@ SANGBARA Framfér allt i balladerna dr melodierna valdigt s&ngbaro och lander ofta pA ters eller sjua pa de betonade taktdelarna eller p& n&gon firgande ton. Tonmaterialet ar i huvudsak himtat fran ton- artens egna toner. EXEMPEL pa mycket sAngbara melodier: - Just once (Quincy Jones - "the Dude") - Smile again (Manhattan Transfer - "Mecca for moderns") - Through the fire (Chaka Kahn - "I feel for -you") Q@KoMPPRYLAR Manga melodier, speciellt i refrangerna ar néra-~ p& mer en sorts kompfigur in en melodi. Rytmen och tonernas harmoniska funktion ar ofta viktiga- re in den melodiska aspekten. EXEMPEL p& refranger uppbyggda av “kompfigurer": - All right (Christopher Cross - "Another page") Coa a ar ~ Look who’s lonely now (Randy Crawford ~ "Secret combination"."Bill Labounty") - Trouble in paradise (Al Jarreau - “Jarreau") - Mornin’(dito) © SEKVENSBASERADE En fras eller ett motiv upprepas (mer eller mindre exakt) i ett annat lage. Hela létar eller refrang- er kan vara uppbyggda av sekvenser. EXEMPEL p& refranger som ar sekvensbaserade: - Livin’inside myself (Gino Vannelli - Night- walker) - Never gonna let you go ("Sergio Mendes") (Dionne Warwick - "Friends in love") - After the love has gone ("Airplay". EW&F - "I am")am Teadwelodin kan man offs finna en aan melodi. Den kan vara ett snabbt riff i trex. blaset. Iséfall fungerar den nistanmer som en sorts kompfigur. Mycket vanliga ir ocksd de langa linjer som léper i strakar, blas, eller bakgrunds~ kéren. Linjerna rér sig mellan harmoniskt vik- tiga och snygga toner. De arbetar garna kontra~ punktiskt gentemot melodin genom att réra sig at motsatt hSll eller ligga still dar melodin ror sig och vice versa. EXEMPEL pd lines: - Trouble in paradise (Al Ja cnt emt = Just once (Quincy Jones - "The Dude") = Secret combination (Randy Crawford - "Secret c.")2 ACKORO Det vanligaste sittet att beteckna ackord ar den s.k. gitarranalysen (C, G7, Fmaj7, Hm etc). G/F betyder dé Gdur med F som baston. Ett annat skrivsdtt som inte ar 4 vanligt i Sverige dr "POLYTONE"(som f.8. har gett namn St en firstarkare). betyder ett C7 med en éverlagrad D-durtre- klang pa topp. For att skilja det fran det vanliga skrivsattet skiljer man pa rakt och snett brakstreck. G/F = G-dur med F som baston c £ = F-dur med G-dur som Sverlagrad treklang. Eftersom skrivsdttet ar tamligen okant i Sve- rige stimmer inte detta med rakt/snett brak- streck alltid. Vi har dock férsékt att g& in for det. Angdende 11-ackordet rader det lite oklarhet om hur man skall beteckna det. I Sverige menar vi att ett C13 Br samma sak som ett Cyadd6. Och ett C11 ar ett BP-ackord med C som baston. I USA ar daremot ett C13 ett BPmaj7 med C som baston. Det vi kallar 13 heter C7add6. Vi har valt att géra pa féljande satt ———_——— errs eb/c kallar vi fér C11 abmaj7/C kallar vi for C11add13 Claddé kallar vi fér C13 TRE _ACKORDKATEGORIER I princip bestar alla ackord inom slickmusiken av treklanger eller sammansaéttningar av treklanger. De tre huvudkategorierna av ackord behandlas p& Féljande satt. @ ourackoro Blir ofta ma durtreklang 7, maj?(=Cgurtreklang> Add? laggs valdigt ofta med tersbas. eller add9,(ackard forts.) 5 @ MOLLAcKoRD Férekommer nastan uteslutande med liten 7:a. Blir ofta m9 eller m11. m7-5 férekommer oftast i qrundform. (Har i huvud- sak 2 funktioner. a/ frsatter m7 i en II-V-I. b/"dimfunktion" dvs genomganosackord vid kromatiska baslinjer och vid modulationer. 9) * t =o Pmt (ES) pPm7~5 (Fin AD} @ DOMINANTSEPTIMACKORD Blir valdigt ofta 11-ackord. Overlagras friskt med olika treklanger. a ae FeOm man sitter stick harmonik pA "Sov du Lilla vi- deunq" kun det t.ex. Lita pa filjande sitts Traditionell harmonik Em Dm GF c SS 5 Harmonisering av durskalan ikhet med den mesta vasterlandska musiken bygger den "slicka" harmoniken p& durskalan. Hen jamfort med t.ex. visgenren anvander man 4- och 5-klanger istéllet fir 3-klanger. Féljande ackord vi av C-durskalan: ; ie z £23 Cis) Dm? m7 Png G7 AMT tn 7=5 Av dessa bildas sedan II-V-I och langre rundgdngar som ligger till grund fdr Atskilliga standard (T.ex. All the things you are, Autumn leaves) "If that what it takes" (Michael McDonald) innehal- Jer en kadens hamtad fran detta schemat. Laten gir i Ab-dur.) ¥ @ Harmoniseriny av durskalan med frammande ackord Waldigt typiskt fir stilen ar att melodin ar inom tonarten men att ackorden ar "frammande" eller an- dra former (fargningar - dur byts mot moll etc.). Typiskt ar ocksa oviintade kadenser inom tonartens ram. EXEMPEL: -Through the fire (Chaka Kahn - "I feel for you") (harmoniken forts - Tonight Tonight (Bill Champlin ~ "Runaway") e__Guie F [Hm end Ghd 3] le Wut lem - Graceful (Koinonia -"More than feelin’") - Love is not enough (David Sanborn)(harmoniken forts.) 8 @ liarmonisering styrd av lines Welodin eller matmelodin rar Sig mellan s& firgande toner att harmoniken styts darav. Det kan modulera friskt. EXEMPEL: - Mornin (Al Jarreau -"Jarreau") x Pa EnV Ft Ges (or 6 ar) Cnirs La ckordet Benagenheten att stoppa in 11-ackord i tid och otid ar stor. Den grundliiqgande harmoniska skill- naden mellan slick och jazz ar att dar jazzmusi- kern spelar A9 eller A13 spelar slickmusikern A11. \t-ackordet ar oftast nagon sorts mellandominant varvid mediantik brukar uppsta. I kadenser kan man lata 11 fdlja pA 11. Detta anvands flitigt av bl.a. Naurice White och George Duke. Det gér till och med att hitta hela latar som ar uppbyggda av 11-ackord. (Mer om 11-ackordet i kapitlet "kryddor")(Harmoniken forts.) 9 EXEMPEL pd 11-ackordet: = Look what you find (George Duke- "Master of the game") Fees @ KOMPPRYLAR Rubriken avser den typ av figurer som ligger i gitarr eller synth fér det mesta. Den syftar ocksé pa blasriff och i viss man kérstammor. Det ar vanligt att keyboarden ligger med klanger (Elpiano/flygel ar allt som oftast dubbat) medan gitarren har en kompfigur. Alternativt byter man. Nedan féljer nagra vanliga kompfigurer. @ 2- eller 3-klangsfigurer Den allra vanligaste rundgangen ur T-Tp-Sp-D. Om vi utgaér fran den ser ménstret ut som féljer. I takt 142 bestaér kompfiguren av T och D ( I andra takten byts baston). I takt 3+4 bestaér figuren av T och S. Detta minster finns med smarre variationer i 100- tals latar. EXEMPEL : - All right (Cristopher Cross - "Another page") > Ride like the wind (C Cross - "Navegando") - Mornin’(Al Jarreau - “Jarreau") Nonstret kinns igen aven i latar dar harmoniken ar lite annorlunda.(kompfigurer forts) EXEMPEL: - Mr Briefcase (Lee Ritenour - "Rit") y “& z = = robe rtf 6f cott - Trouble in paradise (Al Jarreau - "Jarreau") - You need a hero (Pages) - Who’s right - who’s wrong (Kenny Loggins - "Keep thefire". Pages - "Future street". Al Jarreau & Randy Crawford "Casino light") - Through the fire (Chaka Kahn - "I feel for you") @ Hammarklaver-"pumpbas" Snabba Sttondelar eller sextondelar i diskanten p& pianot pé gammalt rockmanér. EXEMPEL: = Hold the line (Toto) - Cryin’ all night (Airplay) - You oughta know by now (Ray Kennedy) Lika vanligt ar det att basen har 4ttondelar som pumpar. Gitarren dubbar ofta. @ Entonsprylar/Riff Bl3sarna har ofta genomgéende riff som ligger i bakgrunden. EXEMPEL: ~ Boogie down (Al Jarreau-"Jarreau") - Roofgarden (Al Jarreau - "Breaking away”) T.ex. gitarren kan ocksd ha ett “entonsriff" EXEMPE - We're in this love together (Al Jarreau -"B.A. ) 2. Pak Sen Fi @ Brutna ackord Speciellt vanligt i introna. Oftast pa piano. EXEMPEL: > Smile again (Manhattan ransfer -"Mecca for moderns - You (Earth, wind & fire - "Faces") - Just once (Quincy Jones - "the Dude")i Formen p& "slick"latarna dr oftast en utvecklad schlagerform. De bérjar ofta soft och byjgs undan fdr undan upp. Att vaxla mellan tonarterna ar po- puldrt s& att refr g&r i annan tonart an versen teex. Nedan féljer ett recept pd den optimala slicklaten: INTRO Brutna ackord i piano. Rundgang pa 4 takter. Den tas i repris ett tonsteg hégre - dé med en straéklinje till. VERS 1 Sang. Kompas av piano-elpiano som spe- lar identiskt och lagger ackorden. VERS 2 Bastrumma/Bas kommer in p& efterslag. BRIDGE 1 Lv. i annan tonart. Bérjar f.i. med ett 11-ackord. Bldsarna spelar vackra lines. Det hela bérjar ta fart. REFR 1 Kérstimmor. 8l4set spelar fills pa de stllen dar sangaren andas. Gitarren har nu antligen hittat sin komppryl. INTERLUDE Liknar introt. Modulerar med hjalp av minst 4 11ackord i rad p& ett under- bart satt till en ny tonart. VERS 3 Kantslag pd virveln. I takt 4 en annor- lunda rundgang an i vers 2. BRIDGE 2 Som Bridge 1 fast den modulerar till tonarten tersen éver férra refr. REFR 2 Ettorna i takt 1,3,5,7 pushas i bas- bastrumma. GITARR- Bérjar med en valdsamt hég ton som solo snabbt dalar. Darp& byggs solot upp och blir férst 2-stammigt - dérefter 3-,4- och 9-stammigt. Solot svettas fram under 18 timmar i en varm studio. OBS: FAR EJ IMPROVISERAS. Allt for att undvika likheter med jazz. Solot modulerar till tonarten en ters ovanfér refr 2 REFR 3 Mer kér. Mer vrik i solorésten. Gitarren fyller i allt efter producentens tycke och smak. Blasarna spelar nu dubbelt sa fort som tidigare. Hela smeten férsvinner s& i fjarran...\. cam @Sarskilda kadens Nagot som anvinds flitigt ar “in-ut-in"ménst- ret i kadensen som féreqar t.ex. versen eller refrangen, "In-ut-in" betyder att man fran den tonart man befinner sig i gir en utflykt till nagon annan tonart fdr att Stervanda. Man dkar den harmoniska spanningen far ett dgonblick efter det kinda minstret “spanning-avspinning". Detta kan ske i olika hig grad. Ar man i C-dur sé dr ett "besdk" i G-dur inte lika "spannande" som ett besdk i fF -dur. F - dur ar mer "Ut" (eller"out") an G-dur. zp MIN-UT-IN" Vi har valt ut nagra typiska "slick"-varianter p& "in-ut-in"-minstret. * Dominanten féregas av ackordet en halvton eller eventuellt en helton upp. EXEMPEL : - Smile again (Manhattan Transfer) 7 , yeh WE Ae aay [C85 )Hin zi =e - Trouble in paradise (Al Jarreau) fn G eh | by ee = Ft ln * Dito - fast fler ackord ar utanfér tonarten. EXEMPEL: - You (Earth, wind & fire) @e Ht Ent les En Dit ¢ Dominanten ersatts av ackordet en helton under Tonikan. EXEMPEL : - Lost in the hurrah (Mare Jordan - "Blue desert") pbs hs Wy, A (es(kryddor forts.) 3 Dominanten firegas av ackordet en halvton dver IL i tonarten. EXEMPEL : - You (Earth,wind & fire) Hee @sz SS Rundgangar som ar varianter p& de tidigare EXEMPEL: - Reach out (Gearge Duke) Fedurz c11]am7 om7 c11 fet - We're in this love together (Al Jarreau) Bu Gu Din ca ~ Who's right - who’s wrong (Pages, K Loggins) Dep Creme ale woh gicur wnat eone 83 — Fa 9— @)Orgelpunkt Ett vanligt stildrag speciellt pa versarna. Orgel- punkt betyder att basen ligger kvar pA en och samma ton medan harmonierna andras ovanfér. Orgelpunkten kan antingen vara ihopbundna helnoter eller ater~ kommande rytmiska markeringar. EXEMPEL; - Without you (Bill Champlin) beers OT Si At Ey Mee trace egCeryddor forts.) I4 EXEMPEL: - Fearless (Pages) Eis Fy gee ~ Whatever we imagine (James Ingram) - Tf thatswhat it takes (Michael McDonald) - Funky bumpkins (Koinonia) instrumentering" Att Tata Tlygel/Elpiano spela samma sak har redan tidigare namnts. Det ger en fyllig klang med bra attack, Ofta - speciellt p& senare ar har man alltmer bytt ut det ena eller baage mot synthar med liknande sound. Genom midi-~ koppling kan man ju spela bida samtidigt pa ett keyboard. ~ Bas/Bastrumma féljs s4 gott som alltid &t och markerar samma synkoper och accenter. Ibland dubbar man basen med synthbas. ~ Nar basen har en harmonisk linje eller ett riff som &terkommer ar det vanligt att gitarren dubbar en oktav upp. Sana har figurer ar ofta med som ett sorts svar till melodins "fraga". Dvs. Sangen sjunger ett kort motiv ~ Bas/gitarr hdrmar eller kontrar. Blasriff/fills ligger nastan uteslutande i "halen". Alltsé dar séngen gér uppehall. Dessa viff ar sallan nagra vackra melodier utan har mer en rytmisk funktion. (De vackra melodierna kallas lines). > 2- eller 3-stémmiga gitarrsolon, intron och fills dr kanske det allra mest typiska fér den “slicka" genren. Det ar séllan ndgra langa solon med snabba rékor utan ofta bara 4 takter langa och coola. Vanligt ar ocksd att solona i princip ar melodin p& refr eller vers med smarre variationer (girna i en anna tonart). - Percussion ar en viktig krydda. En triangel t.ex. ger en valdig lyster ’t soundet. En cabassa kan Ska svanget Atskilligt. Gverhuvud taget dr olika percussioninslag bra fér vari tionen. - Man jobbar mycket med att variera instrumenta- tionen, soundet, tonarten, harmonierna mellan de olika delarna.SKIVLISTA STORA BOKSTAVER = SUPERSLICKT IS sm& bokstaver - slickt) Artist/grupp - titel (producent - skivnr ~ utg-ar) A AIRPLAY = AIRPLAY (J Graydon-D Foster - RVP 6456 - 1980) Allen, Peter - 8i-Coastal (D Foster - SP 4825 - 1980) - Not the boy next door (R Landis - Arista 205 198 - 1983) Alessi - Driftin“(Louis Shelton - AMLH 64713 - 1978) = Long time friends (C Cross-Michael Ostin - QW K 56 999 - 1982) America ~ Perspective (McCauley/Zito/Burgess - 064 24 0216 1 ~ 1984) ANKA, PAUL - Walk a fine line (D Diante - CBS 25259 - 1983) Attitudes - Good news (Jay Lewis - DH 3021 - 1977) AUSTIN, PATTI - Every home should have one (Quinsy Jones - OWK 5693 - 1981) = PATTI AUSTIN (Q Jones m fl - 923 974-1 - 1984) ~ GETTING AWAY WITH MURDER (dito - 925 276-1 - 1985) Average white band - Shine (D Foster - AL 9523 - 1980) B Bajley, Philip - Continuation - The wonders of his love (PB - 92 3744 1-1984) ~ Chinese wall (P Collins - CBS 26161 - 1984) Benson, George - Livin inside your love (T LiPuma 288K 3277 - 1979) = In your eyes (A Mardin - 92 3744 1 - 1983) = 20/20 (R Titelman - 925 178-1 - 1985) - Give me the night (Q Jones - HS 3453 -1980) - Weekend in LA (T LiPuma - WB 3139 (1978) Berger, Michel - Dreams in stone (MB-Philippe Rault - WEA K 99228 - 1982) Brecker Brothers - Detente (G Duke - AB 4272 - 1980) Bright orange - Bright Orange (Ll Wellander - KS 80036 - 1983) Broom, Bobby - Clean sweap (Dave Grusin/Larry Rosin - Arista GRP 5504 - 1981) Brown, Sheree - the Music (ST - 122 29 - 1978) Bryson, Peabo - Take no prisoners (A Mardin+T LiPuma - WB 960 427-1 - 1985) c Carlton, Larry - Larry Carlton (L¢ -.BSK 3221 -, 1978) - Mr 335.Live in Japan (LC - WB 56721 - 1979) - Strikes twice (LC - BSK 3380 - 1980) ~ Sleepwalk (LC (LC - WBK 56974 - 1982) Friends (LC - WEA 92 3834 1 - 1983) Casiopea - Casoipes (ALR 6017 - 1980) - Mint Jam (ALR 2002 - 1982) - Brush stroke{6 SKIVLISTA(Rlad 2 Casiopea ~ Jive jive (ALR 28052 - 1983) > Thunder live (ALR 6037) > Hake up city (ALR 28007 - 1980) - fyes of mind (ALR 28016) ~ cross point (ALR28029 - 1981) - Photographs (ALR 28049 - 1983) - 4 x 4 (ALR 28045) - the sound of graphy(saml-LP)(ALR 28055) Champaign - Modern heart (C-George Massenburg CBS 25038-1983) CHICAGO - XVI (D Foster - WEA K 99235 - 1982) - XVII (D foster- WEA 925 060-1 - 1984) CHAMPLIN, BILL - Single (0 Foster FULL MOON JE35367 - 1978) ~ Runaway (D Foster - ELEKTRA 5E-563 - 1981) CRAWFORD, RANDY - Secret combination (T LiPuma - WEA - BSK 3541 - 1981) > Windsong (T LiPuma - WB K 57011 - 1982) = Nightline (T Lipuma ~ WEA 92-3976-1 ~ 1983) CROSS, CHRISTOPHER - Navegando (HW O'Martian - LWB 5447-1981) ~ Another page (MO - WEA 923757-1 - 1983) - Every turn of the world (MO - WEA 925 WEA 925 341-1 - 1985) Crouch, Andraé - I'l] be thinkin’ of you (Bill Maxwell- Ls-7052 - 1979) ~ Don't give up(BM - WB K 56949 - 1981) Casino light (saml.LP A Jarreau, R Crawford, Yellowjackets © Sanborn m.fl.) (T LiPuma - WB 92.3718-1 - 1982) D DaCosta, Paulinho - Happy people (PD - 2312 102 -1979) = Sunrise ( PD ~ 2312 143 - 1984) DeBarge - Rhythm of the night (J Graydon-DeBarge ~ 2L72340 - 1983) Diggs, David - Realworld (Bob Edmondson - PA 8037 - 1983 Doobie Brothers - Takin it to the streets (Ted Templeman - BS 2899 - 1976) ~ Livin on the faultline (TT - KBS 3045-1977) > Minute by minute ( TT - BSK 3193 ~ 1978) - Farewell tour (2LP"live")(TT-WEA 923772-1 1983) DUKE, GEORGE - Follow the rainbow (GD - EPC 8336 - 1979) - Dream on (GD - EPC 85215 - 1982) - Guardian of the light (GD ~ EPC 25262 - 1983) - Rendezvous (GD ~ EPC 26059 - 1984) - Thief in the night (GD 960 398-1 - 1985) Delta - Delta (M McDonald - WB 252 561-1 - 1985) Dakota - Runaway (anny Seraphine - MCA 5502 - 1984) E Eagles - Hotel California (Bill Scymezyk - AS 7E 1084-1976) > Cagies live (BS - AS 62 032 - 1980) Earth,wind & fire - That's the way of the world (Sig Shore- CBS 32054 - 1975) Spirit (Maurice White & Charles Stepnay ces 81454 - 1976)SKIVLISTA(Blad 3) Earth,wind & fire - All'n‘all (M White - CBS 32266 - 1977) - Tam (HW ~ CBS 86084 - 1979) - Faces(2lp) (MW - CBS 88498 - 1980) - Raise (MW - CBS 37548 - 1981) - Powerlight (MW ~ CBS 25120 - 1982) - Electric universe (MW - CBS 25775 - 1983) Easton, Shena - A private heaven (G Mathison - 064-24 0229-1 1984) = Best kept secret (GM+J Graydon EMI 1077951 - 1983) Edwards, Dennis ~ Don't look any further (Dennis Lambert - GORDY 7172148 - 1984) Eye to eye - Lye to eye (Gary Katz ~ WAR 56940 - 1982) - Shakespeare stole my baby (GK - WEA 23919-1 1983) F FORD, ROBBEN - Schizophonic (Kris Huston -MCF 3028 - 1976) ~ The inside story (Steve Cropper ~ ELEKTRA P-10625E - 1979) - Love's a heartache (Kazu Matsui - 28NM-0253 1984) Witherspoon, Jimmy - Live JW & Robben Ford (Mike Verner - LArecords GG 58003 - 1977) FAGEN, DONALD ~ The nightfly (Gary Katz - WEA 92-3696-1 1982) Ferguson, Jay ~ White noise (Michael Verdick+JF - CAPITOL 064-400 077 - 1982) Ford, Dwayne - Needless freaking (D Foster mfl - EPIC 85897 - 1982) FOSTER, DAVID ~ The best of me (DF+Taka Nanri - SOUND DESIGN 1342-9 - 1983) FRANKS, MICHAEL ~ The art of tea(T LiPuma WEA REP 54048x 1975) ~ Burchfield nines (WB 56479 - TL - 1978) - One bad habit (WB 56814 - TL+A Fischer 1980) - With crossfire(live) (MF WB-56922 - 1980) Objects of desire (WBK 56973 Michael Colina+Ray Bardani- 1982) - Passionfruit (Rob Mounse - WEA 92-39621 1983) - Skin dive (RM - WEA 925275-1 - 1985) Friendship - Friendship (Lee Ritenour+Don Grusin.- ELEKTRA 6£-241 ~ 1979) - Friendship/l Ritenour Front, the - the Front (RMLP 018 (1985) Franklin, Aretha - Love all the hurt away (A Mardin - AL 9552 ~ 1981)i SKIVLISTA (Blad 4) G Gronenthal, Max - Whistling in the dark (Michael James Jackson - CHR 1231 - 1979) GRUSKA, JAY - Which one of us is me (JG - WEA 923923-1 - 1984) H Hall, Lani - Blush (Allee Willis - AMLH 64 829 ~ 1980) Henderson, Finis - Finis (Al McKay - Bellaphon 260-15-058 1983 Holliday,Jennifer - = Say you love me (T LiPuma, M Jacksonmfl SCBS 26564 - 1985) Hyde, Paul & the Payolas - Here's the world for ya (D Foster - A&M 395 025-1 - 1985) Hall & Oates - Along the red ledge (D Foster - INTS 5258 1978) I I-ten - Taking a cold look (Keith Olsen+Steve Lukather CBS 25637 - 1983) INGRAM, JAMES - It's your night (Quincy Jones ~ WEA 923970-1 - 1983) 3 Jackson, Michael - Off the wall (Quincy Jones - EPIC 83468 - 1979) - Thriller (QJ -€PIC 85930 - 1982) Jacksons ~ Destiny(EPIC 83200 - 1978) JARREAU, AL - Glow (T LiPuma ~ REP 54 073 - 1976) ~ This time (3 Graydon - WB 56 804 - 1980) - Breakin “away(JG WB 56917 - 1981) - Jarreau (JG - WB 25 0070-1 - 1983) - High crime (3G ~ WB 250 807-1 ~ 1984) = In London(live) (T LiPuma - WB 252 369-1-1985) JONES, QUINCY - Mellow madness ( A&M SP-4526 - 1973) - I heard that (A&M SP 3705 ~ 1973-76) = Sounds..and stuff like that (A&M SP4685 1978) - The Dude (A&M AMLH 63721 - 1981) JORDAN, MARC - Mannequin (GaryKatz ~ WEA BSK 3143 - 1978) - Blue Desert (Jay Graydon - WEA P-10774W - 1979) > Hole in the wall (MJ+*Don Murry - SOUNDDESIGN 1342-8 - 1983)SKIVLISTA (Blad 5) . 19 kK € Kennedy, Ray 7 Hay Kennedy (D Foster - CBS 25AP 1884 - 1980) jot KGB - ion (R Kennedy:s4ng)(Kenny Kerner+Riche Wise MCA 2221 - 1976) Khan, Chaka ~ Chaka (A Mardin - WEA BSK 3245 - 1978) - Naughty(AM - WB 3385 - 1980) = What cha“gonna do for me (AM - WB 56888 - 1981) - Chaka Khan (AM - (AM - WB 923729-1 - 1982) - I feel for you (AM, D Foster, R Titelman mfl WB 925162-1 - 1984) KIPNER, STEVE - Steve Kipner (J Graydon - ELEKKTRA 6-202 1979) Koinonia - More than a feelin’(Bill Schnee - RMLP 009 - 1983) - Celebration (Bird 156 - 1984) t LaBounty, Bill - Bill Labounty (R Titelman - WB kK 56988 -1982) LARSEN-FEITEN BAND - Larsen-Feiten band (1 LiPuma ~ BSK 3468 1980) Full Moon/featuring Larsen/Feiten ( WB K 56933 - 1982) Larson, Nicolette - Radioland (T Templeman - 85K 3502 - 1980) Lava - Crusin (L - PGR 2382 120 - 1981) - Prime time (L ~ PGR 2382 134 - 1982) - Fire (L - PGR 821 631-1 ~ 1984) Loggins, Kenny - Celebrate me home (P Ramone+8 James - CBS 81882 - 1977) = Nightwatch (B James - CBS 35387 - 1978) Keep the fire (Tom Dowd - CBS 83069 - 1979) Alive (CBS - 88500 - 1980) High adventure (KL+Bruce Botnick - CBS 85932 1 1982) - Vox humana (KL - CBS 26221 - 1965) Lorber, Jeff fusion - Galaxian (JL+Rik Pekkonen - AL 9545 1981) Lorber, Jeff- it's a fact (JL - AL 9583 - 1982) - In the heat of the night (JL-ARI 90100 - 1984) 4 Madagaskar - Spirit of the street (John Barnes -Al 9565-1981) McDONALD, - If thatswhat it takes (T Templeman+Lenny Waronker- (urcwaey WB K 57018 - 1982) = No lookin’back (MM+TT ~ ‘WB 925291-1 - 1985) Manhattan Transfer - Extensions (J Graydon - ATL 50674 - 1979) - Mecea for moderns (ATL 50789 - JG - 1981) - Bodies and souls (Richard Rudolph - ATL 78-0104-1 - 1983) Mathis, Johnny - A special part of me (Denny Diante ~ CBS 25475 - 1984) MAXUS - Haxus (M O'Martian - WEA P-11141 - 1981) Mendez, Sergio - Sergio Mendez (SM - AMLH 64937 - 1983)SKIVLISTA (Blad 6) Miller, Marcus ~ Suddenly (MM+M Colina+R Bardani - WEA 92-3806-1 - 1983) - Marcus Miller (MM+RB - WEA 925 074-1 - 1984) Mathison, Greg,project - Baked potato super live (CBS 25AP 2315 - 1982) N Newton, Juice - Can't wait all night (Richard Landis - RCA PL84995 - 1984) = Dirty looks (RL - 064-712294 - 1983) NIELSEN-PEARSON - Nielsen-Pearson (R Landis - CAP ST12101 1980) - Nielsen-Pearson band (EPIC 34984 - 1978) - Blind luck (Bill Schnee - EMI ST-12176- 1983) Night - Night (Richard Perry ~ PLA P2 - 1979) 0 O'Martian , Michael - White horse (MO - MYRA 1048 - 1974) Adam again (MO - MYR 1058 - 1977) Seasons of the soul (MO - MYR1073-1979) The Builder (MO - MSB-6636 - 1980) P PAGES - Pages (Bobby Colomby - JE 35459(CBS) - 1978) - Future street (BC - EPIC 83816 - 1979) - Pages (J Graydon - CAP 1A 062-86350 - 1981) MR Mister - I wear the Face (Peter McIan - RCA PL84864 -1984) = Welcome to the real world (MM+Paul DeVilliers - RCA PL89647 - 1985) Perry, Steve - Street talk (SP CBS 25967 - 1984) Phillinganes, Greg - Significant gains (PLANET P17 - 1981) - Pulse (Richard Perry - PLA FL84698-1984) Preston, Billy - Pressin’on (BP+R Benetar+C Senogles - Bellaphon 260-15-041 - 1982)SKIVLISTA (Blad 7) R Z| Rhythm Heritage - Disco fied (Steve farri+M O'Martian - ABCD-934 - 1976) = Sky's the limit (SB+MO - ABC-1037 -1978) - Last night on earth (SB+M0 - ABC987-1977) Rite on time - Rite on time (Rot - PHILIPS 812045-1 ~ 19683) Ritenour, Lee - Captain fingers (Skip Drinkwater - EPIC 34426 - 1977) - The captain’s fingers (LR+Dave Grusin - ELK 52 094 - 1978) - Feel the night (ELEKTRA 6£ 192 - 1979) - Rit (Harvey Mason-D Foster-LR - ELK 52273- 1981) = Rit 2 (H Mason-LR ~ ELK 960186-1 - 1982) - Banded together (G Mathison-Trevor Veitch- LR - ELK 960 358-1 - 1984) ROBERTS, DAVID - All dressed up (G Mathieson - ELK K 92011- 1982) Richie, Lionel - Can't slow down(LR+James Anthony Carmichael ~ MOTOWN ZL 72020 - 1983) Ruff, Michael - Once in a lifetime (1 LiPuma - WEA 925 159-1 1984) Ross, Diana- Why do fools fall in love (DR - RCA AFL1- 4153 - 1981) - Ross (G Katz/DR/Ray Parker Jr - EMI 1C 064- 1983) RUFUS - Party til you’re broke (R+John Stronach - MCA-5159- 1981) RUFUS & CHAKA KAHN - Camouflage (MCA 5502 - 1981) - Stompin at the Savoy(live) - (R Titelman - MCA 92 3679-1 ~ 1983) Russell, Brenda - Brenda Russel) (André Fischer ~ A&MSP3174 1979) - Two eyes (T LiPuma - WB 923839-1 - 1983) s Seawind - Light the light (T LiPuma - HORIZON SP-3173 - 1979) ~ Seawind (G Duke - AMLH 64824 - 1980) - Seawind (H Mason - CTI 5002 - 1976) Bob & Pauline Wilson - B & P Wilson (BW - MYR 1102 - 1981) SCAGGS, BOZ - Slow dancer (Johnny Bristol - CBS 32760-1974) = Down two then left (Joe Wissert - CBS 86028 - 1977) - Silk degrees (JW - CBS 81193 - 1976) - Middle man (Bill Schnee ~ CBS 86094 - 1980) - Urban cowboyl (B Schnee/D Foster - 1980) SENDER (Ross Vannelli mfl) - Exiled on earth - KKLI-0547- 1984) Sanborn, David - As we speak (WB K 56975 -1982) Sembello, Michael - Bossa nova hotel (Phil Ramone - WB 92-3920-1 - 1983) SCOTT, TOM - Blow jt out (TS+Hank Cicalo - EPIC 34966 - 1977) - Apple juice (TS+HC - CBS 37419 - 1981) - Desire (Jeffrey Weber - MUS kK 52 411 ~ 1982) - Target (WB 78-0106-1 - TS - 1983)uz SKIVLISTA (Blad 8) Seals, Dan - Harbinger (Kyle Lehning - SD 19336 - 1982) Snow, Tom - Hungry nights (Dean Parks - ARISTA AL9600 - 1982) Steely Dan - Can't buy a thrill (Gary Katz MCA 37040 - 1972) - Countdown to ecstasy (Gk - MCA 37041 - 1973) > Pretzel logic (GK - MCA 37042 - 1974) ~ Katy lied (GK - MCA 37043 - 1975) - the Royal scam (GK - AB 931 - 1976) ~ Aja (GK - MCA AA 1006 - 1977) - Gaucho (GK - MCA 6102~ 1980) Sons of Champlin - the Sons (CAPITOL SM-332) - Loosen up naturally (2LP - CAP SW8B-200) ~ Loving is why (Christopher Bond - Ariola Am, ST 50017 - 1977) Sorrenti, Alan - LA NY (J Graydon mfl = SLP3055 - 1979) - Non 50 che darei (G Mathieson - SLP 3065 1980) STALLONE, FRANK ~ Frank Stallone (FS+Vince Dicola - 821 237-1 1984) Summer, Donna ~ Donna Summer (Q Jones - WEA K 99163 - 1982) > She works hard for the money. (M O'Martian - LPR 19080 - 1983) ~ Cats without claws (MO - WEA 250 806-1 -1984) Simmons, Patrick - Arcade (John Ryan - ELEKTRA 96-0225-1 1983) St. Elmo's fire(filmmusik) (D Foster ~ Atlantic 781261-1 1985) T Taff, Russ - Walls of glass (Bill Schnee - MYR 1121 - 1983) - Medals (RT+Jack Joseph Puig - MYR 1173 - 1985) TOTO - Toto (T - CBS 32165 - 1978) - Hydra (T+Tom Knox - CBS 83900 ~- 1979) ~ Turn back (T+Geoff Workman - CBS 84609 - 1981) > IV (1 ~ CBS 85529 - 1982) - Isolation (T - CBS 86305 - 1984) vw WAGNER, JACK - All i need (Glen Ballard/Clif Magness - QWEST 925 089-1 - 1984) - Lighting up the night (GB/CM Q 925318-1- 1985) VANNELLI, GINO - Crazy life (H Albert - A&M SP3139 - 1973) - Powerful people (G & Joe V - A&M AMLS 63630 1974) - A pauper in paradise (G&JV ~ A&M AMLH 64664 1977) - the Gist of the Gemini (G&JV - A&M AMNP 103 - 1976) - Brother to brother (G&J&Ross V ~ AMLH 64722 1978) - Nightwalker (G&J&aR V - AL 9539 - 1981) - Black cars (G&I&R V ~ PGR 825 108-1 - 1984)SKIVLISTA (Blad 9) Watanabe, Sadau - Maisha (SW - WO 252 914-1 - 1985) 23 WATTS, ERNIE - Chariots on fire (Q Jones - QW K 56 982- 1982) - Musician (EW+Don Grusin - W8 925 283-1 ~ 1985) Waybill, Fee - Read my( lips (D Foster - 2402511 - 1984) Webb, Jimmy ~ Angel heart (Matthew McCauley- Fred Mollin - F C 37695 - 1982) Wells, Cory - Touch me (David Anderlee - A&M SP-4673 - 1978) Williams, Deniece - Let's hear it for the boy (DW+G Duke CBS 26010 - 1984) - When love comes calling (D Foster 1979) Wilson, Carl (Beach boys)- Carl Wilson (Jeff Baxter - CRB 25225 - 1982) Woods, Steve - Take me to your heaven (Jack White - 204 235-320 - 1981) Wolfer, 8ill - Wolf (BW - WEA 960187-1 - 1982) Wonder, Stevie - Music of my. mind (SW - STMA 8002 - 1972) - Talking book (SW - TAMLA T319L ~ 1972) ~ Fulfillingness first flight (SW - T 332 1974) - Innervisions (SW - STMA 8011 ~ 1973) ~ Songs in the key of life (SW - MOTOWN 2-48001/2 - 1976) - Hotter than july (SW - MOTOWN 062-64121 1980) - The woman in red (SW - MOTOWN ZL72285 1984) - In square circle (SW - MOTOWN 7L72005 1985) Voudoris, Roger - Roger Voudoris (M O'Martian - WB BSK 3154 - 1978) - On the heels of love (Charles Calello BOARDWALK N81-33233 - 1981) Warwick, Dionne - Friends in love (J Graydon - Arista 90028, - 1982) y YELLOWJACKETS ~ Yellowjackets (T LiPuma - WB BSK 3573 - 1981) ~ Mirage @ trois (TL - WB 92-3813-1 - 1983) - Samurai Samba (TL - WB 925 204-1 - 1985)KOMMENTAR TILL SKIVLISTAN Det svaraste i arbetet med skivlistan ar att veta var man ska dra grénsen nagonstans. Bedémningen blir givetvis valdigt subjektiv och gransdragningen kan klart diskuteras. Namn som SPYRO GYRA, MEZZOFORTE, BOB JAMES,/STUFF, DAVE GRUSIN, CRUSADERS, LITTLE FEAT, RAY CHARLES, HERBIE HANCOCK,, JONI MITCHELL, TUBES, JEFFREY OSBORN, MAYNARD FERGUSON kanske vi borde haft med men vi valde att lamna dem vid sidan om. Naturligtvis finns det ett stort antal plattor som vi inte ens har hért talas om som saknas. Upplysning- ar av den typen tar vi gdrna emot. Manga i skivlistan finns bara representerade med ett fatal skivor. Det giller t.ex. GEORGE DUKE, BRECKER, GEORGE BENSON, CHICAGO, DOOBIE BROTHERS, BOZ SCAGGS. Vi tog med det vi upplevde som "slick". Bedémningen i slick/SUPERSLICK ar kanske dnnu mer subjektiv. Syftet med det dr att valje ut ett litet begransat antal framfér allt fdr den som inte ar s& bekant med musikstilen. Fér den insatte kan det tjana njtta genom att visa p& vad vi varderar som "slickast". Anskaffning ay skivor N&nga av dessa skivor (fér att inte saga de flesta) ar cerhirt svara att f8 tag pa. Ett flertal finns dver- huvud taget inte utgivna i Sverige. Och finns de ut- givna s& gérs det valdigt délig reklam. Man kan finna mycket bra om man blaéddrar i rea-backar. Tittea p& musikerlistan p& baksidan. Ar man en riktig entusiast s& kan man skicka efter ifran Japan eller USA. En del skivaffdrer har specia- liserat sig p& att importera skivor.DEL IL Tnnehall weafter all...... EEeeeeee After the love has gone.... All behind us now......---. All in the name of love........ All right....... And the melody still lingers on (A night in tunisia)... Anthem (from Chess) .....++++ Anyway YOU CAM.sseeeeesseeee (Synth solo: David Pack) Appaloosa........++- oer 2222 Automatic man... 2124 Back on the road , (Guitar solo: Steve Best of me, the..... Black and blues. eeeerery (Guitar solo: Jay Graydon) Boogie down (horn arr).. Boogie down. Black cars.. Born to love you Broken wings... Cry meade Gt eee tee teeter e eee eter} Divina...... Do be do be. Do you love me.. Don't look any further Don't slow down. . Don't stop....... see eeee Don't try to stop me now. (Guitar solo: Michael Landau) PEE PEe Eee reer eres eierce Al Jarreau, Synth peasy eeeetee reer eee (vocal scatsol Larry Williams) Echoes of love.......++++ Ending, the (Guitar solo b Endless.. Jay Graydon) . Eye to eye. : : Fadeaway. ss... eeeeeecccce esas ccscen een cesecs sess 0 (Guitar solo: Steve Lukather) Fearless..........++ eee (Guitar solo: Jay Graydon) Freetime.........0ee eee wee eT4 Frontline..........+ ares ++ +76 278 Funkabilly swing......ss.see+ Funkabilly swing (Horn arr.). Punky Bumpkins......eeeeeeeesGazoot....... aerate “Glory of love,the......, Gotta get back to love.. Gospel... Graceful see Bd eee BE +88 + +90 aod Happy face...... Homecoming song Homecoming..... Hold me 'til the mornin' comes... .. (Guitar solo: Steve Lukather) *Hold the line.. Horus...... 14192 93 +94 I believe.. see . + +102 I gotta try..........08 . +2104 I just wanna stov...... + +106 I never gonna let you go... + +108 (Synth solo: Robbie Buchanan) I'll supply the love........ceeeseeeeee I'd like to go back home again. If she loves.. Stee e eee e eens Tf that's what it takes... Imagination.........., Imagination (Horn arr.) . +112 +114 lls +118 +120 122 In the stone.......... 124 In the stone (Horn arr).. 126 Jarreau Bieter etre +2128 FUND. eee eee ee eee (Synth solo: Just let me wait.. 132 xJust once........ 136 Kvrie. eee nee eee e eee nce ee eee ee ence eee LAO Last nite............ “Lately... Learn to love again.. Let's start all over.... Life on the wire....... Living inside myself. +142 2144 +146 148 + +150 152 Livin’ it up. ; 5 154 Lonely weekend. ; +156 Lite till....... i 159 Look what you find... 2220011! 160 Took what you find (horn arr) +163 Look who's lonely now +164 Lost in the hurrah.......1.1! +166 (Fliigelhorn solo:Jerry Love is not enough.......... +169 Love at second sight...20.2 111111 +170 (Synth solo: David Foster) Love is waiting...............05 -172 Yuush life....... : 174 Maniac. ...... eee. settee ees eee eee eee eee 176 (Guitar solo: Michael Sembello) Monmouth college fight song..... 178 (Guitar solo: Robben Ford) 181Mornin'.. PEE e Eee Retest rete a2) (Synth solo: David Foster) Maxine (vocal arr)......- Mr Briefcase. My babv...... ere (Guitar solo: David Pack) Normalisation. Not like this. One hundred wavs.....+.+.6-+ pete e reese Only one, the (You turned me inside out). Oops... ..0.00. Overjoyed..... Pass it on.... Please hold on POOLS. ....2e ee eens Put the weight on my shoulders (Guitar solo: Mike Miller) QASiMOdO.... see eee eee eee eee Pee eee Eee Eee rte 2 13) Raging waters. +4220 Reach out..... +222 Read my lips......... +224 Ride like the wind + +226 Roadsong...... 2-228 Peasons...........005 25229 Roofgarden........ 2 +232 *Rosanna... . . see beeen eee + +234 (Synth solo: Steve Porcaro, Guitar Steve Lukather) Sara eeEEEe ere +238 Savin all my love f +240 Search, the....... 26242 September..........- 22244 Shadows in the rain. +1246 Shaker song....... 2248 Should we carry on + +250 Shout..........06- +4252 Shout (Horn arr.). 21254 Silverlake... + +256 Singasong..... 2.258 Smile again... Song for Katie Storm...., + +262 +264 Sweet lucyv........ 2-265 Super blue sees +266 Sure enough... . 268 (Sax solo: Tom Sweat it out...... cece ee cee eee eeeen eee 2270 Take it uptown.... 22272 Talks eceeeeeeeeeee tl274 Thank yOu... 2... eee cece eee oe + +276 (Synth solo: Greg Mathieson) ++ +278 xThat's what friends are for....... +1280 here's no easy way.......“Through the fire........ “Tonight, tonight Too young... Trains.. Trouble in paradise. They danced......sseeereeerere (Guitar solo: Michael Landau) United blues.... Valentine. ....scceeeeceeceeceecec cere c cence ence es 1298 We're in this love together. *We are the world........ We can work it out.. We can work it out (Horn arr.). What a fool believes. Weekend in LA.... ‘whatever we imagine... Wheels of life... When T loose my way.. Without you.... Who's right, who's wrong. You bring the sun out You might need somebody..... You need a hero...... “You're the inspiration......ot I. THEN THEZE WAS A 2.1 Katie My mo GY THE 1 ew THAT NO MATIERCOME WHAT MAM, LOVE WIL PRE VAIL. CA_HERT AnD Mind THAT NO MATTER COME WHAT MAY, LOVE Wit SURVINE ot ; — Ted SIDE THE vREANS . KNEW, Came THE LOVE CMOAUTHOR CF SPACE AND Time, KEEPS ThE 7 8 (1) QUESTION Levees FEAR, CAD TRUE Love FAIL, THEN | WOLD MiSs THE Culbptot fost (2) GALAKIES AND EACH, SPARROW ALE (Ca THE YE THAT HEALS THE fount Pa (CWS) an HAVEST | SUNG TOE YoU OF THE KNIEHT IN AQMo MM BelchT Ly (DW SUMAN ACTER THE WAR 1S THROUGH, ISTHE KNIGHT IN Amu gciGHT J PATRASfnaree! hig 2) )Chons) v (Wik 8 THE ONE TO HOLD You WH MY ¥ CF keyboara’y VWI BE THe WE TO HoLD YoU \ WIL BE THE OLE TO HOLD BL Ie MY INoMy, Ags, Pe fio | | | (When repealed Chorus)FoR A WHILE TD LE WAS AL WE COULD DO We Pzece Yobne Aone Kea DwHiwe TO Love, EACHOTHER WATH ALL WE Wottd EYER, ERD Love was LONG FoR Su LONG NEVER KNEW THAT WHAT wASWRONG BABY WASN'T 3 CN WHite a PA NoMM™MIND TD THE PAST WEP KNEW LOVE woul LAST Ev TRIED TD Pinb WHAT wE HAD ‘TIL SADNESS WAS ALL THAT Wwe| | (VE%es were ALIVE DEEP INSIDE we ri OUR Love WAS TRUE FORA Dp (2) HAD WE WERE SCARED THIS AFFAR WOULD LEAD OR love INTO a EG t= A= 8} 7 . VCD MGHTSMEWNC BEAT Wolo INVIPE US TD S BEGW THe "balnce F E v MATUSED TOBE HAM WAS SAD I. ING HAPPENED AWWNG THE war AND YESTERDAY WAS AL THAT WE HADCAFTEE THE Love HAS Gone a . 5 (S™METHWe HAMeHED ALENG AND YESTERDAY WAS AL WE NAb (CHozus) 5 OH, AFTER THE Love How CoULDYOU LEAD ME ON. AND NOT LET ME STAY AROUND Da & al Copa copa ; ; SS SaaS SS + SOMETHING HAePErED ALONG THE WAY WHAT USED TD BE HAPPY WAS SAD -~— SOMETHING HAPPENED ALONG THE WA(AND MESTERDATWAS ALL THAT WE HAD AFTER THE LOVE HAS GONE — HOW CouLb YOU LEAD MEDHCATER THe Lae NAS Gone -3) 92 Ano NOT LET ME STAT AROUND AFTER THE Love. HAS Goue, (votes as Bp) jn — —# tr = ¥ $e q Ki _———j u CUSEMUSED TE BE RIGIT WAS WRONG CAN Love MATHS LOST ge FORMUHEY 7 SORRY Hey, " FUNNY DINT Work THE WAY THAT WE'D AL- WAYS PLANNED WENT AWA‘ AW SOME HOW DION FT LNOER STAND (3) coun FING THe "Wn THAT MI TA A) BOTW HAD Seip THe Same Thine AWN Reo Tsu eo SB CAND 6 (2) WE PRETENDED MANY YEARS (3-4) we PRETENDED oo MANY YEARS(AX BEHIND US NOW-Z) 9 1-2) pur now Ils Time WASH Away my, TEAES CAUSE IT(s " (34) BurNow its OVER Baby AND SOARE MY TEARS EBay US NOW, CAUSE WE'VE LEARNED TD Live SomEngW WITHOUT EACH ALL BEHIND US Now, Cpuse wele FOUND A WAY To LIVE wiTHoUT EAcu| OTHER np iis{.EASY, TR SEE ANT S. i OTHER AND IN “VER GONNA 8E THe SAME AGAIN a = ae — == TIME Wel. HAVE To SEE VIF [TIS EVER GONNA BE THe WAY RGA Pap Y Gta ca Me hy Dmb/ep (ose i) RILBING GUT FoR IFAR Can, BUT eNOW al nt Bb By pba Dol i eee w com ; FINALLY FOUND Where | BELONG Cause IT'S 2. Ha pies? 3 CHS Hy WAS ‘i~ AJ! 0 0N'T mem To LET THIS Hatren 1 NEVER WANTED TO yURT ANYONE [2.) SAw pity THERE WITH HIS A€NS AZOUND mie! Aer re LEANED | TO Csrmnte, we cone Bodeans someWrue “Lime “ou've NEVER! SEEN) LOOKS AT YoU (my WATCHING “TOO THROUEH HIS VIDEO Lec ~ rec Tears Te m= pos- Si - Ble 1S REAL DE TO PLA THE PART HE'S NU OR- bi-NA -_ BY -5 Al3sus = sant { =P PP te(AvTomaric mans HE WAS MADE “10 BREAK ~ouR HEAer He's THE AUTO MA -TI (Tmo Wee FolR Fie SK Seven Eller) He's THE AU-TO-MA-1e Cike-t re) DALY (2x connie) | (Two THEE Four Five six Seven E1oHT) HESTHE AU- TO-matic MAN (v1 TAR sovw) SS ee ee | J WAS SUCH A LONE-INy LonE~LY Boy’ AUTO MA—Tie was MY NE -VER DREAMED HE WoucD L HER AWAY « (Ges (RSS THE FOR ERE SK Seven EleHT) HES THE AUTOMATIC | Mv\ni + (Te NRE four Ewe Six HES THE AUTOMATIC an)¢ aT aa Amt D9 Gi ¢ KS 2 + Cy ON THE FoAD GoNN EAvE THis TRUE BEWIGD ed PBF reine Se CR HAT MY LIFE |SLA TRUE DESIGN: oat AS - aed Ve You won't ae a PHONE TOME I Be pote Rone plea te! Line ees STILL, | HORE & @ Time GET Gan ONTHEZOAD GonmA MEN THS HEAET OF Mine SOMEDAY WILUN ~ Dee STAND MUSIC GIES MY HEACT A THRILL G (Hors) wey on) Dow'T Mov CRY WHER SAY GecveNe — BABYBABY, CAR - ex on CA 7 T—e- Toe(RACH ONTHE RoAD-2) ZF r Dovi't Mou CRY WHEN | SAY GOODBYE BABY Yulee NOT ALONE 3. THELE (\ysens)) (guitarseisy FA Fo (VocAL Soro) £ gfe1, SOMANT ENS, L \— 7 ©) eeve STILL _BEMEMm - Bee E> How vip i EZ— (a Gwe CAlvove THAT was Sg \ Cast FOCCET 3) Ep pini G IF WE CAN HOU a (Amo) 1 Tink I've come GAVE ONE, vriey NE | VER eo eA WV Vea Ler my HEART Bevieve: (2) THE Way oo vSep TOS Holy WS oR E E s Rice THe TOUCH (3) TS Fan gecausep OF You be no ee CP IE ve’ ENQUER Tb ame = Cn on Bate Poe ae eine oe (ax) You were py Tours wi 5 ONE MRE CHE NEVERTHOUEHT I'D Find “ou WERE THE Ene(THe bes oF me -2) 29 ~ MACE I'VE ALWATS KNOWN IN MY MID No-CE WILL E - Fae Ver ToucH be i ME (ANd) | ONLT HOPE aoe ===: —=- ===: aes = IMleHT Have SAVED THE BEST OF HE Ai FoR OU DAR, we HAVE Nolen eo ¢ > pg _ =e ee S55 gh yn ch phy) Dh le eS 2S te a a Amt ont FF TepyNee TOGCH — SS me Moy Ee Eau mt Bint Abt, che? GONE WIL E- AND | ONLYY HOPE Phir Oo ba RETURN as a How Mu “y HAVE ony yO eRe SSS 1 ici a SAVED i THe Best OF ME FoR EGE ou as(vocat) E NEED SEMEBODT, INEED SoNetert I NEED SONEWEY SeMEBS DY, INEED Sanekou{ 1. PLEASE vorlT Leave me ‘AU (1) Um TiRED OF BEE BY SY SELE. (2) Bm Tikep oF KEEriNe HWS FoR ONE T Nob LEAVE EG TENS SHELE PASE DouT LEMME. CLO DANCING ANT Ay FUN VE YOU ea baatiaT 1 ee N(yack & BLUES) 2) a 5 aistts & + HELP MepND MAY DANCING hSHoE S CANT Mow Come AnD HELP ME GUT eae — z ny 2) on ‘On —— wy | wouen of LIVE JUST DOWN THE WAY, a @ @ ust susT SMALL SWEAT SPEND SOME "Time WRK ME. LETS Go FEEL THE LIGHT “ t TAKE A momenTAN GnEME Some SHEATLOVINS S Se HELP ME HEAL THIS SLACKS BLES. 1S Fok. YOU YOU WONT HAVE “D STAY. nm TALK AND JASMINE DREAMS INS TOWN TON TEA HERE'S GUST WATCH THE RAN] LEAVE THOSE BLUES IN THE RAIN S MtQnT 3S Sa 7 v 2% ne Can Gin (OL SAT,YOU KNiiv wHATI MelBoscn & CLES - 3) a) DD 9 UFR DE ary MeN (Guitae) Clp 09 Clo D9 Core cHbRET Lars voTHE Eeont eneeY (607 raz) F9 C/E FQ THIS 1S The WT eae Pa, coke PRETS é : roar. Bye ry eye Fs Zi Baws Fond = a ae Bout You Facmace Like 4ULR SEL ton 4 — Oma OC Ce Fovcrrounist Fon ove vancive SHOES So Coop Tw BE pown oFF THe SHE LE CY) 6veG we BEARTHS BLACKS BLUES CREPEAT TIL Fang) | \ NEED SumEbopy, | NEED SumeBooy | ( MEED SHEED T (HoRNS) eeBOOGIE OWN (Horr ARR. BY IEReX HEX) Cnet. - - , ( . : . a iS gre ate be wy sfety t. REPEAT TIL FADE)MAT 1 WANT TDMOUIHUN ALL NEED IS Te Ger My 6eceie COMIN WHAT 1 WANT TDMUG MAR ALL | NEED IS To GET MT GOCE! +f: You CAN BE WHAT) WANT 70 Mov Kw ALL} NEED 1S To Gey MY BOOKIE LOW xen, You CAN BE Whar 1 Want ro You vn AU MEL 1510 Ger my BOCK IE LownEe (cor m4 CeerAns AMORY SERE'NoyEH ON) ‘Avoply Prin ON MY RAL Foe. BEA FB Ag on Ay TELE (You)ACE Thar CuerAns wT YOR, 26° STIFF ony YOU ALE THE WWNER (toot Bow ig HAT CoETHIN TH TOR 8 oan (avs) teconwa FEEL ra Ant ) A: Fa J WANT TD AnD AU | Mumia Sb Ger my eae VouN DSarcooa | You Can 66 AND ALL You"NEED, 1S ‘TD GET YuLe BOOGIE Downs CODA Now You Go LAD 2 Ano SHES A UNTLE STEP FOC SE ASD F COME. Antp STRUT YOUR STUFF BUT LEAVE EnovéN FOR THE NEATE OOGie TAR VEST BIocie- Woe | TWOcAL AS BASSLINE)UNDER, THE COVER, — sie Bea eT Toe HoT eneases ie RRs SHE WEAGS HER MAKE OP LIME WAK v SHES A DARK ANGEL WEARING DARK GLASSES (Dek swe if ein d “Seema Shel A DARK ANGEL RIDING. _DABK HOGSES Clap 1 T Ckeve,) (1) Dae SHADDWS UNDER LONG FALSE LASHES| p Sinise perry twee Ow Lt covers |] DY (CHogus) BLACK CARS Lock BETIER INTHE SHADE, = = = ‘ ==- 7 3 > Y BLACK CALS SHE SMEARS HER LGC Gri QibeAT — — r= eFLCE SHE SULEPS(BLacu Cas -2) 34 A ron Fs, G FOR AU THOSE PHANTor LOVERS IN HER DREAn (sw) () On GPK AY — ORE (Gulsacy 3, Sie SHORES THEM gece Be giBemes i Cocaran grb tes STRAPLESS DRESS. = (3) SHE Ours A PeRfecr Stuwveme (BLT SHEN A) DARK AniCL WEARING DARK GLA CSCS A FADING BEAUTY ASTHE MGHT TINE Passes BLACK CALS Look BETES is THE iE ee ee ee (2epeat Hi fale) Not Fest Tine) SHADE BLACK CARS LOOK BETIER INTHE +} 4 BARS AS WR 4J noi CANT Jusr Gu — AWN THovbH = WANT You WA INTO, MM LIFE zB Someaignies Wee wire = = Oe SS 5 = J oR FT SUCH A LOVELY FATE + (Gos TD 1eust Youe HEA Bas me] E Eiott f & | 11) Anp CHANGE MEBALAWCE OF MY DANS WT MOVE ENES You SAY" Ta STAT —ImusT FiND Coun mt Mw BAG ‘pas int 7 PLAIN Ennes vs 1 An SU BENAYED THAT Mt HEAT AN ae ¥. GH) Want (0G Se DELAY = welee not THING DEEP INSipe (Arma CAs NEVER be KEEPS SAYING, THE SAME (You PLAY. v 7 APART AND ni A bame - 1 oc MY HEART IT'S Know we CUEAR THAT Love(Borm Te Love “eu -2) 39 Wkeer My FEE -Lngs Spcusig MUO riny THE SouG Yuu Siu lo S wv HAS Feunp A CLOUDY pAY, 'm HERE To SAY THA, F A I. C3) trove | CAw Tew we'ce woaud Z. TO [Al ~ Ss . Ve WAS BORN TD Love Sou THE SAME YOU PLAY SS x APALT Ano int Bt WAS BORN TO LOVE 1You! A eAme ~ S mH MENT rts TOCA Tuer Love AS Founs A Ciou Upes Sree li AND THE SoG You Sine THoVveH | ne eS — DY DAY, Im ueee TO Say ya, Bee te Pa Chea A Hiiyas Gay, tey8 FRB aii h.BABY (i) DONT UNDERSTAND We We CANT GUST Hoty oNBEACH GTHERS) HANDS Csr.) bee Sd NaVTHe Tie wilt Be THE LAST | FEAR UNLESS | MAKE IT ALL SO CLEAR)! NEED You FF ( 9) BABY a's ALL KNOW THAT YOU'RE HALF OF THE FLESH, AND BLEOD THAT MAKES_ NE ee BABS Twa TONIGHT WE CAN TAKE WHAT WAS "WRONG AND MaKe IT RIOR (excuse) Nor go Sy wing(GeEKEN Woes -2) $I TAKE THESE BROKEN WINES, AND LEARH TO FLY AGAIN [ans LEARN TO UNE 8 FREE (ast) Wiens We] HeaR, THE VOICES SING, THE BoOW OF LOVE WIL (PEs! UA AND LET US IN TALE TWese BEOKEN Wines wa) (Fe 2.3. int | % TARE | THESE BROKEN) WINGS Aub LEAR TO FAX AGAIm[im)UERRy TD LNE PF ceca neu we On a, I. HEAR ic + HE VOICES SING THE BOCK OF LOVEWKLOPENUR AND LET US IN r D 5) 2 it x ‘ Eat 5 # Aald eld Dua 5 TS SS een SS ee —3— Bald? Daddy (RECENT TA fade,li 1. BABE, VW CALUNG YOU FROM Hie 1B) BABE WWE oT SOMETHING Cove 1 knowl” You! Never Oe if AS, WEE ‘eorn Senwhl OUT Face ov SO PHONES Puno tn cen) teesoor \wAaS PRAC=TI- CWGON YOU. 2 S Co HE CALLED (HE caus) DTELL, (TO rEL) pore L DION T want 10 See Tou AGLAW ¢ HE'D Founy A REAL THING AS FAR WERE On] v (Aub He(CRIN ALL NIGHT -2) C 43 v oO Sittin6 ANE BY THE TE Le -PHONE SHE'D BE CETING ALL NIGHT - THE VOLE ON THE LINE SouNvar SD DNMIND Was SHE cy la dil be, ° Me eH COM ALC SIGHT . HEARS 2x CTINVE) Ml Z THIS LOVE ISDUSTAN ITA Quite agree pce ‘l G é Now 1 HAUNIS mite Pn dg-¥ Da fe +: Sroll-g OTING AvovE FE TELE Tg HO Gy wy peed Aw ‘NIGHT Une SOUNDED Sc UEKD WAS SHE ine “UST IMITATION NOW CS Wd Voice Ou) Coo Fears 8 Bewioe w eae 'é Atm Riot? iS StS HEARTOF STEEL TO COLD To FEEL NOT wor WHR Arenas gs C4 a =<: oe. a SHE LOST WERE THE FEAGS(Pin 2) or 7 S | F |SLICKA PRODUCENTER: * QUINCY JONES Borjade som jazztrumpetare pa 50-talet. Arran- gerade 4t bl.a. Ray Charles, Dizzy Gillespie, Count Baise pa 60-talet, Har skrivit och pro- ducerat mangder med filmmusik, T.ex. ROOTS ("Rotter" efter A Haleys bok). Ar idag en av de mest betydelsefulla producenterna vi kan tanka oss. Har producerat bl.a. Michael Jack- son’s "Thriller" (Varldens mest sAlda platta), Donna Summer, Patti Austin, James Ingram. Han har utgivit ett stort antal plattor under eget namn ("the Dude" dr den senaste). Producerade band-aid-laten "Ne are the world". JAY_GRAYDON Gitarrist och producent. En av férgrundsgestal- terna vad det giller utvecklingen av ett slickt gitarrspel - sdval komp som solo. Ar mistare pa att spela 2- eller 3-stammigt. Producent for bl.a, Al Jarreau, Marc Jordan, Manhattan Transfer, Pages, Airplay och Dionne Warwick. TOMMY LiPUMA B6rjade som jazzproducent p& 60-talet. Ar idag en av de stérre prod, p& Warner bros. Har producerat bl.a. George Benson, Al Jarreau, Michael Franks, Randy Crawford, Yellowjackets, Brenda Russel, Seawind, Larsen-Feiten-band, DAVID FOSTER Catskrivare och keyboard-player. En férgrunds- gestalt kanske mer an nagon annan, Hans latar och slingor (aven strak/blasarr.) finns med p& i princip allt bra fran USA. Viktiga produktioner: Earth,Wind & Fire, Bill Champlin, Chicago, Airplay, Lionel Richie, Chaka Kahn, Boz Scaggs, Average white band, Andra producenter av vikt: GARY KATZ (Steely Dan, Marc Jordan m.f1.) MICHAEL O"MARTIAN ( Maxus, Christopher Cross, Donna Summer plus egna soloplattor) . ; ARIF MARDIN (Chaka Kahn, Aretha Franklin m.f.). TED TEMPLEMAN (Doobie brothers, Michael McDonald). MAURICE WHITE (Earth,Wind & Fire, Jennifer Holliday). GLEN BALLARD (Jack Wagner, Patti Austin m.fl.). BILL SCHNEE (Nielsen-Pearson, Russ Taff). Manga producerar dven sig sjilva: GINO VANNELLI KENNY LOGGINS ToTo GEORGE DUKE LEE RITENOUR LARRY CARLTON STEVIE WONDERveveen "Home: SHOULD HAVE POMe® (Bear) == SS Ses v Bs Gh Du Dvir 4 Ed Dn Dn Dw ab DnDnie Int st oS ae = (Guitar) Du EM dni dws 2 614 Dat (GHORUS) DoYou P} iove a Oh 24 INFDn> dn On3 6G CAN We STIL BE A Paar oF TOMLR- AoW DO You WANT Dwi} PME GG nt Dh De} Dew ME BABY OR 1S THIS JUST A THING OF THE PAST Gsingite”) C (1) re va. ode ada XS L. = wt Ato Ie canis sah, Fy enenevie WUE CONE (2) Nou wevenwt Let Love Buin ME, Live a rode eA TEMEURER MOURE &(po %0y Love me-2) 49 = — (1) — Ver since THE PAY You Folds Me, veg = F EEN Hooke «iss By (2) You Seewusr How You Huer ME GOT A Sean St Tee Heme, Bue LM SSS = (wot Hat THIS Cad GOON, Bra BEE WATCHI!’ ALL Mt DREAMS SUP RIGHT A 2)-RING APAET OveR You (S¥itgr) | NEED Te See Se Like BE— i N= WAY SEEMS SOWROVE HOW ALL THE Goov TINES LicMusi9g. OF YES= 2 Dow'T BE CRUEL Dow'T GWE LP OW THE THINGS We BoTH BEEN U- C} (cHoevs) Tee DAY = VING FoR \ov You love mE CAN we STW BE A Pret uF TOME ow Re Do Mou WANT Me BAM OR 1S THIS JUST ATHNGOF THE CAST AS TF So HARD To Sil WHAT YOU FEELZ CAN'T YOU UNVERSTANDTHAT 1 STIL CARE Z “Ou VE GoT To TEL ME THIS Love 1S REAL, OR ARE TENRSTHE CHT THino We CA) SHARE (Choevs) EE50 eee 0g aN D.LAMPERT, F 60 LOE, 0. HITCHINGS Bass syn CPUNKHY From THE @ECoRD:" PONT Lom ANY FURTHER" DENN, Sowa hot 24 = = ax Count on IN A WORD OF ACHANG ING HEREIMISTICK WHERE YoL STAND, WHAT Yoo MEEDIS A AMANTD TAKE CER 0, GIRL Dont Louk ANY FURTHER | | | | (no chords) STRANGE,WHEN YoU THINK CE THE (ZX GUITAR Saudyere $1 (sae) TO. = CARELESS LOOKING FORTHE RIGHT THING O4.BA — 841, DONT Wow Amt FURTHER, TO~ ROCK AT AL NIGHT LONG DAMLIGHT. FEMALE) WERE CORNARTASIEA LITLE PARADISE 66, Favs Wes STILE LOCKE Wi Your HEAVENLY EXE § Loowine iH Yoo Hemrenr erase NO WELLES QUAND Ou aula, On 54/6 BFS” mango fi, AC 40 DON'T LOOK ANY FURTHER 05 JAMDEY UM BaY-O DONT Lao Ant FLETHER Someone (2X Continue) veo MAMbOX) AYO Pout Look ANT FUTHER iG KC Re) Umea peo mamgoti AM Yo DONT LOOK ANT FLETHER$2 WRITES BY? RICHARD PAGE, STEVE Ge. JOHN LANG R STEVE ARRIS Gon THE RECoRD"WeLComE TO THE REAL WoRLD'-MRMISTER-| 91 (SYNTH. Simicg, it = Vcc ties Racers AND SEE Te TORE Men twat ve GEL Sey J Ase 40 Yrace ove poems 26 Cau We EmeTT Scewes, wou HE- (ass See) "LL SearcH No R%moce MWeetive See WS NOT Teo LATE IS NEVER TET uy seen when Meee iam Betis y Tre — () We AGE oF Whe V wis “tu a8 THE TRUTH OF wriat(mor't suow peown~ 53 MUL THeee 3p ucH BEYOND THe PAST AWE WHEELS eo ine THE FIRE’S. We NING TH US Now Por'T slow CowN pow T Loose THE MAGIC ~ Weve Come TOOFAR to Then BACK Now p "CHobUS” (voc. Sous) |] “iurec! "CHoavs? (REPEAT TIL FADE)(FUNKY) (Arree pic, Guiraesue (Sv tH ~ (3x evirne Spr) VE VERN TRE) Looe AT IUD MY HEART! srdays Dancin 2. HO- URS On THE TELEPHONE, it's Se FELSTRATING] Frt FE BFTF (1) AND EVERY ARLE THixo YOU bo 1S $2 ENT RANCIN’ (2 HANGING YeAND AL ALONE Av- TH cy~ pa TING. FFT B35) Seu Moedven MH A Door, TNE - VER BREW AMI) WE A pg OiC OF OUR Pac Tare Ww EXERC RUSH,Coon't stor -2) comme) sx” 1-3) Yo LEAVE ME WANTING Moce (mbee’n mucellf moke) adN92) You KEEP pAme RISING UF (UP AMD UP AND UF DON'T STOPWHEN The Lave's GONE CRAZY NEVER THOUGHT I'D EVER BE SANE, BABY ad | CAs t mh w sag Fee [be | [la | [ 2. Dou'T sforweéy THe LOVES Gone CRAZY NEVER THOUGHT I> EVER BE SANE, BABY DONT STDP. WieN THE Loves Gone ANY CANT FioHT THIS FEE = LiNG. cova ~ 4 D.C. ALcona| (without repeat)A ROBE RECORD ("BEAT") 2 TYRICS: JAY GRUSKA Come ene in 2x) al 2 = ae i i cavrememaer® TEIN eon se Feeaious EVERY SEPTEMMER, WE Woo POOREST TO STAY DELIRIOUS v LIFE ON A BACKSTREET, WITH ITS WEEKEND NIGHT AUL SPENT SEDATED LIFE ON A Backs WHERE IT DID NOT SEEM SO COMPU - cA ~ TED an 4,3. 2. 4.*) (1) WHEN YOU WERE LINKIN, FoR YOLaSELE (2) TIME TUNED YOU INTE SOMEONE (ELSE) (3) Xeu ONLY THOUGHT IT WAS A PHASE (4) ONLT REMEMBERED IN A (HAZE) BPs Berd bc DorlT TRY TH Sie TLL NEVER LOOSE THAT FEELIN DoxT TRY TO GibP_HE NOW =(Mew “TRY WTOP ME Mow -2) 1 53 GROWING UP 1S JUST ANOTHER = ACCIDENT ral THAT 1 CAN po WITHOUT JUS; CAUSE THe FUN WE HAD CAME ANpWENT DONT Tey TO Stor ME NOW Bm BL em (twerselo by MIKE LANDAV) E mil : ape aaa E 4 Emly wng 454 +t 4 + (3 oa — | A = HHS cag He FD GRowine yp 1S JUST AvOmcR ACCIDENT THAT | CAN 00 WITHOUT wa Aas, He pAcusr case FIN We HAD CAmé AN) WENT, DONT TRY TO, Stor Me NOW Gang BO9 ey tag c/ Banh smatignan tz ¥ TA. YESTERDAY Meu CEPT BRAZIC AND WEST AWAY iB Lock FoR, A’ DISTANT BEACHA DIFFERENT SHOE 2 Nee OSL PERMAN Gena 00 THE SUPER “est HE Cans Rts You fe sure et ve ss wie POS SETTLE Dow: THERE Aw'T NO ret lou Ns SEEN hee REST WHE WELT oo tiie bee ARE Bact (AY yo SEETHER (8) A AGS TER “Wee A) we Fe THE peace Repenhew me Poem Garth Bate REE ¢ mar.) GE) “To Keer Meu “NEAE Jt) Twine TAT Move HEARTS DE- Sice [Joma ever Bue KEES dee (EVERYDAY Your Neen. SOARS HIGHER cS ttt (NHUMCECED Foc orepe— iC OR fet Lint CAUGHT = Zerne s Ait Lacan ce oe S) love IS Nor CHIC A- Go OR {N Bewetn THE Snow Ano TE) FE. (2 Puree our Heaens on AS WHERE YOUR He AT'S OEY(Easy -2) 2 59 UWI wEET CAA (2am Shee quar EES SNOWBRD MELTS AWA irs EAST , Qi caw DED VE THIS is Sta c ~ 4 = Let Your Lave aa Bir leront Lowe My? 23 : ‘ 1 , De cars Carts Be ot 26. F = = Ts 4 et (T'S) Ea St EAST EAS he oe —_ (voc at $00) 4 cr Gut Dino westae ZWG-OxG Soul QW -Owe-OnGTO fen TEE em weRmVorT fm nin SSS SS T Dim Dogo Mi oo fo OUSU * eee, Bim dom 2181 Mo NO BE And 6 ed Fa nt a yA pu sek Be is DENG ZWEBI-Son-pouy ZERWOWOH Mar Zhu da DEIN NAWA Hw ve J NERNANA ZA (gts mal DOS oy | 1 Lek Be = y fe, a 5 ~~ skal Bo b Raee 7 =: f # 4 5 IRM Bo go4-Bom, ptm Do do. epee. gated oa OND Bho Biv BLA WY DONS PACA WAS OES vA DA-DE Hun? <1 +. 4 ¥, 3 oe Be bow(STH) Aw he 3) Het $ b49 8 Awa MMe ve A Og eh pew eigepD IZ mi C ty +t 4 et £4 aFits ma/E Git Cat, > 3 Sl : +t > 3 — LET Your Love awh Sex a = ~ LET MY Lovine in\ HEAR Your voi, € Every — wreee, (ecHoes oF Love) MAKIN ME LOOK BACK OVER M1 SHOULDER (ECHOES OF LovE)ARE STARTI AL Cory 5 O~ NER\ECROES OF LOVE KEEYS on! HUNTING ARE OUTOF CONTROL ,KcEPS ON BUR a S ~MIN7 ECHOES OF Love Ate OUT OF CONTROL BRINGIN' BAK LOVE | USE Th | | | F |62 (ECHoOESLCF Cove 2) O DARLING , bse INO, ovr BU SINCE YoU WENT AWAT an i MAANT MEMORIES “BOUT TD Get THe Besr ort Py | ysep re wiotes ~ i T WONT RECALOM THE TIME VausT won? po poser re Yo KG TP (cHoews) RUN TO\ECHIES OF LOVE = KEEPS ON HUNTING ( ARE OUT OF CONTROL KEERS on BL- ~ rc. > ~ g + ptt Nb ECHOES OF LOVE, ALE OUTOF CONTEOL BRINGING BAC love | SEDTO t =< \ DIDN'T THINK YD Uve To HUNT TD CH GML T'S MoU(ecHoes OF Cove ~3) ee q I cet g SSH + x = ¥ at a a I a \ (Echoes OF Love? rs + ~ Obed D EA) ECHOES OF LovE KEEPS On Huy: as £5 TNC) ECHOES OF LOVE ECHOES CF Love} $e Fe KEEPS ON BuR — NING, == 4 ECHOES OF Love C REPEAT Ti fave)(THE E+ eet 6S ee est “pe Ehren ag f eras | fit ice £4, 2 MAYBE XOULE “THE RIGHT HEAT (V2) You Couo HAVE Eu THEO GH MY HANDS, THe LoGic Canty WALT ane | (C HoRws) HANCE WE CA MAKE ITiWE DUST DALE TO TAKE IT. ENDLESS AQ »STAT With MoU, ENDLESS AZE THE DRE Ag OY MAW ECONE TRUE FOREVER MT ARDS iF Trier |A (: DREASON To OUR Love ¢ ea 2) we've Sei Fike ft Ohi tine Hf wt Fling FA ENDLESS ACESIHE MAGYITS, 1 STAY “ie we ENDLESS AmeMTHE BOFENS ASI MAKE Come! TRUE Fok evER int Ay AC hn Hie fi >. REN ro oun Love 1S Enmore cs68 Bene CRFUNK or ae) Ge tonye KEN.) (Gv.7AR SimiLe), = Qi De cm Cm % Wilh WN THE mos! 2.ThAT pistany Love ~ (3. @irae soc) 5 ned - ON Evee morte Mey STACE tow ROM AS ee (2) Eveey Time Vey Tat 8 ou, OLBER THA even ce se ad se FURTHER APAST ins VET PL (\ eveRt noye T sEe_ Your Face, 2) EVERY WokD 1S Lost ws SCC Ss (NB mwee eine \ Tite SUR LOVE HAS REACHED THE FIAT OF no REY 2) eveey WAY we've Comé 1d ge THE ONES wHo's Love 1S Cut UF(exe ro Eve ~2) 69 To Wen, WS So SAY (2siont AS So welen thar We jusr Dowte see That cet F pon'T SEe_ oZ : eee CUR Love SSS Se Cm Che Dm BID eee SS aa vet ™m SY wo, ore Gm? Ema emt Dor OF . fe, F tie, 61 _ Gut Sag") (GYSse: aaa : E es FS so CLOSE, so eee AQ at i; + ; = v Copa¢. % Gu 2 THERES NO REACOn FOR THIS | HEARTACHE wo Go ent set te one _f _—— ear = = == = =| Tes ano oo wien THE PEE Laos Cae ‘ x & G, WM Canter SCE Now THAT AUS Too LAT bo Curd Dw D Tel tae chugs alent cm Ng SE pass - Re Che Gl ) Gel wet Chorus veptek WU fade 3 = ae Bits Vocals