometime in 1985 and came up with enough words to made up the title. The rest came in 1990. There are as yet no lyrics.

Track 14 - I'll Remember Her 3:34

This is my most recent song and was developed in early 1999 from a mood at the keyboard. It happened all at once. I can't say much more about it. Perhaps as time goes on I will discover more about what caused it to happen. I had a hard time coming up with a title, but one night I developed a snip of lyrics about a father remembering his little girl who is now the young woman at his side whom he's giving away as a new bride. Likely the lyrics will tell this story when I get around to finishing them.

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