Pete York´s New York – What´s The Racket (1981)

FrontCover1After four years with the jazz-focused Chris Barber Band, drummer Pete York departed to form his own group, recruiting bassist Steve Richardson, Mel Thorpe on horns and woodwinds, and synth/keyboardist Roger Munns. Signing to the German Teldec label, the band released four Germany-only albums, kicking off with its 1980 debut, Into the Furnace, produced by Thomas Martin.

York’s time with Barber was well spent; it gave the drummer his first opportunity to play in a jazz ensemble, an experience he wasn’t ready to leave behind just yet. Thus, much of Into the Furnace is jazz-inspired, although with ribbons of rock and R&B streaming through, the band creates a hybrid sound far removed from the fusion most groups parleyed when crossing these genres.

Here´s the scond album by Pete York´s New York … and it´s another highlight in the long career of Mr. Superdumming Pete York:

You can hear one of the few Pete York compositions “What´s The Racket” … a hell of of jazz-rock tune …

And his “Chicken Chasing Charlie” is indeed a remake of his “Extension 345” from the third Hardin & York album “For The World” (1972)

“Pamplona” is a very fine acoustic guitar track, somposed and playd by Steve Richardson.

And Mel Thorpe was a monster on his instruments … listen to his saxophone and flute (“Segura Samba”)

Pete York´s New York was one of the best periods in Pete York´s career … a criminally underrated jazz group …

I gues this album was never released on CD … so … listen to one af the rarest Pete York recordings.

PeteYork01

Pete York – Steve Richardson – Roger Munns

 

Personnel:
Roger Munns (keyboards, synthesizer)
Steve Richardson (bass, guitar)
Mel Thorpe (saxophone, flute, clarinet)
Pete York (drums, percussion)

BackCover1
Tracklist:
01. What’s The Racket (York) 3.52
02. Segura Samba (Thorpe/Munns) + Pamplona (Richardson) 7.43
03. Seguidillas Gitanas (Thorpe/Munns) 3.38
04. Hobgoblin (Thorpe/Munns) 2.51
05. Happy (Richardson) 3.21
06. Lucky For Some (Thorpe/Munns) 4.20
07. Chicken Chasing Charlie (York) 10.21

LabelB1
*
**

PeteYork02

Advertisements

Greg Lake (feat. Gary Moore) – In Concert (1995)

FrontCover1King Biscuit Flower Hour Presents Greg Lake in Concert is a live album recorded by Greg Lake live in concert on November 5, 1981. It was recorded at the Hammersmith Odeon in London, England and aired on the King Biscuit Flower Hour radio broadcast. It was first released on CD in 1995. Recording mastered at PolyGram Studios. The CD was mastered at Dolphin Studios.[2]King Biscuit Flower Hour Presents Greg Lake in Concert is a live album recorded by Greg Lake live in concert on November 5, 1981. It was recorded at the Hammersmith Odeon in London, England and aired on the King Biscuit Flower Hour radio broadcast. It was first released on CD in 1995. (by wikipedia)

The show captured on King Biscuit Flower Hour (In Concert) (1996) was recorded circa Greg Lake’s 1981 self-titled debut, and features Lake (guitar/bass/vocals) leading an impressive backing combo with Gary Moore (guitar), Ted McKenna (drums), Tommy Eyre (keyboards), and Tristian Margetts (bass). The set originated as a King Biscuit Flower Hour broadcast from the Hammersmith Odeon in London on November 5, 1981. During this time, Lake was on an extended hiatus from Emerson, Lake and Palmer (ELP), and issued a pair of solo efforts.

AFrontCover

Alternate FrontCover

As such, the play list is heavy on Greg Lake(1981) material from the first of these. Standouts among the lot are the slightly synth sounding “Retribution Drive,” and the edgy-’80s power rockers “The Lie” and “Nuclear Attack.” Also worth mentioning is the upbeat and agile “Love You Too Much,” which Lake actually co-wrote with Bob Dylan. Likewise, there are classics dating back to the King Crimson sides — “21st Century Schizoid Man” and “In The Court Of The Crimson King” — from Lake’s brief tenure in the band. The unit heard here is not as lean as the ELP version, and both “Fanfare For The Common Man” and “Karn Evil 9” prove just that, as the arrangements lumber along in places. However, in terms of sheer musicality, the acoustic side, “Lucky Man,” is arguably the highlight in its simplicity. For enthusiasts looking for a passable anthology, From the Beginning: Retrospective (1997) is a good place to start. From the Underground: The Official Bootleg (1998) is a perfect companion, as it features essential stops in Lake’s live legacy. (by Lindsay Planer)

GregLake

Personnel:
Tommy Eyre (keyboards, vocals)
Greg Lake (vocals, guitar)
Tristram Margetts (bass)
Ted McKenna (drums)
Gary Moore (guitar, vocals)

Booklet04A

Tracklist:
01. Fanfare For The Common Man – Karn Evil 9 (Copland/Emerson/Lake/Sinfield 6.10
02. Nuclear Attack (Moore) 5.46
03. The Lie (Benyon/Eyre/Lake) 4.34
04. Retribution Drive (Benyon/Eyre/Lake) 5.41
05. Lucky Man (Lake) 4.50
06. Parisienne Walkways (Lynott/Moore) 6.03
07. You’ve Really Got A Hold On Me (Robinson) 5.25
08. Love You Too Much (Dylan/Lake/Springs) 5.03
09. 21st Century Schizoid Man (Fripp/McDonald/Lake/Giles/Sinfield) 9.07
10. The Court Of The Crimson King (McDonald/Sinfield) 5.40

CD
*
**

Los Jaivas – Alturas de Machu Picchu (1981)

FrontCover1What would it sound like if you combined symphonic prog with Andean folk influences? Well, “Alturas De Macchu Picchu” by Los JAIVAS answers that question. This album is an incredible find for anyone who enjoys both progressive rock and traditional Peruvian, and Chilean, folk music. If you can imagine electric guitars, bass, drums, piano, and the Moog interacting with instruments like the cuatro, quena, and zamponia then you’re in for a treat. “Alturas…” combines epic-length symphonic prog tracks, with shorter traditional Andean songs. In my opinion, the keyboardist really stands out when playing acoustic piano. He tends to mix pentatonic-based melodies with local rhythms, yet those melodies sound closer to Chinese classical folk more than American blues, or Eastern European folk. His style is unique in the world of rock. The other musicians are equally impressive, but I think most listeners will focus in on the excellent vocals. Anyway, this is one of the top 5 prog rock albums to come out of South America. (by Steve Hegede)

“Alturas De Macchu Picchu” (The Height Of Macchu Picchu) is a brilliant blend of Andrean folk and progressive rock music styles. Essentially Los JAIVAS have taken traditional Peruvian / Chilean folk music and blended it with a heavier Progressive rock style (moogs, guitars, drums…). The end result is something you have never heard before but will definitely learn to love quickly. Lead singer Gato Alquinta has an amazing voice and can really belt it out without ever sound overly overbearing. His vocals are sung of course in Spanish and are done so with high degree of romanticism not unlike many of the Italian prog greats. The band houses 2 keyboardists but are surprisengly not the most dominant aspect of their music and instead ensures the music remains symphonic. A couple of songs are pure Chilean folk but blend beautifully against the more symphonic pieces throughout. Without a question progressive fans will fall off their chair when they hear “La Poderosa Muerte” an 11 mins piece of progressive rock magic. A great album for sure…! (by loserboy)

Los Jaivas

And all they lyrics were written by Pablo Neruda:

Pablo Neruda was the pen name and, later, legal name of the Chilean poet-diplomat and politician Ricardo Eliécer Neftalí Reyes Basoalto (July 12, 1904 – September 23, 1973). He derived his pen name from the Czech poet Jan Neruda. Neruda won the Nobel Prize for Literature in 1971.

Neruda became known as a poet when he was 10 years old. He wrote in a variety of styles, including surrealist poems, historical epics, overtly political manifestos, a prose autobiography, and passionate love poems such as the ones in his collection Twenty Love Poems and a Song of Despair (1924). He often wrote in green ink, which was his personal symbol for desire and hope.

Pablo Neruda2The Colombian novelist Gabriel García Márquez once called Neruda “the greatest poet of the 20th century in any language.” Harold Bloom included Neruda as one of the 26 writers central to the Western tradition in his book The Western Canon.
On July 15, 1945, at Pacaembu Stadium in São Paulo, Brazil, Neruda read to 100,000 people in honor of the Communist revolutionary leader Luís Carlos Prestes.

During his lifetime, Neruda occupied many diplomatic positions and served a term as a Senator for the Chilean Communist Party. When President González Videla outlawed communism in Chile in 1948, a warrant was issued for Neruda’s arrest. Friends hid him for months in the basement of a house in the port city of Valparaíso. Later, Neruda escaped through a mountain pass near Maihue Lake into Argentina.
Years later, Neruda was a close advisor to Chile’s socialist President Salvador Allende. When Neruda returned to Chile after his Nobel Prize acceptance speech, Allende invited him to read at the Estadio Nacional before 70,000 people.

Neruda was hospitalised with cancer at the time of the coup d’état led by Augusto Pinochet but returned home after five days when he suspected a doctor of injecting him in the stomach with an unknown substance for the purpose of murdering him at the order of Pinochet.[7] Neruda died in his house in Isla Negra on 23 September 1973 six and a half hours after that injection. Although it has always been reported that he died of prostate cancer or heart failure, on November 5, 2015 the Interior Ministry of the Chilean government issued a statement acknowledging a Ministry document from March of that year indicating the government’s official position that “it was clearly possible and highly likely” that he was killed as a result of “the intervention of third parties”.

Pinochet, backed by elements of the armed forces, denied permission for Neruda’s funeral to be made a public event. However, thousands of grieving Chileans disobeyed the curfew and crowded the streets.

Pablo Neruda

Pablo Neruda

Personnel:
Gato Alquinta (vocals, guitar, bass, cuarto, zampona, quena, ocarina)
Mario Mutis (bass, guitar, zampoña, quena, vocals)
Claudio Parra (piano, synthesizer, harpsichord)
Eduardo Parra (piano, synthesizer, tarka)
Gabriel Parra (drums, percussion, xylophone, trutrucas, tarka, vocals)
+
Patricio Castillo (quena on 04,, tarka on 05.)
Alberto Ledo (all instruments on 01.)

BackCover

Tracklist:
01. Del aire al aire (Instrumental) (Ledo) 2.15
02. La poderosa muerte (Los Jaivas – Pablo Neruda) 11.08
03. Amor americano (Los Jaivas – Pablo Neruda) 5.26
04. Aguila sideral (Los Jaivas – Pablo Neruda) 5.20
05. Antigua America (Los Jaivas – Pablo Neruda) 5.37
06. Sube a nacer conmigo hermano (Los Jaivas – Pablo Neruda) 4.48
07. Final (Los Jaivas – Pablo Neruda) 2.34

LabelA1
*
**

Los Jaivas2

Various Artists – Reading Rock – Volume One (1982)

lpfrontcover1The twenty second festival possibly had a more attractive lineup than 1981, at least if one was a heavy rock devotee. The inclusion of hard rock guitar stalwarts Gary Moore, Randy California, southern rockers Blackfoot and erstwhile pub rockers Dave Edmunds and Wilko Johnson gave the lineup spine that was missing from the previous year.

   The headliners were also a tad more prestigious. The Scorpions/UFO former lead guitarist Michael Schenker, whose repertoire veered into the sort of metal jazz/rock territory inhabited by Jeff Beck- as well as delivering more predictable hard rock fare -gave Sunday night a touch of class .
   Budgie and Iron Maiden were guaranteed to deliver an exciting hard rock show, regardless of whether one thought of them as innovators within the genre or not. Maiden’s credentials were reinforced by the presence of Bruce Dickinson , the erstwhile Samson lead vocalist , who had taken over the vocal spot from Paul Di’Anno .
   All three of these artists were recorded by the venerable BBC and broadcast on the Radio One Friday night rock show in 1983 .
ironmaiden
Iron Maiden
Once again, Reading delivered a mid range experience for the punters , no top end acts like Pink Floyd or the Stones which needed a mega crowd to return the organisers a profit, but a solid workmanlike bill that would leave the attendees satisfied in the main . This was what Reading was about at the time, but the formula was about to change , as 1983 would be the last Reading for several years, at long last , the never ending story was about to come to a ( temporary ) stop (by ukrockfestivals.com)
It is strange that Mean Records chose to include a couple of tracks that weren’t actually from the 82 Festival – Whitesnake’s recording was from the 79 Festival and UFO’s from 1980. Yet, they neglected to include tracks from bands that did perform like – Iron Maiden, Gary Moore and Tygers of Pan Tang. Below is the (almost) correct running order of the 1982 Reading Festival, taken from the official festival program. Perhaps they had intended to release a Volume Two (based on the name for this release – Volume One) but as far as I can gather this did not happen. (by Mr. AussieRock)
michael-schenker
Michael Schenker
I add ten more songs from this great Festival (thanks to rockonvinyl.blogspot.de)
lpbooklet1
Tracklist:
01. Whitesnake:  Walking In The Shadows Of The Blues (Coverdale/Marsden) 4.40
02. Terraplane: I Want Your Body (Morley)  5.47
03. Marillion: He Knows You Know (Marillion) 4.46
04. Jackie Lynton: Slow Rider (Lynton/White) 4.46
05: Budgie: Superstar (Shelley/Thomas) 4.07
06. Bernie Marsden: S.O.S. (Marsden/Hawthorn) 4.42
07. Chinatown: I Wanna See You Tonight (Chinatown) 3.58
08. Randy California:  Come On Woman (California) 4.07
09. Stampede: There And Back (L.Archer/R.Archer/Bond) 5.44
10. Twisted Sister: Shoot ‘Em Down (Snider) 5.07
11. Michael Schenker: Attack Of The Mad Axeman  (Schenker/Barden) 4.31
12. Marillion: Three Boats Down From The Candy (Marrilion) 4.40
13. Terraplane: Turn Me Loose (Morley) 4.13
14. Just Good Friends: You Really Got Me (Davies) 4.27
15. UFO: Hot And Ready (Schenker/Mogg) 3.25
16. Budgie: Panzer Division Destroyed (Shelley/Thomas) 6.20
17. Grand Prix: Keep On Believin’ (Lanzon/O`Donoghue) 5.10
18. Spider: All The Time (Burrows/Harkness) 4.07
19. Chinatown: Caught On The Wrong Side (Chinatown) 4.24
20. Jackie Lynton; Hedgehog Song (Lynton) 4.57
+
21. Gary Moore: Nuclear Attack (Moore) 5.27
22. Iron Maiden: Wrathchild (Harris) 3.32
23. Praying Mantis: Nightmares (C.Troy/Potts/Carroll/T.Troy) 3.01
24. Tygers Of Pan Tang: Blackjack (Tygers Of Pan Tan) 3.04
25. Y&T: Black Tiger (Kennemore/O´Conner/Rush/Haze/Alves/Meniketti) 4.14
26. Gary Moore: Parisean Walkways (Lynott/Moore) 5.25
27. Iron Maiden Tush (Beard/Gibbons/Hill) 6.05
28. Praying Mantis: Flirtin’ With Suicide (C.Troy/Potts/Carroll/T.Troy) 5.28
29. Tygers Of Pan Tang:
Slave To Freedom (Cox/Dick/Weir) 5.18
30. Y&T: Forever (Kennemore/O´Conner/Rush/Haze/Alves/Meniketti) 5.47
concertposter2

Eddie Hardin – Circumstantial Evidence (1982)

frontcover1Taken from the original liner notes of a reissue, published in 1998 by Angel Air Records:

In 1967, the successful R&B combo the Spencer Davis Group lost their key member Stevie Winwood who went on to form Traffic. He was replaced by the then completely unknown Eddie Hardin.

Straight out of school and only 18 years old Eddie was already showing signs of becoming a true master off mighty Hammond organ. He had a strong and bluesy voice, and he could also write good songs. A brief spell with the Mod group, The Wild Uncertainty, had produced the impressive single “Man With Money”. It seemed destined that Eddie Hardin would not only fill out the empty hole left by Winwood but also create a completely new image for Spencer Davis and his cohorts. Their first album featuring Eddie Hardin was titled “With Their New Face On”. There was also a string of brilliant and innovative singles such as ‘Mr. Second Class’ and ‘Time Seller’ which became huge hits, particularly on the Continent. Following, this, however, there were disagreements of various kinds and it wasn’t long before Eddie had left the group along with drummer Peter York.

They both embarked on a year or so of working separately as session musicians, playing in lesser known line-ups and for Eddie’s part, writing songs, before getting together again to form organ/drums duo Hardin & York – billed as “The World’s Smallest Big Band”.

Hardin & York were darlings with the press overnight. To those who refused to believe in the idea of an organ/drum duo the advice would quite simply be, “hearing is believing”. Perhaps the most incredible thing was that all this sound, though it obviously grew out of very high musicianship, was completely rid of empty flamboyance and the tendency to overstate.

Peter York was a jazz drummer, heavily into Buddy Rich. Eddie Hardin also had an affinity for jazz but furthermore had a background in classical music. Obviously, they complimented each other well.

From the outset, Hardin and York were destined to become press pets, a musicians’ act – and wildly popular on the Continent, where they scored a number of huge hits and toured large venues. During their brief but immensely successful career is a duo (1969-71), they recorded three magnificent studio albums: “Tomorrow Today”, “The World’s Smallest Big Band” and “For The World”. Since then a compact disc of live performances and unreleased demos has been released under the title, “Live in Europe”.

Both Eddie and Pete embarked on solo projects during 1971. Eddie Hardin released a solo album in 1972, “Home Is Where You Find It”, but they were soon seen working together again in the reformed Spencer Davis Group. After that lineup folded, Pete York was particularly active and successful as a studio musician. He moved to the Continent and worked several years for German television as a creative manager.

eddie-hardin2

Eddie Hardin got involved with ex-Deep Purple bass player Roger Glover and his “Butterfly Ball” project. Eddie co-wrote “Love is all”, the beautiful song which went hand in hand with an equally charming cartoon and became a huge hit all over the world. At one time it was the best-selling record in Holland ever, and went recently re-released it became a huge hit in France. The song is presented here in the form of a rare demo!

Eddie also wrote and produced the first “Wizards Convention” album and worked as a producer for Iris Williams and Mike D’Abo. A number of highly successful solo albums in the New Age genre established his name in Japan during the 1980s, where he also released the “Wizards Convention 2” album in 1995 (now available in the rest of the world as SJPCD009). He currently lives in France. Still active is a composer, keyboard player and singer he has written a musical score for “The Wind In The Willows”, which was broadcast by German television in the ’80s.

This current release, recorded in 1982, is Eddie Hardin’s second solo album. Eddie chose to make an album in perhaps the most difficult of styles. Like some of Paul McCartney’s solo efforts (and there is certainly a McCartney inspiration here) this is in album with the words “recorded at home” written all over it. Luckily Eddie was more or less living in a recording studio at the time, so the sound quality is perfect. However, there’s an intense “living room” atmosphere about this record which – along with its highly demanding “less is more” attitude, its precision in playing and arranging – makes it stand out.

Paul McCartney started the ball rolling in this department and there certainly are lots of fine gems to be found hiding on his solo records. However, none of his albums are as consistent and artistically successful as Eddie Hardin’s “Circumstantial Evidence”. No wonder this is Eddie’s own favourite among all the LPs he has made! (by Claes Johansen)

A very laid-back album by one of my favourite keyboards players …

And … the wonderful frontcover was drawn by the daughter of Eddie Hardin, Emma Elizabeth Hardin at the the age of three !

Recorded at Herne Place Studios 1981/82
All bonus tracks were recorded prior to Circumstantial Evidence
Produced by Eddie Hardin, Roger Glover & John Acock

eddie-hardin

Eddie Hardin (19 February 1949 – 22 July 2015)

Personnel:
Bimbo Acock (saxophone)
Ray Fenwick (guitar,vocals)
Mo Foster (bass)
Roger Glover (guitar,bass,keyboards,vocals)
Kim Goody (vocals)
Eddie Hardin (keyboards,bass,vocals(
Michael O’Donnell (bass)
Mickey Lee Soule (vocals)
Rob Townsend (drums)
Pete York (drums)

backcover1

Tracklist:
01. Little Teaser (Gosling/Hardin) 3.28
02. Mine Tonight (Hardin) 3.06
03. Maybe I’m Amazed (McCartney) 4.21
04. That’s What The Lady Said (Hardin) 2.51
05. Long Tall Sally (Blackwell/Johnson/Penniman) 3.35
06. California (Hardin) 3.33
07. It Won’t Be Long (Lennon/McCartney) 3.46
08. Universal Dream (Fenwick/Hardin) 4.07
09. Maybe Baby (Fenwick) 3.53
10. Mess Of Blues (Pomus/Shuman) 3.15
+
11. Accidental Instrumental (Glover/Hardin) 3.03
12. Strawberry Fields Forever (Lennon/McCartney) 3.58
13. Isolated Lady (Glover/Hardin) 2.58
14. Love Is All (demo version) (Glover/Hardin) 3.06
15. Move In The Right Place (Hardin) 3.11
16. Resurrection Shuffle (Ashton) 3.21
.labelb1

*
**

heren-place-studios
Herne Place Studios, Sunningdale, Berkshire, England

 

Jorge Ben – Bem-Vinda Amizade (1981)

FrontCover1Jorge Duilio Lima Menezes (born March 22, 1945), known as Jorge Ben Jor, is a Brazilian popular musician. His characteristic style fuses samba, funk, rock and bossa nova with lyrics that blend humor and satire with often esoteric subject matter. Some of his hits include Chove Chuva, Mas Que Nada, Ive Brussel, Balança Pena, among others, and have been interpreted by artists such as Caetano Veloso, Sergio Mendes, Miriam Makeba, and Marisa Monte. (by wikipedia)

1981’s Bem-Vinda Amizade, which translates to “Welcoming Friendship”, is another one of Jorge’s dialed-in albums. On this album he tunes into the new post-disco and incoming electronic R&B sound of the ’80s. Now, 20 years into his career, its simply amazing to hear him not lose one iota of inquisitiveness and inventiveness. The album starts with the great Carnaval track of “O Dia que o Sol Declarou seu Amor pela Terra” setting you up for the party atmosphere of the album. This is an album that demands of the body not the swivel of the neck but the gyrating of the limb and hip.

Using all of his previously created styles, he propels forward in sound with “Santa Clara Clareou” a track that finds a way to create a spacey electronic samba disco-funk that sounds both mystical and soulful. “Oe Oe Faz o Carro de Boi na Estrada” continues to create a new sound that was touched on in Remain in the Light the sound of alternative dance music that could both stimulate the booty and entrance the mind, much of that owed to the incredibly undated way both Jorge and the Talking Heads knew how to arrange electronic and acoustic instruments. Much of the album finds Jorge seeding his unique rhythm to different instruments, check out the slinky funk of the next track “Era uma Vez um Aposentado Marinheiro” driven by an electric piano, or the torrid “Lorraine” placating its groove with a Moog synthesizer pawing and holding dearly his rhythm playing.

JorgeBen01

“Curumin Chama Cunhata que eu Vou Contar (Todo Dia era Dia de Indio)” which starts of the second side explores the sound of Parliament with his own Samba-disco. Its a genius track, check out the synthesizer background just expanding/contracting behind him…all the while he injects dub-style vocals here and there when he chants through the chorus. Damn, even at this state in the game he was showing younger groups how deep the groove can go. And boy does the groove continue. After this, the marvelous phased-out beauty of “Katarina, Katarina” continues with its Isley Brothers trapped in Pernambuco sound. The roof-raising hand clapper “Ela Mora em Matogrosso Fronteira com o Paraguai” follows with its undeniable drum and bass pendulum rhythm. This tempo sets you up for the secretly best track of the album, “Para que Digladiar” an ode to letting go and forgiving yourself or others if all you want to do is dance awhile. Out of love, devotion and surrender, isn’t surrendering to the soul the most important?…

Anyway, this masterful album continues to find ways to brighten up any day. On some days, maybe days that are grayer than most, it seems like ray of lights peeking through the clouds, bringing the promise of a brighter day. On some days, when the sun is blazing hot, and the coolness of a breeze soothes the body, it tempers the heat. Symbolically, for Brazil writ-large, with the ending of its dictatorship and new promise, you could say it was welcoming this new start and providing some sonic guidance with how to deal these new feelings. The limbs and feet, would now be able to dictate where the mind couldn’t follow before… (by Jesus Diego Olivas)

JorgeBen02

Personnel:
Chiquinho do Acordeon (accordion)
Jorge Ben (violao, vocals, guitar, percussion)
Roberto Dargbli (bass)
Pena, Miss Lynn (drums)
Mu (keyboards)
Lincoln Olivetti (organ)
Serginho (trombone)
Bomba Sjostedt (keyboards)
+
percussion:
Nenem – Bidu – Luiz Carlos – Cowbel – Joaozinho – Luizinho – Naila
+
A Banda do Ze Pretinho (choir)
As Gatas (choir)
(choir)
Jane Duboc – Guilherme Lamounier – Sonia Bournier – Robinson Jorge (choir)
+
Luiz Wagner (guitar on 10.)

BackCover1

Tracklist:
01. O Dia Que o Sol Declarou o Seu Amor Pela Terra 3.48
02. Santa Clara Clareou 3.31
03 – Oé Oé (Faz o Carro de Boi na Estrada) (Jorge Ben / Augusto de Agosto)
04 – Era Uma Vez Um Aposentado Marinheiro (Jorge Ben)
05 – Lorraine (Jorge Ben)
06 – Curumim Chama Cunhantã Que Eu Vou Contar (Todo Dia Era Dia de Índio) (Jorge Ben)
07 – Katarina Katarina (Jorge Ben)
08 – Ela Mora Em Matogrosso Fronteira Com o Paraguai (Jorge Ben)
09 – Para Que Digladiar (Jorge Ben)
10 – Luis Wagner Guitarreiro (Jorge Ben)

All songs written by Jorge Ben

LabelB1
*
**

Silver Condor – Same (1981)

FrontCover1.JPGSilver Condor was an Album Oriented Rock (AOR) band in the early 1980s. They released two albums, Silver Condor (1981) and Trouble at Home (1983). They made their only Billboard Hot 100 appearance with a track off their first album, “You Could Take My Heart Away,” which reached #32 in 1981.

The band’s line-up shifted considerably between their first and second albums, with lead singer Joe Cerisano being the only constant member. The first incarnation of the band also featured the renowned guitarist Earl Slick. The second album featured well-known bassist Kenny Aaronson as well as future Autograph frontman Steve Plunkett on rhythm guitar. (by wikipedia)

This is one of those underrated classics in the genre of early 80’s AOR/Radiorock. Not many people know of this record and the high quality of the music on it. SILVER CONDOR was formed by a bunch of New Yorkers who all had their success in different bands.

The leaders of the band were guitarist Earl Slick and vocalist Joe Cerisano. The latter had a brilliant voice that is similar to Michael Bolton (when he was into AOR and especially during his Blackjack time). Musically the radiorock was also in the same direction as Blackjack. Besides Earl and John also ex-Babys keyboardist/guitarist John Corey, drummer Claude Pepper (session player) and ex-Axis bassist Jay Davis completed the line-up of Silver Condor on their debut.

The album was produced by Mike Flicker (Heart) and they just couldn’t go wrong on their same titled debut album that was released in 1981 on CBS Records. Like I said this album is a classic in the genre of early 80’s AOR/Radiorock. A lot of comparisons can be made when listening to the 10 songs.

The first 3 songs are all classics. “For the sake of survival”, “Angel eyes” and “Sayin’ goodbye” are such terrific polished early 80’s uptempo aor/radiorockers and are all similar to acts like AXE, SHERBS, BALANCE, PREVIEW, JOURNEY, MAYDAY, early SURVIVOR, STEEL BREEZE… The songs have got it all, classy keys, beautiful and very melodic lead and harmonyvocals, great guitarsolo’s of Earl and those memorable choruses. Pure Radiorock that was very popular in the US about 15 years ago. It is easy to listen to and very suitable to play in your car.

SingleFront+BackCover

After these 3 classics, we can hear a southern AOR ballad “Carolina” that is quite sounding like BLACKJACK. The closing track on side-A is “The one you left behind” and this is the classic Radiorocksound again. Side-B opens with “We’re in love” that carries a lot of the Dave Bickler SURVIVOR sound with it. Classy paino-keys open the next track “You could take my heart away”. A fantastic semi-AOR-ballad that reminds me of FRANKE & THE KNOCKOUTS on their 2nd album.

Track number 3 of side-B titled “It’s over” has got that Radiorock feeling again, those harmonyvocals are so perfect and the song is right up there with AXE and early SURVIVOR. The last 2 songs of the LP are the least interesting, but still from a good source. “Standin’ in the rain” is like “Carolina” on side-A and closing track “Goin’ for broke” is more sounding like AUTOGRAPH going Radiorock. The latter is being compared to Autograph, due to the fact that their leader STEVE PLUNKETT wrote it.

‘Silver condor’ was a true classic in the aor/radiorock genre and must be in the collection of every fan of this genre.  (by strutteraor)

BackCover1

Personnel:
Joe Cerisano (vocals)
John Corey (keyboards, guitar)
Jay Davis (bass)
Claude Pepper (drums)
Earl Slick (guitar)

Inlet01A

Tracklist:
01. For The Sake Of Survival (Cerisano) 3.24
02. Angel Eyes (Cerisano/Slick) 3.30
03. Sayin’ Goodbye (Cerisano/Lesley) 3.42
04. Carolina (Nobody’s Right, Nobody’s Wrong) 5.22
05. The One You Left Behind (Cerisano/Louther) 3.07
06. We’re In Love (Cerisano) 3.07
07. You Could Take My Heart Away (Corey) 3.52
08. It’s Over (Cerisano/Slick) 3.01
09. Standin’ In The Rain (Cerisano/Swetra) 3.44
10. Goin’ For Broke (Cerisano/Slick/Plunkett) 4.13

LabelB1

*
**