A Peaceful Easy Confession: OMG, I'm an Eagles Fan!
How a lifetime of music, memories, and a little courtroom evidence revealed the band that had been part of my voice all along.
I have a confession to make.
And apparently, it's going to require legal representation.
You see, one of the wonderful things about writing Rock ’n’ Roll Angel is that I get to revisit the music of my youth. I go wandering through old songs, favorite albums, concerts, radio memories, and the artists who helped shape the person I became.
Sometimes I know exactly where the journey is going.
Other times, I find myself standing in the middle of a musical crime scene, surrounded by evidence I didn't even realize I'd left behind.
Which brings us to the Eagles.
Image: Eagles. Source: Britannica.com
Now, I've always liked the Eagles. Of course I have. Who doesn't appreciate a band that gave us “Hotel California,” “Desperado,” “Take It Easy,” and enough glorious harmonies to make a choir director weep?
But I never thought of myself as a particularly devoted Eagles fan.
Queen? Oh, I know where I stand with Queen.
Journey? Absolutely. That's Bay Area blood.
But the Eagles?
I don't remember ever standing up and declaring my allegiance. I don't wake up thinking, You know what I need today? A serious Eagles listening session.
They're just one of those bands I enjoy.
At least, that's what I thought.
Then I started examining the evidence.
And, ladies and gentlemen of the jury, things got out of hand rather quickly.
The Superior Court of Rock ’n’ Roll Is Now in Session
BAILIFF: All rise!
JUDGE: This court is now in session in the matter of The People vs. Angel: The Case of the Undeclared Eagles Fan.
PROSECUTOR: Your Honor, we intend to prove that the defendant has been an Eagles fan for decades, despite her repeated failure to acknowledge this fact.
DEFENDANT: Objection! I never said I didn't like them!
JUDGE: Overruled. That's not the question before the court.
PROSECUTOR: We'd like to begin with her Spotify history.
Oh, come on.
We're starting there?
Fine.
I have Spotify. I listen to music when I'm relaxing, traveling, playing around, writing stories, and working on these articles. Music is part of the atmosphere of my life.
Every year, Spotify gives me a look back at what I've been listening to.
And every year, there are certain artists who show up.
Sometimes I expect them.
Sometimes I don't.
But the Eagles?
They're always there.
Sometimes it's one song. Sometimes several. It doesn't matter what kind of year I've had or what musical mood I've been in.
Somehow, the Eagles find their way into my listening.
Without an invitation.
Without a conscious decision.
Without me ever announcing that I'm in the mood for the Eagles.
PROSECUTOR: Your Honor, we submit Exhibit A: The Spotify Listening History.
DEFENDANT: Circumstantial evidence!
JUDGE: Proceed.
Oh, this is going to be a long trial.
Four Men, a California Sound, and Something Special
To understand how I ended up in this predicament, we need to go back to the beginning.
The Eagles formed in Los Angeles in 1971, with Glenn Frey, Don Henley, Bernie Leadon, and Randy Meisner making up the original lineup.
They were four talented musicians with different backgrounds, voices, and musical instincts, coming together at a time when Southern California was becoming an extraordinary crossroads for rock, folk, country, and singer-songwriters.
They weren't simply another rock band.
They were part of a musical landscape where storytelling mattered, harmonies mattered, and songs could carry the feeling of an entire place.
Their debut album arrived in 1972, bringing us “Take It Easy,” “Witchy Woman,” and “Peaceful Easy Feeling.”
Image: Eagles debut album Eagles. Source: Spotify.
And then the hits kept coming.
“Desperado.”
“Tequila Sunrise.”
“Already Gone.”
“One of These Nights.”
“Lyin' Eyes.”
“Take It to the Limit.”
“New Kid in Town.”
“Hotel California.”
“Life in the Fast Lane.”
“Heartache Tonight.”
And that's hardly the complete list.
The lineup evolved, too. Don Felder joined in 1974, bringing another formidable guitar voice. Joe Walsh arrived in 1975 with a harder rock edge and a personality all his own. Timothy B. Schmit replaced Randy Meisner in 1977, adding his beautiful high tenor to the mix.
Seven principal musicians across the band's classic history, each contributing something to that unmistakable sound.
And what a sound it was.
The Eagles could be smooth. They could be bluesy. They could carry just a touch of country. They could be tender, mysterious, romantic, sarcastic, and downright nasty when they wanted to.
They could rock.
Not like AC/DC. Not like Led Zeppelin.
They rocked like the Eagles.
And believe me, that was more than enough.
Exhibit B: The Harmonies, Your Honor. THE HARMONIES.
Let's talk about “One of These Nights.”
Oh, that song.
Smooth. Bluesy. Sexy.
If you know, you know.
There were probably a whole lot of make-out sessions with that song playing somewhere nearby. I'm just saying.
The bass line alone sets a mood.
But as much as I loved that seductive groove, it was the chorus that got me.
Those harmonies!
The way the voices rose together, the contrast between the gritty lead and those soaring high notes, the sheer beauty of how the parts fit.
The Eagles understood something that I've always treasured as a singer. Voices can do things together that no single voice can accomplish alone.
Listen to the warmth of “New Kid in Town.” The openness of “Take It Easy.” The breathtaking vocal blend of “Seven Bridges Road.”
Different songs. Different emotions. That same extraordinary command of harmony.
As a developing singer, I listened to that.
I absorbed it.
And I loved it.
PROSECUTOR: So the defendant was studying the band's vocal arrangements?
DEFENDANT: I was appreciating good music!
PROSECUTOR: While learning from it?
DEFENDANT: Well, yes, but—
JUDGE: Let the record reflect that the defendant has begun arguing against herself.
Oh, hush.
The Longing That Dripped From Their Music
There's something else the Eagles did exceptionally well.
Longing.
And I don't mean just romantic longing.
Their songs could make you ache for a person, a place, a time, a different life, or a feeling you couldn't quite put into words.
That longing practically dripped from their music.
Take “Peaceful Easy Feeling.”
What a beautifully constructed song.
It isn't simply about being attracted to someone. It's about an atmosphere, an experience, a particular feeling that comes from being with someone in a particular moment.
The imagery does the work.
Clothes. Jewelry. Moonlight.
Little details that let you see the person and feel the scene.
As a songwriter, I find that kind of writing pure gold.
You don't have to explain everything. You give the listener a few carefully chosen images, and suddenly there's an entire world inside the song.
“Take It to the Limit” carries a different kind of yearning. Restlessness. Ambition. The desire to reach beyond where you are.
“Desperado” speaks to loneliness, emotional walls, and the frightening possibility that the thing you need most is the very thing you've been avoiding.
“Lyin' Eyes” tells a story of comfort, compromise, and the emptiness that can exist inside an apparently perfect life.
And “Hotel California”?
Well, that song is practically an episode of The Twilight Zone set to music.
The Eagles understood that longing isn't always sweet.
Sometimes it's dangerous.
Sometimes it's mysterious.
Sometimes it leads you somewhere you can't easily leave.
And as a singer, that emotional complexity gave me something wonderful to work with.
A song isn't just notes and words.
It's a world you step into.
Exhibit C: The Defendant Was Apparently in an Eagles Cover Band
All right.
Here's where the evidence gets embarrassing.
Because when I look back at the songs I performed during my early singing years, I realize I sang enough Eagles material to qualify for membership in an all-girl Eagles cover band.
No, such a band didn't actually exist.
But apparently, I was preparing for one.
Let's begin with “Heartache Tonight.”
That was one of the first songs my first garage band gave me to sing.
And I loved it.
I could get down into that rhythm, bring out the grit, throw in a growl, and really go after the song.
Leather pants. Silk top. Rock-and-roll jacket.
Oh, I was having myself a time.
By the end of that number, I could grab an audience and bring them right along with me.
And something important happened.
The guys in the band started recognizing what I could do. They began looking for other songs that would fit my voice and my style.
“Heartache Tonight” helped me learn how to command a stage.
Not just stand there and sing.
Perform.
Make the audience feel the energy.
Bring them into the music.
PROSECUTOR: Your Honor, we submit Exhibit C: The defendant performing an Eagles song in leather pants.
DEFENDANT: Lots of people wear leather pants!
PROSECUTOR: Did the audience enjoy the performance?
DEFENDANT: Well, yes.
PROSECUTOR: Did the band give you more songs because of it?
DEFENDANT: Yes.
PROSECUTOR: No further questions.
I really need a better attorney.
Exhibit D: The First Standing Ovation
Then there's “Take It to the Limit.”
This one means something very special to me.
I wasn't always comfortable performing. I was a shy young woman who had to push herself to audition, step onto stages, and let people hear what she could do.
My vocal coach challenged me to audition for a county fair.
I did.
And they accepted me.
Yikes.
I was scheduled to perform three songs on a side stage, using prerecorded backing tracks.
Nothing glamorous. No enormous production. Just me, the music, and an audience I hoped would enjoy what I had to offer.
I chose “Take It to the Limit” as my closing number.
Now, Randy Meisner's original performance is beautiful. That soaring voice, that emotional build, that sense of reaching for something beyond yourself.
But I wasn't Randy Meisner.
I was Angel.
And I brought my own soul to that song.
I sang it the way I felt it.
When I finished, something happened that had never happened to me before.
The audience stood up.
My first standing ovation.
People came up afterward and told me they had never heard rock and roll performed live with that kind of soul.
I have never forgotten that.
Not simply because people applauded, but because it was one of those moments when I began to understand what I could give an audience.
I didn't have to sound like the original singer.
I had to find the truth of the song and bring my own voice to it.
PROSECUTOR: Your Honor, the defendant received her first standing ovation performing an Eagles song.
JUDGE: That's fairly compelling evidence.
DEFENDANT: I object to the tone of this entire proceeding.
JUDGE: Overruled.
Exhibit E: The Irish Pub Goes Quiet
And then there's “Desperado.”
Oh, “Desperado.”
At one point, I found myself singing backup with a rather wild house band at a local Irish pub.
These guys were not exactly famous for their disciplined rehearsal schedule.
Actually, I'm not sure rehearsal schedule was a phrase they recognized.
But they were fun, and somehow I'd become part of their musical orbit.
One evening, they offered me a solo number during the next set.
I was nervous, but I wasn't going to turn down the opportunity.
I chose “Desperado.”
The guys seemed perfectly happy with that choice.
Now, I have a deep voice. Always have. So I brought the key down a little to make the song comfortable in my register.
Not a full octave. Just enough.
I wanted to give the song a different emotional texture.
Deep, full tones with soft edges. A steady tone through the phrases, letting the vibrato appear at the ends of sustained notes rather than washing over every word.
That's part of how I sing.
I like to let a note stand on its own before I give it movement.
And something interesting happened in that pub.
The room got quiet.
This was an Irish pub, mind you. Normally there was conversation, laughter, glasses clinking, people enjoying themselves.
But while I sang, people listened.
Nobody was dancing.
And I understood why the song worked in that room. Irish pub audiences can have a wonderful appreciation for a slow, sad, heartfelt ballad.
“Desperado” belonged in that moment.
That experience taught me another lesson about performance.
You don't always have to overwhelm an audience with power.
Sometimes you can bring them closer by doing less.
PROSECUTOR: Your Honor, another Eagles song. Another significant performance.
DEFENDANT: You're making this sound suspicious.
JUDGE: It is suspicious.
Honestly, I was beginning to see the problem myself.
The Cowboys, the Gun, and Other Things Little Angel Didn't Understand
Now, before anyone starts thinking I was some sophisticated young interpreter of every lyric I encountered, we need to clear something up.
I was also spectacularly innocent.
My siblings found this endlessly entertaining.
For example, I once thought Rick James's “Mary Jane” was a perfectly lovely song about a woman named Mary Jane.
Apparently, that was hilarious.
And then there was “Victim of Love.”
Oh, how I loved that song.
I listened.
I burned.
And I sang.
That bluesy, gritty guitar sound. The attitude. The fire.
I could sink my teeth into that music.
But there's a particular lyric involving a gun.
Now, most people apparently understood there might be a little innuendo involved.
Not Angel.
Nope.
I heard country-rock influences, thought about the Eagles' fascination with outlaws and desperados, and came to what seemed a perfectly reasonable conclusion.
Cowboys.
There were cowboys.
One cowboy had a gun.
Another cowboy was involved.
Some sort of Western confrontation was clearly underway.
What else could it possibly mean?
PROSECUTOR: Your Honor, we'd like to introduce Exhibit F: The Cowboy Defense.
JUDGE: Is the defendant seriously claiming she thought this was a Western?
DEFENDANT: They sang about desperados!
PROSECUTOR: And the gun?
DEFENDANT: A six-shooter, obviously.
JUDGE: The court needs a recess.
Listen, the imagery made sense to me.
And frankly, I think the songwriters should appreciate the fact that I was constructing an entire movie in my head.
Which brings us to another little misunderstanding.
Exhibit G: The Haunted Hotel and the Tequila That Wasn't
“Hotel California” was enormous.
Not merely a hit. A cultural event.
And to this day, I think it's one of the most atmospheric rock songs ever recorded.
That opening guitar. The mysterious setting. The strange characters. The feeling that something beautiful and deeply unsettling is happening at the same time.
It's California as dream and nightmare.
A Twilight Zone episode with guitars.
I loved it.
And I carried that song with me into Marine Corps boot camp.
I had chosen the Marines knowing it wouldn't be easy.
And it wasn't.
Boot camp could be physically and mentally punishing, and Sundays became precious. There were a few hours when we could attend church, write letters home, read, talk, have a little time to ourselves, and sometimes listen to music.
Those moments mattered.
And “Hotel California” was one of the songs I treasured.
Of course, being Angel, I also managed to entertain my fellow recruits with another lyrical misunderstanding.
There's a reference to colitas in the song.
I decided it must be some kind of tequila drink.
It sounded plausible!
California. Mexico. Desert atmosphere. A mysterious hotel.
Why not tequila?
My fellow recruits thought this was very funny.
Apparently, I was once again the last person in the room to catch the reference.
But I had another issue with “Hotel California,” and this one I stand by.
Pink champagne on ice.
Excuse me?
As a California girl familiar with wine culture, I found this troubling.
You chill champagne in ice.
You do not ordinarily serve it over ice.
What kind of establishment was this?
I could accept the eerie hotel, the mysterious guests, and the possibility that checking out might be considerably easier than leaving.
But improper champagne service?
Absolutely not.
Later, as I developed as a songwriter, I came to appreciate that sometimes a lyric needs a particular word to complete a rhyme.
And ice does rhyme rather conveniently with device.
I'm not claiming that's why the writers chose it.
I'm just saying that songwriting can require compromises.
Still.
Someone should speak to management.
PROSECUTOR: Your Honor, the defendant carried an Eagles song into Marine Corps boot camp.
JUDGE: And complained about the champagne?
PROSECUTOR: Yes, Your Honor.
JUDGE: Add both to the record.
The Eagles Had Teeth
Now, I don't want anyone leaving this courtroom thinking the Eagles were simply a collection of beautiful harmonies and sentimental ballads.
Oh, no.
Those gentlemen had teeth.
Listen to “Life in the Fast Lane.”
That Joe Walsh guitar riff comes charging in, and suddenly we're in a completely different neighborhood.
The song has swagger, grit, attitude, and a driving energy that makes you want to turn it up.
It's not AC/DC.
It doesn't need to be.
The Eagles knew how to rock in their own way.
And “Victim of Love” takes that blues-rock edge somewhere even grittier.
What I loved was how the band could move between those musical worlds without losing its identity.
Country influences.
Blues.
Rock and roll.
Beautifully layered vocals.
Sharp storytelling.
They could be polished without becoming sterile, and rough without losing their musicianship.
And sometimes they could just have fun.
Take “James Dean.”
How do you write a rock-and-roll song about James Dean?
Well, apparently you get Glenn Frey, Don Henley, Jackson Browne, and J. D. Souther involved, and you turn the mythology of a rebellious young movie star into a rollicking musical tribute.
The Eagles could tell stories about almost anything.
And as someone who would eventually become a writer and filmmaker, I can appreciate that even more today.
Exhibit H: The Case Takes an Unexpected Turn Toward Zombies
Your Honor, I'm afraid we have to discuss Heavy Metal.
Yes.
Again.
I know.
I don't understand why this keeps happening, either.
Somehow, whenever I start wandering through the music of my youth, I end up back at that gloriously strange 1981 animated movie.
It's becoming suspicious.
And this time the connection is Don Felder.
Yes, Eagles guitarist Don Felder.
He contributed “Heavy Metal (Takin' a Ride)” to the film's soundtrack, along with “All of You.”
And “Heavy Metal (Takin' a Ride)” is my favorite song from that soundtrack.
It also accompanies one of my favorite stories in the movie: “B-17.”
The zombie bomber.
Because, as anyone who knows me understands, I do love me some zombies.
So here I am, supposedly discussing a band I merely like, and I discover that one of its guitarists is responsible for a song I've loved for decades from a movie that apparently refuses to leave my cultural universe.
PROSECUTOR: Your Honor, we'd like to submit Exhibit H: The Zombie Bomber Connection.
JUDGE: Is that even relevant?
PROSECUTOR: It establishes a pattern of Eagles-related musical appreciation extending into animated horror.
DEFENDANT: Objection! Everything eventually leads back to Heavy Metal!
JUDGE: That does appear to be true.
At this point, I think the Superior Court of Rock ’n’ Roll needs a separate evidence locker just for that movie.
Exhibit I: The Christmas Confession
Now comes the evidence that may be impossible to explain away.
I love the final quarter of the year.
Halloween.
Thanksgiving.
Christmas.
It's my favorite stretch of the calendar.
And I love holiday music.
I have my favorites. Nat King Cole is absolutely part of that musical tradition for me.
But among my top Christmas recordings is a song the Eagles released in 1978.
“Please Come Home for Christmas.”
Oh, that song.
Originally recorded by blues artist Charles Brown in 1960, it's already a beautiful piece of holiday music.
But the Eagles brought something special to it.
That wonderful bluesy feel. The rock guitar. Don Henley's soulful, slightly weathered delivery.
And that longing.
There it is again.
A song about Christmas, but also about absence. Missing someone. Wanting them to come home.
The holidays can be full of joy, but they can also make us painfully aware of the people who aren't there.
The Eagles understood how to let those emotions coexist.
And their version gave the song a wonderful rock-and-blues character.
For me, it was also another lesson in the power of the arrangement.
As a developing singer, I learned that a great song can be transformed by how you approach it.
The instrumentation.
The tempo.
The harmonies.
The vocal phrasing.
The emotional emphasis.
You can take an existing composition and give it a new personality without losing what made it beautiful in the first place.
That's one of the lessons I carried into my own performances.
It's what allowed me to bring my voice to “Desperado” and my soul to “Take It to the Limit.”
The Eagles weren't just giving me songs to sing.
They were teaching me how much possibility exists inside a song.
PROSECUTOR: Your Honor, the defendant has now admitted that an Eagles recording is among her favorite Christmas songs.
JUDGE: Alongside Nat King Cole?
PROSECUTOR: Yes, Your Honor.
JUDGE: I believe we've heard enough.
DEFENDANT: Wait! I have more to say!
JUDGE: Somehow, I knew you would.
Exhibit J: The Defendant Actually Went to See Them
Image: Eagles. Source: Rolling Stone.
All right.
One more confession.
A long time ago, I sneaked out and saw the Eagles perform live.
There.
I said it.
And here's what I remember most.
They didn't feel like distant, untouchable international rock stars.
They had this extraordinary ability to bring the audience in.
It felt almost as though these enormously successful musicians had invited you to hang out while they played a few songs they'd come up with.
Imagine that.
A band with some of the most recognizable songs in rock history, making the experience feel personal.
Comfortable.
Familiar.
Like you belonged there.
As a performer, I recognize how special that is.
There's a difference between impressing an audience and connecting with one.
You can dazzle people with technical skill.
But making them feel included in the music?
That's something else entirely.
And that's what I remember about seeing the Eagles.
They brought us in.
They made us feel welcome.
They felt like home.
PROSECUTOR: Your Honor, the defendant has just admitted to sneaking out to attend an Eagles concert.
JUDGE: After all the previous evidence?
PROSECUTOR: Yes, Your Honor.
JUDGE: Does the defense have any explanation?
DEFENDANT: I was conducting musical research.
JUDGE: Decades before writing this article?
DEFENDANT: I like to plan ahead.
JUDGE: Sit down, Angel.
The California Connection
Now, here's something important about all of this.
I'm a California girl.
More specifically, I'm a Bay Area girl.
And I've written before about the music that came out of my hometown region.
Journey.
Santana.
Jefferson Starship.
Those artists carry the sound of home for me.
I love me some Journey.
There's something deeply personal about hearing music that comes from the same places, the same cultural atmosphere, and the same world you grew up in.
But the Eagles represent another part of California.
That Southern California sound.
Los Angeles.
The open highways. The desert. The sunshine. The beautiful people. The restless dreamers. The strange characters. The darker side of paradise.
That combination of country, blues, rock, and beautifully crafted harmonies.
You can feel California in their music.
Not just the geography.
The attitude.
The possibilities.
The contradictions.
The longing.
And as a California girl, I recognize that feeling.
The Eagles may not be my Bay Area hometown band, but their music belongs to the larger California that helped shape me.
It sounds familiar in a way that's difficult to explain.
Like a place you know even when you haven't visited it in years.
And perhaps that's why their songs keep finding their way back into my life.
Closing Arguments: The People vs. Rock 'n' Roll Angel
BAILIFF: All rise. The Superior Court of Rock ’n’ Roll is prepared to hear closing arguments.
PROSECUTOR: Ladies and gentlemen of the jury, the evidence is overwhelming.
The defendant has spent decades listening to the Eagles.
She studied their harmonies.
She admired their songwriting.
She performed their songs in a garage band.
She received her first standing ovation singing “Take It to the Limit.”
She brought an Irish pub to silence with “Desperado.”
She carried “Hotel California” through Marine Corps boot camp.
She passionately sang “Victim of Love,” despite believing it concerned armed cowboys.
She loves an Eagles guitarist's contribution to a zombie movie.
She includes the Eagles on her Christmas playlist.
She actually sneaked out to see them perform.
And year after year, their music continues to appear in her Spotify listening history.
Yet the defendant insists she never considered herself a particularly devoted Eagles fan.
Your Honor, we ask the court to look at the evidence.
JUDGE: Defendant, do you have anything to say?
Well.
I suppose I do.
When I began writing Rock ’n’ Roll Angel, I expected to revisit the artists who had shaped my youth.
I knew I'd have stories about Queen, Journey, and so many of the musicians I consciously loved.
But I didn't expect the Eagles to reveal quite so much about my own musical life.
I didn't realize how many of their songs I'd performed.
How deeply I'd studied their harmonies.
How much their arrangements had influenced the way I approached music.
How many important memories had an Eagles song somewhere in the background.
I never thought of them as one of the bands that helped shape my voice.
But looking back?
They absolutely did.
And perhaps that's the most wonderful part of this entire journey.
Sometimes we don't recognize an influence because it has become so familiar that we stop noticing it.
We don't think about it.
We don't announce it.
We simply carry it with us.
The Eagles were part of my youth, my singing, my songwriting education, and my understanding of what makes music emotionally powerful.
They were there during important moments.
They were there during ordinary moments.
And decades later, they're still there.
Sometimes one song.
Sometimes many.
Always finding their way back.
JUDGE: Has the jury reached a verdict?
JURY: We have, Your Honor.
JUDGE: On the charge of being a lifelong Eagles fan, how do you find the defendant?
JURY: GUILTY!
JUDGE: The defendant is hereby sentenced to life, with the possibility of occasional parole to listen to Queen.
DEFENDANT: I KNEW IT!
JUDGE: Court adjourned.
And there you have it.
After all these years, all those songs, all those performances, and all those memories, the evidence finally caught up with me.
OMG. I'm an Eagles fan.
Who knew?
Well, apparently everyone except me.
And as a California girl?
They're home.
Sources & Further Reading
For those who want to explore the music, the musicians, and the history behind the memories:
Eagles — Official Website — Band history, recordings, and official news.
Rock & Roll Hall of Fame — Eagles — The band's legacy and 1998 induction.
Eagles — On the Border — The 1974 album featuring “James Dean.”
Eagles — One of These Nights — The 1975 album that includes “Take It to the Limit.”
Eagles — Hotel California — The landmark 1976 album featuring “Hotel California,” “Life in the Fast Lane,” and “Victim of Love.”
Heavy Metal (1981) Soundtrack — The animated film and its unforgettable rock soundtrack, including Don Felder's contributions.
Charles Brown — “Please Come Home for Christmas” — Background on the blues holiday classic later recorded by the Eagles.
Thanks for taking this trip back with me.
What about you? Is there a band you never considered yourself a fan of, only to discover that their music has been following you around for decades? Have you ever looked at your playlists and thought, Wait a minute. When did THAT happen?
And if you have a favorite Eagles song, I'd love to hear which one—and why.
Share your stories in the comments. You never know what evidence might turn up.
Follow and subscribe to Rock ’n’ Roll Angel for more music, memories, pop culture, and wonderfully strange adventures from growing up Gen X.
Come find me beyond the memories:
🌐 DrAYHeath.com
▶️ YouTube: @TheMysticScribe
📱 Instagram: @ayheath
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📚 Books by Dr. AY Heath available on Amazon
Until next time...
Keep the memories alive.Keep the stories coming.And whatever you do... turn it up.
— Dr. AY Heath (Angel)
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