Tuesday, February 28, 2017

White Sister [Fashion by passion - 1986]

White Sister [Fashion by passion - 1986]

Origin: Burbank, California (USA)

 White Sister [Fashion by passion - 1986] aor melodic rock music blogspot full albums bands lyrics

Take a listen on youtube


Dennis Churchill-Dries - Vocals, bass
Rick Chadock - Guitar, backing vocals
Richard Wright - Drums

Additional musicians:
Joel 'Babe' Goldsmith - Keyboards, programming
Jerry Moseley - Keyobards, programming
Pete 'What' Moshey - Electronic drums


1. A Place in the Heart
2. Fashion By Passion
3. Dancin' on Midnight
4. Save Me Tonight
5. Ticket to Ride
6. April
7. Until It Hurts
8. Troubleshooter
9. Lonely Teardrops

Monday, February 20, 2017

The Ravyns

Origin: Baltimore, Maryland (USA)

The Ravyns David Bell - Lee Townsend - Tim Steele - Kyf Brewer - Rob Fahey
David Bell - Lee Townsend - Tim Steele - Kyf Brewer - Rob Fahey

The Ravyns [st - 1984] aor melodic rock music blogspot full albums bands lyricsst - 1984 (with lyrics)


- The Ravyns are best known for their 1982 hit, “Raised on the Radio”, which was featured in the Universal film, Fast Times at Ridgemont High. The song was the second single released from the soundtrack of that film, receiving great critical acclaim in Billboard and instantaneous rock radio placement nationwide and abroad.

With the success of “Raised..” came a full length album deal with MCA. The Ravyns was released in 1984, and once again lauded by critics on both sides of the Atlantic.

Within one year, the band produced three music videos - “Raised on the Radio”, “Don’t Leave Me This Way”, and “Rhythm of the Heart” - the latter of which won MTV’s 1985 National Basement Tapes competition solely by viewer support.

In more recent years, The Ravyns have continued to enjoy attention and notoriety by rock fans young and old as an important chapter in the eighties music scene. “Raised on the Radio” has appeared in many trivia publications and shows, has been recorded by various newer groups over the years, and still emerges in rock radio formats.

In 1996, when Baltimore dubbed their new football team The Ravens, Kyf and partner Jumpin' Dave Woodworth composed "I'm a Rav'n Maniac" from an old Ravyns catch phrase as a theme song for the team. The recording marked the first time that all the Ravyns had recorded together since 1985, and is also available as a download at CDbaby.com.

Other Ravyns releases to date include Remnants, (a collection of demos, remastered in the 90s), The Ravyns Live at Maxwells 1983, (a 17-song live disc from 1983, recorded at Maxwells night club in Baltimore MD by DJ Mark Russo), and their newest 11-song collection of favorite songs written by Rob and Kyf in the 80s but never released - History Repeats Itself. -


- The Ravyns are an American rock group from Baltimore, best known for their 1982 single Raised on the Radio, which was included on the soundtrack to Fast Times at Ridgemont High. In 1984, the group signed with MCA and recorded a self-titled debut album, and then won the 1985 Basement Tapes competition on MTV with the music video for Rhythm of the Heart.

The first Ravyns line-up formed in 1979 and featured Rob Fahey (guitar and vocals), Kyf Brewer (keyboards and vocals), Bobby Hird (guitar and vocals), Lee Townsend (bass) and John Tracey (drums). Fahey had previously recorded an album in 1977 as a member of Baltimore group Hollins Ferry. The other members had all played together in another Baltimore band, Climbadonkey, which recorded an album in the 1970s that was not released until 2013. The Ravyns debut release was a four song EP which came out in 1981. By this time, Vince Crist had replaced Tracey on drums. Shortly thereafter, the group broke up.

The Ravyns eventually reunited with a new lineup that included Fahey, Brewer, and Townsend along with David Bell (guitar) and Tim Steele (drums). This line-up recorded "Raised on the Radio" which was included in the film and soundtrack Fast Times at Ridgemont High in 1982. This led to a recording contract with MCA and the release of a self-titled album in 1984. Although the album was well-received, it did not become a hit and the band was ultimately dropped by MCA and later broke up a second time. Brewer went on to record several albums with Company of Wolves in the early 1990s.

In 1996, the Baltimore Ravens football team got their name, and The Ravyns released a single called I'm a Rav'n Maniac—this was the first time the original group had recorded as a unit since 1985. In 1999, a second album called Remnants was released, featuring recordings the band made in the 1980s. A live album recorded in 1983 at Baltimore club Maxwell's was released in 2004. The Ravyns have occasionally performed reunion shows in the Baltimore area in the 2000s. In 2013, The Ravyns announced their intention to record their first album of new studio material since the 1980s. The album will consist of contemporary recordings of material that was written and performed by the band during their heyday in the 1980s. The projected release date is October/November 2014.

The Ravyns released the title track of their new CD, "History Repeats Itself," as a free download on December 9, 2014. -


- As anyone familiar with the Baltimore music scene in the late 1970s and 1980s knows, the NFL Ravens were not the first group to adopt Edgar Allen Poe's famous poem as their moniker.

Formed as a local "supergroup" from two other well-known Baltimore bands of the late 1970s, Climbadonkey and Hollins Ferry, the Ravyns achieved some measure of national success in 1982 when their song, "Raised on the Radio" was included on the soundtrack of the movie Fast Times at Ridgemont High. Soon after signed to MCA Records, the band released one album nationally in 1984.

Unfortunately, a lack of promotion on the part of MCA resulted in mediocre sales, which meant no second MCA album, which eventually led to the breakup of the band.

Still, the Ravyns were one of the best bands ever to come out of the Baltimore area.

They were my favorite local band, and I went to see them perform in the local clubs almost every week. I wrote about them twice in the Loyola College (now Loyola University) newspaper, The Greyhound, and later wrote a feature story on Rob Fahey for The Evening Sun (published here for the first time ever!)

I've reproduced those stories here, as well as a few other relics from the good old days...

Rob Fahey Puts the Pieces Together

By David Zeiler

(Written in April 1992 for the Evening Sun, never published)

This time he has a plan.

After some 15 often-trying years in the music business, local rock favorite Rob Fahey has concluded that the best way to play the rock 'n' roll game is on his own terms.

With his year-old band, the Pieces, Fahey has released a 10-song album, "Breaking and Entering," on compact disc and cassette.

Instead of hustling demos to record company representatives, as he had done for years, the "30-something" Fahey decided simply to record and release an album himself on a local label called Milehouse Records.

So now, finished product in hand, Fahey intends eventually to interest a major label in a distribution deal. That way, the label takes virtually no financial risk and Fahey retains full artistic control over his recordings. Experience has taught him that the traditional approach of trying to land a major label deal is fraught with hazards and rarely works.

And Fahey has had plenty of experience. The Baltimore native -- he grew up in Rosedale -- has been playing in bands since he was in Overlea Senior High School. [M1]His first significant band, called Wizard, mostly covered songs by other groups. [M0]But shortly after he started attending classes at Essex Community College, Fahey began to grow more interested in writing his own material.

"In college, I was taking engineering courses, sciences and stuff like analytical geometry," Fahey said. "I got sick of it. In my second semester I switched to music courses and was so much happier. Then I got into music theory and composition."

The guitarist was eager to apply what he was learning in the classroom, and concentrated more and more on writing songs.

"I started to get recognition for the songs I was writing and got into it deeper and deeper, until I couldn't get out," Fahey laughed.

In 1976 Fahey formed a band called Hollins Ferry to perform his proliferating catalog of material. Hollins Ferry became quite popular and nearly was signed by rock mogul Don Kirshner.

But the Kirshner deal never materialized. Hollins Ferry released an album locally before dissolving in 1978. Meanwhile, Fahey was earning his bachelor's degree in music theory and composition from Towson State University.

It was in Hollins Ferry that Fahey developed his songwriting style, which has remained basically the same: a progressive, Beatle-like pop sound with strong melodies and thoughtful, if romantically oriented, lyrics. With just guitar, drums and bass, however, the Pieces have the most guitar-oriented sound of any of Fahey's earlier bands, particularly his best-known band -- the Ravyns.

The Rise and Fall of The Ravyns

The Ravyns, formed in 1979, ranked with such bands as Bootcamp and Face Dancer as one of Baltimore's most popular original-playing groups of the early to mid-1980s.

The band was a sort of local supergroup, joining Fahey with several members of another popular Baltimore band of the late '70s, Climbadonkey. Pieces drummer John Tracey was one of the former Climbadonkey members.

After breaking up briefly in 1981 and losing Tracey and guitarist Bobby Hird to Crack the Sky, the Ravyns re-formed. The band had a single released nationally on Elektra/Asylum Records in 1982, "Raised on the Radio," which was included on the soundtrack to the film "Fast Times at Ridgemont High."

In 1984, the Ravyns released a self-titled album on MCA Records. By the time the album was released, most of the team that had signed the Ravyns left MCA, resulting in very little promotion for the record. It sold 30,000 copies nationwide, significantly short of the 50,000 most labels desire as a minimum for debut bands.

The Ravyns split in 1986, partially because of problems with MCA -- the first album's poor showing led the label to decline the option for a second album -- and partially because of management problems.

In 1987 Fahey formed a showcase band, Word of Mouth, that "fell into the club band trap" of playing out all the time and doing virtually nothing else before splitting in 1989.

In December 1990, Fahey assembled the Pieces by stripping down a second showcase band to its essentials: himself, Tracey and bassist Mark Easley.

Rob Fahey: Home Is Where the Heart Is

After all this time and all these bands, hasn't Fahey ever thought enough is enough?

"There have been times when I've had thoughts of quitting," he admitted. "But always in my heart I feel I have too much to offer to give it up.

"I know I have a lot of fans who have been following me for years," Fahey continued. "I'll have these thoughts and then somebody will come up to me and say, "You're my favorite.' That gives me the spark to keep going, and it happens a lot."

Fahey also has chosen to remain in Baltimore, despite the conventional wisdom that says rock musicians must move to New York or Los Angeles to "make it."

"That doesn't always work out," Fahey said. "I've seen a lot of people go to L.A. to make it in the music business and end up as full-time messengers or delivery people."

Fahey said he prefers staying in an area like Baltimore and building a base of fan support at the local and regional level. And then there's his family to consider.

Fahey and his wife of seven years, Anita, have three daughters: Jessica, 12, his stepdaughter; Caylynn, 6; and Elizabeth, 13 months. After having visited Los Angeles several times, Fahey concluded it was "not a real good place to raise your kids."

So here he has remained, preparing for yet another shot at rock 'n' roll success with the Pieces.

Going the Extra Mile(house)

In spring 1990, just a few months after they had formed, the Pieces began work on the "Breaking and Entering" album.

Fahey had plenty of original material; all the group needed was financial backing. Fahey and Tracey came up with the same idea: ask Tom Antonis, owner of the 15 Mile House in Reisterstown.

Antonis did not need much convincing. "I have a lot of confidence in Rob and I believe in the music," he said.

Antonis created Milehouse Records, which has cost him about $30,000 so far, for the sole purpose of releasing "Breaking and Entering."

Milehouse made not only the album possible, but also the do-it-yourself approach Fahey found far preferable to his experience with the Ravyns album.

"The kind of control I got doing this, I would never get that kind of control with a [major] label," Fahey said.

Not only did Fahey produce and master the album himself, but he decided the running order of the songs and even the cover design.

"MCA changed it all around on the Ravyns album," Fahey said. "I thought they botched it terribly."

It seems Fahey's new approach is working. Several of the songs on the album, particularly a track called "Beverly," are getting airplay on such Baltimore radio stations as WIYY and WGRX, and on Washington stations WWDC and WJFK.

Russ Mottla, program director at WIYY 98 Rock, said his station added Fahey's "Beverly" to its play list because Fahey "has one of the most distinctive voices in rock 'n' roll."

Mottla also credited Fahey's approach. "He did it the right way. The CDs and tapes are being sold through many outlets," Mottla said, noting that many bands fail to make their recordings widely available to the listening -- and buying -- public.

The album can be found at music stores throughout the area, including Record & Tape Traders, Sam Goody, Recordmasters, Record Theatre and Sound Waves.

Fahey said that since the band distributed 1,000 units to the stores in late October and early November, several already have restocked.

For now, he said he wants to "try to get a strong enough buzz going here" before going for that distribution deal with a major label.

In the meantime, Rob Fahey and the Pieces will continue playing their material at clubs in the area, patiently waiting for that "buzz" to get louder.

The Ravyns: Surviving on the Baltimore Rock Scene - Is it Love or Suicide?
Story and Photos By David Zeiler

Published in The Greyhound of Loyola College, April 15, 1983

I asked Kyf Brewer, the Ravyns' keyboard player and lead vocalist, to define the band's sound. "Well, if you put a gun to my head, ... you'd probably have to shoot me."

Actually, the- Ravyns' music is not quite that indescribable, but the unique sound of this popular local rock group had been entertaining area rock aficionados for several years now.

Having evolved from Climbadonkey in late 1978, the original Ravyns made their public debut on January 2, 1979. Brewer, bassist Lee Townsend, guitarist Bobby Hird and drummer John Tracey had picked up guitarist Rob Fahey from the band Hollins Ferry in the fall of 1978. The three composers (Brewer, Fahey, and Hird) pooled their original material and the Ravyns soon became one of the area's top local bands.

Trouble started in February of 1981 when Tracey left for Crack the Sky. Another drummer, Vince Crist, replaced him just as the Ravyns began working on their first recorded material -- a four-song EP.

The EP, which Crack the Sky nerve center John Palumbo produced, took much longer than anticipated and failed to generate a deal with a major record, label. For lack of a recording contract, the frustrated Ravyns decided to break up in August of 1981-- at about the same time their belated EP appeared.

Townsend and Brewer formed a band called Passion with present Ravyns guitarist Dave Bell. Hird joined Tracey in Crack the Sky. Fahey packed up his demo tapes and went in search of a record label.

Before long, the Ravyns decided to re-form with Dave Bell, but they needed a new drummer. Tim Steele was the unanimous choice.

Steele had been playing for a group called the Stand, which, he said, "was having problems with motivation and getting along. Kyf [Brewer] called one day and invited me to join the Ravyns, and I accepted. It was the perfect situation, because I tend to make a commitment and see it through. The Stand had gone as far as it could go. Now, I'm committed to the Ravyns. If they asked me now, I wouldn't even join a re-formed Led Zeppelin.”

By early 1982, the new Ravyns were again performing in local clubs and re-establishing their reputation as one of Baltimore's premier bands. When the Cars were touring in the area, Fahey managed to get a Ravyns demo tape to Ric Ocasek through one of the Cars roadies. "Raised on the Radio" appealed to Ocasek and to Elektra/Asylum, for whom the Cars record.

On August 2, 1982, the Ravyns made their major label debut with the single "Raised On the Radio," (which was backed with Don Felder's "Never Surrender") released in promotion of that summer’s film blockbuster Fast Times at Ridgemont High.

Things went sour with Elektra/Asylum shortly after the single was released -- the Ravyns claim the company failed to promote the song properly. "They were disorganized and had distribution problems," as Fahey explains the group's decision to dump the label. Recently, Elektra/Asylum closed its West Coast offices.

"After 'Raised On the Radio' it got frustrating," Bell admits. "We were turning down offers and being turned down ourselves. It was hard to find the right record company."

The Ravyns have been negotiating with another national record company for some time. Although a recording contract seems imminent, the band at the present time could not yet reveal the company involved. Hopefully, this record company is the one that will make the Ravyns a well-known name not only in the Baltimore-Washington area but all over the country.

Throughout their career, the Ravyns have always been known for a show that balanced solid originals with a carefully selected covers of songs by other artists.

"We put quite a bit of effort into our songwriting," Fahey says. Fahey and Brewer write all of the current Ravyns songs (each generally sings his own compositions), most of which concern various aspects of romance.

A number of considerations go into the creation of a Ravyns song. A primary requirement for all Ravyns songs right now is danceability, because the band makes its living by playing nightclubs like Maxwell's, Girard's, and the Seagull Inn. The more artistic, "listening" songs will have to wait for the Ravyns' first album.

The lyrics of a Ravyns song are never slapped together simply to ornament a catchy melody. "Every song can't be a heavy statement, " Fahey explains, "but we don't want to sound silly, either. I'm very critical of the music I hear on the radio, I want to say things in a new way.”

Brewer agrees: "Some other people don't think about hearing the same old love song lyrics all the time, but we do."

Fahey and Brewer write their songs individually, then they bring them to the other band members for additional input and final polishing. "The final arrangement is a group effort," Fahey says, "which gives us a more unified sound than the old Ravyns had."

The old Ravyns' problem was that Hird was the third main songwriter -- "one too many," according to bassist Townsend. “Each writer was going in a different direction. Now, Kyf's and Rob's styles are blending -- they're sort of like apples and oranges. Before, we lacked unification and direction."

In the present Ravyns, both Bell and Steele write songs, but as yet the group has not been able to use any of them. Steele realizes that "with two main songwriters, it's difficult to get any exposure. We've got too many [originals] to play now."

The creative spark for a Ravyns tune can come from anywhere; "it can be personal, or any kind of inspiration," Brewer says. "Sometimes I'll get a [song] title first, or a riff, or a melody, and I'll work from there. A lot of times I'll wake up in the middle of the night with an idea."

The Ravyns' style ranges from old-fashioned rockers like "Rampage" to soft ballads like "No Regular Woman" and "Crying About It Don’t Do Any Good" to punchy songs of romance like "Lessons of Love," "Like Her So," and "Love or Suicide." The last category is the Ravyns' forte. These songs almost invariably feature an appealing, often aggressive, hook, a bouncy, danceable rhythm, and easy-to-sing-along-with refrains.

The Ravyns say that no particular artists have had a major influence on their music, although the Beatles contributed to each of the group's members taking up music in the first place. (In case you're wondering, the average age of the Ravyns is approximately 27.5) In fact, Steele says that the Ravyns can play many Beatles songs without first rehearsing them -- and did just that a few weeks ago when they performed "Money" (which actually predates the Beatles, but the Fab Four did the definitive version of it) for an encore.

The Ravyns choose the songs they cover as meticulously as they write their originals. Most of the covers are of recent releases by progressive, MTV-exposed artists, such as the Stray Cats, A Flock of Seagulls, Men at Work, the Clash, Peter Gabriel and the Producers, although the Ravyns have always played Clash songs.

“Really, the covers are for the public," Fahey says. "Still, you can compromise without selling out. We've always done at least 60 percent originals. " Many people will not see a local band unless they are guaranteed they will hear something familiar.

"When you're living on Kraft Macaroni and Cheese you realize that you'd better play something that will get you jobs playing in clubs," Brewer explains.

Most of the covers, however, are compatible with the Ravyns' style-"What I Like" by the Romantics, for instance, is often mistaken for a Ravyns original. One cover, "Good Lovin" by the Rascals (also done by the Grateful Dead) has become such a concert favorite that the Ravyns may include it on their upcoming album.

Yes, the Ravyns are, and have been working on their first LP. When the band finally secures a record contract, they will select a producer and will begin recording the album. What will be included on the long-awaited disk?

"We have an abundance of material," Brewer says. "We must have over two hours' worth of originals already, and we're always working on new songs. We'll try to emphasize our new material on the album, although the record company and the producer we get will have a lot of input on the actual song selection." "Raised On the Radio" is the only definite inclusion at this point.

"We'll have to choose our songs carefully because we'll be playing them [to promote the album] forever," says Brewer. "We're already sick of playing some of our old stuff."

The production schedule for the Ravyns album is sketchy at best. "We really wanted an album out by Christmas of '82," Fahey says, "but now we're hoping to have it out by this summer, or at least by the end of the year."

While the Ravyns crave success as much as any other band, they don't want to be on top of the charts for just one hit single or album and then forgotten. "That would be worse than never making it at all," Brewer says. "If we get one hit record, then we'll have to come up with more."

"We want to be known for quality albums, and not just hit singles," Fahey adds. "Otherwise, the only good Ravyns album would be the Ravyns Greatest Hits. "

The Ravyns' strategy for success not only includes producing. quality music, but also the utilization of such media devices as MTV. "We're working on scripts for videos," Fahey says.

Townsend has seen the video explosion coming for the past three years. "It's more than necessary – it’s imperative. MTV and its competitors are creating a new perception of music, visual as well as aural."

In addition to video, Steele would like to start playing more out-of-town dates. "With an album to promote, I think we could easily play in clubs in Philadelphia, New York -- all around the country. It's great that our fans can see us at Maxwell's all the time, but playing there every week can get boring after awhile. We need to keep things exciting by expanding our audience."

So when will the Ravyns consider themselves a success? "Of course, we'll always want to get better," Brewer says, "but I get this picture of somebody we've always idolized coming up to us and saying 'You've made it.' That'll be it for me." -


The Ravyns [st - 1984]

The Ravyns [st - 1984]

Origin: Baltimore, Maryland (USA)

The Ravyns [st - 1984] aor melodic rock music blogspot full albums bands lyrics

Take a listen on youtube


Rob Fahey - Vocals, guitar
David Bell - Guitar, backing vocals
Lee Townsend - Bass, backing vocals
Tim Steele - Drums, percussion, backing vocals
Keith "Kyf" Brewer - Keyboards, backing vocals


1. Don't Leave Me This Way lyrics
2. Rhythm of the Heart lyrics
3. Cool Boy lyrics
4. Lose You lyrics
5. Raised on the Radio lyrics
6. Ready for Romance lyrics
7. No Regular Woman lyrics
8. Second Hand lyrics
9. Physical Attraction lyrics
10. Wraparound lyrics
11. Give Me One Chance lyrics
12. Love or Suicide lyrics

Sunday, February 12, 2017


Origin: Syracuse, New York (USA)

805 Frank Briggs - Ed Vivenzio - Dave Porter - Greg Liss
Frank Briggs - Ed Vivenzio - Dave Porter - Greg Liss

805 [Stand in line - 1982] aor melodic rock music blogspot full albums bands lyricsStand in line - 1982 (with lyrics)


- When 1980s Syracuse progressive-rock band 805 plays a set Friday night to help celebrate its induction into the Syracuse Area Music Awards hall of fame, guitarist and lead singer Dave Porter will be worrying about the fans.

“A lot of people are very happy about this,” Porter says. “I keep telling them: This isn’t our show. It’s the Sammys. We’ll try our best to put on an 805 show. Hey, it’s a half-hour.”

That means folks will be coming from Texas and Connecticut, as well as cities from along the Thruway circuit — Buffalo, Rochester and Albany — to hear about a half-dozen 805 songs.

“I’m worried about the fact that there was a lot that went into an 805 show, more than music and musicianship,” Porter says.

Big lights. Big visuals. “Smoke, fog, films, pyrotechnics, costumes and, yes, a 10-foot python named Dudley,” Porter reports.

That means big expectations for the band that Porter founded in 1977.

The lineup onstage will include the foursome that comprised 805 from 1980 to 1985, the period in which the Syracuse band found national fame.

“When we had our little peak, it was years before the Sammys even existed,” Porter says.

The band started playing covers of Genesis, Yes, Pink Floyd, Steely Dan, Peter Gabriel, Thomas Dolby, King Crimson and Weather Report and developed original songs that followed the progressive genre.

Then 805 was seen at a show in Little Falls by an engineer from New York City’s Electric Ladyland studios. A management deal with a Long Island company netted a record deal with major label RCA. In 1982, Porter, bassist Greg Liss, keyboard player Ed Vivenzio and drummer Frank Briggs recorded “Stand in Line” at Legends Studios in Washington state, owned by Randy Bachman, of Bachman Turner Overdrive.

The week of Aug. 14 that year, the album hit No. 36 on Billboard’s rock album chart, and its single, “Young Boys” hit No. 37 on the top tracks chart. A video, “Young Boys,” showed up on MTV.

“This summer will be the 30th anniversary of whatever that album achieved. Which wasn’t much,” Porter says.

Two more albums followed: “Question of Tomorrow,” which included a regional radio hit, “Christie,” in 1985, and “The Edge of the World,” in 1988, each with less national success.

Other prominent members included Ron Cunningham on guitar and vocals and Jim Lucas on drums before the 1980 version, and Marc Viscosi, Bill MacDermott and Brad Wiley on guitar, Gary Davenport and Tony Colabelli on bass, Carl Goodhines on keyboards, and Frank’s brother, Gary Briggs, on drums at various points thereafter.

The band broke up in 1992, but in 1994, the musicians got back together when asked to play the second edition of the Sammys, at the Landmark Theatre.

That was it until they released an anthology album and launched a 15-date reunion tour that started and ended at the Turning Stone Casino and Resort Showroom in 2003.

“It sounded pretty good,” says Frank Briggs of the last date of that tour, when he joined his ex-mates.

“I think what we had going for us is a natural chemistry that didn’t really happen in any of the other versions,” says Briggs, who is flying in from his home in Los Angeles and will also preside over a drum clinic from 1 to 3 p.m. Friday at the Red House Arts Center as part of the two-day Music Industry Conference that includes the Sammys.

“The band had a great relationship with its fans,” says Briggs, “and this was before social networking.”

Briggs, who plays on the national touring band for classic pop singer Engelbert Humperdinck, says that primary sound man Tim Rinkerman used to allow fans that arrived early to plug their recorders into the sound board.

“Lots of people are converting them to MP3s and collecting them,” says Briggs, adding that Rinkerman will come to Syracuse to work the board during the 805 set in the the Nicholas J. Pirro Convention Center Ballroom.

Vivenzio and Liss both still live and play music in Central New York. Vivenzio plays with Dave Hanlon’s Cookbook and has put out a solo album, “Airspace,” while Liss plays with Mark Cole’s rock outfit The Thin Line.

“I enjoy the company of every one of those guys,” says Liss, who played the electric, fretboard-and-strings Chapman Stick as well as bass for 805. “I will enjoy the fact that people are actually listening to the band because it’s likely the last time we’ll ever play for them.”

Vivenzio says he’s honored.

“I was a little surprised,” he said of the Sammys hall of fame induction. “It’s been a long, long time.”

Porter, who still lives in Syracuse, says he’ll never have any regrets about how his life turned out post-805. He and his wife, Kathy, have raised two children, a son studying business in college and a daughter who’s a senior in high school. Together, Dave and Kathy run their own company, Exhibit A Media. Kathy concentrates on print, and Dave on video and sound. He still plays solo and duo gigs around the region.

“I’ve had a pretty great life the way things turned out,” he says. -


- 805 is a progressive rock band from Upstate NY.  Started in 1977 by Dave Porter, 805 was signed to RCA Records in 1980.  In 1982, Stand In Line produced by Dennis MacKay was released on RCA Records.  It went Number 33 on national radio airplay charts.  In 1985, 805 self released Question of Tomorrow. In 1989, 805 self released Edge of The World.  In 2005, 805 self released End Of Light Best of 1979-1989 CD.  In 2008, 805 issued remastered releases of Stand In Line, Question of Tomorrow, Edge of The World, End Of Light, plus the release of Live Sounds From A Dark Past consisting of a live concert performance recorded on 11-26-2003.   In 2009, 805 issued Young Boys Live consisting of a live radio mobile broadcast recorded on 09-01-1982 during the peak of their national tour to promote the release of Stand In Line.  Band members over time have included Dave Porter on vocals and guitar, Greg "Creamo" Liss on bass, Ed Vivenzio on keyboards, Ron Cunningham on guitar and vocals, and brothers Frank Briggs and Gary Briggs on drums.

Dave Porter after returning to Syracuse in 1975 had a band, Harpy, that started doing "weird things on stage," he admits. The music was simpler than his next band's would be, but the theatrical aspects of the show carried over. Pyrotechnics, 10-foot pythons and blowing things up became part of the routine. But for a variety of reasons, Harpy broke up and Porter went on the lookout "for people who were really wizards on their instruments." After extensive auditions he found bassist Greg Liss (also called Creamo), keys player Ed Vivenzio and drummer Frank Briggs as well as guitarist, vocalist Ron Cunningham (who was with the band until 1980), and formed 805 in 1977.

Shortly after Cunningham's departure, RCA signed the band while it was playing what Porter recalls as a "dive of a place" in Little Falls.  The band enjoyed quick success with RCA and had the chance to record at Electric Lady Studios in New York City. But within a few years, the excitement faded and in 1983 they were on their own. The band continued playing with the original lineup until 1986 and other lineups until 1989. Since then there have been several reunions, but the original lineup with Porter, Liss, Vivenzio and Briggs only played a few tunes at a 2003 appearance at the Turning Stone Resort and Casino. Putting the pieces back together has been a daunting task.

"We've got like four hours to try to relearn these kind of complicated songs," Porter says. "They're in weird time signatures. If you're playing a song that's in 7/8, in those beats, it's hard to make them sound smooth to begin with unless they're played right. We'll see how good we are after all these years."

Although the band won't be able to spit fire or blow things up this weekend, the stories haven't lost their luster. Porter recalls a show where they did their usual routine at the end—a set themed to old age and death that called for a concussion bomb to go off while Porter magically changed from an old man (he'd rip off a mask and old, worn clothes) to a beautiful young man in shining white clothes. In this instance, they set off the bomb and blew off half of the club's ceiling. Porter still recalls looking out and seeing a dazed, blinded crowd covered in debris.

"They just sat there," he says in disbelief. "They didn't even move." At the end of the night Porter slunk to the bar owner's office, fearing 805 would be banned from the club, forced to pay for the damage and denied their night's pay.

"He {the bar owner} goes, 'You blew half the ceiling down.' I go, 'I know, I'm sorry,'" Porter re-enacts. “He goes, 'That was f--king amazing! Do you know how many people are gonna be here the next time you play?' I was so surprised."

It's with fond memories of ceilings falling, bombs going off and Creamo sending fireballs rolling above the crowd (Porter claims they only had to douse Creamo once) that 805 returns, finally getting recognition for the contributions to music, theatrics and Syracuse.

Although other members couldn't make the interview, Porter is quick to remember those who will join him on the Sammys stage for the performance on Friday night. "It's 805 that's going into the Hall of Fame," he says thoughtfully.
"The other three musicians that surrounded me... I guess that was my big talent. The ability to surround myself with really incredible musicians. I pale in comparison to any of the three of them." -


- 805 was founded in the NY area in 1977 by vocalist and guitar player Dave Porter.  While playing covers in the clubs circuit, the band wrote and recorded original songs tirelessly, and eventually was signed by RCA. At the beginning of ’82, at the mansion and studio of Randy Bachman (Bachman Turner Overdrive) in Washington, 805 recorded their debut “Stand In Line”.

“Stand In Line” includes really good songs in a lite-prog AOR style, with a brilliant and crisp production. “Young Boys” and “Fools Parade” are commercial tunes with a typical eighties ambience, the title track reminds you Genesis Phil Collins-era, while “Making It All Seem True” is a beautifully spiced AOR track (love the keys on this one). “Defense” has radio potential with very cool synths in the vein of AOR progsters Saga, and “Going Nowhere At All” has magical arrangements sounding pretty British to my ears.

Never released on CD, “Stand In Line” is one of the best commercial proggy AOR albums of the beginning of the ’80s. -


- Formed in Upstate New York in 1977, 805 started life as a progressive rock band playing Genesis and Yes covers in clubs across the US and Canada. Now personally, I never thought progressive rock translated very well in a club atmosphere and I imagine in the late 70's there was probably more than one punter who shouted out 'Free Bird!' during an extended keyboard solo. Yet despite the usual obstacles and with the musical tide moving away from progressive rock, 805 persevered, perfecting their craft, landing a record contract with RCA and recording their first album under the tutelage of Dennis Mackay (Brand X, Judas Priest, Shooting Star) at Randy Bachman's Legend Studios in the Pacific Northwest.

'Stand in Line' is a high quality album from start to finish and almost immediately noticeable is the slight fusion feel ala Group 87 and Ambrosia throughout the ten tracks, although this is definitely a pop album. Think Saga, Lodgic and Genesis' early 80's work. In fact the Genesis influence is quite strong on the title track featuring some very Tony Bank's influenced keyboard work. 'Young Boys', 'Fools Parade' and Side two's 'Gimme Everything' are the strongest and perhaps more accessible songs here, but I find the progressive material far more interesting, especially the final track 'Going Nowhere at All' which brings to mind Mike Rutherford's brilliant and eccentric 'Smallcreeps Day'. The perfect ending to a perfect album, 'Stand in Line' is definitely one to seek out for those who like their AOR spiced up with a prog rock twist.

It's too bad RCA didn't put more effort behind the band, although never to be held back 805 went on to release an independent tape and CD, both of which I have not heard, or knew existed (both are out of print). It will be interesting to get a copy of these and see how far the band 'progressed'! -


805 [Stand in line - 1982]

805 [Stand in line - 1982]

Origin: Syracuse, New York (USA)

805 [Stand in line - 1982] aor melodic rock music blogspot full albums bands lyrics

Take a listen on youtube


Dave Porter - Vocals, guitar
Greg Liss - Bass, backing vocals
Frank Briggs - Drums, percussion
Ed Vivenzio - Keyboards, backing vocals


1. Stand In Line lyrics
2. Young Boys lyrics
3. Fools Parade lyrics
4. Making It All Seem True lyrics
5. Defense lyrics
6. Gimme Everything lyrics
7. Keeping The Spark Alive lyrics
8. Float Away lyrics
9. Out In The Light lyrics
10. Going Nowhere At All lyrics

Sunday, February 5, 2017


Origin: Pennsylvania (USA)



Synch [Get the feelin' - 1986] aor melodic rock music blogspot full albums bands lyricsGet the feelin' - 1986


- The band Synch was formed in the mid-80s. Lou Butwin was the lead singer. However, drummer Jimmy Harnen wrote “Where Are You Now”, and was afforded the chance to sing it. The song was released on an independent label in 1986. The song got some local airplay in the Wilkes-Barre, Pennsylvania market. The band was then signed by Columbia records. By the time their album was recorded, Jimmy Harnen and keyboardist Chuck Yarmey were the only remaining members of the original lineup.

“Where Are You Now” is a power ballad by the Pennsylvania-based 1980s band Synch. Co-written and sung by Synch band member Jimmy Harnen, the song was initially credited solely to ‘Synch’ when it was first released in 1986. In 1989, the song was re-released under the name ‘Jimmy Harnen with Synch’. “Where Are You Now” peaked at #77, and the band was dropped by Columbia.

However, in 1989, the song gained huge popularity and received heavy airplay, prompting record executives to re-release the original (major label) recording of the single, now credited to ‘Jimmy Harnen with Synch’. WTG, a new label at the time, signed Harnen as a solo artist, and while the song was climbing the charts, he began recording a full-length release for the label. This time, the song reached all the way up to #10 on the Billboard Hot 100, and #3 on the Adult Contemporary chart. -


- Jimmy Harnen is a singer, songwriter and drummer from Plymouth, Pennsylvania. He was the drummer for a local band named Synch, made up of lead vocalist Lou Butwin, guitarist Dave Abraham, bassist James A. Donnelly, and keyboardist Chuck Yarmey.

In 1985, Synch recorded some of their songs, with Harnen singing on one song, “Where Are You Now?”, which he cowrote with a friend named Rich Congdon. The band decided to release it as a single on the independent label Micki Records. The song got local airplay, and scored a record deal with Columbia Records. They re-recorded “Where Are You Now?”, and released an album, Get the Feelin’ in 1986. “Where Are You Now?” reached #77 on the Billboard Hot 100, but fell off the chart the following week. Synch was soon dropped from Columbia. They spent the next few years trying to recapture the spotlight, before disbanding.

However in 1989, “Where Are You Now?” resurfaced and began to get a lot of airplay. With the song now credited as ‘Jimmy Harnen with Synch’, it began to grow in popularity, and it shot all the way up to #10 on June 10, 1989. As the song was climbing the charts, WTG, a new label at the time, signed Harnen as a solo artist.

Jimmy Harnen’s debut album, Can’t Fight The Midnight, featured well-known studio musicians including future-American Idol judge Randy Jackson (bass), Toto’s Steve Lukather (guitar) and a guest appearance by one of Harnen’s idols, REO Speedwagon’s Kevin Cronin. The album and tour flopped and Harnen spent the next couple of years releasing occasional songs and tapes until his move to Nashville, Tennessee.

Harnen is no longer a recording artist. However, he is now president of the label Republic Nashville. Artists on the label include The Band Perry, Eli Young Band, Sunny Sweeney, Fast Ryde and SHEL. -


- Another band like Magnum(US version) that have close ties with Pennsylvanian legends Dakota. It would appear that Messrs Hludzik, Kelly and Manwiller took on something of a mentoring role for Synch as they both produced and arranged the album for the band. In fact there's something of an incestuous relationship going on here, given that guitarist Jon Lorrance eventually resurfaced in the line-up of <b>Dakota</b> when the band reformed in the late nineties, early noughties. If the above doesn't give you an inkling as to what Synch sound like then the carefully stage managed group photo complete with requisite bouffant hairstyles surely does. Then again, if you're still stumped - the two keyboard players and four backing singers is another tell-tale clue - yes you've guessed it, this is classic AOR.

Fortunately the band have spent equally as much time and attention to cultivating their AOR sensibilities as they have their immaculately coiffured appearance. The Dakota influence is obvious from the start as 'Don't Walk Away From Love' is a classy ballad with layered keyboards, tempered guitar and some delicate harmonies. 'Thinkin Of You' raises the tempo, its high tech opening building into an energetic workout with a great chorus and surging guitar work from Jon Lorrance. This is followed by a couple of live cuts from a concert at Seton Catholic High School. This seems to be a very appropriate choice of venue as the music these guys play is very wholesome and unthreatening. Somehow you can't imagine Kiss or Van Halen being invited to perform the same gig. 'Playin' A Game' is prime time AOR with all the distinguishing hallmarks - the strutting guitar, neatly interspersed with stabbing keyboard fills. Jon Lorrance is even allowed the opportunity to cut loose with a well-oiled guitar solo. In fact he distinguishes himself throughout the album with some impressive fretboard action. Having worked their audience of Catholic schoolgirls into a frenzy (well if the intro is anything to go by..) things are calmed down somewhat with 'Where Are You Now?' I'm not a great fan of this song if I'm being honest, though it's slightly less insipid in a live environment. Side one closer the upbeat rocker 'Hot Summer Night' is a vast improvement. The chorus lifted straight out of the Dakota songbook. It comes as no surprise then to find that it was actually penned by Messrs Hludzik and Manwiller. Side two continues the momentum in spectacular fashion, the raw and dirty guitar riffing from Jon Lorrance contrasting nicely with the strident keyboards and delicious harmonies on the chorus. The tasteful keyboard intro to 'Give Love Another Try' is yet another song guaranteed to have AOR fans swooning in the aisles. The band maintain the energy levels with an excellent version of the Dakota classic 'Don't Stop Believin'. Whilst it's not quite the equal of the original version it succeeds in running it a very close second. The upbeat 'I Want You' is characterised by its high tech keyboard stylings, but Jon Lorrance's biting guitar, the punchy chorus and pumping bass ensures that this is no wimp out. Ending proceedings is the driving 'Something We Already Had' it's dripping with melody and has yet another terrific guitar solo from Jon Lorrance. -

It's easy to understand to why this album is highly sought after by AOR collectors and Dakota fans, because despite the fact it's an independent release the band display major label qualities. As has been documented elsewhere on this site, the song 'Where Are You Now?' took on a new lease of life several years later, culminating in Harnen inking a deal with Polygram and releasing a solo album 'Can't Fight The Midnight'. That was a good album but not a patch on this earlier effort with his former bandmates. -


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