Sunday, August 27, 2017

Peggy March - Alle Frauen Wollen Nur Das Eine... (1993)

There's a new collection of vintage Peggy March music that came out in July, If You Loved Me - RCA Recordings From Around the World (1963-1969), so I thought I share an out-of-print rarity of hers along with some of my thoughts on her music.

If you only know March from her chart-topping 1963 song "I Will Follow Him" or her second biggest hit, "I Wish I Were A Princess," you might think she's one of those early '60s singers whose big draw was her novelty appeal. After all, these records have silly, eccentric qualities and she cut them at a young age (March still holds the record of being the youngest artist ever to score a #1 hit). Heck, she even went by the moniker Little Peggy March back then.

For years I paid no mind to her music because I'd burned out on "I Will Follow Him" by hearing it too many times on oldies radio. But then one day out of curiosity I decided to look into her music. I figured that I'd already dug deep into the work of Shelley Fabares, Dodie Stevens, Marcie Blane, Janie Grant, Diane Ray, Donna Lynn, and even Noreen Corcoran, so why not Little Peggy March? To my surprise, I discovered that March was no novelty act but a truly great singer. Her vocal chops far exceed what's heard on her best-known tracks. Had any of her post-1965 singles managed to find favor with U.S. audiences, she might have been considered among the best American pop vocalists by the dawn of the 1970s.

My evidence for this? Exhibit A is the soulful, soaring vocal on her 1965 single "Losin' My Touch." Let's make Exhibit B her smooth, sultry take on the complicated Burt Bacharach-Hal David ballad "Try To See It My Way" from '66. Exhibit C is her raucous take on the vocal version of Raymond Lefèvre's instrumental hit "Ame Caline (Soul Coaxing)" (#37 in 1968), which she cut under the title "If You Loved Me."

All of these recordings can be heard on the aforementioned new CD. Unfortunately, none of them charted in the U.S. and March's failure to connect with domestic audiences is what led her and her manager/husband to relocate to Germany, where she became a big star in the '60s and '70s. Which brings us to this CD.

Alle Frauen Wollen Nur Das Eine... translates into English as "Women Just Want One Thing," at least according to what comes up in Windows Media Player. It's a dance music album and the style is sort of European electro-pop. It was cut long after March's heyday in Germany so it doesn't sound much like the music from her classic period. The sound is actually more a continuation of the disco records she made in the late '70s like Electrifying.

There are, however, a few remakes of her older songs, like 1965's "Mit 17 Hat Man Noch Träume" (cut under the title "Heaven For Lovers" in the States), and "Memories Of Heidelberg" from 1967. She also redoes her 1969 single "In Der Carnaby Street" as "Carnaby Street." The first of these can be found on the 1994 CD Best Selection, but the others haven't come out in the U.S. as far as I know.

That leads to another issue. As good as it is to hear rare cuts like March's cover of the Beach Boys' "Aren't You Glad" on If You Loved Me - RCA Recordings From Around the World (1963-1969), someone really needs to put out a CD containing her rare non-LP B-sides and essential German hits. This would be a good home for those aforementioned tracks that never got a U.S. release.

As for Alle Frauen Wollen Nur Das Eine..., it's not the best Peggy March album you'll ever hear, but if you like her singing, you'll find something to enjoy. Plus, it provides an excellent gateway into getting into her foreign-language records, which were often better than her English ones. Her voice was so strong that she was equally as good singing in German or Japanese as she was in English. Heck, I prefer her Japanese rendition of "Losin' My Touch" to the English version.

Before I sign off, I want to make one small point that's going to be way out of character for this blog, since I tend to focus on music and avoid the, er, personal side of things. My point is: Has anyone seen photos of what Peggy March grew up to look like after she dropped the "Little" from her name? She left behind her old-fashioned schoolgirl look (see left) and blossomed into perhaps the most out-and-out sexy female singer of the time (see photos below). And by sexy I don't mean merely "she looked good for her era." I mean she was Playboy magazine-type hot. Her photos from the late '60s and '70s have an overt eroticism that's still head-turning today. Even on the cover of this CD she looks super-fine and she was in her mid-forties by then. (By the way, when I speak of Playboy, I mean the magazine back when it featured photos of natural wonders like Jill Taylor, not those angry-looking silicon fembots pictured in there today.)

Why America chose to not make a star out of a woman who was both a great singer and total babe is anyone's guess. For whatever reasons, the public instead preferred Nancy Sinatra, Mama Cass, Cher, or that woman in Spanky and Our Gang who sounded more like your mom singing along with the car radio than an actual singer. In my opinion, March could out-sing them all. That even includes Cass, because March was a more versatile vocalist, plus the tone of March's voice was more pleasant. But whatever. At least all the old music is there if you still want to listen to it. And the old pics are there if you want to look at them. To that end, I did something out of character again and included a photo gallery of Peggy March in her prime years to go along with the music on this album. You're welcome.

Related posts:
Vinnie Monte - Just One Of The Guys (1958-64)
Donna Lynn Meets Robin Clark (1961-65)
Janie Grant Meets Diane Ray - 32 Classic Cuts (1961-64)

Track list:
1. Alle Frauen Wollen Nur Das Eine
2. Zieh Meine Schuhe Aus
3. Küssen Ist Nicht Erlaubt
4. Ich Fall Aus Allen Wolken
5. Mit 17 Hat Man Noch Träume
6. Liebling Träum
7. Das War Noch Nicht Alles
8. Wenn Die Augen Lachen
9. Memories of Heidelberg
10. Verliebter, Verliebter
11. Flieg Mit Mir Zum Regenbogen
12. Carnaby Street

Wednesday, August 23, 2017

Joyce - Language and Love (1991)

Brazilian jazz singer Joyce Moreno isn't all that well known in the states, even though she's been releasing music since the late 1960s. I discovered her in the early '90s when she released this album, which looks to be her 13th effort if you include EPs and collaborative works.

So why was I so late to the party? The main reason is that there really wasn't much of a way to hear international jazz in the pre-Internet era, at least not if you were in a suburban town. I might have missed this music completely if the Washington DC metro area, where I was living, hadn't briefly been home to a commercial radio station that played jazz. The station was WJZE, more commonly known as "Jazzy 100" since it was located at 100.3 on the FM dial. It opened the ears of DC people to music like Michael Franks, Basia, David Benoit... and Joyce.

For a brief while in late 1991, WJZE played two songs from this album constantly: The moody, melodic opening number "Caymmis," and the boppy story-song "Taxi Driver." These songs impressed me enough that I called the station to find out who exactly was singing them. Once I found out, I went to look for the CD. The local Sam Goody didn't have it in stock, what with all the Guns 'N Roses taking up space (nothing against Guns 'N Roses, but there needs to be variety). So, I took a drive into DC where I was able to finally track the disc down at Tower Records.

I wasn't disappointed. Joyce is an excellent singer with a clear, expressive voice. Besides the aforementioned songs, there are some great ballads here, especially the title track and "Two or Three Things (Duas Ou Tres Coisas)." There's something about these kind of Latin ballads that seem to alter the mood of the whole room when you play them.

Now the weird part: Something made me think of this CD, so I pulled it out and when I learned it was out of print, decided to do some research. It turns out that Joyce was just in the DC area a few days ago playing a series of gigs at Blues Alley. So, I missed seeing her by days. Darn. But she still has one US date left as of this writing, so if you're in or around Tarrytown, New York you can catch her on Sunday, Aug. 27, 4 p.m., at Jazz Forum Arts.

Related posts:
Astrud Gilberto - Rarities (1966-72)
Astrud Gilberto - Astrud Gilberto Now (1972)

Track list:
1. Caymmis
2. Language and Love
3. Taxi Driver
4. Chansong
5. Two or Three Things (Duas Ou Tres Coisas)
6. Na Casa Do Campeão (Champion's Place)
7. Bailarina
8. Desafinada
9. Chica-Chica Boom Chic
10. Arrebenta (Bursting)

Saturday, August 19, 2017

Debbie Gibson - Live at Wembley '89 (1989)

Exactly 28 years ago today, on Aug. 19, 1989, Debbie Gibson played one of her biggest shows ever when she performed at Wembley Stadium in England to 77,000 people, according to the Guardian. Gibson, who was 18 at the time, was the opening act for the then-popular British duo Bros -- a dance-pop act whose UK success didn't translate to the United States when they opened for Gibson earlier in the year as part of her Electric Youth tour.

The audio from this concert survives in good quality, which is great news for Debheads who can't get enough of her during her early days. Unlike the poor-quality audience recordings of her live shows from this era (one of which I put out recently), this concert was taped from a broadcast, so it was recorded and mixed professionally. I was luckily enough to come into possession of a copy of it when a reader of this blog, Scott From Australia, passed it along. I performed some technical fixes on it (see the info below) and am happy to present it online for the first time.

In researching this concert online, I found that not only hadn't Gibson's set been circulated online before, but there is precious little information about participation in it at all. For example, I couldn't find any photos of Gibson from the day of the show. The only way I was able to design a "cover" was by taking a screenshot from an old video that was filmed by a stationary camera apparently owned by one of the musicians in Gibson's band at the time.

I also learned that the date for this concert has been listed erroneously as Aug. 8, 1989. The actual date was Aug. 19, 1989. This can be confirmed surviving artifacts such as the concert poster (above right) and the insert from UK single of Gibson's "We Could Be Together," which advertised the gig (left). Finally, the video I linked above has a date stamp that reads "8 19 89." I find it both amusing and depressing that there's endless concert info online for acts from the '60s and '70s, but precious little info on Gibson's gigs, which were far more recent.

At least Radio One was there to document Gibson's participation, as can be heard in the interviews that bookend this recording. The opening interview has Gibson talking about her musical influences and how she got started in the music business. The interview is broken up with airings of some of her favorite old songs and I included them in full here, so as not to ruin the integrity of the broadcast. The closing segment has her talking about how the gig went. It's amusing now to hear her speak in a Long Island accent, something she's long since lost.

In between, we get a pretty exciting show. Gibson performs nine numbers (including a medley), which constitutes an abridged version of her stage act during this period. But that said, she exudes an authority in this performances that she didn't have at her concerts the previous year on her Out Of The Blue tour. Back then, she was an upstart entertainer with a set that mostly consisted of songs from her first album. But by August of 1989, Gibson had racked up so many hit songs that she could do practically an entire set featuring only her charting songs. This is an impressive accomplishment for anyone in the music business, but more so for Gibson, who wouldn't turn 19 until 13 days after this concert.

The crowd might have been there for Bros, but they're definitely into her, even chanting "Debbie! Debbie!" at the end of "Only In My Dreams." Her vocals aren't as precise as they usually are, but they're still pretty great considering this was an outdoor gig before a massive audience. As I noted in a previous post about Debbie Gibson, she had theatrical training and is an excellent live vocalist. That's even more impressive when judging by the standards of today's Auto-Tuned pop acts, because here she had no vocal safety net.

Gibson's hits might be overly familiar to anyone into '80s music, but the versions here have a lot to offer because they aren't rote recitations of the records. Some, like "Foolish Beat" and "Only In My Dreams," have introductions specially arranged for the stage. This is something Gibson regularly did, and it adds a surprise element to the tunes. In fact, these re-arrangements seem to work even better now than it did then, since we've become overly familiar with these songs over the years.

"Shake Your Love," meanwhile, gets an extended workout -- another Gibson concert tradition from back in the day. Gibson really pushes her voice to the limit during the second half of this number, where she goes toe-to-toe (or is it voice-to-voice?) with her backup vocalists. Unfortunately, she also included rap sections into her concerts and the one that turns up here is especially silly. Let's just say that as a rapper, Gibson made a really great piano player. Still, her overall performance would give any entertainer a run for their money, energy-wise.

Besides the hits, there's a medley of old Motown songs that ends with a rendition of Sly & The Family Stone's "Dance To The Music." Gibson apparently enjoyed doing medleys of her favorite songs and performed one of Billy Joel songs at the June 8, 1991 "Acoustic Live" show, which I previously posted. Her roll call of classic Motown songs here isn't that smooth, rhythmically speaking. But, as I noted in that earlier post, she definitely can sing live, and she sings the hell out of these old chestnuts.

The high point is the rousing rendition of one of Gibson's best songs, "We Could Be Together," a '60s-styled pop-rocker that has a somewhat covert message about interracial romance.* This song holds the unfortunate distinction of being Gibson's first flop single in the United States, bombing out at #72. This was a bad omen. Gibson would only crack the U.S. Top 40 one more time, so at this concert, she was as popular as she was ever going to get. But in England, "We Could Be Together" was at least a decent-sized hit, getting to #22, and the audience seems to love Gibson's extended rendition of it here. But the Brits always did have great taste in pop music, didn't they?

Technical notes

Since my post about how to do clean vinyl rips went over so big, I'm going to chime in with info about how I do what I do when the occasion warrants. I didn't have to do that much to make this concert presentable, but it still took some work.

For one thing, the EQ needed to be reconsidered. Like the Acoustic Live show, the recording that survived had lots of bass but very little treble. So I figured out which frequencies needed to be lowered or boosted and altered them accordingly. That gave the sound some zing. I also noticed that there was some phase cancellation, which caused the right channel to sound louder than the left, no matter how much you raised the volume on the left. I remedied this by moving the right channel slightly out of sync with the left. I moved it back by a micro-millisecond. Once I did that, the sound balanced out and the constricted pseudo-mono sound panned into a nice, natural stereo spread.

There was also a speed problem. No, not the drug, but the clip at which the songs ran. When listening to the songs against the originals, I discovered everything ran a bit fast. That was often the case when people recorded things on cassette decks in the old days. In this case, that problem was easily corrected by slowing the speed down by three percent. At that rate, it matched the recorded versions. Since Gibson used synthesizers as the basis for her music, it wasn't like the tunings of her songs could "drift," as they sometimes do with guitar bands. The studio recordings worked as a "key anchor" and the tape proved consistently fast, so the fix was simple.

The elements I couldn't clear up were the various audio "pops" and other artifacts that were the inevitable result of recording radio programs on cassette. I tried to remove them manually and it didn't work. Then I tried using ClickRepair, but that just made the problem worse. So I left them. There aren't that many, plus hearing them is reminiscent of listening to old shows and since part of this music's appeal is nostalgia, the extraneous noise actually helps evoke a long-gone era. Now if someone could just get me back the youth I had in the summer of '89, I'd have it all.

Finally, I had mentioned in my "Dozen Tips for Creating Clean Vinyl Rips" post that the best way to convert WAV files to MP3s is by doing them in batches using a freeware program called FormatFactory. It usually is. But when you split up one continuous file, like a live concert, you have to use your sound editing program itself to do the MP3 conversions for each file if you want them to play seamlessly together in a playlist. Using FormatFactory gives you a millisecond or so of extra silence at the end of each file, and this ruins the continuity of the segues.

Related posts (i.e. the largest collection of Debbie Gibson rarities online):
Debbie Gibson - 12-Inch Singles (1986-88)
Debbie Gibson - 'Out of the Blue'-Era 7-Inch Singles: A's and B's (1987-88)
Debbie Gibson - Live At The Concord Pavilion (1988)
Various Artists - The Songs Debbie Gibson Gave Away (1988-92) 
Debbie Gibson - The Alternate Electric Youth (1989)
Debbie Gibson - Rarities (1990-1999)
Debbie Gibson - Acoustic Live (1991) 
Chris Cuevas - Somehow, Someway (1991) 
Deborah Gibson - Memory Lane Volume 1 (2004)
Deborah Gibson - Memory Lane Volume 2 (2005)

Track list:
1. Interview Part 1 - feat. Wham's "Heartbeat"
2. Interview Part 2 - feat. Bill Haley's "Rock Around The Clock"
3. Interview Part 3 - feat. George Michael's "Kissing A Fool"
4. Interview Part 4 - feat. Billy Joel's "Only The Good Die Young"
5. Interview Part 5 - feat. Billy Joel's "Honesty"
6. Interview Part 6 - Debbie Gibson's Music
7. Who Loves Ya Baby?
8. Out Of The Blue
9. Foolish Beat
10. Shake Your Love
11. Lost In Your Eyes
12. Motown Medley/Dance To The Music
   a). I Want You Back
   b). ABC
   c). The Love You Save
   d). Stop! In The Name Of Love
   e). Where Did Our Love Go
   f). Please Mr. Postman
   g). Dance To the Music
13. Only In My Dreams
14. We Could Be Together
15. Electric Youth
16. Radio One Post-Concert Interview

* The lyrics to "We Could Be Together" have been the topic of a lot of Internet forum discussions over the years -- some dating back to as far as two decades ago. The opening couplet "If I were an only child/I would be a lonely child" had some people suggesting that the song had to do with incest. Nice try, but no go. So where did I get the idea that it's about an interracial love affair? The symbolic hand-holding that opens the main section of the video (from :35-:38). This was the MTV era when videos held a lot of significance for both performers and their audience, and that moment didn't get there by accident.

Once you take that into consideration, the lyric starts to make sense. And my opinion is that the "lonely child/only child" couplet is meant to signify different races, meaning that we were all put here together and how insular and boring would it be if we were "only children," racially speaking? Yes, it's clumsy imagery, but Gibson was 16 or 17 when she wrote this, so give her a break. She makes up for it with a catchy-as-hell chorus and two (!) different bridges. What other songwriter includes two distinct bridges in a song? Elvis Costello, maybe? I can't think of one offhand.

Saturday, August 5, 2017

Debbie Gibson - Live At The Concord Pavilion (1988)

This is an audience recording of a Debbie Gibson concert from her first tour that took place 29 years ago today, Aug. 5, 1988, at the Concord Pavilion in California.

I've been sitting on it for a while, and was on the fence about posting it at all because the sound quality isn't so hot, which is often the case with fan-made recordings. This one is a low-fi recording to begin with, but the sonics are muddied even further because it's sourced from a second- or third-generation cassette tape.

But with all that in mind, the fan in me still won out over my inner audiophile. Because where else are you going to hear this concert? Nowhere. If it wasn't for the bootleggers, this concert would be lost forever. This is the reason why so many audience recordings have formed the basis of bootleg concert albums. Not all of them sound wonderful, but they're out there because they're now part of history. Same goes with this concert. It might not have the historical significance of the live shows by such '60s bands as the Grateful Dead, but so what? It's all we now have to recall an era that's rapidly fading into the past.

And while it might seem odd to mention Debbie and the Dead in the same paragraph, close listening to this concert reveals they do have one important thing in common. They both sang live without electronic sweetening or Auto-Tune fixes. This is becoming important with the passage of time.

As we move deeper and deeper into the Auto-Tune era, pop stars are being signed by record companies more for their looks and less for their vocal talent. Singing songs live without a net has become a thing of the past, except maybe on those TV shows where singers compete with each other. So even though the Dead jammed and Gibson played commercial pop, their commitment to actually kicking it live -- warts and all -- gives them some common ground, historically speaking.

This concert presents an excellent example of Gibson's commitment to live performance. She's a theatrically-trained singer who has acted on Broadway and belted out songs from the stage with little or no amplification. Here, she's on key about 99 percent of the time, but there's an enjoyably imperfect human element to her vocals, which sometimes come off like an excited teenager racing around the stage -- which she was, being just 17 at the time.

My guess is that one of her teenage fans sneaked a boombox into the concert and slipped it under their chair to tape it. I'm assuming this because the recording captures the audience in glorious stereo but the music in constricted mono. My guess is that the recording device was placed under someone's seat or in another hidden location.

To make the tape more presentable, I did some tweaking of the EQ to bring out the treble frequencies. I also applied some limiting to beef up the sound (cassette recordings are notorious for lacking presence). The first two songs in the second set -- which came after the "tape flip" -- dragged a bit, so I sped them up to the proper pitch. Cassette desks were also notorious for being unreliable when it came to recording and playback speeds.

The 80-minute show is a time capsule of Gibson on her way up. The crowd is extremely vocal, especially when she goes into her then-recent #1 hit "Foolish Beat." Gibson had the audience in the proverbial palm of her hand. But to her credit, she refused to play it safe and pander to her teenybopper audience. Instead she hit 'em with four (count 'em) new songs from her still-to-be-released album Electric Youth, which wouldn't hit stores until five months later in January 1989.

Gibson's 1989 #1 hit "Lost In Your Eyes" is presented here with some variations in the melody that she'd improve upon in the final recording. She mentions that she'd only written the song a short while ago. Wonder how many concert goers remembered it when it was blaring from every Top 40 station on the planet within a few months?

She even breaks out one of the aforementioned new songs as part of the encore, "We Could Be Together." It's a great song (in fact, it's my favorite Gibson single), but its retro melody and rhythm represented a change in her style and it was totally unfamiliar to the crowd. So it took some guts to play it. The next time someone tells you Gibson's music was bubblegum, remember how she led her audience from dance music into '60s-styled pop in this concert.

Gibson closes with a cover of one of her favorite songs, Elton John's "Crocodile Rock," a tune she also did as part of the Acoustic Live show I previously posted. I was never an Elton John fan, so what she sees in this song I don't know. But the crowd seems into it.

In two weeks I'll have a much better sounding Gibson concert that's an even bigger part of history. Thanks to fellow Gibson fanatic Scott From Australia for hooking me up with these super-rare shows, both of which are making their first appearances online here.

Related posts (i.e. the largest collection of Debbie Gibson rarities online):
Debbie Gibson - 12-Inch Singles (1986-88)
Debbie Gibson - 'Out of the Blue'-Era 7-Inch Singles: A's and B's (1987-88)
Various Artists - The Songs Debbie Gibson Gave Away (1988-92) 
Debbie Gibson - The Alternate Electric Youth (1989)
Debbie Gibson - Rarities (1990-1999)
Debbie Gibson - Acoustic Live (1991) 
Chris Cuevas - Somehow, Someway (1991) 
Deborah Gibson - Memory Lane Volume 1 (2004)
Deborah Gibson - Memory Lane Volume 2 (2005)

Track list:
First set:
1. Introduction
2. Staying Together
3. Play the Field
4. Love In Disguise
5. Foolish Beat
6. Red Hot
7. Wake Up To Love
8. Shake Your Love
9. In the Still of the Night

Second set:
10. Lost In Your Eyes
11. Should've Been The One
12. Out Of The Blue
13. Introduction of the Band
14. Only In My Dreams

15. Between The Lines
16. We Could Be Together
17. Crocodile Rock

Tuesday, August 1, 2017

Grateful Dead FAQ: Chapter 9 - Five Reasons People Hate The Dead (2013)

It's Aug. 1, Jerry Garcia's birthday. Had he not died back on Aug. 9, 1995, he'd have turned 75 today.

To mark the occasion, I'm posting a chapter from the book "Grateful Dead FAQ," which came out a few years ago. The chapter I'm putting out is somewhat irreverent, as it's titled "Five Reasons People Hate the Dead." I'm purposely posting this instead of the kind of stuffy historical "tributes" that Rolling Stone publishes. This is rock music, not church. When people genuflect before the musicians, it ruins the whole thing. I think the humor and attitude of this chapter captures the spirit of what Garcia was all about more than anything you're likely to read in the mainstream press.

Another reason for posting this chapter is that it will hopefully appeal to both Deadheads and non-believers, since it straddles both worlds, thematically speaking. The topic of why some people don't like the Dead is actually pretty funny, even if you love this band. Hell, especially if you love this band. In fact, I'd even say part of their appeal was that only some people "got" them -- much like Beefheart, Zappa, various jazz musicians, etc.

My feeling is that you have to have a sense of humor about this stuff. Every artist has his or her haters. If you've got any sense of objectivity, you should be able to see why, even if you think your favorite artists is the proverbial cat's pajamas. I've mentioned in my Debbie Gibson posts that I can fully understand why people run screaming from her music, even though she appeals to me. So the same goes here. It takes all kinds, and that goes for both Deadheads and Debheads (yes, there is such a thing).

For those who'd like something to listen to while they read, below I've compiled a list of links to rare Grateful Dead music, all of which I've posted on this blog over the years. There may also be a surprise in store for those who read the chapter. Finally, if that chapter whets your appetite for more, you can also buy "Grateful Dead FAQ" by clicking on the link. Since the author was kind enough to bless us with all this out-of-print or hard to find Dead stuff (with more to come soon), I'm giving him props in return.

Grateful Dead posts:
The Grateful Dead - Aoxomoxoa (Original Mix, 1969)
The Grateful Dead - Spirit of '76: Live at the Cow Palace Bonus Disc (2007) 
The Grateful Dead - Days Between: The Final Album That Never Was (1992-95) 

Grateful Dead-related posts:
Mother McCree's Uptown Jug Champions - Live at the Top of the Tangent (1964)
Keith & Donna - Keith & Donna (1975)
Diga Rhythm Band - Diga (1976)
Kingfish - Live 'N' Kickin' (1977)
Robert Hunter - Jack O' Roses (1980) 
Bobby and the Midnites - Featuring Bob Weir (1981)
Brent Mydland - Unreleased Solo Album (1982)
Tom Constanten - Grateful Dreams (2000)