# xmcd
#
# Track frame offsets: 
#        150
#        15265
#        41252
#        54010
#        62857
#        81035
#        104400
#        148315
#
# Disc length: 2776 seconds
#
# Revision: 4
# Processed by: cddbd v1.5.2PL0 Copyright (c) Steve Scherf et al.
# Submitted via: ExactAudioCopy v0.90b4
#
DISCID=5d0ad608
DTITLE=Emerson, Lake & Palmer / Works Volume I - Disc 2 of 2
DYEAR=1977
DGENRE=Progressive Rock
TTITLE0=Carl Palmer / The Enemy God Dances With The Black Spirits
TTITLE1=Carl Palmer / L.A. Nights
TTITLE2=Carl Palmer / New Orleans
TTITLE3=Carl Palmer / Two Part Invention In D Minor
TTITLE4=Carl Palmer / Food For Your Soul
TTITLE5=Carl Palmer / Tank
TTITLE6=Emerson, Lake & Palmer / Fanfare For The Common Man
TTITLE7=Emerson, Lake & Palmer / Pirates
EXTD=Works Volume I - Disc 2 of 2\nEmerson, Lake & Palmer\n1993 Victor
EXTD=y Music, Inc.\n1996 Rhino Records, Inc.\n\nOriginally Released Ma
EXTD=rch 17, 1977 \nAtlantic CD Edition Released ??\nVictory Music CD 
EXTD=Edition Released ??\nRhino CD Edition Released May 21, 1996\n\nAM
EXTD=G EXPERT REVIEW: Though no one talked about it at the time of its
EXTD= release, this album reflected a growing split within the group. 
EXTD=Originally, the trio's members, tired of sublimating their musica
EXTD=l identities within the context of ELP, each intended to do a sol
EXTD=o album of his own. Reason prevailed, however, probably aided by 
EXTD=the group's awareness that the combined sales of the solo albums 
EXTD=issued by the five members of Yes the previous year were a fracti
EXTD=on of the sales of Yes' most recent records. The result was this 
EXTD=double LP; essentially three solo sides and one group side, it is
EXTD= the most complex and demanding of the group's albums. Keith Emer
EXTD=son's "Piano Concerto" is on the level of a good music-student pi
EXTD=ece, without much original language. Where Emerson, in conjunctio
EXTD=n with his conductor and co-orchestrator, John Mayer, succeeds ad
EXTD=mirably is in writing beautiful virtuoso passages for the piano. 
EXTD=Greg Lake's romantic songs mark the final flowering of his work i
EXTD=n this vein -- and perhaps its going to seed, since "C'Est la Vie
EXTD=," the featured single, says little that "Still...You Turn Me On,
EXTD=" from their previous album, didn't say better and shorter. Carl 
EXTD=Palmer's side is the most accessible of the three solo sides for 
EXTD=casual rock listeners, rocking hard on the classical adaptations 
EXTD=and featuring Joe Walsh on lead guitar for one song. The group's 
EXTD=two tracks, "Fanfare for the Common Man" and "Pirates," cover a l
EXTD=ot of old ground, albeit in ornate and stylish fashion. Having us
EXTD=ed Copland's "Hoedown" as a concert showstopper for four years, t
EXTD=he trio takes "Fanfare" to new heights of indulgence, and it actu
EXTD=ally works, up to a point -- like CCR's extended version of "Hear
EXTD=d It Through the Grapevine," this is just a little too much of a 
EXTD=good thing.  -- Bruce Eder\n\nAmazon.com Editorial Review\nOf all
EXTD= the popular progressive rock groups of the '70s, Emerson, Lake a
EXTD=nd Palmer were the most bombastic and technically orientated. By 
EXTD=1977, they had become so wrapped up in themselves (individually) 
EXTD=that they put out a double album with each member getting a side 
EXTD=to his own. They shared the remaining side. Keith Emerson plays a
EXTD= Steinway grand piano along with the London Symphony Orchestra. G
EXTD=reg Lake sings some rather sappy ballads (nothing as fun as "Luck
EXTD=y Man," unfortunately). And Carl Palmer contributes a selection o
EXTD=f drum-heavy fusion pieces. When the trio reconvene, they tear in
EXTD=to Aaron Copland's "Fanfare for the Common Man" (you know, that m
EXTD=usic from the Olympics) and deliver a long, meandering song calle
EXTD=d "Pirates" that shows off what they did best--play classically i
EXTD=nspired rock with wild synthesizer sweeps and Lake's sweet voice.
EXTD= This isn't the album for an ELP neophyte. Try Brain Salad Surger
EXTD=y or The Best of... for a proper introduction. --Larry Crane \n\n
EXTD=\nAMAZON.COM CUSTOMER REVIEW\nDetails on Sanctuary reissue here, 
EXTD=February 19, 2006\nReviewer: dodgem-dude "dodgem-dude" (San Diego
EXTD=, CA United States)\nThis last great ELP project preceded their r
EXTD=apid decline but itself gets better with age. Emerson's Concerto 
EXTD=proves what I always thought, that his compositions are perfectly
EXTD= suited for orchestra. Lake's songs are lovely and show off just 
EXTD=how good a ballad singer he is (and what a pop star he is at hear
EXTD=t!). Palmer's tracks take the longest to appreciate but are also 
EXTD=the most rocking material on the album next to that last superb s
EXTD=et of ELP performances, Fanfare... and Pirates. Comparisons to Fl
EXTD=oyd's Umma Gumma and the Beatles' White Album are fitting, as is 
EXTD=the clich that there's a terrific single album lost within the i
EXTD=ndulgences of most double albums. But all that's been said before
EXTD=, so my review will concern itself with the specific qualities of
EXTD= the re-issue from Castle / Sanctuary / Phantom, which purchasers
EXTD= of the Rhino version should know about as well. \n\nSound: There
EXTD='s no substantial sound improvement over the original Atlantic re
EXTD=lease, and though I can't be certain, I believe that this series 
EXTD=uses the same remasters that came out on Leadclass / Rhino in the
EXTD= 90s. \n\nManufacture: Annoyingly, the Emerson Concerto is now bu
EXTD=rned as a single track, so you can no longer play the three movem
EXTD=ents separately (unlike on the original Atlantic issue). Worse ye
EXTD=t, a glitch noticeable on headphones, also one not on the origina
EXTD=l version, now appears at the start of Nobody Loves You. Finally,
EXTD= the bonus tracks are good performances but of seriously bootleg 
EXTD=quality. They're from the same 1978 US tour concerts as the live 
EXTD=tracks on the Works 2 reissue but are much muddier sounding and o
EXTD=ffer nothing new musically except for a brief bluesy intro to Nut
EXTD=rocker. \n\nPackage: As in the rest of the Sanctuary series, the 
EXTD=booklet has great pix and informative liner notes, but it no long
EXTD=er offers Peter Sinfield's lyrics or any musician credits at all,
EXTD= hence it's still maddeningly unclear who plays what. In a nutshe
EXTD=ll, if you already have the Rhino or earlier releases, don't buy 
EXTD=the Sanctuary version; it's great music in an inferior presentati
EXTD=on. \n\n\nAMAZON.COM CUSTOMER REVIEW\nOdd..., December 12, 2004\n
EXTD=Reviewer: ElvisCostellosWeiner "Chekhov Is The Greatest" (Michiga
EXTD=n)\nThe album where it partially all fell apart. The comparasions
EXTD= to the white album aren't COMPLETELY unfounded: a once great col
EXTD=lective band, falling into ego driven trips of fancy, thinking th
EXTD=ey're able to go solo. haha, very funny guys. \n\nAny ways, witho
EXTD=ut help from each other, the glaring weaknesses of each member co
EXTD=mes to the front. Keith Emerson's inability to write truly memora
EXTD=ble melodies comes to the fore in his side. Greg Lake's horrendou
EXTD=s lyrics and inability to arrange past a simple accoustic guitar.
EXTD= And Carl Palmer's weakness for drum solo's comes to the fore in 
EXTD=his side. \n\nHowever, each member's talents shine remarkably for
EXTD=th on each side. Keith Emerson's ability to arrange, and write be
EXTD=autifully elegant piano and orchestra parts is illustrated on his
EXTD= side, as uneventful and unmemorable as it is. Greg Lakes beautif
EXTD=ul singing voice, and great vocal and guitar melodies come throug
EXTD=h on his side, and he is a great accoustic player. And Carl Palme
EXTD=r's insane music view shines through: his side is easily the weir
EXTD=dest of them all, and his drumming helps make this side honestly 
EXTD=the best side out of all three. \n\nHowever, this album does show
EXTD= the decline of the band's powers. Fanfare For The Common Man hel
EXTD=ps remind listeners that one of the band's best strenghts was in 
EXTD=adapting classical pieces for a rock format. This piece is great.
EXTD=.. for the first five minutes, then it drags slightly. \n\nPirate
EXTD= is probably the worst of the "classic" ELP epics. I haven't list
EXTD=ened to it in a long time, so I really can't say: it's very unmem
EXTD=orable and the lyrics are even stupider than usual. \n\nSo negati
EXTD=ves first: the lyrics have become even worse than they once were,
EXTD= and the band's weaknesses stand out starkly when not masked with
EXTD= the other's strengths. Also, the collaborations aren't so hot. \n
EXTD=\nThe positives? most of this music is very beautiful. There are 
EXTD=segments in Pirates, I admit, that are strikingly beautiful. And 
EXTD=Carl Palmer's side is completely bizarre, and unexpectedly great.
EXTD= And easily over half the album is instrumental: no horrible greg
EXTD= lake or pete sinfield lyrics! \n\nSo in conclusion, this album i
EXTD=s flawed, yet there maintains enough balance between the beauty i
EXTD=n the bombast that ELP is capable of. Works 2 followed shortly af
EXTD=ter, and is the most fun ELP album ever: filled with rag time pie
EXTD=ces, and covers, and goofy short songs. Some hate it: i think it'
EXTD=s better than Works 1, and a great way for the band to end their 
EXTD=career, as I refuse to acknowledge anything after this.\n\n\n\nAM
EXTD=AZON.COM CUSTOMER REVIEW\nI Waited 3 Years FOR THIS?????!!, Septe
EXTD=mber 15, 2004\nReviewer: P. McKenna "theowlwatches" (Atlanta GA)\n
EXTD=     \nThe above title was my reaction after hearing WORKS I when
EXTD= it was originally released in 1977. Unfortunately, it hasn't imp
EXTD=roved over time for me at all. \n\nThis and Works II were a horri
EXTD=fic example of egos out of control and the resultant schlock. The
EXTD= 3 individual members by this point weren't even speaking to each
EXTD= other and had their own separate managers and travelled separate
EXTD=ly as well. And it shows in the music to an alarming degree. \n\n
EXTD=A lot of things that made the earlier ELP efforts so cool here ar
EXTD=e largely absent. For example, there's nary a trace of Keith's di
EXTD=stinct Hammond organ playing, and in its place some of the cheesi
EXTD=est, schlockiest synth sounds ever devised. Keith's amateurish at
EXTD=tempt at a post-Brahms/Rachmininoff piano concerto would actually
EXTD= be somewhat entertaining if he wasn't taking himself so seriousl
EXTD=y. Greg Lake's predictably sappy ballads are no help and Carl Pal
EXTD=mer's material is pretty much forgettable. \n\nThe two group cuts
EXTD= are just pure cheese-whiz, the reworking of "Fanfare For The Com
EXTD=mon Man" makes Mannheim Steamroller sound like Stravinsky by comp
EXTD=arison, and "Pirates" just sinks under its own weight as Greg Lak
EXTD=e barks up a storm. \n\nThis Owl thinks they should've quit while
EXTD= they were ahead with Brain Salad Surgery, undoubtedly their fine
EXTD=st moment, but alas, their egos did not permit them such an indul
EXTD=gence of common sense. \n\n\nAMAZON.COM CUSTOMER REVIEW\nEither i
EXTD=t Works or it doesn't PART 1, June 11, 2004\nReviewer: Z. Spencer
EXTD= "pianozach" (CA United States)\nWell puh-lease. Please stop with
EXTD= the off-handed insults or the unworthy praise. The album is what
EXTD= it is because of what it was. Let me explain.\nHere's a "super-g
EXTD=roup" that had reached the top of its genre, but sort-of painted 
EXTD=itself into a corner. Prog-Rock meets Arena-Rock meets balladeer 
EXTD=meets classical etcetera. Ah where to go from here?\n\nBut first,
EXTD= ELP was not the only band that put out solo material as a band, 
EXTD=that is, sectioning off an album for everyone to "shine" on their
EXTD= own. YES's 1972 album "Fragile" had one solo for each of the fiv
EXTD=e band members (they individually each got "Five Percent" of the 
EXTD=album). And before that, PINK FLOYD's 1969 double album "Ummagumm
EXTD=a" gave of the four members half a side each (we're talking vinyl
EXTD= here). And in 1978, each member of KISS issued a solo album with
EXTD= matching covers. Even the Beatles' "White Album" is considered t
EXTD=o be mostly "solo" works. So, ELP's 1977 double album "Works vol.
EXTD= 1" gives each of the three members one side of a platter (vinyl 
EXTD=again). All three are simply running over with genius, talent, an
EXTD=d ideas. And ego. And they probably should have simply released s
EXTD=olo albums rather than this. But they may have run scared when th
EXTD=e YES solo album thing resulted in lackluster sales in 1976. \n\n
EXTD=Anyway, there's a difference between an eclectic mix of musical p
EXTD=ieces, and a fragmented collection of pretentiously presented "wo
EXTD=rks." This is the latter.\n\nSo, is the album any good? Is it wor
EXTD=th buying? That all depends on what floats your boat. Let's break
EXTD= it down:\n\nKEITH EMERSON used his "side" to present (and self-p
EXTD=roduce) his "Piano Concerto No. 1." It's funny how many musicians
EXTD= feel the need to "be taken seriously." Billy Joel's gone classic
EXTD=al. Sir Paul McCartney dabbles (and pretty well, I might add, for
EXTD= a self taught musician) in oratorios and suites. Now, obviously 
EXTD=Keith is a classically trained musician. His performing skills we
EXTD=re never in doubt. But his composing muse compelled him to presen
EXTD=t a "serious" work. Even George Harrison felt the need to expose 
EXTD=us all to more "serious" music back in 1970, devoting an entire s
EXTD=ide of "The Concert For Bangla Desh" to the classical side of Ind
EXTD=ian music. The "ProgRock" genre is based, in part, on presenting 
EXTD=rock music in a classical mode, classical music in a rock mode, a
EXTD=s well as incorporating classical musical elements and forms (sui
EXTD=tes and lengthy complex pieces). So how does this concerto stack 
EXTD=up? Not bad for a pop musician. Not bad for a fledgling "Art Musi
EXTD=c" composer. Will you like it? (If you hate classical music or pi
EXTD=ano tinkling, no you won't.) The third movement ("Toccata Con Fuo
EXTD=co") is the most exciting, and the closest to an ELP-type sound. 
EXTD=The first movement ("Allegro Giojoso") will seem to meander aimle
EXTD=ssly to an untrained ear, indeed it seems almost improvised (I'm 
EXTD=sure it's not). And the second movement ("Andante Molto Cantabile
EXTD="), clocking in at 2:09, seems like a throwaway piece, no more th
EXTD=an a link or filler. But if you'd like to hear some well-composed
EXTD= piano concerto, Emerson, unfortunately, is not even in the top t
EXTD=en list of composers. Pick up some Rachmaninov or Beethoven. Or T
EXTD=chaikovsky or Saint-Sans. Or Gershwin. Or Mozart. That's not to 
EXTD=say that Emerson's concerto sucks. It's simply not breathtaking. 
EXTD=Or memorable. And only partially flashy. It's merely good. Is "go
EXTD=od" good enough for you? I suppose that the problem here is that 
EXTD=we all grew accustomed to shorter snippets of serious stuff sandw
EXTD=iched in as links and bridges of larger Prog-Rock ELP works, and 
EXTD=eighteen minutes of piano and orchestra are not going to keep you
EXTD=r attention (nor the CD in the player).\n\nWhich brings me to GRE
EXTD=G LAKE's "side." His balladeer and "vocal stylist" mode is in ful
EXTD=l swing here. He and lyricist Pete Sinfield aim for the Elton Joh
EXTD=n/Bernie Taupin express and come up short. Way short. Is it awful
EXTD=? Well, no. But it will test your patience. If you think some Pro
EXTD=g-Rock borders on pretentious, these five songs may have you reac
EXTD=hing for a brick to throw. Why? Well, it's strange. The vocals an
EXTD=d heavy string arrangements and lyrics seem to keep getting more 
EXTD=and more self important as the set lumbers on. These songs would 
EXTD=all have been OK individually (for instance, sandwiched in betwee
EXTD=n the usual eclectic ELP album list). Greg starts off well enough
EXTD= with "Lend Your Love To Me Tonight" (An awful title). The guitar
EXTD= is crisp, well-played and pretty (on all of the songs). But Pete
EXTD='s lyrics were evidently all "too good" and "clever" for anyone t
EXTD=o edit, rendering this 4:00 minute song feeling twice as long. "C
EXTD='est La Vie" is the gem here. There's a lovely uncredited French 
EXTD=or Italian accordian solo in the middle (Keith played it when I s
EXTD=aw the "Pirates" Tour). "Hallowed Be Thy Name" is, again, long on
EXTD= clever lyrics ("There may be an om in moment, but there's very f
EXTD=ew folk in focus," "You needn't be well to be wealthy but you've 
EXTD=got to be whole to be holy.") and insouciant vocalizing. "Nobody 
EXTD=Loves You Like I Do" is like watching someone overact to cover up
EXTD= weak material. He sings like its very very very important. And n
EXTD=ot in a good way. And the set closer is "Closer To Believing," a 
EXTD=romantic ballad that aspires to genuine sincerity and tenderness,
EXTD= and comes off sounding a lot like a foreshadowing of "Love Beach
EXTD=" (an embarrassing mistake of an album). But hey, if you can't ge
EXTD=t enough of Greg Lake and overproduced string sections, this is t
EXTD=ailor made for you. But I'd be too embarrassed to play this "side
EXTD=" in public.\n\n\nHalf.com Details \nContributing artists: Joe Wa
EXTD=lsh \nProducer: ELP, Peter Sinfield \n\nAlbum Notes\nThe larger-t
EXTD=han-life music created by ELP was dependent upon the equally siza
EXTD=ble musical/personal egos of its members. By 1977, the inevitable
EXTD= acrimony between the three had caused an aesthetic and spiritual
EXTD= decline. On the two separately issued volumes of WORKS, we can s
EXTD=ee a band on the verge of coming apart. Though the songs and arra
EXTD=ngements are uniformly strong, there's precious little interactio
EXTD=n. Ironically, this allowed the members' individual styles to be 
EXTD=seen that much more clearly.\nThe double-length WORKS VOL. 1 is a
EXTD=rguably ELP's last great album. Taking the personal segregation t
EXTD=o extremes, each member of the group was given one solo side (ah,
EXTD= vinyl) and they participated on one group-oriented side. Emerson
EXTD= is represented by a self-penned piano concerto, his finest strai
EXTD=ght-classical composition up to that point. Palmer exploits the f
EXTD=ull range of his percussive abilities on six varied instrumental 
EXTD=tracks. Lake naturally offers up some impressive romantic balladr
EXTD=y. The group side features the album's highlight; an orchestral e
EXTD=pic tale called "Pirates," its intrigue-on-the-sea lyrics written
EXTD= by former King Crimson lyricist Pete Sinfield, and its music som
EXTD=e of the most sophisticated ELP ever produced.\n\n\nROLLING STONE
EXTD= REVIEW\nEmerson, Lake and Palmer present their first new materia
EXTD=l in more than three years in an interesting format: one album si
EXTD=de for each man as a solo player, and a fourth side for the group
EXTD=. The musically divergent solo ventures don't often live up to th
EXTD=e group's past successes, which isn't surprising. But the final s
EXTD=ide triumphantly demonstrates that as an ensemble ELP has lost no
EXTD=ne of its expertise.\n\nCarl Palmer's is by far the most varied a
EXTD=nd successful solo side. It's especially interesting since the dr
EXTD=ummer is ordinarily the least visible of the three. Here, Palmer 
EXTD=uses his drums as rhythm instruments that can simultaneously emer
EXTD=ge with so-called lead phrases; he is not content merely to keep 
EXTD=time, however imaginatively. He's never too loud, and his few sol
EXTD=os are short--a rare and welcome accomplishment among rock drumme
EXTD=rs.\n\nPalmer's orchestration of an excerpt from Prokofiev's "The
EXTD= Scythian Suite" is suitably powerful and threatening, an approac
EXTD=h more classical than rock. However, his other classical adaptati
EXTD=on, J.S. Bach's "Two Part Invention in D Minor," while intriguing
EXTD=, is ultimately tepid, due to inappropriate use of marimbas and v
EXTD=ibraphone.\n\n"L.A. Nights" moves with speed and biting polish, t
EXTD=he mix smartly accentuating Palmer. Keith Emerson's hard, futuris
EXTD=tic synthesizer distinguishes the start, but the piece later slip
EXTD=s into common rock chord changes and horn charts. "New Orleans," 
EXTD=on the other hand, is a syncopated, guitar-dominated funk exercis
EXTD=e--spare but effective. "Food for Your Soul," with its contempora
EXTD=ry big-band approach, is a tour-de-force arrangement, with Palmer
EXTD= again exploring lead/rhythm possibilities. Palmer's remake of "T
EXTD=ank," his and Emerson's menacing composition from the group's fir
EXTD=st album, is similar in style, but Emerson's excellent electronic
EXTD=s are replaced by cold brass and weak strings. The uncredited sop
EXTD=rano saxophone section lends an exotic touch--but altogether too 
EXTD=many different ideas fight for space.\n\nThe Emerson and Lake sid
EXTD=es contain dissimilar music, yet suffer from the same shortcoming
EXTD=: flaccid scoring. Emerson's "Piano Concerto No. 1"--arranged by 
EXTD=Emerson with John Mayer, who conducts the London Philharmonic Orc
EXTD=hestra for the piece--avoids the heavy-handed and the pretentious
EXTD=, but is finally too watery. As agile and mature a technician as 
EXTD=Emerson is, such a mammoth undertaking seems beyond his reach at 
EXTD=present: the moods here change too abruptly and radically, even w
EXTD=ithin the individual movements, and the jazz-influenced insertion
EXTD=s are obtrusively cold. The concerto's finest moments are during 
EXTD=the unaccompanied piano passages.\n\nGreg Lake's side consists of
EXTD= five melodic interpretations of Peter Sinfield's poetry, but the
EXTD= orchestration (by Godfrey Salmon and Tony Harris) turns their de
EXTD=licacy and romanticism into fluff. "C'est la Vie" and "Closer to 
EXTD=Believing" are little more than dull string washes, while "Hallow
EXTD=ed Be Thy Name" has an unaccountably angry arrangement. Lake's lo
EXTD=udly mixed voice--too loud, really--helps minimize these errors i
EXTD=n some spots, but when the songs depend so much on scoring, the d
EXTD=amage is difficult to cover.\n\nThe group side contains two long 
EXTD=and brilliant pieces. Emerson's stunning, eclectic keyboard acrob
EXTD=atics highlight the adaptation of Aaron Copland's celebratory "Fa
EXTD=nfare for the Common Man." Because he doesn't use pyrotechnics fo
EXTD=r their own sake, Emerson is as practical as he is flamboyant. Co
EXTD=pland's work is treated in a manner much like the groundbreaking 
EXTD=approach of Emerson's earlier group, the Nice. The three players 
EXTD=state a theme with a grandeur and fullness seemingly beyond the r
EXTD=ange of their few instruments. A long solo passage from Emerson f
EXTD=ollows, with Palmer and Lake filling in subtly but solidly with, 
EXTD=of all things, the familiar Canned Heat "boogie" figure. After bu
EXTD=ilding to an explosive coda, the piece returns to its initial the
EXTD=me before fading out. It's not a new or particularly complex tack
EXTD=, but it is rich and exact.\n\n"Pirates" stands as one of ELP's f
EXTD=inest achievements. Taking the best instrumental ideas from all t
EXTD=he previous sides of Works, the orchestration is more varied, per
EXTD=cussive and aggressive, perhaps because of the firmer (if simpler
EXTD=) compositional structure. Brass, strings and woodwinds all appea
EXTD=r more prominently and brightly, as does the fuller integration o
EXTD=f the scoring with the three players: Emerson's electronic master
EXTD=y fits with the acoustic instruments remarkably well; Lake throws
EXTD= more emotion and technical excellence into his vocal phrasing he
EXTD=re than elsewhere; and again Palmer spiritedly punctuates the pro
EXTD=ceedings. "Pirates" thus presents a musical (and lyrical--with Si
EXTD=nfield's wonderful poetry) pastiche of majesty and sheer mastery 
EXTD=that continues to set Emerson, Lake and Palmer apart from most of
EXTD= their peers. (RS 240 - Jun 2, 1977)  -- CHARLEY WALTERS
EXTT0=
EXTT1=
EXTT2=
EXTT3=
EXTT4=
EXTT5=
EXTT6=
EXTT7=
PLAYORDER=
