Kostas Tournas (Κώστας Τουρνάς) – Aperanta Horafia (Απέραντα Χωράφια) [1972]

capa cópia

Kostas Tournas (Κώστας Τουρνάς) born on September 23, 1949, Tripoli, Greece. Aside Mariza Koch and Dionysis Savvopoulos, he’s certainly one of the greatest solo artists from its country, with dozens of albums, international recognition, passing through rock, pop, glam, disco, and many other influences; we’ll stick to its foremost concept gem by now. Still active, he’s also a member of the center-right political party New Democracy (sic). A dedicated post for Poll and his other solo classic Astroneira will appear throughout our galaxy, don’t miss it!

Let’s go to his history:

As a child Kostas enjoyed singing popular Greek melodies of the era, due to financial difficulties, his family eventually moved to Kypseli, Athens, in 1959. He managed to finish high school and in its spare time, he used to study the guitar which he received as a present from his mother. At age 13 he joined his first band. Largely self-educated he took up guitar lessons in 1965, pursuing a more serious musical career, shortly after, he was with a garage band called The Teenagers.

Poll Days
Poll Days

In Athens, Kostas worked at various music clubs, playing melodramatic Italian and French songs which he didn’t enjoy very much. He was a Beatles fan to the point of having watched A Hard Day’s Night seven times in a single day. (!)

He started to write original Greek material at the end of the ’60s in collaboration with his childhood friend Robert Williams. After returning from the army (69/70), Kostas founded Poll, one of the first rock groups of Greece, along with Robert Williams and Stavros Logarides. They started appearing at the popular Athens music club Kyttaro presenting folk-rock songs influenced by the hippie culture.

A second album featured the anti-war song Anthrope Agapa, allegedly the first protest rock-song in Greece. They only existed for two years and managed to release two albums (1971 and 1972). Their easy-listening ballad style made them very popular with Greek audiences. After Poll disbanded, Kostas pursued a solo career.

80's Portrait
80’s Portrait

Let’s go to our album:

In 1972 he released the album Απέραντα Χωράφια (Infinite Fields) based on songs he wrote with Poll but then blown up into a 35-minute (!) psychedelic pop-rock symphonic work which he presented with the group Ruth. This Magnus opus, much influenced by Beethoven, had no distinction into separate tracks, Kostas wrote and arranged it for a symphonic orchestra and provided vocals, guitars, and keyboards himself, as an autobiographical concept album. (!)

With a beautiful resemblance to David Axelrod’s work, Kostas managed to create multiple layers and passages along with the record. Brilliantly played and recorded, it helps us to enter into the greek rock scene, although it hasn’t much folklore or traditional instruments on it, this western rock-opera deserves your full attention!

Latterly
Latterly

Our usual highlights become one single track that flows into a rock combo with some fuzz, folk-ballads, sound effects, grand orchestra, and superb outcome. Goeie Reis!

Tracks Include:

A1 Απέραντα Χωράφια

B1 Απέραντα Χωράφια

Companies

  • Recorded At: Polysound Studio
  • Record Company: PolyGram
  • Phonographic Copyright (p): PolyGram Records S.A. (Greece)
  • Manufactured: Digital Press Hellas

Credits

  • Artwork Cover, Design Cover: Στέργιος Δελιαλής
  • Conductor (Διεύθυνση Ορχήστρας): Κώστας Κλάββας
  • Engineer, Effects (Ηλεκτρονικά Εφέ): Γιάννης Σμυρναίος
  • Orchestra: Ορχήστρα Της Λυρικής Σκηνής
  • Producer: Κώστας Φασόλας
  • Voice, Lyrics, Music: Κώστας Τουρνάς

Notes

Παίζει η ορχήστρα της λυρικής σκηνής και οι ‘Ρούθ’.

Polydor ‎– 2421027

Karpathos Costume
Karpathos Costume

Alma y Vida – Alma y Vida (1971)

Capa

Argentina. Today’s album got a minor size text, compared to previous posts, because our friends from Cabeza de Moog already made a dossier about Alma y Vida, don’t forget to check it, as the whole blog as well!

On mid’s ’60s, Carlos Mellino had been, along with Alejandro Medina, future bassist from Manal, a member from The Seasons, one of the first beat bands from Argentina. Gradually, he was contacting with jazz musicians, meeting the trumpeter, Salvador, and the guitarist Barrueco. Soon after, as an arranger and musician, he was leading the band for Leonardo Favio, a national star. Bernardo Baraj recalls his entrance on the future band as a so-called millionaire football transference:

‘I was playing with Sandro and the rivalry at the time between Sandro / Favio, was like Boca / River; actually, its was a change, Ricardo Lew went with Sandro and I passed to Favio’s group. I remember when Leonardo finished singing, we always kept it playing, a non-stop thing, you know? The band sounded so tuned that when Favio really quite, we became an independent group. Thus was born Alma y Vida‘.

Leonardo Favio: Singer, Composer, Actor & Director
Leonardo Favio: Singer, Composer, Actor & Director

Let’s go to their history:

In 1970, Leonardo Favio told them he would stop singing for a while, instead of separating they choose to build your own project, beginning to play under its own name, under a jazz-rock influence. Their first public performances took place in the cycle of Opera Theatre of Buenos Aires, sharing the stage with no less than Manal, Arco Iris, and Vox Dei, on every-Sunday mornings. (!)

Salvador: ‘We always were the first ones to play and people used to whistle, we actually heard some buzz in the very beginning, because see and hear a saxophone and a trumpet at the time was very rare. However, amidst the whistles, some part of the audience stood up and yelled to another, Shut up, deaf!’

Mellino: ‘Imposing a formation with so many kinds and totally different styles, adapting it to our reality was a terrible challenge. We were out of the acoustic or drums, bass, guitar formula, add it that we behave well and were good professionals.’

1971
1971

The impact of these performances leads them to record a single with the legendary short-lived label Mandioca (we’ll have a dedicated post for it), with the songs Niño Color Cariño and He Comprendido. The participations on the mega festival B.A. Rock prompted them to record the first plate in 1971 for RCA Argentina. Shortly before, Mario Salvador left the group and was replaced by Gustavo Moretto. In its first studio album, classics like Mujer, Gracias Por Tu Llanto and Hace Tiempo achieved regular success. With Moretto’s entry, Alma y Vida found their best form among all audiences, not only Argentine Rock gigs and crowds. Thereby establishing itself as a regular entertainer in the mythical La Cueva on Pueyrredón Avenue.

Based on a solid live performance and creativity for hits, such as, Hoy Te Queremos Cantar and later Del Gemido de un Gorrion present on their second (Volumen II), and third (Del Gemido…) albums (respectively), the band reaches its pinnacle on musical charts, playing throughout the country, Uruguai and TV appearances.

Nowdays
Nowadays

In late 1974, Gustavo Moretto leaves the band to move into more complex music, he founds the prog trio, Alas. His departure accelerated a process of internal crisis, that not even the entrance of Osvaldo Lacunza couldn’t save. In 1975 Alma y Vida recorded its fifth and last Lp (Vol. 5), after a year the group finally broke up.

Let’s go to our album:

This is without any doubt an underestimated band, practically unknown outside Argentina, this superb super-group became certainly one of my personal faves, aside Spinetta, Serú Girán, Arco Iris, Fito Páez, etc. Firstly, there is no comparison to any other rock acts in the ’70s, compared to Argentina and Brazil, for instance, their spectacular jazzy sound, outstanding (!!) Mellino’s voice and lyrics that alternate on beautiful poetic love themes or social/political criticism, are a welcomed surprise.

The band completely leaves the commonplace psych-folk, prog or blues that was being made at the time, such as La Pesada, Pappo’s Blues, Sui Generis, Manal, Color Humano, Los Gatos, etc. Although Alma y Vida had never been an instrumental jazz band only! Inspired by Blood, Sweat and Tears and Chicago, the had the vision to introduce new aesthetics, solos, and colors to Argentine Rock.

Carlos Mellino
Carlos Mellino

Mellino: ‘We had a very large range because all came from different extractions, Bernardo and Juan were jazzists, Carlos a rock musician, Mario a scholar one, and I a Beatlemaniac. A mixed salad that made Alma y Vida a well-defined group.’

The ‘IM’ highlights are Mujer Gracias Por Tu Llanto, a ravishing sentimental ballad with melodic horn, smooth pace, reeds and some outstanding dramatic vocals from Carlos Mellino, creating a unique atmosphere. A statement about love and solitude for any woman! And: Realidad de Sentir, with a crazy drum solo intro, this jazzy uptempo, invites us to enter in another reality, with metaphysical lyrics about our human senses, god, nature and the universe. There are some woodwind attacks and this exciting melodic vein that are responsible for an album hard-to-describe.

A truly original approach, you do not want to miss this journey, Buen Viaje!

Tracks Include:

A1 Mujer Gracias Por Tu Llanto (Bernardo Baraj, Carlos Mellino, Ricardo Lew)

A2 Me Siento Dueño del Mundo (Bernardo Baraj, Carlos Mellino, Juan Barrueco)

A3 Hace Tiempo (Bernardo Baraj, Carlos Mellino)

A4 Realidad de Sentir (Bernardo Baraj, Carlos Mellino)

A5 La Morada (Gustavo Moretto)

B1 Veinte Monedas (Carlos Mellino, Esteban Mellino, Gustavo Moretto, Juan Barrueco)

B2 Lagrima de Ciudad (Carlos Mellino, Esteban Mellino)

B3 Y Esto? (Gustavo Moretto, Juan Barrueco)

B4 La Gran Sociedad (Bernardo Baraj, Carlos Mellino)

Credits

Alberto Hualde: drums

Bernardo Baraj: sax

Carlos Mellino: keyboards and voice

Carlos Villalba: bass

Juan Barrueco: guitar

Mario Salvador: trumpet

RCA Vik LZP-1196

StereoMono

foreign lavish sounds

The Music of Parallel Realities

foreign lavish sounds

Bodega Pop

foreign lavish sounds

GRAVETOS & BERLOTAS

foreign lavish sounds

Las Galletas de Maria

foreign lavish sounds

Rock Peruano (Imágenes)

foreign lavish sounds

Discófilos Anônimos

foreign lavish sounds

Global Groove Independent

foreign lavish sounds

Toque Musical

foreign lavish sounds

La Nave Del Rock Argento

foreign lavish sounds

JPOP80SS

foreign lavish sounds

'Girls Of The Golden East' - (Mostly) Seventies Songstresses of the Soviet Satellites

'Girls Of The Golden East' - Female and Female-led Pop Music from the former Eastern Bloc from the late 1960s to the early 1980s

Flabbergasted Vibes

foreign lavish sounds

Sangre Yakuza

foreign lavish sounds

JUGO ROCK FOREVER

foreign lavish sounds

50 Watts

foreign lavish sounds

lady walker

foreign lavish sounds

FLASH STRAP

foreign lavish sounds

Cabeza de Moog !

foreign lavish sounds

madrotter-treasure-hunt

foreign lavish sounds

BibliOdyssey

foreign lavish sounds

Rockasteria

foreign lavish sounds

Discos con Mucho Polvo

foreign lavish sounds

Órfãos do Loronix

Recuperando o acervo do Loronix

%d bloggers like this: