While my music tastes have expanded greatly since
then, my favorite kinds of music are 60s, 70s, early
80s, and that
grown-so-huge-it's-now-rendered-meaningless blanket
category known as "alternative". I still have those
45s from 1976 as I never get rid of any music, so I
now have a HUGE collection of vinyl, tapes, and CDs
that is very dear to me and a vast knowledge of pop
music from 1955 on. Basically, I'm the person ya go
to if you want to know who sang something, what year
it came out, and how high it charted. To top that
off, I probably have it floating around somewhere.
Feel free to e-mail me if
you have any such burning questions. I've also
managed to parlay this into a side career of doing
sound design for plays but, although my work has
received good notices, this is not something I'm
actively pursuing. All this is why my original major
in college was radio (I wanted to be a music
director--the person who chooses what songs get
played), but I gave it up because I didn't want to
spend years of my life in small towns building up a
resume (I love big cities) and because acting
interested me more. I've halfheartedly attempted to
get an occasional theme night DJ gig (most likely a
bad, campy music night) somewhere but nothing's come
of it yet...
I'm sorry. I know I'm rambling on & on but in case
you need to be hit over the head with a sledgehammer,
music is very important to me. Growing up, it was
there when people weren't. So expect to see several
subpages in the future dealing with various topics
and genres such as 70s, early 80s, "The Late
80s/Early 90s--WHAT WERE WE
THINKING?!?!?", and especially, Bad
Songs I Love--you know, those songs we (or at
least those of you who are warped like me) all love
to hate. (HA!!! I CAUGHT you trying to hide those
copies of "Run Joey Run" & "Mr.
Roboto". As if.)
In the meantime, I've had to limit this main page to
only those of my ABSOLUTE faves of all time where I
felt I really had something to say about them. Some
I still think are brilliant, others have blasted off
into camp nirvana. In any event, sit back, relax,
and
enjoy!
My absolute favorite group of all time is Blondie, and Deborah Harry is my absolute idol of all time. I could go on and on for hours as to why, but instead I think I'll tell it in the following fashion.
When I was about 15, I really didn't fit in anywhere.
Definitely not in the suburbs and DEFINITELY not in
a suburban high school!!! But that's all my world
consisted of at that time so I was a loner due to
circumstance not choice. (At the time I was
overweight, had buck teeth and braces, was no good at
sports [that still hasn't changed] and was the
smartest one in class--you do the math.) I was
absolutely miserable. Anyway, I already owned and
really liked The Best of Blondie, so I
decided to get the rest of their albums. And as I
did, one a week, and heard songs like "Fan Mail",
"In the Sun", "Just Go Away", "The Attack of the
Giant Ants", "Living in the Real World", "Little Girl
Lies", "Accidents Never Happen", "Shayla", "Fade Away
and Radiate", "Angels on the Balcony", and the
rest for the first time, I felt like I was
eavesdropping on someone's private joke. Only this
time, instead of being its butt, I felt like I was
being let in on it! I felt like for the first time,
somebody, somewhere, really understood and
accepted me, even if they didn't know me personally.
And it felt wonderful! Well, suffice it to
say that Heart was immediately knocked out of
the running as my favorite group (although I still
like their 70s and recent acoustic stuff in a genuine
way and their mid-80s stuff in a camp kind of way.)
It's difficult for me to explain just how much of a
watershed this was in my life, but I honestly don't
think I've been the same ever since--and definitely
for the better. And that's why I love Blondie so
much to this day. They're sarcastic, bitchy,
flippant, ironic, jaded, deadpan, all over the
(musical) map, yet at the same time with a weird sort
of honesty and innocence...JUST LIKE ME.
As for why Deborah Harry is my idol, well, she has
great delivery, an acting as well as a singing
career, she's worked with John Waters, and
even though she hasn't had a big hit here in the US
in over 16 years, she's still perceived as cool, not
a has-been, and still has a loyal following (myself
included). And she's still going. And that's
exactly how I want my own career to be.
A cool footnote. I got to meet her (very) briefly
last year after she played the House of Blues with
the Jazz Passengers. To my delight, she was
just like I thought she would be--very
straightforward, down-to-earth, relaxed, no-frills,
"here-I-am-this-is-me". (She even told me she liked
my jacket!) I love it when celebrities you admire
turn out to be as great in real life as they are in
your mind.
Obviously I'm not the only one who feels this way, as
she/they have two great, thorough sites--the Blondie Web Site and the Deborah Harry Homepage. Definitely check them
out.
(Oh--I almost forgot. My fave Blondie song? "Poet's
Problem".)
I have to include The B-52's not just because
they're quirky, goofy, and never fail to put me in a
good mood, but also because they have finally have an
official greatest hits album coming out! While the
song selection at times is rather odd (No "Girl
From Ipanema Goes to Greenland"? Even worse, no
"Give Me Back My Man", my personal fave?), one
of the two new songs it does include is called
"Debbie" and it was inspired by none other
than (and here's where that weird full-circle thing
comes in) Debbie Harry! Definitely a great band and
definitely check out www.B52
's.com, their official website.
As much as I love Blondie, for the group with the
best lyrics of all time, I'm afraid I'm going to have
to go with the Waitresses. Quit saying
"Huh?"--yes, you do know them. "I Know What
Boys Like". The theme from Square Pegs. And "Christmas
Wrapping" ("Merry Christmas...Merry
Christmas...but I think I'll miss this one this
year..."), one of my three favorite Christmas
songs of all time (the other two being "December
Will Be Magic Again" by Kate Bush [more on
her later] and "The Coventry Carol" by
Alison Moyet). But they had more than that.
Not much more as they were only around for two albums
and an EP, but still more, all spoken/sung
matter-of-factly by the late great Patty Donahue, who
died of cancer in December 1996 in New York City.
(Don't feel bad if you didn't know about that--it was
hardly reported anywhere. The only reason I found
out is I happened to be looking at the Milestones
section of Time in a waiting room--and even
that only covered it three weeks after the
fact.) The Waitresses' lyrics were sarcastic, ironic,
cynical, hilarious, and weirdly hopeful, frequently
offering witty and insightful comments on the world
of modern relationships. (At one point I was
considering writing a musical set in the early 80s
using their songs entitled Wasn't Tomorrow
Wonderful?:Slices of Life Based on the Songs and
Teachings of the Waitresses, but then I
figured it would probably be too hokey.) If I had to
think of a common theme to their songs, it would
probably be that of being on the outside looking in
at an "in" that you're SUPPOSED to want to be a part
of, but that in truth makes even less sense than
where you're at now (this is best exemplified in the
hysterical and true "They're All Out of Liquor,
Let's Find Another Party"). I guess the only
thing left to do is give you a few of my fave
examples:
And only the Waitresses would list the lyrics to
"Square Pegs" as "Square pegs square
pegs
square square pegs...we're really busy so please make
up your own words."
The only album of theirs in print is The Best
of the Waitresses, but Wasn't Tomorrow
Wonderful? and the EP I Could Rule the
World If I Could Only Get The Parts are
definitely worth grabbing if you can find them in a
used record bin. I couldn't find any pics of them to
use here but they do have a great Waitresses website complete with a guestbook where you can
read thoughts from other Waitresses fans including
myself. Definitely worth a looksee.
My favorite solo singer of all time is Kate
Bush. She was a teenage protege of Pink
Floyd's David Gilmour who catapulted to
fame in Britain in 1978 with her #1 single
"Wuthering Heights". She has never received
the success here in America she deserves as compared
to other countries (in her home of England, for
example, she was as big as Madonna for awhile), so
perhaps you may not have heard of her. "Running Up
That Hill (A Deal With God)" was a Top 40 hit in
late 1985, and "Wuthering Heights", "The Man With
The Child In His Eyes", and "Rubberband Girl" all
charted, but she's probably best known here for being
the female voice on Peter Gabriel's "Don't
Give Up".
I will warn the uninitiated that Kate can sometimes
be an acquired taste (which is probably why she's
never made it big here in America--we're not really
big on having to think or listen to something twice),
and indeed some closed-minded acquaintances of mine
have complained that she sounds like Tinkerbell on
crack. But she's not all THAT scary (my mom
likes her, fer Chrissakes) and definitely worth a
listen. (Her work from 1985 on is a bit more
user-friendly than her earlier works and might be a
good warm-up for you novices.)
More than any other artist on this page, I'm really
having a hard time expressing why I think she's so
great. I think part of it is that it's almost like
she approaches each song as a painting and her voice
is simply one of the many colours. She has probably
the most incredible range both of pitches and
tonality of anyone I've ever heard--she can go from
soothing, low, and quiet to high, piercing, and
disturbing in the blink of an eye. I don't think I've
ever heard so much naked, raw, pure emotion put into
music anywhere else. And her lyrics can be about
anything and everything--from a government experiment
to kill everyone with sound ("Experiment IV")
to a passion crime murder ("The Wedding List")
to the novel "Wuthering Heights" (which is
probably best known in America because Pat
Benatar covered it on her Crimes of
Passion album--more on her later too) to a
robbery ("There Goes a Tenner") to the taking
over of the aborigines' land in Australia ("The
Dreaming") to finding out that the stranger
you're dancing with is really Hitler ("Heads We're
Dancing") to "Breathing" and the
"Violin" and much, MUCH more. 1989's
"Deeper Understanding" was definitely ahead of
its time, as it was all about becoming addicted to
the Internet (As the people here grow colder/I
turn to my computer/and spend my evenings with it
like a friend...). And probably one of her
most outstanding works is The Ninth
Wave, a 7 song suite about a woman drowning
that takes up the entire second side (when there were
such things as sides) of her Hounds of
Love album. (NOTE: If you're familiar
with TNW, I have to ask you once and
for all--does she drown at the end or is she saved?
It can be interpreted both ways & I can't decide. E-mail me with
your thoughts.)
Her videos have for the most part been imaginative
and striking, and she tends to incorporate elements
of dance, movement, and mime. They culminate in
1993's excellent The Line, The Cross and the
Curve, a 45 minute short film costarring the
excellent Miranda Richardson. Visually
breathtaking, it tells the fairy tale of The
Red Shoes through a series of music videos
strung together by narrative that collectively form a
complete film. The more I think about it, this video
is probably the best place for you to start if you
want to discover her--even friends of mine who hate
Kate Bush have loved it.
To sum it up, she is one of the most original artists
of any genre of art. It's quite easy for you to
collect all her albums as since 1982 she will release
no record before its time--one every 3-5 years. Or,
if you're the get-your-feet-wet-all-at-once type,
there's the excellent import box set This Woman's
Work, which has all of her albums with all the lyrics (most of her domestic CDs through The Dreaming don't) through 1990 plus 2 cds of b-sides, remixes, and live versions, ncluding a completely different version of "Hounds of Love that's even better than the original. It usually goes fo about $200 here. (If you can, though, try to get the British version or you'll wnd up like me with a huge booklet of liner notes written entirely in Japanese...can anyone interpret? E-mail me.) So definitely delve into her. For lots more info she has two great websites, Gaffaweb (which includes an ENORMOUS photo gallery) and theKate Bush News and Information page. Browse away!
My personal fave song of hers? Almost impossible to pick but if you put a gun to my head, it would probably be a tie between "Under the Ivy" and "Rubberband Girl". Yes, I know a lot of people hated the latter but I never get sick of it & it always makes me feel very empowered.)
Bringing up Kate brings up the inevitable question,
how do I feel about Tori Amos? Well, I like
her. I really do. She's probably my favorite artist
that's emerged in the nineties. And I waited in line
at five in the morning to see her live at a cafe in
New York when she was performing on some radio
"Morning Zoo" program (she did an INCREDIBLE cover of
"Landslide" by Fleetwood Mac). But I'm
not discussing her here for the same reason I'm not
discussing The Go-Go's, Fleetwood Mac, Berlin,
Yazoo, The Other Ones, T'Pau, the Supremes
(both with and without MISS ROSS),
Shakespear's
Sister (I went as Siobhan in the
"Stay" video three Hallowe'ens in a row),
(late 70s era) Donna Summer (who apparently is
going to be touring the world & Broadway in an
autobiographical musical called Ordinary
Girl. Personally, I'd rather see a stage
version of her fab Cinderella-set-in-the-disco-scene
concept double album Once Upon A
Time.), Madonna (all I can say that
hasn't been said before is that I think she's very
intelligent and very misunderstood), Cyndi
Lauper (very fun in concert--at the one I saw in
1993 she'd stop the show dead between songs to talk
to fans & answer questions. She told us that at one
point when her career was in a slump and she was in
therapy she'd thought about jumping out of a hi-rise
window and ending it all, but changed her mind when
she realized the next day all the headlines would
read "GIRL THAT JUST WANTED TO HAVE FUN DIDN'T"), and
Faith No More (I really thought they were
going to be the Blondie of the 90s in a weird sort of
way, particularly after Angel Dust, but
then they just...weren't.), all of whom are or
were faves of mine at one point or another--except
for the parenthetical blurbs above, I don't really
feel I have anything original to say about
them.
ABBA was my favorite group in the world when I
was a little kid. (I'd love to type their name
correctly but I don't have that @#!*@ backwards "B"
on my keyboard.) I had all their albums, all their
picture cover 45s, and even saw them in concert when
I was 7 in the fall of 1979 on their
Voulez-Vous tour. I put them on the
shelf for awhile and then rediscovered them on my own
in 1991, at least a year before everyone else did.
But now I loved them for a completely different
reason...
I browsed a lot of ABBA sites looking for a pic to
include and I've gotta tell ya that what I saw scared
me. Most of them approached them absolutely
straight-faced and reverently, as if they were gods
or geniuses (I SWEAR one of them even had a page
entitled "WORSHIP AT THE SHRINE OF FRIDA").
No, no, NO!!! That is NOT the way to approach ABBA,
folks. That would be tantamount to saying Patty
Duke delivered a touching subtle performance in
Valley of the Dolls when we all know
she was acting like she was auditioning for the part
of the "F5"in Twister. We need to have
FUN with ABBA. Make fun OF ABBA. The words "serious"
and "ABBA" should never be used in the same
PARAGRAPH, let alone the same sentence. For
connoisseurs of camp such as yours truly, they are
the Mt. Everest of music.
Why? Where to BEGIN?!? The way that their voices were so overdubbed that they sounded like a choir of thousands? The way those said voices were almost frighteningly mechanical, shrill, and devoid of emotion no matter what the song's subject matter? The fashions that even at the height of the 70s STILL must have made people scream "Whoa Nellie"? And speaking of songs' subject matter, those LYRICS!?! I'm sorry, but what were they thinking in ANY language when they came up with such bon mots as "Wish I was Dum Dum Diddle your darling fiddle" and "Bang a boom-a-boomerang/Love is a tune you hummy hum hum"?!? And then there were ( know this is terribly un-p.c. of me) those ACCENTS--the ones that made "The Winner Takes it All" come out "The WEINER Takes It All"--quite a different thing indeed. Or maybe it was their (and I use the term loosely) "dancing". Let's face it--these were the (here I go being un-p.c. again) WHITEST white women on the planet! All that's missing from their one-two terpsichorean talents in the "Take a Chance On Me" video is the little footsteps on the floor. (Granted, I can't dance for toffee either, but I also don't go around pretending I can in videos that are to be seen by millions. Actually, maybe they DID realise they were less-than-stellar in the dancing department--after all, the song did say WE were the Dancing Queen, not them.) And speaking of their videos, at some point I think I'm going to devote a whole subpage just to critiques of them--they're THAT frightening. I swear my friend is STILL cowering under my couch after being subjected to Frida's little "fashion show" in "Head Over Heels". Then there's their Mentos commercial, "Bang-A-Boomerang", their documentary Thank You ABBA, in which their costume designer does a frighteningly accurate unintentional Norma Desmond impersonation--I'm forcing myself to stop here. Absolutely essential horror viewing. Then there's the fact that "Thank You For The Music" (so utterly conceited it may as well have been called "Thank ME For the Music") contains one of the biggest baldfaced lies in the history of recorded music--the part where Agnetha actually has the nerve towarble straightfaced "Mother says I was a dancer before I could walk". Give US a break, honey. We've SEEN the "Take a Chance On Me" video.
By far the most frightening ABBA song has to be "Medley:Pick a Bale of Cotton/On Top of Old Smokey/Midnight Special". For openers, what were they THINKING covering an old slave worksong?!? (You haven't lived until you've heard Agnetha perkily chirp "Oh Lordy!"). This segues into a painfully earnest straightfaced rendition of the traditional folksong (Oh, sing out, Frida!), then they wind up sounding like they're auditioning for a bus-and-truck company production of The Rocky Horror Picture Show. This one has to be heard to be believed.
By now you might be coming to the conclusion that I hate ABBA. On the contrary--I love them or they wouldn't be here. I have all their videos, their box set, and I've rebought most of their albums on CD. The thing is, they're so earnest, so straightfaced, so completely oblivious to how hilarious they really are that you've GOTTA love them. And when it comes to their songs, damned if they don't stick in your head like glue, and they're so INTO what they're doing that whether you like it or not they pick you up and take you for a ride to...well I'm not sure exactly where but I'm sure it's illegal in Utah. It's the best pure escapist bubblegum pop fluff I've ever heard and it never fails to put a goofy grin on my face. And considering that they were the most commercially successful group of the 70s worldwide, making more money for Sweden than Volvo, somehow they must have been doing SOMETHING right.
There are TONS of ABBA sites on the Net. Probably the best place to start is the ABBA Ring Ring site, which will point you in the direction of most of the other sites if not Albuquerque. More than any other group I've seen on the Web, ABBA has tons of specialty sites. There's the ABBA Image Gallery, The Complete ABBA Lyrics From A to Y, and the ABBA Worldwide Chart Lists, which gives the peak chart positions for all their singles and albums in at least a dozen countries. So put on your white sombrero, saddle your horse my dear and enjoy! (Oh--my personal fave ABBA song is still "Knowing Me, Knowing You", followed closely by "Summer Night City" and "The Visitors".
Ah, Pat Benatar. The woman who taught us that
the best way to fend off a lecherous creep is to
gather a group of your closest friends and shake your
breasts at him. (Actually this might be pretty
effective�Lord knows I wouldn�t want to meet
that one with the purple mohawk in a dark alley.) The
woman who seemed to be having the time of her life
fighting off Nazis in the video for "Shadows of
the Night" even though it had ABSOLUTELY NOTHING
TO DO WITH THE SONG. The woman who kept on saying
over & over in the video for "I'm Gonna Follow
You" that she was going to dance for us and then
NEVER DID. (And what was up with that flaming red
outfit she was wearing? Really subtle stalker SHE
made.) And let's not forget those hot lime green
neon gloves from the "We Belong video.
Ringing a bell now???
I LOVED Pat Benatar growing up but as much as it
pains me to admit it, most of her early 80s heyday
material has now officially entered the realm of high
camp. The tight spandex, the hard rock melodrama,
the singing in two octaves at the same time, the
uncompromising in-your-face
"Don't-mess-with-me-I'm-a-TOUGH-GIRL-DAMMIT!!!!"
posturing--all now inspire far more titters than
admiration. (Just go into a bar on an early 80s
night and you'll see what I mean--the video for
"Love is a Battlefield" has turned into a virtual
Rocky Horror-style audience
participation exercise, with everyone shouting en
masse �You leave this house now�And you can just
FORGET about COMING BACK!!!�) Even her
possible role as a sort of musical godmother to
today�s riot grrrls has been filled instead by the
more stick-to-the-basics Joan Jett. And her
lyrics�well, let�s just say they weren�t exactly
Shakespeare even back then. And in today�s jaded,
cynical 90s, melodramatic painfully earnest hard rock
tirades against child abuse like �Hell is for
Children� now come across as hilariously
overblown and hokey. In fact, to be painfully honest,
most of her lyrics now come across as bad radio
call-in therapist�s sermonettes (particularly on her
Get Nervous album, what with its songs
entitled �Anxiety�, �The Victim�[actual lyric
sampling--You�re bleeding from the soul/you�re
hurting from the heart�--ouch], �(You
Gotta) Fight it Out� and the like). Thus I�ve
been toying with the idea of writing a lipsynch
musical entitled All I Ever Really Needed to
Know About Relationships I Learned From Pat Benatar,
or, Pat Benatar Explains It All For You, in
which the premise would be that she�s chucked her
rock career to become the world�s foremost
relationship therapist and goes around solving
everyone�s problems with her songs. Think about it.
She could solve the Bosnian crisis by singing �We
Belong�, save Sharon Tate from the Manson
Family by singing �Helter Skelter�, rescue the
world from the Nazis with �Shadows of the
Night� (oops�been done)�the possibilities are
endless. Could be fun. In short, Pat is so
indelibly linked with a particular time and image
that even though some of her recent material hasn�t
been too bad, it�s hard to picture the general
record-buying public ever taking her seriously
again�particularly after her misguided 1991 blues
album debacle�unless someone gives her some serious
career redirection.
There are still a lot of things to admire about good
ol� Pat, though. I mean, she DOES have a good
voice�a five-octave range stemming from her training
as an opera singer. She seems to be pretty socially
aware. As much of a camp classic as it is now, at the
time "Love is a Battlefield" was the first
music video to incorporate spoken dialogue. Her first
album, In The Heat Of The Night, still
holds up fairly decently as a rock record (despite
her having an inexplicable fake British accent on
half the songs--did she OD on Mary
Poppins?), partly because it was produced by
Blondie�s producer Mike Chapman, partly
because the material leans more toward classic hard
rock and new wave than dated arena rock, and partly
because of the incredible variety of cover
choices--Nick �Hot Child in the City� Gilder
(�Rated X�), Night (�If You Think You Know How to
Love Me�), the Sweet (�No You Don�t�), the Alan
Parsons Project (�Don�t Let it Show�) and
John Cougar (�I Need a Lover�). And damned if
�My Clone Sleeps Alone� wasn�t about twenty
years ahead of its time. (Someone needs to do a
cover PRONTO�or at the very least they should play it
on Guiding Light before the whole
cloning Reva thing is done with) And speaking of
covers, while I like Kate Bush�s original version of
�Wuthering Heights� better, Pat�s is still
pretty decent and she is one of the few people I
would even consider letting near a Kate Bush song,
the others being Tori Amos, Sarah McLachlan,
and the Wilson sisters--and I ain�t talkin
�bout Carnie and Wendy. (I mean, can
you imagine what would happen if, say, Mariah
Carey got her mitts on �The Man With The Child
In His Eyes�? Ye gods!)
But you know what I think I like best about Pat? From
what I�ve seen and heard from her in interviews &
such, my impression is that all the stuff I�ve been
talking about�her career not being what it used to
be, etc, etc--doesn�t really seem to matter to
her. Yeah, sure, she still releases albums and
tours, but her main priorities are her husband and
daughter (she even admitted on a talk show back
around 91 that she works part-time as a librarian at
her daughter�s school. When asked if the kids were
excited to have a celebrity in their school, she
laughed and said, �Are you kidding? They think of me
as that mean Mrs. Giraldo who tells them to be
quiet!�). You won�t catch her in the Enquirer for
having affairs or being in rehab. And she just seems
like a genuine, down-to-earth�nice person.
And I don�t know�there�s just something really
refreshing about that.
Another unique thing about her is that she and her
husband apparently either personally maintain or at
least give a lot of personal input to The Official Pat Benatar Website. And another site I had to include for the title alone isThe
Pat Benatar Addict Support Page. And my favorite
song? Still "Fire and Ice", but also very fond
of "My Clone Sleeps Alone", "So Sincere", "Little
Paradise", and "Hard to Believe".
By now, if you haven�t bailed on me yet (this section
is a LOT longer than I had originally intended), you
may be wondering why I don�t seem to like any 90s
music. The truth is I do. A good deal of it, mostly
�alternative� (whatever THAT means anymore). But I
guess the reason why I don�t talk about it here is
that I don�t have the same long-term familiarity and
comfortability with them as I do with the artists on
this page, and with most of them it�s too soon to
tell how their career will wind up or make any
comments on said career. Also, I�m finding that I�m
increasingly liking individual songs as opposed to
groups and singers themselves.
Well, that�s it for the primary music page. If
you�ve made it all the way to the end with me, a
million hugs and kisses. This is the page that gave
me the most difficulty in what to say and include. I
hope you realize that even if it seems like I'm
slamming someone on this page, I still do have
genuine affection for them. (Except for Mariah
"Calling All Dogs" Carey.) I wanted this page and
my site in general to be flip, irreverant, a nice
alternative to the gushing tributes found elsewhere.
And I wanted to be as objective as possible. I see
good and bad in everything--even Blondie. Heck, I'm
the first to admit that 75% of The
Hunter sucked, mainly because for a group
whose main asset was their fun and irreverance, most
of the songs sounded like someone was forcing them to
perform them at gunpoint (which apparently isn't all
that far from the truth). I've never really cared for
the primary single off the album, "Island of Lost
Souls". All this is a shame because the last four
songs on the album, "Danceway", "(Can I) Find the
Right Words (to Say)", "English Boys", and
"The Hunter Gets Captured By the Game" are
real overlooked gems that rank right up there
with--dammit, I promised myself I was going to stop &
here I go again. OK. This is it. I mean it this
time!!!
Now let's hear from YOU. If there's anything you saw
or DIDN'T see here that you agree with or want to
debate with me, or if you want to know what I think
of YOUR personal faves, I'd love to know about it!
Please feel free to e-mail me--I�d
love to hear from you! Take care�
� 1998 [email protected]
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