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Al Gorgoni, Trade Martin & Chip Taylor – Gorgoni Martin & Taylor (1972) (24/96 Vinyl Rip)

Posted By: boogie-de
Al Gorgoni, Trade Martin & Chip Taylor – Gorgoni Martin & Taylor (1972) (24/96 Vinyl Rip)

Al Gorgoni, Trade Martin & Chip Taylor – Gorgoni Martin + Taylor (1972)
XLD Flac 24Bit/96kHz = 765 MB | Mp3 VBR0 16Bit/48kHz = 82 MB | Scans 400 dpi jpg | RAR
Vinyl LP | Buddah BDS 5113 | Folk Rock | USA

3 of the best songwriters, arrangers and musicians of the New York music scene have united for this record. Listen carefully, there are so many splendid ideas hidden in the arrangements of these songs. Excellent sound from a mint record, with the frequency analyzer you can even see (and your dog can hear) the 22 kHz signal used to synchronize the tape machines – even in the 16Bit/48kHz mp3 files.

From the biography on Al Gorgoni's website:
Al Gorgoni's high school friend, Bobby Sandler, was writing songs and performing them with his cousin, Micky Vil, their manager was willing to finance a demo session. Bobby asked Al to play on the demo. Thus, in 1959, Al lugged his amp and guitar on the subway to Allegro Studios at 1650 Broadway. This section of Broadway was to become known as the ‘Brill Building scene’, the heart of the music business in New York. After the session, they ran into Rusty Evans, a songwriter, who suggested that Bobby and his cousin take their demo to a publishing company in the building who were in search of new talent. About a week later, the phone rang and Bobby, with unrestrained glee, told Al: "They want to sign us, and they want to sign YOU too!!!"
As it turned out the company was owned by none other than Al Nevins and Don Kirschner. Al Nevins, who was also a guitarist, heard something special in Al Gorgoni and told him that he was going to use him as a guitarist on ALL the demos which would come out of their office. In those days, it was commonplace to find talents like Barry Mann & Cynthia Weil, Gerry Goffin & Carole King, and Phil Spector writing songs and recording demos. As a result of all this work, Al began to receive calls from other publishers and writers, including Lieber & Stoller, Mickey Leonard & Herb Martin, Burt Bachrach & Hal David, Jeff Barry & Ellie Greenwich, and Paul Simon.
As was customary in those days, some of the demos led to actual recordings, but first call guitarists such as Tony Mottola, Al Caiola, Barry Galbraith, Billy Butler, Al Casamenti, and Bucky Pizzarelli were always booked for final dates. However, to the ears of the songwriters and producers, ‘something’ seemed to be missing. That something was the energy and the sound of youth! Therefore the producers wanted to use the same players who had performed on the demos. This newfound recognition vaulted Al Gorgoni, and a new generation of players, which included Artie Kaplan, Artie Butler and guitarists Vinnie Bell, Hugh McCracken, and Eric Gale, onto a far grander stage.
During these years, Al had the good fortune to play on some of the most memorable hit songs of the era, which still resonate with music fans to the present. Songs such as "The Name Game" by Shirley Ellis, "Solitary Man" and "Cherry Cherry" by Neil Diamond, "Sherry", "Big Girls Don't Cry", "Walk Like a Man" and "Dawn" by Four Seasons, "Our Day Will Come" by Ruby & the Romantics, "My Boyfriend's Back" by The Angels, "Leader of the Pack" by The Shangri-Las, and "Chapel of Love" by The Dixie Cups.
In 1963, Al got called to play on a song demo for Chip Taylor, best known for writing "Wild Thing”. They seemed to have a strong musical connection and decided to try to collaborate as songwriters. Chip arranged for Al to sign a as a songwriter with the prestigious April/Blackwood Publishing of Columbia Records. One of their songs from this period was "I Can't Let Go" which was recorded by the Hollies and later by Linda Ronstadt, but the original version, produced by Al and Chip, was actually recorded by Evie Sands. During these years, while his career transition was in full swing, Al still found time to participate on more great hits songs which included "Brown Eyed Girl" by Van Morrison, "I'm a Believer" by The Monkees, "At Seventeen" by Janis Ian, "The Sound of Silence" by Simon & Garfunkel, "Brand New Key" by Melanie, "1-2-3" by Len Barry, and "Sugar Sugar" by The Archies.
As the '70s were about to dawn, Al had to focus his talents and energies on production, arranging, and composing for advertising and films. He became known as one of the top writer/arrangers in this most competitive field. Throughout the '70s, Al was still working alongside a group of musicians who came to symbolize the New York recording scene, and passed the torch to this new generation of players.
In 1981, Al launched his first project studio, which was named LIGHTSTREAM PRODUCTIONS. For quite some time, the studio was a father-son collaboration with Adam Gorgoni. This business relationship lasted until 1989, when Adam felt the need to move to Los Angeles to pursue his own career as a film composer. Since its inception, Lightstream Studios and Al Gorgoni's composing, arranging and production skills have attracted all the familiar clients from the world of commercials. In addition to this work, Al recently found the time to produce two Classical Guitar recordings for virtuosos: Dennis Koster and Jerry Willard. He also helped to produce and prepare all the sequences used for the play-along CD tracks of Steve Khan's very popular Jazz instruction books: "CONTEMPORARY CHORD KHANCEPTS" and "PENTATONIC KHANCEPTS". In recent years, Al has felt a great yearning to go back to his first love, the Classical Guitar and its repertoire.
From Trade Martin's biography by Bruce Eder on Allmusic:
Trade Martin's career has covered so many eras of music – as a producer, arranger, songwriter, and even occasionally as a recording artist – that he's almost impossible to pin down as a musical figure. In the late '50s, in a partnership with Johnny Power, he began recording acts such as Johnny & the Jokers and released their work on the Harvard Records label before the two formed Rome Records in 1960. Rome only lasted until 1962, weighted down by its lack of reliable distribution, despite signing such talent as the Earls, Del & the Escorts, and the Glens. Martin usually played all of the instrumental accompaniments for these groups, overdubbing the instruments one at a time. In 1963, Martin left the partnership and recorded under his own name on Roulette and other labels through the end of the '60s, and even got an entire LP, Let Me Touch You, out on Buddah Records in 1972. His main activity and success, however, were rooted in his work as a producer, arranger, and songwriter, functions that he has performed over the years in idioms ranging from '60s girl group pop/rock, folk, and electric blues to '70s funk and '80s dance-pop. He has also worked with artists such as Eric Andersen, Ellie Greenwich, Lesley Gore, the Tokens, Ian and Sylvia, Rick Nelson, B.B. King, B.T. Express, Pam Russo, and Solomon Burke. What's more, his songs have been recorded by the likes of Dusty Springfield ("Take Me for a Little While"), Patti LaBelle & the Bluebelles, B.B. King ("Peace to the World"), and Dave Edmunds ("Don't You Double Cross Me"). He has also written and produced a handful of film soundtracks, principally during the '70s.
From Chip Taylor's biography by William Ruhlmann on Allmusic:
Chip Taylor will probably always be known as the songwriter who wrote "Wild Thing" and "Angel of the Morning." Taylor began playing country music while still in high school in Yonkers, New York. In 1962, he signed to Warner Bros., and his single "Here I Am" bubbled just under the Billboard Hot 100 in November. He became more successful, however, as a songwriter, scoring his first hit with "I Can't Let Go" (co-written with Al Gorgoni), which was recorded by the Hollies for a chart entry in March 1966. (Linda Ronstadt revived the song for a Top 40 hit in 1980.) Then came the simplistic but unforgettable "Wild Thing," recorded by another British group, the Troggs, who topped the charts with it in July, creating a much-covered standard. The Jimi Hendrix Experience performed the song at the Monterey Pop Festival in June 1967.
Meanwhile, Taylor's second standard was "Angel of the Morning," a ballad about premarital sex that pushed the boundaries of acceptable subject matter in pop music. Merrilee Rush & the Turnabouts recorded the song, and it reached the Top Ten in June 1968; Juice Newton revived it in 1981 for a second Top Ten hit and a gold record. With Gorgoni, Taylor wrote "I'll Hold Out My Hand," recorded by the Clique for a Top 40 hit in December 1969. Also in 1969, Janis Joplin recorded Taylor and Jerry Ragavoy's "Try (Just a Little Bit Harder)" and released it as the lead-off track on her debut solo album, I Got Dem Ol' Kozmic Blues Again Mama!
Taylor had not given up his ambition to be a recording artist himself. He and Gorgoni recorded together under the name Just Us, then Taylor cut a series of solo albums in the 1970s, including This Side of the Big River, which reached the country charts in 1975, as did five Taylor singles between 1975 and 1977. Nevertheless, Taylor gave up the music business and became a professional gambler, not returning to music until 1993 when he joined a national songwriters' tour. He released a bunch of new albums. The autobiographical tenet followed with the release of Taylor's 2009 album, Yonkers, NY, an earthy collection of new songs and stories about his hometown and family. In 2011, via Smithsonian Folkways, he released his first children's album, Golden Kids Rules, accompanied by his three grandaughters.
Tracks
01. Fuzzy 03:35
02. Fill in the last line 02:46
03. Toly toly guyluêsha 02:58
04. You crazy girl 05:14
05. I can't let go 02:48
06. That's when I walk down 03:39
07. Mama write a song 03:06
08. Choo choo sharoo 02:45
09. Help yourself 03:57
10. I can make you cry 03:09
11. Somethin' about the sunshine 02:39
Total time: 36:30

Musicians
Al Gorgoni, Trade Martin & Chip Taylor played all instruments except the following:
Bobby Sandler: drums
Buddy Saltzman: drums
uncredited: strings & horns



Record Player: Dual CS 630 direct drive Link
Pickup: Ortofon OMB 20 ellipsoid diamond Link
Pre-/Amplifier: Kenwood KR 5030 Link
A-D converter: MacPro onboard
Sound editing: Adobe Audition
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