1.Back On The Road #1("The Score" Instrumental Version, Line Recording)
2.The Miracle #1(Instrumental Version)
3.Band Discussion #1
4.The Miracle #2(Instrument Version)
5.Back On The Road #2("The Score" demo version)
6.Band Discussion #2
7.Back On The Road #3("The Score" demo version)
8.Back On The Road #4("The Score" demo version)
9.Back On The Road #5("The Score" demo version)
10.Back On The Road #6("The Score" demo version)
11.Band Discussion #3
12.Greg Lake Bass Session with Keith & Cozy

2.The Miracle #3(Instrumental Version)
3.The Miracle #4(Instrumental Version)
4.Conversation with the equipment technicians
5.Back On The Road #7(Keith added piano riff)
6.Back On The Road #8 & Conversation with the equipment


Disc 1
Track 3: Working on the arrangement of 'The Miracle', Greg, Cozy, and Tony Taverner, (the engineer) try to instruct Keith on an idea about the arrangement. Towards the end, Greg suggests that the arrangement needs
to be adapted for the live show as well as the record.

Track 6: Musical differences have obviously crept into the recording session as there has been some disagreement between the members and they have had a row. The problem has since been sorted; they have performed a
great take and are listening to the playback. The past is forgotten and everyone is relaxed.

Track 11: Everyone is tired and the deadline for the delivery date is getting closer. Tempers are beginning to fray. Tony and Greg have a disagreement about the keyboard sounds before doing more work on the arrangement for 'The Score'.

Disc 2
Track 4: Two equipment technicians have arrived at the sessions to give advice about the sound system

Track 6: A continuation of the above conversation and the topic eventually changes to endorsements.



Disc 1 Track 3 Band Discussion #1

"Keith, you know that bit where it goes on, on one key and you start to  build up chords higher and higher."
"Why don't you go into 'E' and do that da da da.in 'E' on that one. and then go into.."
"Which bit do you mean?"
"Err.not the middle section but the really long section on whatever the chord is."
"That's the same chords on both."
"And then you start to go up"
"Talking about THE build up at the end."
"Oh I see."
"Right. Yeah. Yeah."
"One's that go onto 'E' but play the phrase da da da da.at a quarter timing then go into the bit you had then .de de de and then come back into the."
"Are you looking at taking it up a key?"
"The tune?"
"What? Da da da.in 'E'?"
"No. He's talking about the break, da da da."
"I want the improvisation to go to an 'E'."
"The continuation."
"Then play the phrase that you did earlier on."
"I don't know if it will work. It's just an idea. Da da da.well that sounds daft in 'E'."
"Where can I play that phrase?"
"It's the triumphant bit."
"Oh! Da da da."
"Yeah, that bit."
"..in 'E'"
"Will that sound daft in 'E'?"
After the 'D' climax move to 'E'."
".and then do the pretty bit."
"..and then go back into the tune."
"Just an idea, I don't know if it will work."
"Just an idea.or go into.
(General talking over Keith playing)
"Seems to me that the very end of that long passage you should have the triumphant bit and then go BANG! Back into the song or something"
"I think it's.you know, I don't think you should go back into that at this point.the live bit"
"Don't you? It sounds all right."
"Gone too far ahead. Your talking about climaxing the whole album at the end of the stage act, you're right at the peak of tension. You don't wanna lose it. You really wanna sort of think about finishing it soon."
"Yeah you finish it at the end there. I like the break you know, after  you've gone through all that headiness and then you settle down for the  ending. Don't you think the triumphant bit should come again? That lighty
bit is a bit too early on, that struck me that time. A bit too early on in  the actual number."
"My feeling is, when you've got those kids all up on their feet and the' re going for it, mad, right at the end of everything, you don't wanna be putting.do do do."
"Well it's a shade of 'pops' and it's rather a err.."
" Oh I did like it, but I think earlier on in the song before you've  really established the tension, it's good, but later on, you're really  going hell for leather. I mean in terms of production it would all be happening, you know. Really, it wants to whip up into a frenzy and stop. And that's it. I mean, let's try it. Such phenomenal tension in that bit."
"Yeah I know.that's what...
"You don't wanna release it."
"I don't think you can go to the quiet bit."
"I don't think it really releases it at all there. I think it just takes it happier, it's a shade of optimism there, rather than get too gloomy.
"Well you have a listen to the tape, on the recording we've got...."
"I'm not too sure about that .it may be too 'skippy skippy'..
"It needs to be half time."
"Another idea, you could do a combination of both. You could do half time  and one skippy part."
"I'm not quite settled on what I'm going to do on that part."
"I think you're right.and I said that to Keith, that it should be in half time instead on the chorus there.
"When you get to the end of that long section Keith, you've gotta have something.you can't just go 'in'.you need that triumphant bit."

Disc 1 Track 6 Band Discussion #2

"Anytime before we get you guys to do a take, we should get you guys to have a big discussion, a big row, everyone get really passionate, and then come in and play.it's so different."
"We haven't had a row.
"He don't know what rowing's about!"
"A row? A row? You think this is a row?
"It's my fucking night and day.
"Listen, I've had this place surrounded!
"Lovely. That was going pretty fast.could handle that.
"Did you cotton on to the bit before that? Da da da."
"Yeah it was good."
"Let's have a listen."
"It felt pretty good."
"It sounded pretty good."

Disc 1 Track 11 Band Discussion #3

"The thing is here.we're trying to make this sound now.in the old style as in three people make a big sound. And that's where the articulate  arrangement comes in. You know what I mean?
"So tight, you know?"

Disc 1 Track 12 Greg Lake Bass Session

"Those keyboards sound Direct Injected, that's what I'm saying to you.  They sound a bit tame you know, whereas the sound that you actually getting  in the room is quite wild."
"But what I'm saying to you is , you have done it. In other words, you've had a keyboard sound that is wild, that don't sound Direct Injected."
"Well there's no difference."
"Well there is 'cause I played the tape from.(Inaudible)"
"Yes but we haven't. (Inaudible)"
"Well whatever it is just do it.it's just.maybe it's an echo thing as well."
"Yeah maybe.(Inaudible)"
"Is that it then?"
"Well I wouldn't.don't . make it retrogressive. If you feel you've had enough, take a break and start it tomorrow.
"Mmm..Yeah, were it not for the fact that we've got to turn up on Monday with this gear recorded..you know. I'd go home now right.
"Aren't you going to play it?
The thing is if we do it tomorrow, we'll have the new drum sound."
"Can we just."
I tell you what I'd like to do. I'd like to go through this first part and just do a little but more work on this arrangement so we've got that.
"Yeah, good, can I go to that new.there's a new sort of note."
"Let's knock it off first thing."
"Yeah and knock it off first thing in the morning."
"Starting to get a bit tired now."
"Oh I see."
"Is that an E flat you're playing there?"
"No C sharp."
"Just turn down a second there."
"Not that low."
"Go from a C Sharp to an E Flat."
"Try it again."
"I would suggest another bit goes in there."
"Can we have some monitors please?"
"Don't think you gain anything there Keith."
"No don't go to the G. Just stall on the G."
"Try it again."
"What do you want? Do you want A Flat there?"
"Ermm..it's C Sharp to A Flat.or D Flat.."
"Just play me the bass line."
"Doesn't work see?"
"It just doesn't make..it's not enough Kudos, in it."
"I think it'll be all right. I think I played it wrong."
"Play all together."
"Keith I just played it wrong. Just play together."
"Is there an additional chord in there.."
"Let me see all that (Inaudible)"
"Go from the C Sharp to the A Flat."
"It's not right, you know because."
"See you need space for that line Keith."
"It's too much of a hole. It drops there."
"The hole is where the line is."
"Try it once more."
"And then stop on the G."
"All right."

Disc 2, Track 4, Conversation with Equipment Technicians.

Two equipment technicians (Steve and Barry) arrive at the house to improve the sound system that the group are using.

The conversation starts with introductions and at one point Cozy says; ".bloke who wrote Peter Pan."
This is a reference to J.M.Barrie, the author of the popular children's book. Why he is mentioned is inaudible.

The conversation moves to equipment and the two technicians are being shown what the group are using.
".Big black cabinets are just really not doing the job in here. We need some wedges with 15's in.."
The 'big black cabinets' are P.A. speakers. 'Wedges with 15's in' are the monitors that sit in front of a band, when they are playing on stage. '15's' are the size of the speaker (15 inches).

"This, we need a splitter box."
Splitter Box-something to split signal (guitar sound, keyboard sound, etc) into two or more ways.

"The Graphic's gone by the way"  Graphic or Graphic Equalizer-changes the sound of an instrument or
speaker. It is like the Bass and Treble controls on a stereo, but has more options.

"I'll go and get Keith and Greg."
Cozy leaves to find E and L.

After the Cozy returns with Keith and Greg, there are some introductions and compliments about Keith's house.
"A nice little place you've got in here"
"Yeah, it's not bad."
"Another country delight."
This is followed by a quick chat about the journey from London that the Steve and Barry have just done including the route and a story about driving in the country the day before 

"How long did it take you to get down?"
"Oh a couple of hours."

"We usually go right down to Brighton and then cut straight across."
"Yeah I thought about that once I got as far down as I was."
"The roads are straighter."

"Yesterday, we were driving behind this car and there were a couple of tractors on the road. He pulled out to go passed them and so did we and he made it and we didn't is the long and short of it and there was some stuff coming the other way so we had to get in-between these two tractors and we were doing about 80-85."
The story continues and concludes with a comment about how good the brakes on a Mercedes are.
"Those Mercedes, they just break like hell."

After the story.
"Would you like any tea or something?"
"I'd like something wet, yeah. That would be great."

The conversation returns to the equipment.
".and these old speakers, these here are just taking up a lot of room and there's not much coming out of them so I'll get you to sling them out and get some."
"The biggest problem is because we are recording as well."

"What we need is this.we want to design a set-up so that whenever we play in any circumstances where we need monitors that's the system we use."
"You know it would be good then, basically, for all purposes."
Greg wants a monitor system that does not change whether it is for recording, rehearsing or performing.

The next part has two discussions at the same time. One conversation is about Echo Units; the other is about keyboard monitoring and fold-back. Fold-back is a term used to describe all the different kinds of monitor
equipment used in P.A.'s.

Greg turns the subject matter from instruments to vocals. His idea is to have two monitor systems.
"Ok. On the subject of vocals, now really, all I wanna do is have a system for vocals, where I can get above everybody else.and umm, really, ideally, it would be great to have a service, a system separate to that
which keyboards and drums are going through."

The technician makes a comment about the size of the room and the technical problem of 'separation'. This means how to stop a microphone picking up sound from more than one instrument.
Really, the biggest problem here is actually the limitation of space."

Keith asks how they like to have coffee and also suggests a glass of wine, which is declined. Greg carries on talking about the monitor system: "..it isn't a case of more and more volume." and ".I'd like to hear some effects on my voice and clarity.".

"..the sound in the recording that Neil gets is real good, but the sound we've got live in the room isn't so good."
No one called Neil is credited on the 'Emerson, Lake and Powell' album, so this person is a mystery.

The technician is asked if he's ".got any Martins?" Martin is the brand name of a P.A. Speaker. The technician replies with; "We can search around but as I said to you last night, suddenly, everyone just started rehearsing this week." and "Tasco is now empty.". 
'Tasco' is the name of the P.A. Company that Barry and Steve work for.

The conversation concludes with a few minor details and then it's back to the recording for Keith, Greg and Cozy.

Disc 2, Track 6, Conversation with Equipment Technicians (continued).

The group and technicians have moved into the control room and are listening back to their recent recordings.
The majority of the conversation is over the playback and is inaudible. Again there are two conversations taking place. The tapes being listened to are not the ones that came out on the album.

When the playback stops, they are talking about mixing desks.
"Because Greg wants a separate system for his voice, in a way what we need is a couple of smaller.so Keith can have one.I mean.we've got.what have we got here?" 1, 2, 3, 4, 5, 6, 7, 8, yeah twelve channel mixer with Keith and then a really good high quality one."

Various kinds of P.A. cabinet are suggested for the system and the conversation then turns to cost and endorsements. Greg says; "I've got a deal with Takamini." and Keith mentions Yamaha,".after buying that thing
which cost me about 30,000 pounds." He also states; "I'm well in with Korg."

The final line goes to Keith who is talking about Korg and his trip to Japan.
"I was there for a week and it was magic."