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DISCID=910a9b0a
DTITLE=Stevie Nicks / The Wild Heart (Japanese Pressing)
DYEAR=1983
DGENRE=Rock
TTITLE0=Wild Heart
TTITLE1=If Anyone Falls
TTITLE2=Gate And Garden
TTITLE3=Enchanted
TTITLE4=Nightbird
TTITLE5=Stand Back
TTITLE6=I Will Run To You
TTITLE7=Nothing Ever Changes
TTITLE8=Sable On Blonde
TTITLE9=Beauty And The Beast
EXTD=The Wild Heart (Japanese Pressing)\n\nOriginally Released 1983\nC
EXTD=D Edition Released 1986 ??\n\nAMG EXPERT REVIEW:  Stevie Nicks wa
EXTD=s following both her debut solo album, Bella Donna (1981), which 
EXTD=had topped the charts, sold over a million copies (now over four 
EXTD=million), and spawned four Top 40 hits, and Fleetwood Mac's Mirag
EXTD=e (1982), which had topped the charts, sold over a million copies
EXTD= (now over two million), and spawned three Top 40 hits (including
EXTD= her "Gypsy"), when she released her second solo album, The Wild 
EXTD=Heart. She was the most successful American female pop singer of 
EXTD=the time. Not surprisingly, she played it safe: The Wild Heart co
EXTD=ntained nothing that would disturb fans of her previous work and 
EXTD=much that echoed it. As on Bella Donna, producer Jimmy Iovine too
EXTD=k a simpler, more conventional pop/rock approach to the arrangeme
EXTD=nts than Fleetwood Mac's inventive Lindsey Buckingham did on Nick
EXTD=s's songs, which meant the music was more straightforward than he
EXTD=r typically elliptical lyrics. Iovine did get a Mac-like sound on
EXTD= "Nightbird," in which Nicks repeated her invocation to "the whit
EXTD=e winged dove" from Bella Donna's "Edge of Seventeen," and on "Sa
EXTD=ble on Blond," a "Gypsy" soundalike. His most daring effort was t
EXTD=he album's leadoff single, "Stand Back," which boasted a disco te
EXTD=mpo. Elsewhere, the songs were largely interchangeable with those
EXTD= on Bella Donna, even down to the obligatory duet with Tom Petty.
EXTD= Nicks seemed to know what she was up to -- one song was called "
EXTD=Nothing Ever Changes." As a result, The Wild Heart sold to the fa
EXTD=ithful -- it made the Top Ten, sold over a million copies, and sp
EXTD=awned three Top 40 hits ("Stand Back," "Nightbird," and "If Anyon
EXTD=e Falls"). And that was appropriate: if you loved Bella Donna, yo
EXTD=u would like The Wild Heart very much.  -- William Ruhlmann\n\n\n
EXTD=AMAZON.COM CUSTOMER REVIEW\nFrom The Heart, May 21, 2001 \nBy  Th
EXTD=omas Magnum (NJ, USA)\nOn her first solo album, Bella Donna, Stev
EXTD=ie Nicks showed that she could carry the show by herself. On The 
EXTD=Wild Heart, she continues her winning ways with an album full of 
EXTD=her trademark romantic mysticism. Bella Donna had an underlying c
EXTD=ountry feel, but on The Wild Heart she employs a heavy synthesize
EXTD=r sound. In fact the big hit from the album, "Stand Back", was in
EXTD=spired by Prince. The song has a rolling synth sound and one of t
EXTD=he strongest vocals of her career. She does another duet with Tom
EXTD= Petty on "I Will Run To You". The song isn't as good as their fi
EXTD=rst effort, "Stop Dragging My Heart Around", but that song is an 
EXTD=all time classic. "If Anyone Falls" is a brilliant track and the 
EXTD=best song from the album. There are the requisite mystical work i
EXTD=ncluding "Nightbird", "Sable On Blond", "Gate & Garden" and the h
EXTD=eavily orchestrated "Beauty & The Beast". The Wild Heart shows th
EXTD=at Bella Donna was no fluke. \n\n\nAMAZON.COM CUSTOMER REVIEW\nWh
EXTD=o is the beauty... who is the beast, September 26, 2003 \nBy  Dan
EXTD=iel J. Hamlow (Chikusei City, Japan)\nThe title track is a hint o
EXTD=f a shift in music. Reduced is the hybrid country/Heartbreakers-s
EXTD=tyle music in Bella Donna, although Benmont Tench still contribut
EXTD=es his organ here. A beat more closer to 80's rock sensibilities,
EXTD= but still tinged with the Welsh Witch's mysterious aura seen thr
EXTD=ough her glass darkly. And yes, the lonely but wildly independent
EXTD= women still prevail in her songs. And don't blame it on her soul
EXTD=, blame it on her wild heart!\nThe mid-paced single "If Anything 
EXTD=Falls" indicates a heavier use in keyboard synths, here provided 
EXTD=by Roy Bittan, gets a rock flavour by Waddy Wachtel's trademark "
EXTD=Edge Of Seventeen" guitar. This is another one of those featuring
EXTD= a man she falls for but knows he'll never come back to her.\n\n"
EXTD=Gate And Garden" is a metaphor, where in the garden, is the red r
EXTD=ose symbolizing someone's heart, and the game is someone stealing
EXTD= that rose. This mildly upbeat, could-be-a-country-hit piano song
EXTD=.\n\nRoy Bittan's engaging piano serves as the backbone of "Encha
EXTD=nted", with a country-like tinge. Enchanted is how a man felt onc
EXTD=e seeing the woman, only to have that spell: "Enchanted...you tho
EXTD=ught you saw something in my eyes/Enchanted...it's a shame that y
EXTD=ou wanted me."\n\n"Nightbird" sounds like a variation of "Dreams"
EXTD=, only more upbeat. Another mysterious woman of the night song. T
EXTD=he same mold is given to "Sable And Blond".\n\n"Stand Back" prope
EXTD=lled Stevie to the Top Ten on the charts, with an engaging beat, 
EXTD=fuzz bass, Toto guitarist Steve Lukather, and synthesizers. There
EXTD= is an uncredited artist who did keyboards here. In 1995, he migh
EXTD=t have the monicker The Artist Formerly Known as the Guy Who Did 
EXTD=Uncredited Keyboards On Stevie Nicks's "Stand Back". Now, though,
EXTD= we can call him Prince once again.\n\nReprising "Stop Dragging M
EXTD=y Heart Around" is a difficult chore, and "I Will Run To You", wh
EXTD=ich again features Tom Petty and company. It does not top the cat
EXTD=chiness of that song, but the song here at least seems hopeful. A
EXTD=t least the bridge is more open to the heart, ending with "If you
EXTD= need me, I'll come runnin'". Sure beats, "You'll never see me ag
EXTD=ain", doesn't it?\n\n"Nothing Ever Changes" falls straight into c
EXTD=atchy rock enhanced by synths. Call it a lightweight Survivor-typ
EXTD=e song.\n\nVery best for last. For me the thing that makes Stevie
EXTD= Nicks special are those heartwrenching ballads like "Has Anyone 
EXTD=Ever Written Anything For You." Well, "Beauty And The Beast" come
EXTD=s close to beating that for sheer emotion. Roy Bittan's piano, th
EXTD=e string section. Thinking of the original Jean Cocteau movie ver
EXTD=sion, the black and white schemes matches the melancholy of the s
EXTD=ong. The description of the lonely beast kind of matches me: "My 
EXTD=darling lives in a world that is not mine/An old child misunderst
EXTD=ood...out of time." The heartfelt questions asked by Belle, when 
EXTD=the Beast allows her to briefly visit her father, is asked poigna
EXTD=ntly: "Would you die of grieving when I leave" Real three hanky s
EXTD=tuff, people.\n\nThe Wild Heart, like its predecessor, was produc
EXTD=ed by Jimmy Iovine and engineered by Steve Yakus. The formula has
EXTD= slightly changed, but with variations that make it better. The s
EXTD=ound would change radically with Rock A Little...stay tuned. \n\n
EXTD=\nAMAZON.COM CUSTOMER REVIEW\nThe Iron Fist in the Velvet Glove, 
EXTD=September 10, 2003 \nBy  Gary F. Taylor "GFT" (Biloxi, MS USA)\nS
EXTD=tevie Nicks, of course, first gained international fame along sid
EXTD=e Lindsey Buckingham and Christine McVie as one of the front sing
EXTD=ers of Fleetwood Mac, and her unusual voice and strange lyrics we
EXTD=re potent factors in the band's incredibly successful album RUMOR
EXTD=S. But for all its success, the members of the band found (and co
EXTD=ntinue to find) Fleetwood Mac an emotional pressure cooker--and p
EXTD=erhaps more to the point, with three vocalists there were only so
EXTD= many solo spots to go around on a single release.\nIt was inevit
EXTD=able that Nicks, Buckingham, and McVie would write more music tha
EXTD=n Fleetwood Mac could ever find a recording slots for. And so all
EXTD= three begin to spin out from the band, each producing their own 
EXTD=solo albums. Of the three, Stevie Nicks had the most visible succ
EXTD=ess as a solo act, first with the platinum-selling BELLA DONNA an
EXTD=d then with the equally memorable THE WILD HEART. Fans argue a gr
EXTD=eat deal about which album is their favorite, and critics bicker 
EXTD=about which album is Nick's best--but the truth is that both are 
EXTD=extremely fine.\n\nWhereas BELLA DONNA had a somewhat country-mus
EXTD=ic flavor, THE WILD HEART leans heavily on synthesizer and seriou
EXTD=s percussion, and it would generate at least three hit singles. B
EXTD=oth "If Any One Falls" and "Stand Back" offer driving rhythms and
EXTD= some stunning keyboards, and with the latter Nicks recasts the a
EXTD=lmost savage fury that made BELLA DONNA's "Edge of Seventeen" so 
EXTD=memorable; "Nightbird" presents Nicks in a slower, more melanchol
EXTD=y, more thoughtful, and very memorable light.\n\nStill, the song 
EXTD=for which this album is perhaps best remembered is one that was n
EXTD=ever really released as a single. Working with a near-symphonic a
EXTD=rrangement with heavy strings, "Beauty and the Beast" is a truly 
EXTD=stunning piece, with Nicks at her most romantic and vulnerable an
EXTD=d yet her most emotionally powerful. Nicks' voice, which might be
EXTD= described as an iron fist inside a velvet glove, has always had 
EXTD=a tendency to become just a shade too eccentric for its own good,
EXTD= but she controls it well throughout all these recordings--and mo
EXTD=st particularly here, in an incredibly complex array of delicatel
EXTD=y placed wails, cries, and surges. The vocal dynamics of this son
EXTD=g alone are truly nothing short of miraculous.\n\nLyrically, this
EXTD= recording also finds Nicks at or at least very near the height o
EXTD=f her powers. A sort of rock and roll Rimbaud, Nicks' lyrics do n
EXTD=ot always make logical sense--but at her best, as on this album, 
EXTD=they always make emotional sense, and both "Gate and Garden" and 
EXTD="Sable on Blonde" are particularly good examples of her often unc
EXTD=anny knack to fuse strange images to memorable effect.\n\nAlthoug
EXTD=h she continued to do memorable work with the on-again, off-again
EXTD= Fleetwood Mac, Nick's solo work entered a gradual decline of qua
EXTD=lity after THE WILD HEART until she suddenly resurged with yet an
EXTD=other exceptional release: TROUBLE IN SHANGRI-LA. Where she goes 
EXTD=from that point is any one's guess. But one thing is for sure: du
EXTD=ring Fleetwood Mac's SAY YOU WILL tour, Nicks was still performin
EXTD=g "Stand Back"--and still doing it with the same vocal attack tha
EXTD=t made her recordings on THE WILD HEART so memorable--and still b
EXTD=ringing the audience screaming to its feet. An exceptional record
EXTD=ing by a truly unique recording artist.\n\n\nAMAZON.COM CUSTOMER 
EXTD=REVIEW\nStevie Nicks - The Wild Heart (1983) , June 26, 2006 \nBy
EXTD=  The Pete (Illinois)\nComing off the massive success of Bella Do
EXTD=nna, which easily overshadowed Mirage, Fleetwood Mac's well-craft
EXTD=ed but tepid 1982 release, Nicks side-stepped the sophomore slump
EXTD= by topping herself with The Wild Heart. Although "Stand Back" wa
EXTD=s a smash that has become her most popular song, The Wild Heart i
EXTD=s not obviously as commercial as Bella Donna. The Wild Heart is m
EXTD=ore of an artist's album, and Nicks' spreads her wings to command
EXTD= and fill the entire effort with admirable authority. \n\nFor a N
EXTD=icks' fan, The Wild Heart is nirvana: longer songs with more pass
EXTD=ionate, imagistic lyrics than ever. The title track and the album
EXTD= closer are epics - each over six minutes long - that work the op
EXTD=posite ends of Nicks' spectrum. "Wild Heart" is a thunderous, pas
EXTD=sionate anthem with her most thrilling vocal work ever, and "Beau
EXTD=ty and the Beast" is symphonic gothica for which the term 'ballad
EXTD=' is just inadequate. In between, Nicks indulges her mixture of r
EXTD=ock and fairydust with alluring results. "Enchanted" and "Nightbi
EXTD=rd" are pure Nicks and would never have seen the light of day in 
EXTD=the more structured programme of Fleetwood Mac. \n\nThe Wild Hear
EXTD=t also finds Nicks updating her sound into the 80s with striking 
EXTD=ease, especially when you consider how most 70s acts that tried t
EXTD=o do this either completely sold out or made fools of themselves.
EXTD= She stretches herself well beyond the Fleetwood Mac sound (the t
EXTD=orrid "Nothing Ever Changes") and kicks out a trendy hit (the syn
EXTD=th-pop confection "If Anyone Falls"). Tellingly, the one weak spo
EXTD=t is the out of place Tom Petty duet ("I Will Run to You"). Anoth
EXTD=er Nicks cut, such as "Sleeping Angel" or "Blue Lamp" (both of wh
EXTD=ich ended up buried on soundtrack albums) would worked much bette
EXTD=r. \n\nIf you are a hard core Stevie Nicks fan, The Wild Heart is
EXTD= superior to Bella Donna. For the casual listener, it would be a 
EXTD=toss up between two classic albums. However, Nicks' vocal perform
EXTD=ances, expansive writing, and the way she sells these songs makes
EXTD= The Wild Heart the more personal, adventurous, and therefore bet
EXTD=ter effort. Maintaining careers in Fleetwood Mac and on her own, 
EXTD=however, was bound to keep her from burning white hot for long. H
EXTD=er next solo album, Rock a Little, would show the strain. \n\n\nA
EXTD=MAZON.COM CUSTOMER REVIEW\nStevie's WILD HEART beats strong & pro
EXTD=ud on her 2nd solo LP, July 13, 2001 \nBy  27-year old wallflower
EXTD= "Eric N Andrews" (West Lafayette, IN)\nAfter their 1979 double a
EXTD=lbum TUSK failed to match the blockbuster sales of 1977's RUMOURS
EXTD=, Fleetwood Mac decided to take a breather and work on their own 
EXTD=projects. It was clear each member of the band had their own dist
EXTD=inct personality, so a solo turn was almost a surefire success. I
EXTD=t worked for Lindsey Buckingham with his 1981 album LAW & ORDER. 
EXTD=But nobody was prepared for the even bigger success of Stevie Nic
EXTD=ks' solo debut BELLA DONNA, released that same year. Topping the 
EXTD=charts, spawning 4 hit singles, and selling a million copies, Ste
EXTD=vie almost threatened to eclipse even the Mac's big success at th
EXTD=at time. The band reformed for their 1982 album MIRAGE before goi
EXTD=ng solo again. To prove that BELLA DONNA wasn't a flash in the pa
EXTD=n, 1983's THE WILD HEART managed to equal the previous album's su
EXTD=ccess without changing the sound one bit. I somehow seem to think
EXTD= that Stevie's solo albums were a bit more "modernized" than her 
EXTD=work with Fleetwood Mac. This was because she wasn't afraid of ad
EXTD=opting the sounds of the moment, i.e. synthesizers and glossy pop
EXTD=, whereas Fleetwood often tried to satisfy both pop and rock audi
EXTD=ences. THE WILD HEART was an album that was certainly made in 198
EXTD=3, but it's not stuck in that era. Songs like the title track, "G
EXTD=ate & Garden", "Sable On Blond", and the heartbreaking closer "Be
EXTD=auty & The Beast" can still manage to transport today's audiences
EXTD= to a time and place far, far away, in the age of chivalry and fa
EXTD=ir maidens. The subject matter is old-fashioned, but the modern s
EXTD=ynthesized sound helps make give the music an otherworldly atmosp
EXTD=here that has always been the true essence of Stevie Nicks. Of co
EXTD=urse, THE WILD HEART still had some hit singles up its sleeve, as
EXTD= evidenced by the top 10 dance song "Stand Back", which features 
EXTD=an uncredited Prince contributing synthesizer, and the lesser-but
EXTD=-no-means-least "If Anyone Falls". The videos for those songs bec
EXTD=ame staples of MTV, no doubt, and proved that Stevie could indeed
EXTD= hold her own outside of the mega-selling group she was with full
EXTD= time. Other great tracks include "I Will Run To You", which is a
EXTD= good follow-up to "Stop Draggin' My Heart Around", her hit colla
EXTD=boration with Tom Petty off of BELLA DONNA, the short, punchy "En
EXTD=chanted" (not a hit, but a much-loved song that provided the titl
EXTD=e for her boxed set) and the touching "Nightbird", which Stevie w
EXTD=rote about the death of an old childhood friend. Sure enough, Ste
EXTD=vie Nicks proved BELLA DONNA wasn't all she was capable of outsid
EXTD=e of Fleetwood Mac, and while some members may have considered he
EXTD=r solo bid near-heresy, no less than drummer Mick Fleetwood has c
EXTD=laimed Stevie is a wonderful, prolific songwriter. And with three
EXTD= songwriters in Fleetwood Mac, not every one of Stevie's songs we
EXTD=re going to be recorded, so she had to do something to make those
EXTD= great songs of hers be heard. What better thing to do than recor
EXTD=d them herself? With Fleetwood Mac on another sabbatical after MI
EXTD=RAGE, Stevie would follow up THE WILD HEART with the slicker (eve
EXTD=n by Fleetwood Mac standards) ROCK A LITTLE in 1985. But it was c
EXTD=lear that THE WILD HEART saw the end of a long stretch of great m
EXTD=aterial, which would not pick up again until her 2001 comeback TR
EXTD=OUBLE IN SHANGRI-LA. Still, THE WILD HEART (and, of course, BELLA
EXTD= DONNA) is an excellent album with which to experience the true m
EXTD=agic that is Stevie Nicks. \n\n\nAMAZON.COM CUSTOMER REVIEW\nStev
EXTD=ie's Ultimate Masterpiece, June 21, 1999 \nBy A Customer\nThis th
EXTD=e absolute best Stevie album, ever! All of the songs (including t
EXTD=he harder rocking ones) have this strange outerwordly, fairy-like
EXTD= "atmosphere" to them. Her unusual voice is at the height of beau
EXTD=tiful singing. She has this particular thing for layering vocal t
EXTD=racks that helps to make the overall dreamy effect even more gorg
EXTD=eous. Even though the lyrics are sometimes hard to decipher, the 
EXTD=way she uses symbols, again, help with the fantasy world in this 
EXTD=album. I cannot think of a single bad song here. If you want to k
EXTD=now more about Stevie's music, then this is the album you should 
EXTD=buy. It is all Stevie, from the cover picture, to the lyric's/pic
EXTD=tures insert, to the music itself. The best so far! \n\n\nHalf.co
EXTD=m Details \nProducer: Jimmy Iovine \n\n\nROLLING STONE REVIEW\nSe
EXTD=ldom has Stevie Nicks been in better voice than on The Wild Heart
EXTD=. Her distinctive lower-range growl has broadened and strengthene
EXTD=d considerably; it may not be a bluesmama instrument, but it carr
EXTD=ies some emotional oomph when it gets cranked up. The Wild Heart 
EXTD=boasts one of the best producers in the business in Jimmy Iovine 
EXTD=(reprising his yeoman board chores on Bella Donna), and at least 
EXTD=two of rock & roll's most valuable players, guitarist Waddy Wacht
EXTD=el and keyboardist Roy Bittan. And Nicks embarks on her second so
EXTD=lo LP with some intriguing personal history to relate: she's a ma
EXTD=rried woman now, wedded to her best friend's widower, stepmother 
EXTD=to an infant daughter.\n\nSo the question is, how did it all turn
EXTD= out so badly? Let's not mince words: much of The Wild Heart is a
EXTD=n outright catastrophe, a one-two punch of cracked-cookie lyrics 
EXTD=and stunningly pedestrian music. It's hard to believe that the wo
EXTD=man nominally responsible for such fine pieces of songcraft as "I
EXTD= Don't Want to Know" or even "Edge of Seventeen" could have conco
EXTD=cted the inchoate ramblings that pervade this record. Stanzas don
EXTD='t hang together, and choruses verge on the utterly meaningless: 
EXTD="If anyone falls in love/Somewhere, twilight, dreamtime, somewher
EXTD=e/In the back of your mind/If anyone falls," offers one particula
EXTD=rly pellucid example in "If Anyone Falls." "There is a gate/It ca
EXTD=n be guarded/Well, it is not heaven/It has a garden/So to the red
EXTD= rose goes the passion" begins the inexplicable "Gate and Garden.
EXTD=" Emotions flit through these songs like Hades' shades--shapeless
EXTD= forms, unable to escape. In "Stand Back," she sings, "No one kno
EXTD=ws/How I feel/What I say/Unless you read between my lines." Well,
EXTD= whose fault is that?\n\nThe pro forma L.A. rock that accompanies
EXTD= -- rather, encases -- these sentiments only makes matters worse.
EXTD= It neither creates a structure that could codify Nicks' wacked-o
EXTD=ut world nor enhances its ethereal, unfinished quality. Sandy Ste
EXTD=wart lurches on her synthesizer as if it were Billy Swan's organ,
EXTD= when she should be using the instrument to breathe life into Nic
EXTD=ks' phantasms with shimmering, spacey textures. The lockstep rigi
EXTD=dity of the tracks blunts the idiosyncratic dash of Wachtel and B
EXTD=ittan and stomps on Nicks' fragile visions. "Enchanted" could mak
EXTD=e a nifty Warren Zevon song musically, but behind Stevie's tinker
EXTD=bell tales and arrhythmic count-off, it sounds ludicrous. Only Mi
EXTD=ck Fleetwood's deft drum accents on "Sable in Blond" bring any co
EXTD=hesion to The Wild Heart.\n\nWhat went wrong? Part of the problem
EXTD= may have to do with Nicks' oft-expressed love of fairy tales. Su
EXTD=ch stories may enchant us because of their distilled emotional qu
EXTD=ality: their ritualized time sequences ("...And on the seventh da
EXTD=y") and abstract kingdoms conjure up a richly romantic world, fre
EXTD=e of the mundanities of our own existence. But Nicks gets distrac
EXTD=ted by the archetypal trappings -- doves, gardens, beasts with he
EXTD=arts o'gold--and misses the emotional core. As a result, her lyri
EXTD=cs are awash in setting but curiously clumsy in matters of the he
EXTD=art. "Do I love you?" she asks in "Gate and Garden." "Well, I alw
EXTD=ays did." Clunk. There's no dance of souls here, nothing to lure 
EXTD=us into caring. Nicks' romances, as in "Beauty and the Beast," ar
EXTD=e pure self-realization: "I never doubted your beauty/I've change
EXTD=d."\n\nIt takes Tom Petty to coax Stevie out of the dusky bogs an
EXTD=d bushy fens. His heart-tugging "I Will Run to You" may not have 
EXTD=the angry fire of their Bella Donna duet, "Stop Draggin' My Heart
EXTD= Around," but it does snap side two to life. "I will run to you/D
EXTD=own whatever road you choose," croon the pair in chilling harmony
EXTD=, and that straightforward sentence says more about love and expe
EXTD=rience than any of Nicks' dizzy verse.\n\nIt's simple to mug a my
EXTD=stic, and Nicks' voyages into the ozone do make her an easy targe
EXTD=t. But mysticism doesn't obviate the need for clarity, rigor, str
EXTD=ucture. In fact, it makes them all the more important, so that th
EXTD=ose of us who look askance at crystal visions can partake along w
EXTD=ith the true believers. And if her lyrics are going to have the o
EXTD=pen-ended quality they have here, Nicks needs eerie, on-the-edge 
EXTD=music to complement them (the snaky grace of "Gold Dust Woman" co
EXTD=mes to mind). Hers is a heady muse, and one hopes The Wild Heart 
EXTD=will just be a brief slipup. Too bad no one told her early on, bu
EXTD=t as she sings in "Nightbird," "Sometimes I am surrounded by too 
EXTD=much love." (RS 399 -- Jul 7, 1983)  -- CHRISTOPHER CONNELLY
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