jarryguo escribió:Pues con la cajigua del cd en mi masisi mano...ni del 2007 ni del 2008...
Es del 2006mente!!!
Muxisimas Gracias,justo ara lo e mirado en mi lista (no lo ice antes)
por cierto me constan como Cristianos, ¿puede ser?
Que va diafragma con la sevillana encima Robert...los cristianos noventeros son estos:
Por cierto que el temigua de los Arrival 2006 no es de los mejores...pasa que no hay más en youtubemente!!
AVER aver aver, q nos estamos aciendo la Pixa un lio mi estimado "potter"
Estos SON LOS MISMO Q los d mas abajo (osea los d MARK FREE)
Michael Badagliacco lead vocals Charlie McCormick lead guitar, vocals Ric Cabot Podmore guitars, keyboards, vocals Steve Kayden bass, vocals Richie Carlson drums Tracks
While I was in the process of assembling this compilation, I tried to remember just where it was that ARRIVAL, or the concept thereof, started. After giving it some considerable thought, I came to the conclusion that it was the day when Beau Hill told me to remove the words ‘demo tape’ from my vocabulary. He said, “From now on Pod, you only record masters…keepers.” Since that time way back in 1980, there has never been even the slightest hint in my mind of recording a ‘demo’. My goal was that I was always going to record the final versions or ‘masters’, if you will, of everything.
When we released the ‘Delayed’ cd in 1999, it appeared to many that this was our debut record. One magazine review from Europe said that, “ARRIVAL have come out of nowhere…” (an ironic choice of words as you will discover later on in these paragraphs) and then posed the question, “So just who the hell are ARRIVAL and why haven’t we heard from them until now?” While I have always been very grateful and humbled by all of the wonderful things that have been written and said about ‘Delayed’, I have to admit that in ways it was almost anti-climactic for us. The truth is that ‘Delayed’ represents what would have been, in fact, our fourth record. Prior to that particular release, from 1986 forward, we wrote and recorded over forty masters that were never made available to the public. Over the years, many of these tunes we’ve re-recorded in other versions for placement with various other artists and for use in the production of film and television. But now, as fortune would have it, we’ve been very generously asked to share our earlier catalog of ARRIVAL original master recordings with you. ‘Point Of Origin’ represents what I hope will be the first installment of never before heard tracks. These ‘first ten’, if you will, are various pieces from 1986 – 1994. We all hope that you will enjoy what you hear. Now, for the inquiring minds who want to know, let’s see if I can get you caught up from the beginning…
In late 1985, Charlie McCormick, Norm Peterson and I began to form ARRIVAL. Norm and I had been writing songs together for a couple of years in our previous project Saint Germaine. We’d built a great relationship as collaborators while being on the road. Norm was, and still is, an incredible keyboard player with a very unique style. His sense of melody is the thing that sets him apart from the pack. When Norm plays, it’s not just a bunch of notes…it’s really ‘real’ music. That’s what makes him a great songwriter as well.
At the same time, I was also beginning to write with Charlie. He was another unique player in that he had all of the ‘shredding skills’ of guys like Eddie Van Halen and Steve Vai perfected by age 20, when we first met in 1982. But what Charlie also possessed was this amazing ability to play beautifully melodic guitar solos (what he always refers to as “the song within the song”) that just seemed to freeze time on the middle of the tune. All you have to do is listen to the solo on “Where Does My Love Go?” to understand this. His knowledge of in this area also made him an incredible writer to work with.
So prior to 1985, I’d been collaborating with these two incredible musicians separately, mostly because Charlie was working in another band, Arena. I always knew, though, in the back of my mind that if the three of us ever got the opportunity to work together in a project, it would be awesome. Well, I got my wish and Arena and Saint Germaine eventually faded away later that year.
With the philosophy that we were going to make recording ‘masters’ our priority, we went to work at Colorado Sound cutting tunes. We brought in a couple of our session work friends, Larry Thompson and Kip Keupper to join the band as the rhythm section for our first tracks. As we began to record, it was immediately evident that the caliber of what we were creating was going to require some really great lead vocal work, something extraordinary.
The writing and recording process continued as we began to audition singers. As excited as all of us were about the songs and sound of our new collaborative effort, the search for the right voice was becoming painfully frustrating. I insisted that all auditions would be done directly to tape so that there would be no doubt as to who would be ‘our voice’. Truthfully, I can’t remember the total number of vocalists we tried out during this time. I do recall there were a couple of ‘near misses’ that we really liked and even considered changing things around a bit musically to accommodate them. But those conversations became short lived and before we knew it, we had an entire albums worth of material written and recorded with no lead vocals. And then fortune smiled…
In what seemed to be a very casual conversation, one of the assistant engineers working with us, Gary Gavin, mentioned that he might know the perfect vocalist to sing our tunes and that he had the ability to put us in touch with him. That vocalist was Mark Free.
Just recently, Mark had left King Kobra and was looking for something new. After talking with him by phone, Charlie and I flew to L.A. immediately to try and persuade Mark to work with us. We didn’t have a recording contract, or a lot of money to pay him and we were based in Denver…what appeared to be three very big liabilities when trying to secure the services of the top ‘free agent’ vocalist in the country…and probably the world for that matter. All we had going for us were the tracks we’d been recording.
In the living room of Mark’s North Hollywood apartment, Charlie and I ‘squeaked’ our way through a karaoke type presentation of what the lyrics and melodies would be to a few of our songs. I’m not sure, but I think it was ‘Born For Broadway’ that closed the deal for us with Mark and before we knew it, he was our lead vocalist.
In true rock n’ roll fashion, Mark stayed at my apartment and slept on my couch during his first trips to Denver. It was an awesome time and we made a great record, originally titled ‘Out Of Nowhere’. He was incredible to work with and fit in perfectly with all of us. We were fast becoming really good friends. I even introduced Mark to one of my other best friends, and soon after, she married him. Everything seemed so magical…I remember it was all kind of like being in a movie.
For the next year and a half, ‘Nowhere’ was being shopped to record labels in L.A. and New York while our songs were getting radio airplay locally. Unfortunately, all of the offers we were receiving were extremely front end loaded in favor of the labels, requiring that we sign away everything (and I mean everything!). We had all seen this before with other artists, some who were even our close friends, and though we really wanted to sign with someone, we were reluctant to “sell our souls to the devil for just one dance”. Eventually, Mark received a substantial offer to join what would later become the band Signal and parted ways with us. We’ve remained friends to this day and have always had enormous respect for each others work. Mark taught us how to be great and I can’t help but think that we showed him how truly great he was.
With Mark now gone, we went back to writing songs. Our level of dedication was almost insane. We began rehearsing four and five nights a week and once again, with no vocalist, we started to create a rather large catalog of material. And, just like before, there were a couple of singers who were close, but “juuuust a bit outside”.
By 1991, we had roughly two more records fully written, arranged and recorded and still no sign of a singer who could step in into the long shadow left by Mark. Steve (Kayden) carried the responsibility (doubling with his bass duties) through about a year of doing live dates and even sang on some of the masters, but we all knew that what we really needed was another ‘world class’ voice. Then, as fate would have it, just one day after we gathered to have a major production meeting about what we were going to do next, Michael Badagliacco walked into Colorado Sound looking for vocal work.
Michael immediately became the new voice of ARRIVAL. His energy and enthusiasm matched the level of his vocal ability and he was very passionate about wanting to do quality work. Michael was like a machine. He was willing to work hard to get just the right parts, sometimes singing so long and intense that, even with his highly trained voice, he was unable to talk the next day. All you had to do was get him started and there was no way you could get him to stop singing.
During the next few years, we continued to record. Unfortunately by this time, the industry had changed radically and we watched grunge, then industrial and then alternative dominate the charts. Being experienced session musicians, it would have been easy for us to have jumped on any one of those bandwagons in an effort to attain success. There were even a couple of offers from major labels, but nothing even close to being worthwhile and it just wouldn’t have been right for us to have gone any other way. Finally, at the urging of some of our most dedicated supporters, we made the decision to release a record ourselves.
Amidst mixed revues and the mainstream skepticism that it sounded “too 80’s”, ‘Delayed’ found its way onto radio stations around the country and even overseas. I remember the feeling I got the first time I walked into a record store and saw a gigantic display with that big purple clock face and our picture covering half the wall…it was great. Of course, I couldn’t help but smile ear to ear looking at the words ‘Debut CD’.
So there you have it…the story behind the music contained in ‘Point Of Origin’ and the other previously unreleased ARRIVAL recordings. It was a phenomenal ride down a very colorful road and everything since then has been just as magical.
I know I speak for the entire ARRIVAL entity, the crew, the management and of course, the band when I say “thank you” to all of you who have been so incredible with your support and friendship throughout all of these years. You’ve been fantastic! We love you and we can’t wait for what’s next.
