Released in 1979
"Too Close to Home" by Cindy Bullens is based on:
1 Samuel 20:1
David and Jonathan
20 Then David fled from Naioth at Ramah and went to
Jonathan and asked, “What have I done? What is my
crime? How have I wronged your father, that he is
trying to kill me?”
2 Samuel 16:11
11 David then said to Abishai and all his officials, “My
son, my own flesh and blood, is trying to kill me. How
much more, then, this Benjamite! Leave him alone; let
him curse, for the Lord has told him to.
29 We know that God spoke to Moses, but as for this
fellow, we don’t even know where he comes from.”
The Interpretation of the Vision
15 While I, Daniel, was watching the vision and trying
to understand it, there before me stood one who looked
like a man.
Cindy Bullens (born March 21, 1955 - female gender died as Cindy Bullens in 2011 from surgery and transition) was an American singer-songwriter who grew up in Massachusetts. Bullens released two albums in the late 1970s on United Artists and Casablanca and another in 1989.
Bullens' 1978 debut album, Desire Wire (Cindy Bullens album) is described flatly by William Ruhlmann for Allmusic as: "One of the great lost rock albums of the 1970s, Bullens' debut release is full of tough, passionate, incredibly catchy rock & roll played to the hilt and sung with fire". These early albums anticipated later work by a host of 1980s female and female-identified rock artists, from Pat Benatar, to Blondie, to the Go-Go's, to Headpins.
In 1974, Bullens performed background vocals on Gene Clark's album No Other and as one of the Sex-O-Lettes on the debut album by Disco-Tex and the Sex-O-Lettes.
Bullens also served as a backup vocalist on Rod Stewart's Atlantic Crossing and with Elton John on three major tours, as well as his album Blue Moves and his hit with Kiki Dee, "Don't Go Breaking My Heart" (both released in 1976).
Bullens provided vocals on three songs ("It's Raining on Prom Night," "Mooning," and "Freddy, My Love") on the soundtrack of the 1977 feature film, Grease. The album release Grease was nominated for the 1979 Grammy Award for "Album of the Year".
In 1980, she earned another Grammy nomination (as "best female rock singer") for her single "Survivor".
In January 1980, Bullens hit the Billboard Hot 100 with the song "Trust Me." It peaked at #90.
Vocal type: Regular Soprano (1974 - 1989)
Lowest Note: G3 ("Steal the Night")
Highest Note: G5 (Background: "Get Dancing")
Vocal Range: 2 octaves
A1 Full Tilt Rocker 3:57
A2 Real To Real 2:12
A3 Trust Me 3:55
A4 Hurry Up Forever 3:11
A5 Steal The Night 4:40
B1 Too Close To Home 4:29
B2 Powerless 3:05
B3 Raincheck On Romance 4:31
B4 Two-Track Mind 2:36
B5 Holding Me Crazy 3:29
Recorded At – United Western Studios
Recorded At – The Village Recorder
Recorded At – Allen Zentz Recording
Mixed At – Allen Zentz Recording
Mastered At – Allen Zentz Mastering
Pressed By – Columbia Records Pressing Plant, Santa Maria
Produced For – MainMan Ltd.
Manufactured By – Casablanca Record And Filmworks, Inc.
Distributed By – Casablanca Record And Filmworks, Inc.
Published By – Gooserock Music
Published By – Fleur Music
Published By – Almost Music
Phonographic Copyright (p) – Casablanca Record And Filmworks, Inc.
Copyright (c) – Casablanca Record And Filmworks, Inc.
Backing Vocals – Cindy Bullens, Jon Joyce, Mark Doyle (3)
Bass – Roger Freeland (2) (tracks: A3, A5, B2, B3, B5)
Design – Deborah May
Drums, Percussion – Thom Mooney
Electric Guitar, Acoustic Guitar, Rhythm Guitar, Harmonica, Percussion – Cindy Bullens
Electric Piano, Piano [Acoustic], Synthesizer – Trantham Whitley
Engineer [2nd] – Barbara Issak, David Ahlert, Rick Ash
Engineer [Recording] – Neil Brody
Lead Guitar, Acoustic Guitar, Bass, Percussion – Mark Doyle (3)
Mastered By – Brian Gardner
Mixed By – Cindy Bullens, Mark Doyle (3), Neil Brody
Photography By – Georgina Karvellas
Piano – Cindy Bullens (tracks: A3), Mark Doyle (3) (tracks: B1)
Producer – Cindy Bullens, Mark Doyle (3)
Synthesizer – Mark Doyle (3) (tracks: B2)
Written-By – Cindy Bullens, Mark Doyle (3) (tracks: B1)
As rateyourmusic.com once said:
The aesthetics of late-1970s power-pop bands and artists has not aged well but the sound and music on their vinyl records, though unmistakably 'dated', are fresher than ever...
'Steal the Night' is a good illustration of this paradoxical stance.