APRIL SHOWERS   In this evergreen, the accordion is surrounded by solo and bass guitar sliding from side to side. There is a brief duet between the melody organ, with an obbligato, and a second organ, and the arrangement moves into a double-tempo bridge. The accordion and organ carry the melody, while the guitar, harpsichord and marimba move in syncopated figures from speaker to speaker. (ASCAP 2:51)

CARAVAN   Against a Far Eastern backdrop of rhythm, guitar and chromatic bongos, the melody is introduced by the high-pitched nasal organ. A living caravan of sound passes the "listening" eye, beginning with the Jew's-harp and chromatic cowbells, followed by the koto guitars and tambourine, and, finally, tuned temple blocks, twisting and turning through a very real procession. The feel of the number shifts with a humorous swing guitar solo and moving chromatic bongos. The second chorus is a ping-pong effect of organs and accordion swinging from side to side in mimicry of the swinging camel gait. The number ends with a return to the original caravan sound. (ASCAP 2:49)

AUTUMN LEAVES   The falling leaves whirl around and through the speakers in startling clarity and movement, with two marimbas and harpsichord serving as dramatic background for a beautifully executed accordion solo. The guitar takes the melody for a while, and the second chorus is introduced with bass accordion playing melody and two new guitars added to the delicate background. (ASCAP 3:11)

DANCING WITH TEARS IN MY EYES   In this number we have a tap dancer, with the solo guitar as dancing partner. The organ takes the melody for a while, is briefly interrupted by a swinging staccato accordion, and then goes into a ping-pong routine with the guitar. The tap dancer (a pair of real tap shoes handled by a percussionist) closes the number with some fancy footwork from speaker to speaker. (ASCAP 2:06)

JUNGLE DRUMS   The hot, exotic feel is created by chromatic bongos, timbales and Spanish guitar, while the bass accordion takes the melody, and the bamboo drum and log drums move through a very real jungle. A solo melody guitar takes over with the Flamenco guitar playing a rhythmic backdrop, accentuated by wood blocks, marimba and harpsichord combination in constant motion. After a brief interlude by organ and blending bass guitar, the number ends with the original jungle sounds. (BMI 3:52)

MOVIN' 'N' GROOVIN'   Charles Albertine specially created this number as a sprightly vehicle to demonstrate the full mobility of Stereo Action used to the nth degree. (BMI 2:54)

Side 2

ANNIVERSARY SONG   This side features movements from left to right and right to left, etc., with two marimbas and harpsichord playing cascading figures in the background and a highly stylized accordion playing melody in the center. The organ joins the pattern in the second chorus, playing the melody in unison with the accordion, while a second organ ad libs figures from speaker to speaker. In the next chorus, the organ takes over the melody while two new guitars -- a fourth higher, in "F" -- play double-time figures in the background. The side ends with a return to the cascading figure pattern. (ASCAP 3:13)

BEYOND THE SEA   A moving background of bamboo wind bells, jaw bone, kettledrums and organ rolling from side to side faithfully reproduces the sounds of sea and surf behind the centered melody, carried first by the bass accordion and then by the regular accordion, with chromatic bongo punctuation. In the release, the guitar carries the melody line, with percussive overtones from the chromatic wood blocks and chromatic bongos. The arrangement returns to the opening effect, with the addition of a marimba in the background and a dry organ taking over the melody for a while. The release is repeated, with a harpsichord melody complemented by a twangy bass guitar. Finally we return to the original mood in closing. (ASCAP 3:04)

SOME OF THESE DAYS   The accordion carries the melody, accentuated by a percussive bass guitar and regular guitar swinging from side to side. Then the organ takes over, with a happy background-guitar figure. The arrangement switches to a honky-tonk harpsichord solo, and then returns to the original trio effect of accordion and two guitars. (ASCAP 2:53)

DANNY'S INFERNO   In this unusual adaptation by Charles Albertine, the full depth-of-focus effect of Stereo Action is captured. The opening sounds of the "Inferno" -- African xylophone, timpani and the jaw bone of an ass -- dramatically underscore the rapid-fire ping-pong of the melody, carried by bass accordion on the right and chromatic bongo and bass guitar on the left. The organ answers the melody, with bass guitar punctuation, while the chains of the Damned are dragged back and forth in an almost visual effect. The arrangement returns to the opening Inferno effect, and then the organ breaks into a macabre jazz solo while a frightened-sounding guitar flies back and forth from speaker to speaker. The staging ends with a reprise of the first chorus. (BMI 2:50)

THE VAGABOND KING WALTZ   This number opens with a sweeping glissando movement on piano, xylophone and organ, in contrary motion. The solo organ takes the melody, while the piano spins an ethereal Chopinesque web around it and the staccato accordion joins in. An entirely new feeling is introduced as two guitars do a Spanish waltz behind the melody accordion. The side ends with a repeat of the opening glissando movement. (ASCAP 3:30)

STUMBLING   After a short guitar introduction, the tap dancer reappears, stumbles his way through his routine, sliding and tapping from speaker to speaker to the melody of a syncopated accordion, accompanied by ping-ponging organs and guitars. (ASCAP 3:04)

FAITH WHITEHILL