6 posts tagged “indie”

So anyway, I had the option of pulling out all of the original 'master' tapes and pulling the tracks off one by one. I would if they were really worth all that much, but the truth is, most of them are pretty rough (hence the title), so there really didn't seem to be too much point in getting precious about the source, So I just loaded up my last compilation copy (actually a copy of the original; I have no idea where that got to), and started ripping it to my computer.

Now, the software I use to rip cassettes isn't particularly high tech; I can edit waveforms and save them as either wave or mp3. I have some noise filtering and some parametric EQ control, so while the tracks are impossible to separate, I can at least tweak the frequencies the separate instruments live on and try to make things sound more balanced and less muddy.

Anyway, the demo will never be fore sale, obviously, so I'm going to wind up doign with it what I did with And Sew Fourth. However, I have no idea if Vox will let me load any more music. It still has't loaded my previous edit of Here It Comes Again/One Up On You. So just as a test, I'm gonna load the first three tracks and see how it goes. If that works, I'll try loading the rest.

Creative Commons License: You can burn it to a personal disc, learn to play the songs and play them live inconcert. You can't rerecord them as your own and sell them without my permission, and you can't burn multiple discs and sell them, either. I will most likely rerecord them myself at some date and issue an official version of this album someday, though the next Thesis album I record is going to have a lot of newer music, if I have anything to do with it.

Lee Edward McIlmoyle
somewhere in Hamilton, ON

Thesis - Rough Work In The Margins
© 1998, 2006 L. McIlmoyle
                                                   Etcetera Thesis Music

ETA: Looks like it worked. But look at all this space!

Think I should write a little about the songs, huh?

Okay, first off, there's The Question, which was actually a completely unplanned improvisation that I recorded directly to the ghetto blaster I had my cheeseball board hooked into a tthe time. It's very church-like, true, but I guess I just always liked how spontaneous it was, and how interesting it was, for all of its flaws.

This is taken directly form my post about the next two songs:

Anyway, it was 1995 and I was on enforced sabbatical from my band (girl trouble), and I was honing my song craft. I wrote a great number of songs during that period, and even started talking with some of my old band mates again, but I was still out on my own, working feverishly, and trying to figure out what I was going to do next.

Here It Comes Again
Towards the end of my exile, I was working around the Christmas season at a Toys R US, when all of that Beatle indoctrination suddenly boiled over, and I started hearing a new song, complete with the grooviest bassline I'd never heard before. I got the lyrics down in a short period of time, but the rest of the song took a solid year of tinkering before it came together for me. I recorded all of the parts myself, even though I had begun working with my old band again in the interim. It was recorded late at night while my not-yet-ex-girlfriend and her little boy slept. It remains one of the smartest pop tunes I've ever turned out.

One Up On You
Afterwards, I spent a bit of time refining it at my own place, and found myself pullingout another lyric that had gotten written around the same time as the first, but had lain dormant. I demoed it on drum machine and keys, and added vocals. Although it's not what I had heard, it had its own interesting character, so I left it and faded in on the end of the first.

Why Do I Do These Things?
This was a piece of guitar music I started composing shortly after I started my sabbatical. I can actually remember sitting in a certain young lady's bedroom while a very antagonistic Dave Beddard loomed outside the door as I worked on some of the parts. Admittedly, the fact that he was getting interested inher room mate at the time (and thought I might try to move in one her) might explain some of his anger. The fact that the gal in question had previously been dating Derrick before sidlign over to me, contributed to this, too. Interestingly enough, I wrote the lyrics with Derrick months later, after he and I had reconciled. It's really my lyric, but he and I traded ideas until I knew what I wanted, and I finishe dit up for him to hear. Frankly, I have rarely ever been able to play and sing this at the same time. I may have to remedy that.

Lady Penelope
First off, there's a little preview of The Brighter Side, sung in my very best George Harrison.

Then I go straight into the tune, which was done on drum machine and Gary's old Ibanez double neck, which I used for a number of demos all on the same night (I was very keen). This was actually my first deliberate attempt to write a Beatlesque tune (I beased the title on Penny Lane, for a start), but it's really only half there, Still, it's a good little pop tune, though it needs instrumentation to replace all of my caterwauling antics.

She
This was the first pop song I wrote all of the lyrics AND music to, expressly for the band after we actually came together. Gary was just coming into the band at the time, and I was trying to teach myself to write songs for the band to play, since we seriously couldn't play any of the prog-type songs I'd been trying to write up to that point. It's still a pretty primitive piece of pop song, considering I'd written lots of songs before that had much more conventional song structures. I never seem to do anything the easy way. I later did a recording of myself singing four part harmony for this, which is the wya I'd always intended the band to handle it. I'll have to dig that up sometime. It's funny to listen to me singing like Gary, Derrick and especially Dave.

Zoe
Ah, this was my first delberate attempt to write a slightly warped pop song about a fictitious girl obsession. I was a fan of Doctor Who at the time, and had discovered Patrick Troughton's plucky little brunette assistant, and fell in love. Zoe has since gone on to be a character in four stories of mine, one other pop sonf (later on that) a cartoon character, and the ghost in my machine. And she's still a little hellion.

Tonight
I had been thinking for a while that I wanted to write an interesting and vaguely prog sounding song called tonight, since about the time I got my first copy of Duke, by Genesis. Something about Rutherford's tune 'Alone Tonight' just stuck in my head, and when they later recorded Tonight Tonight Tonight, a decision was made. I took a long time coming up with that song, and I've never been completely happy with the lyrics, but I did see it through to demo, after messing around with it for a few years.

The Brighter Side
This was a lyric I wrote to accompany a song I arranged from a jam the guys and I did one day. Gary and I were both pushing keys and guitar out of the same amp, which got this oddly tweezed tone that somehow made the tune, aurally. We improvised a riff for several minutes, and I then spent several hours mapping it out amd rearranging it using two tape machines and careful attention to the tape meter. I never did manage to get the guys to actually play this song, but it's kinda neat, and I hit on the idea of doing a George Harrison thing with it, which I'm still fond of. So I included it on the album, and consider it something of a tribute to the man, who is one of my oldest influences.

Bleed Into One
This was a song lyric I started writing as the band was reconvening after a slow winter. By this time, I was starting to really feel my lyrical prowess returning, and was starting to feel some of that piss and vinegar that used to inform some of my older lyrics before the band. I pushed the band through a series of jams that day, and while I was messing about with a deep synth string bass motif, Gary created this incredible series of riffs using his guitar and new effects unit. The band did a series of jams on the same motif, one after another, until we had a good ten to fifteen minutes of the most incredible, moody noise ever, and as a four-piece, no less. I was in heaven.

After applying the lyrics I'd written the previous night to it, we did the rockiest version of the piece, and I later took the whole mess home with me and reconstructed it into my version of Synchronicity II, using two tape machines. It never really got performed and recorded well after that initial session, but I later used a number of strong sections from that first session to create this edit, which is the template for what I'd like to do with it this year. This edit is much tighter than the version heard on And Sew Fourth. (edits: 2006 09 20 ~L.Mc)

On My Mind
This is the instrumental version of a tune I've been meaning to rerecord for a while now. It was originally conceived from a few snippets of jam music Derrick, Dave and I improvised together haphazardly while Gary was away. I took the tape home, and found myself playing those three disparate fragments over and over. I tried to make a tape edit of it, but couldn't synch them up right. So inthe end, I wound up writing and recording all of the parts and arranging it into one of the strongest piece of keyboard music I've yet recorded. I also wrote an extremely strong and personal lyric, and later recorded the lyrical treatment, but I've never been happy with the way I handled the outro. When I finally rerecord it, the outro will be rewritten and the lyrics redone to suit.

Show Me Something
This was the first of the tunes I wrote in 1994 that actually got written, arranged and recorded as a full demo. It's a country rock number that Gary and I rehearsed and recorded while drinking American whisky, which he hoped would take my mind off of my relationship troubles. Bu the time I got to the slide guitar solo, I was in another realm, but it sounds pretty cool for a sloppy, Stonesy, Eagles/Black Crowes kind of number. We have never managed to get a good performance of this with the band;Dave couldn't handle my bass line at the time, and Derrick couldn't handle the 6/8 swing rhythm, though he keeps trying to get that groove. Derrick's just not a country rock guy, but I'm sure he'll get it someday.

Zoe Turns Another Face
This was actually a tune I wrote for a woman I was dating for a while, based on a lullabye I used to sing to her son to help him sleep. I fully expect to see him in a dark alley in ten years, pulling a knife on me for publishing this tune, witht eh melody that has probably been haunting him from childhood. It does need agood recording, which this is not )particularly the vocals), but it's a good little tune, if a bit long. Also, the mystery of Zoe returns, expanded upon by alluding that every woman I go out with has a little bit of Zoe in her.

Here We Go Again (Acoustic #2)
Etcetera had been working to get this song sorted and rehearsed for some time, and we kept fighting to get the arrangement stabilized and the vocal and instrumental parts coordinated. Most of the time, the lyrical arrangement never happened in the performance, but there remain one or two recordings of the band actually working on the four part harmony that was meant to go with the song. The version on And Sew Fourth has a further wrinkle in the arrangement which wasn't present during this recroding, although I did introduce it about a week later; Motown!

Waiting
This is a number I wrote on keyboard after arranging one of Derrick's cast off lyrics that needed some reworking. I then took it to Gary, and we started working on a guitar part for it that we thought would work with the keyboard part. We were wrong. so we used the parts separately and built the song out of both. This song is going to be rearranged for the next Etcetera album, with a more Pink Floyd feel, I think.

The Stand
Gary and I had been workign a few days earlier on a piec eof music called The Great Wall. We threw everythign including the kitchen sink into that song. So when I came to practice a little late and found Gary teaching Derrick this totally new riff, I went upstairs, finished my sub, started hearing a great bassline, and then crept down and started recording it with them (Dave was away that day). When Dave returned, it was Gary's turn to be away, so I taught Dave the bass line, taught myself Gary's guitar parts, and then sat with Dave and write and arranged the rest of the song. Derrick, Dave and I jammed it out five times, took the last recording s the final arrangement, and sent Gary a copy. We tried to have a band lyric writing session (Derrick's contribution included 'And Gary blew up the spaceship, the incompetent fuck >Star Wars RPG humour<), and I ended up writing a mini rock opera for it. However, the lyric is so pretentious and unwieldy, and our performance not inspired enough to warrant the long running time, so we're planning on reworking it in shorter form for the next album.

Songs From Heaven
This is the first song I started writing for Etetera, over a year before the band itself even came into being. I was heavily influenced by Yes at this time, and I still haven't really forced the issue of the band working on a recording of this, because th arrangement I hear for it in my head is a little above any of our playing abilities at this time. Maybe next year. At any rate, this recording wa sjust myself with a little nylon strung acoustic gutar played very poorly. Gary keeps dragging this tune out to play, so I know I'm going to have to finish it sooneror later.

Dinner Date
This was a song lyric I started wriiting the first night Dori (Etcetera's original keyboard player) and I started 'collaborating'. I didn't finish it until some time after she'd left the band, and then didn't get all fo the music written for it until Gary and I sat down and finshed banging it into shape. It became our first serious Thesis side project, a tune we knew the band woulnd't be able to play, so we would write and record it ourselves and find other people to play it. As it stands, the meaning of the lyric sort of changed from an innocuous bad relationship to represent our frustration with Etcetera at the time. This was a very flawed demo recording we did, first struggling to get the melody sorted out on guitars, and then overdubbing lyrics. Byt that time, the rhythm had faded into the background, so I later overdubbed myself pounding on a piece of livingroom furniture to approximate the drum performance I'd been searching for.

Thanks for reading this far. Hope you found the DVD commentary amusing.

Lee Edward McIlmoyle
2006 09 09 4:38 AM
Hamilton, Ontario

Ah, Music
This is actually a snippet of an old chocolate bar commercial (I've forgotten which one) I grabbed off of Much Music on a whim back in the 80s, when I was audio taping songs through our stereo (early signs of piracy; I liked the selection and sound quality better than radio). Later, I was listening to the old mixed tape it was on, and thought it still sounded brilliant. As it turned out, I had this one unusual bit of instrumental music I wanted to start the album with, but it needed something verbal to start it off. Pretentious, yes, but if you'd met me back then, you wouldn't question my sincerity. I was pretentious to the core, and came by it honestly. Anyway, I always intended to record something completely original to replace it if I ever released it commercially, but it never happened, so instead, you get the commercial sample. Enjoy.

Waiting For Sentence
This was an instrumental riff our bass player Dave Beddard kept pulling out to work on in the quiet moments between rehearsals of other pieces. We would occasionally join in with him, but he didn't really know where he wanted it to go (or at least what he wanted us to do), so when he heard us jamming along (and getting his composition all wrong), he'd look up and stop. This version was one take where I started playing something with him while everyone else was away from their instruments, which game me a chance to nudge his composition a bit with some changing figures.

A later recording had the guys joining in, but while it is more exciting than this version, it lacks the cohesion and mythical quality of this recording. I've been promising Dave I'd find a way to finish this riff up for him and turn it into a song he would enjoy. I think I may be doing just that for one number on the next album, with main music credit going to Dave (I'll steal a co-write and arrangement credit). After that, we introduce Dave to the wonderful world of royalty payments. I'm sure he'll appreciate a little extra money around the house.

Here We Go Again
It was late summer/early autumn of 1994 (sorry, can't find any dates on the oldest recording tapes; didn't know I'd need to be able to keep a clear record of it all for posterity, as I'd only started keeping a journal in the previous year or so, and not very well at that), we'd lost our original keyboard player and two songs she had been working on, and I ended up taking over on keys. After getting Gary in to play guitar, we banged around on a handful of song ideas until we hit on this one, and in a matter of weeks had the first incarnation of our first song. It was originally born from a series of jams, some with and some without Gary, but the germinal stuff was all in place before I left the band on a year long hiatus.

When I returned, this tune went through numerous changes, until it arrived at the state you hear in this recording. I started working it up with a bit of Yes in the chorus, which became more ornate when we rehearsed it acoustically. It later also received further embellishements with a crunchy intro, a motown bridge verse, and a reversed chorus chord structure for the outro. This is probably the trickiest song we played. That's probably why I pushed it to the front of the line, even after everyone was gettign tired of it.

It was also the first and perhaps the only true band composition, written by all four members from start to finish, lyrics included. This is also one of the tracks that will be revisited this year when we can get it recorded properly, perhaps as much for the therapy of hearing it done perfectly ourselves as anything else.

Bleed Into One
I've previously misremembered the history of these songs a little while describing this song's pedrigree in the Rough Work commentary; in truth, Bleed Into One was a lyric I wrote in the spring of 1997, whilst staying with a girlfriend and her little boy. I have to go back and figure out how, but there had been a hiatus of a couple of months where no band activity occurred, and when I got back, it was on the understanding that we'd spend some time coming up with new material, which I was getting anxious about, because I'd been growing unhappy with the band songs to date.

I'd recorded Here It Comes Again by this time, and was growing dissatisfied with my place in the band, though I tried not to let this affect things too much. I decided I was determined to get more of my material through the band process, as previous efforts to bring in songs had met with varying levels of interest, but ultimately, none of my songs made it through rehearsals. So I developed a new plan: I would write a lyric I felt very strongly about, and then go into practice and instigate a jam that I would immediately turn into my new song, come what may. Etcetera the Thesis way. Interestingly enough, that is exactly what happened, and I fell back in love with the band.

This song has undergone a number of remixes since we started jamming and rehearsing it. I finally remixed it in a form close to one I'm prepared to rehearse and record now, and included it on Rough Work in the Margins. This was one of the earliest remixes, and it fairly flawed, but contains most of what I considered to be the best elements of every take we'd done of the tune in our history as a band. I seriously can't wait to get this rerecorded. However, it does have a lot of interesting bits in there, and stands as one of my personal favourites, even if it was really only half way there. I still listen to Gary's raw guitar playing at the end and think fondly of how close we were to brilliance.

Through The Eyes of a Fool
This was probably Etcetera's first taste of the Thesis formula for songwriting. We had been rehearsing some other music (Thick & Thin, IIRC), and during a break, Gary started working on a new song riff during a break. When we were all ready to start again, Gary had a tune worked out, and requested some lyrics. I pulled out one of my obtuse numbers, but it lost the vote in favour of one Derrick had been stockpiling, which stands as the sole Derrick lyric from that time period that required absolutely no tweaking of the meter or sections. It benefitted greatly from a rather elegantly simple romantic guitar figure, which I then proceeded to work out the melody for very quickly, while Derrick and Dave got to witness how fast Gary and I work outside of the band format. In about a minute, we turned in a new song, something Etcetera hadn't witnessed before.

Gary turned in an arrangement for guitar, bass, keys and drums the very next week (which Dave and I then proceeded to change on the poor guy, but he didn't omplain too much), which we jammed out, rehearsed and recorded for the next two weeks, and wound up with perhaps our first solid band recording with all instruments and vocals in place. This number remains the most popular with our female friends, and Derrick has never gotten over himself since then. Gary has. He won't write any more nice songs. Life is cruel sometimes.

Thick & Thin
This song started as a riff I found on my answer machine while visiting with my girlfriend and her little boy in her rather ratty little house on Cannon and Kensington (where I recorded Here It Comes Again and wrote the music for You Send Me Spinning and the keys and vocal melody for Waiting, as well). Gary left the message on my phone, and it consisted of this rather brash little guitar riff with three chords, banging away in a flamenco rock rhythm and picking up tempo. Not long after, we got together and I pushed him through the first three parts, which were radically different from one another. He was using another of Derrick's love songs, (to which I later did some tweaking to get a song structure out of it, including writing a chorus for it), and then Dave and I proceeded to write the intro, chorus, middle eight and outro parts while Gary was away. When he got back, he hardly recognized the song, but it's still one of Etcetera's sturdiest, strongest numbers. We're going to give this one another go this year as well.

You Send Me Spinning
Now, Gary had started to get a reputation as Derrick's utility songwriter, and I was starting to get ambitious (some would say jealous), so I grabbed a few song lyrics of his that Gary hadn't procured yet, and had a go. I started with Waiting (which needed a bit of work lyrically, but had some great sections and put me in mind of a dark little piano tune), but wound up working on You Send Me Spinning, which I wrote and demoed based on a bit of jamming we'd done as a four piece the week before. I took the basic ideas from the tape and worked them into a song, which I then took many months to teach them, because I'd introduced too many chord changes *shrug*. Anyway, it's the only love song I've ever written for Etcetera to play, and I don't think it would have happened if Derrick hadn't written such a hopelessly romantic lyric, the little dickens.

Breathe
Once upon a time, there was a fantastical piece of power trio instrumental bombast that Derrick, Dave and I jammed out together, called Monte's Birthday Suite (aka Kick The Hell Out Of The Rubber Monster). This was recorded in the summer of 1996, with me playing keys and spurring Derrick and Dave on in a few time signatures and turning out a royally chaotic mess. Now, once we created this opus in three acts, I switched the third and first parts around to give it a wee bit more structure, but that was it. I made a copy for Gary and his fiancee (Gary liked it; Wendy not so much, IIRC), and then we all went up to see Franz and Maxine Nangle (our dear friends from Silent Revolution), to see what they thought. Franz kinda liked it, but said it didn't go anywhere. I was a little put out at the time, but I later had to agree.

Regardless, I kept bringing up the riffs at various times, trying to spur the guys to learn at least one of the pieces properly, and several takes of part two in particular (entitled The Hunting) were recorded over the next year. It changed dramatically in that time, but more than a kernel of its dark, brooding menace continued to permeate the piece. However, there was a problem; Derrick was getting tired of playing it, feeling it needed lyrics and a proper guitar part (Gary still hadn't come up with one that fit) before he would continue to work on it. As it was one of my favourite numbers at the time, I endeavoured to meet the demand, and started writing a lyric. I started with one verse and chorus that would get repeated endlessly while we worked it out, in the style of The Bears' Girl With Clouds In Her Hair. Oddly, the lyric lightened up the tune, and it started to move away from its brooding former self. I resolved that, someday, I would record it as part of the Monte's Birthday Suite redux, with the long instrumental sections being broken up with lyrical components (I also wrote a lyric called Up For Air, to accompany the heaviest part of the suite, called The Awakening, none of which has yet to see light of day).

Anyhow, this tune was recorded a number of times, but never made it into our repertoire (much to my chagrin), and I ended up taking bits from my favourite takes and bootstrapping them together into the clumsy mix we have here. I have great hopes of getting this one rearranged and rerecorded this year as well. Of Up For Air, I cannot say at this time. Perhaps Monte's Birthday Suite is destined to become our Metropolis or our Chapters.

Games
Now, THIS is the Derrick Rose I know and love like the deranged older brother he is to me. This was actually written for a gal we were all friends with, who sadly could not commit to Derrick, which naturally sent him round the bend. Myself, I wasn't in the band at the time they wrote and started writing this, but they got me back in soon afterwards to see if I could help them sort out the time signature and meter problems they were having. I'd spent the year studying pop song writing, so I was feeling terribly clever, and told them I'd do it. I'm not entirely sure they've forgiven me yet.

This song was a beast to learn to play, particularly because, after helping weld Gary's two disparate riffs together, giving it an instrumental section, and sorting out the arrangement and the curious metrical experiments* of Derrick's lyric, I then bestowed upon the monstrous piece a melodic little coda I had written while away from the band, which had been searching for a home, and just seemed to fit right in with the clumsy, lumbering behemoth it followed; a melancholy little number called...

Goodbye
As mentioned before. This little piece had been written by myself during my sabbatical (a nice way of saying banishment), although I'm not entirely sure which one of them I wrote it for. Perhaps all four of them (Wendy included), really. Anyway, I'd gotten the vocal melody and the chords down for it, but it just resolved too quickly, and didn't want to be part of anything else I was working on at the time. So I shelved it.

I ended up playing it later for Gary, and he thought it would be a great outro to Games as well. However, when we tried to put the two together, Games decided Goodbye was too sweet. So we took Goodbye out back, dolled her up in Gothic Lolita gear, brought her back, and Games sidled up to her and proceeded to make chit chat. We figured we'd pulled it off. Little did we know.

In band practices for the next three years, we were to learn that Games and Goodbye had a tempestuous relationship, which ruined virtually every take we ever did. I took to counting everyone through the bridge between the two pieces until they got used to the timing. By the time of this take, I was counting with my fingers in the air and conducting the band back in with gestures. I wrote myself a piano part for Games to get everyone through the instrumental, so I figured that for this take, why not improvise one for the coda as well, even though it had been written for guitar, and was usually handled by Gary.

Success, sort of. Derrick half-heartedly tapped a cymbal a few times, I started the vocal line, Gary hit the chord, and everyone came in, and when the outro riff came around, I fumbled at the keys, and it just rose up a level. So three years later, I found myself the pastor of the shotgun wedding of two of the most ornery pieces of music this band has ever fought with. Shame my voice was shredded by this point in the recording. The second runthrough was even rougher, IIRC (and I think it cut off accidentally part way through Goodbye, too).

If you listen long enough, you can just hear a final bass note get cut off at the end, as Dave started to go into a rocked up reprise of Goodbye that we had devised for the stage, which we agreed to do if and when we got through a take without stopping, as a reward for our hard work. I'll have to post a recording of that someday. It got quite raucous, if memory serves correctly.

Despite all of my frustrations with this number, I'm still rather proud of it, and look forward to giving it another shot when we rerecord these darlings some time this year.

Finally, Henry The Eighth/It's The End of The World As We Know It
I almost think this should be called something like Henry's World, or perhaps The End of Henry As We Know Him. Acapella, improvised at the end of a first run through of the set (but after the reprise jam, which you do not get to hear), which in those days consisted of Here We Go Again, Through The Eyes of a Fool, Thick & Thin, You Send Me Spinning, Games and Goodbye (and sometimes the reprise). We'd gotten into the habit of doing it twice per practice by that point (and then knocking off early for good behaviour), and I was drilling them not to rest too long before we started in again. So as we completed Goodbye, I held my breath, waited a few seconds, and then said 'Second verse, same as the first'. The looks on their faces said it all, so I immediately broke into song, with them quickly joining in and taking four part harmony, with Gary coming in from the rear with an equally impromptu rendition of REM's tune. Never duplicated, and we never did learn to play either song, not that we ever really intended to. Still, it made for a great album closer, wouldn't you agree?

Footnote: *Derrick Rose, back in the early days, was infamous for writing 'lover's lament' lyrics in a very accessible, prosaic style, but with poetic flourishes of meter that just wouldn't add up upon closer inspection. I'm famous for writing overly labourious rhymes in a mumber of my older songs, but Derrick always seeme dot hand us songs that were three quarters right, but always seemed to fall apart part way through, and were impossible to sing once Gary got the melody composed for it. We learned in later years to take the meter and structure as a suggestion, write the tune separtely, and then rework the lyric to fit. Games was not one of the songs we reworked. I sometimes think Gary regrets this tune, but some people seem to like it. I gather Sheri did.

© 2006 Lee Edward McIlmoyle
Somewhere in Hamilton, Ontari-ari-ari-oh