New Release
Four Eyes
Anthology
1977-1990

Band

Liner Notes | Songs | Line-up Key | Song Notes

 

Four Eyes
Anthology 1977-1990
featuring Mark DeCerbo

Liner Notes:

It's criminal, really. At a time when most of the acts on the radio couldn't write a receipt, let alone a tune, here we have a largely untapped embarrassment of riches, spanning the breadth of the eighties. Oh it's true frontman Mark DeCerbo has come close a few times, check the liner notes for recording sessions with Greg Kihn, demos and an unreleased album for MCA, demos for CBS, and more. Its easy to see why all the interest - amongst the gems here are some of the most memorable melodies you're ever likely to hear. Spanning a decade, you get powerpop at it's best, with a heavy emphasis on the pop. You're gonna hear echoes of this and that-20/20, Phil’s Seymour and Spector, Elvis Costello, Squeeze, and the Beatles. It all means a dedication to song craft, as well as a guaranteed heartfelt performance. Some songs pound out their message, others sweetly inform. Why this music hasn't reached a larger audience is beyond reason, but Mark DeCerbo continues to write and perform incredible pop material - witness his 1992 solo album on Bizarre/Planet, and "Green Grass Girls" on "Staring At The Sun Vol. 4." Count this as an opening salvo in re-vitalized release schedule.

In the meantime, in a career as lengthy as this, there's a lot of ground to cover, but even a cursory look would show us that Four Eyes themselves got their start in 1976 as a country, boogie, rock and pop group called Copenhagen. Initially featuring DeCerbo, JB, JL, BB (pre-Tonight), BS, CC and SB, trainspotter's will want to pick up their single "Tonight," as melodic a piece of jangly pop rock as you’re likely to find. The sextet lasted just over two years, during which time four of the six shared a two room flat at the Catamaran Hotel, while nominally the house band at Webb's in Ocean Beach.  Soon the steady-working band secured a ‘band house’ in which they lived, rehearsed, recorded and threw, not just a few, outrageous parties. Notably during this time frame, Copenhagen, featuring members of cult favorites Gary Wilson and the Blind Dates became the backing band for both blues guitarist Tomcat Courtney and the art rocker himself, Gary Wilson, even joining him on a short promo tour for his legendary "You Think You Really Know Me" album. Also of note they opened for Cajun legend Doug Kershaw at the La Mesa Lanes Bowling alley, and promptly had JL, their keyboard/harp player, nicked by Kershaw.

In 1979 they released their only single, and continued to play as often as possible, from military bases to country western bars, some shows clearly more successful than others. CC and BB had both left and Barry Scott departed to join rockers the States, but in 1980 the group, now a quartet and under it’s new name Four Eyes scored an appearance on TV's legendary "Gong Show." DeCerbo, JB, GM and SB performed Little Richard's "Tutti Frutti," and more importantly, didn't get gonged. They did get a few hundred bucks between them and won a year's supply of Turtle Wax and Mister Coffee Machines. Jamie Farr, of "M*A*S*H*" fame was quoted on air as saying about the band:  "Loved the tutti, hated the fruitti."

During this time frame with new wave in full force, and the nearby Sunset Strip bursting with great pop bands, the group set it’s sights towards Hollywood. Steve Bidrowski soon departed, to join The Unknowns and a brief stint on Sire records, while Fred Dunsmore took his place in the band. GM followed suit and left the band without a bass player. Unable to find a replacement bassist with a voice and determined not to miss a beat or a gig, they bought a bass and gave it to the guy with the voice, DeCerbo.

The start of the eighties found Mark Shapiro becoming the groups' manager/agent and financial backer, with the result being the trio of Mark, Jeff and Fred releasing Four Eyes only single, the classic "Disengaged/Penny Pong" for Shapiro's Big Fish label. Having a release enabled them to get more local gigs, but also more Los Angeles dates, and during this time they were regulars at such storied locations as Madame Wong's, The Hong Kong Cafe, The Country Club, and UCLA frat parties.  As well as local San Diego hot spots such as the Spirit and Skeleton Club, of course.

Now seasoned club scene veterans, by 1982 the band wanted to expand its sound,  so added Fluke guitarist John Chatfield as second guitarist and keyboardist. That year   the band released two further tunes on a pair of local indie compilation albums. They placed "Dangerous," a synth driven dance oriented number on that years Homegrown album, distributed by local radio station KGB-FM. They also included a live take of "Life after High School" on the "Who's Listening?" compilation album, recorded live at the Spirit Club, alongside the likes of the Penetrators. The following year saw them broadcast a live set on KGB-FM, which survives in the group's archive. Not surprisingly, all this flurry of activity brought the labels sniffing around like sharks to the blue plate special.

It's this major label interest that we can thank for the wealth of material that we've been able to unearth. The band loved the studio, and over the years has taped literally dozens of tunes, and multiple takes and sessions of most of them at that. Their first brush with the mainstream came when CBS had them tape a series of demos, including takes of "Contagious", "Colorblind", and "Baby's Not in the Mood." The label passed on the group, but their disappointment in not securing a deal with CBS was short lived as they soon signed with MCA Records, part of the labels signing spree in San Diego at the time which included Joey Harris & The Speedsters, DFX2, and Trees. The quartet joined the local AFM and worked for union wages with the proposed album produced by another San Diego resident, Dane Conover, best known for his work with The Puppies and Blue Wind. Impressively, it was also engineered by Earl Mankey, legendary for his work with The Beach Boys, 20/20, Sparks, and Concrete Blonde, to name just a few.

Unfortunately, even though the album was completed, in 1985 Irving Azoff took over MCA, and most new signings, including Four Eyes,were dropped. The band was offered the chance to issue one single as a test, but in a move that the band still questions to this day; they turned that offer down. That would be the last anyone heard of those recordings- until the CD you hold in your hands. Interest in the band was still high however and Mac Falk, of the Belly Up Tavern nightclub, became their manager, with the band replacing Dunsmore and hiring Lee Knight & Mark Spriggs both ex-members of Joey Harris and the Speedsters for the rhythm section. It's at this point that Mark, although a focal point before, became the bands undisputed front man.

The group remained huge live favorites and could be found performing at all sorts of events, ranging from teen dances to opening for the likes of Nick Lowe, Paul Carrack, John Hiatt, The Romantics, Marshall Crenshaw, and John Mayall. In an odd move, the band changes its name to Five Lines Up for a short period, but then rightly changed it back to Four Eyes. Still looking for a deal, the band kept returning to the studio, taping tunes with both Paul Fox and Jack Mack's Heart Attack Horns, but as time wore on, more band members began to leave. John and Mark Spriggs, both exited, with Bob Sale (ex-Rick "That Thing You Do" Elias Band) soon playing drums for the group. Producer Bart Bishop eventually took the band to LA to record another album that would remain unreleased and in this case unfinished. Following the recordings in 1988, Bob left the group to rejoin ex-band mate Elias, while Spriggs returned as drummer until Four Eyes disbanded in May of 1990.

The band did have one last brush with possibility, just before their demise, in the form of studio recordings with none other than Greg Kihn as producer, which resulted in two songs, but no label deal.  At the same time pop music critic John D'Agostino stopped in to see the band at Tio Leo's in late 1988 and wrote a wonderful review of the group and the songs for The Reader magazine. That was a great shot in the arm, though not enough to sustain the band through it's financial woes, and personnel changes. It’s important to note that from beginning to end, it was the constant presence of DeCerbo and Becker that gave Four Eyes much of it’s musical focus and identity.

The last gig was a 2-night engagement at Fat City in San Diego, though Chris "Uncle Outer Space" Drake from another local outfit, Private Domain, best known for their 1984 turntable hit "Absolute Perfection,"played bass for the final few months as Lee Knight had already left to pursue new interests.

Not long after Mark scored a deal with Capitol Records off shoot Bizarre/Planet (ironically co-founded by another former San Diegan, Frank Zappa), resulting in the release of his "Baby's Not In The Mood" album, but that would also be short lived. In the ensuing time, Mark has continued to perform and record, while Four Eyes has regrouped for reunion shows a few times over the years, most recently as part of a special tribute to legendary San Diego DJ Jim McInnes in 2002.

While it is indeed sad that the band never achieved it's due during their lifetime, we are still very fortunate that all these great tunes have been preserved for future generations, and are finally seeing the light of day. That these songs still sound fresh and vital, after decades, is a testament to both the great songwriting as well as ace musicianship. True some of these tunes are very much "of their era," but that merely adds to their innate charm. With a little bit of luck, look for another collection of outtakes and rarities from Four Eyes in the near future, as we're just displaying the tip of the iceberg here. If you're a fan in the slightest of great powerpop, rock 'n' roll, or simply songwriters who know their way around a tune, then the 22 tracks found here represent a treasure trove of amazing proportions.

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Four Eyes
Anthology 1977-1990
featuring Mark DeCerbo

Songs:

01  Disengaged - 02:56 (3)
(DeCerbo)

02  She's a Real Looker - (demo) 02:54 † (4)  
(Dunsmore)

03  Why - (demo)   02:29 † (4)
(Becker)

04  Let Go! - (demo)   03:04 † (2)
(Dunsmore)

05  Contagious - (demo) 02:39 (3)
(DeCerbo)

06  Take Me, I'm Clean - (live) 03:23 † (4)
(Chatfield)

07  Mts & Valleys of Love - 04:01 (4) 
(DeCerbo)

08  I Don't Wanna Know - 03:09 † (4)
(Dunsmore)

09  Colorblind - 03:10 (4)
(DeCerbo)

10  Look Me Up - 03:06 (4)
(DeCerbo)

11  Comin' From Behind -  03:54 (6)
(DeCerbo)

12  Rebound Bound -  04:32 (7) 
(DeCerbo)

13  Baby's Not in the Mood - 04:04 (8) 
(DeCerbo)

14  Take It - 02:26 † (4)
(Becker)

15  Souvenir - 03:37 (7)
(DeCerbo)

16  Life After High School - 03:13 (5)
(DeCerbo)

17  I’ll Be Your Umbrella -  03:52 (7)
(DeCerbo)

18  Blue In Clover - (Demo) 04:22 (7)
(DeCerbo)

19  Open Arms - 04:03 (7)
(DeCerbo)

20  Sunday Girl -  03:23 (7)
(DeCerbo)

21  Every Whisper From You - (Demo) 05:20 (MD)
(DeCerbo)

22  Black Is Black -  3:18 †† (6)
(Hallyday/Wade/Hayes/Grainger)

All titles published by Naughty Pines Music except: 

† Copyright Control and †† EMI Music.

Cover and disc art designed by Ian DeCerbo.

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Four Eyes
Anthology 1977-1990
featuring Mark DeCerbo

Lineup Key:

1) 1976-78 Mark DeCerbo, Jeff Becker, Joe Lunga, Steve Bidrowski, Chris Creasman, Barry Scott, Butch Bottino

2) 1980-81 Mark DeCerbo, Jeff Becker, Fred Dunsmore, Goff Macareg

3) 1980-81 Mark DeCerbo, Jeff Becker, Fred Dunsmore

4) 1982-83 Mark DeCerbo, Jeff Becker, Fred Dunsmore, John Chatfield

5) 1984-85 Mark DeCerbo, Jeff Becker, John Chatfield, Lee Knight, Mark Spriggs

6) 1986-87 Mark DeCerbo, Jeff Becker, Lee Knight, Mark Spriggs

7) 1987-88 Mark DeCerbo, Jeff Becker, Lee Knight, Bob Sale

8) 1988-90 Mark DeCerbo, Jeff Becker, Lee Knight, Mark Spriggs

9) 1990 Mark DeCerbo, Jeff Becker, Chris Drake, Mark Spriggs

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Four Eyes
Anthology 1977-1990
featuring Mark DeCerbo

Song Notes:

1) Disengaged – 02:56
(DeCerbo) ©1980 Naughty Pines Music
MD-Ld vox & Bass
JB-Guitar & vox
FD-Drums
Rec. @ Western Audio
Mike Harris/ Eng.  1980

Our first single. Oh...I'm playing bass? Our bass player, Goff Macareg, had just left the band and now we were a real pop trio, that is, if I could learn to play the bass and sing at the same time. Then there was the slight problem of comming up with the money to buy a real bass and amp.

2) She's a Real Looker - 02:55
(Dunsmore) ©1980
M DeCerbo: Bass, Vox;
J Becker: Guitar, Vox;
J Chatfield: Ld Guitar, Vox;
F Dunsmore: Drums, Ld Vox        
Rec. by Scott Chatfield @ Ed Sakota’s House  1980

This was one of Fred's and a fun one to play live for us and the fans.

3) Why? - 02:30
(Becker) © 1980
M DeCerbo: Bass, Vox;
J Becker: Ld Guitar, Ld Vox;
J Chatfield: Guitar, Vox;
F Dunsmore: Drums, Vox             
Rec. by Scott Chatfield @ Ed Sakota’s House  1980

One of Jeff's little ditties. He had lots of them that should have, but didn't always make it to the studio.  We did know a couple of girls named Cindy and Susie and I think they always wondered if Jeff was referring to them in his lyric. I guess if he was, they ought to know!

4) Let Go! - 03:04      
(Dunsmore) ©1980
M DeCerbo: Bass, Vox;
J Becker: Ld Guitar, Vox;
G Macareg: Guitar, Vox, Organ;
F Dunsmore: Drums, Ld, Vox      
Rec. by Four Eyes @ Menlo Garage   1980

A real 'garage rock' tune. That's where it was born, in the garage where we rehearsed, amps on ten and drums driving at full throttle. This was fun to play and very theraputic in a rockin’ kind 'a' way.

5) Contagious - 02:40
(DeCerbo)©1980 Naughty Pines Music   
M DeCerbo: Bass, Ld Vox;
J Becker: Ld Guitar, Vox
F Dunsmore: Drums, Vox     
Rec. @ Accusound/Miener’s Music
Eng: John Hildebrand   1980

Still, my favorite recording of this song. Why fix it, if it ain't broke? Engineer John Hildebrand called us to ask if we would like to have some fun and be guinea pigs for him and the recording class he was teaching at Meiner’s Music. We could record any song we wanted, he would show the class how it was done, and we would get a free recording session and take home the tape. Such a deal! We couldn't pass this one up. We had a great time and the students got a kick out of the sick lyrics in this tune (...I got a mean infection from you, it's true...). Plus, John turned us on to some great Mexican food at a place down the street called Julio’s, his favorite dish being, guacamole enchiladas. How could I forget?

6) Take Me, I'm Clean - 03:24
(Chatfield) ©1982
M DeCerbo: Bass, Vox;
J Becker: Ld Guitar, Vox;
J Chatfield: Guitar, Ld Vox;
F Dunsmore: Drums, Vox;
Intro: Fred
Rec. Live @ My Rich Uncles to 8 Trk
Mixed @ Hit Single Studios by Jim McInnes & Randy Fuley  1982

John wrote this while in Fluke w/Lee Knight & Dave Largent.  Fluke was a trio and Four Eyes was, as well. We used to do shows together and by the end, we would have both bands on stage. In this configuration, we were called, what else but, BJ & the Whimps.

7) Mountains And Valleys Of Love - 04:01
(DeCerbo) ©1980 Naughty Pines Music
M DeCerbo: Bass, Ld Vox;
J Becker: Ld Guitar, Vox;
J Chatfield: Guitar, Vox;
F Dunsmore: Drums, Vox;
Intro: Fred
Rec. @ New World Audio for MCA Records
Eng: Earl Mankey/ Prod: Dane Conover  1982

KGB radio icon, Jim McGuiness' favorite Four Eyes song, allegedly. And, where would we and many of the other San Diego bands have been without the support of Jim and his relentless efforts to help get our songs played on the radio. He loves music, being a musician himself, and anything he says to or does for a band or an artist is totally from the heart. So... it just makes sense to include this one. Thanks, Jim!

8) I Don't Wanna Know - 03:09
(Dunsmore) ©1982
M DeCerbo: Bass, Vox;
J Becker: Ld Guitar, Vox, Keys;
J Chatfield: Guitar, Vox, Keys;
F Dunsmore: Drums, Ld Vox
Rec. @ New World Audio for MCA Records
Eng: Earl Mankey/ Prod: Dane Conover  1982

Fred doing drum overdubs on the ill-fated MCA album. Our bid for a pseudo-tech tune. I liked this song and thought it showed a natural progression in Fred's songwriting.

9) Colorblind - 03:11 
(DeCerbo) ©1980 Four Eyes Music
M DeCerbo: Bass, Ld Vox;
J Becker: Ld  Guitar, Vox;
J Chatfield: Guitar, Vox;
F Dunsmore: Drums, Vox 
Rec. by Scott Chatfield@ Ed Sakota’s House  1980

One of my favorite Four Eyes songs that has stayed around for a long time. We even performed it at a Four Eyes/Mark DeCerbo reunion in 2001 and have continued to into the new millenium. It always went through the 'we're bored, so lets change it' machine every time we played it live or recorded it. In fact, there are quite a few FE songs that seem to have experienced that phenomenon. More on that, later. 

10) Look Me Up - 03:06   
(DeCerbo) ©1980 Naughty Pines Music
M DeCerbo: Bass, Vox;
J Becker: Ld Guitar, Vox, Keys;
J Chatfield: Guitar, Vox, Keys;
F Dunsmore: Drums, Ld Vox
Rec @ New World Audio for MCA Records
Eng: Earl Mankey/ Prod: Dane Conover  1982

My favorite song from the MCA sessions. I really like Jeff's guitar work, especially during the outro, he’s really cookin'. This would have been the opening cut on the album and I think it could have been a single. The chorus went through some changes and I still don't think it's quite right, but who knows, with a nip and tuck, it may still get another chance .

11) Comin' From Behind - 03:55
(DeCerbo)©1980 Naughty Pines Music
M DeCerbo: Guitar, Ld Vox;
J Becker: Ld Guitar, Vox;
L Knight: Bass, Vox;
B Sale: Drums              
Rec. @ Shore Studio 
Eng: Hey, MAAANG!  1987

Not as kinky as some of you would like to think. This song was inspired, at least in part, by my favorite hometown baseball team the San Diego Padres' uncanny ability to 'come from behind' and the illustrious "voice of " the afore mentioned Pads, Colonel Jerry Coleman. Oh, Doctor! You can hang a star on that, baby!

PS: I believe the lead vocals for this one were recorded using my Radio Shack copy of a Crown PZM mic that we taped to the outside of the control room window. Lovely sound.

12) Rebound Bound - 04:32 
(DeCerbo)©1986 Naughty Pines Music    
M DeCerbo: Guitar, Ld Vox;
J Becker: Ld Guitar, Vox;
L Knight: Bass, Vox;
M Spriggs: Drums
Rec. @ Powerhouse 
Eng: Kirk Arnold  1986

This is one of my country-pop-abilly tunes. It's just a phase that I went through and still return to, periodicly. Some guy at a party said that he really liked this song and maybe I could get the NBA to use it for a commercial on TV, or something. I said yea, maybe, but the song is about a guy recovering from a hangover because he drank too much booze. I'm not sure that would sit too well with ESPN, although these days, you never know.

13) Baby's Not In the Mood – 04:05
(DeCerbo)©1980 Naughty Pines Music
Becker: Guitar, vox;
Spriggs: Drums, Piano;
DeCerbo: Ld vox, Bass & Guitar;
Greg Khin, guitar;
Bob Tedde: Keys       
Rec. @ Circle Sound/ Greg Khin-Producer  1988

Most assuredly the difinitive DeCerbo song of the 1980's and beyond. This song became the one against which all my other tunes were judged. With the simple cascading melody line and plaintive delivery of a lyric that everyone could relate to, it oozed with pop sugar and salty sadness that made the jury cry, "write 10 more like it and you've got an album." I don't know if I have written or will ever write anything as close to the distillation of real heart-wrenching love as this.
But, back to earth. I think it's a catchy little tune and if you listen closely you'll hear strains of the Glen Miller hit, In the Mood, which I made Jeff  musically transform and force into the song, via his wonderful slide playing.

 Another little side story concerning this recording:
Never eat in a Chinese joint named 'Chop Suey', is the advice we got from Mr. Khin at this hastily thrown together session. Greg was in town to do a show and as a favor to a friend of a friend he 'produced' this tune. Let's say Greg was pretty late, pretty tired and hungry, and pretty much not into it. But, he was funny and it was, overall an enjoyable time. Needless to say, we did not have Chinese that night.

14) Take It - 02:26  
(Becker) ©1980 Four Eyes Music     
M DeCerbo: Bass, Vox;
J Becker: Ld Guitar, Vox;
J Chatfield: Guitar, Vox, Keys;
F Dunsmore: Drums, Ld Vox
Rec @ New World Audio for MCA Records
Eng: Earl Mankey/ Prod:.Dane Conover  1982

Jeff’s acerbically loving rocker from the MCA sessions. Rockin’ guitar and his unmistakable and wonderful vocal. I had fun playing bass on this one.

15) Souvenir – 03:37
(DeCerbo) ©1980 Naughty Pines Music
M DeCerbo: Guitar, Ld Vox;
J Becker: Ld Guitar, Vox;
L Knight: Bass, Vox;
B Sale: Drums              
Shore Studio/ Otari 15 IPS 
Eng: Hey, MAAANG! 1986

With a slight wink at Paperback Writer, this “got dumped” rocker is one of my personal faves. Jeff’s guitar work is truly inspired. Lee’s loping bass and Bobby’s steady drumming and triangle ‘ting’ warm me to my boot heels.    Jeff and I also had much fun playing the melodicas for the carnival background in the bridge. To me, it’s more than just a trinket.

16) Life After High School – 03:14  
(DeCerbo) ©1984 Naughty Pines Music
M DeCerbo: Guitar, Ld Vox;
J Becker: Ld Guitar, Vox;
J Chatfield: Guitar, vox;
L Knight: Bass, Vox;
M Spriggs: Drums
Jack Mack Horns: Horns, Vox
Rec. @ Artison Studios/ Prod: Mac Faulk  1985

What a treat! Having the Jack Mack Horns play and sing on this one was awesome. They were amazing musicians and great sports allowing me, who doesn’t read or write music, to show them what to play and then arranging it on the spot. How we got them to sing, or shout, “work” and “life after high school”, I’ll never tell. Mark Spriggs’ drumming was wonderfully manic, as well.

17) I'll Be Your Umbrella – 03:53  
(DeCerbo) ©1986 Naughty Pines Music
M DeCerbo: Guitar, Ld Vox;
J Becker: Ld Guitar, Vox;
L Knight: Bass, Vox;
B Sale: Drums
Executive Prod.: Bart Bishop 1987 

Once in a while I’ll run into someone from back in the day and they’ll say “I remember the umbrella song’’ or at a gig someone will say, “play the umbrella song.” I’m glad they remember it, whether it be from the melody or just the sentiment of the lyric. I enjoy screaming the bridge and love Jeff’s guitar solo on this one, as well.

18) Blue In Clover - 04:22  
(DeCerbo) ©1988 Naughty Pines Music
M DeCerbo: Guitar, Ld Vox;
J Becker: Ld Guitar, Vox;
L Knight: Bass, Vox;
B Sale: Drums
Executive Prod.: Bart Bishop 1987

A demo version of what ended up on the “Baby’s Not In The Mood” album. Although, this was not meant to be a demo. We recorded this with high expectations to release it and had been performing it live for quite some time. I love this version of it because of the dynamics in the arrangement and the way it felt when we played it as a band; and I enjoy singing lyrics with colors in them, whatever that means.

19) Open Arms - 04:03 
(DeCerbo) ©1986 Naughty Pines Music 
M DeCerbo: Guitar, Ld Vox;
J Becker: Ld Guitar, Vox;
L Knight: Bass, Vox;
B Sale: Drums
Executive Prod.: Bart Bishop 1987

Our harder rock offering. This was, and still is, a powerful live number. It needs to be played loud and we always do. Besides, my wife and kids love it and that’s a good enough reason for me to include it here.

20) Sunday Girl - 03:24   
(DeCerbo) ©1986 Naughty Pines Music
M DeCerbo: Guitar, Ld Vox;
J Becker: Ld Guitar, Vox;
L Knight: Bass, Vox;
B Sale: Drums
Executive Prod.: Bart Bishop 1987

This one was meant to have horns on it, in my mind, anyway. Some day it may happen, but I still like this version. I won’t say it’s unfinished, but...

21) Every Whisper From You - 05:20
(DeCerbo) ©2000 Naughty Pines Music
M DeCerbo: Vox, Guitar, Bass;
Ed Lucas: Drum loop
Rec. @ Hog Heaven   2002

A real demo of what ended up on the “Sweet On The Vine” album. It’s quite a bit different, and if you have heard the other one, you would agree. Which ever one you like better, though, the song had to go through this development process to get the final version. It’s not like that with all songs. Some just out of the head, onto the paper, into the microphone and out of your speakers. And, then, some don’t.

22) Black Is Black – 03:19
(Hallyday/Wade/Hayes/Grainger) © EMI Music
L Knight: Bass, Ld Vox;
M Spriggs: Drums
M DeCerbo: Guitar, vox;
J Becker: Keys
Rec. live @ Jose Murphey’s in San Diego 1988

That’s Lee singing this classic song by Los Bravos. It was a regular part of our live show and people really loved it. My friend, Bart Mendoza, and I thought it was a great song to end the album with and we hope you agree. Enjoy!

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