GrooveLily

• Re-issue Liner Notes (2004)
• Original Liner Notes (1998)
• Lyrics
• Acknowledgements (1998)

Re-issue Liner Notes (2004)

It’s funny, looking back,  how certain decisions that you make turn out to have such wide-ranging, far-reaching repercussions down the line. At the risk of being self-indulgent, I’m going to lay out some of the intensely personal stories of how these songs came together. If you have strong notions of what these songs mean, and you’re afraid that too much persnickety songwriter rambling is going to ruin it for you, by all means stop reading.

In late 1996 and early 1997, Val and I were becoming more and more fed up with what we perceived to be the injustice and inhospitability of New York City. (Hence, “Gotham City Breakdown.”) In our first tours as GrooveLily, I would unexpectedly develop a sudden and strong attachment to whatever town we happened to be playing in. “Buffalo is beautiful! Let’s move here!” I would exclaim. “Utica! No, wait, how about Roanoke!”

We were having a hard time building a following for our nascent band in New York City, and other places seemed to be more hospitable. Our logic was pretty sound: the rent is indeed lower in most other locations on the planet, and there are fewer things to do in town on a given evening in Upper Sandusky, so there’s not as much competition when you’re trying to attract people to your gig.

I think the final straw was when a bunch of musical equipment was stolen out of our van outside our home in Queens, and we simply lost the ability to deal with NYC any longer. All of my excitement about any other place in the country began to sway Val, and on a southeastern college tour in the spring of 1997, Val and I fell in love with Charlottesville, Virginia.

Val and I were driving down to Virginia to go apartment-hunting in April. We had stopped at a restaurant to get some lunch, and Val went to the payphone to check her messages. She came back to the table with the news that she’d passed the audition and she was being offered the Cyndi Lauper tour. The money was good (better than her day job had been) and she’d be playing in front of thousands of people as Cyndi toured the US and Canada, opening for Tina Turner. How could she turn it down?

We drove on to Charlottesville, found an apartment, and went ahead with the plan to move away from New York City. The tour wouldn’t last that long, we were sure, and we’d pick up where we left off when she returned. We played one final gig in New York City the night before she left, and then I packed her off into a taxi the following morning. I immediately came back into the house and “Love Song Without Metaphor” just came pouring out, in about twenty minutes.

In the few weeks that followed, I packed up our belongings (with the help of some friends) and loaded a U-Haul to the gills. My friends and cellmates at work were surprised that I was going through with the move, when my entire support system was in New York. I was doggedly determined to escape the Big Apple, the perceived source of all of my misery. A couple of friends drove with me, sharing driving duties in the van and the poor U-Haul, which couldn’t go above 45 miles per hour on any uphill grade.

When I got settled in Charlottesville, I emptied out some of the boxes I’d packed, but I left most of them in stacks in the living room for a long time. One of the first things I did was set up Val’s old Yamaha CP-70 electric piano in a downstairs room.

As Val toured with Cyndi, she got a phone call from Joe Jackson, who needed a singing violinist/keyboardist for his upcoming tour. We discussed it, and we decided that she couldn’t afford to pass this one up either (see footnote 1). The tour got extended, and then extended again. And then again.

Apart from brief breaks, she was gone for the better part of a year – from April 1997 through April 1998. We packed as many college gigs as we could into the short furloughs that Valerie was back in town, and we completed work on the 5-song GrooveLily Sampler, but the touring went on and on and on. Mac Ritchey, having joined GrooveLily in January of 1997 and moved from Boston to Charlottesville to be a part of the project full-time, gradually realized that GrooveLily wasn’t going to work for him. As the year drew to a close, he quit the band, packed up his stuff, and moved back to to the Northeast.

All of this took a toll on me: Val’s absence, the extreme expense (in 1997) of phone calls to Europe, loneliness. My part-time, waiting-for-band-to-start-again job fell apart as the months wore on, and I was getting pasty and overweight from Glen Ellen Merlot and rice ‘n’ beans. Life was sucking.

As you can imagine, that’s when a songwriter’s gift really comes roaring out of the gates. I poured out song after song at Val’s CP-70, and by November, when I was getting to the end of my emotional rope, I had amassed a big stack of self-pitying songs, most of them about Valerie, and a few choice ones about related topics like coffee. I spoke to Gene Lewin on the phone periodically, and it was his suggestion that jump-started the project: why not make a record of all of these songs?

Why not, indeed. It was just the thing I needed to get out of this slump. We contacted Victor Rice, a wonderful bass player, and I began making charts and finalizing the writing for about fifteen tunes. My mom, bless her heart, sprang for the few thousand bucks we needed to get the thing rehearsed and recorded. I drove up to New York City to reconvene with Gene and Victor, and we rehearsed for two days, recorded basic tracks for two days, overdubbed vocals and a few extra things for two days in April of 1998, and ended up mixing the entire record in another two days. You can hear the hurry, and I think you can also hear the fun we had giving ourselves a few crayons and a single sheet of paper and trying to make a piece of art with them. Sometimes strict limits free up your creativity like nothing else.

–Brendan

A few notes about the bonus tracks:

“Home Fires Burning” was written in 1999 when Valerie was back out on the road with Cyndi again. By this time, we were back living on the outskirts of New York City, and I had a network of friends and a job to keep myself out of the dumps. I’d written enough heart-on-the-sleeve songs about Val being away that I had to get all metaphorical on this one; hence, Valerie the astronaut.

This recording, along with a few other bonus tracks on Little Light (“I Don’t Wanna Fall In Love,” “Wrecking Ball“) were recorded in our apartment in October 1999 with Rob Killenberger, as part of a 5-song demo CD. It was an attempt to get signed to Samson Music (a label that has since folded). We finished the tracking for the demos and began a very sparse cross-country tour. Rob stayed home, mixed the demos, got the CDs duplicated, and then flew out to LA to mix sound for our showcase. Samson Music liked us, thought we were too theatrical, and didn’t sign us, saying that they were going to focus on “Urban Jazz.” They folded later that year; we’re sure it was just coincidental.

We like this recording, but we prefer the rewrite, “Wait,” which almost made it onto our 2003 album Are we there yet?. Perhaps that’ll get released when Are we there yet? becomes part of the Back Issue Series…

“Thief In An Empty House” has a lyric by my friend Jon Spaihts. It was recorded in the same sessions as the rest of the Extenuating Circumstances record, but it didn’t make the cut for the album. In retrospect, I’m glad about it; it’s a great lyric, and I like the Beach Boys vocal break and the way we pounded out the choruses, but it’s a huge thematic leap–there are no other stolen broken hearts on the rest of the album.

“You Take Control (1991 demo)” is on this record mostly because there wasn’t enough room left on the Jungle & Sky/GrooveLily Sampler CD, which includes the GrooveLily version. This was a collaboration with my old friend and bandmate Jerry Scott, and it was the first time I’d done anything with a horn section. In retrospect, it sounds really sterile; but it was a lot of fun to make. Keta Bill and Molly Underhill sang backups, and guitar wizard Jude Gold did that insane guitar solo.

“A Little While (1992 home demo)” was recorded on one of those cassette multitrack machines in my bedroom. This is the song that eventually got reworked into “I Don’t Want To Fall In Love” in the great search for hit songs for GrooveLily. I’m really fond of what I perceive to be the goofy charm of this original version, but I think I may be in the minority.

Footnote 1: Both the Cyndi and the Joe connections have proven incredibly useful down the line–Cyndi brought Val back for more work again in 1999 and briefly in 2000, and Val had to turn her down in 2003 and 2004 because GrooveLily was touring so much that she couldn’t afford to cancel the gigs. The Joe Jackson connection, apart from getting to meet and sip scotch with one of my musical idols, has been subtler and more profound; it’s opened the ears and minds of Joe Jackson fans all over the world to our music. The first person to sign up to be a Petal Pusher was Adam Wolf, and he heard about us on the Joe Jackson discussion list.

Original Liner Notes (1998)

This album came about as a kind of reaction to the precise, extra-careful process of recording groovelily sampler, a gem-like e.p. which had some of our favorite songs presented in pristine, yummy bite-size pieces.

Conversely, this album was recorded as quickly as possible. Gary Maurer engineered the basic tracks (with a huge 9’ Steinway!) in two 10-hour sessions at The Place on December 21 and 23, 1997. The vocal overdubs were mostly completed over twelve hours in April 1998 with the good ideas, vibes, and engineering of Mike Caffrey at Monster lsland.

Most of the songs were written in Charlottesville, Virginia, through the summer and fall of 1997, Most of them have to do with Valerie being away: playing with Cyndi Lauper; playing with one of my musical heroes, Joe Jackson; and generally NOT being around to play with me.

To sum it up: this is a rapidly-recorded album which captures the sound of three musicians beating the crap out of their instruments, and communicates all the joy and envy, longing and jealousy that l’ve been dealing with this past year, l hope you dig it.

Lyrics

Love Song Without Metaphor

© Brendan Milburn 1998

I haven’t gone outside today
It feels so long since you’ve gone away
The sun is bright, the sky is blue
and I’m all right, and I make do
The house is dark, the shades are drawn
I check for mail, I mow the lawn
I cannot sleep, I cannot dream
and it’s enough to make me scream

I want you back and here with me
I don’t care how, I’m too blind to see
I hurt so bad when you’re away
I can’t go through another day
without you back and here with me

I wish that I could wish you well
But I can’t pretend that life without you’s not a living hell
I wouldn’t waste a wish on that
I’d wish that wish to wish you back

I want you back, I want you back
I say it with no metaphor
I want you back, I want you back
and I repeat it more and more
I want you back, I want you back
I miss you more and more each day
I want you back, I want you back
I ain’t got nothin’ else to say

Well, there it is, I’ve said my piece
This song won’t bring you back, but it may give me some release
I’ve got no more words in my pen
I might as well sing it again

Making A Diamond

© Brendan Milburn 1998

There you go again
You open your mouth and out comes a flock of birds
Filling the air
enchanting us all with the wit on the wings of your words
like the man
who could turn straw into gold
you’re making a diamond from pieces of coal.

There you go again
Pushing you pencil to places that I’ve never been
and taking me there
taking me off of the page and right into the scene
with a word
you can make any tale unfold
because you’re making a diamond from pieces of coal.

I want it
You make it sing
I covet
your pair of wings
Astounded
Although I try
I’m grounded
At least I get to watch you fly.

There you go again
you open your arms and you take me in your embrace
friendship so rare
telling me how much I mean from the look on your face
and you know
it is written on your soul
you always will be making a diamond from pieces of coal.

The Balancing Act

© Brendan Milburn 1998

I’m the clown with painted frown who prances for your pleasure
I’m the lion tamer taming quiet lion’s roar
I’m the chap with suit and cap who runs the three-ring circus
I’m the barker selling all my secrets at the door
and I stand so high
hear drums roll
telling me now to step out in the air

Every day I make believe before an empty grandstand
Every night I make believe I was not left behind
Everything was right ’til you ran off to join the circus
I remained inside a haunted big top in my mind
and now, looking down,
paralyzed,
I am stilled by my own little fear

Isn’t it crazy how we walk this tightrope wire
Juggling far too much and everything at once on the balancing act
Where is the safety net that I thought was over the fire
Isn’t it crazy
Nobody told me
This is the show…

Everything You Got

© Brendan Milburn 1998

You got the action figure set with the castle
You got your legos strewn all over the rug
You got electric train, you got the Tarzan and Jane
You got the miniature VW bug
You got the mini-golf course out at the mansion
You got a hundred-fifty G.I. Joes
You got the light brite on, you got the stretch armstrong
I sure wish I had me one of those

Well you taunt me with your toys,
Yeah, with everything that you bought
Yes I can’t help but envy your fine situation, baby
All I want is everything you got.

You got your daddy paying your way through college
You got no worries long as you behave
You walk on easy street with your easy feet
You gonna walk it all the way to your grave

Well you taunt me with your toys,
Yeah, with everything that you bought
Yes I can’t help but envy your fine situation, baby
All I want is everything you got.

You make me green with envy knowing you never had to work too hard
You make me lose the forest for the trees in your backyard
You never end what you begin, no, you let it all sit there and rot
And though your grass looks a whole lot greener,
When I mow my lawn, I give it everything I got

You got the television bigger than Elvis
You got the thousand dollar cellular phone
You got the chauffeur on call, you got the charity ball
But you never done a thing on your own

You got computer printer monitor modem
You got a catalog to service your needs
You got everything that success can bring
Without ever having to succeed

Well you taunt me with your toys,
You are everything that I’m not
And while I envy the bread you got lying around
And I covet the color you been painting the town
I pity the way that you bring yourself down
Because all you are is everything you got.

Stupid Mouth Shut

© Dan Messe 1998

(these lyrics are Dan’s, not ours, so visit the site of his band, Hem, to find out more. (www.rabbitsongs.com)

Hey You Gorgeous Thing

© Brendan Milburn 1998

Hey you gorgeous thing
You’re my gorgeous thing
And you know that every time I’m near you I say

“Hey you gorgeous thing,
You’re my gorgeous thing,
And it makes me want to jump for joy and laugh and sing.”

And I sing,
la la la. la la la. la la la la la la la.
la la la la la la la la.
la la la. la la la. la la la la la la la.
la la la la la la la

Hey you gorgeous thing
Come and play and swing
We can make believe that I’m your queen and you’re my king.

And we’ll sing
effervescent
cycling sideways
absolutely high
luminescent
walk on water
resolutely
crazy gorgeous

Thing is everything around you dancing in the waves
Tumbling in the sandwich of your love
Thing is my gazebo when it’s bouncing in my brain
Taking all my senses over

Hey you gorgeous, gorgeous thing.

Jumpy Bean

© Brendan Milburn 1998

I spend most every day selling myself
Calling people on the phone
I say “why won’t you put me in your magazine,”
They say, “well, why don’t you leave me alone?”

I spend most every day selling myself
Start to feel like a whore
And if I didn’t have my little brown friend, well
I couldn’t take any more

Save a little dollop for me
I’m as low as man can be
Girl, I got to let my mind run free
with my jumpy bean, little jumpy bean,
with my sweet little Columbian jumpy jumpy jumpy jumpy bean.

I spend most every day selling myself
Seeking something that I lack
And though you know I love my little brown friend
He’s a teeny little monkey on my back

Save a little dollop for me
It’s the only thing can cure my disease
Girl, now can’t you see I’m down on my knees
Gimme jumpy bean, gimme jumpy bean,
Gimme sweet little Columbian jumpy jumpy jumpy jumpy bean.

Looking Forward/Looking Back

© Brendan Milburn 1998

In Gotham City, you’re looking pretty,
I’m the obtrusive guy at your side
Another party, you’re Laurel, I’m Hardy
You’re flying and I am along for the ride

They’re calling places, you’re fixing your faces
And I’m in the green room, I’m hanging around
And then right after, you’re lighter than laughter
And I got my jealousy dragging me down

Another night, I could be persuaded
With a look in your eye and a tug on my arm
Another day, you get accoladed,
And I get the feeling we’ll both come to harm

And I fear what I might find
If I were to open up my mind
Yeah, I’m scared of the words that come out at the seams
I am hounded by nightmares while you’re chasing dreams
And my vision is dim where it used to be clear
Looking forward to looking back on this year.

And while you’re flying, I’m quietly dying,
You’re over me, I’m going under again
You see me frowning, not waving but drowning,
I summon a smile, you go back to your friends

Another venue, and so you continue
And I keep the peace with my well-chosen lies
All things being equal, I’ll wait for the sequel
Where everyone’s happy and nobody dies

Another night, I could be persuaded
With a look in your eye and a tug on my hand
Another day, you are so elated
And I’m full of anger you don’t understand

And I fear what I might find
If I were to open up my mind
Yeah, I’m scared of the words that come out at the seams
I am hounded by nightmares while you’re chasing dreams
And my vision is dim where it used to be clear
Looking forward to looking back on this year,

Some day when we’ll both look back and laugh at all the things we said
Some day when it all seems so ridiculous and strange instead
But right now I am living through it
I can’t see another way to do it
I can’t help feeling like I blew it
And I am looking forward to looking back.

Another game, olly-oxen free me
’cause I’m tired of playing and I wanna go home
Where I’ll get my life on track
And I know that we’ll make it through thick and through thin
And I know I’ll get out more than I have put in
If I keep looking forward
Well, I am looking forward
I am looking forward
Yeah, I am looking forward to looking back.

When Do I Get Mine

© Brendan Milburn 1998

You know, I’m a man, who is true to his word,
who would never back out on a bargain
You know, you can do anything that you want,
and I’ll always be right by your side

You know that I’d never desert you
You know that I could never hurt you now.

You go, anywhere, any time, anyhow, any way,
with a strong sense of purpose.
I go, right along, tag along, wanna stand in your light,
wanna be by your side

But I feel as though something is lacking
My rose-colored glasses are cracking, and

Now that the party is over and done
Baby, I need you to tell me now,
When do I get mine?

You know, when you stand in the light, I am there
though I know that you’re taking advantage
You know, I agreed, gave away all I had,
just to be by your side

You do what you want and I let you
You’re making me sorry I met you, and

Now that the party is over and done
Baby, I need you to tell me now,
When do I get mine?

It’s a two-way street
Both parties must comply to gain admission
The arrangement so neat
The party is over and I’m stuck in the role of submission

Now that the party is over
Now that the party is over
Now that the party is over and done
Baby, I need you to tell me now,
When do I get mine?

Take Away My Dreams ©1995

(lyrics by Jason Cochran, music by Brendan Milburn)

Train, take me home
Shoes, find my childhood road
I’m coming for some comfort
I’m coming to unload
My dreams.

Why all these emotions?
Never got to use them
God gave me talents
Never got to choose them

Why was I told the sky’s the limit
But never given wings?
Who writes the songs no one sings?

I’m returning to the place
To where I won’t be not good enough,
Not right enough,
For what is in my very heart
I’m losing the race
So why did I start?

So, God, just take them
Take away my dreams
Take away my dreams

They promised me things that I’ll never see
Drew me away from what I could be
So just sweep up the magic
Lead me to my door
Relieve me of my dreams
Let me wander no more

Train, take me home
Shoes, find my childhood road
Take me where my future
Will be only what it seems
Home, make my home my home
And take away…

I Was Doing All Right

© 1928, George & Ira Gershwin

(Ira Gershwin’s estate has the unalienable right to reproduce these lyrics.
We don’t.)

Try Again

© Milburn/Vigoda 1998

Emily embroiders, Walter works with weights
Peter plays piano while Milo meditates
Fido fetches frisbee, Stanley studies stars
Frankie takes a photo while Brenda takes the bar
Randall is a runner, Debbie likes to draw
They got El Dorado and they got Shangri-la
Everybody’s doing everything they can
A purpose and a passion, keep it going, try again

Dear sir or madam, to whom it may concern
I listened to your demo and then I watched it burn
Gave it thirty seconds, threw it down the hatch
File under “firewood,” game, set, and match
You’re not what we are looking for, you’ll never be
I won’t give you a reason, it wasn’t up to me
Record label lemming, catch me if you can
Come on back and see me if you decide to try again

And it’s hard when you see
Someone else live your dream
But I know there’s room for us all
So I’ll get up after I fall
And try again

Sitting in the bleachers, dreaming of the day
Bottom of the ninth, and you make your double play
Momma told you good things come to those who wait
But nothin’ happens if you don’t step up to the plate
You’re still in the bleachers, light beer in your cup
You’ll never drop the ball if you never pick it up
But if you do not play you are never gonna win
Gotta try it once, if you fail, you gotta try again

The Odometer Song

© Brendan Milburn 1998

Driving country I never seen
Spend all my money on gasoline
Never thinking of where I been
Sun go up and come down again
Come the night I go straight on through
Long enough, strong enough, counting down the miles ’til I get to you

Highway night, I don’t see no star
Only white lines shooting under my car
A.M. radio just broke down
And there ain’t nobody for miles around
Only got one thing to do
That’s see the road, be the road, counting down the miles ’til I get to you

Since you left me, nothing works right anymore
Steam is rising from the hood
Air conditioning is dripping on the floor
I try to shift my gear down, but it don’t shift so good
Power lock is broken, I can’t open the door
The engine is barely alive
Girl, I don’t know how I can make you make it run like it did before
But I got to get to you now,
And I got a long, long, long, long, long, long,
long, long, long long way to drive.

Sun come up on a brand new day
And the road sign tell me I’m miles away
Say a pray for my poor old car
If it will get me to where you are
I forget where I’m driving to
long enough, strong enough,
see the road, be the road,
turn the wheels, burn the wheels,
counting down the miles ’til I get to you.

Thief in an Empty House

©1998 by Jon Spaihts & Brendan Milburn

why would you come round again in the middle of the night
the world is full of other men to satisfy your appetite
but here you come at half past two, come knocking on my door
you’re searching and if I know you, you don’t know what you’re searching for
the door swings shut it sounds like doom
you’re standing in my living room

did you come in here to steal my heart
you’re a thief in an empty house
you cannot steal, you cannot start
you’re a thief in an empty house
by night you come sneaking, the cupboard is bare
the floorboards are creaking, there’s nobody there
you are wasting your time at the scene of the crime now
you’re a thief in an empty house

what hunger pulled you from your bed and across the sleeping town
forgetting all that I had said expecting me to calm you down
your lowered eyes, your restless hands, I’ve seen it all before
you need a friend who understands, and I know you hope for something more
you say my name, you touch my cheek
I pray that I am not too weak

did you come in here to steal my heart
you’re a thief in an empty house
you cannot steal, you cannot start
you’re a thief in an empty house
by night you come sneaking, the cupboard is bare
the floorboards are creaking, there’s nobody there
you are wasting your time at the scene of the crime now

I’ve nothing left to sacrifice
why can’t you set me free
you cannot steal a treasure twice
why can’t you let me be
my heart is missing from my chest
the wound is slow to heal
there is no thunder in my breast
because there’s nothing left to steal

When suddenly you cling to me I stand as still as stone
you could I think that I was free, when you have taken all I own
I know the skin beneath your clothes, and the bones beneath your skin
I never have been one of those who fight in wars they cannot win
I’m full of hope, I’m full of dread
I let you lead me to the bed

did you come in here to steal my heart
you’re a thief in an empty house
you cannot steal, you cannot start
you’re a thief in an empty house
by night you come sneaking, the cupboard is bare
the floorboards are creaking, there’s nobody there
you are wasting your time at the scene of the crime now
you’re a thief in an empty house

Home Fires Burning

© 1999 by Brendan Milburn

she out among all the stars
she Barbarella in impermeable spacesuit
she passing Venus and Mars
he think about her on his crowded a.m. commute

This is Houston.
Do you read me?
Are you out there?
Do you need me?
Standard orbit,
or extended?
I will be waiting ’til this is ended

I got the home fires burning for you
No matter how far you may roam
I got the home fires burning for you
gonna be hot, gonna be hot when you get home.

she want to be astronaut
she want a rocket ship to fly over land and sea
she like adventure a lot
he like adventure novels read with a cup of herbal tea

You’re the fly girl
to the masses.
Are you my girl?
Are you NASA’s?
Where you off to?
When you landing?
Got your transmission, but no understanding

I got the home fires burning for you
I got the searchlights all over town
I got the home fires burning for you
guide you in, guide you down,

It’s all right, it’s all right for me to be your secret weapon
’cause I know that you know I’m not a stone for you to step on
It’s all right
I had jealousy eating away at me from the inside
but I know you now, and you know me now
and I love you baby
and I wanna see you ride this ride

 

Acknowledgements (1998)

thank you to:

val (indubitably); to jenny giering for continuing devotion to me and my tunes; to rault kehlor for support; to dan messé for letting me sing his righteous song; to the spaihts & murray room & board association for saving my spirit, my sanity, and my stomach countless times; to jason cochran, for constant belief and faith in me and our collaboration; to dan krimm for his boundless, verbose optimism and wisdom; to gene for, among other things, being the catalyst for this album; to gary maurer, daryl kojak, mike caffrey, and especially jeff gruber for helping to get it all onto ferrous oxide; to victor, for slipping into the pocket at a moment’s notice and leaving an indelible groovy stain; to jonah matranga for the loan of the mighty Wurlitzer and for writing “14 to 41”; to julie d, for never, ever, telling me “you can’t do that”; to eileen joyner, aimee, and everyone at Oasis for being so calm, reputable, and capable; to bob v for helping me do some last-minute overdubs; to lincoln myerson for sharing his pop music knowledge and lending library at a very key time in my life; to mac ritchey, dan & gerri & kate at DCA, ken baker, michael coates, mel marvin & sybille pearson SL sarah schlesinger at NYU, joe jackson, and to jean hsu for digging it before everyone else.

Anyone I haven’t mentioned should exchange his or her grievances for a cup of coffee with cremora at the nearest participating extenuating circumstances merchandise outlet.

for more information visit our website at:

www.groovelily.com
or email us at:
us@groovelily.com

also available from blue house records:

groovelily sampler (1997) BHRGL02-2
jungle & sky (1996) BHRGL01-2
inhabit my heart (valerie vigoda solo 1994) BHRVV01-2

All groovelily and groovelily-related titles (such as this one) are available at:
AB-CD, web: www.ab-cd.com phone: 203-831-8301