@ SANGBARA Framfér allt i balladerna ar melodierna valdigt sangbera och landar ofta pa ters eller sjua pA de betonade taktdelarna eller p& nagon firgande ton. Tonmaterialet ar i huvudsak hadmtat fran ton- artens egna toner. EXEMPEL p& 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") @y'KoMPPRYLAR" Manga melodiér, speciellt i refrangerna ar nara- pA mer en sorts kompfigur tin en melodi. Rytmen och tonernas harmoniska funktion ar ofta viktiga- re an den melodiska aspekten. EXEMPEL p& refranger uppbyggda av "kompfigurer": - All right (Christopher Cross - "Another page") cS ee ~ Look who’s lonely now (Randy Crawford - "Secret combination"."Bill Labounty") - Trouble in paradise (Al Jarreau - "Jarreau") - Mornin ’(dito) Om tt © SEKVENSBASERADE En fras eller ett motiv upprepas (mer eller mindre exakt) i ett annat lage. Hela latar 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") F - After the love has gone ("Airplay". EW&F -"I am")t 1 { i ! ee (melodierna forks 3 Gt unt Wakom leadmelodin melodi. Den kan va blaset. Isdfall fungerar den nistan« sorts kompfigur. Mycket vanliga ar ocksd de langa linjer som léper i strdkar, blas, eller bakgrunds- kéren. Linjerna rér sig mellan harmoniskt vik~ tiga och snygga toner. De arbetar garna kontra- punktiskt gentemot melodin genom att rira sig at motsatt hall eller ligga still dir melodin rér sig och vice versa. Th oman ofta finns en annan sett snabbt riff i teex. som en. EXEMPEL pa lines: = Trouble in paradise (Al Jarreau - "Jarreau") cnr = Just once (Quincy Jones - "The Dude") = Secret combination (Randy Crawford - "Secret c.")2 ACKORD Det vanligaste séttet att beteckna ackord ar den s.k. gitarranalysen (C, G7, Fmaj7, Hm etc). G/F betyder da Gdur med F som baston. Ett annat skrivedtt som inte ar s& vanligt i Sverige dr "POLYTONE"(som f.d. har gett namn at en fdrstirkare). 2 betyder ett C7 med en dverlagrad D-durtre- klang p& topp. Fér att skilja det fran det vanliga skrivsdttet skiljer man p& rakt och kstreck. F = G-dur med F som baston = F-dur med G-dur som dverlagrad treklang. Eftersom skrivsdttet ar tamligen okant i Sve- rige stammer inte detta med rakt/snett bra streck alltid. Vi har dock férsékt att ga in for det. Ang&ende 11-ackordet rader det lite oklarhet om hur man skall beteckna det. I Sverige menar vi att ett C13 ar samma sak som ett C7add6. 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 C7addé6. Vi har valt att géra p& féljande satt: ab/c kallar vi fér C11 abmaj7/C kallar vi fér C11add13 C7add6 kallar vi fir C13 TRE ACKORDKATEGORIER I princip best&r alla ackord inom slickmusiken av treklanger eller sammansattningar av treklanger. De tre huvudkategorierna av ackord behandlas p& Féljande satt. @ ouRackoRD an 7 Gdurtreklang . Blir ofta maj7, majo =tqrrerenrane) cller add. Add9 laggs valdigt ofta med tersbas. © cma,(ackord forts.) 5 @ MOLLACKORD Férekommer nastan uteslutande med liten Tra. Blir ofta m9 eller m11. m7-5 Forekommer oftast i qrundform. (Har i huvud- sak 2 funktioner. a/ Frsatter m7 i en II-V-I. b/"dimfunktion" dvs genomgangsackord vid kromatiska baslinjer och vid modulationer. 9) ba Am pm7(F/0) | Dm AZ @ DOMINANTSEPTIMACKORD Blir vuldigt ofta 11-ackord. Bverlagras friskt med olika treklanger.SUHARHONI KEN) Om man sitter stick harmonik pi "Sav du Lilla vie deung" kin det t.ex. Lits pd filjande ¢ Traditionell harmonik c Em Om GF o« c (esas GeO acthlys bs Sesh oP Abs GE" bill Cag nisering av durskalan T Tikhet med den mesta vasterlindska musiken b qger den "slicka" harmoniken pa durskalan. Men jamfort med t.ex. visgenren anvander man 4- och S-klanger istallet fdr 3-klanger. Féljande ackord far vi av C-durskalan: one our Chtaj 2 m7 Cm7 Fung GP Am? Mm7=5 ssa bildas sedan II och lingre rundgangar som ligger till grund fdr &tskilliga standard (T.ex. All the things you are, Autumn leaves) "If that what it takes" (Michael McDonald) inne: jerven kadens himtad fran detta schemat. Laten gar i pb -dur. = = = ws = 2 a ue Ss a Seee ee ee ee ee ee ee ee ee ee ee ee oe ee (harmoniken forts.) - @) Harmoniseriny av durskalan med frammande ackord Vildigt 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 ocks& ovintade kadenser inom tonartens ran. EXEMPEL: -Through the fire (Chaka Kahn ~ "I feel for you") [* So aap pee - Tonight Tonight (Bill Champlin - "Runaway") F Gog [Hrd Ent eta - Graceful (Koinonia -"More than feelin’) - Love is not enough (David Sanborn)(harmoniken forts.) @Harnenisering styrd av lines odin eller motmelodin ror sig mellan sa fargande toner att harmoniken styrs dérav. Det kan modulera friskt. EXEMPEL: - Mornin (Al Jarreau -"Jarreau") mo t & < ba Oa"ht Gu os cam Chit Eels han Ry ckordet Benagenheten att stoppa in 11-ackord i tid och otid ar stor. Den grundlaggande harmoniska skill- naden mellan slick och jazz ar att dar jazzmusi- kern spelar A9 eller A13 spelar slickmusikern A11. 11-ackordet ar oftast nagon sorts mellandominant varvid mediantik brukar uppsta. I kadenser kan man lata 11 filja pa 11. Detta anvands flitigt av bl.a. Maurice White och George Duke. Det gar till och med att hitta hela latar som dr uppbyggda av 11-ackord. (Her om 11-ackordet i kapitlet “kryddor") <4 Eee eee el(Harmoniken forts.) 9 EXEMPEL pA 11-ackordet: = Look what you find (George Duke- "Master of the game") Gas: peel @ KOMPPRYLAR Rubriken avser den typ av figurer som ligger i gitarr eller synth fdr 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 fdljer nagra vanliga kompfigurer. @ 2-_eller 3-klangsfigurer Den allra vanligaste rundg&ngen ur T-Ip-Sp-D. Om vi utg&r fran den ser minstret ut som féljer. I takt 1+2 bestar kompfiguren av T och D ( I andra takten byts baston). I takt 3+4 besta4r figuren av T och S. Detta minster finns med smairre variationer i 100- tals latar. EXEMPEL: - All right (Cristopher Cross ~ "Another page") - Ride like the wind (C Cross - "Navegando") - Mornin’(Al Jarreau - "Jarreau") Ménstret kinns igen ven i ldtar dar harmoniken ar lite annorlunda.(kompfigurer forts) Id EXEMPEL: - Mr Briefcase (Lee Ritenour - "Rit") robe rtf 0 of opt ~ 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 &ttondelar eller sextondelar i diskanten pé pianot p& 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 &ttondelar som pumpar. Gitarren dubbar ofta. © Entonsprylar/Riff Blgsarna har ofta genomgéende riff som ligger i bakgrunden. EXEMPEL: - Boogie down (Al Jarreau-"Jarreau") - Roofgarden (Al Jarreau - "Breaking away) T.ex. gitarren kan ocksé ha ett "entonsriff" EXEMPEL: - We’re in this love together (Al Jarreau -"B.AL") Cnt Fy @ Brutna_ackord Speciellt vanligt i introna. Oftast pa piano. EXEMPEL: > Smile again (Manhattan ransfer -"Mecca for moderns") - You (Earth, wind & fire - "Faces d - Just once (Quincy Jones - "the Dude") liSpore y l Formen pa "slick"1atarna dr oftast en utvecklad schlagerform. De bérjar ofta soft och byjgs undan for undan upp. Att vaxla mellan tonarterna ar po- pulart sé att refr gar i annan tonart an versen teex. Nedan fdljer ett recept p& den optimala slicklaten: INTRO Brutna ackord i piano. Rundgang pa 4 takter. Den tas i repris ett tonsteg hare - di med en straklinje till. VERS 1 Sng. Kompas av piano-elpiano som spe- lar identiskt och lagger ackorden. ——_— or VERS 2 Bastrumma/Bas kommer in pa efterslag. BRIDGE 1 Cv. i annan tonart. Bérjar f.d. med ett 11-ackord. Blasarna spelar vackra lines. Det hela bérjar ta fart REFR 1 Kérstammor. Blaset spelar fills pa de stdllen dar s&ngaren andas. Gitarren har nu antligen hittat sin komppryl. INTERLUDE Liknar introt. Modulerar med hjélp av minst 4 11ackord i rad pa ett under~ bart satt till en ny tonart. VERS 3° Kantslag pd virveln. I takt 4 en annor- lunda rundg&ng an i vers 2. BRIDGE 2 Som Bridge 1 fast den modulerar till tonarten tersen éver firra refr. REFR 2 Ettorna i takt 1,3,5,7 pushas i bas- bastrumma. GITARR- Bar jar med en vdldsamt hég ton som solo snabbt dalar. Darp& byggs solot upp och blir férst 2-stimmigt - dérefter ee ee 3-,4- och 9-stammigt. Solot svettas fram under 18 timmar i en varm studio. OBS: FAR £3 IMPROVISERAS. Allt fér att undvika likheter med jazz. Solot modulerar till tonarten en ters ovanfér refr 2 REFR 3 Mer kér. Mer vraék 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...\t (ERYODOR @Sarskilda kadenser "IN-UT-IN" got som anvands 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 gér en utflykt till ndgon annan tonart fdr att atervanda. Man dkar den harmoniska spinningen for ett dgonblick efter det kinda ménstret “spanning-avspinning". Detta kan ske i olika hég grad. Ar man i C-dur s& ar ett "besdk" i G-dur inte lika "spannande"” som ett besdk i F -dur. F - dur ar mer "Ut" (eller"out") an G-dur. Vi har valt ut nagra typiska "slick"-varianter p& “in-ut-in"-minstret. * Dominanten féregds av ackordet en halvton eller eventuellt en helton upp. EXEMPEL: ~ Smile again (Manhattan Transfer) Al Jarreau) eh | Dit 6 HE + + = * Dito - fast fler ackord ar utanfér tonarten. EXEMPEL: - You (Earth, wind & fire) Het Ent Jey Ei Di Bet Spee ee = eo * Dominanten ersatts av ackordet en helton under Tonikan. EXEMPEL : - Lost in the hurrah (Mare Jordan - "Blue desert") fan hay, cd bil = —— — e —_— eee eeee ee oe oe oe _—_—— — (kryddor forts.) Dominanten feregas av ackordet en halvton dver II i tonarten. EXEMPEL: - You (Earth,wind & fire) Hav | Rundgangar som ir varianter p& de tidigare EXEMPEL: - Reach out (George Duke) F-durs cit fam? om7 611 fcr - We're in this love together (Al Jarreau) —= Co (eo Pra yt Bi + Who’s right - who’s wrong (Pages, kK Loggins) Cuaeus a \ D fh way Love @® Orgelpunkt Ett vanligt stildrag speciellt pa versarna. Orgel- punkt betyder att basen ligger kvar p& en och samma ton medan harmonierna andras ovanfér. Orgelpunkten kan antingen vara ihopbundna helnoter eller ater- kommande rytmiske markeringar. EXEMPEL ; - Without you (Bi11 Champlin) owt SSS —— SSS Sa VGH LEER te am alow a? ome ve mp Be oh Ee Ep Sew at a, TT NERER THOlboir ih Ey SF oo fr ae Aubleb1G (kryddor forts. EXEMPEL : Fearless (Pages) ~ Whatever we imagine (James Ingram) ~ If thatswhat it takes (Michael McDonald) - Funky bumpkins (Koinonia) instrumentering" AEE [te Flygel/Elpiano spela samma sak har redan tidigare nimnts. Det ger en fyllig klang med bra attack. Ofta ~ speciellt p& senare ar her man alltmer bytt ut det ena eller biage mot synthar med liknande sound. Genom midi- koppling kan man ju spela bada samtidigt pa et keyboard. ~ Bas/Bastrumma f8ljs s& gott som alltid &t och markerar samma synkoper och accenter. Ibland dubbar man basen med synthbas. - Nar basen har en harmonisk linje eller ett Tiff som Sterkommer ar det vanligt att gitarren dubbar en oktav upp. Séna har figurer ar ofta med som ett sorts svar till melodins "fraga". Dvs. Sangen sjunger ett kort motiv - Bas/gitarr harmar eller kontrar. ~ Blasriff/fills ligger nastan uteslutande i "halen". Allts dar sdngen gir uppehall. Dessa riff ar sdllan nagra vackra melodier utan har mer en rytmisk funktion. (De vackra melodierna kallas lines). ~ 2- eller 3-stammiga gitarrsolon, intron och fills ar kanske det allra mest typiska fér den "slicka" genren. Det ar séllan nagra langa jon med snabba rakor utan ofta bara 4 takter langa och coola. Vanligt ar ocks& att solona i princip ur melodin pA refr eller vers med smarre variationer (garna i en annm tonart). ~ Percussion ar en viktig krydda. fn triangel t.ex. ger en valdig lyster At soundet. Fn Cabassa kan bka svanget Atskilligt. Uverhuvud taget ar olika percussioninslag bra fér varia- tionen. ~ Man jobbar mycket med att variera instrumenta- tionen, soundet, tonarten, harmonierna mellan de olika delarna. —_— os eeel , I t i I i { I I I i i t i i I I I i { SKIVLISTA STORA BOKSTAVER - SUPERSLICKT IS sm& bokstaver - slickt) Artist/grupp - titel (producent - skivnr ~ utg.4r) A AIRPLAY - AIRPLAY (J Graydon-D Foster - RVP 6456 - 1980) Allen, Peter - Bi-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 - QWK 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) 8 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 - 1963) = 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 (L 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 (Lo -.8SK 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 -~ Casoipea (ALR 6017 - 1980) - Mint Jam (ALR 2002 - 1982) + Brush strokeSKIVLISTA(Rlad 2 {6 Casiopea ~ Jive jive (ALR 28052 - 1983 - Thunder live (ALR 6037) > Hake up city (ALR 28007 - 1980) - Eyes of mind (ALR 28016) > cross point (ALR28029 - 1991) - Photographs (ALR 28049 - 1983) - 4 x & (ALR 26045) - the sound of graphy(saml-LP)(ALR 28055) Champaign - Modern heart (C-George Massenburg CBS 25036-1983) 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 SE-563 - 1981) CRAWFORD, RANDY ~ Secret combination (T LiPuma - WEA - BSK 3541 - 1981) > Windsong (T LiPuma - WB K 57011 - 1982) = Nightline (1 Lipuma ~ WEA 92-3976-1 - 1983) CROSS, CHRISTOPHER - Navegando (M 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'll 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 D Sanborn m.fl.) (1 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 - ZL72340 - 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- 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 (Oanny Seraphine - MCA 5502 - 1984) E Eagles - Hotel California (Bill Scymezyk - AS 7E 1084-1976) - Eagles 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 CBS 81451 - 1976) ee |4 SKIVLISTA(Blad 3) Earth,wind & fire - All'ntall (M White - CBS 32266 - 1977) - I am (MW ~ 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 7.72148 - 1984) Eye to eye - Lye to eye (Gary Katz - WAR 56940 - 1982) = Shakespeare stole my baby (GK - WEA 23919-1 1983) 5 FORD, ROBBEN - Schizophonic (Kris Huston -MCF 3028 - 1976) = The inside story (Steve Cropper ~ ELEKTRA P-10625E ~ 1979) - Love's a heartache (Kazu Matsui - 28MH-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 - CAPITO 064-400 077 - 1982) Ford, Dwayne - Needless freaking (D Foster mfl - EPIC 85897 - 1982) FOSTER, DAVID - The best of me (OF+Taka Nanri - SOUND DESIGN 1342-9 - 1983) FRANKS, MICHAEL - The art of tea(T LiPuma WEA REP 54048Xx 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 6E-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 64 629 - 1980) Henderson, Finis - Finis (Al McKay - Bellaphon 260-15-058 1983 Holliday, Jennifer - = Say you love me (T LiPuma, M Jacksonmf 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) J Jackson, Michael - Off the wall (Quincy Jones - EPIC 83468 - 1979) - Thriller (QJ -EPIC 85930 - 1982) Jacksons - Destiny 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 (T = 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&R V - AL 9539 - 1981) > Black cars (G&J&R V ~ PGR 825 108-1 - 1984) a —_2e we we eee! = COToes sees mcasoerssse SKIVLISTA (Blad 9) Watanabe, Sadau - Maisha (SW - WB 252 914-1 - 1985) 23 WATTS, ERNIE - Chariots on fire (Q Jones - QW K 56 982- 1982) = Musician (EW+Don Grusin - WB 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+C 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, Bill - 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 7L7200% 1985) Voudoris, Roger - Roger Voudoris (M O'Martian - WB BSK 3154 - 1978) - On the heels of love (Charles Calello BOARDWALK NB1-33233 - 1981) Warwick, Dionne - Friends in love (J Graydon - Arista 90028 - 1982) Y YELLOWJACKETS ~ Yellowjackets (T LiPuma - WB BSK 3573 - 1981) - Mirage a 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 vete var man ska dra gransen ndgonstans. Bedémningen blir givetvis valdigt subjektiv och gransdragningen kan klart diskuteras. Namn som SPYRO GYRA, MEZZOFORTE, BOB JANES,/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 garna emot. Manga i skivlistan finns bara representerade med ett Fatal skivor. Det gdller t.ex. GEORGE DUKE, BRECKER, GEORGE BENSON, CHICAGO, DOOBIE BROTHERS, BOZ SCAGGS. Vi tog med det vi upplevde som "slick". Beddmningen i slick/SUPERSLICK ar kanske dnnu mer subjektiv. Syftet med det dr att valja ut ett litet begransat antal framfér allt fér den som inte ar s& bekant med musikstilen. Fér den insatte kan det tjéna n¥tta genom att visa p& vad vi varderar som "slickast™. Anskaffning av skivor Manga av dessa skivor (fdr att inte saga de flesta) ar oerhért svara att fa tag pa. Ett Flertal finns dver= huvud taget inte utgivna i Sverige. Och finns de ut- givna s& gérs det valdigt d&lig reklam. Man kan finne mycket bra om man bléddrar i rea-backar. Titte p& musikerlistan p& baksidan. Ar man en riktig entusiast s& kan man skicka efter ifran Japan eller USA. En del skivaffarer har specia- liserat sig p& att importera skivor. al -—* =a =e =e a oe oe eo veAfter all......-.2.. Pere DEL IT Tnnehall after the love has gone... All behind us now..... All in the name of love. All right. And the melody still Lingers (A night in tunisia) Anthem (from Chess)....... Anyway you can... (Synth solo Appaloosa..... Automatic man. Back on the road.........+--eeeeee aeetetetetetereeetet26) (Guitar solo: Steve Lukather) Best of me, the..........0- Black and blues....... ee (Guitar solo: Jay Graydon) Boogie down (horn arr) Boogie down... Black cars.... Born to love you.. Broken wings...... 28 +30 Cryin’ all night.. Divina... Do be do be. Do you love me Don't look any further. Don't slow down Don't ston..... Don't try to stop me now.. (Guitar solo: Michael Landau) Jarreau, Synth solo: MEasy.ceeeeeee ee Vocal scatsolo: A Larry Williams) Echoes Of love.....seseeseeeeeeeeeeeeees Ending, the(Guitar solo by: Jay Graydon) Endless......+..+6+ Eye to eye....... a Padeaway.. Peer 22070 (Guitar solo: Steve Lukather) Pearless...........-.--2cececec cere nes eteee pnpeote) (Guitar solo: Jay Graydon) Preetime.... Frontline. . Funkabilly swing........+ Funkabilly swing (Horn arr.) Punky Bumpkins......-..-Gazoot............. *Glory of love,the.. Gotta get back to love. Gospel......., Graceful. . Happy face.............0006 Homecoming song Homecoming..............000000. Hold me 'til the mornin' comes..... (Guitar solo: Steve Lukather) “Hold the line. Horus......... I believe........... I gotta try.. I just wanna stop. I never gonna let you go.. eee (Synth solo: Robbie Buchanan) I'll supply the love.........ce eee I'd like to go back home again If she loves. teens If that's what it takes....... Imagination............... Imagination (Horn arr.) ... In the stone. . teens In the stone (Horn arr) .. Jarreau.. Jump, (Synth sol Just let me wait xJust once....... Bddie van Halen} Kyrie...... Last nite... *Lately...... Learn to love again. Let's start all over Life on the wire.... Living inside myself... . Livin' it up.... Lonely weekend. Lite till.........0. Look what you find.....22022! Took what you find (horn arr) Look who's lonely now....... Lost in the hurrah............1! (Fligelhorn solo:Jerry Hey) Love is not enough. Love at second sight. (synth solo: David Foster) Love is waiting............. Wush life..... 2... Le MANLAC. oes eee ese e eee tees cece cence ccnscces cel T6 (Guitar solo: Michael Sembello) Monmouth college fight song (Guitar solo: Robben Ford) — aMornin'..... Pee eerie PEE e eee eee eee) (Synth solo: David Foster) Maxine (vocal arr).....- Mr Briefcase...... My babv.... (Guitar solo: ‘Navid Pack) Normalisation... Not like this... One hundred wavs.....+e.20e0+ steers only one, the (You turned'me inside out) | Cops *eeeeene nett Overjoyed.. Pass it on.. Please hold on...... Pools...... peer Put the weight on my shoulders: (Guitar solo: Mike Miller) Quasimodo.......2..55 Reese eee eee eee eer 2 19 Raging waters... «220 Reach out.. : = +222 Read my lips.... 1-224 Ride like the wind. + +226 Roadsong... + +228 Peasons . +229 Roofgarden. + +232 Rosanna.......66 sees 1234 (Synth solo: Steve Porcaro, Steve Lukather) Sara... 2 +238 “Savin all mv love for vou Search, the September Shadows in the rain. Shaker song........: Should we carry on.. Shout....... Shout (Horn arr.) . Silverlake... Singasong....... Smile again Song for Katie.. Storm....... Sweet lucy. Super blue...... Sure enough..... _ (Sax solo: Tom Scott) Sweat it out.... 2022270 Take it uptown.. Greg Mathieson) «That's what friends are for.. There's no easy way......+Through the fire.. “Tonight, tonight...... Too young. Trains.... Trouble in paradise.......- They danced........ een (Guitar solo: Michael Landau) United sblucs thee tet EEE EEE eer ee ree eee Lei cieeeec ot Valentine ttt ECE Ete te Gee ee Eee eee terior rrc so) We're in this love together ++ +300 “We are the world... + +302 + +306 + +308 +310 +2313 We can work it out. We can work it out What a fool believes... Weekend in LA...... ‘Whatever we imagine 314 Wheels of life..... +316 When I loose my way +318 Without yOu.....seeeeeee aerate + +320 Who's right, who's wrong +322 You... eee sTo 2324 You and I.. Peer + +328 You bring the sun out........-.+ + +330 You might need somebody.......++ 2-332 You need a hero......... . eee eee eeesed 336 “You're the inspiration.. } J ! ] i ! I I J I I I I ' [ I i I I E Ion THEN TERE WAS A 2.1 Ke My (2x: 9 Wa? mo (he) (I TWME 1 eens THAT NO MATIERCOME KAT MAM, LOVE WL PRE VAIL (2) HERET AnD Mud __TWar NO MATTER COME WHAT MAY, LOVE Wit SURVNE ot WDE THE veeans . KNEW, Came THE GME) AUTHOR CF SPACE AND “Time! KEEPS THE 374 B () QUESTION Levees FEAR, CAN TRUE Loe FAIL, THENPe | WOLD MISS THE CuibaHotD feist (2) GALAXIES AND EACH) SPARROW ALIVE (Pap THE UFETAT HEAL THE fount > (Qasr) at HAVENT | SoG TRE YoU OF THe KMEHT I Aco gE BRET). LM IW OUNPL NY ACTER THE WAR 1S THROUGH, ISTHE KNIGHT IN AemouR EerGHT J FATRFER®( ne we 2) . }Chons) J ie At t — v TRE 7 You ~ oan-tms AF - TER E = as =H = == : eee ae oa a ( “ [wi & THEOVE TO Help YOU IN MY De pee Ep Ge aos Ses (24vourd) a CF keyboard gy \Witl 66 THE OVE TO HoLD YoU \ WI BE THE OLE TO HOLD OL Wa VY 2, (when vepealed Chorus Eid The CO yal, aby. ANN (uh v mee =—- aFRom THE RECORD pf BAR TH WIND Ft LOR A WHILE N TD UNE WAS AL WE COLE 00 We Rater vous ane ee ( Dwiie 72 Love, EaChorHER WT ALL WE Word EYRy YQekD: Levewas. 34 Part Nommmind TD THE PAST WE WKNEW LOVE wotto LAST Ev} (2) Rice é TRIED TR ip WHAT we HA) "TL SADNESS WAS ALL THAT wel rp t } + vi NNIGHT.SMERNG REET woul INVITE US TD BEG The 'baluce 2» HAD WE WERE SCARED THIS AFFAR WOULD LEAD OUR Love INTO act (NEYES were ALIVE DEEP INSIDE WE WW OUR Love WAS TRUE FORA SPEONG FoR Se LONG | NEVER UNEW THAT WHAT WASWRONG BABY WASN'T = SOMETHING HAPPENED ALuNG THE wie ae RADAY WAS AU THAT wwe ANDMESTERDAY WAS AW THAT WE HAD & m_— S oe ee——_ = om lll (APTEE THE Love HAS Gone - 2) a » 5 ()SMETHWe HAMeHED ALONG = THE WAT, AND YESTERDAY was AL Wt MAD (CHogus) % OH, AFTER THE Love HAS GONE How CoULDYOU LEAD ME ON AND NOT LET Me STAY AROUND Da & al Copa copa SOMETHING HAerErED ALONG THE WAY WHAT USED TD BE HAPPY WAS SAD tye | va sal SOMETHING HAPPENED ALONG THE WAY(AND MESTEROATWAS AU THXT WE HAD AFTER THE LOVE HAS Gone — HOW COULD YOU LEAD MEONot LET ME STAT AROUND APTEE THE LOVE HAS GONE (witaysen Te BE RIGHT, was x CAN Love THATSLOST BE FOUND 1 + y Ss5 = | € AFTER THE Love HAS Goud Qj (Wi USED TR BE RIAIT WAS WRONG CAN Love HATES LOST ge FOUHL. es { OTs | SSS Ses Ti FADE@impBeEHREHe wea eee RB ee ee eee(os? fF P= yeu f fa » Te RoRey THAT SOeRYy aH 3, HEY SORRY er a 4. Hey FUNNY How we DIONT Work THE WAY THAT WED AL- WAYS PLANNED WENT AWA’ AnD SOME How DION'T LNOER STAND i ss (3) Coun FINS ss Saiee THE “woRos THA'T, MIGHT y TAY, CAN: 4) Bora HAD Saip THE Same The Ain ANT MAE Sour STAY, CAND) (2) WE pReTE NpED MANY YEARS sn we a (54) we PRETENDED FoR SO maihy WEARS [ee pene, prem pees,(AX BENIND US Now-2) )-2) Bur Now I's Time WASH Away ™ (54) Bur Now IT'S OVER Baby AND SOARE MY TEARS SB ay US NOW, CAUSE WENE LEARNED D Live SOMEHOW WITHOUT EAC] ALL BEHIND US Now, Chuse wele FOUND A WAY To LIVE WiTHoUT EACH OTHER Aup s|l.EAsy, TP Zee Arn at omer AND IN — VER GONNA 2E The SAME AGAIN ws, = TIME Wel. HAVE TOSEE ,|F |TIS EVER GONNA BE THE way . AGAIN eam it) Gay cha he chy Dinteh (05 (Saxsove) | Zz. Pas? HILDE GUT FoR TAR ime Ha it 3H bp 1 WAS, ay NOW UN. by, ILI BUT Ui, Bn, bi > = = FINALLY FOUND WHERE | BELONG cause 11'Sx PRESSED peas + Cigeat) Ddavip KoBERTS ~ 1982. / te fA)! \DION'T MEAN TD LET THIS Haren {NEVER WANTED TO UET ANYONE 2.1 SAw) bien THEGE WITH HIS RNS AROUND YOU | SAW HIS LIPS AS HE Gevity "fovua vou po + He a a a ee ee STF most uav€ sed A CHAIN REACTION PAT Weed THs YeKrU Te HYDE 4.1 HEARD YOU SkY "I WEVER SuSPECTED' THERES wo WAY Iwo EVER Hye GUESSED " = ( iter — BOING BLIND TOY GUA z mt PASSION = ~ ATTRACTION, Gre Bowe DME May pe Be ——7 Y IT CAME OVER ME - LE Temporary 1 (2) THE, SUDDENLY 5 (A) tien SYvoENLY TT APPEARED TO ME THAT J'D BEEN A ViCTIN OF (Dsannry —_) __ TRIev AT RESIST THS RAGING YEALOUSY, — = sete iS (A,TREACHERY, AND) CouLBuT ESCAPE THE HAND OF DESTINY(AW iN THE NAME OF Love-z ) OD iT AY THE Name Hy v, AT 1 OfO F » ; iz. Ay IN THE NAME OF LO Ni A fi Abt (ORG ELANKCT) Ly v a = Shy Now That Walon NE Lost Evlge TinG meees NB WAT Ei (CAUSE Hin /D AW, SID WT ALO Ent D ' Ae nomi TO bFFER y BEmen sages Tuat LES Tee = XK V CAN CHAME ANTTHISe Eu ALL A W THE Dame or Love CHn® Pp A INTHE EME Ce Love || WEver WAVTED TH nLer Bees cea A (crear engf/D t fe {: he a eee ee SSG THAT! DID IT ALL INTHE mame OF Love AUC IN THE NAME OF LOWE| | | tl. know Zo ene 3. TNE AND “Ime + GUITAR 1) Karoo WAXTS One Y0UR_M esd. — : — (2) pve BEEN HURT ecrone (GB) AGAW \ SEE - PEOPLE SO UNSURE Like me we AU low Nie Gers UGH Somenmes a (But) Mou can ENE QT One. (2) 1 REMY SHObLDNT Ge ANYMORE BUT THIS TIME, THS Time Thies SEONS JAT GETS RACD SomeETIMES You _CAl GWE it ONE — AniDy FIRDANT REASON WHY You SHOLLD ACK _IT UP more TRY CDSE A ULE DEFELENT And WHENMILOOK IN HOUR EES 5 { More Tey /APD FIR ANT REASON wit You SHObLD OSA, Be nereny Seal CH AWD TEL A GAts GUITAR) cause (1S 2) Venous TCAN ; = Sag eA SEE Tar 17S TRUE (Ayo Ena OS ars) (Bb) OH — Ap Tay IT Abin FCNSE TIS \sco acu Fy (Bass)——— er Se ll (AW RIGHT-2) 13 v TH WERE GOUNA MAKE FT ~THinvic 17 MIGHT JUST WOR IT OUT THIS THE IT'S AU RIGHT, 1 THINK WERE GONNA MAKE (T()) THIN IT MIGHT WoeK OUT FINE THIS TIME ALL RIGHT, | b y c “THIN WEEE GONNA MAE IT Thine IT MIGHT (UST Ware OUT CASE IT/S NOT TheLATE Oe =| $e + — a X]f- re THar TOO CATE fee ne OUST WHEN YOO FEEL FEW SSS ae Gh ( ‘BASS Seo A (SSS SS eo ITE pet [Guitar sdL0> 7 rt $4 Sarg Past eeWeR™ uc THEN WERE oN OUR WAY hu Aine iu ACL RiGHy Ay Too wd ee Gonna MAE ee WT THG THE Yan + S Fi a Ws AU RIGET F THINK WERE COMMA MAKE Thi OF Mar WERK oT Fie THISTIMEGENES “THs cmd pole aoe SONG z - b f NELePy STU ("FuMie) a= r = = raat ¥ iTS —* 2 : — va we ey 4 9-5 lovar- & Twas ye Ano VERN STRANGE, MEW THE SQUARES Ricit 2. MILES TO NAME JUST The | [4) TCCETHER (SiearJe) M0 cok tus NG Bor HE Me 2.4 A Awd} (27 ASA WAG fouNG YET STRONG Ane THE He(ane THE MELODY SUL LINGERS rs 2) Sg. § (3) MOONE CeLLD STEP THE Win? OF CHANGE WHTHELT THOM WHERE wouLd We Be? THe DUKE wo] 4) PREZ WERE THERE BLFERE THE PAG MoU CANT IGNORE THE TORCH It ( \ _ qu UT wee keer THE FLAME = [Cause THE MELODY Remand THE SAME , BA-BA-BA ( Dm aes” 4, We FRA BALBA-RAEA,BARAGAGA CSE) ~ StUTH.S0L0 _BReAd- +s sees POPE ov sors Continue) “sort! —_ —\ —_ paHe THE BILLODY STIL LINGERS crt §) ch elena 5 md C3 eH Cad 3 Goro GRERK-ALTD SAX) mmm mmm meeee ee ee ee ‘Gad \CWANNEY MIX oa | BEA: BEAK B Browes BeATLES Age | CEAS Win Bea,| PSION.ANTHE/™\ (Fron THE RECORD: ) CHESS" ~ 1984 Thm 5 ee AG 6 1G M% S36 GRPES 1S MAN, NO MAD“NESS, THOUGH THEIR] he Pye dt ty Al WWHEN NO ARMIES STOOD, HY | be E— hig Ae gee | HY | LOVE HER TAROUH— rr lor (ANTHEM -2) Micke ae ee pri p= aj p= @! ae Se SHE ie S| How Can 1 eu I uy nem “— ee = eT Man's Pert 7? iS = off =e “pt tas: a iiey t Rp Se NATionS TEA THEM Sewes A PART, Sai ise peCy te saevwe canon g ear ire AY warh « AN THATS waar twite Po TO STAY ALIVE 1 CSTD 1 Caw HER TUA SAY Hk = ANY Thiwa Tou CAu TOS TAY ALIVE 6 BUT Knee You NEE Se c I ANY way Yeu CARI AS THIné You MAYE TREC, ANMTHILG TEL YEED. 2 COS The Awe peer () poe myseue 10 SEE PL RUT) THAT WON'T eine (ogee: NEED Sumgone THis fey NEED Someone (TO 1 CATCHIMOU WHEd COU FALUN 10u v Sy MEP SMa ame OD HELE Set Che =tBDpmnmnma mm me memeeeseesap eset fo gto gf ho oy be, 9 (ANY ou CAN 2) FE f py toy cw Fee ely Bho Eo Abs Eby TSXNTHSOLO- Page = * | emt ee WO, ct ore Phy Sr Bur WHEN YOU NEED ScneONE , LIKE \ NEED SOMEONE | THEN Ym NEED Someone “e HELP YL WHE fou FALL WHEN fou REED SoMEOnE Lut | n NEED SoNcove AWOve AT ALL (imste. as is!) jf es = SS : eee eitg an tot BAAS Foe REApIAI WHAT WE Sow SEEMS LIKE THERE AW 'T OSUCH Taine OY CAWT Aba FOE, MUTT Ay i ee Re a fp ibs 3) Tuan - ‘ Antwat You GAY Jest ABGUTTHE QuLT WAT Oe ! { sel cm vocal Sole) ' ‘ 4 f we CEaad GU Aout THE ONE WAY fay EAN) J >coy Gin.) 1 APPALOO~ HO sa RUNNIN WILD Iv THE DEAD OF THE NIGHT APPALGC~ THEY GRow WHO WW HEINE DEED, EET Wasa] KEARNING HIGH IN THe HEAVY BOVE. APCALCO -| You'Re THE MESSAGE OF LOVE AnD LIGHT ‘ OF Fre MOUNTAW THAT ) MUST CLIMG. Noulre, OGL OF Cov _\ Love. Z.3. Ua (2) See TM mat ye VELUTIONS (Cy see Mew SS “Kedar nodCAPPALOOSA -2) 23 oF ; (2) TRuTA Wo MONEY CAN BY v WiTH WIR SwecPagsouu Ton (STRUT No_MAN Can VENY 3 WITH Yous LOVE AwD DIgECT( ONS fala , == Se FH ae =e t (429 1 BT Flo 4ouR STAR for The ecSror ny ure (Dt We polo NY Star TOR THE CEsy oF MY LiFe ais t 2)" Ft (3 5 AppALoo~ J SA ae Arratos Ett (gvit) ra APPALOO - SA APPALOOSA = INTRO f EA ( LYRICS 4. APPALOOSA -RUNNIN' WILD W OTHE WAKE OF THE DAWN! \n fel APPALOOSA - You'Re Te SPIRIT THAT TURNS me Ons.“Edt Eid C-% — AN-% Her Hnlt Stare Bur Yenvee ss "Niéurs UKE SOME FRan - KEN - STEIN =: HE (kucws € - ve@y — DABCE PRE-PROG-RAMMEeD ROMANCE His A" To = Ate! ACT (tT HAS CeAgNeb yo Peet We pdeans — someVmlue Uke “oU'vVE NEVER | Seen LOOKS AT You Om) WATHING "Too THROUEH HIS’ VIDEO Lec - 721C Tears. We _im-fos- si -Ble 15 BEAL He WAS MADE TO PLAY THE PACT NS NE OR- by-NA ~ PY Hm HE'S ‘ __ BPF-5 AB sus(Automatic mans MAN HE WAS MADE “IO BREAK “oURHEAer He's THE AU-TOMA-1! a (Tho “Meee Folk Fre SK Seven ElnT) HE'S THE AU-TO-MA =e DALY (2x Conrimie) HESTHE AU- TO-maATIC MAN J WAS SUCH A LONE-1Y, LowE~LY BOY ——— auto ma—tic was MY TOY NE-VER DREAMED HE WOULD Steal HER AIKAY « Ay Crees ue BD id ~ + B a i (x8 THE FH ENE GK eve” Ear HES THE AUTOMATIC My + - (Too THREE four Ewe Sx SEH EGUT) KES THE AUTOMATIC Man)“BEAT normh) set An au. ¢ Fea Danse) ~ f Art D9 Gu ¢ 4 ye 2 Ger BACK ONT by ROAD Corin ENE Tas Teautee BEWo Ve Te Cagey THE LOAD OF WHAT Oy LIFE ISLA TRUE DESIGN ye Me GET Bac ON THE -ZOAD GONNA MEND THE HEAT CF MINE SOMEDAY TWILUN ~ DE@.STAND MUSIC 6WES MY _HEAeT A THRILL JMOL WON'T ZEACHME BY PHONE ‘CAUSE HERE MOVIN Rome ceTWEEW ThE! LINE OTHAT WE SHARED WAS 6RAnib, BUT NOT ENOUGH Vo WEEP ME STILL, | HUE (Coes) DONT Moy CAN WHEN | SAY Goooeye BABY, BABY, C on, arene) —aT El SE Ea (BACH ONTHE KoAD-2) ZF _ — fe a p> = SaaS Ss Dov'T You CRY WHEN | SAY GOODBYE WABY Youle NOT ALONE 3. THELovE| Pint ES S cS: Zz. (navns) (guitarsale) Fa Fa (VOCAL sove)28 1, SOMANY TEARS, BEMEm - 2) Gowe (Al ove teat was Wye Sy eprne {NY 4 veg Ler my YEART Bevieve: (2) THE Way 1 USED TOM (Tas BECAUSER OF You ENDUEK Theme y Pek | Aub weds, IF WE CAN HOLD On in one. way ey Holy val Coup BE, mo i, \\CAW'T FOCCET (AN) ) THis I'VE Conn GAVE ~ Oo CARGm THe Ouch cv HER Levi oF love FoR ME BuT_OU2S wit BC (axe) You were ay ¥ ONE MORE Cue VNEVER THOUGHT I'D FIND, ou WERE THE GNEBEEREERE ERR ERE RRR R EEE = 29 — ~ PIAICE I'VE ALWA KNOWN IN MY MIND = NO-GME Wile Phiege VER TOUCH ME Hope (ANd) | ONLY Hope THAT IN RETURN I M\OHT Have SAVED THE BEST CF ME Dans, ue Have maf ro ¢ o pu > (EY vee Toucd Nu? chy ch mt FF SO png phn po Sint He Moe Bail Ga? Abt, ot a NOONE WL E - mF AND | ONLY HOPE a be a RETURN Ace 4, No MATTER Hows MUC. fee nt atts 1 mia He SAVED ou THE BesT CF MESEMEBORY, INEED Senger | NEED SMELT SeMEBS DY, INEED Saeko { (1) Um TIRED OF EGY BY ONSELE_ \2) i'm TiReDor Keerme NWSE FoR ONE DOW T You Leave ME Ge, Thns SHELE © NANONG ANT ay FUN, Leave me ‘Atung] Ort PASE volt teat me’, VP OE VAG r No | e " A " a——e eel rr lle le. (Byack % BLUES} 2) x (Lowe HELP ME FIND MY DANCING ' SHOE S (2) MEAN. CAN'T Mu Come And HELP ME GUT HELP ME HEAL THIS, LACKS BLUES —— L worn 09 Hy ASAME FoR YOU LIVE JUST DOWN THE WAY OU WONT HAVE “D STAY a x (9 Nusr Saul TALK AND JASMmc Areal @ ST SWEAT DREAMS IN TOWN TON! SPEND SOME TIME WHR ME HERE'S GUST WATCH THE RAN] LETS Go FEEL THE LIGHT LEAVE THOSE BLUES IN THE RAIN ‘~ S TAICE A momen TAN? GueMe Some SWE ATL CRM PANT t a = = Ft v 2. 4OU SAY,YOU chiiv WHAT meal (An Sip, “ane Cnt3e, cui & ELLES - 3) a es feet Baa DI USE TE ME ow ws SEE WAT I 09 COME om BABY LETIS DOTHE BroIY EteEN) Couns) (Gar) E /F Fo THs ste ware rule ded urn PREAMS Tose = t = = ibis 1 ee dc cae ma a Don't You FEEL mone LiKE OLE SELF tons 6 — Cm BC CW ccrrnct ran cue vamwi spoes Sco Goce TW BE Down off THe 7 SHE LE 1¥) GEG we BEATS BLACK R BLUES CREPEAT TIL Fane) | \ NEED SumEbopy, 1 NEED SuemEBoDY , | NEED SHELLY Cieans) m=z = 2 wee eeeBOOGIE DOWN (Hoe! ARR, BL ICee HEX) inst, 1p PP he & Vb Et tag pe ate bee ty tr REPEAT TIL FADE) SS eee ae ei ia ea ia i ls ialMe a WHAT 1 WANT TDMOU Ki ALL NEED IS Te GET My EccQ1e DOWN WHAT \ WANT TDMOU UND AL | NEED IS To GET MT GOCKIE LOM 20 You CAN BE WHAT! WANT TO Mou Know ALL | NEED 1S Wo GeT MY BOOKIE Loy NW) uve) You CAw BE waar 1 WAST TO You und ALL TREE 15 To Ger pat BOCLE LowsEe (Ger oy CeRTAin ANORY SERE'NaVoH ON) Alig ppmrin ont Mi RAY FoR DEAS RR Aw ov da TE (MOUVFACE THAT CheTAIN leh Y STUFF on, YOU ALE THE WINNER, (Aealyot Ew) TW ith SP BIMER (nu eecoumn Fee ra AnH) > \ wT AnD Ru Memmi ISD GET MT dxEIe VouN DZalcona Yeu Cam 6 WHAT YOU WANT TY, AND AUL YOOMNEED, 1S-TD GET Mube, BOLE Dow wv GO LAS OD HER! x Foe YL ASD CODA Now You Go (AnD 2 ano SHES A UTE STEP FO me come. Buys STUFF WT LEAVE en0v6H Foe THE NEACE ST Oi PASTET AR, IPF RAS LENE CEES f (VOCAL AS BASSLINE) tl. UNDER THE COVER & — She Nee CRAWLS HT . THE UGHT EAPOSES THe eS SHE WEAES Hee MAK uP une’ WAK v SreiS A DARK ANGEL WEARS DARK GLASSES Sue's A DARK ANGEL RIDING DARK HORSES: (ONE Sar 5 civ Sra Wi Clap q CKEN8.) (1) DAR SHADDNS UNZER LONG FALSE LASHES] (OSitrs! PREM, In HER DIM LIT Coveas 9 (CHogus) BLACK CARS Lock BETTER (NTHE SHADE Pia, nididh Ae = SHE AMENS HER UPGTICK GN Bion BEFORE SHE SLEEPS = ES ili(BLACK Caes -2) 3F Ars EF G FOCAL THOSE rkaor COVEES HER DREAM (ssw) (a) OR GPK AD — (OK Ep ‘A (Gultany 5, SHE SOKES THO cece Bey Peay IN CoCKTAN Gloves Hci eacemmes. GUYER srearcess DRESS = (3) SHE CoTls A Perfect Stuvemé (BUT SHE A) PACK AnGEL WEARING DARK GLASSES A FADING REAUTY ASTHE MLHT TINE passes. LA 2 WT BLACK Cans Look GEER WHE SADE: ws HoT Fest Tne) (Repeat Hi fave) SHADE BLACK CARS LOO BETTER INTHE +4 BARS AS NR 438 - Ge eee - AEDS THe GECREE DUKI i \9 ~ L You WALK wT |My LIFE 12. 2 SOMELRINES VERY wRone SucH A Lovely FATE Dow T) Tus Your Keagt_ THIS TNE, 11) Any CHANGE TWEBALAN CE “OF MY DAYS WiTh YOUC EXES You SAY "Eh (2) np Caw TJusr GU ALONG Rove You WANT Tag STAY ~ 1 must FIND Wet A WARM Ah TPR a WT Ce Fe (Frown want swu'e - sete Couo mt Mwb BE LATING GAMES , | An Su BEDAYED THAT 1 HeAcT aM AMYoues AND = = Angekcos ap. [TOU Ate SME ST IZ, peLaw = SEE DOT é — E a eo FE ING DEEP INSiDE Keers Satine, Fooi 4\MNDCAN NEVER OE THE SAME You PLAY A GAME - | oC wo: My Heaer irs CCearee eee ee ee ee (pore TH Love “tou 2) 39 | weer mt FEE -Ligh ¢ SONG You SIC = v HAS FouND A CLOUDY pay, 1M HERE To SAY THay 4 |. C3)THoven 1 CAW Tew we've worud Z. TO TA gAee ars) ~ = : = WAS BORN TO LoVe Guu © NoT THE SAME Tou PLAY ¥ one = a EF WAS BORN TW Love 1You Ano int \ A CAME ~ 4 Know BUT ie i weer Ma Fee iF + Ee = = S J mt Hener R ee ~ a IIS "CUBAR THAT LOVE = HAS Foun A CLou- = k =e =e potas | Upbs Stee TW AND THE SoG You Sine: THOUGH | st tS — DY DAY, Hm ueee TO Sas apap BR WAS Kors! \, CA Tet -weleewons]Z, Poco eit-.- latewee + * _ - - to Cove YoU EF move a t + mH 2 iSS=s= J Phu Glad Hi Che—t ——¥ == Gigain Ca Fro ¥ SEF g H.BABY (i) DONT UNDERSTAND Wat WE CANT JUST Hate ONBEACH OTHERS’ HANDS (Csysm.) bee Sed Nays Te Wit Be THE LAST 1 FEAR bAcess | MAKE IT ALL SO CLEAR,! NEED You BE BABY i's ALL) KNOY Thar You'Re KALE CF THe FLESH AND BLOOD Har MAKES ne. a BABY Tite TONIGHT WE CAN TAKE WHAT WAS MWRONG AND MAKE IT RIGHT CS) Le(GEOKEN_ Wis 2) | (corny TALE “THese BEOKEN Wines Preto og d TAKE THESE BROKEN WANES Aud LEARN TD FU AGAIM[AMNUERRY TO LIVE SPF Cel MOmHES we Ct * bt 2.3. Otimr % =a HEAR THe “VOICES SING THE Bock OF LoveWMLOPEMUR AND LET US IN eS ein a faunal Es & ; ‘ ( tr Alf Z Eula bud 5 —3— —— Zaid Daddr (REPEAT| | : | 1. BABE, 1M CALUNG YoU FROM Mees Bias BW) BABE UVE Gor SOMETHWE Core TOMA Y ~ 2. fae \ know” You oe AWD CLEAR 2B ANS UNevee Pres” Gy OU Remon t sy 0 Pet nc weve oom 1B) GN Face qu SO} (2) Vunow vn) cen) teescor (28> \WAS PLACA TI- CING ON MOU z, + = ro) v ~ HE CALLED (MEAL) DTELL , (TOTEL) THAT TOU WERE On t oe = O ly A REnEARSAL HE'D Fouwy A REAL THING, Anb nean nelle ee re er lr hele (Ae ALL NIGHT -2 4 v o, Sittww6 ALONE BY THE TE LE -PHONE,SHED BE CETING AL NIGHT oMae Fete ¢ . THE VOICE ON THE LINE Sounder SO DNMIND,Was SHE be, ela dil Me @eHT Oo Heats Ff 2x CunTINve) ce ae SIGHT A THIS LOVE IS DUST AN PRIMI TA, ibe ord * \ ae « cs £ Kaw HAUS Be SP att us Da [e ug-y + 4S Tne ALONE BY THE TELE PEOSE Sry EG te cat? ey] Aw ‘MIGHT E Use SoUM DED SoUNSD was SHE Ne VoKce Ou) tae “OST gy IMITATION NOW Ch vee gied 8 Brat a —— = Te FEEL NOT wWoeTH (Be aci'e Hm glovt? witipat ( é E HEARTOF STERL TO COLD 4, +o t= SHE UOST WERE THE FEARS Din 5 nas cae ®y ayfeo — THE RECORD — " "Mindy MUOWONIA ~VPR3 d7 See ee er eee ee ae sees 4 a p re i‘ r * Hi > sx 2 (Divina 2) —e/ ‘anaes Seon, \semmcncesca/ \cosscccncume/ rn alore SS | | | |SLICKA PRODUCENTER: QUINCY JONES Birjade som jazztrumpetare pa 50-talet. Arran- gerade at bla. Ray Charles, Dizzy Gillespie, Count Baise pa 60-talet, Har skrivit och pro- ducerat mingder med filmmusik, T.ex. ROOTS ("Rétter" 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" ar den senaste). Producerade band-aid-laten "Ne are the world’, JAY GRAYDON Gitarrist och producent. En av forgrundsgestal- terna vad det gdller utvecklingen av ett slickt gitarrspel - sdva? komp som solo. Hr 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 Borjade som jazzproducent pa 60-talet. Ar idag en av de stdrre prod. p4 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 %n nagon annan, Hans latar Och slingor (aven strak/blasarr.) finns med pa 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 TENPLEMAN (Doobie brothers, Michael McDonald). MAURICE WHITE (Earth,Wind & Fire, Jennifer Holliday). GLEN BALLARD (Jack Wagner, Patti Austin m.f1.). BILL SCHNEE (Nielsen-Pearson, Russ Taff), Manga producerar aven sig sjalva: GINO VANNELLT KENNY LOGGINS. ToTO GEORGE DUKE LEE RITENOUR LARRY CARLTON STEVIE WONDER("Beat") “EVEL HOME SHOULD HAVE ONE” [= Se hs Bla Dur Dvir Es EW Dm? Doi? Dwr eh db Dwdur at t ft Os 2 pit Dit Ba els Dot Dw’ (GHORUS) 4 C4 IWFDm> Iw OnIGG —-POvOU OE lI on CAN We STL BE A Part oF TOMUR- eow be Lo WANT ot Db’ Dn} Den} Dwi} Pek GG we ME BABY! ORAS THIS JUST A THG OF THE PAST. (simile) C ()~'19 . ee, a S tewe O oe ‘wel CAN'T Sian Wr wHenevee XUURE CONE Ss AROS 2 mS ARON r (fou wouron't LET Love Botni ME, Luse a code” TREES Sas “Tue — eee eee‘ { t i I I [ ( t t i { i i (po ou Love me-2) 49 i — (0 ~ Veg Since THE PAY YoU Foose, ve een room ~ ' HOOKED Mouk KISS JT \ KN (2) You SEEWUST How YOU HURT ME GOT A Sun Sn TOS Hower, eu ew Sea 5 (0) NoW Hat THIS CAN'T 60 On, Bra BEE WATCHIN ALL Mt DREAMS SUP RIGHT A D-RING APAET OVER You (9ditar) | NEED To See That SoSH LiKe BE— BE Se aa) a WY WAY | SEEMS SOWROVG HOW ALL THE Coop TIMES Lie INSIDE. OF YES: 2 Don't 86 CRUEL __PO!'T SWE DLP Oy THE THINGS We'eBoTH BEEN UI - © (cHoevs) al \oo you love me CAn WE STW BE A PrIT OF Tome = VINE FoR Brow DoMoU WANT ME BAEM OR 1S THIS QUST ATHNG OF THE PAST AS TF So HARD To Skt WHAT YOU FEELZCAuIT YUU UNDERSTAND THAT 1 STIL CARE S “ouVE GoT To TELL ME THIS Love 1S REAL, OR ARE TENS THE OMLY THimo We CAM) SAARE (Croevs)50 .LAMBET) FF GOLDE, D.HITCHINGS feona THE RECORD: " PONT Lon Gass syn¥ FUNK") ANY FURTHER" DENN gy EDWARDS 924 = f ax COUNT Ur IN A WORLD OF ACHANG ING HEREIANSTUCK WHERE OL STAND. WHAT You NEED IS a AMAND TAKE CER 0, GIRL DONT Lok ANY FURTHER E (ne Crovds) STRANGE WHEN You THINW OF THE. (EX GUITAR Saud) Tear we BOTH BE INA STATE OF mu, TD Coo TO BE.(oon'r loon An FUR ee -2) SI CARELESS — LOOKING FOR THE RIGHT THWG OH.BA — BY, DONT Look ANT FURTHER, TO ~ ROM IT AW NIGHT LONG DAMLIGHT. eHT (ronmve) tel Corns NEA CINE PARADISE Yue STILLBE LOCKING Wi Nouk HEAVENLY EXE S Loowins IN OU HEMENLT ORE — NO WEL GS CAND ON Avy On) PYG 6 FS UNBA pero Mambo Yi AY =o DON'T LOOK ANY FURTHER 08 DEMO UMBA DEMO JAMDEY UM Bato. Dow's LooK Ant FLETHER Someowe (2x Courinive) eto (may DEO MAMEON! AYO. ONT Look ANY (URTHER (Pegensiey Um@A DEMO mamgori AM. DoR'T LOOK ANT FLA THER ————— a$2 ; JAA WRITTEN BY? RICHARD PAGE, STevE GeoRee FROM THE RECORD WELCOME JOHN LANG & STEVE farRis. TO THE REAL WORLD'-MRMISTER-|91 f INTRO’ (SYNTH. Simic, AND SEE THE "BREAM That EC CAL WE EMPTY Slenes NU Seaecn No WR noce Ss oNCT Teo LATE (Y We Ace oF “ VS NEVER TST Buy ‘sre winens Tee] 2) wish “hs 7 THE TUTE OF WrIAT Betee ee ee ee ee ee ee (Dox scow pewn~2) 53 Ii 1 ot SU THEeE JD "Bucu 2) THe RAS. BeYono THE PAST (cHoaus) $0 DON'T SLow DOWN THE WHEELS ACE TURN WG “IME FIRE'S WE Nine WH US HOW f SS Po'T stow CoWwN do T Loose THE mace he Me E L Weve Come TOC FAR TO Than BACK Now 8 "CHoRus” (voc. soc) |] “treo! "CHoeus* (REPEAT TIL FADE)eS ——— (FUMED (Arree pic, GUITAE Le Bcutes), (Sku tay “ (3x currae sere) | | | le; Ws se FRUSTRATING | tt fF AND EVERY UTLE THI YOU bo iS se EN -TRANCIN® HANG ~ Ine GRAND AL ALONE A Et FF (B)'-3) You Toodven SH A pocr, Jo ONe ~ "VER TRE Guage TE MA pe Oi OF Ue Tred THAT WAG ELEC RUSH(pon't stor -2) (remot) ss I-3) YoU LEAVE Me WANTING MoCE (mBee'u muce’M Moke) GadGe) ov Keer pare aise ur (UP AN UP AND UF Don'T STOP WHEN THe Love's Gore CRAZY NEVER THOUGHT I'D EVER BE SANE, BABY x ig \ cast Fl IS FEELIN dou T sop iyatoie WORLD'S ME CARY Gayo Reet aeRecOneY age pty 8 peas = + HET HEY HEX Hey HEY Het pt 1 Be Se (unis) 2. Dow'T stor wed THE LOVES Gone CRAZY NEVER THOUGHT ID EVER BE SANE, BABY +> DONT STDP,WHeN THE LOVES Gone CRAZY =| CAn'T FOHT THIS FEE UNG | A-gy- more CODA D.C. ALconal (without repeat) _t CHORUSTYRICS: JAY GRUSKA f" Come Fie in 2x) ("BEAT") 4, Emil ~ ao - Lo caw Rememeeg ote WHEN Youuere nor so FSeri0us 2. EVERY SEPTEMEER, WE WOU COUR BEST TO STAY DELIRIOUS KS 3. LIFE ON A BACKSTREET, WITH ITS WEEKEND NIGHT ALL SPENT SEOATED 4. LIFE ON A Backs an AWERE IT DID NOT SEEM SO COMPLI - CA - TED 1.3. = o = (1) WHEN YoU were LIVIN FoR YOLASTLE (2) TIME TURNED YoU INTO SUMEONE (ELSE) (3) Nou ony THouekT iT WAS A PHASE (4) ONLY REMEMBERED IN A (HAZE) Dads rd bh DorlT TRY TD STOP He NOW _ VLU NEVER LOOSE THAT FEELIN == Denrnerereeneeeeeeeemeeeresmemennnen DoyT Try TO SibP ME NW ree ee(Dow T TRY 1 SOP ME NoW — 2) Ss? GROWING UP IS JUST ANOTHER = ACCIDENT + tae ae \ CAN po WITHOUT UUsy CAUSE THE FUN WE HAD CAme anpler — = v Eval pe) GS GRowne yp 1S JUST im A = — ps PArUsr cause (ry Gaaig - Emit Deir Te Mg MyhIG NON t DONT TRY TO STOP ME NOW DB] cm(oitwrsale by MIKE LANOAV) — "wai HHS ANOTHER ACCIDENT THAT | CAN 00 WITHOUT 43 OTHER, He FIN We HAD CAME AN) WENT, ~BhA9- sa Aa ai Q gm a cag HE FID aS DONT, TRY TO. STOP Me, NUW ag ereiA. YESTERDAY Meu LEFT BRAZIL AND WENT AWAY (BLOCKING FoR, A’ DISTANT BEACHA DIFFERENT SHOE 2 NeHOSLPE RMA Gonna G0 THE SuPER“Cest He Can Yeu Que _Sureg t= NE 33 Mar bas TIRE SUES och ol (Ry To see THE WORLD U8) A FAG TER Wee (A) FREE THE pear R28) BEL (har tre GS) Te ueee NW THiwine THAT Move HEARTS [dota ece ou Yue veeo G)eveav nay Vou NEED (NHUNCELED Foe WME MMe — COR CAMGHT = S eres Mr Lacan de ee oe BV love IS Not _CHICA- Ge OR HOME BEWEEN THE Snow ANDTHE? FY No WHERE YOUR HEARTS ons IS WHERE TOUR He AT'S OW1 ee ee ee ee (Easy -2) 2. 59 DWI SwkET CA-Ri- 9 cA Love AGA ee eee war, Jfegtess SNowBlen, ME MELTS Awa (i's EAST, EASY, ~ oi LET YOUR Love ANS QUT terent Lows Fe? 23 : ‘ 1 ‘ ae STAY IT'S EASY 9 T (od Be orr- Ab. ne oe STAY (IT'S) EASY B} (ven so), Gut one DIN G-WeSine ZING" ONG SONG 2We-One-ONGTO fer TWEE DEm)-TeEUBYSDOHO. A, f 4 PAR DOGO NI Dodo DUSU Dv Domowomo PMI por 2161 mo No BE ptt A. nh __ CHS AF YA 4 = [ f zaare - = Ay yo BENG a8 DENG mee ZERWOWON alae i z" NANA, ma b+ we fi rs r. > NYE NANA ZA On OND, to Blo BLA = WY'poND DA DA w 14 ‘ cr 4 vA DADE f Hut £49 ye NAIDBA Bi! DOS py pr Pa DoH DoH pan cE fi, Re ae SS ON 80 Bo eon 5 Ss v i 7 bh 1A J. I Boger-Bor BLM Dodo giheded, mle 2, voted a, oy(EASt-) Hm¥eS D-O> CN, Zl Deus BY Ni NC Nv Ara Am. B44 Aw (sr) we 6 Ava, — pm FN | Hirao “S bial FF (92ers ets Ler yout Love =, ane OH fi E: (= (ei ' fea I:ee ee ee ee ee ee ee ee ee ee ee ee ee oe oe he cE at 7 C= x ra = \ HEAR Moun vi F = CCE = EVE RY ~ WHe2e, (ECHoEs oF Love) a] = Se =F MAKIN ME Lock BACK OVER M1 SHOULDER (ECHOES OF Love)ARE STARTH AL GHorus EN 7 C~ VER\ECHOES OF LE KEEPS on) HUNTING ARE OUTOF CONTROL ,CeEPS on 208 a a a =~ s ~ ECHOES OF LOVE Ake OUT OF CONTROL BRINGIN! BAL LOVE; | USE ThSINCE YOU WENT WAT ora fy = ¥. eNeEY ay Ay DAT so MANY MEMORIES "BOUT TD GET THE Best oft WHAT WAS CUP 1 sep Te belo teu ~ 7 ‘aT RECALUN THE TIME VausT wouweT po poser te = \ DIDNT THINK YD Uve Te HUTT 0H GIRL T'S Mou Wp UKE TE (CHoews) aN BUN TO\ECHES OF LOVE — MEEPS ON HUNTING, ACE OUT OF CONTROL USERS oN a - - ~ Nw, ECHOES OF LOVE, AEE OUTOF CONTZOL BRINGING BACK Love | USED TO Gvitay soley <2 ¢ t r Be SaaS- or rir lr reel rel retell le (ECHOES OF COVE -3) & ; (ccnctscf Wore ony Ge v # =e * J am + SS + f : ae (Echoes oF = f OS ; , . ss Of D BA = a —7F ECHOES OF LovE KEEPS ON Huy: a TANG € | ECHOES OF Love ECHOES OF Love} KEErS ON Bue — NING, + = =e ECHOES OF Love C REPEAT TL FADE)4 (From The Recoen: steve KIPNER — y °F Fj pal 7 w. (aco Pe goo eS @ld x & by a (aE oS As Soya ee Cong A 4 Gmlljeny, se py Ole yng Ga : = i Ce) f —_—_— Aa Pe = Yae tah mt mm mR mr eee ee (me ew den 6s ys Kees Sgt Bg Eh ggg al fi dj} = ‘a — ee 3 bee I cette Beg : Gr! q) a, aes Epes AE 42 a= == = Fay (CHOEDS IT) SFI) aN war HS ee : —= Aa! ee bX on hae! be hoe Cw ) ote tte tay 0% ¥ yn, Fn err | \ euile ele eee ENE Meee 2 ot — + s 1 ~. " Y Vee tbe £ eps ( 8a" BASSO Gall gv bassoFlutie FR pag “reer ee OND ME, SELF As ITS A MIZACLE ae “ou CuRSEWwes TWEETER, “Beroee We HP THM €Stm ibe) ty) THE MERE FEEL YOU EMABLE \ Mcawr coo Fmi See Rm teuee Ee (OU ENABLE, LETS| (2) Avo we Sante Bo aRy eOSSIER wont Tov GWE HE Some AEST Or + (\) tur ove cXeos Fou me Ths Fecune's ETUING, ST RUNCER 2) MoV ING THE Rehr Dei Oy SEE THE Sun THE CHEERS ww Tour Zee ae decors SHECUSETHAT VOICE Deer siDe OH ean CS MAYBE 1N'S THE RIGHT Time MNiwe IT'S The RIGHT THM(excites. 2) = -& 4 = —- f t St aa ESS () asee You Rte Rit ome UB OO (1-2) Art nas 1 @ == NOUEE ThE RIGHT HEAMN (2) You Coun HAVE Sey THeou GH MY HANDS, THE LUic CANT WATT AN MC Tae ees = (chor) ~ Fae eh a : $ ate] te SOCHANCE WE Caw MAKE ITIME DONT DAVE TOTAKE IT. ENDLESS AGE THE NWGHTS, / 12) STAY Wit MoU, ERDLES AZE THE DREN IDL MAKELONE TRUE FUCEVERIN MY ARN, 7 HERES [A DREASON 7D OUR Love 1g Eoless é/H 2- we've Bene Fila Fhe Fin cle 4 ye a ae chine 1 wt Psy FA N ENDLESS NUE INE RIGHTS,» Dn ly = r MAKE Cohae | Te ra NOMS THERES. Ohne Hoke a HEE pope es a) Stic oun Love 'S Enore cs68 BE s CPFUN fae ney Bw Gm Gil Cm e Te BD THESE “Emer DANE Si il Z.TWAT DISTANT LoVe is AW SouWe ore T vim AN THE noo Gm Gm \ (3. Grae sec) | | | | Ven TAU 8 ou Pe (\ eveRX neve ") SEE Nour Face CLD ER Wwe buen (2) Every worn 16 Cost ws SORCE b FueTHER, Cc Ee mORE Lame A THinn OUR LOVE HAS REACHED THE POAT © Eveoy WA WEVE Come 1 GE THE ONES wrio!S Low =e Te SS a a a le(eve To Eve -2) 69 " v 7 (TRS TIS $0 SA THA Alte P Set SEE (2ysioxT NUS So Welep Thar We dust Dow see "9) ewe eZ ye ge #. Ss J Cue cin ba _-BNa9 F- SAYS) E- VET THIS Eve we, ewe Gm? Ema et Dot BOF Co STAR) (2 {@ , - Hie GM Gu Sy : 1 =+ re ATE SF 50 RE Fes \ ou JHERES 0 REACOns FOR THIS moa A cae (ae a eee ; sie Ne’ ove 5 4 J Ca AnD Oe WHEN THE Pee — Les Cae on x & S/H +S GS vt NOW THAT W'S) Too LATS Dw : cH Hogs F | =e Chorus vepcat WU fale 3 a Be fics vocadsBLS NRE? Sania ("SHUFFLE") \ NIELS EN-PEARSON~ 19. J SHE JUST LIKE TD TEASE ME SHE 2TH SHE'S MADE ME. CER S\wedeves They CAUS THE @UE — 24h 1 hous TON, They ee] (So GerEAT V3) THOSE BLOODRED LIPS THEY FREEZE ME 4S ) DOESN'T MEAT WHEY SHE HURTS (2ywnar Amy Suerose Se ES FS Weg Sihouerte GETS WRZy (3) STARING AT YOUe FitonT-DOOIR- WALL you Leaan THAT INSANE LES-SoN IF D1 LMAGNE EVERY woRD 2) AS | loo ACeUdD THe SO (3) SRE Dor CaTEK HOU Whew tou FA v SEE Me BeT mm SST NOT THeee THE LIGHTSAZE fowe EVECTWHECE 3AcK WHEE Yow PALS CREPE Ar outY AeTeR DS) I FADE WAY, _ SHE'S THE OBECT OF ALL THA, YOU FLAT cin ny(FAvEwAY -2) yy Mov CANT win BUT You Cans conr an bg 7 CAUSE NOBODY 2 re PALLY —s aa Guitarsolo a) 2 Co STEVE LUM ATHER, = ee ae oe iS Se a Bly Bay. Adee =e =s=2=— =s Ww \ ew SS SS oe re eee a AF —— YOu Can SEE ME BuT i'n JUST Nor THERE THE LIGHTS 7 a (SSE SS = = Sea ARE Gone EVERYwHECE BACK WHEere You SEE THEM. Saas 5 ENO wiTA 60 1 TAR SOLO (Soe ist nese!OW) Lice THE = E WE ONCE PLAYED D weer ule ne RF wo be (D) feaevess S He's” BECOME A) WeLE So COURAGEOUS. + WST _EnoUéH Th Mawe IT REAL (2) F er Dy Ah eo Z, (2) HE Wi DANCE TO STAY ALIVE GO tive A HE - fo HE Sue uiwes 2) ALE ' < = Ha SLR vwes ean (euiras) WOTH ys! ee ee ee ee eenomen mRmme me mERmEmR ee et eae he et le Sf =e mr CLES ON THE Lepr 1 DE omee ~“ Rivine” Feee Kip cede v ° ; J “Gist SEA ISTHE ONLY Thing THAT MEEPS YoU ALIVE GSA | 1 x } Pe J (6viITAR Soro: 3 Curt ae) ~ ee HS Leet ag En? a es We + we Ege. #7 tr’ +3F {2 =s " " a eo , GA * te Tey ¢, piney a A Emmi GA Hut jf 5 — SA a ia ==6 SS et Bea DIL FREE AnD FEARLESS OW THe AGING SER ISTHE UHL The THAT WEES a | Enftco tre-see 8) Wek. Ga eh oe Nov Aue SS P i =. o ~ FEARLESS NoTHIN LER SO En? Yee Ga wee ow The orhee & se FEACLESS AUWANSFRE ETImE (SAX Riu)— lhl (fxeetime 2) as Ait obs By Fi Gi z2 AA C1 FG Amy F Em RatDe® phensl “FUNK Gem) SYNTH. AS WTR) A +-~_-_—-_ = -_ (FRONT UWE -2.) e—* a, az) || Sal & al Cova ood (gyn 80550) (enss dvs €as53) f e Gmd ¢ (Ouitar solo) ( C= —2 5-25 :48 WRITTEN OY! mi CHAEL femBELO (RICHARD RUPOLEH BOBBY CALWeL $ Far a+ } a FaeA THE PECCRD ( "WITHOUT waist”) MICHAEL SEMBELLO -26 Hue Do “war Doomsoay Suike THE FINAL FRIDAY NIGRT Aight To -NibHT EVERY HINe$CRazy OW THE ENDS I) SICHT Har = ble CAT Monet \ Just want TOE A IM ae YouR | ele Fast Neve HAVE TIME, T SHow ThEia Wo WE face B Q) Just CME SoMEDNE FOUND THE CONTEOL a FB) Z)wHatls Thar Souuy THAT CLAYS UPLO < VECHEAD OD pusneotHe Bul- Tom To The FLoaR AND Lot THE OR (2) Bemee Huey uP (Hee bust 56 OY Hore THE OComeuce STAND EY, | Hore IT Witt 8E. 2) Coot AMES LEA HE JUST puW'T, Ube HECE Ant More yPes (FUNKABL SWING ~2) )_ Baey GIVE YOUR Love To ME » = = = F SSS 4 (2) Bxex GWE HOUR Love tO nF Ain't Much TIME AS. You Cad SEE f me : =o Ara oh mgee A" SES pS Se T 1213954 1 ee, = MA ~MA“DonT Lie THAT FuUuABUT SUNT ; f == = SS Z pot = (pranofit_ 8a) vocal fil oS MIA = MA Dot Lae rar FLMAB UT Se (wo eereat 0.8) = + 7 ES a = = a Ws my tude X REPEAT. continue = == Sass z f et (Stain -waticin) (A) Corum) E (WP) mas 3 [37 jad DES RI a EES DI bay arago ee RORNARR; RANOY WALDMAN, — gle : ii sta aa - 7 = SS af ¢ UT(FUNKABIL SwinG -2) yo ey gi| | | | u By 2 (“eume') dod - a -o Cll Sun;(FUNKY UME ) | O$.al CODA | SoLos: GIT (PI, BAS) Calms 6 [Fe ( (as E f f == elg j (HE UNK")— = mn air tr meme eellellaelUrmhlUae ele he Ce fave oTAR Like) NN —= (SoLo-sAaxoPHane) £4 £ i gue: Seas at 4L TONGut q's VERY Creag AS weeboTH LYNG HERE OmeTMEs 1 JUST FoRGET SM THINGS | MIGHT REGRET Ker? ME STANDING TALL Mout HELe WE THROUGH IT ALL. (1) TWeRe's So MANY THiS 1 _WANT. SAY x (2) IT Beeaus my HEART TD see Mou cep e (Bi_Imy__ALways StRonG When Yue Beswe Gy twee ABS Lave YoU woub Never LEAVE fou A = : + LC = (2) yout wane To Loose You \ "Eoutn NEVER Mawe iT Bw L_HAVE ALWAYS NEEDED WU COULD NEVER MET Ar a2ls) A, Wb pour Pu BE THe HE- Who WI FIGHT(THE GLSeT OF Love: gj aE pe ‘ ( — ab — (Qusty aKE A KNIGHT Im Syne ARMOR QUST IN TUNE TL SAVE THe Day J 2) oF wo f Po THAT YOURE DREAMING ory WEUW UNE Foceve® KNOWING TRRGE = eS Task 2 base a wo y, y — — _ THee THAT We DD IT AW FOU THE GuoRy OF LOWE Ufom A LONG TIME se TaAue ‘OU TD MT CASTLE FAR AN 1 wm Coat vn Feo et Gb " St We Uwe Fobever | dhe, em? De Fm aa ett f | tin hm? Bsus A 4 ~ ho Know ne TRETHER That we Div MT AL FOR THe Scot oF revegs GOTTA GET BACK TO LOVE ou Tom KELLY /KeRey HATCH ( FRE 0 THE CECOED “UNAWAY") J Ha (’eauns') em Ed ed : i) ae cae Abu) J). ) 4 LW WHAT HAPPENED TO THAT OLD FEELING WE |Kweus 2. WHY CANT WE BE UKE THE = RAINBOW WE SEE () RemeMgea How my Lov) eYes WOULD DANCE ALL OVER (oW, (2) RiGHr Gein THE RAGING STORM THE COLOURS AU AGREE C2) LAY GOWN BESWE mY GLAND WelL TALK AGCUT WHAT WENT WRONG) we TARE The CLOCK UPON “THE WALL AND” TURN iT @ACK WHERE Went SHADOW FROM QDR LOVE AND Le THE BRIO LONE START Cn tr © fi GOWAGET BACK 1 LOVE, BACK How IT USEDTO BE, it (STAMMoR SoM TIDIGA\ BABY THINK OF ALLTHE MEMORIES, ECTA GT BACK TO LOVE)! WANNA BE OY MoU TOUCHED HAND MAKW My LOVE WAS THE PLAN THE x ee—__ = a om (GoTA GET BACK TH LOVE -2) 99 | | | = ‘1. = ENDLESSLY WW ROMANCE (IN Romance UL ~ 2, ENDLESS~ LY IN ROMANCE Ww LN GOT TO MaKe THE LOU BEES Te vg MAKE THE GON, OY TER We CANT Then XK NITE en Ele Abi, Dh Yc Ss Fr === Fou Fi AEA EPL FL B) we Goma keer Revcww FoR Ine ae aid ae cm? Fil con] Ss Ett tt ; f ph gee STAR Gui ebm oor PUN ‘fo red ee wala AWAY, poverlewe UP ON pH DbabAty TEFL, vows TG 4 wag . rf a ei hi Eeset Hi 3 APD (REPEAT ane, Gme cg Littl a by 7 SoA Gas he Giada tee ee | (1.3.5... 7 Mla Se ENOLE SSL IN) Romance SAGY THwKOE AL That MEMDRIES| IN Row ANCE90 —#€-«u—wNT“TN[wTwT7T77-> taf Ft rn es OO ae Se Team) ("FUNer) The Tou neon ADL on syn) ss : £ CH) Ba Yes VER 5 Ewe AG Vit x we a9} Se f x -P— ) py | Si) + t 7 ghee Ded, f Flt? 5) # é EN ie 4 All Gurraay = fo f SS ! (GUITARSoLo f ; 2) (WEB. $0.0) i ; i j He. + + = bate = HE |SHAWK ON FUSHT— 1986 - ce on tee apa l AS FS + ee ce PA Fits Bhi VY Ay Bun |2. “ou Gu Gh Bn(oeums ( Sax.) (SMITH. SIM CE) 9(Home comcte aa ca | s E | G} seam. sous) ~§-co0k k DS. AL ConA (REPEAT TIL FADE) ae"fitwo BROKEN HEARTS NEITHER ONE Kins WHAT SAY Look AT US Now WERE REACHIN BACK Eda TEST AY , J I I | | J 2. WHERE SRALWE “START AS TENDER WORD THAT WE CAN) SHARE. LOOK AT US NOW WANTING MORE THAN waROS CAN! SAY ] | I | I | I I M GorH FALLING FROM LOVE BUT NOT QUITE ALL THE WAY (WANTING TO KNOW. \F OTHER, WANTS Ta STAY E i fA £ = é GYAN iF we CEASE” WN Time we WL Ger THERE BOTH FAUING IN Love BUT THIS Time AW THE WAY Hoek aia =e 3 Bie Diet TL BA witout Nar -TER ALL tM BE one woo Smo elke THROUGH (ub) CAN'T LVE amy (2) a 7 &.. Tueee Lost THES A OUT THERE LOST = ARE THE DREAM THAT CANT Come TRUE 1S IT WogTH THE REACHR! FOR DoT You WOROS"| Snu love You" Age THEY WORTH THE REACH FoR, DO You(Hoo Me TL THE Mornin’ Comes-2) , Word me TLL THE MORNIN Comes WANT ME ANT BRE DABLN’ eet ee i mt Se Tioleme ANYMOeE,! DARLIN’ pie ¢ == UN-TL 1, See YOURSmILe TAKE AL THE SADNESS Ff 1m Your EVES THE Mornin SUN terme STAY wee Just BEGUN —~ _ HoLD me TIL ' ba) A dy. fF Citaresdo D iM Sree Lubather) GP dw Dam Ome Galdyy, % Ff Hwa 6+ Fo Am OH ibaa aaad H WouLn YoU LAVEMEINTHE MORN? Wie You Sru 86 THLE IN 5. om om OH ' - A Fun B/D Se OR WOULD YOULEAY ulMouT A WARNING SAY YOU Love ME 10 Ai Fave l £ | vO 8 le ® Drs GI om mit Cre? Cie v I ' I I I t t [ [ f a f i ‘ i i 1 i i iCeiano Ali.irs nor nme wa g Quem seume) Gnsé Fw Ad EC che ‘ har fou THAT YoU, HOLS ME 17S ot ine Te WAT You SAY # f i=s Se = ; re 2-3 17'S NOT INTHE WAY *. AT'S NOT INTHE WAT TOU SAC Maze] a VT T WTS NeD WHE WAT THAT Youve BEN TREATING MY FEUDS hee ——— Tae wees I'S NOT INTHE WAT Maat Yeu + wt CAME BECK * “T aH Pe (ny THe Wat Wat You art (SNOT THE WM That You ' oS 3) 11'S Mor WwW THE Wat THaT YouR Love Seep Te THe i v THE THES TAA You Sot TeaT Youre DO. Hole ThE f — SSS (2911'S nor ms THE Wet TAPIOD Loom ot THE Wines Thar YOU Sat Thai “PELL DO eS — SS= el ose(Horn THE Live - 2) 79 ‘ _ cH Love ISNT AWATS GN TIME Hy, oH Love (OST AlwAYS ON ime OH oy Ont (exon BT pean =e a100 Tone et — aso (iwres) (earw") 4 2 DS t a == 2 5 nt Gm Ad Bo Eha ES pay? Ft| (Hoaus-2) —/_ Sy Lee! SE Gee ee eee pee eS ee eeGWE ty — SINo VANNEWwI~ (pal 7 (Keosrer Gear") AK ‘A/G HWea tw Ei (Nees 3- Saxe Ug Baws) NHeee | Am,A MAN IN ANEW GENERATION, 2 HERE | AMA Man WITH An OLL FASCINATION. UP keer HANGIN Oni TO WHERE 1 BELONG {2) STIL Holby THE UNE = OF MY TIME ele > LIREUOE WHAT DONE IS rose, Aub WHAT with BE WL BE, 3) CAUSE T RELIEVE THE WEED IS One Ce- Help THIS MASQUER ADE (2 CAUSE | BELIEVE THE DAY WL, COME, WHEN THINGS WI WORKOUT RIGHT ans o aN REACH OUT Ty CACHLOTHER A MOMenTIs AW you (No ROFEAT (Gus) P VERSES (1) (JUST) REACH WTOP THE DAZRMESS AvD BOwGIN THE LIGHT Wy THE DAY (2) (JUST) REAGH OUT YOUR BRCTHER Anis Save THEN A. MOTHERLE SG, GHICL Dew) O WELL | WANT You TL know 1 BELIEVE, THAT OU€ ive Canal FIND A WAY ( guar.) EREREREEREEREEFEEEBEHEHESsBEsSseee aii ii () Bevieve -2 (ee | i Ld Pet ® 103 BEUEVE THATA HEagrsc CAN BREAK I Believe Thay AWiSE MAN HEARS sEu| a > ei n J O, AnD THE WRITINGS CN THE wal ant IT SHimeSSo Bern Anu Cie04 Ja Is 1 @euiee THAT OLE VE CAS FINE A WAS Gadlt(aik) Hito% o AME THE ENDS MEET, Mae Welle AL HAVE TO po wiThOUT HT MAYBE THIS worLD's UY sen ALY NeTHim! Cerra say BUT IF OLR TIME'S REAWY RUWiNG CLT” THEN THIS 16 NO (AST lCompcete STU WEA LOOK, Foe RUTHIN OUR LIVES VTIME Te TURN AWAY Cause wece DESTINED TE Levi Fog TeuTH IN THIS LIFE reve] WHAT THEY SAY ABcuT™ Tt MABE Wwe CAn'T 6, iN (2.Fo0)MVG1T0 Thine ABOUT MAX BE THELE Aw SEARCHING FRom DIFFERENT SDE 1T'5 $0 HAD UNING IN A DECPERATE WORLD (61 2 Buinot e ‘ Te 2 TK ( ie CED py Eadie FES W'S NG USE TRING UN A Gesrecag WORLD, They AU Some BETTE WE Cad = (CHeRUS) |§ ye 2) WY WAS a : (2) ee ME WHY WAS F Bocn Seome x CUARGEaaa eee eee aaa (\ Got A Ta¥=2) Sp SOME WLE REMAIN THE a — = * SAME UNDER THe GUN SOME SEE THE RAAD AS CLEAR PTL tit SOME SAY THE END Is HERE THEY SAK VIS AL HOPELESS FIGHT, WELL DS } SAY" GoTA Te4! t NS Line TWO Lo DS alge Some PEOPLE SEE] oo LATE ye Tur IT ALL A@OUND ROAD AS CLEAR (RereaTer Crocus) WL_EADE OE pee RR, pe,("BAAD") THOSE MONTS. No MONTREAL WHEN | THIN ABOUT TNE WAY THE = woRLo MUST TURN SAX SoL0) \ Ger THE SREETEST THOUGHTS OF YOU AnD me SET THE SADDEST TMUUETS OF Yeu AND ME ~ ~ IN Mimoces OF Love aBove THe CITY WVOUTS [I MEMCEIES OF UFE AnO TIMES GE ON Ant On Or OY TREY SY MLD TIA ee ay (2) TRE HARD TO FOLLETT yr gus Bur cue Love MY HEAT WOST MAE UT LE MY MIND WON'T LET IT.(1 JUST WANNA STop=2) o (cHoeus) Jo3. VSUST WANNA STOP AND TELL You WHAT | FEEL ABOUT You BauT. 1 | | LY UUST WANNA STOP Foe UR CPE a~2 J ‘ we Ca Ca fa |! =| 2x D.S. (sax socio) SK CQNTINGE Stor JUST WARM A CU NEVER Wass AT HOUT Yu BAE La VER WAXNA LEAT HOUT Wo) BABE \ wy and ZS) THE NB AWT Rion without Mw BACE | (REPEAT TIL FADE)\o8 Fram HE Recoro: A WAS AS Stone AS) “Como ee | TD LET You Get away Bene - W0OK Ine BACK Now IT SEEMS Ge CLEAR 1 MAD IT ALL MEN Soy WERE HARE OY 1 RE Gee? THAT CVE AS One Te Ligiac (2) Om You CAVE WT AU AND 1 ToOK IT Ke LOA GED (1) BUT Now THAT INE COME TO SEE ThE LIGHT, ALL | WANWA PO ISMAKE Tid (2) Bur 16 THECE'S SUHE FEELING LEPTIN Mou, Some FUCKER CF Luv Thar sTiusumge LETS TAtw tr cur tS TALK ABCUT Stcon CHAN CES =e c= == — _ ay — ge SSS See t (Ra, so WET Sate wore aly qeememe Lt Cc, i J I I I I 3 ' i r 5 b a a d i a a i a il(NEVER GONNA LET You Ge 2) (O4OU AND ME wi (DWAT And SEE IT/S GONNA BE SWEATER THAN iT WAS KE FOCE om () Lover You THEN Bor NeW 1 INTEND, Te Pes MUP aK Sy been ma (2) GAVE SOMETHING dur KDW 1 INTEND | TR DEDICATE MYSELE TY Gwicitw x. O) Ty Tee YoU CAN BE SURE (2) THS TIME You Caw BE SURE Cnt (Cn ~ NEVER Couns LET TOU 69, Gonna HOLD YOU MY ARMS Foee- + = = ~ . GONNA TRY And MAKE UP FoR THE TIMES, W wwer Yous Ee Cll ON Pata we ge GONNA HOLD OUR BODY CLOSE TO MINE, Fy His Dat OV 4 pdm THIS DAY OV $ fe z = : +3 4 dd 7 x vO WE'RE GONNA BE TOGETHER t ee +e Suen ape i ee NEVER GONNA LeT You Se& =3)) rx SE az GUrNK LET YOU be (Neveg No a E & t p 4 thot tse EE 7 —Aeft a= Ooi agiit SLIOKA MUSIKER Gitarrister: Larry Carlton, Jay Graydon, LeeRitenour, Steve Lukather, Michael Landau, Charles*Icarus" Johnson, Michael Sembello, Robben Ford, Buzz Feiten, Dean Parks, Carlos Rios. Trummisar och percussionlirare: Jeff Porcaro, Mike Baird, Steve Gadd, Carlos Vega, Vinnie Colaiuta, Lenny Castro, Alex Acuna, John Robinson, Rick Marotta, Paulinho DaCosta. Basister: Marcus Miller, Nathan East, Abraham Laboriel, Niel Stubenhaus, Willie Weeks, David Hungate, Mike Porcaro, Louis Johnson, Anthony Jackson, Stanley Clarke, Keyboardister: Herbie Hancock, David Foster, Greg Phillinganes, Robbie Buchanan, Michael Boddicker, Steve Porcaro, Niel Larsen, Dave Grusin, Michael O-Martian, George Duke, Stevie Wonder, Steve George, Greg Mathison, Don Grolnic, Saxofonister: David Sanborn, Michael Brecker, Tom Scott, Ernie Watts, Phil Woods, Sadao Watanabe, Brass: Jerry Hey, Bill Reichenbach, Larry Williams, James Pankow, Chuck Finley. Bakgrundssangare: Bill Champlin, Tommy Funderburk, Richard Page, Steve George, Michael McDonald, James Ingram, Tom Kelly, Cristopher Cross, Patti Austin, Carmen Twillie, Brenda Russell, Maxine Williard Waters, Venette Gloud. (Kolla efter dem pa plattor)("Beat") (GuiFary i (2x with Deumd a NUL Sureut The NTGirr Ba-B1 LL SUPPLY THE Love Couey WoL se Shon giMag mime Set, IT MAKES ME THR ANE We ween] (Cw) 2 er Sea Acedia nese ha) che CUES Me Ten Ane ua vens (as) cS, U1) 1 HEAR THe SAME CUD FOURTEEN REASONS INTDeAUSr BEA CHANGING CF THE SEASENS| (2) _A_TENPER gniGHT OF Daem PERSUASION —_CULLD BE_mY BAST AND LAST CCCASION You SUPLY THE NIGHT. bagy LL, SUPPLY THE “Tove ~ \ Meu Surly We MiGhT BAe He BmREReReeE BPHrRiweesews aes Ss os ese eemnenmeweee ee Saas =- (Le surrey THE Love -2) B cjonep (ew) (BASS) 7 7 7 4K (FIRST Whe ONLY Deums & GUITAR ~ — Nou SUF ne NieuT ba ‘uy SUPT THE Love You surct Te Ngur BABY TUL Sure THe “Lave ~~ — ~ = rs ' + NU SUP THe Se ener MU Sur THE Mi cumy Tne Tove GP.)Percussion) Og Gg cag 2 5 ee TRAVELED So FAR VE Seen THE NiCEST PE DIDNT TAKE muCH TO WALK AWAY | AMM Le Ave YOU > SE ox METOF Ar WAICHNG TT ALL GO PAST SS EAST SEEMS | Neve WSS A CCODTNING TELLING - STAR Mm a a = am mi = a ma = = = om i = al $9, WHERE Lig. BEEM in SUCCESS, win ALL IN THE BesT aur STILL 1 SE MECH oq THA HA RUNNIXS AROUND AND WEARING ME DOWN SEARCHING FOR RINGS TRAT Ihe AREA tab Wile LIFE =('p LIKE 70 Ge BACK HOME AGAIN-2) We x — = = Go Back Home AGAIN = ANp FIND IT How IT USEDTO BE] Dp UKE TO GO BACK Home AGAIN TO FIND You WAITING THERE For} JS | eps SSeS ea Sats T vo IF | CoULD HAVE A CHANCE ONCE MoRE;ID RUN BACK TH2OUEH THAT POOR - WHERE! phy re re EB BEAT FRB 4 I'm GOING TO 6E WAS SIMPLE AND FREE WHERE NOW LG . tain hy, STB n> ae 4 a: eS EE see + - DA ats PR Hen i reel Fo Uwe Wo Gel Atk THIME AAW ANDMMEINS IT Hob uscy 1 CE + OG Fg = + ee pewLMe To Go BACK Hove MAGA TD BPD oy Urry THERE foe ME | DA Chol Piet nt E a Fs 1m | Coup Have m Gupce OLE MORE In RUN BACK THRUG THE HOOK i Sao oe ing ge z aS VD Ue Th Go ACK HOMENNAGAW To PMD Sou WANE THEGE fornc(“sHuFfie"’ NACK WAGER 19 ES (fade iny 7 Fevcorwco's ouT TO SEE wnat TREY ibd 2. ANYBODY SAW HER FACE wWouLp UNTERSTAND (CHaniCay RF FF Simile) a 4 Y we (\) Ste Pras His nh THE CREW sus KEEAN TIME (2)sHE'S THE Livi’ Fan DA SY Of Every MAN Biro THE RHYTHM NICE AND SMOOTH COOL AS SHE Cound BE (2USeD 1 BE so CANAL THOU ND Prd CB) Feee HE MUSIC CLOSING I THE pm ERNE, SET TURNED AROUND AnD THERE Sie WAS STANOII RIGHT IN FeoRT OF ME + a S atuon Seat PD BUT 1 THINK SHE Comp CHANLE MYC MIND. BEFORE SHESTHROUGH TONIC H job 3) Aap | wiSH SHE'S Look SIGHT AT ME | eae, SHES Mine. TONIGHT: g IFSHE LOVES LiKe SHE LOCKS, MeGOT TO HAVE HER - cA ec Loves UME SHE T WANA BE DAnci! UP AND Down HER if Sue Wee:rr a re ere eee eee eo We (ip SHE Loves 2) ; ; ey) I Fee —, & oF UKE SHE LOOKS ILL STAY AROUND HER SHE'S Loowin! Uwe Tove TOME — NY-B0-bY #- = SHES The essence OF EMOTIONALIT ae VED) = A Wied SHESNEAR SHE TOUCHES SOMETHING DEEP INS DE OF ME 2) DalFalGoa copa we? LE SHE Locus fi'VE Get TO Have HER IF SHE Love’ MLL Stax _AzoUNp HES a etre LiKe SHE DAWcES 1 WANN BE DANCING UP AND Down HER, IF SHE loveWS GAGRIE. be Sunn (“geat") as pete) a Ek Root EE How Do 1 PLEASE How IN Yous CHE T2ACK MND How DO 1 Lt LWHENM SAT THaT 4oUREMIE OoUt One LEAD PowT now MUCH ABCUTTHE UFE You 0, Babs WEFER ma HEART you PEASE You: Wi IM ONLY HERE Tw GET THE En =e How De 1 PLEASE HOW V0 4 PLU GIRL ee UE ee How ve (Peas tT Pw wm we PLEASE You. VM NOT TRH TO feel SOT IT_AIN'T Excuen Jose _ seb Doe Jw 1 COULD GUT WHAT YoU HEED(ir TRAM WwAAT IT TAKE sz) "9 b (1-2) CAUSE YOUEE SO USED To GETTING WHAT YoU Wan Zz, (BA 061 16 THAT WHAT IT Tags (6a 6T — WELL, Lock KU FLErHEe BAGY, IF Tats wAlar rte! CoonH nae, a: = - T POFTHEBD TD Kuda AMMMORE ANT (Taxes) Law Goya LOSE Ane TINE WHATEY ge eu SYNTH, CAME Mee FoR, IF THATSUMAT IT TAKES VAIN'T GONNA LOSE ANT TINE, (TAUESND Mane YOU Migs IE THATS WAAT IT TAKES 1 DONTHEED TO Kaow Animes € WHATEVER Hol WAHT FRONNE BA-BT WHATEVER \T TAKES TO NAR dy Mic, Any vousT ABOUT iT THATS WaT A ANE Hee FOR No over AgouT T THATS wT CANE Hemte lon 1 v wher Feomne BA — 81 wumever it Paces mow Pon nA PLC A~ They \ SOMETIMES Life Seen: Fue HARE YD Sce THE FOREST PC He Z.LWE Is KUM OF TRICKY SITUATI Ons Dov'r ect CRpeNT UP ww THE TesTe- S-THERESA MAN | NCW SuuTH pe THE BORDER (wae's) Seeu THE WORLD AND NEVER LEFT HIS (simile) TREES. JuST A LITLE Bee IMAGI- WA-Tlow — OYENS Ur New NeSsrBILIS 12) pays) THERES A SOMETINGCALEDIMAGI-NA ~Thons EVEn LICE CHILDREW AND SY HOME CD HEARD Hier TALM TOMIS ONLY _DoUGHTER HE San)You Pir Hii FEAR WL corud— So LovigBEHIND yout et Youle Geeiggn seQ_AT wnat sou se € So PUT YOUR Hanghimily te "eer welu OPEN ue peo FA) DACUNG Ie YouRmann SOLVE GoT THE BEST AMD THAT AIST ALL @ SEEK Wee Finds SHINING SER MOLLE FWD SHINING jZ. (3) Ta wea iF WE ie You SSeS Srey sf LAMP ANU BNC THE FARTA- Sies TC LiKur STAR_ DES ON, WG GOT TNE CANT THATBRINGS GLE FAWPAN StS 2 UGH, STAR DESION(MAG gaATION -2 | | | fxywe Gor TD TALE A SPARK AND TRY TOUGHT We DAL Faye OT TAKE A Semen AMD TRY TO LiGMT “THE DARK, Aud THLE THS, WE LATALE wats OW OUR tals vate Ler FESELEET Syl, IMA GIN YQU ARE Ap Zz. De i g 2. ind la CE ws ECSTACY, Be! AND: EAM TO HEAK IMAGE YOU ANB Ne A DAMEN ECSTACY, Be Cleve Mate EG re Ie LIEYE AT Fs (E] oh. IF WE ONLY Tey IMA - 6! = NATION F | (Hognsovo) ™ AS INTRO) Ont5us Fisus Gi (iF wes TET cots (AYIMAGAC STARS DESIEN (4x ENE Gore UnnenaTabe Ann SEE WHAT WE CAS ALL \ 1 DS. (rithout MRoesk) andCombnne Ewe CAIT Let IT Go AWA BE WTS THE CHance THAT We Su An Toveneru€ Bur ir Go AWAY, Ervin MCHTE CELEBRATE PERCUSSIEN, (PERCU aS Ae ft, GREAMTASIES “TO LIGHT b (I Alwe Corto TAKE A SPARK ANDO TEED LICHT THE DARK AND Teme THIS DREAM TD HeneT, WE Cav LETT Ge AWAY} Z)WEUL TAKE WHAT ON ARURREINDS, An LET THESE ASHE reid Ser SoMAT We ai THERE'S GML TO CA BIIMAGINE OU ANY ME, A OME Ww ECSTACY, BEUEVE AND (T SroLLo BE, BELause THERES NeTIue wy (Horw ouTeO) THe ? (RePeat TH FADE)C=INETR tlh te ta, * Chcnorus) PERCUSSION S0L0) -— a oe eelovee aa see Me £4 £ i EF tc ) Nae Hh ) ht1 Founs THE weve pRovibgs THe KEY oneccysTue ET ZX Man T MEET 1s WALKIN TIME Facet wana FUR EXPERIENCE » A PASSING DAY _ TAME wil, wT] a &) ano Sues CEMOL aw me tove we GT (2) DER PAST HIS CONSCIOUS MIND Love wih COME AND (A ness waar THe OU FOLKS SAY GETING STRONGER] WEY YEA Love YS wRyers WN TRE STONE i. YO HOME, Yea Lee 15 wens WIEN DAT YEAH, STRENEH Jy WRITES In de NUD BELIEVE MY FRIENE IN WHAT You CLA! CPLE OF _ DEEP NS DE YoUR HEART (foa)XoU_TO KEEP LIES A SPARK] WORLD AL DUBE THE SAME BRINGING QUES LIGHT Ty NEVER SueirS UNWIGREATEST ee ee elenn eee ea (3) OF THER OWN, Yea Tau 1S weet hl He Abad S) EVER KNOWS YEAH (=) (22 TCUML AS WANpER mu THe SLOpE re , gd (Chor) IN THE STONE YoULL Find THE MEANING, Yeu'ke NOT STAM DIN! AN WWE STOKE THE WHT 15 SHleinG = ELE TOUCH A AU PLS - @xconnwe) | ME MY PARUNG = NE - veR WuLL bE VER YUU BE A - Hild Fal AE Had Neel el ENG Dhecmie TEVE Wve 1S a Wasa A MIS PE FE RR pf, pm pe WRITTEN Wo THE SrDNe i)(sre) el =a = coe (orTy_oRums) f ( yy Cd verse) £ (Brd verse ee . oe He , tte et — eae) = = ’ o iti zt aaa Ore ae ae ll reErtlClUcrerEthlUhrrerlhlUrrhlUlUcrrrthlUrrerhlUhrelUhrelle elleE-HOENS-2) —| i. (Sox.) £ Dy a (gts (aia + — LVELE Lay =¥ $ +t igs £ 44 —— CSax,) & ¥- ~=¢ (Sax) = eee $F —# a f a | jt - +. t &123 pec foreier: = fae Ue RECESS C'BALAD') BRENDA RUSSELL“I98S 09, Da EMF G2 tl Ai ae STRIKES ia MSHI NING QuT OF NOWHERE G) Reweer Yeu JUMPIN) OUT CF NOUR CHAIR “ou HAD to BE (2) Wee aud Know ir's €ounD TD SEND You BOUND TEN SV HES MAKIN’ NOES feom*me SING Fa) Vnace vou (A) SOME FOLKS CAN WRAP NOU ROUND THEIR FINGER Vi /te Rint 1-2) Wee I 34 LerHE Mave Me LAoH NEES WKat'S Ou THE MENU SAND WHEN TRE CATINI RANTAM Bua a i) a WEL WHEN i GETS pound Se Tne SES wa nr(oareeAu -2) 129 (-2) Dov TO se€_ THE Sricw : # AWHERE | Nae he 3 Go Te + QVAZM SUG SHINE Ww OTHE EVER WG TIME GOING ~~ vw vu (3-4) SUMMERMIGHT \S_ RIGHT, GUNG own To SEE Jarecau |. Dalds* J —e (34yDOWN TO See Jarreav Gor TO Go, GETTING LATE NOG Know GOING 4 = + 4 + tS Be if + i - a} at FOS FELT + WARM SUNSHINE W THE EVENING TIME GOIN G =F Cnt ge ——— a Down 7B SEE THE SWOW t—t he pis reas‘ ASE (oer) \ fhi oh : | Ry 7 = ~~ Ei = ion i AND NETH GETS Me Down) TClEH" FVESGEN THE TCLEHEST SoU A@oLNE SABY JUST HOw YC che Wo han) BART Hm sel bee TE GOT IT 2. AND | Yb Meu eer To (SOL SAL eU Pes! EwE:BE™= IL imma wrPrerre HHH iE13) 2) OW WT THE PUNCHERS TO GET TR WHATISNREAL, CAST YOU (3) Keow Yeu WONT Know UNTIL YOU BEGIN, SEE ME SITINOHECE | Come BALK AGAINST THE RECORD MACHINE 4 Nera OME AHA 1005 TH _ ft = FF ererus ) tT Ff I MIGHT AS WELL Jum (sump) ment AS weLt lume Gc AHEAD. ae ODS, (2% sieme (uae!) GO AHEAD JUMP Bhs Gh, ab pb Seeart b . Solo, EDDIE VAN HALEN) Alp Just Pe eS PE pe EEE peear en Club i LA Q|\dar man ofta kan FRANK STALLONE <——s héra forstklas- ar precis som QUINCY JONES GJORDE SINA_ |sig SLICK. man skulle kun FORSTA INSPELNINGAR UNDER tro bror till EGET NAMN I SVERIGE 1953. SILVESTER STAL LONE -~ alias Tom Scotts plattor | Raupo & ROCKY. SATANGR geet br inspelade” ee Suck "live" i studion ; WUSIK direkt in pa 2 ka- Cc naler fér att f& en SRE, q| Richard Page - en av de mest| kta kinsla. SPR anlitade studiosangarna hade Ages under slutet av 70-talet grup- a pen PAGES tillsammans med Steve Ree WAYBiLL g att George. Ombildade gruppen till ZUG MR MISTER som under1985 fick Re Sinoage, SAR stora framgangar.. Han valde tyd- | the TUBES, go ligen ratt nar han satsade p& 2 A den egna musiken istallet for © & att tacka JA Tw erbjudanden att Oc bli sangare i saval TOTO som aa CHICAGO. Q . DAVID FOSTER ar mycket fér-t just i BJURN SKIFS och lar ha alla [\ kee ° hans pelsetor RHYTHM | HERITAGE "HE'S LIVE WARM SUNSHINE 7 bestod pa sin t = THE EVENING TIME! BEeeeERE eS ee eS tid bl a av ( . Jay Graydon a (Brenda Russell om Al Jarreau) ! | Re Rae aonnee tan S Ernie Watts QUINCY JONES LP "the Dude" Get SS | belinades 1981 med hela 12 grammyl. JAMES INGRAM fick personligen 3 av dem (basta nya artist, baste manlige popsdngare, baste R&B-sang- are. Han ar den férste att f§ dessa utmirkelser utan att ha gjort ndgon egen solo-platta. narmare bestamt 1968 | Pa 60-talet slappte Tamla-Motown en platta med Eivets Rednow. Det var ingen annan an Stevie Wonder vilket man kan se om man laser namnet baklinges pre CHAMPLIN (numera med- ie i Chicago) medverkar Bed solosangare dven pa paptein Fingers (L Ritenour) freams in stone (M Berger) Happy! people (P DaCosts) Sunlight (H Hancock)a , Det (PUNK) Ew Cad? ———: c= a ATO) SE ECE SOR a tm pe oe. e/g =A =" + se 4 “y BLE - Len (svnwtH. BASS) 6 A. THE want SteUlS HACE AGAIST THIS. ro soUBS Py, THIVEHT OF y ~' C2) x 86 oy woes AFI ney OF what MY ctFE wouub Me As UW) seTras wt beer upon TPE sear ee ee i ee ee ee ee es ee ee eeee ee ee ee ee ee ee ee oe ee oe oe oe (wme = 2) 2. [p1CHoRvs) v w - t ~ KIQ\E EE ~ Ler Sent cow THE ROAD THAT Lo MUST WYRIE EB - LASON “THROUGH THE DARKNESS oF THE & eRVEL WIGHT V ~ Y KYRIE = E- Le| - Son WHERE I'M GOING WILL YoU FoLLow boat ~! WRIE -E- Ler — Son ON A HIGHWAY IN THE LU Aw ads? Chadly oH OH CH Couur voc: & prong) "OH OH OH V CHT =. 7 VY iS me UY WXEIE E> EL ~ Son THRCUGH THE Daguness OF THe NIGHT. he iS io = b: _ KXRIE -E ~ LEI — Son DOWN THE ROAD THAT") usr TRAVEL + f CHES D(C cpeat Fale)| TT Eh w ft 7 2 2» |e143 (guiter) Repeat CO ZE SoLo: (LAST Nite -2) ne” eco Cae UeLATELY | HAVE HAD THE STRANGEST FEELING ume, 2. FAR MORE EREQUENTLL You'Re SEARING eRe = + ; wie 5 = = t 4 LATER IVE Gen Sram emi” tHe Kieron 4, JUST ANOTHER NIGHT WHILE “OU WERE SLEEPING o—— =e z (OWI No VI-ViD REA- Son Heee TO FIND (2) wiTH YOU SAY No. SPECIAL Way 10 GO — fi 7 = = = = car a = Le ()Ve~ Ry Stow KING ME APART a ac ve Uy HEARD Yoo wenger SOMEONE'S NAME — 2 ae — (t) YET THEhOUGHT OF LOSING You's BEEN HANGING ROUND MY | ST WHEN 1 ASK~ Wi YON REM RSOMING BACK SOON You pow aes ts + a ' ¥ é RYN TeTELL MySELE | HAVE No MREKson wrt Your | TANHEN | ASK You OF THE THOUGHTS YOUR KEEPING ou JUS: [Fomne _ Bee AE Know — Wei = =— = =| J Gyhene® Tf eT f (@ sax NoTHne's cHaN oe - Weul I w =, — ~ See eae 7 re aa - v vb | Mey A MAN OF MA -N4 WiSHES ~ HOPE MY PREMOUITI MISSES BUT] Gheng- Zz RBHReEnmBPwaeeHEreemaesema m=(arery-2) — eee ele fm pee poem pce a cee | REALLY FEEL, MY exeSWodT LeT ME HIDE, ‘CAUSE THEY AL G34 LIS Cpyct rys A CODA Time coud MEAN Goov,- BNE, Goop - BE (on) (mM A MAN OF MAW wWiSHES, HOPE HY PREMON.TION MISSES BUT | WHAT ) REAWT Fete MY Yes woth LeT Me HIDE CAUSE THET Ausuays svacr 29} et opFi Git Afn fist Chr Wie Ee Good - phe Se eae Time, Coord mend a ro ts io sa bs x eye LsONCE ToLAKD 1 WEE Two were wo THe wt OmCE NOL WOUDHOLD MT HAND. Raw MOVE we XOL WeLE THE BRIGHTEST oPRR THE SKY NiGHTS wee tou MELE THE STRONGEST PacT CF MY LIFE Cav T CELE welt THx's HARD TE prem gee me fT Bid BW 3CavGiT Ge is THE FAR (201F THEEES A_SECONU ) Leth oJ GET AW AY ‘ AFE AD ONE we GOT TE TALE Et TIGHT AGAIN Meu STAM, AW THE wouNDs - TRL AGA ure 1 Kwan THAT We CAN LEAK] ee tet te ate tt ET £120 a BABY VTS TIME Tye Tat AMER ancl THAT WETARS LEAS ELUM Abd C} exsY Lens ror any JuET TAME49 TO Love Aoprn-Z) (Leawe Come ON BABY - SHOW ME How 1D Love ACAI ALL | NEED To LEARN (Anp THE ow) EN'RY eee IS BUeNED co we | HAVE EACH OTHER PO [ ia cea — SOUS [WANNA BOLEVE THIS Love 1S REAL D WANNA pote Se GUNA LAST FOREYGR oe ; tat + Poet 44g FGI Segiccisime raid JOST Tae A MINUTE. Fate QUENT Love ACAI TPS TUNE, ony WU ATAETHEE MISUT= —j zene foie shectn Re SN i Ef N as See Se ER yes 7 oe Ce f* Crean CEE } WAKE UP COLD AND LONELY WW A_ PLACE IVE BEEN) BEFORE y Tens PASSION FILS mY FIN? GERS 1 GRAZ SATHE PHONE You SAT HELLO! NEED To KNOW RIGHT HERE AND Ni Prsetary tut = i) 80 SES WERE OVER) Chosen (2) You'ee hos 1S EIES Ten To SEN, PSE : 3) RNGTERES NTH! HAN M0 ove a eo r _ — a K+ a eae CouTRon TN feeemes E-SPECIALLY WHEN Youlge AWAY RBeReEemRPeReeHeRekKemeemwm we wewmwe eee ellenmnnmRenmhmRmRnpernmh mem eeeaeetagaeagad «a (ver!s StAGT ALLER = 2) 149 {2 To MEWHED 1) TeEW bo BABY = LET'S Oe Bhook thud Coo (4) You AWD ME CAM FIND EACH OTHER mi (2) \ NEED TeRDW TAT THEE W owe RIGHT BABY LET'S START AL OVER t3y nh me DP Bb Ew OM Ban Cus) 1 WONT, BE THE SAME THe | 2: (TB) ) someriine THEEE (Rep Kaiow YOUR LOVE [6 OUINGR ved repay fri a KNOW YOUR LoVE 1S mine PL —e Gitarrsolo as ig START AUL OVER FINDA, WAY To MAuE IT ALRIGHT BAGT ene > TAGE A Chance BEFORE 17'S T00 LATE) BABY Les SPAT AL OVER LET'S START ALL OVER Re 8 ad rvcwrruar MERE SOMETHNG 0h UcT'S Staer ALL Ovee Wont Be me Same, TIL | KNOW MOURE 7 TREPEAT Ti FACE )SES ae ee z (“EUNK") MORSU SEY — MUWEN- | 98Z Find Blses Ehas Coniter Bom Find $349 GHoras 38 4 Find Bia cho Find Bhs ll Fup 465.24 Eng A i wttiteenne g (STH) \oer Time 1S WAST In! Our THERE FoR ame “TAsnN Te Tuc CHEATS POURLES Kees RE PEATIN, eer THE 1YGeT THs EELS Got THS Fucus Zar! pol yorey LiMn HURRY(ure on TE wire -2> Is] | UKE INTRO) Ef pe Emb9 pmb Bld pony LerTHem Te To GeT You DOWN = OF PAT A PRICE OM Mou — FELL Movesarr THAT ov Mess Ncounsb — evel 2é SuRpeED Te SEE WvST WHAT 100 cau DO | 7 (3 & 4x — with horns) IF au. Dou \ ~% fi fi TS Tine You'll MAKE IT AND 4OLAN) b+) Ecor find ps (S)6ET OUT, Time 1s) Ww AS Out THERE FoR JHE FASTIN. 6, TEx: D 8 . heats (6) Cues eke o, we Wee (@ Sa = BF SS | ODD DDD em TNT”secren an AS; LIVING INSIDE MmYSEL F Feo coRO: f (Soo BE E581 5 es a as Fi =a SEA Parsee i= = eH = tT a GUIDIN' Lest, TO SH ELFASSURED | BUT spree TS ALL CH BV N MY DARKEST fan naa ANGE D Sue's A Ke) WAS Ser be wo — bs HANGS Agove My TIME WAS On my a 6G wanes 28 MORES Ae SS a (2) Spe air Mwoatn, a AND | Fa = AFIND MAYSELE WANDRIN'IN THE uke LL Ler IT Sup A RAIN WAY PhES ANd NOW 1 CAN'T Go (CHORUS) © AND = THs fe ARE piss eerert t § LIVING INSIDE MY SEE Ay LGbA | bs | CN Living, Inswe THs Seu = fi — = b he Ear EF Spe SPF ' Boa? Livinc- Sine oue| ERE ai te! BHREBEPHHmke BS 8 Se ooo eo om,ee ee wy CLIVING INSIDE MyYSEeLE -2) bet ce ia the i= EES (= a <= Love 1 Am Lost SOMEWHERE INSIDE M4 Ou! ny } {= ® ant EHO ‘ , Toa WF, ‘cr a RAND OF WHAT LIFE REALLY Means, aterrors IWING WITHOUT Your} ic (INSTRUMEgTALY ey e& ai a [Dy a a SN MY LIFE 1" Feur so SELEA (3) -Sures , BUT SUDDENLY IT'S ALL CHANGED, AND Now 1 kNow THAT'S (Choeus) See- LLFINAUY Gor MY LIFE TO- GeTHE: 21cot myserr oA teh TMs A TD) SCRNPED NN HEART yp OFF THE FLOOR (MY ATT! ~Tu0e 1S So < (2) THESE DAYS | LE THE watt Q) |_HaRoLY E- VER CRY THE Way | DID BEFORE (2) 1 Do JUST FINE AS Lowe AS I'M NOT LeFr ALONE | BEEN I li ; Ore t ines | 7 t HAVING MYSELF_A_TiMe. tr eS aell eet 2 eels faa Ep me == — T™ Sram Ort trates x4 “PINELT 4 Fm — ow - ¥ . SoreTWes | WarCER ete” «place |M AT IS WHERE | DO BELONG E SAXSOLO (REPEAT TIL FADE) “bot ~-7--F " &E , 1 EE TT ttre F fF ia iv ur-2) ISS UYIn IT uP. RIGHT FRom THE, WOMAN TO THE WINE. \'M SSS See WSEAS = ve = =e Em FE =] LIVIN. OUT ALL THOSE FANTASIES | NE-VER DID BEFORE ia wo _— ws! THOSE CRAZY THN6S |_NE-veR Gor To poll ~ lo = Js 4 4 = seh RR he FHS E 1 E i z ow |ME Room AWE WATCH THE Sate CE GUT wide Lock HIMSELE, Tewe We weeie 1S veewme FOW ue Piss hab BeTH FEET OS Seue GeousD VAnSTHE? DAY Gets "EX ANE on a be ER SimCC SHE LEFT WL SHEVEBLE Thgoue EACH D Vrert Conds Avotnee FRIDAY SiGMT Vy mnt SHE'S UP THERE OG THE jou (Hone) (4 IS Ameen WEEK OS 24 Avcanee webu te np mm RP oT = =LOMELY WEEK ENO 2) IST ayer Hawa cr Se UAE Ves JUST : at eS oe SS - = RCE ELT WE wir T ¥ a \ : hy IL. ri J OY" Keéee" nee SATIS FLED (DySe bE HECe BT my SIE Pep tet tts ges 2. | (wOver BREAK A HEALT AGAIN DAL $- (dis) MBT FAIR wat Wont Sue CARE, & Pe2a- Fect PAiR WED be ~ ' Lb Hee COMPLETELY ST ~~ 1 fi (SAX Soto) (AS GCuoenus yy ANUTHE © Lone WEEKEND, IF SHE Couto ouWLART Lo wal PREAM oF YoU | bara, SHED ME A + “ ete gs Sas ==SI ELT WEEKEND AserHed, AAGHT REPLACE We Love WHAT AM 1 CCEAMING CFIs9 SAsCorriserd (\@ Aun") SE SIL (Git) em balB- (uo erent) ax) o (hex oaen sors) (eerear 00) ee aera Fi A — Cres eaea iss (HORNS. ARR FOLLOWING) {OO WHAT YOU FIND WHEN MOU orp! Look WHAT MOU FEEL WHEN a I. MAT YOU SEE WHEN YOU Goa MOU Give wey WU -l [ I I I l I I I I I l l | | | l | (Look WHAT You Fin-2) crip Failed BH EL ALI By Gus <-LO0K AT'UM MOVE WHEN YoU FID THE GP LOOK AT THEM SIGH THOUGH Yovee SEWING LIES Down A HANDIS WW THE AND TAKE PEORE ON 7D MAKE (ward Hen cay wien ou) ne Cex wren tou} 43 SAY THE RGAT PUNCHUNE 2 deer Heesouis on £.2€ (3Y0UT WATCH LOUREELE SOMEBODY'S ALWATS TERE TD TAKE A WHEEL AMD DEAL, THATS THE Way OF THE woecn Aw DOTHE SAME JUST TS Mae A NAME? DO WHAT MOU DO, ‘CAvSE You_KNOW THE GAME WHY MOVE AC QUAND JUST DO WHAT YoU CHOOSE CAUSE Yor've BEEN AROUND162 zt — Z2SEB2ERET EET ERB RER EEE aS CLoOwAT MOUESELE Lime seme key — ELGE STEPRWE A SE CHE CN OUT YR MIND — SEE WHAT TOU CAN WHILE YU HERE WnaT TOU2e bare Camb é WHAT MOU with, TL Yee Pine wit tou FEEL a aa cae WIN US Louse Youd Neve Cason TET ee - VER 2. _ ES CTO A oll in Y hay thy ay Aes Alay fe eo iF FAS Se SSS i =! ; a Fil m9 Bho Abs Aes Ebald == a aaa RT. eee ee1 163 + f f = . Kens. rene = ( ‘) = | teeleg wares. By wgeaT FESOTME .FECOROL “9 /Roy FREELAND 2 oe Caw) aie ‘eeu *) Look WH0'S LONELY NOW | E ims J PP Panky air Hite Fie Hil Hi a | Ler ELE WAS NOONE ELSE AY ROUND 1 — wHo COU OU HELD IT Iny THE | E LIGHT) THE GUTTER Disaprearen LD SYmMPHATIZE | rr ee ee ee ee ee ee ee) = mee om— emma 7 (Loom Wrio'S LONELY Now=2) us opA (Continue saxsoud [Gy —— _ WW ss TR THEN SOMETHING MUST BB WRONG Fil THERES SULE BEE Soran. Pie ind SEE = | [ 14 Systeme @ Look widS LONELY toowl ' Loow WHS LONELY lock: Leow WHo'S LONELY Yd vans ===. Sse ARMS ARE OPEN WIDE. | E a Ha W t ies DA 27, __ ad eS was SO MUCH AND YOU TRY So HARD Love OR HATE, OR THE fe gaie — ZA Soames te ° “Suth IANAY Mou CANNOT, Eat = YOUVE LoS Tien, (35 we Tumele een You po Som€ THINGS Mou'RE FRIENDS, Moule Tove [4) STAND AND JUDGE = THe OMEN 4,6 1) YOUSHOMD NOT DO YEAH! 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WHILE LYE WORLDS SLEEANG WE MEET AT LINCOLN MALL TALC ABOUT | +} Stor 8E-Fee weve BEGUN WE'VE GoT TO HOLEOUT TIL] (2) Ure | THE = MEANING OF IT ALL TRY TO MAWE SEmSe oF THe Su () GRADU - A - PRT TD HANG Gs MANNE (2) BU-2BAN SPRAWL TRY TOLHANG ONMenice City 3) -ONGTHER WORLD ) Youll BE MY SENC RIA f ¥ THIS HIGH WAY i iG LL Move UN TD MAN HAT AN Ang ws, | [S)FUL The Aa Tiga FRIEMOS, DRE THTHE COAST AND DRIVE RIGHT BALK AGA tMAINE -3) ; " ‘ + dd b Jaye TW | —h | | aa Gal ee tz T' & a“ (SAxSoLv) : : Fi # E aS + od. THT bane oN MA~ INE, ,1 BUSINESSMAN , GREEN SEDAN HE SOLDHIS SOUL TD REACH HIS GAL 2 BUSINESSC ARDS BIG IGASS tt SMILESComCEAL A ROTTEN, DEAL 8 AML 3 SN m4 WAmE (must 1)RST THE GAMEE A DEAL'S A DEAL PMTs Sionep AND SEALED 4 BUSIsESSMAm) SHAKE MY HAND, (4) TELL ME LIES , BUT HIDE Your EXES 1) WoRMING HAS WAT UP THE LADDER, — SUCCESS. 1S THE ENDS AND KIS 2) MONET Cacd TAMAR HE KnidwS IT. ONE PIECE OF PAPER Cant _ Ly J, wa) TIME Wreew'Soemy for Losers A Cathal ne mouse OE me A) HANG ON REAL TIGHT Te YouR BRIEFCASE, fw) 1 You SHOULD Loose 1 You" Le © se WAce MoV O€ BREAK Y Ss ee ae G 5 (Q)HAVE TO STAWD NAKED LIKE MEQ = TSA Se rey = ee wet ll(ma- BRIEFCASE 2) )89 c 3 EP PAC IKBCIER A Gar gaudAk pBRICFCASE cAcd “00 QifEE? PAE MRRIERA Sant — 1 WHAT poco MEEP IN THAT BAG ce TRICKSS IS THEEE ANITHING ie JEFC ASE. AT ALL In THAT 8 ASS Cpr Ont Gut (guitarsclc) = (Rereat 3x) IS THERE ANATHING AT ALL (Wika) BRIEFCASE Gm(suofne’) DAVID PACK = IFES" | bass ) | ; Cot Go ah C8 i weet Press teu Faunhe Aw PEN “tou Sere BKoy A+) B[NotHes Jeatous Man Ey HONEY DONT You uvuw (Steck) 7 === ee = $ rat ; + (1) weal Prou Five SMEOE Winch REO REALLY DA itintes AnomeR man is Tee Close Fe SHOU 1 FEEL WW f a Ea = T Y «My veMecr Te Sree, THINK AND List wm Bey Ser TD Tetu 80 . WCUDBEMIER STOP MESSING ARCUND,'ROOND with fy Tawny Yo NEVER Undue Wis An NEHER Maw! 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Courtar sero sx.) =t c = Ge { v @ Wwom v vd — M1 BART) Co You UNDERSTAND (THESE Aw T vo way SHELLEER NEED AWoTHER MA} weg 174 " 3) HEA WHAT 1 SA THERE AIN'T NUBODY GUNNA TAKE Mt Love Auieait > : = SA HEAR WIHATIMSAYTHERE AT NOBODY GOUWA TAKE TY LOVE Aud Pe fie TAKE MY Love AWAY ~ MEY HEY WELL THA fT lad nRmeRwEeHnonF = we ewe eke eo194 Pr Sopr BERT) x» ee eee eee eee ee YYcommer > ~~ NOT LIKE THIS 195 WRITEN BY: JEREMY LUBtock (NBALLAD'), (Fron THE Retoto LiAeeeall'- 33) ft + + + SS SS =r = J THIS WITHOUT A SINGLE TEAR WE CANTUUST WALK AWAY ASIF IT NEVER HAFRENEL OUR KIND OF Love HAS NEVER TALKED IW WHISPERS. So IF T's TIME TO 60, vers Fee, Fe, Fcmemenee, R LOUD Do IT Rie AWD €0 OUT But wor UKETHS , without A Baku ALi rave FeELint DIETHE Moog Live WAS OVER WELL MoT ME ‘CAUSE | STIL FEEL MoU IY Mit SOB a i “oo ' ' oe =o196 J compun [care EFS —— > 3 F iy =" (1) Waar SHE Dor SEND HER Roses JUST BETAYSE, te its (2) THeee Coup bE An OLbD Loveg IN HER MEMORY iF YoU. Ci) VIOLINS SHE LOVES LET THEN PLAY DEDICA (2)_NEED HER So MUCH MORE WHY Dox'T You STAY. MAYBE SHE. CY HER FAVOR SONG AND HOLD HER CLOSER ALL NITE LONG (2) HAS rin HER MIND THAT SHE'S usT WA STING Hee J\ME v3 eal J ty Love HE TDDAY~ Find ONE HUNDRED WAYS, C2) ASE HER TO STAY-FiD ONE HUNDeED WAYS 2 don't FoR GET TT a eee ee ee. aaa (one SUNDEED 197 Bein! CoOL WOT HELE YOO MEER A LOVE WARE YOULL JUST yyy Or ouey CHARCL 2-2. TAKE THE TIME TO PEN UP YOUR HEAETITHATISTHE SELRET OF ROMAN CE > 3. SACRIFICE IF Mou CARE = BUT Hee Same MUECHUGHT TE weak, IF THEeES sore -¥ BaRs (3) ove Moke STAR SHE WANTS GO AU THE WAY (3-4) YoU2 ARMS TH Swe REFLECT THAT OASHE owes You THE SWEETEST CF DEETS (iF) SHE WanTs To pay PHD ONE HUUDCEDWatrg REPEAT Tie FAVE LOVE HER TUDAY FIs ONE HUNDRED WAYS(ORIGINAL Hur es LLL} BEEP eEREEEBRBRESBE EF mm ¥ HLET ME TEI ALL THATS. Gu YOUR Mind WHE Mm Cisse TO You THERE'S AMAR UweqoURS IS om, So ERY HaeD TO clu (IE) LOURLPD SEY oc Ani YOUR XOUCH THAT QSUST Conés SHINIKG THROUGH, WANT oy — w ¥¢ (“ose ey Sure THEE Can (2) VER DAT ~ NERY NiGeT THERE Cans NOU FER ME, 1, NEED YoU Moke AUD Moge MoU FoR Me, You Mawe (T SEEM So RIGHT Ptr’(THE Ort ONE - 199 TURWED ME IN-SIDE CUT AND YoU SHOWED ME,WHAT LIFE WAS ABOUT ONLY Sr THE ONLY ONE THAT SRLEMT HEART AWAY WANNA PG ALL | CAN, JUST Tb SHOW YOU, MAKE TOU UNDERSTAND ONLY f : ~ THE OnLy ONE THAT SLE NY HEACT Awan’ Z.wi@s Tove tl CAane Souci p AviD_foS TER)=> THEe eg NO OTHER Love Youle THE HEART Awp Seuc 1S THiwkint oF Oxer Tey THERE Can ne! ao = = = = 5 EVER BE ANOTHER Thay UMERSANT THE WAT THAT | FEEL mSICE, ‘C AWE Nel TURNED MEINSIPE OUTIAmD YUL SHuveD ME,WHAT LIFE WAS ABDLT ONLY af" YoU THE ON bee That SME mt Heat. Away ee ee ee(THE ove ONE = 4) Zoj a Mov WANED ME INSIDE OUT, AND MOU SHOWED Me WHIT LIFL WA SAB OUT Onn f 7 NOU THE ONUT CME THAT STaLE MT HEAT AWAY Moy STOLE, 1T On et 194 H- (y fp. You SLE MY HEART Away Yo STE Mt HEART AWAY THE ONLY ONE THAT STOLE MY HEART Aue202 SSS SSS ee ee eo oe BEAT") AHEAD \934 Keve)(ocPs: a —iy.-% pb— te — ba ghee —— Mer eyp-Ele —¥ oO Wor Ep Be — at mn HA E: | a aes E |Se CA (Finy-5}) Carat) 7 _ = (Ekyvart) ~Foeiet add) wid (om) 3 Draayek) | abce, . © F(t) 7 Ay a] Coen OF Was OE (Anwisic#) cats, tS et =F (Evert) c (sax) tm re ee, ee ee ee ee)1 fe = 20s f= ee FReerx) i quae ——- ee f : 3 iE Seay 0 ma TP eS (sAxS0L0 Const) ; " See ¥ rs Mex giao og. (@ass: AY) @2®s0TT . ) pe Sy vFRorm THE RECORD: “STEVIE WONIDERN 1985 ("BALLAD") v ¥ ane re ae v v Guree Rye Bassey) i Bah CFS Time WE BEEN BUILDING MYC ASTLE of ~ oan 5, PICKED OUT A PEeeecy Con PAind = FU - ey Tuevey eve Fave (_ Have (1) WST fen Two THOUGH Moll NEVER KNEW You Were m+ : = che nT cert tehon WEE ga E = Oo omne (B)_wst te Fs 8 Hk un Minar ee ieee W BEEM EEREBSE RFE 2s () ¥eA = sons We Gone Mic “COOFAR fet “fou wow TO _S.3 Te'K Savomss 7 F koe Xe 4 { TE) Lowe THAT Sove; NEE Mine " Lieve “Thar “The iv Po come eo FoR DIO MY PREAMS CoME TRUE | OMT INE Gor To THEO LCase Anat 2over= |Z, Ave Movs: 1 poor(wEeseter - 2) 203 - ~ ~~ \ Loower At Yau, And MAYBE THO IF YOU Wovlv BELLIES “Tov Too mjuhT BE ON CRUD ~ over — LONE QO io WHAT Do THEY Kwow CHANCE Mou will FIND NT Axo THOUEH THE oops ACE IMPROBABLE - Ve Z . VAS ROMANCE au TRUE LOVE NEED 1S AGIANCE ANP MANGE Foe THA Meu TcOLUke | oveMURAL A TROIS YELLOW SACKETS 1983 he ———e ree RBHReEeReEmRttHHrwemHeesewe we we we iol lel eeoe Ber (Guring Sola D349 GiB C349) ae EEE H Se ke hw 7 NW —a aaa ae eee elehlUlUCcerhlC ele ae eeeomRERRHRERE BERR RR BRR KR REAR SS | | | I ill Ht i ill] iiPLEASE HOLD ON h DONDE LOVE ME De OU NEEpm —- , - (1) TELL Me THE TRUTH TONIGHT (1) SAME Lo STORY ‘ ‘ (0 Ew} FOR every (i) Bap A DIME, HYe, WWE HEARD THAT UE YMobVve TevpME | Gea RICH MAN | 2, WHY Do fou TA MEX WHY DDYGU RAKE ME212 (PLEA Se He CN» 2) e)vER OUR READ | HUT COALS (3) 0 Te Me THE TRUTH THis TING r+ 27) AFTER MOU HOLL ME C (3) po ted Neex me? (2) tHe TAX 13) Sort CONSTAMT UchTy AND “Quer | Conely (2) ve aes Earn PEOPLE (2\ Pipwit Leave Hee woul Sine Be CO) LOMEUINEss Chooses The RuLg STD THE IF (Groes) PUEASE Hovp ON HOLO Cr yrgem TEL MEY WRATHYe HAVE IAs mn WOVE SINE SS Cur Leave You Beeb GREK ALA Dew. 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