S7E356 - Daryl Hall and John Oates 'War Babies' with Fernando Perdomo
In this positively bonkers episode, we ventured into the studio of L.A. musician/producer Fernando Perdomo to help him unpack the bizarre album by Philadelphia pop/soul hitmakers Daryl Hall and John Oates that got them dropped by Atlantic Records:...
In this positively bonkers episode, we ventured into the studio of L.A. musician/producer Fernando Perdomo to help him unpack the bizarre album by Philadelphia pop/soul hitmakers Daryl Hall and John Oates that got them dropped by Atlantic Records: 1974's 'War Babies'.
Strap in, kids...
Songs discussed in this episode: Is It A Star - Todd Rundgren; Searching For Myself, Self - Fernando Perdomo; Whenever You're on My Mind - Marshall Crenshaw; No Matter What You Do - Jakob Dylan & Regina Spektor; Old San Juan - Spyro Gyra; International Feel - Todd Rundgren; Right - David Bowie; Guitar Man - Bread; Sara Smile, I Can't Stop The Music, Is It A Star, Beane G and the Rose Tattoo, You're Much Too Soon, 70's Scenario - Daryl Hall and John Oates, Bat Out Of Hell - Meat Loaf; War Baby Son Of Zorro, I'm Watching You (A Mutant Romance), Better Watch Your Back, Rich Girl, Screaming Through December, Johnny Gore and the C Eaters - Daryl Hall and John Oates; Self - Fernando Perdomo
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Fernando Jose Perdomo
Musician/Record Producer
Fernando Perdomo (10:15 Slot)
Fernando Jose Perdomo (born August 17, 1980) is an American musician best known for his work as a producer and session bassist and guitarist. He is best known as one of the guitarists in the movie Echo in the Canyon, where he backed up Jakob Dylan, Fiona Apple, Beck, Norah Jones, Regina Spektor, Brian Wilson, and Cat Power.
He is currently on tour with Marshall Crenshaw on lead guitar. His newest album is called "Self" which is out on Spirit of Unicorn/Cherry Red Records. The album has already received acclaim!
Fernando Perdomo goes for a baroque psychedelic pop playfulness with “Self.” Nods to Todd Rundgren and the Kinks, right down to the delirium he conjures up, add to the inherent charm of the album. Songs do an exceptional job working off each other to create this fully realized whole. The album is best taken in as a coherent whole. Lyricism employs an acidic alliteration, for there’s this otherworldly quality to how things come together. Everything has so much tenderness and affection, giving the album a genuine adoration for the world. Instrumentally, it has a strong love for the 70s, as the golden era AM quality ties the narratives together in this gorgeous, sun-drenched way. - Skope Magazine