Saturday, February 19, 1977

Journey’s Next charted

First posted 10/12/2008; updated 9/11/2020.



Charted: February 19, 1977

Peak: 85 US, -- UK, -- CN, -- AU

Sales (in millions): -- US, -- UK, 1.0 world (includes US and UK)

Genre: classic rock


Song Title (date of single release, chart peaks) Click for codes to singles charts.

  1. Spaceman (2/77, --)
  2. People
  3. I Would Find You
  4. Here We Are
  5. Hustler
  6. Next
  7. Nickel and Dime
  8. Karma

Total Running Time: 37:37

The Players:

  • Gregg Rolie (vocals, keyboards)
  • Neal Schon (guitar, backing vocals, lead vocals on “I Would Find You” and “Karma”)
  • Ross Valory (bass, backing vocals)
  • Aynsley Dunbar (drums)


3.069 out of 5.00 (average of 11 ratings)

About the Album:

Journey’s third album maintained the same lineup as their sophomore effort, but they “began to break away from the jazzy progressive rock inclinations that dominated their first two albums.” AMG Still, “the group lacks focus and a pop sensibility, and its attempts at straight-ahead pop/rock suffer considerably as a result.” AMG This would end up being Gregg Rolie’s last album as the primary lead singer as Journey would draft Steve Perry for the next album and their commercial success would eventually skyrocket.

“Songs include the opening, moody number, Spaceman, as well as standout rocker Hustler, the odd timing instrumental Nickel and Dime, and the epic I Would Find You. The instrumental entitled ‘Cookie Duster’ was listed in very early pressings of the album, though not actually included on the pressings, and then not listed on the cover art at all. Many fans feel this song is one of their best instrumentals and should have been included. It was later released on their Time³ compilation.” JM

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Monday, February 14, 1977

Jimmy Buffett “Margaritaville” released


Jimmy Buffett

Writer(s): Jimmy Buffett (see lyrics here)

Released: February 14, 1977

First Charted: March 26, 1977

Peak: 8 US, 7 CB, 8 GR, 9 HR, 7 RR, 11 AC, 13 CW, 2 CL, 4 CN, 98 AU, 1 DF (Click for codes to charts.)

Sales (in millions): --

Airplay/Streaming (in millions): 4.0 radio, 25.3 video, 153.42 streaming


Click on award for more details.

About the Song:

Jimmy Buffett was born in Mississippi in 1946. He started his career in the 1960s in Nashville as a country artist, but after moving to Key West, he established a more beach-bum persona in which he combined country, rock, folk, calypso, and pop – often focused on living in tropical paradises.

Of his first six albums, only two even charted in the United States. However, in 1977, he broke through with Changes in Latitudes, Changes in Attitudes. The album reached #2 and achieved platinum status on the strength of the top-40 title song and his top-10 hit “Margaritaville.”

Buffett wrote his signature song about drinking margaritas in Austin, Texas at Lung’s Cocina del Sur restaurant WK as well as the surge of tourists who flooded into Key West at the time. Buffett wrote three verses about a man at a beach resort community who “is drowning his sorrows over a failed romance.” WK He shifts from thinking it’s nobody’s fault to thinking it could be his fault to finally accepting that it is his fault but “soon his blender will finish stirring up his favorite drink and all will be well.” AMG

Producer Norbert Putnam said, “it wasn’t a song – it was a movie.” SF It is an “irresistibly catchy, completely self-deprecating…guitar strumming beach bum’s declaration of purpose (or purposelessness).” AMG It captured what he said “people perceived the tropics to be.” SF


First posted 4/16/2023; last updated 9/16/2023.

Tuesday, February 8, 1977

Television released Marquee Moon

Marquee Moon


Released: February 8, 1977

Peak: -- US, 28 UK, -- CN, -- AU

Sales (in millions): -- US, -- UK, -- world (includes US and UK)

Genre: punk rock


(Click for codes to charts.)
  1. See No Evil [3:56]
  2. Venus [3:48]
  3. Friction [4:43]
  4. Marquee Moon [9:58] (4/1/77, #30 UK)
  5. Elevation [5:08]
  6. Guiding Light [5:36] (Tom Verlaine/Richard Lloyd)
  7. Prove It [5:04] (7/22/77, #25 UK)
  8. Torn Curtain [7:00]

All songs written by Tom Verlaine unless noted otherwise.

Total Running Time: 45:54

The Players:

  • Tom Verlaine (vocals, guitar, keyboards)
  • Richard Lloyd (guitar)
  • Fred Smith (bass)
  • Billy Ficca (drums)


4.396 out of 5.00 (average of 26 ratings)

Quotable: “A trailblazing album — it's impossible to imagine post-punk soundscapes without it.” – Stephen Thomas Erlewine, All Music Guide


(Click on award to learn more).

About the Album:

Marquee Moon is “a trailblazing album,” AMG a “classic bit of punk rock.” AZ It “paved the way for every ambitious rock record to follow in the next 40 years.” OB It is “a sinuous, entrancing and gorgeous debut” ZG and “a revolutionary album, but it’s a subtle, understated revolution.” AMG

“The NYC post-punk scene in the late ‘70s was unmatched, with figureheads like Talking Heads, Blondie and, of course, Television, at its vanguard. Marquee Moon, the 1977 debut album from Television, is a vivid distillation of the milieu that its bandmates inhabited. You can hear its influence throughout the ages, from the noisy, howling dynamism of the Pixies to the hooky, synthy guitar tones of The Strokes.” PM

While “it’s impossible to imagine post-punk soundscapes without it,” AMG Television “never officially considered themselves a part of punk.” OB “Their predecessors…had fused blues structures with avant-garde flourishes” AMG and their “peers turned up the distortion, revved up the tempo, and stripped their songs down to tight three-chord anthems.” AZ However, Television’s sound is built on “an incongruous, soaring amalgam of genres.” RS “They were the King Crimson to hard rock’s Led Zeppelin, Funkadelic to soul’s Otis Redding.” OB

“Mercurial frontman” PF Tom Verlaine, who “took his surname from a renowned French poet,” OB had a “love of raw garage rock and challenging free jazz.” PF As such, “Marquee Moon is comprised…of tense garage rockers that spiral into heady intellectual territory.” AMG It is as “exhilarating in its ambitions as the Ramones’ debut was in its simplicity.” RS Television “completely strip away any sense of swing or groove” AMG and smartly “avoid the cursory punk snarl” TM by employing “a radical rethinking of rock guitar.” TM

Verlaine and lead guitarist Richard Lloyd didn’t “bludgeon listeners” TM with their guitar interplay, but used the two guitars to, as Lloyd said, “play rhythm and melody back and forth.” TM “Verlaine would establish a rhythmic phrase, against which Lloyd would splatter defiant, often deliriously dissonant, melodies.” TM


In the early ‘70s, Verlaine and bassist Richard Hell became friends in New York and formed the band Neon Boys with drummer Billy Ficca. They reformed as Television in late 1973 with guitarist Richard Lloyd. Verlaine reportedly thought Hell upstaged him with his frenzied stage presence and sometimes refused to play his songs. Hell eventually left the group, replaced by Fred Smith, previously with Blondie.

Robert Christgau of the Voice declared Television the “most interesting of New York’s underground rock bands.” BW-119 They trekked across what Rolling Stone’s Ken Tucker called “the same cluttered, hostile terrain as bands like the Velvet Underground and the New York Dolls.” OB They were one of the first bands to play CBGB’s in 1974, ahead of other club luminaries such as Blondie, the Ramones, Patti Smith, and the Talking Heads. Note: as famed as the club became, not everyone was a fan. NME’s Charles Shaar Murray called it “a toilet. An impossibly scuzzy little club buried somewhere in the sections of the Village that the cab-drivers don’t like to drive through.” BW-117

Television “distinguished themselves as the math nerds of punk,” OB gaining the attention of Brian Eno, who’d recently bolted from Roxy Music for a solo career. They recorded a demo with him, but weren’t satisfied with the sound. They ended up watching their peers land record deals, while Television didn’t release their first full-length LP until 1977.


The album was recorded over three weeks in November 1976 at A & R Studios, where legends such as John Coltrane, Bob Dylan, Van Morrison, and Velvet Underground had recorded. BW-156 It was produced by Andy Johns, who’d worked with Led Zeppelin, Mott the Hoople, and the Rolling Stones. Television wanted to work with him because he kept arrangements minimal and “the result would approximate their live sound.” BW-157

The band initially found themselves at odds with Johns. Lloyd said, “he was used to being with people who are also rock ‘n roll…You know: you’ve got a 2 o’clock start, and the engineer shows up at 4:30, and the guitarist shows up at 5 and the singer rolls in at midnight. But Television were not like that. We were punctual. And serious.” OB Meanwhile, Johns said, “My first impression was that they couldn’t play and couldn’t sing and the music was very bizarre.” BW-157

“Once they got on the same page, Johns and Television created a literal master’s class in the kind of crisp yet sharp production that enhanced the angularity of their rhythms without losing their sense of melody and pop appeal.” OB

The album was “twice the length of your conventional punk album, the final running time coming in at 46 minutes (and more than 10 of those minutes are reserved for the title track alone).” OB


Verlaine supplied “an excellent set of songs that conveyed a fractured urban mythology unlike any of his contemporaries.” AMG The lyrics were “fueled by puns and double-entendres, filled with riddles and word games, inside jokes.” BW-161 The songs “were thought-provoking, memorable, danceable” AZ and “sounded as if they might have come from a Mike Hammer pulp detective novel.” RS Peter Laughner said Verlaine’s “singing voice has this marvelous quality of slurring all dictions into what becomes distortions of actual lines.” BW-161

The rest of the group “flesh out Verlaine’s poetry into sweeping sonic epics.” AMG via “long, interweaving instrumental sections.” AMG “There is simply not a bad song on the entire record.” AMG

Clinton Heylin, author of Babylon’s Burning: From Punk to Garage, says this is one of American punk’s four “most enduring landmarks;” BW-9 the others being Patti Smith’s Horses, Pere Ubu’s The Modern Dance, and Richard Hell and the Voidoid’s Blank Generation. BW-9 New Musical Express’s Nick Kent called it “a 24-carat inspired work of pure genius, a record finely in tune and sublimely arranged with a whole new slant on dynamics.” PF However, not everyone was a fan. Critic Lester Bangs said, they “reminded me so much of the Grateful Dead, just boring solos, y’know.” PF

“See No Evil”

“One of the great starts to a rock ‘n’ roll album ever.” BW-163 “Like most Television songs this one starts with an extended introduction, a sense of anticipation, hesitation, building tension.” BW-164 “The music is repetitive, churning, the sounds of machinery.” BW-164 “The territory we’re in is nervous, angular.” BW-165 The song is about “a desire to exit, a fantasy of escaping to the hills.” BW-165


“If the opening track suggested urban out-of-doors, on ‘Venus’ the landscape is explicity defined as New York’s.” BW-169 The song dates back to even before the Neon Boys. Its “opening structure lends to storytelling, stage-setting: here the streets are bright, the nocturnal atmosphere established by contrast, as if you need to escape the more brightly lit parts of town and find some darker quarter downtown in which to take solace.” BW-170 Solace, however, is elusive considering the song’s central refrain: “I fell into the arms of Venus de Milo,” a reference to the famous statue which has no arms at all. BW-174


As its title would suggest, the third song offers “counterpoint and conflict.” BW-174 “Like the music’s evocation of train crossings and warning bells, the lyrics tell us we’re in dangerous territory.” BW-176 In one example of wordplay, Verlaine sings “you complain of my DICK…shun.,” illustrating that “words (diction) are no substitute for nagging sexual desires unevenly fulfilled.” BW-176

“Marquee Moon”

The title cut, “featuring an exploratory Verlaine guitar solo,” PF clocks in around ten minutes, “miles away from the Ramones’ minimalist rock antics or Blondie’s ironic pop moves.” PF It has been “routinely praised…as one of the great guitar songs of all time.” BW-177 “For precedents, we’d have to go back to the expansive West Coast psychedelia of the Paul Butterfield Band’s “East-West” or even the Grateful Dead’s twin epics ‘Dark Star’ and “The Other One.’” PF


Critic Nick Kent called the song “beautiful, proudly contagious with a chorus that lodges itself in your subconscious like a bullet in the skull.” BW-183 There’s a rumour that Verlaine substitutes the word “television” for the word “elevation” in the refrain, making for an interesting meditation on the line “elevation (Television) don’t go to my head.” BW-183

The song also has an interesting story regarding its recording. Lloyd said, “We wanted to rent a rotating speaker to get the sound…but the rental people wanted way too much. So Andy came up with an idea. He took a microphone, and while I did the guitar solo to ‘Elevation,’ he stood in front of me in the studio, swinging this microphone around his head like a lasso. He nearly took my fucking nose off. I was backing up while I was playing.” OB

“Guiding Light”

This is a “quietly soulful tune that glimmers through the darkness like a distant lighthouse.” BW-186 Everything on ‘Guiding Light’ – the slower tempo, the delicate guitar work and drums, lights bells that chim in the background, the piano part dangling above the chorus – suggests and earnest attempt to escape the urban out-of-doors and retreat.” BW-186

“Prove it”

This is a “faithful fan favorite since the band first performed it in 1974.” BW-187 This is “one of the clearest examples of how intensely this band can focus together, put each part into a perfectly moving whole.” BW-187-8 The song’s “opening over a vaguely Latin rhythm…references the Brill Building’s golden era, the sound Leiber and Stoller brought to the Drifters and, later, the Shangri-La’s, or that Phil Spector created for the Crystals or the Ronettes.” BW-188 However, the song “can’t be reduced to Brill Building nostalgia or pastiche…we’re on much more tormented ground.” BW-189

“Torn Curtain”

This “is the one song fans of this album divide over. It drags. It’s melodramatic. It certainly could have been sacrificed to make room for other, more popular songs from Television’s live set.” BW-192 Nonetheless, “there’s something thematically appropriate about finishing the album with a funeral dirge.” BW-192

The title references “an apocalyptic miracle in the wake of Jesus’ crucifixion” in which, as Matthew 27:51 says, “At the moment the curtain of the temple was torn in two from top to bottom. The earth shook and the rocks split.” BW-192 However, it can also be viewed as a reference to live theater and the notion that a torn curtain would let the audience see behind the scenes. BW-193


A 2003 reissue added alternate versions of “See No Evil,” “Friction,” and “Marquee Moon” as well as an untitled instrumental and the single “Little Johnny Jewel (Parts 1 & 2).”

Review Sources:

First posted 2/8/2012; last updated 6/5/2024.

Friday, February 4, 1977

Fleetwood Mac released Rumours


Fleetwood Mac

Released: February 4, 1977

Peak: 131 US, 11 UK, 121 CN, 18 AU, 110 DF

Sales (in millions): 20.0 US, 3.3 UK, 45.0 world (includes US and UK)

Genre: classic California rock


(Click for codes to charts.)
  1. Second Hand News ( Buckingham) [2:56] (11 CL, 18 DF)
  2. Dreams (Nicks) [4:14] (3/24/77, 1 BB, 1 CB, 1 GR, 1 HR, 1 RR, 11 AC, 24 UK, 1 CN, 4 AU, 3 DF, sales: ½ million, airplay: 5 million)
  3. Never Going Back Again (Buckingham) [2:14] (10 CL, 22 DF)
  4. Don’t Stop (C. McVie) [3:13] (4/30/77, 3 BB, 1 CB, 1 GR, 3 HR, 1 RR, 22 AC, 1 CL, 32 UK, 1 CN, 30 AU, 4 DF, airplay: 3.0 m)
  5. Go Your Own Way (Buckingham) [3:43] (1/1/1977, 10 BB, 10 CB, 6 GR, 10 HR, 8 RR, 45 AC, 1 cl, 38 UK, 11 CN, 20 AU, 1 DF, airplay: 1 million)
  6. Songbird (C. McVie) [3:20] (18 CL, 6 DF)
  7. The Chain (Buckingham/Fleetwood/C. McVie/J. McVie/Nicks) [4:30] (10/25/97, 1 CL, 30 AR, 51 CN, 4 DF)
  8. You Make Loving Fun (C. McVie) [3:31] (9/77, 9 BB, 7 CB, 3 GR, 8 HR, 4 RR, 28 AC, 3 CL, 45 UK, 7 CN, 65 AU, 15 DF, airplay: 2 million))
  9. I Don’t Want to Know (Nicks) [3:15] (11 CL, 25 DF)
  10. Oh Daddy (C. McVie) [3:56] (33 DF)
  11. Gold Dust Woman (Nicks) [4:56] (3 CL, 10 DF)

Total Running Time: 39:43

The Players:

  • Lindsey Buckingham (vocals, guitar, et al)
  • Stevie Nicks (vocals, tambourine)
  • Christine McVie (vocals, keyboards)
  • John McVie (bass)
  • Mick Fleetwood (drums, percussion)


4.700 out of 5.00 (average of 32 ratings)


(Click on award to learn more).

About the Album:

Fleetwood Mac started out as a British blues outfit in the late ‘60s created by drummer Mick Fleetwood and bassist John McVie. Over the years, players came and went until Californians Lindsey Buckingham and Stevie Nicks came on board and transformed the band’s sound into “crisp, professional soft-rock.” DW 1975’s self-titled album lifted the band to its greatest commercial heights, reaching #1 and achieving multi-platinum status.

The follow-up, 1977’s Rumours, would be even more successful. It became “one of the best pop records of the ‘70s” VB and one of the best-selling albums of all time. “Its blending of folk, pop, blues, and rock genres led to a timeless quality that has proven revolutionary as the decades have passed. Every single track has worn a groove in our brains and made countless impacts on pop culture…These 11 perfect songs came during an era when the dream of the 1960s was haunted by the blunt realities of the 1970s, creating a moment where honest emotional truths were exactly what people were hoping to hear in music.” CQ

Romantic Turmoil:

The making of the album was frought with difficulty. The newfound fame would be a lot to adjust to under even the best of circumstances. However, during the recording sessions for Rumours, “keyboardist Christine McVie sparred with husband/bassist John, and singer Stevie Nicks scrapped with boyfriend/guitarist Lindsay Buckingham.” CDU “And nearly everybody was on loads of cocaine.” VB

Christine said, “We had two alternatives – go our own ways and see the band collapse, or grit our teeth and carry on playing with each other.” CM The resulting album “captures wounds that hadn’t yet scabbed over, as bloody and raw as a heartbeat.” PM “The two couples confess, blame, sigh and ride a deep, chugging groove” RS which made Rumours “the ultimate hangover album for the lovestruck.” DV “It’s a miracle that this album exists at all.” CQ

However, “Rumours is proof that harmony can be born in chaos.” CQ Fleetwood Mac’s “angst gave us an album that defined a decade” DV with its “confessional pop-rock gems.” UT “The emotionally stormy, immaculately produced Rumours remains the near-perfect apex of dissolute 1970s Jacuzzi rock.” EW’12

Mick Fleetwood said, It would “take us almost a year, during which we spoke to each other in clipped, civil tones while sitting in small, airless studios listening to each other’s songs about our own shattered relationships.’” CRS

In the Studio:

The sessions for Rumours “were notorious not only for the emotional dilemmas but also for the amount of studio time the project ate up. The band spent two months in San Francisco before moving to Miami and then Los Angeles for several more months. At one point there had been so much overdubbing that the magnetic tape actually wore out.” CM

Mick Fleetwood said, “We went four or five weeks without sleep, doing a lot of drugs…Eventually the amount of cocaine began to do damage. You’d do what you thought was your best work and then come back next day and it would sound terrible, so you’d rip it all apart and start again.” CM

Masterful Musicians:

The soap opera surrounding Rumours made for interesting stories, but don’t explain why it became “such a wildly successful album. It’s the unique chemistry in Fleetwood Mac and the craftmanship in songwriting and production that make Rumours the most perfect pop album of all time.” CM “Though they wanted to kill each other, they still wanted to sound damn good while they were doing it.” DV

“Every song is catchy and clever.” DW It doesn’t hurt that “they’ve got three melodist-vocalists on the job” RC and that “each songwriter makes his or her presence known.” AZ “The cute-voiced woman writes and sings the tough lyrics and the husky-voiced woman the vulnerable ones.” RC They “were both at the height of their powers.” CM

In addition, “Buckingham pushed the production into a magnificent combination of intricate and spare.” RS There’s also his “precise guitar, and the taut blues rhythms of John McVie and Fleetwood.” TL “The ensemble playing, the elastic rhythms, and lush harmonies…transform the material into classic FM fare” AZ and make the album “consistently memorable” AM – “a milestone in classic rock.” GS

The Songs:

Here’s thoughts about the individual songs on the album.

“Go Your Own Way”
Buckingham contributes “harder-driving” DV and “deceptively simple pop songs” AZ with “self-depreciating lyrics” DV that “reveal a complex account of their despair.” DV Go Your Own Way, is “arguably Buckingham’s greatest track.” BN It is “a drum-driven cry at the death of love” BN featuring “fiery vocals” CDU and “one of his finest guitar solos.” RV The song was inspired by the Rolling Stones’ “Street Fighting Man.” CM

“Go Your Own Way” was the first of four singles from the album – all reached the top 10 on the Billboard Hot 100, a feat never before accomplished.

“Second Hand News”
Buckingham would have the sole songwriting credit on “Go Your Own Way” and two more cuts on the album. Second Hand News was inspired by the Bee Gees’ “Jive Talkin.’” CM With its “great, galloping guitar sound” DV it “sounds very close to [the previous album’s] ‘Monday Morning’ but…is actually better because it has some tremendous acoustic playing and a lot of silly happy noises.” GS Christine McVie’s talent on the keys offer “a cool, dark weight to Buckingham’s layers of guitars and vocal harmonies.” CM

“Never Going Back Again”
Both it and Never Going Back Again “go from anger to humor to insecureness.” DV The latter “is effectively a solo piece by Buckingham.” CM Engineer Chris Morris said, It “took forever…It was Lindsey’s pet project, just two guitar tracks but he did it over and over again.” CM

Stevie Nicks offered up what has become Fleetwood Mac’s biggest hit – its only #1 song. “The melancholy hit Dreams made it quite clear just how much depth and substance [she] was capable of.” AM “Her slightly hoarse, ‘magic’ voice [does] wonders to the song.” GS “‘Here you go again,’ breathed Stevie Nicks…‘you say you want your freedom.’ The emotional weariness captured in that line suffuses the album, notwithstanding the upbeat melodies and pristine, daring production.” BN

“Gold Dust Woman”
Stevie Nicks also contributed the “folkish Gold Dust Woman.” AM It “casts a great spell” DV and gives the album its “most chilling” DV moment.

“Don’t Stop”
Christine McVie “was always the shyest member of the group and her self-confidence, never strong, was at its weakest as the recording began.” CM She said, “I was practically panicking because every time I sat down at a piano, nothing came out. Then, one day in Sausaliot, I just satddown and wrote in the studio, and the four-and-a-half songs of mine on the album are a result of that.” CM

She turns in “fast, joyful, optimistic pop” GS and “ultra-catchy slogans” AZ on tunes such as “Don’t Stop, which President Bill Clinton used as his campaign theme song in 1992.” AM The band even reunited to play the song at Clinton’s 1993 inaugural ball. The song was the album’s third top-ten hit.

“You Make Loving Fun”
The “beautifully understated…You Make Loving Fun,” CDU which “has a steady, disco-ish beat (a very rare thing for Christine)” GS and “optimistic tones…[which] perfectly show a renewed sense of love. It’s one of Christine McVie’s shining moments in the band.” DV The song was the fourth and final single from the album.

“Songbird” and “Oh Daddy”
McVie also turns in “smiley-face ballads Songbird and Oh Daddy.” RS They “sound nothing like the boggy, all-too-identic kind of sentimental slush that marred so many of her earlier compositions.” GS “Songbird” is McVie’s “tribute to the Fleetwood Mac situation its lyric about the redemptive qualities of song and the resilience of real love was an important centring for the band. She performs it almost entirely alone on the piano. The tune harks back to the lilting melodies of classic British pop and folk music.” CM

“The Chain”
The Chain, written collectively, is the Mac at their most dramatic.” AZ It is “the full-band invocation of coming darkness and cramped emotional interdependence.” RS “Has there ever been a guitar intro as seductive as the one with which ‘The Chain’ begins? Especially when you know that incredible, explosive bridge is coming?” CQ It “begins as a slow dirge simply damning the lies of another, before surging into the angst-filled refrain, ‘Chains keep us together.’” RV It is “angry and menancing [and] beautifully constructed.” GS “It all works perfectly…a sort of tennis match between lovers.” DV


A 2004 remaster added B-side “Silver Springs” to the original track listing and a second disc of outtakes and demos. A 35th anniversary edition once again added “Silver Springs” to the original album, a second live disc recorded during the Rumours tour, two discs of outtakes, and a DVD of The Rosebud Film.

Review Sources:

Other Related DMDB Pages:

First posted 3/15/2008; last updated 7/11/2024.