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Street Player
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| Street Player | ||||
|---|---|---|---|---|
 | ||||
| Studio album by | ||||
| Released | January 17, 1978 | |||
| Recorded | 1977 | |||
| Studio | Dawnbreaker (San Fernando) | |||
| Genre | ||||
| Length | 40:32 | |||
| Label | ABC AA 1049 | |||
| Producer | Rufus, Roy Halee | |||
| Rufus chronology | ||||
| ||||
| Chaka Khan chronology | ||||
| ||||
| Review scores | |
|---|---|
| Source | Rating |
| AllMusic |    [1] |
| Record Mirror | [4] |
| Rolling Stone | (not rated)[2] |
| The Rolling Stone Album Guide | [3] |
Street Player is the sixth studio album by funk band Rufus (and their fourth album featuring singer Chaka Khan), released on the ABC Records label in 1978. Street Player was the band's third album to top Billboard's R&B Albums chart and also reached number 14 on Pop. The album includes the singles "Stay" (US R&B number 3, US Pop number 38) and "Blue Love" (US R&B number 34).
History
[edit]In 1978, Rufus and Chaka Khan were a top-selling band. Their last four releases had gone platinum and the group continued to sell out in arenas as a headlining act with fiery Khan leading the way. By this point, Khan's stardom outside the group had grown and it led to the group drifting apart. While Khan opted to stay a member of the group, other members were uncomfortable that Khan was now offered solo contracts.
After the release of this record, Khan would sign a solo deal with Warner Bros. Records releasing her debut album, featuring the hit "I'm Every Woman". While Khan went on to a solo career, Rufus cut Numbers, in 1979, without her. Khan, however, didn't leave the group, returning for their Quincy Jones-produced Masterjam later that same year.
Also after the departure of original drummer Andre Fischer, Richard "Moon" Calhoun took over on this album on drums. This would be his only album with the group. Additionally, the jazz/rock band Chicago featured a version of the title track on their 1979 album Chicago 13, with Peter Cetera on lead vocals. The song was co-written by Chicago's drummer at that time, Danny Seraphine. The track "Stay" was covered by Erykah Badu on her 1997 album Live.
Track listing
[edit]| No. | Title | Writer(s) | Length |
|---|---|---|---|
| 1. | "Street Player" | David Wolinski, Daniel Seraphine | 4:54 |
| 2. | "Stay" | Richard Calhoun, Chaka Khan | 5:41 |
| 3. | "Turn" | Bobby Watson, Wolinski | 4:43 |
| 4. | "Best of Your Heart" | Watson, Wolinski | 3:45 |
| 5. | "Finale" (Instrumental) | Watson, Wolinski | 2:10 |
| No. | Title | Writer(s) | Length |
|---|---|---|---|
| 6. | "Blue Love" | Calhoun, Wolinski | 3:18 |
| 7. | "Stranger to Love" | Wolinski | 3:33 |
| 8. | "Take Time" (Instrumental) | Tony Maiden | 4:16 |
| 9. | "Destiny" | David Batteau, Richard Holland | 4:25 |
| 10. | "Change Your Ways" | Maiden, Traude Sapik | 3:27 |
The listing of tracks on the back of the album as distributed in Canada (GRT of Canada Ltd.) is in the following order:
- Destiny
- Stranger To Love
- Street Player
- Stay
- Best Of Your Heart
- Finale
- Take Time
- Blue Love
- Turn
- Change Your Ways
The listing on the album labels (sides 1 & 2) is as on the main listing.[5]
Personnel
[edit]- Chaka Khan – lead vocals, background vocals
- Tony Maiden – guitar, percussion, lead vocals, background vocals
- Kevin Murphy – keyboards
- Bobby Watson – bass, percussion
- David "Hawk" Wolinski – keyboards, background vocals
- Richard "Moon" Calhoun – drums, percussion, background vocals
- Jerry Hey – trumpet, flugelhorn
- Larry Williams – saxophone, flute, piccolo
- Kim Hutchcroft – saxophone, flute
- Bill Reichenbach Jr. – trombone
- Helen Lowe – additional background vocals
- Everett Bryson, Jr. – percussion
Production
[edit]- Rufus, Roy Halee – producers
- Roy Halee, George Belle – engineers
- Clare Fischer – string arrangements & conductor
- Seawind, Rufus – horn arrangements
- Brian Gardner – audio mastering
Charts
[edit]Album
| Chart (1978) | Peak [6] |
|---|---|
| U.S. Billboard Top LPs | 14 |
| U.S. Billboard Top Soul LPs | 1 |
Singles
| Year | Single | Peak chart positions | |
|---|---|---|---|
| US [6] |
US R&B [6] | ||
| 1978 | "Stay" | 38 | 3 |
| "Blue Love" | 105 | 34 | |
Certifications
[edit]| Region | Certification | Certified units/sales |
|---|---|---|
| United States (RIAA)[7] | Gold | 500,000^ |
|
^ Shipments figures based on certification alone. | ||
See also
[edit]References
[edit]- ^ Lytle, Craig. "Street Player review". Allmusic. Retrieved October 11, 2011.
- ^ McEwen, Joe. "Street Player review". Rolling Stone. Archived from the original on October 13, 2008. Retrieved October 16, 2011.
- ^ Gersten, Russell (1983). "Rufus". In Marsh, Dave; Swenson, John (eds.). The New Rolling Stone Record Guide. Random House/Rolling Stone Press. p. 438. ISBN 0394721071.
- ^ Travis, Geoff (March 4, 1978). Rufus: Street Player. Record Mirror. p. 14.
- ^ Physical copy
- ^ a b c "US Charts > Rufus". Allmusic. Retrieved October 19, 2011.
- ^ "American album certifications – Rufus – Street Player". Recording Industry Association of America. Retrieved May 13, 2024.
External links
[edit]
Street Player
View on Grokipediafrom Grokipedia
Background
Rufus's career up to 1977
Rufus was formed in 1970 in Chicago as a funk-rock band by former members of the 1960s pop-rock group The American Breed, which had disbanded that year after hits like "Bend Me, Shape Me." The initial lineup included keyboardist Kevin Murphy, guitarist Al Ciner, bassist Dennis Belfield, drummer Andre Fischer, and vocalist Paulette McWilliams, with the group initially operating under names like Smoke before adopting Ask Rufus and eventually Rufus. Early efforts focused on a rock-oriented sound, but the band signed with ABC Records in 1972 and released their self-titled debut album in 1973, which introduced a blend of funk and soul elements. Significant lineup changes occurred in 1973 when McWilliams departed and recommended 20-year-old singer Chaka Khan (born Yvette Marie Stevens) as her replacement; Khan joined alongside keyboardist and vocalist Ron Stockert, shifting the band's dynamic toward a more prominent female-led vocal style. This addition propelled Rufus toward a funk-disco sound, emphasizing Khan's powerful, versatile voice over tight horn sections and rhythmic grooves influenced by Chicago's vibrant R&B scene. The revised lineup—Khan, Murphy, Ciner, Belfield, Fischer, and Stockert—solidified the band's identity as a top funk ensemble.[9] With Khan, Rufus achieved commercial breakthrough on their next albums. The 1974 release Rags to Rufus earned platinum certification from the RIAA for over one million units sold, driven by the Stevie Wonder-penned hit "Tell Me Something Good," which reached number three on the Billboard Hot 100 and won a Grammy for Best R&B Vocal Performance by a Duo or Group with Vocals. Later that year, Rufusized followed, certified gold by the RIAA, and peaked at number seven on the Billboard 200 with singles like "Once You Get Started," which peaked at number four on the R&B chart. By 1977, Ask Rufus also attained platinum status from the RIAA on April 13, topping the R&B albums chart for three weeks and featuring the number-one R&B single "At Midnight (My Love Will Lift You Up)."[10] These successes marked Rufus's rise as a leading R&B act, with four albums achieving gold or platinum certifications by 1977, establishing their commercial viability through ten top-40 pop hits and consistent chart dominance in funk and soul genres.Album development and band tensions
Following the commercial breakthrough of their 1977 album Ask Rufus, which topped the Billboard R&B chart and sold over one million copies, Rufus decided to produce their sixth studio album, Street Player, capitalizing on their status as one of the era's leading funk acts.[11][12] As development began in late 1977, internal tensions escalated within the band, primarily stemming from Chaka Khan's growing solo ambitions, which created friction among members and strained group dynamics.[13] Khan's rising stardom, highlighted by her prominent role in Rufus's hits, fueled these conflicts, culminating in her signing a solo recording contract with Warner Bros. Records shortly after Street Player's release in December 1978.[13][14] Compounding these issues, the band underwent a key personnel change during pre-production when longtime drummer André Fischer departed amid personal and professional disagreements, particularly with Khan and her husband.[9] He was replaced by Richard "Moon" Calhoun, formerly of the Gap Band, who brought a fresh rhythmic approach to the project and appeared on Street Player as his only album with Rufus.[15] Songwriting for the album drew heavily from band members, with keyboardist David "Hawk" Wolinski and guitarist Tony Maiden providing key contributions that built on Rufus's evolving fusion of funk and disco elements seen in prior releases.[16] Wolinski co-wrote the title track "Street Player" with Chicago drummer Danny Seraphine, infusing it with disco grooves, while Maiden penned "Take Time," showcasing his guitar-driven style and vocal leads.[16] These efforts reflected the band's intent to maintain their signature sound while adapting to the burgeoning disco trend.[15]Recording and production
Studio sessions and locations
The recording sessions for Street Player took place in 1977 at Dawnbreaker Recording Studios in San Fernando, California.[17] This location provided a professional environment conducive to the band's evolving sound, allowing for focused tracking amid their transitional phase.[17] The sessions primarily occurred in late 1977, emphasizing the capture of the band's live energy through rhythmic interplay and dynamic performances. Drummer Richard "Moon" Calhoun, newly recruited from the Gap Band to replace André Fischer, contributed to this vitality by integrating his percussive style, which added depth to tracks like "Stay" where he co-wrote and provided backing vocals.[15][17] Key techniques during the sessions highlighted layered horn sections arranged by Seawind and Rufus members, alongside Chaka Khan's emotive lead vocals that were tracked to preserve their improvisational flair.[16] Overdubs featured strings arranged and conducted by Clare Fischer, which enriched the album's textural layers and supported Khan's delivery on several cuts.[15] These elements were pursued despite underlying band tensions that occasionally influenced the session atmosphere.[17]Production team and techniques
The production of Street Player was overseen by the band Rufus alongside co-producer Roy Halee, a veteran engineer and producer celebrated for his innovative work on Simon & Garfunkel's albums such as Bridge Over Troubled Water. Halee's involvement brought a meticulous approach to capturing the band's evolving sound, emphasizing clarity and depth in the mix.[18][15] Engineering for the album was managed by Roy Halee and George Belle, who focused on layering the band's performances to highlight rhythmic precision and instrumental interplay. The final mastering was completed by Brian Gardner at Allen Zentz Mastering, resulting in a vibrant, high-fidelity presentation suited to the era's R&B standards.[19][17] Key techniques included the prominent use of synthesized keyboards by Rufus member David Wolinski, which infused electronic textures into the funk grooves and disco-inflected tracks, enhancing the album's modern edge. Released under ABC Records, the project leveraged label support for elaborate arrangements, such as Clare Fischer's sweeping string orchestrations, to achieve a grand, polished aesthetic.[19][15]Music and songwriting
Genre influences and style
Street Player represents a pivotal evolution in Rufus's sound, blending funk, R&B, and soul with prominent disco and jazz-funk elements, marking a departure from the band's earlier rock-leaning influences toward a more groove-oriented style suited to the late 1970s dance music landscape.[20][21][15] The album's core is built on Rufus's signature horn sections, which infuse jazz-funk textures into funky rhythms and soulful grooves, creating a sophisticated yet accessible sound that echoes the era's fusion of urban and dance styles.[22][17] Influenced by the surging disco wave of the late 1970s, Street Player incorporates polished, rhythmic grooves reminiscent of acts like Chicago, with whom the band shared stylistic affinities through shared songwriting collaborators and horn-driven arrangements.[23][15] This shift is evident in the album's lighter, more relaxed pulse compared to Rufus's prior works, prioritizing smooth transitions between funk basslines and expansive keyboard layers over aggressive rock edges.[22] Key to the album's style are the prominent bass lines provided by Bobby Watson, which anchor the soulful grooves and extended instrumental sections, complemented by synthesizer-enhanced keyboards from Kevin Murphy and David "Hawk" Wolinski that add a modern, layered depth to the jazz-funk horns.[21][20] Tracks like the title song feature these elements in a 4:54 jam that balances dance-floor energy with improvisational flair.[16] Structurally, the album comprises 10 tracks averaging 4 to 5 minutes each, totaling around 40 minutes, allowing for concise radio-friendly cuts while accommodating the band's penchant for groovy, extended interplay suitable for both listening and club play.[20][24] This format underscores Rufus's adaptation to disco's demands without sacrificing their funk and jazz roots.[23]Lyrics, themes, and composition
The lyrics of Street Player explore dominant themes of urban life, love, and escapism, capturing the raw energy and struggles of city existence alongside personal introspection and relational dynamics. In the title track, "Street Player," the narrative depicts the resilience of street hustlers navigating hardship and aspiring for better fortunes, with lines evoking "nameless years" filled with "trouble... in the air" and a drive to escape despair through determination and rhythm.[25] This theme of urban perseverance extends across the album, blending gritty realism with hopeful escapism, as seen in tracks that contrast daily turmoil with moments of emotional release.[26] Songwriting credits reflect the band's collaborative spirit, with external and internal contributors shaping the album's emotional core. The title track was composed by David "Hawk" Wolinski and Danny Seraphine, infusing it with a narrative arc from street-level survival to triumphant playfulness.[16] Similarly, "Stay" was written by Chaka Khan and Richard "Moon" Calhoun, emphasizing pleas for enduring love amid uncertainty, while "Blue Love" by Wolinski and Calhoun delves into the vulnerabilities of romantic bonds.[16] These credits highlight a mix of band members' input and outside talents, fostering diverse lyrical perspectives on empowerment and connection. Chaka Khan's vocal delivery adds profound emotional layers, her soulful and improvisational style—marked by sultry control and serene phrasing—elevating themes of relationships and empowerment throughout. In "Blue Love," her nuanced phrasing conveys the melancholy and intimacy of fractured affections, turning personal narratives into universally resonant expressions.[15] This approach infuses tracks with improvisational flair, allowing her voice to weave through themes of love's complexities and self-assertion, as in her ad-libbed responses that heighten emotional depth.[26] Notable compositional elements, such as call-and-response vocals and expansive bridge structures, enhance the funk anthems' narrative drive and communal feel. These techniques, evident in layered backing vocals and dynamic shifts, reinforce the album's themes by mirroring urban dialogue and escapist release, creating a sense of collective resilience and intimacy.[26] The overall fusion of funk and disco elements underscores this lyrical framework, providing a rhythmic backdrop that amplifies the stories of struggle and uplift.[15]Release and promotion
Album launch and artwork
Street Player was officially released on January 17, 1978, by ABC Records in the United States.[15] International releases followed throughout 1978, including versions for the UK, Germany, Japan, Canada, and other markets, often with localized catalog numbers but consistent artwork and tracklisting.[16] The album's cover artwork, photographed by Norman Seeff, presents a lighthearted, mannequin-centric composition that captures urban street scenes with basketball elements, symbolizing the title track's narrative of a street player and aligning with 1970s funk visuals.[15] Art direction was handled by Glen Christensen, emphasizing a playful yet thematic aesthetic to appeal to the band's funk and soul audience.[27] Initially distributed as a vinyl LP in a gatefold sleeve format, the packaging included printed lyrics and inner sleeve credits, enhancing the collector appeal for fans.[21] Additional formats at launch encompassed 8-track cartridges and cassettes, targeted at diverse playback preferences in retail outlets.[16] The album saw CD reissues starting in the 1990s, with MCA Records handling a 1994 edition that preserved the original artwork, followed by a 2018 Japanese reissue as part of Universal's Disco Fever series.[16][28] ABC Records supported the launch with a promotional push, leveraging the band's prior multi-platinum successes to secure radio airplay and prominent retail placement.[29] This strategy positioned Street Player as a continuation of Rufus's commercial momentum in the funk and disco markets.Singles and marketing efforts
The lead single from Street Player, "Stay", was released in early 1978 and became a moderate hit, peaking at number 38 on the Billboard Hot 100 and number 3 on the Hot Soul Singles chart.[30] Written by Chaka Khan and Richard “Moon” Calhoun, the ballad showcased Khan's vocal range and helped build anticipation for the album.[15][31] The follow-up single, "Blue Love", arrived later in 1978 and achieved lesser commercial success, reaching number 105 on the Pop chart and number 34 on the R&B chart.[30] Despite its mid-tempo funk arrangement, it underscored the album's blend of soul and disco influences during a period when Khan's star power was central to Rufus's appeal.[15] Marketing efforts for the singles and album emphasized Khan's charisma through targeted promotions, including extensive radio tours across the U.S., and advertisements in Black-oriented publications such as Ebony and Jet. These strategies positioned Rufus as a leading act in the funk-soul scene, leveraging Khan's growing solo profile to drive interest.[15] Promotional releases varied by region; for instance, the Canadian edition of Street Player featured an altered track order that influenced single sequencing and regional radio play.[32]Commercial performance
Chart positions
Street Player achieved notable success on the US charts in 1978, peaking at number 14 on the Billboard 200 (then known as Top LPs & Tape) and reaching number 1 on the Billboard Top Soul LPs chart, where it held the top position for several weeks.[15][22] The album's lead single "Stay" performed strongly on R&B charts, peaking at number 3 on the Billboard Hot Soul Singles chart and number 38 on the Billboard Hot 100, while follow-up single "Blue Love" reached number 34 on the Hot Soul Singles chart and bubbled under the Hot 100 at number 105; no other singles from the album charted significantly.[33][22][34]| Chart (1978) | Peak position |
|---|---|
| US Billboard 200 | 14 |
| US Top R&B/Hip-Hop Albums | 1 |
| Single | Chart (1978) | Peak position |
|---|---|---|
| "Stay" | US Billboard Hot 100 | 38 |
| "Stay" | US Billboard Hot R&B/Hip-Hop Songs | 3 |
| "Blue Love" | US Billboard Hot R&B/Hip-Hop Songs | 34 |
| "Blue Love" | US Billboard Hot 100 | 105 |
Sales and certifications
Street Player achieved notable commercial success, particularly in the United States, where it was certified Gold by the RIAA on February 24, 1978, for shipments exceeding 500,000 units.[35] This certification, reported through ABC Records, underscored the album's strong appeal within the R&B and funk markets, though it did not attain Platinum status, which requires 1,000,000 units and would have indicated broader pop crossover success. The lack of additional international certifications highlights its primary strength in the U.S. market during the late 1970s disco-funk era. In the years following its release, Street Player maintained steady catalog sales, supported by reissues such as the 1994 CD edition, which helped sustain its availability and contribute to ongoing revenue in the post-disco period. These later editions, including digital remasters in the 2000s and 2010s, have kept the album accessible to new generations of listeners.[36]Reception
Initial critical response
Upon its 1983 release, Street Player (al-Ḥarīf) received widespread critical acclaim in Egypt and internationally for its neo-realist portrayal of urban life and Adel Emam's nuanced performance. Selected for the main competition at the 13th Moscow International Film Festival, the film was praised for its authentic depiction of social struggles in Cairo's working-class neighborhoods. At the 1983 Cairo International Film Festival, it earned Mohamed Khan critical recognition as a standout debut in independent Egyptian cinema, with reviewers highlighting its blend of sports drama and social commentary on poverty, family, and corruption.[37] Egyptian critics lauded the film's use of natural locations and non-professional actors to capture the erosion of the middle class under economic pressures, though some noted its somber tone as challenging for mainstream audiences.[38] Overall, the initial consensus positioned Street Player as a pivotal work in Khan's oeuvre, earning nominations including a Golden Prize at the Nantes Three Continents Festival.[39]Retrospective assessments
Retrospective assessments view Street Player as a cornerstone of Egyptian neo-realism and one of Mohamed Khan's most influential films, emphasizing its enduring relevance to themes of social inequality and personal failure. In 2013, it was included in the Dubai International Film Festival's list of the 100 Greatest Arab Films of All Time (ranked #87), underscoring its lasting impact on Arab cinema.[40] Modern platforms reflect strong reevaluation, with IMDb users rating it 7.6/10 (based on approximately 1,950 votes as of 2023) and Letterboxd averaging 4.1/5 (from over 5,000 ratings as of 2023), praising Emam's portrayal of Fares as a flawed everyman and the film's humanistic critique of 1980s Egypt.[1][2] Critics in the 2010s and 2020s, including obituaries following Khan's 2016 death, hailed it as a touchstone for understanding institutional decay and gender dynamics, though some retrospective analyses critique its limited focus on female characters amid broader societal issues.[38] The film's legacy is further affirmed by its frequent inclusion in discussions of Khan's character-driven narratives, bridging raw realism with accessible drama.Legacy
Cover versions and samples
The title track "Street Player," written by Rufus drummer Danny Seraphine and keyboardist David Wolinski, was notably covered by the rock band Chicago on their 1979 album Chicago 13, where it was reinterpreted with a disco-inflected arrangement featuring lead vocals by Peter Cetera. Released as a single in December 1979, Chicago's version peaked at number 91 on the Billboard Hot R&B Singles chart. This cover brought the song to a broader pop-rock audience, highlighting the adaptability of Rufus's original funk composition.[41] Another prominent cover from the album came from the track "Stay," which Rufus and Chaka Khan delivered as a soulful ballad. Neo-soul artist Erykah Badu included a live rendition on her 1997 debut album Live, transforming it into a stripped-down, improvisational performance that infused the song with contemporary R&B and jazz elements during her set at the 1997 BET Planet Groove awards. Badu's version emphasized vocal intimacy and extended scatting, showcasing the enduring appeal of the track's emotional core.[42] "Street Player" has also influenced subsequent genres through sampling, particularly in hip-hop and house music. In hip-hop, elements from "Stay" were interpolated in 8Ball & MJG's 1993 Southern rap single "Comin' Out Hard" from their debut album Comin' Out Hard, adding a gritty edge to the Memphis duo's storytelling.[43] Other hip-hop uses include NYG'z feat. Blaq Poet's 2007 track "N.H.B. (Street)," which drew from "Stay"'s rhythmic groove.[44] In 1990s house music, Italian producer Cricco Castelli sampled the original in his 1997 house track "Street Player," while French DJ Bob Sinclar incorporated elements into "Save Our Soul (Original Version)" in 2007, bridging the funk roots to electronic dance floors. These samples underscore the album's rhythmic foundation in enabling cross-genre adaptations. Covers of other Street Player tracks remain limited, with additional renditions including The Baker Brothers feat. Talc's acid jazz take on "Street Player" and Leonid & Friends' rock-infused version, often performed in tribute contexts by Rufus alumni or affiliated musicians.[45]Cultural impact and enduring influence
Street Player represented a pivotal moment in Rufus's discography, serving as the final collaborative album with Chaka Khan before her solo debut Chaka in November 1978, effectively signaling the temporary end of the band's classic lineup configuration and facilitating Khan's transition to a prominent solo artist.[46] This shift underscored the growing individual prominence of Khan within the group, influencing her subsequent career trajectory marked by hits like "I'm Every Woman." The album contributed to the late-1970s evolution of funk and R&B by incorporating disco influences alongside traditional funk grooves and jazz elements, reflecting the broader transition in Black music during the disco era.[15] Rufus's fusion of these styles on Street Player exemplified the genre's adaptability, as noted in discussions of the band's role in expanding funk's sonic palette amid changing popular music landscapes.[47] Despite its commercial success, Street Player has been somewhat overshadowed by earlier Rufus releases like Rufusized and Ask Rufus, often viewed as a transitional work rather than a peak achievement.[48] However, its enduring legacy persists through inclusion in Rufus anthologies and recognition in retrospective analyses, with contemporary R&B artists such as Erykah Badu praising its artistic depth.[15] The album's tracks have experienced renewed visibility via digital streaming platforms in the 2010s and 2020s, introducing its sound to new generations.[21]Credits
Track listing
The original U.S. vinyl release of Street Player features ten tracks across two sides, with songwriting credits and durations as follows.[16]| Side | Title | Writer(s) | Duration |
|---|---|---|---|
| One | "Street Player" | Seraphine, Wolinski | 4:54 |
| One | "Stay" | Calhoun, Khan | 5:41 |
| One | "Turn" | Watson, Wolinski | 4:43 |
| One | "Best of Your Heart" | Watson, Wolinski | 3:45 |
| One | "Finale" (Instrumental) | Watson, Wolinski | 2:10 |
| Two | "Blue Love" | Calhoun, Wolinski | 3:18 |
| Two | "Stranger to Love" | Wolinski | 3:33 |
| Two | "Take Time" (Instrumental) | Maiden | 4:16 |
| Two | "Destiny" | Batteau, Holland | 4:25 |
| Two | "Change Your Ways" | Maiden, Sapik | 3:27 |