Conceived by Rick Seeber

PRODUCTION SCRIPT

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CAST OF CHARACTERS

General Role Requirements: Performers age 18 to 30 with exceptional pop-rock singing voices and charisma, who move well. Performers of all ethnic backgrounds are encouraged to audition. SOPRANO–THE “SEEKER” Preferably African-American. Alluring. Soulfully searching for a spiritual path through the decade. Pop Second Soprano with tons of soul: Bottom note: E Flat Belt to C Strong mix to F# Legit (head voice) to G Must move well ALTO–THE “FEMINIST” Radiating a new-found pride, rock-chick power, seductiveness, and vulnerability. Great Pop-Rock Sound: Bottom note: E Flat Belt to B Strong mix to C# Solid mix/head voice to E Must move well TENOR–THE “LOVABLE LOSER” Preferably African-American. A happy soul. Shy. Perhaps a bit geeky. The lovable loser who “never gives up.” The Real Pop Thing with monster top soaring range: Bottom note: A Top note (full voice): A Top falsetto: D Must move well BARITONE–THE “LOVER” Confident, alpha-male rock singer with an intensity of purpose. Pop-Rock Baritone/Second Tenor: Bottom note: A Top note (full voice): A Top Falsetto Note: D Must move well

Individually and as a group, they all find their way in song through the decade.

CONCEIVER’S NOTES

What makes 8-Track work is its heart and soul. Hard to believe, I know, as our collective memory of “the forgotten decade” is based upon the stereotypes that have devolved from it— disco, polyester, long hair, smarmy harmony. But the truth is, although some in your audience may enter your venue having been attracted to the show as a novelty, they leave your venue having been emotionally moved. If sung from the heart, this music has great power.

And there is a great deal of fun to be had. To see and hear several hundred people sing along with You Light Up My Life (the number one pop song of the decade— really) or lift up their smart- phone images of Bic lighters to sway along with I Write the Songs, or spontaneously lift their arms to form the letters Y.M.C.A.— is to see how deeply connected those of a certain generation are to this music.

Please bear in mind that devolving into stereotypes can lessen the fun. Even the goofiest musical number should be “sung from the heart.” And the costumer really doesn’t have to stray far from the actual clothes and hair styles of the day to convey the fun.

Though this show is not an “impersonation” show, I suggest strongly to have your young performers listen to the original artists’ recordings of the songs to enable them in making an emotional connection with the songs and the decade. To get a general feel for the show, listen to the Reference Archival Audio (the entire show recorded live in performance) as you peruse the acting edition script. The B-roll video clips which can be seen at stagerights.com or 8-Track.org are also a good reference.

Though you may augment the available Keyboard, Electric Bass, Guitar (electric/acoustic double), and Drum band charts with other instruments, most productions have used the excellent instrumental Orchestral Tracks as heard on the Original Cast Recording. There are many different “feels” of music from the decade and we wanted to capture all of them, so the instrumental Orchestral Tracks were digitally recorded live in-studio with many musicians.

In the Performance Version running script, you will see notations for “SQ”s, which are the “go” cues for each of the Sound Cues of the instrumental Orchestral Tracks— not to be confused with the numbered “Music Cues” (or “MC”s) which refer to the actual musical numbers. [If you choose to use the Orchestral Tracks for your production, you will be sent a separate “Sound Cue List as well as Rehearsal CDs with just the Orchestral Tracks on them— to expedite your rehearsal process. These CDs may not be used for performances as they are of lower quality than the WAV data files used in performance.]

CONCEIVER’S NOTES (CONT’D)

Finally, the musical arrangements have many unique and surprising transitions and I encourage you to be aware of and “play” those transitions as they frequently serve to setup the emotional reason a song is where it is. And many times a song begins, emotionally speaking, in the representational relationship between one performer and another, but as the song progresses, the focus switches to a more presentational convert format.

Have fun and don’t be surprised when your audience starts singing along.

Rick Seeber

MUSICAL NUMBERS ACT I Track 1: Not Sold in Stores 1A. Best of My Love ...... Company 1B. I Want You Back–Under Opening ...... Company 1C. Best of My Love–Button ...... Company Track 2: Beginnings 2A. Where Do I Begin?/American Pie ...... Company 2B. Close to You/We’ve Only Just Begun ...... Company 2C. Desiderata–Transition ...... Company 3. Get Ready ...... Company 4. I Am Woman ...... Company 5. Alone Again, Naturally ...... Company 6. Everything is Beautiful ...... Company Track 3: War and Peace 7. War ...... Company 8. Peace Train ...... Company 9. Tie a Yellow Ribbon ...... Company 10. Takin’ It to the Streets ...... Company 11. What’s Going On? ...... Company Track 4: The Party 12. Mama Told Me Not to Come ...... Company 13. Brick House ...... Company 14. Make It with You ...... Company 15. Can’t Get Enough of Your Love, Baby ...... Company 16. Lady Marmalade ...... Company Track 5: The One-Day Stand 17. The Morning After ...... Company 18. I’m Not in Love ...... Company 19. Just the Way You Are ...... Company 20. The First Time Ever I Saw Your Face ...... Company 21. Afternoon Delight ...... Company 22. Smoke from a Distant Fire ...... Company 23. (Intentionally Deleted) ...... Company 24. Don’t Let Me Be Lonely Tonight ...... Company 25. You Light Up My Life ...... Company 26. Midnight Blue ...... Company 27. Don’t Cry Out Loud ...... Company 28. (Intentionally Deleted) ...... Company 29. The Letter ...... Company

MUSICAL NUMBERS (CONT’D) ACT II 30. Hooked on a Feeling (Ooga Chucka) ...... Company Track 6: Road Trip 31. One Toke Over the Line ...... Company 32. Car Wash ...... Company 33. Convoy/50 Ways to Leave Your Lover ...... Company 34. I Write the Songs ...... Company 35. Until You Come Back to Me ...... Company 36. Your Song ...... Company 37. Desperado ...... Company 38. Ooh Child ...... Company Track 7: Disco 39. The Hustle ...... Company 40. Get Down Tonight ...... Company 41. Shake, Shake, Shake (Shake Your Booty) ...... Company 41A. Feelings–Part I ...... Company 42. You Make Me Feel Like Dancing ...... Company 42A. Feelings–Part II ...... Company 43. Y.M.C.A...... Company 44A. Le Freak–Part I ...... Company 44B. We Are Family ...... Company 44C. Le Freak–Part II ...... Company 45A. Cantina Band–Part I ...... Company 45B. Bohemian Rhapsody ...... Company 45C. Cantina Band–Part II ...... Company 46A. Stayin’ Alive–Part I ...... Company 46B. I Will Survive ...... Company 46C. Stayin’ Alive–Part II ...... Company Track 8: Dim All the Lights 47. Dim All the Lights ...... Company 48. Whenever I Call You Friend ...... Company 48A. Best of My Love–Tag ...... Company 49. Bows (Best of My Love) ...... Company 50. Na Na Hey Hey ...... Company

8-TRACK: THE SOUNDS OF THE 70s – PRODUCTION SCRIPT 1

ACT I

TRACK 1: NOT SOLD IN STORES Hot opening number becomes “TV” commercial with “voice over” spiel, setting up the entire evening as the 8-Track “album”: The Sounds of the ‘70s. Stage is black. Sound Cue (SQ) A (Cue if using instrumental Orchestral Tracks)

#1A: BEST OF MY LOVE

Four drum ticks in. Lights up on beat 5, revealing performers US in ‘70s-style silhouettes. ALL BA-DAP BA-DAP BA-DAP BA-DA DA-DA Four bars instrumental– hand claps. Each crosses DS on solo. ALTO DOESN’T TAKE MUCH TO MAKE ME HAPPY AND MAKE ME SMILE WITH GLEE BARITONE NEVER, NEVER WILL I FEEL DISCOURAGED ‘CAUSE OUR LOVE’S NO MYSTERY TENOR SOPRANO & ALTO DEMONSTRATING LOVE AND AFFECTION HMM HMM THAT YOU GIVE SO OPENLY HMM HMM HMM SOPRANO & ALTO I LIKE THE WAY YOU MAKE ME FEEL ABOUT YOU BABY WANT THE WHOLE WIDE WORLD TO SEE ALL WOH-WOH, YOU’VE GOT THE BEST OF MY LOVE WOH-WOH, YOU’VE GOT THE BEST OF MY LOVE WOH-WOH, YOU’VE GOT THE BEST OF MY LOVE WOH-WOH, YOU’VE GOT THE BEST OF MY LOVE ALTO FLOWIN’ IN AND OUT OF ALL CHANGES 2 8-TRACK: THE SOUNDS OF THE 70s – PRODUCTION SCRIPT

BARITONE THE KIND THAT COME AROUND EACH DAY SOPRANO MY LIFE HAS A BETTER MEANING TENOR LOVE HAS KISSED ME IN A ALL BEAUTIFUL WAY SOPRANO OTHERS AND OH— DOO-DOOT DOO-DOOT YEAH DOO-DOOT DOO-DOOT ALL MY LOVE MY LOVE SOPRANO OTHERS AND OH— DOO-DOOT DOO-DOOT YEAH DOO-DOOT DOO-DOOT ALL MY LOVE MY LOVE OOH

BA-DAP BA-DAP BA-DAP Direct segue as one to:

#1B: I WANT YOU BACK – INSTRUMENTAL UNDERSCORE

ALL. “TV” Commercial spiel. Piano glissando in from top of I WANT YOU BACK. BARITONE begins cheesy spiel, as typical obnoxious TV huckster. After the first spoken line, the spiel is split up amongst ALL. OPENING SPIEL BARITONE (speaking) K-Tel presents… ALL 8-TRACK, the Sounds of the ‘70s! BARITONE Re-discover the heart and soul of the forgotten decade! ALTO Over 50 explosive hits! 8-TRACK: THE SOUNDS OF THE 70s – PRODUCTION SCRIPT 3

SOPRANO The greatest stories ever told in song! TENOR Available for a limited time only! BARITONE This collection is… ALL Not Sold In Stores! BARITONE You must call now! ALTO Call 555 555 5555 -5. TENOR Only $19.75! BARITONE Operators (are) standing by! TENOR Only $19.75! ALTO Feminism… BARITONE Hedonism… SOPRANO What’s your sign…? TENOR Disco! BARITONE You really must call now! SOPRANO Allow 40 years for delivery. ALL 8-TRACK, The Sounds of the ‘70s. ALL show demo 8-track tapes. Have a nice day. Direct segue as one to:

#1C: BEST OF MY LOVE – BUTTON

Four bars instrumental. 4 8-TRACK: THE SOUNDS OF THE 70s – PRODUCTION SCRIPT

SOPRANO (singing) DEMONSTRATING SWEET LOVE AND AFFECTION ALTO THAT YOU GIVE SO OPENLY, YEAH BARITONE THE WAY I FEEL ABOUT YOU BABY, CAN’T EXPLAIN IT TENOR WANT THE WHOLE WIDE WORLD TO SEE SOPRANO OTHERS (ad libs) AND OH— DOO-DOOT DOO-DOOT YEAH DOO-DOOT DOO-DOOT ALL MY LOVE MY LOVE SOPRANO OTHERS AND OH— OH YEAH DOO-DOOT DOO-DOOT DOO-DOOT DOO-DOOT ALL MY LOVE MY LOVE OOH DOO-DOOT DOO-DOOT DOO-DOOT DOO-DOOT OW! Tableau. Applause Segue to:

TRACK 2: BEGINNINGS Transition back to the beginning of the decade. Slow tempo, building to frenzy as decade burns itself out. It’s like a big cast album of the “forgotten decade.” Each PERFORMER still on stage animates on his/her vocal from tableau ending the previous number. SQ B

#2A: WHERE DO I BEGIN/AMERICAN PIE

TENOR WHERE DO I BEGIN ALTO A LONG LONG TIME AGO 8-TRACK: THE SOUNDS OF THE 70s – PRODUCTION SCRIPT 5

BARITONE TO TELL THE STORY SOPRANO I CAN STILL REMEMBER HOW THAT MUSIC USED TO MAKE ME SMILE ALL AND MAYBE WE’LL BE HAPPY FOR A WHILE… AH— Direct segue as one to:

#2B: CLOSE TO YOU/WE’VE ONLY JUST BEGUN

Staging implies a “graduation.” Final “while” lyric of previous number becomes: ALL —AH AH AH AH AH CLOSE TO YOU WAH AH AH AH AH CLOSE TO YOU HAH– ALTO WE’VE ONLY JUST BEGUN TO LIVE WHITE LACE AND PROMISES A KISS FOR LUCK AND WE’RE ON OUR WAY TENOR & BARITONE WE’VE ONLY ALTO, TENOR & BARITONE BEGUN— SOPRANO BEFORE THE RISING SUN WE FLY SO MANY ROADS TO CHOOSE WE START OUT WALKING AND LEARN TO RUN ALTO, TENOR & BARITONE AND YES, WE’VE JUST ALL BEGUN— BARITONE SHARING HORIZONS THAT ARE NEW TO US WATCHING THE SIGNS ALONG THE WAY SOPRANO, TENOR & BARITONE OH— 6 8-TRACK: THE SOUNDS OF THE 70s – PRODUCTION SCRIPT

ALTO TALKING IT OVER JUST THE TWO OF US ALL WORKING TOGETHER DAY TO DAY, TOGETHER TOGETHER TENOR AND WHEN THE EVENING COMES, WE ALL SMILE SO MUCH OF LIFE AHEAD WE’LL FIND A PLACE WHERE THERE’S ROOM TO GROW ALTO AND YES, WE’VE JUST BEGUN ALL AH— Tableau. Applause Segue to:

#2C: DESIDERATA – TRANSITION

SOPRANO breaks tableau and sings a capella. SOPRANO (mystically) YOU ARE A CHILD OF THE UNIVERSE NO LESS THAN THE TREES AND THE STARS YOU HAVE A RIGHT— SOPRANO is abruptly interrupted by BARITONE who snaps his fingers to signal the start of: SQ C

#3: GET READY

Eight-bar instrumental intro. BARITONE on lead, ALL OTHERS sing BU. BARITONE breaks tableau, transforming himself into the “lover” character, unbuttoning his shirt to reveal gold chains. On intro he circles women. He is feral. All others sing back-up (“BU”). BARITONE OTHERS NEVER MET A GIRL COULD MAKE ME FEEL THE WAY THAT YOU DO YOU’RE ALRIGHT WHENEVER I’M ASKED WHAT MAKES MY DREAMS REAL 8-TRACK: THE SOUNDS OF THE 70s – PRODUCTION SCRIPT 7

BARITONE (CONT’D) OTHERS (CONT’D) I TELL THEM YOU DO YOU’RE OUTTA SIGHT WELL FEE FI FI FO FO FUM LOOK OUT BABY, NOW HERE I COME.

I’M BRINGING YOU A LOVE THAT’S TRUE AH— GET READY, GET READY GET READY TO START MAKIN’ LOVE TO YOU AH— GET READY, GET READY GET READY OH, DON’T YOU KNOW I’M COMIN’ GET READY, ‘CAUSE HERE I COME (I’M) ON MY WAY GET READY, ‘CAUSE HERE I COME

IF ALL MY FRIENDS SHOULDN’T WANT ME TO I THINK I’LL UNDERSTAND IT YOU’RE ALRIGHT HOPE I’LL GET TO YOU BEFORE THEY DO ‘CAUSE THAT’S HOW I PLANNED IT YOU’RE OUTTA SIGHT (WELL) TWIDDLE DEE DEE, NOW TWIDDLE DEE DUM LOOK OUT BABY, HERE I COME

I’M BRINGING YOU A LOVE THAT’S TRUE AH— GET READY GET READY GET READY TO START MAKIN’ LOVE TO YOU AH— GET READY GET READY GET READY (ad libs) OH, DON’T YOU KNOW I’M COMIN GET READY, ‘CAUSE HERE I COME (I’M) ON MY WAY GET READY, ‘CAUSE ALL HERE I COME Applause Segue to: SQ D

#4: I AM WOMAN

ALTO sings lead. She represents feminism. ALL OTHERS exit but sing BU harmony off-stage. She sings with pride. Four-bar instrumental. ALTO I AM WOMAN, HEAR ME ROAR IN NUMBERS TOO BIG TO IGNORE AND I KNOW TOO MUCH TO GO BACK TO PRETEND 8 8-TRACK: THE SOUNDS OF THE 70s – PRODUCTION SCRIPT

ALTO (CONT’D) ‘CAUSE I’VE HEARD IT ALL BEFORE AND I’VE BEEN DOWN THERE ON THE FLOOR NO ONE’S EVER GONNA KEEP ME DOWN AGAIN OH— ALTO OTHERS YES I AM WISE YES I AM WISE BUT IT’S WISDOM BORN OF PAIN OH— YES, I PAID A PRICE YES, I PAID A PRICE BUT LOOK HOW MUCH I GAINED IF I HAVE TO I CAN DO ANYTHING HAVE TO, ANYTHING

I AM STRONG STRONG I AM INVINCIBLE INVINCIBLE I AM WOMAN OOH—

I AM WOMAN WATCH ME GROW SEE ME STANDING TOE TO TOE AS I SPREAD MY LOVIN’ ARMS ACROSS THE LAND BUT I’M STILL AN EMBRYO WITH A LONG, LONG WAY TO GO UNTIL I MAKE MY BROTHER UNDERSTAND OH— BUT IT’S WISDOM BORN OF PAIN BUT LOOK HOW MUCH I GAINED

YES I AM WISE YES I AM WISE BUT IT’S WISDOM BORN OF PAIN OH— YES, I PAID A PRICE YES, I PAID A PRICE BUT LOOK HOW MUCH I GAINED IF I HAVE TO I CAN DO ANYTHING HAVE TO, ANYTHING

I AM STRONG STRONG I AM INVINCIBLE INVINCIBLE I AM WOMAN— Applause Segue to:

#5: ALONE AGAIN, NATURALLY

On applause, ALTO exits DSR as TENOR enters DSL, i.e., from opposite side of the stage hurriedly, though meekly, with a small, boxed present in his outstretched arms. He represents the hopeful and happy soul, the loner, the one always trying to fit in. In crass terms, the “geek.” He wants to give his gift to the ALTO, but she has “rejected” him by her exit. 8-TRACK: THE SOUNDS OF THE 70s – PRODUCTION SCRIPT 9

On the one-bar instrumental break mid-way through the number he crosses UCS, sits, puts down the “present,” which by virtue of being rotated to reveal its other side, is his pet rock box. He takes out his pet rock, and commiserates with it. After a while, where indicated, he packs up his rock, and crosses downstage, then to the proscenium. He smiles sweetly, and exits, with hope in his heart— always. Six-bar instrumental intro. TENOR is DSR. TENOR TO THINK THAT ONLY YESTERDAY I WAS CHEERFUL BRIGHT AND GAY LOOKING FORWARD TO WELL WHO WOULDN’T DO THE ROLE I WAS ABOUT TO PLAY BUT AS IF TO KNOCK ME DOWN REALITY CAME AROUND AND WITHOUT SO MUCH AS A MERE TOUCH CUT ME INTO LITTLE PIECES LEAVING ME TO DOUBT TALK ABOUT GOD IN HIS MERCY WHO IF HE REALLY DOES EXIST WHY DID HE DESERT ME IN MY HOUR OF NEED I TRULY AM INDEED ALONE AGAIN NATURALLY Eleven-bar instrumental break. He crosses US to platform CTR, sits. Rotates “gift” box to show “Pet Rock” side. Takes out rock lovingly. ALONE AGAIN NATURALLY IT SEEMS TO ME THAT THERE ARE MORE HEARTS BROKEN IN THIS WORLD THAT CAN’T BE MENDED LEFT UNATTENDED WHAT DO WE DO? WHAT DO WE DO? Packs up the pet rock. (OH) IN A LITTLE WHILE FROM NOW IF I’M NOT FEELING ANY LESS SOUR I PROMISE MYSELF TO TREAT MYSELF AND VISIT A NEARBY TOWER AND CLIMBING TO THE TOP WILL THROW MYSELF OFF IN AN EFFORT TO MAKE IT CLEAR TO WHO-EVER WHAT IT’S LIKE WHEN YOU’RE SHATTERED He crosses DS. LEFT STANDING IN THE LURCH AT A CHURCH WHERE PEOPLE SAYING MY GOD THAT’S TOUGH SHE STOOD HIM UP 10 8-TRACK: THE SOUNDS OF THE 70s – PRODUCTION SCRIPT

TENOR (CONT’D) NO POINT IN US REMAINING WE MAY AS WELL GO HOME AS I DID ON MY OWN ALONE AGAIN NATURALLY ALONE AGAIN NATURALLY TENOR exits DSR. Applause Segue to: SQ E

#6: EVERYTHING IS BEAUTIFUL

As instrumental intro begins, SOPRANO enters as the “Seeker.” Perhaps she is holding a single flower. She sits USC on platform, in a meditative pose, then sings. On build/key change, ALL OTHERS enter singing BU harmony in jubilation. Four-bar instrumental intro. SOPRANO EVERYTHING IS BEAUTIFUL IN ITS OWN WAY LIKE A STARRY SUMMER NIGHT OR A SNOW-COVERED WINTER’S DAY EVERYBODY’S BEAUTIFUL IN THEIR OWN WAY UNDER GOD’S HEAVEN THE WORLD’S GONNA FIND A WAY

THERE IS NONE SO BLIND AS HE WHO WILL NOT SEE WE MUST NOT CLOSE OUR MINDS WE MUST LET OUR THOUGHTS BE FREE FOR EVERY HOUR THAT PASSES BY YOU KNOW THE WORLD GETS A LITTLE BIT OLDER IT’S TIME TO REALIZE THAT BEAUTY LIES IN THE EYES OF THE BEHOLDER ALL OTHERS enter. Sing BU. ALL EVERYTHING IS BEAUTIFUL IN ITS OWN WAY SOPRANO OTHERS LIKE A STARRY SUMMER NIGHT OOH— OR A SNOW-COVERED WINTER’S DAY OOH— ALL EVERYBODY’S BEAUTIFUL (OH) IN THEIR OWN WAY 8-TRACK: THE SOUNDS OF THE 70s – PRODUCTION SCRIPT 11

SOPRANO OTHERS UNDER GOD’S HEAVEN OOH— THE WORLD’S GONNA FIND A WAY OOH— Modulation #1 SOPRANO (speaking) Ah, sing it, children! ALL (singing) EVERYTHING IS BEAUTIFUL IN ITS OWN WAY SOPRANO OTHERS LIKE A STARRY SUMMER NIGHT OOH— OR A SNOW-COVERED WINTER’S DAY OOH— Modulation #2 (speaking) One more time! ALL (singing) EVERYBODY’S At the very peak of the number, the mood abruptly changes, for all, with a sudden drum roll. Direct segue as one to:

TRACK 3: WAR AND PEACE

#7: WAR

BARITONE lead. ALL OTHERS BU. On drum roll, SOPRANO puts flower in her hair quickly. Number is sung with power and conviction. Two-bar drum roll. BARITONE OTHERS WAR HUH, YEAH WAR, HUH! WHAT IS IT GOOD FOR? ABSOLUTELY NOTHIN’, UH-HUH, UH-HUH WAR HUH, YEAH WAR, HUH! WHAT IS IT GOOD FOR ABSOLUTELY NOTHIN’ SAY IT AGAIN Y’ALL WAR HUH, LOOK OUT WAR, HUH! WHAT IS IT GOOD FOR ABSOLUTELY NOTHIN’ LISTEN TO ME 12 8-TRACK: THE SOUNDS OF THE 70s – PRODUCTION SCRIPT

ALL WAR BARITONE IS AN ENEMY TO ALL MANKIND THE THOUGHT OF WAR BLOWS MY MIND WAR HAS CAUSED UNREST WITHIN THE YOUNGER GENERATION INDUCTION THEN DESTRUCTION WHO WANTS TO DIE BARITONE OTHERS WAR HUH, WO-WO-WO-WO WAR, HUH! WHAT IS IT GOOD FOR? ABSOLUTELY NOTHIN Direct segue as one to:

#8: PEACE TRAIN

ALTO lead. ALL OTHERS BU. ALTO represents the “peace child.” ALL follow her emotional lead as back-up singers. ALTO NOW I’VE BEEN CRYIN’ LATELY THINKIN’ BOUT THE WORLD AS IT IS WHY MUST WE GO ON HATIN’ WHY CAN’T WE LIVE IN BLISS? ALTO OTHERS ‘CUZ OUT ON THE EDGE OF DARKNESS ‘CUZ OUT THERE RIDES A PEACE TRAIN. OH PEACE TRAIN TAKE THIS COUNTRY COME TAKE ME HOME AGAIN

NOW I’VE BEEN SMILIN’ LATELY NOW I’VE THINKIN’ ABOUT THE GOOD THINGS TO COME AND I BELIEVE IT COULD BE SOMETHING GOOD HAS BEGUN

OH PEACE TRAIN SOUNDIN’ LOUDER OH PEACE TRAIN SOUNDIN’ LOUDER GLIDE ON THE PEACE TRAIN GLIDE ON THE PEACE TRAIN OOH-AH-EE-AH-OOH-AH COME ON THE PEACE TRAIN, ‘CAUSE PEACE TRAIN HOLY ROLLER OH PEACE TRAIN SOUNDIN’ LOUDER EVERYONE JUMP UP ON THE PEACE TRAIN GLIDE ON THE PEACE TRAIN OOH-AH-EE-AH-OOH-AH COME ON NOW PEACE TRAIN Thanks for checking out a preview of this script.

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