The Emotions "If I Only Knew" {1985 Motown Records}

For well over 40 years now, the Chicago, Illinois born and reared Sisters Hutchinson, Wanda, Sheila, Jeanette, and Pamela, known to the world professionally as "The Emotions", graced the world's stages and blessed us all with their heavenly sounding vocals, and an incredible body of work. Like most artists in our African-American communities, they started singing in church at a very age under the tutelage of their father, the late Joseph Hutchinson. They were known as the "Hutchinson Sunbeams".

Throughout the years thereafter, they've honed their skills as writers and performers, eventually signing with the historic Memphis, TN based record label, Stax Records, recording for their Volt imprint. They've recorded a series of hit records for them throughout the '60's and early '70's. Through a network of connections, they meet with fellow Chicagoan, the late great arranger, Mr. Charles Stepney and EWF's mastermind, Maurice White. After an impromptu audition for Maurice, the rest, as they say, is history. "I Don't Wanna Lose Your Love", "Don't Ask Neighbors", the collaboration with EWF on "Boogie Wonderland", "Where Is Your Love ?", etc. became staples in our African-American communities.

But I'd like to focus our attention to a very underappreciated, and minusculedly promoted album of theirs, that SHOULD'VE taken their careers to even higher levels. The album I'm referring to, is 1985's "If Only I Knew", recorded for Motown Records. Returning to the major label ranks, after recording yet ANOTHER underappreciated album, 1984's "Sincerely", recorded for an independent Chicago based record company, The Red Label, The Emotions took a different turn in terms of where they were going musically. Experimenting with slight rock 'n roll and pop sensibilities, they've crafted an enjoyable, well recorded, and possibly one of the greatest projects in their storied career. Let's take another look at an album radio at the time, and some fans missed out on. Unfortunately, this was their last commercial album release of new material. On this particular recording, a new singer, Adrianne Harris, rounds out the venerable trio.

"Supernatural" ~ {co-written by Crystal Wilson, Jamie Parrish, Edwin Blackmon, Wanda Vaughn, Kenny Pickens. Produced by W. W. Productions with Wanda Vaughn}

This uptempo song incorporates a feel good melody and an infectious sing along chorus that will sure enough have you dancing. The live drums heard here, work well in conjunction with the electric thumped bass guitar. That within itself is somewhat of an anomaly considering the proliferation of drum machines and bass synthesizers dominating most records during that time in 1985. The vocals, both lead and background, are as melodic and heavenly sounding as they could ever be. The Yamaha DX-7 synthesizer fills adds depth and emotion {no pun intended} to an already emotion filled track. The two rhythm guitar's playing against each other add the spark that drives the song home. It's worth noting that one of the song's co-writers, Kenny Pickens, was the trombone player in The Brothers Johnson Band, and keyboardist/co-producer Wayne Vaughn's ex-bandmate in the same group. {SEE ACCOMPANYING 'AUDIO ONLY' YOU TUBE VIDEO BELOW}

"Miss Your Love" ~ {Co-Written by W. Vaughn and J. Philpot}

This Wanda & Wayne Vaughn produced track, and single, injected more of the rock 'n roll flare than most of other songs on this album. It's hard driving rhythm and "feel" is something one would not normally associate with an Emotions song, which is a good thing. There's nothing wrong with stretching the confined boundaries of Urban based music. The one musical element that standout the most is the lead vocal performance as it's sung with roar of a lioness, and agony of a, let's say, a heartbroken Tina Turner. It's marvelous to say the least, as you won't just hear it, you'll feel it, BIG TIME ! .... The heavy back beat of the live drums, once again, blends well with the funk infused thumped electric bass guitar. The strummed chords of the rhythm guitar, and the steady chords played on the synthesizer, all gel together quite nicely with the synthesizer fills heard in the background. The background vocal performance are just as scintillating as the lead vocal.

Album title track, and last single culled, "If I Only Knew (What I Know Now)", is a wonderful ballad that certainly should've received greater airplay in more markets than it did. This one is taylor made for urban radio's "Quiet Storm" late night shows. Though the co-lead vocal's are sung beautifully, the background vocals are clearly the stars of this show as their presense stood out even greater, and they're in perfect harmony to boot. This mid tempo ballad instrumentation comprised mainly of Simmons Electric Drum Pads fills, a droned bass synthesizer, as well as synthesizer horns to give the track it's "shine".

"Giving You All I Got" ~ {Co-written and produced by Billy Osborne & Attla Zane Giles, with Sheila Hutchinson on lead vocal}

To me, and this is just my opinion, this song should've been the designated single as opposed to "If I Only Knew". Don't get me wrong, "If I Only Knew", is a great song ! There's no doubt about that ! .... buh ....buh .... but this song is better, I'm sorry :-( .... I have no idea why ANYONE, that includes the artist and the powers that be at Motown during that time, didn't pick up on this. This song could've been the "saving grace" this album needed. The melody is just gorgeous, the lyrics are sexy as I don't know what ! This should've been a "no-brainer" :-(

"Closer To You" ~ {Co-written and arranged by David Cochrane & Deborah Thomas. Produced by David Cochrane & Lee Young, Sr., with Sheila Hutchinson on Lead Vocal}

Now this track, instrumentation wise, sounds more in line in what was going on in 1985. Those mid '80's soundscapes include mid rangy bass synthesizer stabs, bright and crisp synthesizer sustained chords, and whammy barred electric guitar effects, as well as rhythm guitar licks, and the "GRAND DADDY" of everything '80's percussion .... "Simmons Electric Drum Pads" and the "Oberheim DMX Drum Machine" {See Photos Directly Below} .... Now look at them ! :-) ... Aren't they beautiful ?! :-) .... Awwww !!!! :-) .... I mean, c'mon now ! You can't get anymore '80's than that !!! .... Well, besides "Miami Vice", "The A Team", and the "Back To The Future" movie. But those instruments, as well as this song, personafied all things '80's ! :-) .... and the vocals, both lead and background ........ EXCELLENT !!

This album is definitely worthy of a CD reissue, or at least to be mastered for an iTunes, eMusic, Rhapsody, etc., addition. I'm hoping the people at the Universal Music Group is reading this review to consider it at least. Better yet, I summon any CD reissue company to obtain a license from Universal to have it made available to the public again. It's a very solid, well crafted album that didn't get it's just due in 1985. Like they say, what's old is new, and this album could certainly be new again to their worldwide legions of fans, and bring on board a whole new generation of followers.

Musically Yours,

Ran Man

REST IN PEACE MR. GIL SCOTT-HERON {1949-2011}

Bernard Wright "Funky Beat" {Originally released in 1983 on Arista Records / Reissued for CD, with Bernard's 1981album " 'Nard", in 2011 by Cherry Red Records}

Miami, Florida native, Bernard Wright at the very young age of 8 years old, mastered the keyboard, and by the time he was 13, Bernard was on tour with legendary Return To Forever/Miles Davis drummer, Lenny White. In 1980, 'Nard, as he's affectionately known, played on one of funk music's greatest songs, Tom Browne's #1 R&B hit, "Funkin' For Jamaica", and it's companion album, "Love Approach". The following year in 1981, he released his critically acclaimed solo debut album," 'Nard", for the then fledging and ground breaking Contemporary Jazz record label, GRP Records, owned by film composer giant/jazz pianist Dave Grusin, and Larry Rosen. GRP during this time had a P&D {Production & Distribution} deal, with another then rising and ground breaking label, Clive Davis' Arista Records.

His sophomore album, "Funky Beat", this time released on Arista Records proper in 1983, he explored textures that was going on musically at the time, the fledging {there's that word again} Hip Hop and break dancing scene. Along with those elements, he delved into beautiful ballads, smooth jazzy excursions, and straight ahead jazz fare. Let's take another look at some of the highlights of this terribly overlooked project that was largely produced by 'Nard, Lenny White, David Grusin, with Larry Rosen, and see what folks didn't get the first time around.

"Get Your Lover Back" ~ {Co-Written by Lenny White and Bernard Wright}

This Stevie Wonder "Superstition" groove influenced track incorporated all the elements the aforementioned song had, and that is, a thrown down and nasty Clavinet performance courtesy of Bobby Jones, a funk injected bass synthesizer rhythm pattern, and a consistent tom tom drum beat by way of the hands of percussion master, Lenny White. In this funk odyssey, you'll hear spacey synthesizer soundscapes that will remind one of a Cameo track. Speaking of which, Bernard later in his career did appear on several Larry Blackmon produced Cameo albums, as well as one of his side projects, Ca$hflow most notably. Another side of 'Nard that went largely unrecognized is his vocal abilities, he can actually sing, the brother's voice is not bad. He doesn't try to sing above his limitations, and the way he sings his lyrics, are very decipherable. ..... In layman's terms, you know what the hell he's saying.

"Funky Beat" ~ {Co-Written by Kevin Osborne, Kwesi Osborne, Lenny White, and Bernard Wright}

This break dancers anthem peaked at #39 on the Billboard Hot R&B Singles chart. Here we find our boy genius take a stab at rapping which was starting to creep it's way into the mainstream, particularly after The Sugar Hill Gang and Grandmaster Flash and The Furious Five gave it the green light to do so. It's a very loose and sparse track. Even though much is not going on in terms of the instrumentation, it's still manages to get your feet moving. The drums and hanclaps are programmed this time out and they sound like, if my ears serve me right, the Oberheim DX Drum Machine, or the tried and true, Linn Electronics LM-1 Drum Computer are used {I'd have to holla at Lenny to be sure}. In addition, 'Nard makes full use of the electric piano, more than likely the Yamaha CP-70. The deep, dark bass synth probably came courtesy of the ol reliable, and warm sounding, Sequential Circuits Prophet-5 Polyphonic Synthesizer .... {Oh 'Naaaaard !!! Help here please ! I don't think I'm doing a good job playing "armchair Robert Moog". Please set a brother straight and let 'em know EXACTLY what you played :-( ..... LOL!} ..... He does good on an amazing improvised acoustic piano solo .... and no, I'm not going to guess what brand it is either ! .... Rachelle Cappelli adds wonderful harmonic support on the hooks in conjunction with the vocorder ....{Yup ! I can't seem to get out of that "armchair"} It sounds like 'Nard used the Roland SVC-350 or the TAL Vocorder. It's a cool song regardless of what vocal processing device he used ! :-) .... and thank goodness is wasn't that God forsaken Auto Tune !!! :-(

"Won't You Let Me Love You" ~ {Co-Written by the late, great Weldon Irvine and Bernard Wright}

Dave Grusin and Larry Rosen handled production chores on this beautifully written and arranged ballad. Clearly Urban AC "Quiet Storm" radio programs HAD TO have played this song back then !! ..... and if not, the radio promotions department at Arista Records during that time weren't doing their job. What can one expect from a Grusin/Rosen handled song such as this one here ? .... Well, in this case, one can expect to hear a medium size LIVE, NOT SAMPLED, string section, consisting of violins, violas and double basses. You can expect to hear a gentle and soothing bass synthesizer, to give it that "Calgon, Take Me Away" effect. You can anticipate hearing Bells as performed by Dave Grusin for added 'coloring', which are just the right ingredients for a romantic evening by the fireplace, and a couple bottles of wine for good measure ;-) One must have soulful and laid back background vocals courtesy of drummer Charlie Drayton, Frank Floyd, and Zack Sanders to set the tone of the dimmed lights. Having the drummer play a slow shuffle beat, wouldn't hurt either, as he expertly keeps the pace on par with the rhythm section. I'm guessing here, but it sounds like Buddy Williams, laying it down beautifully. {Hey man, I need a drummer check on this one, was that Buddy ? I don't have the COMPLETE individual song credit listings} ... and the acoustic piano solo is dead on and sorta reminds me of a Ramsey Lewis solo, but it's totally Bernard's.

"Won't You Let Me Love You" can STILL work at Urban AC radio in 2011, if a brave and daring Music Director goes out on a limb to risk his or her "walking on egg shelled job", and add this song to their late night playlist. .... and please, please, please Mr./Miss Music Director, forgive Bernard for not being Bruno Mars, Trey Songz, or any other "flash in the pan artist" you play 50 times in one hour :-( ... and please have mercy on his soul for him having more talent in his left index finger, AT 19/20 YEARS OLD MIND YOU, than ALL of those "15 Minutes Of Famers" you play combined !!!! (((((MEAN LOOK ON FACE)))) Please, be easy on him ! :-( .. He can't help it if he knows to read and write music on staff paper :-( .... Oh my, and please don't bust his chops for knowing and hearing the difference between an C flat minor chord, and an F# sharp major chord :-( .... tell you what Mr. or Miss Urban AC Music Director in 2011, play this song on your late night, say around 11:00PM, .... just try it out. Then ask the listeners to call into the station to voice their opinions .... but don't tell them who it is until AFTER you've received a few call-ins. Not only will they want to know who it is, they'll want to know if you could play it again. I GUARANTEE IT !!

Some of your predecessors made that grave mistake by not adding this song to their playlists during that time, so I strongly URGE you NOT to make the same mistake twice. Chaka Khan recorded a song titled, "You Can Make The Story Right" on her 1992 Warner Bros. album, "The Woman I Am" .... which is, yet ANOTHER album you probably did not, or do not play !! But that's for another review ! .... But you too, can make this story right, by adding this song to your playlist :-) ..... Hmmm ?!?! As a matter of fact, here it is for inspiration. It's a live version, but it'll do ! www.youtube.com/watch?v=-S__J-lFxj8 .... Better yet, do like Michael Jackson as he said in "Man In The Mirror", and make that change !! :-) .... Yup ! You guessed it ! Here it is for motivation ! ;-) www.youtube.com/watch?v=PivWY9wn5ps .... NOW ! .... Moving along !! :-)  ...... and I can even do one better than that, I'll let you hear it for yourself.  ~ {SEE ACCOMPANYING YOUTUBE AUDIO ONLY VIDEO AFTER TO HEAR IT IN IT'S ENTIRETY .... IT'S THE ONE ON THE TOP}

"Mr. Clean" ~ {Written by Weldon Irvine}

This song is 5 minutes and 37 seconds of sheer funk, groove, chill, and gut bucket music you can ask for. On bass guitar you got the super talented bassist Sekou Bunch holding it down, and on guitar you have the 6 string assassin Ronny Drayton plucking and note bending his sounds to please your earlobes. Doing his thing on percussions is the always reliable Errol "Crusher" Bennett. Keeping the funk flowing and in the pocket, you got "Mr. On The One" himself, Charlie Drayton. Then you have a mesmerizing performance on the acoustic piano courtesy of the late mega genius, Mr. Weldon Irvine. .... and last, but certainly not least, you got the "MAN" himself, Bernard Wright, on synthesizer working those super fast fingers of his on .... whatever synthesizer he's using. I'm not even going to guess what kind, or what brand it is, I'm just going to enjoy listening to it ! ... that's my best bet ! ;-)

"Keep Doing That Right Thing" ~ {Co-Written By Weldon Irvine and Bernard Wright} ~ {SEE ACCOMPANYING YOUTUBE AUDIO ONLY VIDEO AFTER "WON'T YOU LET ME LOVE YOU" TO HEAR IT IN IT'S ENTIRETY}

Now this is a song radio will SURELY not touch ! .... It's TOO positive :-( .... But what a great song it is ! If you listen carefully, it MAY remind you of the classic Disney song "When You Wish Upon A Star" .... but so what !! It's a feel good song, with an incredible melody that'll actually have you singing along. It's a very wordy song, so I suggest you download the lyrics and follow along.

If you're really in tune with that Jamaica, Queens crew of musicians, you'll notice the bass synth "sound" in the way it was programmed, is very reminiscent of Tom Browne's "Mr. Business". It could as well be Bernard playing the bass synth. {Another verification for you 'Nard, was that you on that track ? I don't have the album, but know the song very well}. Here it is for you all to compare. www.youtube.com/watch?v=T4XOaQtWk-Q ...... and if you're really into your music, you'll noticed the bass synthesizer rhythm pattern is in the same vein as Stevie Wonder's "Boogie On Reggae Woman". Once again, here it is for you to hear and compare : www.youtube.com/watch?v=ylQMhYqSntk

As you all know, or may not know, Bernard returned the solo recording scene 2 years later to record the equally brilliant album, 1985's "Mr. Wright" on EMI/Manhattan Records, paring him once again with producer, Lenny White. That set contained the hit R&B song, "Who Do You Love". Bernard to this day is still making music in his adopted hometown of Dallas. If you're ever down there, or live there, go check him out.

Musically Yours,

Ran Man

You can purchase this fantastic album, and the classic 1981 " 'Nard" combined on one compact disc through UK based Cherry Red Records. Here's the link that will take you directly to the order page : www.cherryred.co.uk/cherryred/artists/bernardwright.php

Become a friend of Bernard on his Facebook page {Make sure you're logged on first} :

www.facebook.com/profile.php?id=100001900358092&ref=ts

Deco "Fresh Idea" - {1983 Qwest Records} {Qwest Records was a joint venture between Quincy Jones and Warner Brothers Records, owned by the then called Warner Communications. They're now known as the Time Warner. Warner Bros. Records currently is a unit of the Warner Music Group}

Deco were comprised of two talented individuals based in Los Angeles, California. Their names are Attala Zane Giles and Philip Ingram. Philip would later join another groundbreaking R&B group, Switch. Attala went on to become a high in demand musician/producer. He and Jeffrey Osborne's brother, Billy Osborne, formed a production partnership that oversaw the productions of many great R&B artists throughout the '80's and '90's. Some of those acts include the late great Otis Reddings' son's, The Reddings, ConFunkShun, The Emotions, The Temptations, and countless others. Phillip sung lead vocal on a track taken from Jeff Lorber's 1984 Arista Records release, "In The Heat Of The Night" titled, "Don't Say Yes". Speaking of brothers, it's worth noting that Phillip Ingram is the brother of singer James Ingram.

In 1983, this talanted duo release an excellent album of Funk and R&B on Quincy Jones' Warner Bros. Records distributed imprint, Qwest Records titled "Fresh Idea". Produced by venerable, and more than capable songwriter/percussionist, Ollie E. Brown. Ollie's production and guest musician accomplishments include the recordings of LaToya Jackson's debut, Gloria Gaynor, Ray Parker, Jr., Syretta Wright and coutlesss others. It's also worth noting that Ollie was one half of the funky, yet underrated, duo of "Ollie & Jerry", the "Jerry" is the late, great, and former Raydio member, Mr. Jerry Knight. {R.I.P. Sir}. They're best known for their 1984 hit "Ain't No Stoppin' Us" taken from the hit break dancing themed movie, "Breakin'".

Let's give this rare recording the RIGHT treatment it so deserves, and spotlight it's shining moments, and trust me, there are plenty.

According to information I read online, { .... and I'm not even sure how accurate it is. I would either have to ask the band members themselves, Ollie E. Brown, or Quincy Jones, to get the real skinny} just before it's original release date, it was pulled back for whatever reason. A few copies managed to go into circulation and made it into some record stores. {In other words, a Prince "Black Album" release scenario happened here} I myself remember seeing this album on vinyl in a long since closed record store, King Karol's to be exact, located on West 42nd Street and Sixth Avenue, here in New York City during this time period ....... but like I said, don't hold me this ..... in other words, DON'T SUE ME IF I'M WRONG ! :-)

**** Unfortunately, I do not have the complete musician credit listings to give them their just due honorable nod, so please bear with me, thank you. ****

Opening track of this "Funk Masterpiece in the same spirit of Pink Floyd's opus 'Dark Side Of The Moon' ", is the 'head bopping til your neck snap' groover, the album's title track, "Fresh Idea". MINI-MOOG BASS SYNTH'S GONE WILD ! is featured on this 'way too funky' song ! It's performance, keyboard runs, and melody more than carried this tune into 'Boogie Wonderland' ! .... But wait ! There's more ! The harmonized background vocal parts, the rhythm guitar 'funky good time' scratching, the REAL, not programmed, percussion soundscapes, the 'in the pocket' live drum performance courtesy of Ollie, and Phillip's super tight lead vocal prowess and execution, as he's heard throughout the entire album, had massive airplay, club play, and single sales written all over it ! It's just a 'fresh start' to a 'fresh album' !! ..... For those reading this that are 20 years old or younger, 'fresh' was a commonly used phrase during the 'B-Boy' era back in the early '80's. You just had to have lived through that time period to fully understand. Just go to NetFlix and order the aforementioned movie, "Breakin' " to see what I mean, it'll make more sense to you then. ..... Ahhhh !!! You guys missed a great time period during the early Hip Hop and Break Dance era !! :-) ..... and yes, I'm rubbing it in your faces ! :-)

Wait a minute ! Hold on now ! The 'Funk' doesn't stop at the 'Fresh Idea' track !! .... Oh ! That was a just warm up !!!! :-) .... The 'Funk' just keeps giving, and giving, and giving, on "I'll Be There" ! This monster groove, like it's predecessor, comes fully equipped with Mini-Moog Bass Synth steady ivory keys offerings, a heavy footed kick drum, 'Tsst! Tsst! Tsst's!' of Ollie's Hi-Hat in the left channel, coupled with his Tom Tom rolls. You'll also hear the left panned rhythm guitar chings playing tag with the right panned rhythm guitar changs, along with Phillip's dynamo and gut wrenching lead vocal. The background vocals are in full effect, as they are, once again, sung harmoniously and on key. What had me 'giving up the funk' was the Oberheim and/or Prophet 5 synthesizer reverbed expanded chord progressions performed in the choruses, ...... ahhhh !!! AIR KEYBOARD PARADISE !!! :-) ..... Well, for me at least :-(

On "I'm So Glad I Met You", the pace is slowed down a tad, not a lot, just enough to keep the toes tappin'. One thing you'll notice right away are the elements of the The Gap Band's 1982 hit, "Outstanding" used as the basis of the melody, but it actually works here. This mellow and even paced tune features a funk slapped electric bass guitar, rock guitar phrasings, and a bongo rhythm pattern that's VERY reminiscent of "Outstanding". True to form, Phillip's lead vocal is performed with yearning passion and true grit. The live drums keeps the tempo locked in the pocket, and fancy free. In the background, you hear subtle synthesizer performed minor chords, that gives the track it's melodic balance. A very good song to say the least.

Okaaaayyyyy !!!! Here we gooooooo !!! Back to the 'Funk' !!!! .... Look, you can't run from it, OK ! So just embrace it, and take it like a true Funkateer should ! :-) On "Let's This Be The Night", Deco is clearly paying homage to their Funk heros, Cameo and Parliament/Funkadelic ! So now we know where they "GOT THEIR FUNK FROM" !! The rhythm guitar pays homage to Cameo's "I Just Want To Be" in it's opening notes, and adds it's own funky bounce as the song progresses. The Mini-Moog Bass Synth stabs are more out front and "in your face", as it should be ! The background vocal fills are sung ala Larry Blackmon's trademarked baritone low registred vocals in "I Just Want To Be". The occasional acoustic piano chords adds that zest to keep the energy in full supply. The sixteenth note rhythm pattern of the, once again, Hi-Hat in the left channel lends it's 'funksmanship' to this groove ladened funk-a-long ! .... and as for Phillip's lead vocal and accompanying harmonic background vocals ?!?! ....... SUPERB !!! ..... as usual.

"Live My Fantasy" .... This track is mid tempo funk/dance ditty, features the tried and true Roland VP-330 Vocoder Plus or the Roland SVC-350 11 Band Analog Vocoder {I'm not sure, I'd need to ask Attala or Ollie}, and speaking of Ollie, he throws down on his tried and true Simmons Electronic Drum Pads for his trademarked Tom Tom rolls. The rhythm guitar holds it down on the chicken scratch throwdown, funk bass slaps and overall performance on the electric bass guitar never fails, and the vocals are down and dirty, and sho nuff funky ! Excellent track !!

All you funksters and funkettes out there reading this "Funkumentary", this MASTERPIECE is long out of print and is a highly sort after item. If you should see it, GRAB IT QUICKLY !!! No matter the price, and from what I understand, it'll cost you. This is where I call on ANY CD reissue company out there to step up to the plate and license this album from Warner Music .... and I encourage you to do so quickly before that company implodes, particularly they way it's been run for the last 10 years !! TRUST ME !! YOU WILL SELL UNITS, GUARANTEED !!! YOU'LL MORE THAN BREAK EVEN !!!

This is a HOT record ! Has been for the last 28 years now ! ..... Yes, that's how good this record is !! .... You need proof ?! ..... Check out the album title song YouTube video below and get a "Taste Of The Bass" for yourselves and you decide !! .... and if you're smart, you'll know what's right for the Funkheads out there, and "Hit 'Em Over The Head With The Bop Gun" !! ..... It's your call people !! You bitch and moan about lack of sales THIS !!, and nobody's no longer buying CD's THAT !! .... Well, here's an idea !! How about giving the people what they want !? .... and they want this Deco album reissued !!! C'mon now !!! (((((FED UP LOOK ON MY FACE )))))

FUNKFULLY Yours,

Ran Man