"The Kid From Red Bank"

Composed and arranged by Neal Hefti for the Count
Basie Band.
Features the real "Kid from Red Bank"  - Count Basie
in a really up tempo piano solo!

5 Saxes
4 Trunpets
4 Trombones
Piano (Solo)
Guitar
Bass
Drums

56Kb  2min:37sec  280bpm(in 2)  480 ticks per quarter

****Exclusive to Midikar******
***Please do not distribute***

Artistry Jumps
Melbourne, Australia


       Get the name you always wanted with the new y7mail email address.
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Thank you for a great sequenced file,Reminds me of my Pianist Friend playing
the solo with a Big Band In the 60s,Unfortually he Is now suffering with
Parkinson's Disease
Frank Warby CT,VCM
frank.warby@...
www.frankmusicman.co.uk
----- Original Message -----
From: "Artistry Jumps!" <artistry_jumps@...>
To: <midkar@yahoogroups.com>
Sent: Tuesday, April 01, 2008 11:01 AM
Subject: [midkar] BIG BAND (Basie) - "The Kid From Red Bank" - Composed by
Neal Hefti


> "The Kid From Red Bank"
>
> Composed and arranged by Neal Hefti for the Count
> Basie Band.
> Features the real "Kid from Red Bank"  - Count Basie
> in a really up tempo piano solo!
>
> 5 Saxes
> 4 Trunpets
> 4 Trombones
> Piano (Solo)
> Guitar
> Bass
> Drums
>
> 56Kb  2min:37sec  280bpm(in 2)  480 ticks per quarter
>
> ****Exclusive to Midikar******
> ***Please do not distribute***
>
> Artistry Jumps
> Melbourne, Australia
>
>
>      Get the name you always wanted with the new y7mail email address.
> www.yahoo7.com.au/y7mail
>
>
> ------------------------------------
>
> It's All About The Music!  Let the music roll!!
>
> We hate to see you go but,if you must
> unsubscribe from the MidKar group,
> please send an email to:
> midkar-unsubscribe@yahoogroups.com
> Yahoo! Groups Links
>
>
>
>


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Hi everyone. First let me implore you all to get flu vaccines every year. I caught a type that has had me out of commision for three weeks. I an still not 100% but I'm better than I was. Praise God!
I need some Eltin John and some B52s. Please help me out if time permits.
Keep a rockin'!
Isaac M.

-- Bob
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Toto

-- Best regards,
Dan West
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MIDKAR
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"Blue Sky" is the eighth track by the Allman Brothers Band off the Eat a Peach album.

Dickey Betts wrote this about his Native American girlfriend, Sandy "Bluesky" Wabegijig. And for a while, Betts refused to perform this after their 1975 divorce.

Although Duane Allman was part of the recording of this song, he died before its release on Eat a Peach. Duane Allman and Dickey Betts played on the bridge solo - Duane going first followed by Dickey. They switch half way through - they can be heard synch up on a riff for two measures or so right around 2:30 into the track. There are only been four known live recording with Duane Allman, one of them being from their archival live album S.U.N.Y. at Stonybrook: Stonybrook, NY 9/19/71 in 2003. In which it contains a blistering live performance of "Blue Sky."

This is the first time Dickey Betts sang lead vocals on an Allman Brothers song.

The song has been covered several times, with perhaps the best known cover being Joan Baez' 1975 recording of the song on her Diamonds & Rust album.

BLUE SKY- The Allman Brothers

TUNING FOR THIS VERSION: E B E G# B E  (actual tuning: standard)

E  A  E  A  E  D  A  E  (RIFF 1)

 E              B      A      E
Walk along the river, sweet lullaby
                   B                    
It just keeps on flowing
A                                             RIFF 2
It don't worry bout where it's going, no no
E                  B                  A               E
Don't fly Mister Bluebird, I'm just walking down the road
                 B         A                          RIFF 3
Early morning sunshine, tells me all I need to know

CHORUS:
B          A          E              A
You're my blue sky, you're my sunny day
B                 A                      E                A
Lord you know it makes me high when you turn your love my way
                  F#m
Turn your love my way, yeah

SOLO:
E  A  E  A  E  A  E  A ...  RIFF 4

E                 B                  A          E
Good old Sunday morning, bells are ringing everywhere
            B          A                               RIFF 3
Goin' to Carolina, it won't be long and I'll be there

CHORUS,  RIFF 1


RIFF 1:
    E         A               E            E         A               E
E  ------------------------------------------------------------------------------
B  ------------------------------------------------------------------------------  
G# -0-------0-5-------5-8-5---0---0--------0-------0-5-------5-8-5---0---0-------    
E  -0-0-0h2---5-5-5h7-------7-0-0---2p0----0-0-0h2---5-5-5h7-------7-0-0---2p0---
B  -0---------5---------5-5-5-0---------2--0---------5---------5-5-5-0---------2-  
E  -0---------5---------------0------------0---------5---------------0-----------
   E       D              A        (F#m)   E
---0-------10-------------5---------(2)----0-------
---0-------10-------------5---------(2)----0-------
---0-0-----10----------10-5-------5-(1)----0---F#m 2nd time only
---0---2-0-10----10h12----5---5h7---(2)----0-------
---0-------10-10----------5-5-------(x)----0-------
---0-------10-------------5---------(2)----0-------

RIFF 2:                         RIFF 3:
-------------------5---------   ---------------------5-7-7s9s7-5--- 
-------------------5---------   -----------------5-7---------------
-------------------5---------   ---------------3-----5-5-5-----5--- 
-2s4-2-0-----------5---------   -----0-2-0-2s4---5-5--------------- 
---------2-0-------5-----5-5-   -0-2------------------------------- 
-------------4s2-4-5-5h7-----   -----------------------------------

RIFF 4:
-----------------------------
-----------------------------
-----------------------------
-0-4-5-5s7-5-4-2-0---------5-
-------------------2-0-----5-
-----------------------7s9s5-

CHORDS:
    E  A  B  F#m   D
E   0  5  7   2    10
B   0  5  7   2    10
G#  0  5  7   1    10
E   0  5  7   2    10
B   0  5  7   x    10
E   0  5  7   2    10


NOTE:  This song is actually NOT in EBEG#BE tuning, but rather in 
standard tuning.  However, I think it makes it much easier to play this 
way, esp. with just one guitar.  If you want to play it in standard, the 
chord names are still valid.

-- Best regards,
Dan West
===============================================|
MIDKAR
===============================================|
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===============================================|
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Bobby Vinton

Born Stanley Robert Vintula, Jr. in Canonsburg, Pennsylvania (near Pittsburgh), he was the only child of a locally popular bandleader, Stan Vinton (Stanley Vintula, Sr.).

At 16, Vintula formed his first band, which played clubs around the Pittsburgh area. With the money he earned, he helped finance his college education at Duquesne University, where he studied music and graduated with a degree in musical composition. While at Duquesne, he became proficient on all of the instruments in the band: piano, clarinet, saxophone, trumpet, drums and oboe.

Vinton's birthplace of Canonsburg, Pennsylvania is also the birth place of Perry Como. Vinton has been honored by his hometown with a major thoroughfare Bobby Vinton Boulevard. Canonsburg town fathers had plans to erect a statue in his honor, but Vinton vetoed the idea noting that the $100,000 planned cost could go to far more important town needs.

1960s

After a brief spell in the U.S. Army, Vinton was signed to Epic Records in 1960 as a bandleader: "A Young Man With a Big Band." Two albums and several singles were not successful however, and with Epic ready to pull the plug, Vinton found his first hit single literally sitting in a reject pile. The song was titled "Roses Are Red (My Love)." It spent four weeks at No.1 on the Billboard Hot 100. Arguably, his most famous song is 1963's "Blue Velvet" that also went to No.1. Twenty-three years later, David Lynch named his movie Blue Velvet after the song. In 1990, "Blue Velvet" climbed to the top of the music charts in Great Britain, after being featured in a Nivea Skin Cream commercial. In 1964, Vinton had two #1 hits, "There! I've Said It Again" and "Mr. Lonely". Harmony Korine named his 2007 film Mister Lonely after the latter, and it is now also the basis for Akon's hit "Lonely."

Vinton's version of "There! I've Said It Again" is noteworthy for being the final U.S. Billboard number one single of the pre-Beatles era; it was deposed from the top of the Hot 100 by "I Want to Hold Your Hand." Also noteworthy is the fact that Vinton continued to have big hit records during the British Invasion, while Connie Francis, Ricky Nelson, the Shirelles and other major artists of the early 1960s struggled to reach even the Top 30.

Vinton's 1967 hit "Coming Home Soldier" was a favorite on request shows on the Armed Forces Network during the Cold War and Vietnam Era, often called in by soldiers about to board the Freedom Bird that would take them back to the "Land of the Round Doorknobs."

1970s

In the 1970s, the "Polish Prince" continued to hit the Top 40, notably with "Ev'ry Day of My Life" and "Sealed With a Kiss" in 1972. That same year, Epic Records decided to end its relationship with Vinton and ended his recording contract. Undeterred, Vinton spent $50,000 of his own money on a self-written song sung partially in Polish: "My Melody of Love." After Vinton was turned down by 7 major labels, ABC Records bought Vinton's idea, and the result was a multi-million selling single that hit #1 on the AC charts in 1974. A gold album, Melodies of Love, followed as well as a successful half-hour variety show The Bobby Vinton Show (which aired from 1975 to 1978), which used "My Melody of Love" as its theme song; ABC Records subsequently released an album of songs performed on the show. He also starred in two John Wayne movies: Big Jake and The Train Robbers.

Honors and achievements

In the course of his career, Vinton has sold over 75 million records (singles, albums, compilation inclusions, etc) and is still performing on tour. He owned and performed at the Bobby Vinton Blue Velvet Theatre in Branson, Missouri until 2002 when the theatre was sold to David King, creator and producer of Spirit of the Dance. Vinton returns to Branson annually for limited engagements at the theatre.

Billboard Magazine called Bobby Vinton "the all-time most successful love singer of the 'Rock-Era'". From 1962 through 1972, Vinton had more Billboard #1 hits than any other male vocalist, including Elvis Presley and Frank Sinatra. In recognition of his recording career, Bobby Vinton has a star on the Hollywood Walk of Fame at 6916 Hollywood Blvd.

In 2002, the Norwegian electronica-duo Röyksopp released their debut album Melody A.M. including a delicate cover version of the Vinton-hit "Blue on Blue" called "So Easy" - which also was the group's first single and furthermore used in several ads.

BLUE VELVET
Bobby Vinton
(Bernie Wayne/Lee Morris)

She wore blue velvet
Bluer than velvet was the night
Softer than satin was the light
From the stars
She wore blue velvet
Bluer than velvet were her eyes
Warmer than May her tender sighs
Love was ours
Ours a love I held tightly
Feeling the rapture grow
Like a flame burning brightly
But when she left, gone was the glow of
Blue velvet
But in my heart there'll always be
Precious and warm, a memory
Through the years
And I still can see blue velvet
Through my tears

-- Best regards,
Dan West
===============================================|
MIDKAR
===============================================|
You Can Upload And Download Files Here!
http://groups.yahoo.com/group/midkar/
===============================================|
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===============================================|
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===============================================|

-- Best regards,
Dan West
===============================================|
MIDKAR
===============================================|
You Can Upload And Download Files Here!
http://groups.yahoo.com/group/midkar/
===============================================|
Wild West's Music Studio
===============================================|
http://mysite.verizon.net/wild_west2/studio.htm
===============================================|

-- Best regards,
Dan West
===============================================|
MIDKAR
===============================================|
You Can Upload And Download Files Here!
http://groups.yahoo.com/group/midkar/
===============================================|
Wild West's Music Studio
===============================================|
http://mysite.verizon.net/wild_west2/studio.htm
===============================================|

Sending 2 of Crocodile Rock.
More to follow.
Bob

Isaac Mullins,II wrote:

Hi everyone. First let me implore you all to get flu vaccines every year. I caught a type that has had me out of commision for three weeks. I an still not 100% but I'm better than I was. Praise God!
I need some Eltin John and some B52s. Please help me out if time permits.
Keep a rockin'!
Isaac M.

-- Bob
----
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-----------------------------------------------------------------
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------------------------------------------------------------------
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-----------------------------------------------------------------------------
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---------------------------------------------------------------------------------------------------------
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<crocodle_rock_rw.mid>

<crocodle_rock_wk.mid>

This is one of my FAVS! Thanks Isaac M.
On Apr 1, 2008, at 1:23 PM, Bob <rasrealtor@...> wrote:
Sending 2 of Crocodile Rock.
More to follow.
Bob
Isaac Mullins,II wrote:
Hi everyone. First let me implore you all to get flu vaccines every year. I caught a type that has had me out of commision for three weeks. I an still not 100% but I'm better than I was. Praise God!
I need some Eltin John and some B52s. Please help me out if time permits.
Keep a rockin'!
Isaac M.

-- Bob
----
Jukebox Saturday Night, http://www.damav.com
-----------------------------------------------------------------
You Can Upload, Download, & Request Files Here!
http://groups.yahoo.com/group/midkar/
------------------------------------------------------------------
Real Estate Site
http://robertsilvestri.point2homes.biz/
-----------------------------------------------------------------------------
My Barack Page
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------------------------------------------------------------------------------
See the Issues
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---------------------------------------------------------------------------------------------------------
I hope you'll join me in supporting Barack by making a donation to my personal fundraising page:
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Songs

1. I'll Be Over You
2. In a Word

With Joseph Williams now on board officially, Toto wrote and recorded Fahrenheit, released in October 1986, which had already been started with Frederiksen handling lead vocals. The track "Could This Be Love" features Fergie on background vocals.

Fahrenheit was a much softer release for Toto. It featured the hit "I'll Be Over You" and an instrumental piece performed with Miles Davis. Furthermore, a then-unknown Paula Abdul appeared as a dancer in the "Till the End" music video. In addition, one of the studio-singers heard in the song "I'll Be Over You" is Michael McDonald. Despite its accolades, however, the album was not received well and suffered from poor sales and failed to go gold. However, after its release, the band embarked on another world tour. After the tour ended in 1987, Steve Porcaro left the band to pursue a career in film and television scoring.

-- Best regards,
Dan West
===============================================|
MIDKAR
===============================================|
You Can Upload And Download Files Here!
http://groups.yahoo.com/group/midkar/
===============================================|
Wild West's Music Studio
===============================================|
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===============================================|

On March 2, 1967 The Mamas and the Papas won Grammy Award for Best Pop Performance by a Duo or Group with Vocal grammy for this song.

"Monday, Monday" was covered in 1968 by Herb Alpert and the Tijuana Brass on their album The Beat of the Brass.

"Monday, Monday" is also the title of a limited run book by Nate Pritts which includes a poem of the same name. The book's epigraph is from the song so there is obvious influence.

Intro:
(a capella):
Ba-da ba-da-da-da
Ba-da ba-da-da-da
(harpsichord, guitar, and bass enter)
F# F#sus F# F#sus
Ba-da ba-da-da-da
Verse 1:
F# F#sus F# F#sus
Monday, Monday (ba-da ba-da-da-da)
F# F#sus F# F#sus
So good to me (ba-da ba-da-da-da)
F# F#sus F# E
Monday mornin', it was all I hoped it would be
A A6 Amaj7 A6 C#
Oh Monday mornin', Monday mornin' couldn't guarantee (ba-da ba-da-da-da)
F# F#sus* F#
That Monday evenin' you would still be here with me
* vocal harmonies imply E/F#; keyboard plays F#sus4
Verse 2:
Monday, Monday, can't trust that day
Monday, Monday, sometimes it just turns out that way
Oh Monday mornin' you gave me no warnin' of what was to be
Oh Monday, Monday, how could you leave and not take me
Bridge 1:
G
Every other day (every other day), every other day
E
Every other day of the week is fine, yeah
G
But whenever Monday comes, but whenever Monday comes
F# D#
A-you can find me cryin' all of the time
(key changes to G#)
[repeat verse 1, in G#]:
G# G#sus G# G#sus
Monday, Monday (ba-da ba-da-da-da)
G# G#sus G# G#sus
So good to me (ba-da ba-da-da-da)
G# G#sus G# F#
Monday mornin', it was all I hoped it would be
B B6 Bmaj7 B6 D#
Oh Monday mornin', Monday mornin' couldn't guarantee
G# G#sus G#
That Monday evenin' you would still be here with me
[repeat bridge 1, in G#]:
A
Every other day, every other day
F#
Every other day of the week is fine, yeah
A
But whenever Monday comes, but whenever Monday comes
F# D#
You can find me cryin' all of the time
[repeat verse 1, in G# (as above)]
Bridge 2:
A
Every other day, every other day
F#
Every other day of the week is fine, yeah
A
But whenever Monday comes, but whenever Monday comes
D# G# F# [N.C.]
You can find me cryin' all of the time
Coda:
bass (w/tambourine and woodblock):
v v v v v v v v
-----------------|-----------------
-------------13\-|-6---------------
-----------------|-----------------
-----------------|-----------------
(Monday...)
Monday, Monday (ba-da ba-da-da-da)
Can't trust that day (ba-da ba-da-da-da)
(band re-enters on F#)
F# F#sus F# F#sus [continue]
Monday, Monday (ba-da ba-da-da-da)
It just turns out that way (ba-da ba-da-da-da)
Whoa, Monday, Monday, won't go away (ba-da ba-da-da-da)
Monday, Monday, it's here to stay (ba-da ba-da-da-da)
Oh Monday, Monday (ba-da ba-da-da-da)
Oh Monday, Monday (ba-da ba-da-da-da)
-- another ace 60's tab from Andrew Rogers

-- Best regards,
Dan West
===============================================|
MIDKAR
===============================================|
You Can Upload And Download Files Here!
http://groups.yahoo.com/group/midkar/
===============================================|
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===============================================|
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License To Kill  by Bob Dylan

Transcribed by MH from Bob Dylan's (best!) album, "Infidels".
I have written this in the key of C so it can be easily transposed: to
play it in the original key (F#) put a capo on fret 6.
Modifications/discussions welcome.
**  The chords marked Fmaj7 and Csus4 I play as (xx3210) and (x33010),
    respectively.
*** The chord sequences for verses 2, 3 and 4 are the same as verse 1.


VERSE 1
C                    Am
Man thinks 'cause he rules the earth
       G                C
He can do with it as he please
       C            Am          G
And if things don't change soon, he will
    F                     C
Oh, man has invented his doom
      C        C        G   F
First step was touching the moon
              Am   F           Am   F
Now there's a woman on my block
             Am   F                  Am    F
She just sit there as the night grow still
        C               G                  C  Fmaj7 Csus4 C  **
She say who gonna take away his license to kill

VERSE 2 ***
Now, they take him and they teach him
And they groom him for life
And they set him on a path where he's bound to get ill
Then they bury him with stars
Sell his body like they do used cars
Now there's a woman on my block
She just sit there facin' the hill
She say who gonna take away his license to kill

VERSE 3
Now, he's hell bent for destruction
He's afraid and confused
And his brain has been mismanaged with great skill
All he believes are his eyes
And his eyes they just tell him lies
But there's a woman on my block
Sitting there in a cold chill
She say who gonna take away his license to kill

       Am
May be noisemaker, spirit maker
C
Heartbreaker, backbreaker
F                  C
  Leave no stone unturned
          Am
May be an actor in a plot
              C
That might be all that you got
          Dm                 G
Till your error you clearly learn

VERSE 4
Now he worships at an altar of a stagnant pool
And when he sees his reflection he's fulfilled
Oh, man is opposed to fair play
He wants it all and he wants it his way
Now, there's a woman on my block
She just sit there as the night grow still
She say who gonna take away his license to kill

(instrumental verse)

Enjoy!

-- Best regards,
Dan West
===============================================|
MIDKAR
===============================================|
You Can Upload And Download Files Here!
http://groups.yahoo.com/group/midkar/
===============================================|
Wild West's Music Studio
===============================================|
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===============================================|

"True Love Ways" is a song co-written by Buddy Holly and Norman Petty and recorded with the Ray Ellis orchestra in October 1958, four months before the singer's death. It was first released on the posthumous "The Buddy Holly Story, Vol. 2" (Coral 57326/757326, March 1960).

In some versions of the song, faint audio shows Holly preparing to sing and record, saying "Yeah, we're rolling." A piano player and trombone player start to play some notes, Holly mutters "Okay," and clears his throat. A recordist yells "Quiet boys!" to everyone else in the room, and at the very end of the talkback, the recordist says "pitch Ernie" to signal the piano player to give the vocalist (Buddy) the proper note to start with.

True Love Ways
-Buddy Holly

----------------------------------------------------------------------------
Transcribed by Guitar Player Extraordinaire, Tim Stoll
----------------------------------------------------------------------------

[verse]

--------------Bb----Dm7----Eb
Just you know why

----F-------Bb----Dm7----Eb
why you and I

-----F------Bb----Gm7
will by and by

C7-------------F----Cm----F
know true love ways

[verse]

----------------Bb----Dm7----Eb
Sometimes we'll sigh

----F-----------Bb----Dm7----Eb
sometimes we'll cry

----F-----------Bb
but you'll know why

-----Gm7-----C7
just you and I

-----F---------Bb----Ebm----Bb
know true love ways

[bridge]

---------------Ebm
Throughout the days

Ab---------------Bb
those true love ways

--------------C#
will bring us joys to share

-----F---------C7-----F----Cm----F
with those who really care

[verse]

Sometimes we'll sigh
sometimes we'll cry
but you'll know why
just you and I
know true love ways

[bridge]

Throughout the days
those true love ways
will bring us joys to share
with those who really care

[verse]

Sometimes we'll sigh
sometimes we'll cry
but you'll know why
just you and I
know true love ways

For more great transcriptions, check out Rimsky's Guitar Page at:
www.angelfire.com/music2/chords/index.html

-- Best regards,
Dan West
===============================================|
MIDKAR
===============================================|
You Can Upload And Download Files Here!
http://groups.yahoo.com/group/midkar/
===============================================|
Wild West's Music Studio
===============================================|
http://mysite.verizon.net/wild_west2/studio.htm
===============================================|

They were the biggest-selling group of the 70s. No fewer than ten of their singles went on to become million-sellers, and by 2005 combined worldwide sales of albums and singles well exceeded 100 million units. Yet the Carpenters were much more than creators of beautifully crafted and hugely successful hit records. Within the space of just a few years their unique and inimitable sound had brought a new dimension to the world of popular music.

Richard attended Downey High School as a senior and during this time studied piano at the University of Southern California. Informed that he could be transferred out of physical education if he were a member of the high school marching band, he was faced with the problem that the piano is not a particularly portable instrument.

Upon hearing him play however, the band’s director, Bruce Gifford, asked him to play piano with the concert band in a class performance of Gershwin’s Rhapsody In Blue. Gifford went on to invite Richard to join his own combo playing music outside the high school itself.

By late 1964 Karen’s musical talent was awakening. Now a first-year student at Downey High School and playing glockenspiel in the marching band, she was inspired by the drumming ability of band mate Frankie Chavez. She went home and started adding her own rhythm accompaniments to some of her records, using a pair of chopsticks and a set of bar stools as her drum kit. When her parents responded by buying her a proper drum set, she was able to play it instantly, and before long the idea of some kind of Carpenters group had been born.

Karen was just 15 when the Carpenter Trio was formed. The brother and sister teamed up with a classmate Richard had met in June of 1965, tuba and bass player Wes Jacobs, to play jazz.

At Richard’s urging, Karen would sing an occasional selection but primarily the trio was an instrumental outfit, as Karen’s distinctive singing voice was just developing and she was not very happy with the sound. By early 1966, however, Karen’s voice had matured quite a bit and, while still a bit rough around the edges, had developed enough to attract the interest of more than a few.

Reviewing the show in the Los Angeles Times, Leonard Feather wrote: “The musical surprise of the evening was the Trio of Richard Carpenter, a remarkably original soloist who won awards as the best instrumentalist and leader of the best combo. Flanking his piano were Karen Carpenter, his talented sixteen year old sister, at the drums, and bassist Wes Jacobs who doubled amusingly and confidently on tuba.”

As Richard walked with Karen to the parking lot, a man walked over to congratulate them and inquire whether they might like to make test records. “I was nineteen, smug, full of myself, and we’d just won,” Richard says. “I told him we already had a contract. He said to give him a call if things changed, and gave me his card.” This card gave his name as Neely Plumb, the prominent West Coast manager of pop with the giant RCA Records. Pulling his foot from his mouth, Richard gathered himself quickly and said that actually his sister was signed to a small company as a singer, but the trio was not. (Richard was signed only as a songwriter to Light-Up Music, the publishing arm of Magic Lamp Records.) Plumb said he was interested in their instrumental sound, and a test at RCA followed. It transpired that Plumb wanted to develop a ‘rock tuba’ sound by emphasizing the uniqueness of Wes Jacobs. In September, the trio signed with RCA and quickly cut eleven tracks, including Strangers in the Night, the Beatles’ Every Little Thing, and an original, Flat Baroque which eventually became a popular Carpenters track. But the RCA committee voted against them all. With psychedelia dawning, they saw no commercial potential in a jazzy trio. Losing confidence in getting themselves established with RCA, Richard, Karen and Wes accepted the company’s offer of a few hundred dollars to end the contract.

Before long the trio had split up. Jacobs decided that his way forward was in concert music, and left to pursue that aim and study at Julliard. The two Carpenters went back to their respective studies.

Their first experience of working together professionally was less successful, however. They both took a job at Coke Corner on Disneyland’s Main Street U.S.A. There, routinely deviating from the selections of turn-of-the-century tunes they were asked to perform, the pair were sacked after four months.

Much of his inspiration came from the harmonies of Mary Ford, the Beach Boys and the Association, but the arrangements were very much Richard’s own. It was the new rock bands, however, that were receiving most of the interest at the time, and Spectrum suffered in consequence. Although they played support dates at such major venues as The Blue Law and The Whisky A-Go-Go, the band was short-lived, and Richard and Karen were soon on their own once more.

It was during this time that Karen saw a doctor about her weight. From her early years she had been chubby and by seventeen and weighing 145 pounds (too much for her height of five feet, four inches), she felt she had endured it long enough. The Stillman diet was prescribed in which Karen had to drink 8 glasses of water daily, avoid all fatty foods, and take some vitamins.

She hated the diet but adopted it rigidly. Meeting Richard and John after their performances at Disneyland, Karen would go on with them to rehearsals. Following these, the group went to Coco’s coffee shop for milk shakes, onion rings, and burgers – food she normally ate voraciously. But she did not sway from her task and lost twenty-five pounds during these six months in 1967 – and stayed at her new weight of around 120 pounds from then until 1973.

“Karen’s sound was there. It was just a matter of the right song, and we were getting close.” He decided boldly that he and Karen would form a new sound of their own, and to hell with fancy names. They would be Carpenters, without the as a prefix, since Richard felt it sounded hipper and in the same style as Buffalo Springfield and Jefferson Airplane.

Although Karen still considered herself primarily a drummer who sang, Richard sensed there was a lot more potential in her vocals. There were to be a number of bumps on their new route to success, but as they now pulled away from the concept of a band sound, luck was to smile on them.

After two years of battling for a breakthrough, the summer of 1968 came with a flurry of activity that brought them an escalator to success.

It was the height of the Vietnam War, and Richard, heavily draftable, had been granted a student deferment, which meant he could stay at the university at Long Beach. There he heard of a new national TV program, ‘Your All American College Show,’ for which talent scouts auditioned acts on campuses. Those selected went to Hollywood to tape the show before a celebrity judging panel. Broadcast nationally, the much-vaunted show was sponsored by Colgate-Palmolive and produced by the prominent radio and commercial announcer Wendell Niles. If they succeeded in getting on that show, the publicity value would be enormous.

With Karen at the drums, Richard at the piano, and a talented bassist, Bill Sissyoev, recruited specially, they auditioned at CSULB in spring 1968 with a short medley of Dancing in the Street and The Shadow of Your Smile. Featuring technically difficult piano solos interjected by Richard to show off his ability, along with Karen’s singing talent and drum solo, they easily outstripped the other acts. They were accepted by “Your All American College Show,” appearing as the trio three times that year. In all, the trio won $3,500; Richard also won $3,500 for his subsequent solo performances, and the public exposure was a valuable fillip.

Another triumph followed quickly. What was at that time still the subculture of rock and pop music was beginning to be projected in television commercials. Richard was phoned by John Bahler, who, with his brother Tom, had a group called Love Generation. The Bahler brothers, hired by the advertising agency J. Walter Thompson, had seen Karen and Richard on “Your All American College Show”. That firm’s client, Ford Motor Company, wanted to augment the Bahler brothers’ group (by now called The Going Thing after the current Ford campaign) to help generate interest in Ford and also to promote an upcoming new car, the Maverick.

Auditioning about two hundred acts in New York and another two hundred at Sunset Sound in Hollywood, the Bahlers were impressed with the energy and musicality of Richard and Karen – and in early 1969 they were signed to a contract worth initially a gigantic fifty thousand dollars each annually plus a special Mustang car each.

Richard and Karen were elated at the prospect of this windfall. At last, it seemed, their worth was being recognized.

Still, a record deal eluded them, and for all their talent and activity, the only real recognition as popular artists would come from seeing and hearing their music tearing up the best-selling record charts. That was the only real yardstick of success.

With his partner, Jerry Moss, Alpert had begun A&M in 1962 with two parallels to the Carpenters’ route to his door. He had begun the Tijuana Brass in his makeshift garage studio, just as they had experienced with Joe Osborn; and, like Karen and Richard, Alpert had once been signed unsuccessfully to RCA Records – in his case, as a singer. His suggestion that he play trumpet for the label was rejected. These coincidences were not known to either party as the tape wended its circuitous way to Alpert’s desk in early 1969.

As well as heralding new rock sounds, Alpert and Moss valued a backbone of songwriters of pure pop single hits, and two notable Americans were also inside the A&M fold: Burt Bacharach, who with his partner, Hal David, composed a string of golden hits for singer Dionne Warwick; and Paul Williams, an introspective writer who sang his own lovelorn material co-written with his partner, Roger Nichols, also an A&M artist. Alpert and Moss had thus created a highly individualistic label. It was not challenging such giants as Capitol and Warner Brothers, but it had panache. And it had an asset at the helm which all the musicians respected: Alpert, a natural trumpeter and performer who empathized with the artistic temperament.

The Carpenters tape that he heard had an impressive multi-harmony sound achieved by Richard and Karen in Osborn’s garage studio. The three songs featured, Your Wonderful Parade, Don’t Be Afraid, and Invocation, represented not trendy rock but straight forward popular music. Alpert, fortunately, always had an ear for talent beyond what he called “the beat of the week.” In love with the voice, the harmonies, and the arrangements, he decided immediately to offer them a deal.

On April 22, 1969, Richard and Karen went to the office of Jerry Moss to sign the contract. Since Karen was at nineteen legally underage, once again her parents had to countersign for her.

Over the moon with excitement at a record deal, they now faced one worrying hurdle – that signed contract with J. Walter Thompson to tour the United States to hammer across “The Going Thing” commercials. Giving up fifty thousand dollars each plus a car was not palatable, but a disc career promised longevity and there was no serious choice. There would be no time to tour and launch a record career. With some persuasion from Tom Bahler, the agency let them out of the pact, to Richard’s surprise, relief and appreciation.

According to one critic, the finished product “virtually redefined the song”; Ticket To Ride is certainly one of Karen’s and Richard’s strongest and most innovative recordings.

All this being said, the record did not become a full-fledged hit, but still had a long chart life as it would enter and leave the chart, only to enter again, sometimes “bulleted,” and ultimately reaching No.54 in April, 1970. Considering the fact that most singles never reach the charts, Karen and Richard believed that this was not a bad showing. Besides, Ticket had been heard by the co-writer of the Carpenters’ next single, which was “in the can” and being held up for release as all watched the ever changing fortunes of Ticket To Ride.

They Long To Be Close To You had been written by Bacharach and his partner Hal David some seven years earlier, and was included in Dionne Warwick’s third album. In addition to Karen’s alluring lead vocal, the Carpenters added intricate harmonies to a beautiful arrangement by Richard who also shortened the title and, in six weeks, the song occupied the No.1 spot on the American charts. It remained one of the best sellers of the year, and sold over three million copies worldwide. The song also gave the duo their first British success, reaching No.6 in the autumn of 1970, and became a hit in several other countries.

In March of the following year, the recording also won them their first Grammy Award for Best Contemporary Vocal Performance by a Duo, Group or Chorus. There was a second Grammy for Best New Artist of 1970. In all, Close To You and the “Close To You” album were nominated in six categories, including Record and Album of the Year.

Additionally, Richard’s interpretation of the song would have quite an impact on the way many ballads to come were arranged, from the voicing of the piano in the intro and first verse, to the entrance of vocals, strings and the use of brass in the bridge.

Joining (They Long To Be) Close To You in the Grammy Hall of Fame, We’ve Only Just Begun for years has been considered Karen’s and Richard’s ‘signature’ song.

The album, too, was enjoying enormous success, spending well over a year on the US album chart. In addition to the two hit singles, it included many more memorable tracks; among them Help!, Baby It’s You, Mr. Guder and Reason To Believe.

In 1971 there were three more hugely successful singles, all of which became million sellers. For All We Know had been featured in the film ‘Lovers And Other Strangers’. With music by Fred Karlin and lyrics by a certain Arthur James and Robb Wilson – actually pseudonyms for Arthur Griffin and Robb Royer of the group Bread – it went on to win an Oscar for the Best Film Song of 1970.

A few months later it was the turn of Superstar, which reached the No.2 spot on the American charts but, backed with For All We Know, it also brought the pair their third British success, reaching No.18.  Superstar is considered by many to be the ultimate Carpenters’ track, with its haunting melody, off-beat lyric, heartfelt reading by Karen and Grammy nominated arrangement by Richard.

There was another album, too. Called simply ‘Carpenters’, it resulted in further chart success in both Britain and America. It also won them yet another Grammy Award, again for Best Performance by a Duo, Group or Chorus.

Despite all their chart successes, however, the Carpenters were no run-of-the-mill hit-parade artists. They actually heralded the start of a whole new era in popular music, and their legacy is still very much in evidence today.

Previously, adult record buyers had been served by sophisticated night-club singers like Frank Sinatra and Tony Bennett and by arranger/conductors like Ray Conniff and Percy Faith. But among the new generation of young adults were some who had different tastes. Although they had been brought up during the rock and pop explosion of the 60s, they too wanted more ‘adult’ music. But they weren’t prepared to settle for what their parents had been offered. These were from among the ‘baby boomers’, whose sheer numbers gave them considerable commercial clout. They wanted music of their own – and what they wanted was a more contemporary kind of ‘pop’. The Carpenters were among the first to provide it – both in their recordings and in live performances.

By 1971, the Carpenters were performing all over the world. In London, they packed the Royal Albert Hall during their first European tour. In America, there were sell-out appearances at such prestigious venues as the Hollywood Bowl, and in Japan they performed the first of what would be many sell-out concerts.

It was to be some months before their next British hit single, however, with that honor reserved for Goodbye To Love, written by Richard and Bettis. With the help of a splendid Richard Carpenter arrangement, Karen’s faultless reading and Tony Peluso’s towering guitar solo, it first climbed rapidly up the American charts, reaching No.7 at its peak. Goodbye To Love was then released on a double-sided single in Britain, together with I Won’t Last A Day Without You, another Paul Williams and Roger Nichols song. The single reached No.9 on the British chart.

The preceding four singles were all culled from the duo’s fourth album, “A Song For You”, considered by many, including Karen and Richard, to be their finest. Included as well were Top Of The World and Bless The Beasts And Children, from the Stanley Kramer film of almost the same name, “Bless The Beasts And The Children”. This track, one of Karen’s and Richard’s best, was released in the U.S. on the flip of Superstar, and got quite a bit of play in its own right. All told, “A Song For You” contained an impressive six hits, as well as standout tracks such as Flat Baroque, Piano Picker, and the title song.

Yet the group still remained more popular in America than with British audiences. In early 1973 there was to be another American hit, the million-selling Sing, before renewed British success with another Carpenter-Bettis composition.

Yesterday Once More finally gave the Carpenters’ British career the boost it needed. In mid-1973, the song raced up the British charts, peaking at No.2 – the same position that it reached in America, and higher than that reached by all of the Carpenters’ previous British singles. It would also provide them with yet another million-seller and prove to be a phenomenal success in Japan.

The song looked at the craze for musical nostalgia that was prevalent in America at the time. It had been taken from the Carpenters’ equally successful album, ‘Now And Then’, which incorporated a highly unusual idea. The whole of one side was made up of eight classic 60s pop songs presented as a ‘radio show’ skillfully arranged and produced by Richard, with Tony Peluso guesting as a disc jockey.

Another Carpenter-Bettis composition, Top Of The World, shot right to the top of the American charts – and to No.5 in Britain – to give them their third million-seller of 1973.

There was a hugely successful album as well – a splendid compilation of ‘The Singles 1969-1973’. Nine of the 12 tracks had already sold over a million copies when released as singles. Yet the album still topped both the American and British album charts, eventually selling over two million in the UK and clocking up over 12 million sales in America.

There was a change of direction for one 1974 release, with a version of Hank Williams’ country favorite Jambalaya featured in ‘Now And Then’. Backed with Mr. Guder, which appeared on their 1970 ‘Close To You’ album, it gave the Carpenters a double-sided British hit, reaching No.12 in March 1974. Jambalaya also became a gold record in Japan and in the Netherlands proved itself to be Karen and Richard’s biggest hit. As John Fogerty and the Blue Ridge Rangers were enjoying some success with the song in 1973, the same time as “Now & Then’s” release, and Yesterday Once More was just following Sing, Richard did not even think about releasing Jambalaya in America. Based on their record’s success in other countries, “Maybe,” Richard now states, “I should have!”

The next year began well, too, with another change of pace and another enormously successful single. Please Mr. Postman had been an American chart topper for R&B group the Marvelettes in 1961, and well known in Britain, too, thanks to the Beatles. The Carpenters again took it to the top spot in America, easily selling another million on the way. The recording reached No.2 in the UK charts, and ultimately became their largest selling single worldwide, a fact with which Richard has mixed feelings.

Only Yesterday (by Carpenter and Bettis again) was another success on both sides of the Atlantic and there was yet another million-seller album, ‘Horizon’. In addition to the singles successes, Please Mr. Postman and Only Yesterday, the album included Love Me For What I Am, I Can Dream, Can’t I and Desperado. This time they proved even more popular in Britain than in the US with ‘Horizon’ making its debut at the top of the album chart, and staying among the best sellers for nearly six months in all.

The constant round of recording and touring was beginning to take its toll on Karen Carpenter. Slimming and health foods were becoming fashionable in the early 1970s, particularly in image-conscious California. So was the cachet of having a trainer visit private houses to supervise exercises. Despite the myriad pressures on her body through travel, erratic eating, her appetite for junk food, and a punishing work schedule, Karen had maintained her weight of 120 pounds from the summer of 1967 all the way through to early 1973.

When Karen saw pictures of herself in concert in Lake Tahoe in August 1973 she was appalled. An unflattering dress revealed her paunch, and she hired a “workout guru” to visit her home. She bought a “hip cycle” and lay on her bed with it every morning and took it on tour. Her “guru” advised her to go on a high carbohydrate intake, and she eliminated most of the known calorie-packed foods from her diet, particularly ice cream which she loved.

Then something happened to truly frighten her. As she stepped up her exercises, instead of losing weight she became somewhat muscular. “She definitely began to bulk up. She wasn’t too heavy,” Richard says, “but the weight was coming on her.” This threw her into a muddle and could have been the chrysalis of her problem.

On November 13, 1973, the Carpenters guested on a Bob Hope TV special. When Karen saw the video of the show soon afterward, she remarked to Richard about her appearance. Self-consciously unhappy about how she appeared, she assured him she intended to “do something about it.” He agreed that she looked heavier than she had previously. The conversation passed as insignificant.

She stopped most of the exercises, which she believed to be too muscle-building, and began what she considered to be a normal diet, nothing remarkable or even noticeable by others. It was just sensible enough, she assured Richard, to shed a few pounds which was necessary. With the benefit of hindsight, he now thinks that the “bulking up” caused by the exercises might have been the turning point that intensified her decision to maintain a strict check on her weight.

Nobody can be certain of exactly when her anorexic habits took root, Richard insists – chiefly because Karen had always been conscious about her weight. She remarked often on how much she hated her ‘hourglass’ figure.

The year 1974 set no alarm bells ringing, as Karen was seen as one of the many health-aware young women – and since she had a historic reason for weight watching, why should anyone have been surprised? Photographed for the cover of Rolling Stone magazine on May 22, 1974, wearing a tank top, a cap, and the upbeat expression that was part of her trademark appeal, she looked radiantly happy and healthy.

Later that month, Richard flew to both Tokyo and London for press conferences at which he explained that Karen was exhausted and that sold-out tours in both Japan and the U.K. were being postponed to the following year, a monstrous blow to the fans, the promoters involved, and to A&M Records as well. It pained Richard and Karen, as both were raised to honor commitments but, given Karen’s condition, there really could be no second thoughts.

Had Karen been in perfect health, the touring schedule set up by management for 1975 was not realistic, especially given the fact that time for recording was supposed to be factored in to any year’s schedule, and recording by a rested Karen and Richard. Richard maintained what he felt was obvious, that the Carpenters were first and foremost a record act and that all of their other successes had stemmed from the records. So much touring had been scheduled in 1974 that not enough time had been set aside to record an album, much to the record company’s dismay, as a Carpenters album following the tremendous successes of “Now and Then” and “The Singles 1969-1973” would have been a monumental seller; witness the success of “Horizon” two years later. Clearly the time had come for a change in management and, in early 1976, that is precisely what happened.

At about the same time, Karen and Richard were working on their seventh studio album, “A Kind Of Hush.” Included were a remake of There’s A Kind Of Hush (All Over The World), the 1967 Herman’s Hermits’ hit, which did reach No.12 in the U.S., but was not an object of Richard’s affection for very long, and a lovely Carpenter/ Bettis/ Hammond ballad, I Need To Be In Love, that would reach No.24 in America, but would vindicate Richard’s belief in its hit potential some years later.

As the album was being recorded, a deal was being finalized which would procure for Karen and Richard a prime-time network television special, an achievement that had eluded them since the “Make Your Own Kind Of Music” chapter, five years before. Richard and Karen rightfully felt that an act of their stature should have at least one special; after all, every major record act from Barry Manilow to Olivia Newton-John had headlined theirs.

With A Kind Of Hush delivered to A&M for June, 1976 release, it was time for Karen and Richard to embark on the first of the postponed tours, this one in Japan, where they performed 21 concerts in a 27 day period in March and April. All were SRO, the tour was a resounding success, and Karen, Richard, and all concerned left for home a bit spent but happy all had worked out so well.

After completing the U.S. summer tour and wrapping the first T.V. special, the Carpenters left for Europe and the second postponed tour. Another success, this tour culminated with a record-breaking run at the London Palladium, where an album “Live At The London Palladium” was recorded, mixed by Karen and Richard at AIR Studios, starting about the third night into the engagement, and released within days of the Carpenters’ departure.

During the tour, it was becoming increasingly apparent to Richard (and many around him) that his use of a prescription sleeping pill that he had been taking before bed sporadically since late 1971, was no longer sporadic, but now habitual. The medication, Quaalude, had been prescribed by the family doctor who, quite correctly said that, taken as directed, the pill was safe and effective. Richard, not being a party animal, but being a bit naïve, had never heard of Quaalude, which was quite a hit with some of the younger generation on the party circuit. Richard soon found out why; a common side effect was euphoria. To Richard, who had never smoked through high school and college and had not had his mood altered by so much as a beer, this proved quite the experience! All seemed well and good to Richard for the first few years, as he took them in limited quantities, only before bed, and enjoyed the release at the end of some very trying days. The trouble was, of course, that nothing is forever, and that as the years passed he built up a tolerance and ended up taking more. By late 1976, it was affecting him badly at times and he knew that, before too long, he was going to have to face up to the problem.

These titles, along with the next single Sweet, Sweet Smile, were culled from the album ‘Passage’ which attained gold status. Sweet, Sweet Smile, a recording with a deliberate country arrangement, actually became a Top Ten hit on the American country charts, a first for Karen and Richard. (Top Of The World had previously reached No.2 on the country charts four years earlier by Lynn Anderson, whose recording was a virtual clone of the Carpenters’ track.) In 1978 ‘The Singles 1974-1978’, a UK-only release, took them to the No.2 spot on the British album chart.

For Karen and Richard, 1978 was dedicated to concert performances, video taping two television specials, and a project the pair had wanted to devote considerable time to since 1971, the making of a Christmas album. Karen’s voice, of course, was perfect for interpreting holiday music, both sacred and secular, and Richard’s talent in arranging and writing was a natural for the genre as well; Merry Christmas, Darling and the duo’s 1974 Christmas release, Santa Claus Is Coming To Town being excellent examples. The only problem was that Richard, due to his ongoing addiction to sleeping pills, was (and for some time had been) sapped of his normal amount of energy and a lot of his creative juices as well. (In hindsight to Richard now, and to the amazement of many around him then, it’s a wonder he was able to accomplish the rather large amount he did!) What Richard finally opted to do as far as his part in what was to become “Christmas Portrait”, was to select the material, sequence the tunes in advance (as he wanted one to flow seamlessly into the next,) hire two world-class arrangers who worked in the traditional mold, Peter Knight and Billy May, and just produce the sessions.

The result was most impressive; with an outsize orchestra and chorus comprised of the finest studio talent in Hollywood, great songs, great arrangements, all interpreted by Karen, who was born to the genre, “Christmas Portrait” could not have missed, and it didn’t; it was a hit when released in October 1978, and over the years has passed the 14 million mark in sales. The ongoing success of the album is bittersweet to Richard, who has realized for years what he could have done with the songs and the fact that, as a result, “Christmas Portrait” would have sounded much, much more like a true Carpenters album. As Richard says, “ ‘Christmas Portrait’ is really Karen’s first solo album, and it should have been released as such, but I don’t believe A&M would have been too keen on that, especially since no conventional album had been released by us that year.”

By late 1978, Richard, with much encouragement (and brow-beating) from family and friends, decided to ‘face the music’, and in January of 1979, entered a rehab facility for a six-week program. For any number of reasons, the first three weeks were “hell-on-earth,” Richard says, “but after that, things really started to change, and of course, all for the better.” Still, all of this had been a monumental change for Richard and he decided it was wise not to delve right back into work, and to pretty much take the rest of 1979 off; all the better to get accustomed to his changed fortunes. Karen, however, not one to stand idly by, wanted to take this time and record a solo album, something she and Richard felt she deserved. The only problem was that Richard (and others) knew she was not in the proper physical condition to tackle such a project. (During Richard’s six-week stay, Karen had to enter a hospital once again, due to exhaustion and low weight.) Karen would hear none of it and enlisted the talents of the highly successful East Coast producer, Phil Ramone.

By 1980 the Carpenters were back in the studio working on more tracks. The resultant album, ‘Made In America’, released in June 1981, confirmed that the duo still had a considerable following among the album-buying public.

In Britain it only just missed the Top Ten, with tracks that included Back In My Life Again, Because We Are In Love, I Believe You, Those Good Old Dreams, Strength Of A Woman, When You’ve Got What It Takes and When It’s Gone.

In addition, Touch Me When We’re Dancing, a single taken from the album, in 1981 gave the Carpenters what would become their final American Top 20 entry.

Karen returned to New York where, from late April through mid November, she spent more time in therapy and ultimately, the hospital, as the therapy was getting her nowhere and she had dropped to 80 pounds. It was in the hospital that, using a procedure known as hyper alimentation, her weight was increased by approximately 25 pounds. Although obviously heavier and appearing healthier than she had recently looked, Richard believed that things just weren't right; the weight had been put on artificially, Karen no longer possessed her boundless energy, and most importantly, he believed the life had gone out of her eyes. Feeling the worst was behind her, Karen returned to L.A. in November with plans to resume her life and career.

 In December 1982 she gave what would be her last performance at her godchildren’s school. (Given what was to transpire, it turned out that the Carpenters' last performance was December 3, 1978, a benefit performance at the Long Beach Pacific Terrace Theater, for the CSULB choir.)  Just weeks later, on February 4, 1983, she was found unconscious at her parents’ home in Downey where she had been visiting. Although she was rushed to the hospital, she was pronounced dead of a heart attack soon afterward – a side effect of her long battle with her illness.

Karen’s death did not mark the end of the Carpenters’ popularity, however. Later in 1983, a newly completed album comprised of outtakes from previous projects (with the exception of Now and You're Enough), entitled "Voice Of The Heart", enjoyed large sales, especially in Britain, where it climbed to No.6 on the chart with songs like Make Believe It’s Your First Time, Now, At The End Of A Song, Your Baby Doesn’t Love You Anymore and Ordinary Fool. The following year, a UK-only retrospective album, "Yesterday Once More", was a similar success. 1984 also saw the release of “An Old Fashioned Christmas”. Comprised of six tracks featuring Karen’s lead that did not make “Christmas Portrait” due to space limitations, the ballad version of Santa Claus Is Coming To Town from 1974, and instrumentals and some multi-harmony, a cappella vocal work by Richard, the album was completed at EMI and Abbey Road Studio A in London and mixed at A&M Studios in Hollywood. The “Yesterday Once More” album and video were released in America the following year. 1989 saw the release of “Lovelines”, an album that featured additional Carpenters outtakes, as well as two TV Special tracks by Karen and four tracks from Karen’s solo album. 

In Britain, 1990, a newly released 20-track greatest hits compilation, "Only Yesterday", spent nine weeks in the No. 1 spot and became the second-biggest selling album of the year.

In 1994, to celebrate the 25^th anniversary of Karen’s and Richard’s signing with A&M, two albums were released by the label; “Interpretations” by Karen and Richard, and a tribute album by various alternative artists, including Sonic Youth and Sheryl Crow, interpreting 14 Carpenters songs entitled, “If I Were A Carpenter”. In March 2005 the UK edition of their latest greatest hits offering, a 20-track CD and a 15-track DVD, had reached No.4 in two weeks time.

In Japan, where the duo had enjoyed resounding success since the 1971 release of Superstar and where 1973’s Yesterday Once More and album “Now & Then” had become phenomena, 1995 and the following year were to become years of unparalleled success for Karen and Richard.

Influential TV screenwriter writer Shinji Nojima had chosen I Need To Be In Love and Top Of The World to be the title songs in his 13-part TBS series Miseinen.

Other Carpenters tracks, including Desperado and For All We Know were featured in the body of the work. Miseinen, loosely translated as ‘Minors’, concerned and was targeted at the 13 to 21 year-old demographic, a group who heretofore may have only known the name “Carpenters” from their parents.

The series and the music proved to be a success beyond anyone’s wildest expectations, resulting in a newly released CD single of Top Of The World and I Need To Be In Love going quadruple platinum and elevating the latter to the popular and mythical status of Yesterday Once More and Top Of The World. An album, “Twenty-Two Hits of the Carpenters” compiled by Richard for release around the series, catapulted to No.1 and went on to become the largest selling album by a foreign artist in Japanese history – as another generation responded to the truly timeless appeal of two people who had quietly changed the world of popular music forever.

-- Best regards,
Dan West
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"Painted Rhythm"

Composed and arranged by Stan Kenton

5 Saxes
5 Trumpets
5 Troms
Piano
Guitar
Bass
Drums

42Kb 3Min:23Sec 155bpm  480 ticks per quarter

***Exclusive to Midikar***
*Please do not distribute*

Artistry Jumps
Melbourne, Australia




       Get the name you always wanted with the new y7mail email address.
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"Painted Rhythm"
Composed and arranged by Stan Kenton
5 Saxes
5 Trumpets
5 Troms
Piano
Guitar
Bass
Drums
42Kb 3Min:23Sec 155bpm 480 ticks per quarter
***Exclusive to Midikar***
*Please do not distribute*
Artistry Jumps
Melbourne, Australia
Get the name you always wanted with the new y7mail email address.
www.yahoo7.com.au/y7mail
------------------------------------
It's All About The Music! Let the music roll!!
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-- Bob
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-- Best regards,
Dan West
===============================================|
MIDKAR
===============================================|
You Can Upload And Download Files Here!
http://groups.yahoo.com/group/midkar/
===============================================|
Wild West's Music Studio
===============================================|
http://mysite.verizon.net/wild_west2/studio.htm
===============================================|

Excellent!!

Tracy Chapman (born March 30, 1964) is an American singer-songwriter, best known for her singles, "Fast Car," "Talkin' 'Bout a Revolution," "Baby Can I Hold You," and "Give Me One Reason." She is a multi-platinum and multi-Grammy Award-winning artist.

Born in Cleveland, Ohio, Tracy Chapman began playing guitar and writing songs as a child. She was accepted into A Better Chance, the national resource for identifying, recruiting and developing leaders among academically gifted students of color, which enabled her to attend Wooster School in Connecticut, and was eventually accepted to Tufts University in Medford, Massachusetts.

In May 2004, her alma mater, Tufts University honored her with an honorary degree of Doctor of Fine Arts, for her contributions as a socially conscious and artistically accomplished musician.

Tracy often performs at and attends AIDS charities, amfAR and AIDS/LifeCycle.

Chapman generally doesn't discuss her personal life. In an interview in The Guardian in December 2006 black feminist writer Alice Walker spoke about her relationship with Chapman in the mid-1990s, saying, "Yeah I loved it too. Absolutely."

During college, Chapman began street-performing and playing guitar in coffeehouses in Cambridge, Massachusetts. After waiting to graduate college, she signed to Elektra Records, releasing Tracy Chapman (1988). The album was critically acclaimed, and she began touring and building a fanbase. Soon after she performed it at the televised Nelson Mandela 70th Birthday Tribute concert in June 1988, Chapman's "Fast Car" began its rise on the US charts, eventually becoming a Top 10 pop hit on the Billboard Hot 100. "Talkin' About A Revolution," the follow-up, charted at #75, and was followed by "Baby Can I Hold You," which peaked at #48 The album sold well, going multi-platinum and winning four Grammy Awards, including an honour for Chapman as Best New Artist. Later in 1988, Chapman was a featured performer on the worldwide Amnesty International Human Rights Now! Tour. According to the VH1 website, "her album helped usher in the era of political correctness -- along with 10,000 Maniacs and R.E.M., Chapman's liberal politics proved enormously influential on American college campuses in the late '80s".

Her follow-up album Crossroads (1989) was less commercially successful. By 1992's Matters of the Heart, Chapman was playing to a small and devoted audience. However, to the surprise of most industry-watchers, Chapman's fourth 1995 album New Beginning proved successful, selling over 3 million copies just in the U.S. This album included the hit single "Give Me One Reason" which won the 1997 Grammy for Best Rock Song and became Chapman's most successful single to date. The following album was 2000's Telling Stories, which featured more of a rock sound than folk. Its hit single "Telling Stories" received heavy airplay on European radio stations, and on Adult Alternative and Hot AC stations in the United States. Her sixth album was Let It Rain (2002), in support of which she toured in Europe and the US in 2003.

Where You Live, Chapman's seventh studio album, was released in September 2005. A brief supporting tour took place in major cities across the US in October and continued throughout Europe over the remainder of the year. The "Where You Live" tour was extended into 2006, the 28 date European tour featured summer concerts in Germany, Italy, France, Sweden, Finland, Norway, U.K, Russia and more. In addition, on the 5th June 2006, Tracy performed at the 5th Gala of Jazz in Lincoln Center, New York.

Tracy Chapman will perform in a session titled "Tales Of Passion" at the 2007 TED (short for Technology Entertainment Design) conference in Monterey, California. She will perform on March 9.  Also in March, Tracy will perform at the San Fransico Women's HIV Program at UCSF on Tuesday the 20th.

Watch the real thing:  www.youtube.com/watch?v=y2kEx5BLoC4


Tracy Chapman: "Give Me One Reason"

Give me one reason to stay here and I'll turn right back around
Give me one reason to stay here and I'll turn right back around
Because I don't want leave you lonely
But you got to make me change my mind
Baby I got your number and I know that you got mine
But you know that I called you I called too many times
You can call me baby you can call me anytime
But you got to call me

Give me one reason to stay here - and I'll turn right back around
Give me one reason to stay here - and I'll turn right back around
Because I don't want leave you lonely
But you got to make me change my mind

I don't want no one to squeeze me - they might take away my life
I don't want no one to squeeze me - they might take away my life
I just want someone to hold me and rock me through the night

This youthful heart can love you and give you what you need
This youthful heart can love you and give you what you need
But I'm too old to go chasing you around
Wasting my precious energy

Give me one reason to stay here - and I'll turn right back around
Give me one reason to stay here - and I'll turn right back around
Because I don't want leave you lonely
But you got to make me change my mind

Baby just give me one reason - Give me just one reason why
Baby just give me one reason - Give me just one reason why I should stay
Because I told you that I loved you
And there ain't no more to say

-- Best regards,
Dan West
===============================================|
MIDKAR
===============================================|
You Can Upload And Download Files Here!
http://groups.yahoo.com/group/midkar/
===============================================|
Wild West's Music Studio
===============================================|
http://mysite.verizon.net/wild_west2/studio.htm
===============================================|

Wayne Shorter (born August 25, 1933) is an American jazz composer and saxophonist.

Commonly regarded as one of the more important American jazz sax players and composers since the 1960s, Shorter has recorded dozens of albums as a leader, and appeared on dozens more with others. Many of his compositions have become standards.

Shorter was born in Newark, New Jersey, and attended Newark Arts High School. He was encouraged by his father to take up the saxophone as a teenager (his brother Alan became a trumpeter). After graduating from New York University in 1956 Shorter spent two years in the U.S. Army, during which time he played briefly with Horace Silver. After his discharge from the army he played with Maynard Ferguson.It was in his youth that Shorter was given the nickname Mr.Gone later an album title for Weather Report

In 1959 Shorter joined Art Blakey and the Jazz Messengers. He stayed with Blakey for five years, and eventually became musical director for the group.

Herbie Hancock had this to say of Shorter's tenure in the group: "The master writer to me, in that group, was Wayne Shorter. He still is a master. Wayne was one of the few people who brought music to Miles that didn't get changed." Davis said: "Wayne is a real composer. He writes scores, write the parts for everybody just as he wants them to sound. He also brought in a kind of curiosity about working with musical rules. If they didn't work, then he broke them, but with musical sense; he understood that freedom in music was the ability to know the rules in order to bend them to your own satisfaction and taste."

Simultaneous with his time in the Miles Davis quintet, Shorter recorded several albums for Blue Note Records, featuring almost exclusively his own compositions. JuJu and Speak No Evil are two of the most well known recordings from this era. They are notable for their use of:

• pentatonic melodies harmonised with pedal points and complex harmonic relationships;
• structured solos that reflect the composition's melody as much as its harmony;
• long rests as an integral part of the music, in contrast with other, more effusive, players of the time (e.g. John Coltrane).

He also recorded occasionally as a sideman (again, mainly for Blue Note) with Donald Byrd, McCoy Tyner, Grachan Moncur III, Freddie Hubbard, Lee Morgan, and bandmates Hancock and Williams. Until 1968 he played tenor saxophone exclusively. The final album on which he played tenor in the regular sequence of Davis albums was Filles de Kilimanjaro. In 1969 he played the soprano saxophone on the Davis album In a Silent Way and on his own Super Nova (recorded with then-current Davis sidemen Chick Corea and John McLaughlin). In live Davis recordings from summer 1969 to early spring 1970 he played both saxophones. By the early 1970s, however, he chiefly played soprano saxophone.

Shorter remained in Davis's band after the breakup of the quintet in 1968, playing on early jazz fusion recordings including In a Silent Way and Bitches Brew (both 1969). His last live dates and studio recordings with Davis were in 1970.

In 1970, along with keyboardist Joe Zawinul (also a veteran of the Miles Davis group), Shorter helped form Weather Report. Other original members were bassist Miroslav Vitous, percussionist Airto Moreira, and drummer Alphonse Mouzon. After Vitous' departure in 1973 Shorter and Zawinul co-led the group until the band's break up in late 1985. A great variety of excellent musicians that would make up Weather Report alumni over the years (most notably the revolutionary bassist Jaco Pastorius) would demonstrate that the band could still produce great music despite changes in personnel.

Shorter also recorded critically acclaimed albums as leader, notably Native Dancer, which featured Brazilian composer and vocalist Milton Nascimento, and Atlantis. He also contributed to several albums by Joni Mitchell. On the title track of Steely Dan's 1978 album Aja, he played a solo the critic who wrote the album's liner notes called "suitable for framing".

Concurrently, in the late 1970s and the early 1980s he toured in the V.S.O.P. quintet. This group was a revival of the 1960s Miles Davis quintet, except that Freddie Hubbard filled the trumpet chair instead of Miles.

For further discussion of V.S.O.P. please see Herbie Hancock.

Performing on soprano and tenor saxophone, Shorter was also cast as a 1950s jazz musician in Bertrand Tavernier's 1986 film Round Midnight.

In 1995 Shorter released the album High Life, his first solo recording for seven years. It was also Shorter's debut as a leader for Verve Records. Shorter composed all the compositions on the album and co-produced it with the bassist Marcus Miller. High Life received the Grammy Award for best Contemporary Jazz Album in 1997.

Shorter's wife Ana Maria and their niece Dalila were both killed on TWA Flight 800 in 1996, and he married Carolina Dos Santos, a close friend of Ana Maria, in 1999.

Shorter would work with Hancock once again in 1997, on the much acclaimed and heralded album 1+1. The song Aung San Suu Kyi(named for the Burmese pro-democracy activist) won both Hancock and Shorter a Grammy award.

Shorter formed his current band in 2000, the first permanent acoustic group under his leadership. The quartet is composed of Shorter, pianist Danilo Perez, bassist John Patitucci, and drummer Brian Blade. Two albums of live recordings featuring this quartet have been released (Footprints Live (2001) and Beyond the Sound Barrier (2005)). The quartet has received great acclaim from fans and critics, and the musicians have come to consider themselves family on and off stage. Shorter's 2003 album Alegria received the 2004 Grammy Award for Best Instrumental Jazz Album; it features the quartet with a host of other musicians, including pianist Brad Mehldau, drummer Terri Lyne Carrington and former Weather Report percussionist Alex Acuña. Beyond the Sound Barrier received the 2006 Grammy Award for Best Instrumental Jazz Album.

Shorter is a Nichiren Buddhist.

• Down Beat Poll Winner New Star Saxophonist (1962)
• Grammy Award Best Jazz Fusion Performance, Vocal Or Instrumental for Weather Report's 8:30 (1979)
• Grammy Award Best Instrumental Composition for Dexter Gordon's Call Sheet Blues (1987)
• Grammy Award Best Jazz Instrumental Performance, Individual Or Group for A Tribute To Miles (1994)
• Grammy Award Best Contemporary Jazz Performance for High Life (1996)
• Grammy Award Best Instrumental Composition for Aung San Suu Kyi (1997)
• NEA Jazz Masters (1998)
• Honarary Doctorate of Music (1999; Berklee College of Music)
• Grammy Award Best Jazz Instrumental Solo for In Walked Wayne (1999)
• Grammy Award Best Instrumental Composition for Sacajawea (2003)
• Grammy Award Best Jazz Instrumental Album, Individual or Group for Alegría (2003)
• Grammy Award Best Jazz Instrumental Album, Individual or Group for Beyond The Sound Barrier (2005)
• Jazz Journalists Association Jazz Award Small Ensemble Group of the Year to Wayne Shorter Quartet (2006)

-- Best regards,
Dan West
"It Takes A Love Of Music To Put A MIDI Together."
Ed Biggs
===============================================|
MIDKAR
===============================================|
You Can Upload And Download Files Here!
http://groups.yahoo.com/group/midkar/
===============================================|
Wild West's Music Studio
===============================================|
http://mysite.verizon.net/wild_west2/studio.htm
===============================================|

Today, MIDKAR has reached it's 4th Anniversary!


Four years ago, Midkar started out with just 2 members, including me!  Today, we have over 375 members and growing each day.  The Midkar staff would like to take this time to thank you for being apart of our family.  You ask, family?  I like to think of that way.  I don't know about you, but I have met and made many new friends from around the world, and renewed many old friends.


My hopes for Midkar in our 5th year, is that it will continue to grow and share the music we love.  Again, Bob, Jack and myself........Thank you!! 

Note: We have a Photo Gallery @ Midkar, could you please drop off a picture or two!

We would love to put a face behind the name!

http://tech.ph.groups.yahoo.com/group/midkar/photos  

-- Best regards,
Dan West
===============================================|
MIDKAR
===============================================|
You Can Upload And Download Files Here!
http://groups.yahoo.com/group/midkar/
===============================================|
Wild West's Music Studio
===============================================|
http://mysite.verizon.net/wild_west2/studio.htm
===============================================|

Most excellent!!

"Almost Unreal," written by Per Gessle and performed by Roxette, was included on the soundtrack of the 1993 film Super Mario Bros. starring Bob Hoskins, John Leguizamo and Dennis Hopper and released as a single. It reached the Top 10 on the U.K. Singles Chart and a low position on the Billboard Hot 100. The song "Fingertips '93" was not released as a single in the UK and this is the first time therefore the song was released there.

The full track listing from the CD Single is:

1. Almost Unreal
2. The Heart Shaped Sea
3. Fingertips '93
4. Almost Unreal (A/C Mix)

Watch the real thing: www.youtube.com/watch?v=vaoQEFAl9fE

Roxette: Almost Unreal

Babe, come in from the cold
and put that coat to rest.
Step inside, take a deep breath
and do what you do best.
Yeah, kick off them shoes
and leave those city streets.
I do believe, love came our way,
and fate did arrange for us to meet

I love when you do that hocus pocus to me
The way that you touch, you got the power to heal
You give me that look, it's almost unreal...
it's almost unreal

Hey, we can't stop the rain.
Let's find a place by the fire.
Sometimes I feel, strange as it seems,
you've been in my dreams all my life

I love when you do that hocus pocus to me
The way that you touch, you got the power to heal
You give me that look, it's almost unreal...
it's almost unreal.

It's a crazy world out there.
Let's hope our prayers are in good hands tonight

Oh, I love when you do that hocus pocus to me
The way that you touch, you got the power to heal
You give me that look, it's almost unreal...
it's almost unreal

-- Best regards,
Dan West
===============================================|
MIDKAR
===============================================|
You Can Upload And Download Files Here!
http://groups.yahoo.com/group/midkar/
===============================================|
Wild West's Music Studio
===============================================|
http://mysite.verizon.net/wild_west2/studio.htm
===============================================|

For our 4'th anniversary I'm attaching 5 of my many favorite MIDI's

After The Lovin' (Seq Gary Wachtel)
C. Q. Boogie (Seq Don Carroll)
Cherokee Boogie (Seq Eddie Step)
Distant Drums (Seq Peter Wolmarans)
Turn Your Radio On (Seq Randall Lawson)

For many of my other favorites please visit my favorites page:
http://www.ajsmidi.com/favorite/favorite.html

Jack
--
=================================================
Visit Jack's "MIDI Music" Home Page At:
http://www.ajsmidi.com/
Or My Alternate Home Page And General Index:
http://www.discoverynet.com/~ajsnead/
If You Love Free MIDI Music, Visit A MIDI Lovers Web Site Below:
http://free-the-midi.com/
Join The Free-The-MIDI Group Below:
http://groups.yahoo.com/group/free-the-MIDI/
Join The MIDICHAT Group Below:
http://groups.yahoo.com/group/MIDIChat/
Join The MID-KARAOKE Group Below:
http://groups.yahoo.com/group/midkar/
"Be Careful Out There!"
=================================================

-- Best regards,
Dan West
===============================================|
MIDKAR
===============================================|
You Can Upload And Download Files Here!
http://groups.yahoo.com/group/midkar/
===============================================|
Wild West's Music Studio
===============================================|
http://mysite.verizon.net/wild_west2/studio.htm
===============================================|

Michael Learns to Rock

In 1987, the singer-keyboardist Jascha Richter and drummer Kåre Wanscher were high school students in Aarhus, Denmark, when they saw guitarist Mikkel Lentz with his group the Rocking Studs and asked him to form a band. A year later Søren Madsen joined, playing bass.

The group debuted in Aarhus in May 1988 and later entered the city's annual talent show. The band won and hurriedly had to come up with a name. In an interview Richter admitted that it was named after Michael Jackson: "Yeah, it was like Johnny Hates Jazz and Frankie Goes to Hollywood. Sure, I've regretted calling ourselves this many times since, but we were successful so quickly we had to stick with it and over time I got used to it." (Taipei Times, 06 07 2007)

A member of the contest jury, J.P. Anderson, became the band's manager. MLTR played live but did not release its eponymous debut album, "Michael Learns to Rock," until September 1991. A single from the album, "The Actor," topped the Danish chart and also did well in Norway, Sweden, Indonesia, Malaysia, Singapore and the Philippines.

In 1993, MLTR released Colours which sold over 1 million records. The album included the singles "Sleeping Child," "25 Minutes" and "Out of the Blue." It also toured Asia for the first time. Two years later MLTR's third album, Played On Pepper came out, selling 1.2 million units, and the group played 25 shows in 10 countries. Hits from this album included "That's Why (You Go Away)" and "Someday."

The album "Paint My Love" was released in 1996 and sold 3.4 million copies. The band was also chosen as the headliner for the "Celebrate Hong Kong" concert on July 6, 1997, marking the transfer of Hong Kong from Britain to China. Its fourth studio album, "Nothing To Lose," was released in September 1997.

Soon after, MLTR's members took a break to spend time with their families and develop projects on their own or in collaboration with other artists. Even so, Richter wrote some new songs and the band's anthem "Strange Foreign Beauty" was added to a 1998 greatest hits album.

In 2000, Søren Madsen decided to leave the group to embark on a solo career, and the three remaining members carried on and produced the album "Blue Night," which went platinum in Denmark and sold well in Asia. The band attributed its success in Asia to a clean-living image and singing in English as a second language, and the fact that their lyrics are relatively easy to learn and sing (Taipei Times, 06 07 2007).

After the release of "Blue Night", the band took a prolonged hiatus, with Jascha Richter branching out to work on his solo album, "Blue Earth". Jascha and the band later admitted that they even considered disbanding during this time, but ultimately decided against, after their success with their greatest hits album releases. By 2004, the band regrouped again for yet another album. First, they decided to change their name once again, reverting from MLTR back to the original Michael Learns to Rock.(not cited)

"Take Me To Your Heart" (2004) focused on the Asian market. The single "Take Me To Your Heart" was a remake of Jacky Cheung's "Goodbye Kiss 吻别" and was popular in China, Hong Kong, Vietnam, and Taiwan. MLTR sang an English and Chinese duet of "Take Me To Your Heart" with Chinese singer Hu Yanbin at a 2005 New Year's Party in Guangzhou, China. The band also did a duet of the song with South Korean star Shin Hye-sung, of boy band Shinhwa.

In 2007, MLTR released "The Best of Michael Learns to Rock Live" (available by download from the band's Web site) and in July toured Hong-Kong, Taiwan, Thailand and Malaysia.

-- Best regards,
Dan West
===============================================|
MIDKAR
===============================================|
You Can Upload And Download Files Here!
http://groups.yahoo.com/group/midkar/
===============================================|
Wild West's Music Studio
===============================================|
http://mysite.verizon.net/wild_west2/studio.htm
===============================================|

-- Bob
----
Jukebox Saturday Night, http://www.damav.com
-----------------------------------------------------------------
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Bob
----
Jukebox Saturday Night, http://www.damav.com
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You Can Upload, Download, & Request Files Here!
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Chattanooga Choo-Choo (1941)
Glenn Miller
Composed by Harry Warren, Arranged by Jack Mason
Seq. ©1996 Blue Max Distribution (Gary Wachtel)
152.7 kb - 5:24


On YouTube

Chattanooga Choo Choo" is a big-band/swing song which was featured in the 1941 movie Sun Valley Serenade, which starred amongst others Sonja Henie, Glenn Miller and his Orchestra, The Modernaires, Milton Berle and Joan Davis. It was performed in the film as an extended production number, featuring vocals by Tex Beneke, Paula Kelly, and the Modernaires followed by a production number showcasing Dorothy Dandridge and an acrobatic dance sequence by The Nicholas Brothers.

The 78-rpm commercial version of the song was recorded on May 7th, 1941 for RCA Victor's Bluebird label and became the first to be certified a gold disc on February 10, 1942, for sales of 1,200,000. The transcription of this award ceremony can be heard on the first of three volumes of RCA's "Legendary Performer" compilations on Glenn released by RCA in the 1970s. In the early 1990s a two-channel recording of a portion of the Sun Valley Serenade soundtrack was discovered, allowing reconstruction of a true-stereo version of the film performance.

The song was written by the team of Mack Gordon and Harry Warren while traveling on the Southern Railway's "Birmingham Special" train. The song tells the story of travelling from New York City to Chattanooga. However, the inspiration for the song was a small, wood-burning steam locomotive of the 2-6-0 type which belonged to the Cincinnati Southern Railroad, which is now part of the Norfolk Southern Railway system. That train is now a museum artifact (see below). From 1880, most trains bound for America's South passed through the southeastern Tennessee city of Chattanooga, often on to the super-hub of Atlanta. The Chattanooga Choo Choo did not refer to any particular train, though some have incorrectly asserted that it referred to Louisville and Nashville's Dixie Flyer or the Southern Railway's Crescent Limited.

Visit the
 


Lyrics:

Pardon me, boy
Is that the Chattanooga choo choo?
Track twenty-nine
Boy, you can gimme a shine
I can afford
To board a Chattanooga choo choo
I've got my fare
And just a trifle to spare

You leave the Pennsylvania Station 'bout a quarter to four
Read a magazine and then you're in Baltimore
Dinner in the diner
Nothing could be finer
Than to have your ham an' eggs in Carolina

When you hear the whistle blowin' eight to the bar
Then you know that Tennessee is not very far
Shovel all the coal in
Gotta keep it rollin'
Woo, woo, Chattanooga there you are

There's gonna be
A certain party at the station
Satin and lace
I used to call "funny face"
She's gonna cry
Until I tell her that I'll never roam
So Chattanooga choo choo
Won't you choo-choo me home?
Chattanooga choo choo
Won't you choo-choo me home?

-- Bob
----
Jukebox Saturday Night, http://www.damav.com
-----------------------------------------------------------------
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------------------------------------------------------------------------------
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---------------------------------------------------------------------------------------------------------
I hope you'll join me in supporting Barack by making a donation to my personal fundraising page:
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-- Bob
----
Jukebox Saturday Night, http://www.damav.com
-----------------------------------------------------------------
You Can Upload, Download, & Request Files Here!
http://groups.yahoo.com/group/midkar/
------------------------------------------------------------------
Real Estate Site
http://robertsilvestri.point2homes.biz/
-----------------------------------------------------------------------------
My Barack Page
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------------------------------------------------------------------------------
See the Issues
http://www.barackobama.com/issues/
---------------------------------------------------------------------------------------------------------
I hope you'll join me in supporting Barack by making a donation to my personal fundraising page:
http://my.barackobama.com/page/m/ff28bccc351f0e5c/mdgbIF/VEsE/ ---------------------------------------------------------------------------------------------------------