I scanned this CD cover because there are no copies available anywhere (mea culpa, Henry's website has it available for purchase there). This was my "Boston".
Right before Henry did "Shannon" (song about a dog for goodness sake), he released a monster recording that after all this time, had my CD Player today on my trip to Washington. Henry Gross is a fine guitar player, owner of a massive falsetto voice and employing a crack studio band. Even though this album was produced by Terry Cashman, it ranks right up there with Boston's first and Journey's "Infinity" as some of the ballsiest production projects. The phrase I can use to describe this album is crisp, pop music. Sweet guitars, great playing, fun writing has made this album (that is out of print) one of my alltime favorites. Henry Gross may be one of the most underrated guitar players of our time. I am not sure why this cat wasn't a huge star. Sometimes, it's like that, just ask the members of Shooting Star



Eventually Mueck concluded that photography pretty much destroys the physical presence of the original object, and so he turned to fine art and sculpture. In the early 1990's, still in his advertising days, Mueck was commissioned to make something highly realistic, and was wondering what material would do the trick. Latex was the usual, but he wanted something harder, more precise. Luckily, he saw a little architectural decor on the wall of a boutique and inquired as to the nice, pink stuff's nature. Fiberglass resin was the answer, and Mueck has made it his bronze and marble ever since. 
Ron Mueck's work became world-famous when a poignant sculpture of his dead fathers small, naked body caused shock waves in the Royal Academy's Sensation exhibition in 1997. The attention to detail and sheer technical brilliance of his figures are incredible, but it is Mueck's use of scale that takes your breath away. 


or the monumental woman In Bed (2005)is an unforgettable experience.
Mueck's huge 4.5m crouching Boy was the centerpiece of the Millennium Dome in London and of the Venice Biennale in 2001.
The artist's work is becoming ever more intriguing, ranging from smaller-than-life size naked figures to much larger, but never actual, life size. Consequently his hyper-realistic sculptures in fiberglass and silicone, while extraordinarily lifelike, challenge us by their odd scale. The psychological confrontation for the viewer is to recognize and assimilate two contradictory realities. 


