Riders Of The Canyon or when the sum of the factors alters the product. Joana Serrat, Matthew McDaid, Victor Partido and Roger Usart together could only create a winning team. AND “Riders Of The Canyon” (Great Canyon, 23) makes it clear to us.
The idea of creating Riders Of The Canyon it began to take shape in 2017. It was the first anniversary of the Great Canyon record company, and already at that time, David Giménez dreamed of bringing together Joana Serrat and Victor Partido in the same project. Later Matthew McDaid and Roger Usart joined the equation. All of them are proven musicians who have attracted attention with their individual works on folk-rock albums that have been very well received by specialized critics. Somehow, a super group was being put together that now has its long-awaited debut album as its fruit. As a consequence of Joana Serrat’s constant trips to play anywhere abroad and record her albums in the United States, her contact list has grown. So much so that many of them have agreed to participate in the album and with Thus the quality of his recordings has gained even more integers. The list is breathtaking: John Morgan Askew (Sera Cahoone, The Delines) and, as Joana says, the boys from Denton (Joey McClellan, Mckenzie Smith, Jesse Chandler). “The truth is that I feel very fortunate for the human and professional richness that my artistic career has brought with it. I think that this link that united us, of reciprocal admiration, respect for all parties and, without a doubt, that they liked the songs and the project enough to get involved, has made it easier for them to want to be part of this album ”, comments Joana Serrat.
The disc start with “Master Of My Lonely Time” it has the indisputable stamp of each one of them, with that wall of guitars and those recognizable melodies. “I would have placed it second, but David wanted the cucumber starting the record, like ‘Smells Like Teen Spirit’, and not leave a puppet with a head. It is clear that it should be the first single ”, says Víctor Partido. “The truth is that both Joey and Mckenzie have me well taken measures [risas]. I composed the song on the piano and it had a slow and very melancholic tempo. Matthew suggested that we take it to The War On Drugs field and I thought it was a great idea. This is how I communicated it to McClellan and Smith and I was delighted with the result. As soon as the whole band heard it, the answer was unanimous that it had to be the first single… It seemed good to me. As for the tracklist, David can be very persuasive so I didn’t even stop to discuss it.” corroborates Joana Serrat. Although the most visible figure is La Serrat, the group starts from a very democratic concept. She demonstrates it with a record in which each song is a world. “For me it was important, and still is, not to carry the weight of the group and not monopolize too much vocal prominence. It’s not about everything being distributed mathematically, but rather that there’s no doubt about the fact that we’re a band, not another Joana Serrat individual project. When it comes to composing, each one brings their ideas and makes the proposal. We have agreed on the artistic approach and that is important. There hasn’t been any friction. I also believe that we have that great quality of loving, admiring and respecting each other. You see it in the studio and in rehearsals. How we talk to each other, the way we give our opinions. It is a luxury to be able to share this project with these musicians. I admire them a lot and learn a lot from them. Also, that it is always a festival of humor, there is not a single dull moment between us”Joana points out.
The spirit of The Traveling Wilburys hovers over “Sunrising”, a nod to his musical upbringing. “It’s not premeditated, obviously, but really Joey’s guitars and the production treatment take you back to that 1988 rock. My first vinyl record was that, so I have a very deep affection and respect for this album. David saw it – and gave it – a more Ryan Adams & The Cardinals approach..x has a patina of 70s country-folk, a facet that also suits them very well. “It was a time when I was fully discovering the world of seventies singer-songwriters like Townes Van Zandt, Guy Clark or Steve Earle. It’s clear that some of this roots energy seeped into my inspiration. In its essence it talks about taking advantage of the opportunities that life gives you and trusting in the natural course of the river that is this”, qualifies Matthew McDaid. While, “Sorrow Song” It is a beautiful siren song, a sweet whisper ideal to say goodbye to the album. “In my opinion it is an ideal climax to close the album. It’s a song that has something mystical and hypnotic, and I really like albums that end with slower and more evocative pieces, as if at the end they give you a breath of air, so that you end it relaxed and at peace. Ron Sexsmith uses this resource a lot on his records and it’s something I love ”, confirms Roger Usart. In a few songs the lyrics are signed by David Giménez, he is the fifth member in the shadows. “David is the soul behind the project. It is a personal and business bet of his, and for that same reason, eternal love for him. It’s no secret that David is also a great lyricist. And he has really good melody ideas. Plus, he knows how to see potential even when some or all of us don’t. So working with him is a must.” says Victor.