Youngblood

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Carl Wilson
Youngblood
Iconoclassic
ICON 1019
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1. What More Can I Say?
Music by Carl Wilson
Lyrics by Myrna Smith-Schilling

2. She’s Mine
Music by Carl Wilson
Lyrics by Myrna Smith-Schilling

3. Givin’ You Up
Music by Carl Wilson
Lyrics by Myrna Smith-Schilling & Jerry Schilling

4. One More Night Alone
Music & Lyrics by Billy Hinsche

5. Rockin’ All Over The World
Music & Lyrics by J.C. Fogerty

6. What You Do To Me
Words & Music by John Hall and Johanna Hall

7. Young Blood
Music & Lyrics by Jerry Leiber, Mike Stoller and Doc Pomus

8. Of The Times
Music by Carl Wilson
Lyrics by Myrna Smith-Schilling

9. Too Early To Tell
Music by Carl Wilson
Lyrics by Myrna Smith-Schilling and John Daly

10. If I Could Talk To Love
Music by Carl Wilson
Lyrics by Myrna Smith-Schilling

11. Time
Music by Carl Wilson
Lyrics by Myrna Smith-Schilling

Bonus Track:

12: Givin’ You Up (Single Edit)
Music by Carl Wilson
Lyrics by Myrna Smith-Schilling and Jerry Schilling
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Carl Wilson and I met exactly 45 summers ago, on July 3, 1965, when my group, Dino, Desi & Billy, opened for The Beach Boys at the Hollywood Bowl along with a dizzying array of other performers that included Donna Loren, The Sir Douglas Quintet, The Righteous Brothers, Sonny & Cher, The Byrds and The Kinks. Carl was already a megastar by virtue of being in the most successful and popular American band in the world, and through the years I got to know him as a dear friend and close family member when he and my sister, Annie, married in 1966. Their union lasted many years and produced two extraordinary and loving sons, Jonah and Justyn. I got to experience Carl as a firm yet fair employer when I joined the ranks of The Beach Boys as a musician and vocalist circa 1972; and when he and my sister parted ways in 1980, Carl still continued to include me in his life. When he charted his solo career in the early '80s, I was flattered that I was the only Beach Boys band member he invited along for the ride and I eagerly jumped at the opportunity to join his carefully screened backup musicians and singers in support of his first solo album, Carl Wilson (produced by James William Guercio). We toured both the United States and Canada playing to enthusiastic crowds in small clubs like The Bottom Line in New York City and opened for our friends, The Doobie Brothers, on two of their summer tours.

Carl's oldest son Jonah says, "I remember being on the road when my dad was touring for this record. We had always traveled in style riding in limos, private airplanes or at least in First Class on commercial flights, and the solo tours were quite different. Because these were not Beach Boys tours, the budget was far smaller and therefore the way in which we traveled was far more basic without any of the frills or luxurious accommodations. Some of my very favorite memories are of being on the road with my dad and I will treasure them for the rest of my life." Justyn Wilson recalls, “At the time of my father’s solo venture, I remember not fully understanding why he was choosing long car rides over private planes and being an opening act over singing in a legendary rock band, but now I deeply respect and admire his courage and willingness to get out of his comfort zone and do what was inside of him and that obviously wanted and needed to come out. I’m sure I’d love him just the same if he had never done any solo work, but I must say that I respect him even more for having done it.”

Carl's former manager, Jerry Schilling, recounts that in January of 1981, he and Carl met with Billy Vera (Billy & the Beaters) after one of his performances at the famed Roxy nightclub on the Sunset Strip. Jeff "Skunk" Baxter was one Billy's band members, and they all got together at club owner Lou Adler's private lounge, On The Rox, after the show. It was at this informal gathering that the idea of Carl working with Skunk on a second solo album was first contemplated. Baxter remembers, "Jerry contacted me later and asked if I would like to work with Carl, and I thought it was a great idea."

To me, Skunk Baxter had been chosen to produce Carl’s follow-up album both for his skill as a musician and also for his wizardly command of the recording studio on a technical level. Not only was he a world-class guitar slinger being a former member of the well-respected rock and jazz-fusion supergroup Steely Dan as well as the aforementioned Doobie Brothers, but he had recently moved into the area of design and development for the Roland Music Corporation. With the possible exception of gadgeteer and progenitor of 12-string electric folk-rock Roger McGuinn (The Byrds), Baxter had more electronics, cutting edge technological hardware and special effects than anyone I knew. He was also consulting on missile defense systems for the U.S. government, a vocation that continues to this day. In short, he possessed a complex, brilliant mind, with an artist’s flair and the fervor of a patriot.

I had already known Carl both personally and professionally for 17 years when I got the phone call inviting me to write songs with him for the second album at his transitional new home located on the magnificent property of our mutual friend Jim Guercio’s popular Caribou Ranch, nestled on a remote, pastoral Colorado mountaintop near the small, quaint town of Nederland – a far cry from the sandy shores of Malibu.  Not only was the location extremely secluded, safe and private, but it was also a peaceful, sylvan place and ideal for Carl, recognized as the peacekeeper of his sometimes-turbulent band, The Beach Boys. Carl's call to me came "out of the blue" and I was surprised, delighted and intimidated all at once. We had a lot of shared experiences in all the years we had known each other, but he had never asked me to collaborate with him as a songwriter and I wasn't sure I had anything that would meet with his well-known high standard. I prepared to travel to the mountaintop, bringing with me a half a dozen tunes that were in various stages of development, hoping Carl would like them enough to add some lyrical or musical content of his own. That never happened and we never did collaborate on anything as a songwriting team during this period. But something else did happen he loved my song, "One More Night Alone," and so did Baxter and Guercio. They all concurred that it should be included on the album. My song had "made the cut" and it felt good.

While at Caribou, one couldn't have asked for a more congenial host and mentor than Jim Guercio - the wunderkind musician (Chad & Jeremy), producer (Blood, Sweat & Tears, Chicago, The Buckinghams), film director (Electra Glide in Blue), publisher and manager with a vast knowledge of the music business and an intimate understanding of the sensibilities and sensitivities of the artists who lived therein, many of whom had passed through the gated portals of his incredible ranch to either record, write or just visit.

Like his brothers Brian and Dennis, Carl used several different lyricists over the years on songs he contributed to The Beach Boys' catalog including Jack Rieley ("Long Promised Road," "Feel Flows," "The Trader'). Geoffrey Cushing-Murray ("Gain' South," "Full Sail," "Angel Come Home") and others, all chosen for their compatibility with him. Myma Smith was no exception. As a background singer for Elvis Presley, she showcased her vocal talents as a member of The Sweet Inspirations while also honing her impressive linguistic skills as an English teacher and playwright. According to then husband Jerry Schilling, he paired the two as a way for both of them to express themselves outside the traditional confines of their respective groups. The new writing team did most of their creative work at Caribou Ranch. (Though an attempt was made to reach Myrna for comments regarding her experiences and memories of writing and recording with Carl, tragically and sadly, a series of medical setbacks has precluded her involvement in these liner notes.)

Baxter comments, "I thought Carl was one of the best vocalists I had ever heard and, after talking to him, the idea of doing a project that focused specifically on him really appealed to me big time." Jim Guercio remarks, "I love Skunk and was totally supportive." Baxter continues, "I felt my main task as a producer for this project was to create an environment free of any creative restraints that would support and encourage Carl to explore and accomplish the things he wanted, whatever that might be. This project was about Carl and I wanted to make sure, to the best of my ability, that it stayed that way." Jonah Wilson states, "This was such a major departure from seeing my dad perform with The Beach Boys for my entire life and it was interesting for me to see him in his own right, doing music I had never heard him do before."

Though he had his choice of any studio in the world, Baxter decided to record the album at Cherokee Studios, located in L.A.'s borscht belt on Fairfax Avenue near world famous Canter's Deli. When asked the reason for his selection of this particular recording facility he replied, "Cherokee was one of the finest recording studios ever built. Their main recording consoles were the Trident 'A' Range models, my personal favorite. I had done a number of production projects there and was extremely pleased with the results. I knew Carl would get the care and, attention this project warranted and needed from Dee, Joe and Bruce Donaldson, the owners." Regarding his choice of musicians Baxter states, "I picked these musicians very carefully, many of whom I had worked with in my career as a studio guitarist. I had talked to a number of players to see who among them really liked Carl's voice and music before I even told them about the gig. They were all pros, and as such, they all understood that their main focus was to support the artist and, because Carl stayed engaged with every one of them during the project, all of them gave 110%." Baxter's Steely Dan musical sidekick Elliott Randall offers, "Carl will always be one of my all-time favorite music masters. When I was asked for specific recollections of the recording of the album Youngblood for these notes, my only reaction is ... it was the entire magical musical journey! The sweetest voice, the ever-knowledgeable music Buddha - that's Carl."

As the voice of "Good Vibrations," "Darlin','' "I Can Hear Music" and so many other classic Beach Boys songs, Carl was a vocal paragon and a highly sought after background singer. He has vocal credits on a variety of songs including Sir Elton John's anthemic "Don't Let The Sun Go Down On Me," Joan Jett's surfer stompin' "Good Music" and Warren Zevon's moody and powerful "Desperados Under The Eaves" produced by our friend, Jackson Browne. I had the honor and privilege of singing right alongside Carl on all of these diversified recordings. As far as the use of Burton Cummings (The Guess Who) and Timothy B. Schmit (The Eagles) as background singers on Carl's album, Baxter recounts that he had worked on a solo Burton Cummings project and that Cummings had immediately agreed to work on Carl's project. Baxter says, "When you work with someone who sings as good as Carl, you want to get the best singers you can. Burton was a real studio savvy guy with no super ego and he took great direction like the other musicians. It's hard to find singers with the same purity as Carl's voice and sonically, Timothy's voice complemented his - it was a superlative, great fit." Perhaps Sir Paul McCartney said it best when he publicly stated that "God Only Knows" was his favorite song with a reasonable inference that Carl Wilson was his favorite singer.

At its core, Youngblood is a rock 'n' roll album fused with Carl's love of all the great Motown artists along with a healthy portion of rhythm and blues combined with a rich sprinkling of his own blue-eyed soul, a touch of good humor, and more than just a dash of tenderness, all rolled up into one remarkable aural feast. Justyn Wilson elucidates, "One thing that I love about Youngblood is that it showcases a great range in my father's musical interests and influences. From the painful emotion and depth of 'Givin' You Up' and 'One More Night Alone' and the extremely tender 'If I Could Talk To Love' to the playful title track and a slammin' 'Rockin' All Over The World,' this album is all heart and soul and hits many different tones and themes." Justyn's brother Jonah marvels, "I had always heard how much my dad loved Chuck Berry and the R & B music of that era, but for the first time in my life I heard that R & B influence throughout a lot of this record." Listen to this CD and you'll get to know Carl not only as a multi-dimensional singer and superb guitarist but also as a sincere, caring and loving human being - you can hear it in his voice.

Carl's brother, Brian Wilson, added a most poignant comment for this essay when he told me, "I want everybody to know that Carl was one of the greatest singers in the world, and I will cherish all the songs he left behind."

The man who sang with "the voice of an angel" and who was arguably the greatest singer in popular music, was silenced on Feb. 6, 1998, but lives on for the world to appreciate and remember once again in this splendid and timely reissue. Please enjoy Youngblood and keep on rockin' in the same loving spirit as the great Carl Wilson.
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Tracks:

1. "What More Can I Say?" - This song clobbers you right from the very first chord, grabs you and never lets go. You know instantly it's going to be a full-on rocker - driving, unrelenting, straight ahead 4/4 rock 'n' roll, just the way Carl liked it. A massive plethora of slide guitars signals the beginning of the first verse and returns throughout the song during the solo and at the tag, repeating the song's memorable musical phrase. Listen as we go for an audio ride on album producer Jeff "Skunk" Baxter's trippingly dexterous guitar licks, incorporating Wes Montgomery octave runs, Hendrix-drenched string bends and rapid-fire Gatling gun melodic embellishments. Carl's rock solid rhythm guitar is ever-present, employing his oft-used modal approach creating tonalities and overtones usually not heard with a standard guitar tuning. Alan Krigger (Ike & Tina Turner, Giuffria) bashes away on his vintage '60s series Ludwig drum kit a la Led Zeppelin's John Bonham and one can see why Carl used him in both incarnations of his live band that included myself, Crosby, Stills & Nash's left-handed bassist Gerald Johnson and fluid guitarist and vocalist John Daly (the band later included Michael Vila' on bass and Geo Connor on guitar). Baxter was inclined to use his own select "Wrecking Crew" of studio session cats. But in a recent conversation Krigger recalled, "Carl insisted that his live touring band was also used on a few of the tracks." This is one of those tracks.
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2. "She's Mine" - Just a slightly less in your face offering than the opening track, this is another great rocker laced with a choir of harmonies. Carl might describe his vocal attack and overall feeling of the track as a "tough" approach; tough not in the sense of difficult but more akin to swagger. With layer upon layer of guitar flourishes and repeating signature guitar runs, it is reminiscent of Clapton's "Layla," especially in the tag, with hyperactive piano support from the U.K.'s finest recording session keyboardist, the late Nicky Hopkins, who was a favorite of both The Rolling Stones and The Beatles.

The overall effect is the creation of not so much a Spectorian "wall of sound" but moreover a thunderous Wilsonian "squall of sound." This track really kicks.
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3. "Givin' You Up" - Friend and manager at the time Jerry Schilling brought the idea of this song to Carl who was somewhat surprised yet eager to know what he had in mind. Though admitting he had no experience as a songwriter or musical skills of any kind (Elvis Presley once laconically asked, "What's that noise?" as Jerry tried singing a song riding in the back of Presley's car) his idea about "a love affair unselfishly ending and nobody is to blame" was good enough for Carl to embellish upon with Myrna Smith, Carl's primary collaborator, onstage partner and Jerry's wife. Jerry reflectively mentions, "I never knew at the time if Myrna realized she and Carl were writing about our own imminent breakup and the impending dissolution of our marriage." Several theories have been put forth as to the true impetus of this song and now we know the origins of this heartfelt piece. Jonah Wilson divulges, "I remember when the tracks were being laid down for 'Givin' You Up' which happens to be my favorite song on this record." This is the sweet and soulful Carl at his most personal and plaintive. That unmistakable voice that we all know so well yearning, honest, direct, and almost on the verge of tears. Carl was a proponent of conveying the "dynamics" of a song, and this is a perfect example of the slow buildup reaching a peak, only to attain an even higher zenith. It even incorporates a stop and start musical "breakdown" towards the end, inverted bass lines abound and a Renaissance-tinged guitar part takes you home in the fadeout.
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4. "One More Night Alone" - As a songwriter, this is my proudest moment. For the first verse I incorporated a variation of a proverb that became "All things will pass / All things will pass away." It was also a nod to George Harrison's solo album, All Things Must Pass. Furthermore, it was a reference to something Carl's mother, Audree, used to say especially in times of duress - "This too shall pass." Written on a friend's small electric piano, it started out as a simple song of love unrequited based on a personal experience and evolved into a stunning, dramatic track. It is both a musical tour de force and a masterful vocal achievement. I had the pleasure of playing Fender Rhodes on this date and it can be heard most prominently in the intro and outro. With Steely Dan's "Reel in' In the Years" recording session maven Elliot Randall on acoustic guitar, Neil Stubenhaus on fretless bass, Jim Ehinger adding the perfect touch on grand piano, Ed "triple scale" Greene playing huge, well-placed drum fills, and topped off with a deftly played mournful pedal steel guitar part commandeered by Skunk, the track surpassed my highest expectations, and even included a splendid sax solo.

Justyn Wilson remarks, "My most vivid memory of the Youngblood album was being a pre-teen and listening to 'One More Night Alone' by myself in my room. That was right around the time that I really discovered girls and that song really struck a chord while dealing with my first bouts of puppy love." Skunk recounts, "I thought 'God Only Knows' was one of the most moving and beautiful vocal performances I had ever heard. 'One More Night Alone' put me over the top."
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5. "Rockin' All Over The World" - I don't think anyone sings this song better than Carl and I'm sure writer John Fogerty (Creedence Clearwater Revival) would approve. This is what you call a "balls to the walls" vocal with a stinging guitar solo from Skunk and crazy good piano work, once again, from Nicky Hopkins. As you watched him work through the control room window, Hopkins would appear to sit motionless from the waist up behind his piano, looking like he was "taking a five" when actually he was skimming across the keys with wondrous dexterity, speed and clarity. His playing took your breath away and his lack of upper body movement belied the fact that he was really beating on the ivories. And to think, I had to learn that piano solo for Carl's live show!
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6. "What You Do To Me" - A wonderful, lively pop rock song that was released as a single and written by New York resident and present day Congressman John Hall (Orleans) and his wife, Johanna. For the live version, Carl did this song without the benefit of his guitar, and using just a handheld wireless microphone he would "work" the crowd and wander freely across the front of the stage. I know it was a stretch for Carl and I'm not convinced he was entirely comfortable with this approach, but he did it anyway for the sake of a nuanced performance, at the suggestion of manager Schilling. This song was a blast to play live and reminded me of an old-fashioned up-tempo pop-meets-gospel song. It has a very busy electric piano part with recurring glissandos and lots of rhythm guitar movement. The simple lyrics are actually rather suggestive in an innocent kind of way. The a cappella section has such a strong "good time" feeling to it with its churchlike call and response approach: "What you do to me / Is so Heavenly." Good stuff, good times.
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7. "Young Blood" - Never one to take himself too seriously, the title track strikes me as Carl's tongue-in-cheek approach to this classic song; an opportunity for him to strut his stuff albeit with a good sense of humor. Cameo vocals by Barbara Reilley with her matter of fact delivery, and Skunk Baxter's mock serious mutterings, make this a fun, lighthearted moment on the album. The steamy track itself is right in the pocket, even during the moments of silence in the cliffhanger breaks; and how can you miss with words and music by Leiber, Stoller and Pomus? A case might be made that being the youngest of three brothers, Carl's album was aptly named Youngblood that's what I always thought. But as a matter of fact, Carl decided to name his album Youngblood after going to renowned archivist Michael Ochs' Venice beach office looking for artwork that could be used as the album's cover instead of just another photo of himself. Among the thousands of images in Ochs' humongous collection, Carl somehow came upon the album jacket for the Coasters' original version of "Youngblood" and, according to Jerry Schilling who accompanied him on the quest, "A smile came across his face" because Carl had found what he was looking for as an inspiration that day. As it turned out, a photo of Carl was ultimately used for the cover - a striking color image set against a dark background, taken by world-renowned photographer, Sam Emerson. As Baxter describes it, "Expressionless yet full of expression at the same time. There was nothing contrived about it - not posed or fake. You look at the photo and listen to 'One More Night Alone' and you get it."
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8. "Of The Times" - We begin with the familiar sound of Carl's ultra-rare prototype Stratocaster as he strums the opening chords to this potent song, perfectly complimented by Skunk's ever-so-tasty lead licks. Though it starts off slowly and methodically, it bursts into a surprisingly buoyant section that bears no resemblance to the preceding movement. Because of the lyrical content you might call this a social commentary of sorts. I really dig the overall feel of this song with its walking, driving Bass line in the chorus and burning solo reminiscent of the very best guitar meanderings Steely Dan ever offered. The tag and fadeout give Carl a chance to do some vocal gymnastics while neatly set against an expansive choral group that absolutely nails their perfectly pitched parts.
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9. "Too Early To Tell" - This was the opening song for our live shows that gets right down to business using Carl's touring band on this track. Like the onstage presentation, it comes out of the box with both barrels blazing and you can't escape from the grasp of this smokin' hot track that is laden with a multitude of scorching guitars. Carl liked de-tuning his Strat, "Old Yeller" (as he had named it for its faded original color), to a more open D modal tuning for this bombastic rocker. He and Myrna sing a quirky and dissonant harmonic interval in the bridge section that is every bit as uniquely passionate as any Marvin Gaye and Tammi Terrell duet, two of Carl's favorite singers. Jonah Wilson comments, "I had always thought Myrna was so beautiful with a voice to match, so it was really cool to see them work so closely together." Justyn Wilson opines about this song, "It is a personal favorite of mine. I love how it starts outs out rockin' and funky then hits the sexy female vocal then opens up and straight rocks, only to do it all over again. I also remember this song being the opening number in his set and loving it even before Youngblood was recorded, so when I realized that it had made its way to his second album, I was especially pleased."
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10. "If I Could Talk To Love" - What a gem of a song this is, with Carl's voice crystal clear, evocative and convincing as only he could convey. This tune sneaks up on you as it slowly builds and grows in strength - a power rock ballad with a gentle, airy quality. The band is precise and tight as the angelic choir in the background offers the perfect balance to Carl's impeccable vocal delivery. As an added bonus, we are treated to some more ear candy as he sings a meandering, contrapuntal, wordless vocal that hovers above the melody in the second verse. Gorgeous, simply gorgeous. Tower of Power's Lee Thomberg plays the Flugelhom solo part with miraculous finesse and is reminiscent of something James Pankow might have written for the mighty Chicago horn section. Light and breezy yet strong and virile is this song, awash in echo as we hear a recurring "Let It Be" reference buried deep in the recesses of the supporting background instrumentation and vocals.
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11. "Time" - Don't let the solitary slow-handed piano opening mislead you. This is a rickety runaway train about to leave the station and come off the tracks. It's an amalgamation of several influences and sounds like what would happen if a fiddle-free Doug Kershaw met up with some of his Louisiana pals and went to jam with the guys from U.K. supergroup Status Quo - what an awesome groove with catchy musical hooks around every bend. A rockabilly boogie ride with a chord structure reminiscent of the best Buddy Holly might have conjured. This is my kind of music and when I hear it I feel like grabbing the nearest guitar and playing along, joining in on the carefree piano part or just getting up to dance. Right on, Carl, rock on!
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12. "Givin' You Up" (reprise) - the edited single cut brought to you for the very first time. Enjoy.

- Billy Hinsche

Billy Hinsche is a published writer, teacher of music and noted documentary filmmaker.

www.billyhinsche.com
www.myspace.com/billyhinsche
Facebook: BillyHinsche
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Original Album Credits:

PRODUCED BY JEFF BAXTER
Engineered by Larold Rebhun
Management by: Jerry Schilling
Production Assistant: Shari Dub
Assistant Engineers: Stuart Graham, Krohn Dan Wormer, Rick Markowitz and Ric Butz Recorded and Mixed at Cherokee Studios, Hollywood, California
Additional recording done at Caribou Ranch, Nederland, Colorado, and at Westlake Stuidios, Los Angeles: California
Mastered at Precision Lacquer by Stephen Marcussen

The Players are:

Cart Wilson: Guitar and Vocal
Jeff Baxter: Guitars
Elliot Randall: Guitar
Trevor Veitch:'Guitar
John Daly: Guitar
Billy Hinsche: Keyboards and Guitar
Ed Greene: Drums
Ian Krigger: Drums
Vince Colaiuta: Drums
Neil Stubenhaus: Bass
Gerald Johnson: Bass
Jim Ehinger: Piano and Keyboards
Nick Hopkins: Piano
Lon Price: Tenor Saxophone
Bryan Cummings: Tenor Saxophone
Ron Viola: Tenor Saxophone
Jerry Peterson: Baritone Saxophone
Lee Thornberg: Tenor Saxophone and Flugelhorn

Background Vocals: Carl Wilson, Myrna Smith-Schilling, Timothy B, Schmit, Burton Cummings, Billy Hinsche, Jeff Baxter, Billie Barnum, Phyllis St. James

Background Vocals on "Young Blood": Zoots and the Carlettes"- Carl Wilson, Timothy B. Schmit, Burton Cummings,
Jeff Baxter: The sweet thing is Barbara Reilley

Steve Einezig: Thank you for your continuing belief and support
Art Director: Tony Lane
Photos by Sam Emelson

Special signal processing by Roland Corporation

Ed Greene appears courtesy of Arista Records, Inc.
Myrna Smith-Schilling courtesy of Destiny Entertainment Corp.
Timothy B. Schmit appears courtesy of Asylum Records
Burton Cummings appears courtesy of Alta Records, Inc.

Originally released as Caribou album ARZ-37970
(P) 1983 Sony Music Entertainment

Reissue Produced by Frank Ursoleo & Rob Santos
Mastered by Vic Anesini at Battery Studios, NY
Reissue art direction and design - Chris Eselgroth
Liner notes - Billy Hinsche
Live Photography - Craig Janos

Special thanks to Jeff Baxter, Jeff Foskett, Lisa Goldman, Lisa Grauso, Jim Guercio, Jeremy Holiday, Alan Krigger, Elliot Randall, Jerry Schilling, Jean Sievers, Paul Williams, Brian Wilson, Jonah Wilson, Justyn Wilson, Melinda Wilson, Doug Wygal
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For all songs © 1983 Murry-Gage Music and Schilling Music (ASCAP)
Except “One More Night Alone” – © 1981 Still Waters Music (BMI);
“Rockin’ All Over The World” – © 1975 Wenaha Music Company (ASCAP);
“What You Do To Me” – © 1981 Siren Songs (BMI);
“Young Blood” – Copyright © 1957 by Unichappell Music Inc., Trio Music Company Inc. and Freddy Bienstock Music Company (BMI). All rights administered by Unichappell Music Inc. (Rightsong Music Publisher). International Copyright Secured. All rights reserved. Used by permission.
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© 2010 Iconoclassic Records, Inc. / (P) 1983 Sony Music Entertainment / Manufactured by Sony Music Entertainment / 550 Madison Avenue / New York, NY 10022-3211 / WARNING: All rights reserved. Unauthorized duplication is a violation of applicable laws. / A 763185

Iconoclassic Records
P.O. Box 689
Hyannis Port, MA 02647
Iconoclassicrecords.com
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