Between a Heart and a Rock Place (19 page)

On
Tropico,
we took our sound in a different direction, taking a step away from our signature, electric-guitar-driven sound. This photograph was taken during the video shoot for “Ooh Ooh Song.”
Photograph by Jeffrey Mayer

 

 

The song and video for “Invincible” were recorded and shot only a few weeks after I gave birth to Haley in 1985. The song was on
Seven the Hard Way
and became a top ten hit for us.
Photograph by Lester Cohen

 

 

An outtake photograph from the cover of
Wide Awake in Dreamland
.
Photograph by Moshe Brakha

 

 

This photograph, taken in L.A. in 1988, was a promotional shot for
Wide Awake in Dreamland
.
Photograph by Moshe Brakha

 

 

A shot from the video for “Let's Stay Together” off of
Wide Awake in Dreamland
.
Photograph by Lester Cohen

 

 

This photograph is from the video for “All Fired Up.” Even though the single was a hit, it couldn't save the tour we embarked on in support of
Wide Awake in Dreamland. Photograph by Lester Cohen

 

 

After the fiasco with
Wide Awake in Dreamland
, I was ready to walk away from singing for good. This photograph was taken for the album
True Love
. Spyder's crazy idea. A collection of blues songs that inspired us to continue making music.
Photograph by Randee Saint Nicholas

 

 

This shot was taken during our Can't Stop Rockin' tour with REO Speedwagon and Fleetwood Mac (
from left to right:
Myron, Spyder, and Mick Mahan).
Photograph by Brigette Leonard

 

 

A photograph from our
Innamorata
cover session.
Photograph by Dennis Keely

 

 

Me signing photographs backstage during the 2001 Summer Vacation tour. We've toured every summer for the past thirteen years. This allows us to be hands-on parents during the school year.
Photograph by Roxanne Lowit

 

 

Spyder and I have been together for thirty-one years. Raising kids, making music, it's been an amazing journey.
Photograph by Beth Herzaft

 

 

Our daughters, Hana and Haley.
Photograph by Dana Fineman

 

 

“Just listen to the vocal on the chorus. I know I can sing the shit out of that.”

“I don't know,” he said. “It seems like a predictable love song.”

“But you can do your thing, churn it up. Make it sound huge, not like a ballad anymore,” I said insistently. “Let me sing it for you.”

Then he started warming up to it. In a few days he returned with an epic, beautifully constructed song with an arpeggiated keyboard intro that would become the most identifiable part of the monstrous hit that was “We Belong.” By working it out on his own, he'd sold himself on it. Now he was professing his love for the song, to which I promptly responded, “
You're
such a pain in the ass.” He smiled back, and said, “Thanks, that's my job.” He didn't care how it got done as long as it was great in the end.