gentle giant

Gentle Giant emerged defiant, going their own funny way through the rise of a high expectation in the birth of a realization.    Brothers Phil, Derek, and Ray Shulman were born in Glasgow, Scotland (Phil and Derek) and Portsmouth, England (Ray) where there learned music from a very early age.   Ray remembers:  "[We grew up in a] house full of musicians and instruments...I started learning trumpet when I was five just because it was there and then took up violin when I was seven. We were made to practice for an hour a day at least, when we really wanted to go out and play. I suppose it was a good thing we were really, and eventually I wanted to do it anyway...I wasn't formally taught at all."


They formed Simon Dupree and the Big Sound, making it into the UK top ten hit in 1967 with the single "Kites"; but the brothers were not happy with the pop scene and decided to form a new band.  Derek explains:   "In popular music, if you don't have that R&B feel, you'll never groove. So yeah, I love R&B. That was our background we became a pop band in Simon Dupree. And we had pop hits and we started doing that pop Top Ten thing, which was really a turning point for the band. We never toured the States but we were a killer live band. I remember how we used to go down. We were massive. But when we had the hits, it started going downhill. It almost became a millstone around our necks. So we said, "Ok, let's get rid of this mantle and do something totally different." So we threw it away to a degree.  And so when we got the other guys to join, particularly Kerry, we had R&B and pop flavors from the first band and then all the other flavors were merged in this amalgam of what came out onto vinyl at the time, Gentle Giant. There was no direction, there was no set 'Let's sound like this.' I mean, we loved some bands. As I said, I think Frank Zappa was a real influence, and some of the jazzier people. I'm one of the most pop-oriented persons in the band and Kerry obviously is a classically trained musician; he was a protegee of Michael Tippett. And Ray was a classically trained violinist and he also had a real jazz feel, our dad was a jazz musician. Gary came from the straight blues school. He didn't know what anything but a 12-bar was so we had to teach him more than three chords. But he was a great player, is a great player." 

Kerry Minnear:   "A friend of mine from my home town in Dorset was dodging with Phil at the time the brothers were folding Simon Dupree. Phil was told I had just finished a music degree in composition and they phoned me up. I auditioned and was invited to join the new band. I had no other plans and it was a great opportunity for me ... As a writer in the band Phil, Derek and Ray were great to compose with. Phil in the early days was quick to encourage and inspire and give ideas a context. Derek was good at vocal lines and lyrics and Ray was a great composer and developer of ideas. As a musician in the band, I enjoyed the camaraderie of all the members of the group ... It was great for me, meeting three musically creative musicians willing to give me an opportunity to work with them on developing something 'outside the box'. They knew the business well and had the all important financial backing giving us the chance to concentrate entirely on the new project (no day job!)."

Their eponymous debut was recorded with producer Tony Visconti and engineer Roy Baker and featured  Gary Green on lead guitar, 12 string guitar, and backing vocals;    Kerry Minnear on Hammond organ, Minimoog, Mellotron, piano, tympani, xylophone, vibraphone, cellos, bass, backing and lead vocals;    Derek Shulman on lead and backing vocals and bass;    Phil Shulman on trumpet, alto and tenor saxophones, descant, treble and tenor recorder, backing and lead vocals;    Ray Shulman on bass, electric and acoustic guitar, violins, triangle, backing vocals;    and   Martin Smith on drums;    with    tenor horn by Paul Cosh  and  cello by Claire Deniz.   George Underwood did the album cover art.   

Phil relates:   "Myself and my brothers have always sung three part all the time with Simon Dupree its not really difficult if you have a good ear you sing. More importantly Kerry could produce marvelous moving parts you know rather than straight harmony he'd give you a part to sing which in fact was more fugal counterpoint if you like you know. Unlike the normal POP method of singing in 3rds and 5ths all singing the same lines Kerry's parts in fact made it certainly not easier because you had to listen to yourself all the time and almost disregard who's around you provided you can hear it you know? I think all the band had very good ears you can't sing if you can't hear you know. All musicians sing some of us have sweeter voices than others I can't tell you about that but all the band could sing reasonably well."

Gary Green:   "I am one of three brothers, so I understood the dynamics involved. Brothers can be a bit cliquey, but it didn’t really present any problems ... I think Gentle Giant is relevant to the new prog much as Miles and Coltrane are relevant to current jazzers. Many bands cite Giant as an influence, and we all stand on the shoulders of players that went before us."

Derek considers:   "We wanted to be experimental, not 'progressive.'... We started in 1970. And it was towards the end of the 10 years we were together that there became a name for it: progressive. But when we started, it was just, "OK, let's get together and made some good music." It wasn't like, "Let's try and do this kind of a thing...we just did it because we wanted to do...I don't know what we wanted to do. It was like a reaction to the pop '60s and the success thing. And we wanted to do something different, something better. We didn't know how better, but more stretching. We didn't know where it would take us. It could've flopped and we'd have been sweeping streets in 1971. But luckily we made a living out of it ... It was like this big funnel really. We all had these varied influences, whether it be pop, classical, rock, jazz, or whatever, and we just came together and created what we did. A lot of the bands who were doing prog rock back then were doing long songs that in many cases were just filler, but we never tried to impress anyone with our talents, maybe we were just trying to impress each other! (laughs) What to us just seemed like some clever songs really touched a lot of people it seems, which never fails to amaze me"







http://www.gentlegiantmusic.com/



http://www.blazemonger.com/GG/Gentle_Giant_Home_Page





"Nothing At All"




"Alucard"  is Dracula spelled backwards.






'Gentle Giant' 
full album:






All songs written and composed by Kerry Minnear, Derek Shulman, Phil Shulman, and Ray Shulman, except where noted.

Side one
1. "Giant"   vocals:  Derek Shulman 6:24
2. "Funny Ways"   vocals:  Phil and Derek Shulman 4:23
3. "Alucard"   vocals:  Phil Shulman, Derek Shulman, Kerry Minnear 6:01
4. "Isn't it Quiet and Cold?"   vocals:  Phil Shulman 3:53
Side two
1. "Nothing at All"   vocals:  Phil and Derek Shulman 9:08
2. "Why Not?"   vocals:  Derek Shulman, Kerry Minnear 5:31
3. "The Queen" (P. Shulman, R. Shulman, Minnear) (instrumental) 1:40










Liner notes

"A Tall Tale" by Tony Visconti
Giant took notice of the long shadows and decided to quit for the day in the apple orchard. He stretched, took forty steps and covered the quarter mile to the mouth of his cave. He sat down and pulled a sweet smelling cork out of a two hundred gallon jug. Scrumpy is what he poured into a mug having the same capacity as a bath tub.
As he quaffed he perceived that something strange was in the air, stirring the serenity of the Somerset countryside. He slowly rose to his full height and whispered, "Ar, there be a good sound floatin' in the east wind. I think I'll investigate."
You must understand that the giant doesn't go out much, except when he sees his girlfriend in France now and then (she's the daughter of Gargantua) --- and twice a century at that! Now he had another good excuse to break the routine of his work at the orchard.
He travelled swiftly through the night, carefully avoiding populated areas. When he came to the Salisbury Plain he decided to see if his stone ring was still standing. He made it as a boy, just for fun. As he approached, two long-haired youths sitting against a slab looked up. One said, "Man, this stuff is pretty good gear. I've just hallucinated a great big far-out lookin' giant over there."
The other said, "Farout man, I see him too."
They sat motionless for a few moments, then the giant turned and continued his quest towards the south. When he was out of their sight the first one whispered wide-eyed, "Too much man, us having the same hallucination." The other youth had fainted.
Sure enough, the sound was coming from Portsmouth way. To the giant's delight it came from a cottage out in the countryside, far from the centre of town. Inside, six dedicated musicians were tearing off a rendition of 'Why Not?' at a thousand watts; that's enough to rip the top of anybody's head. All except the giant's. He just laid on his stomach, rested his head on his folded arms and listened with an ear to each open window for good stereo.
The band stopped after three hours and Ray said to Kerry, "Let's go out and dig the stars." They opened the front door and nearly walked up the giant's nostrils. They jumped back inside shakin' all over and both said at once, "There's abigfaceoutthereit'sbigit'sbig --- oh!"
The others noticed immediately that something was wrong so they all went out to have a look. They saw the head of a great big giant, sleeping peacefully. Phil was at the head of the group. He turned and said, "Gary, did you spike our tea again?"
Just then the giant opened his eyes. "Be ee the boys as were makin' that good sound?"
Martin, at once put at ease by the friendly accent answered, "Yes, it was us. I'm sorry if we made too much noise. You see, we moved out here so we wouldn't bother anybody and ---"
"Bother anybody? But that's the gentlest music I've ever 'eard apart from thunderstorms."
Needless to say they all got on very well after the giant had said that. Frank the roadie moved the instruments outside and they played the rest of the night for him. Somewhere in Portsmouth a seismograph reported a mild earthquake when the giant was dancing.
In the morning I drove down from London with the group's manager Gerry and my friend George the artist. We drove around to the back of the cottage and gaped at the group laying in the grass listening to stories of the giant's distant past. Derek ran to us as the car lurched into reverse and bade us to halt. He explained everything and soon we were listening to the amazing things the giant had to say.
Before the giant left, it was suggested that he pose for a picture with the group. No matter how I angled my polaroid I just couldn't get everyone in the picture. I have some photos of six guys and a big boot, six guys, a big eye and part of a big nose: but I couldn't get a decent picture of the giant and the band together. George was more successful. The giant placed him at the top of a tall tree and in fifteen minutes George had done the rough sketch.
Well, there you have it. The story of the Gentle Giant. You may think it's fantastic, but then, so is the music.

busby berkeley

Busby Berkeley 
(November 29, 1895 – March 14, 1976)


His innovative camera work and complex geometric choreography revolutionized musicals and brought cinematic flights of fancy to the Great Depression.  

Born Berkeley William Enos in Hollywood, to actor/director Frank Enos, and actress Gertrude Berkeley.  He first appeared on stage at the age of five.  His service in the first World War involved oversight of close-order drills.  He also directed shows for the troops after the war.  Taking on the stage name Busby Berkeley, he made his Broadway debut as a choreographer in 1925.  In 1927 his choreography on the Richard Rodgers and Lorenz Hart musical A Connecticut Yankee led to work in films, first with Samuel Goldwyn and then Warner Brothers, where he continued to innovate and top himself for much of the 1930's.  In 1939, he was lured to  Metro-Goldwyn-Mayer (MGM) for whom he made many popular films.  

Berkeley would express:   "In an era of breadlines, depression and wars, I tried to help people get away from all the misery...to turn their minds to something else. I wanted to make people happy, if only for an hour."

He became a controversial figure after his involvement in an accident in 1935 that killed two people and injured five others.  He was acquitted of manslaughter charges after three trials.  He was married six times.  








42nd Street (1933) 




Gold Diggers of 1933 (1933) 
"We're in the Money"




Footlight Parade (1933) 
"By a Waterfall"






Fashions of 1934 (1934)
“Spin a Little Web of Dreams” 





Gold Diggers of 1935 (1935)
“Lullaby of Broadway” won an Academy Award, and Berkeley was nominated for an Oscar for best dance director. 





Gold Diggers of 1937  (1936)
garnished Berkeley his second Oscar nomination





Hollywood Hotel (1937)
“Hooray for Hollywood”





Varsity Show  (1937)
choreography for which he received his third Oscar nomination).





Babes in Arms (1939)




Babes on Broadway (1941) 




For Me and My Gal (1942)





The Gang’s All Here (1943)










deleted extended scene from 'The Wizard of Oz'

sound affects

The Jam scraped away with desperation and disgust to fight indoctrination with entertainment in the corner shop confessions of this post punk psychedelic soul.   The restless trio had cranked out four albums  (In the City  and  This Is the Modern World  in 1977,   All Mod Cons  in 1978,  and   Setting Sons in 1979)  and had ten consecutive UK hit singles in three short years.    Recorded at London's Town House over three months in between tour dates, their fifth album 'Sound Affects' was produced by The Jam with Chris Parry and Vic Coppersmith-Heaven and engineers George Chambers and Alan Douglas.   The sessions featured  Rick Buckler on drums;  Bruce Foxton on bass and vocals;   and   Paul Weller on guitar, keyboards, and vocals.   

Weller says:   "We never really go into the studio with 12 songs, all arranged, all rehearsed.  If we did that we could probably do an LP in two weeks.  As it is, of late we've been going into the studio with vague ideas and odd bits of song structures, and worked the song out in the studio. It's mainly a lack of time, though, that makes us do it like that. The actual music is always created in the studio, though I may already have written some lyrics...It's not the ideal way of recording or the way we'd really like to do it – it's just down to present circumstances.  Obviously the first album was just the stage act we were playing at that time, which we just put down on vinyl...I thought Setting Sons was a bit too slick, a bit too polished.  I don't think it's a really true sound...although it was certainly never intended to be a rock opera, which is one impression I've heard bandied about of it."

Buckler relates:  "When we were doing the album at the Town House.  I was up there on my own one day and I heard a noise in the corridor outside the studio: when I looked out I found the place had been invaded by about 50 mods. They'd broken in through the door and were swarming all over the place. When they found which studio we were in, though, they just seemed satisfied and said they were going down the pub.  They asked me to come with them for a drink but I figured I couldn't really get through about 50 pints, so I just carried on mixing tracks."


Weller:   "That English following's taken four years to get that large.  We've been building it since 1977. Recently it has suddenly got a lot bigger and more fanatical – probably because of the number ones – but really it's the result of a slow build-Up over the years. Mind you, we've always had a really strong following: even when it was only 400 people those 400 were a really powerful force.  We get loads of mods coming to our gigs.  but there's loads of other kids also...Really, despite what's been claimed, that New Mod thing that happened last year was nothing to do with us. It really came out of a few pubs down the East End of London.  I thought that mod thing was alright.  It gave a bit of new blood to the music. People said it was all very contrived, but I don't think it was from the kids' point of view – It's not their fault all those poxy shops filled with crappy clothes started up...I certainly felt part of [the Punk Movement], yeah!  We didn't call ourselves A Punk Band, because there didn't seem any point – there doesn't seem much point in any of those labels. But I still felt part of it...Punk was the most important musical development in our time – certainly! In fact, it's a pity for really young kids today that things seem to have got away from that sense of unity that was around then – now it's all this splintered tribalism."

 'Sound Affects'  made waves at number seventy-two in the US, thirty-nine in Canada, seventeen in Sweden, and number two in New Zealand and the UK.    Foxton admits: "I wasn’t thinking of music back in school but I did want to be Number One in whatever I was capable of doing, even though that was a nine-to-five career at first (printing). That drive was in me all right."







http://www.fromthejamofficial.com/


http://www.thejam.org.uk/


http://www.thejamfan.net/








"Going Underground" became the band's first number one single before they went into the studio to record 'Sound Affects'.  



"Dreams of Children" was the original A-side.  



"Start!" became their second chart topper.  



"That's Entertainment"


A police car and a screamin' siren
Pneumatic drill and ripped-up concrete
A baby wailing, a stray dog howling
The screech of brakes and lamplight blinking

That's entertainment
That's entertainment

A smash of glass and the rumble of boots
An electric train and a ripped-up phone booth
Paint-splattered walls and the cry of a tomcat
Lights going out and a kick in the balls 

I say that's entertainment
That's entertainment
La la la la la, ah
La la la la la, ah

Days of speed and slow-time Mondays
Pissing down with rain on a boring Wednesday
Watching the news and not eating your tea
A freezing cold flat with damp on the walls

I say that's entertainment
That's entertainment
La la la la la
La la la la la

Waking up at 6 A.M. on a cool warm morning
Opening the windows and breathing in petrol
An amateur band rehearsing in a nearby yard
Watching the telly and thinking 'bout your holidays

That's entertainment
That's entertainment
La la la la la, ah
La la la la la, ah
La la la la la, ah
La la la la la

Waking up from bad dreams and smoking cigarettes
Cuddling a warm girl and smelling stale perfume
A hot summer's day and sticky black tarmac
Feeding ducks in the park and wishing you were far away

That's entertainment
That's entertainment

Two lovers kissing masks a scream of midnight
Two lovers missing the tranquility of solitude
Getting a cab and travelling on buses
Reading the grafitti about slashed-seat affairs

I say that's entertainment
That's entertainment
La la la la la, ah
La la la la la, ah
La la la la la, ah
La la la la la
La la la la la, ah
La la la la la, ah
La la la la la, ah
La la la la la
La la la la la, ah
La la la la la, ah
La la la la la, ah







 'Sound Affects' 
full album:




All tracks written by Paul Weller except as noted.

Side one
"Pretty Green" – 2:37
"Monday" – 3:02
"But I'm Different Now" – 1:52
"Set the House Ablaze" – 5:03
"Start!" – 2:33
"That's Entertainment" – 3:38
Side two
"Dream Time" – 3:54
"Man in the Corner Shop" – 3:12
"Music for the Last Couple" (Rick Buckler, Bruce Foxton, Paul Weller) – 3:45
"Boy About Town" – 2:00
"Scrape Away" – 3:59

since i left you

The Avalanches collected thousands of samples over several years to establish the ecstatic eclectic electricity of this obsessively original olio of laid back dance grooves and freeflowing frontier psychiatry.  Childhood friends Darren Seltmann and Robbie Chater had been in Melbourne band Alarm 115 with Tony Di Blasi and Manabu Etoh before starting The Avalanches.  

Seltmann says:    "Robbie went to university as soon as he got out of high school and did a media arts degree that was based on film soundtracks and things like that. He ended up hijacking the soundtrack part because everybody wanted to make films and nobody cared about the soundtracks, so we were given free rein in the studio. They'd close doors at nine at night and reopen at nine in the morning — all the other hours we could have. That was sort of the blueprint for the way we worked from there — we've really closed everything off and become very isolated. It's something that we love too much to give up."

By the time their 'El Producto' EP was released in 1997 on Wondergram Records and distributed by Shock Records, work on their next project had already begun.   'Since I Left You' was recorded over eighteen months with Robbie Chater on mixing, production, Yamaha Promix 01 and Akai S2000 samplers;    James Dela Cruz on turntables;    Tony Di Blasi on keyboards (credited with "Halos and Heartstrings" in liner notes);   Dexter Fabay on turntables (credited with "Animals and Westerns" in liner notes);    Gordon McQuilten on pianos and percussion;    and   Darren Seltmann on mixing, production, brass band, vocals, Yamaha Promix 01 and Akai S2000 samplers.   Bobbydazzler/Bobby Dazzler (aka Robbie Chater and Darren Seltmann) were responsible for choir, chorus, guitar, design, and  mixing.   The sessions also included assistant engineers Chris Corby, Dave Davies, Matt Maddock, and  Jimi Maroudas; with mastering by Mike Marsh;  mixing by Richie Robinson and Tony Espie;  vocals by Antoinette Halloran, Sally Russell, and the Saïan Supa Crew;  and Pro Tools transfer and Macintosh overhauls by Chris Scallan.   

Chater confesses:   "Since I Left You was just an attempt to find our own little corner of the musical universe, a spot where we could just do our own thing rather than be in competition with anyone else. A lot of dance music at that time was about big drums, big production: think of a record like [the Chemical Brothers] 'Block Rockin' Beats', with those amazing drums, and how huge those records sounded. We thought, 'We're never gonna win a battle of beats with a record like that.' So instead we went, 'Why don't we try to make a record that was more '60s influence, with less bass, inspired by Phil Spector and the Beach Boys — but using dance music techniques? A light, FM-pop record?' ... Originally, we thought we'd make a love story. An international search for love from country to country. The idea of a guy following a girl around the world and always being one port behind. And that was just because we had all these records from all over the world, and we'd like to use all that stuff ... Luckily, there were so many $2 records in op shops around at the time that once you had a sampler you didn't need much money to have access to all these fantastic sounds. It seemed like such a fantastic way to create exciting sounds, and cheaply ... We were always just loading up our library of sounds and then often, in a particular song, you need to go find something to finish it ... I guess it took a few years just collecting stuff, and then a year and a half making the record. I don't know how we're expected to do all that in like eighteen months. I mean, a lot of it is just listening and sampling, then making the record ... We were really manipulating samples in a way that we could get whatever we needed. We'd just lay a whole bit of keyboard out, and if we needed the music to change key, we'd just do it."

Fabay:   "We really just made the record for ourselves. There's so many samples on it because we never thought that anybody would even really hear it."

Chater considers:   "Well, the record was finished and mixed, and then I guess publicists around in the UK started to get excited, and all of a sudden it's like, 'Okay, we've got to make a list of everything that's on the record and where we got it.' And we don't really know-- most of it's on unlabeled floppy disks. So we had to go through and find where everything was from ... We were really unorganised and were just sampling on the fly as tracks progressed.  We had no idea the record would get such a wide-scale release so we saw no need to keep track of what we were using — we were definitely guilty of harbouring a 'No-one's going to listen to it anyway' sort of attitude. Plus that was in our days of getting kinda, um, lubricated so who the f**k knows. It's all kinda fuzzy! ... Modular was incredibly patient. Pav [Stephen Pavlovic] was gonna start the record label to do this one-off thing. He just believed in it. [Success] didn't seem to happen that quickly at the time, from what I remember. It built over a few months. CDs were getting passed around in England just as it was getting into summer over there, and it was a summery record, so that's when people started getting into it." 

'Since I Left You' was an international underground sensation, receiving rave reviews and going to number seventy-nine in France, thirty-one on the US Top Heatseekers chart, twenty-one in Australia, twelve in Norway, ten on the US Top Electronic Albums chart, and number eight in the UK,   At the Australian Recording Industry Association Music Awards, The Avalanches won Breakthrough Artist – Album and Best Dance Release, Producer of the Year for Bobbydazzler, and Breakthrough Artist – Single for "Frontier Psychiatrist".








http://www.theavalanches.com/








"Frontier Psychiatrist" charted at number forty-nine in Australia and eighteen in the UK.  Chater:       "I guess the last six months, once we had sort of finished the main part of recording, we went back and listened to what we had, and there's lots of great little moments that we thought maybe should be on there, and they ended up being bridges between the tracks, even if they weren't finished songs. "Frontier Psychiatrist" was a good example of something we didn't plan and just happened from us just fucking around...I guess we've had this idea for a long time of doing a one-off TV special, where we recreate a big part of the album and we have a soundstage with horses and birds in cages and the whole thing. And that's something we'd love to do, and that was an idea that we had, and the guys making the video just kind of took the idea and adapted it."     





"Since I Left You"  found its way to number ninety-seven in the Netherlands, sixty-seven in Australia, twenty-nine in Ireland, and sixteen in the UK.  Chater:   "The vocal came last and that's one of the moments we really succeeded in writing a pop song. And there are a couple of moments on the record where I feel like we weren't so successful, and it's more of just a groove with samples than a proper sample. Which is nothing new. "Since I Left You"-- it's all found sound, but there's so much of it, and the atmosphere is something that was predetermined by us."     





"Electricity"    
Chater:   "I think the song 'Electricity' was the first number which really came together for us and made it on the album. That came out on a one-off 12-inch maybe a year before Since. That was the first time we thought, "We're starting to find our own sound now." Once the record was finished we thought, "That song still sounds good," so we put it on there at the last minute. But it wasn't originally made as part of the record."









'Since I Left You' 
full album:




1. "Since I Left You"   Robbie Chater, Tony Di Blasi, Gordon McQuilten, Darren Seltmann, Edward Drennen, Jeanne Salo, Jimmy Webb  4:22
2. "Stay Another Season"   Chater, Di Blasi, McQuilten, Seltmann, Alan Bergman, Marilyn Bergman, Johnny Mandel, Curtis Hudson, Lisa Stevens  2:18
3. "Radio"   Chater, Seltmann, Claude Cave  4:22
4. "Two Hearts in 3/4 Time"   Chater, Di Blasi, McQuilten, Seltmann, John Cale, Marlena Shaw 3:23
5. "Avalanche Rock"   Chater, Seltmann 0:22
6. "Flight Tonight"   Chater, Seltmann, Henry Lawes, Billy Rowe, Paul Huston, David Jolicoeur, Vincent Mason, Kelvin Mercer, Lawrence Dermer, Hubert Roberts, Henry Stone, Freddy Stonewall 3:53
7. "Close to You"   Chater, Seltmann, August Darnell, Ernest Isley, Marvin Isley, O'Kelly Isley, Jr., Ronald Isley, Rudolph Isley, Christopher Jasper 3:54
8. "Diners Only"  Chater, Seltmann, Saladine Wallace, Salahadeen Wilds, David Willis 1:35
9. "A Different Feeling"   Raymond Evans, Jay Livingston 4:22
10. "Electricity"   Chater, Seltmann, Willie Clarke, Clarence Reid 3:29
11. "Tonight"   Chater, Seltmann, Donald Borzage, Johnny Mercer 2:20
12. "Pablo's Cruise"   Chater, Seltmann 0:52
13. "Frontier Psychiatrist"   Chater, Di Blasi, McQuilten, Seltmann, Dexter Fabay, Bert Kaempfert, Herbert Rehbein, Carl Sigman 4:47
14. "Etoh"   Chater, Seltmann 5:02
15. "Summer Crane"   Chater, Seltmann, Bobby Lee Trammell 4:39
16. "Little Journey"   Chater, Seltmann, Hudson, Stevens, John Phillips 1:35
17. "Live at Dominoes"   Chater, Seltmann, Frank Farian, Fred Jay, George Reyam 5:39
18. "Extra Kings"   Chater, Seltmann, Trammell, Alan Osmond, Merrill Osmond, Wayne Osmond 3:46