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Dan Fogelberg

If James Taylor epitomized the definition and the original, late-'60s incarnation of the term singer/songwriter, Dan Fogelberg exemplified the late-'70s equivalent of that term at its most highly developed and successful, with a string of platinum-selling albums and singles into the early '80s and a long career afterward, interrupted only by a health crisis that led to his untimely death in 2007. He came out of a musical family, born Daniel Grayling Fogelberg on August 13, 1951, in Peoria, IL, where his father was an established musician, teacher, and bandleader. His first instrument was the piano, which he took to well enough, and music mattered to him more than the sports that were the preoccupation of most of the boys around him. At age ten, he was saving and listening to any old records he could find. And if there's a "God-shaped space" in everyone, Fogelberg's was filled with music, something his family might've guessed if they'd seen how much he loved the music in church but was bored by the sermons. His other great passions were drawing and painting. His personal musical turning point came in the early '60s, before he'd reached his teens. A gift of an old Hawaiian guitar from his grandfather introduced him to the instrument that would soon supplant the piano, and at age 12, he heard the Beatles for the first time, which not only led him to a revelation about how electric guitars could sound, but also made him notice for the first time the act of songwriting as something central to what musicians did. It was also at that point that he began picking up on the music of Carl Perkins, Chuck Berry, Little Richard, and Buddy Holly, all of whom were, of course, in the Beatles' repertory.

He started writing songs soon after, and by the time he was 13, he was in a band called the Clan, playing school events with a repertory that mostly consisted of Beatles songs. Of all the members, he was the one who stayed with music, and his taste and interests evolved with the music around him. By the time he was in his mid-teens, he was listening to the Byrds and Buffalo Springfield, and was finding inspiration in the sounds and songs of Gene Clark, Stephen Stills, Chris Hillman, Neil Young, and Richie Furay, among others. His second band, the Coachmen, who'd started out doing Paul Revere & the Raiders-style dance-oriented R&B, evolved into a more progressive folk-rock outfit, even embracing some of Springfield's more ambitious repertory. Yet, somehow, for all of that devotion to music, he didn't plunge directly into the field. Had he been living in California, in Los Angeles or San Francisco, it might've been different, but in the absence of a highly receptive audience, or a surrounding coterie of serious musician friends, or much encouragement anywhere in Peoria to pursue music, he ended up embracing other goals. After finishing high school, it was on to the University of Illinois at Champaign as a drama major, in hopes of an acting career, and then a switch to painting.

This was all going on amid the political agonies of the Vietnam War, which was still going on full-tilt at the time, and Fogelberg wasn't isolated from the tensions over the war as they manifested themselves. He fell back into music through one of the relatively few public centers for what passed for a counterculture in central Illinois, a club called The Red Herring, owned by a friend named Peter Berkow. The latter invited Fogelberg to play, and soon he was building a local audience with his sound and his songs, and it was from that beginning that Fogelberg came to the attention of a University of Illinois alumnus named Irving Azoff, who at the time was managing REO Speedwagon and was thinking that it was time for him to move up to the next level in the music business. One performance by Fogelberg, accompanied by his solo acoustic guitar at an otherwise drunken fraternity event in front of a singularly oblivious audience, sold Azoff on his prospects and the idea that his own future might well be quite favorable if tied to Fogelberg. He moved to Los Angeles and Azoff began the task of getting him signed. In the interim, he played some sessions and even rated a support gig on tour with Van Morrison, in a series of shows that also included Dan Hicks & His Hot Licks. His demo tape was good enough to get serious attention from Jerry Moss at A&M Records and David Geffen at the newly established Asylum Records, but it was the legendary Clive Davis, then still at Columbia Records, who got Fogelberg under contract.

Fogelberg's debut album, Home Free (1972), recorded in Nashville, with Norbert Putnam producing, was an embarrassment of riches, musically speaking. It was a sublimely beautiful melding of country-rock with the personal level of a singer/songwriter, reminiscent at times of Gene Clark's solo work, and also encompassing sounds derived from the likes of Stephen Stills, David Crosby, Graham Nash, and Neil Young, yet never sounding too much like the joint work of those three (or four) and always sounding like Fogelberg. But it was a lot like several other brilliant debut albums to come out of the Columbia Records orbit during Davis' tenure, including Child Is Father to the Man by the original Blood, Sweat & Tears and Greetings from Asbury Park by Bruce Springsteen, in that it never generated a hit single to help drive sales. Everyone who heard the album loved it, but without a single to generate AM radio play, very few people heard it; in Davis' view, fine as it was, Home Free was a little too country-ish for mainstream radio, and fell between the cracks between pop/rock and country playlists. A few years later, after the success of acts such as the Eagles, such distinctions would matter less, but in 1972, the music marketplace was that segregated stylistically. Fogelberg kept working, mostly as a session musician, turning up on Buffy Saint-Marie's MCA debut LP, Buffy, and on Jackson Browne's Late for the Sky, among other early- to mid-'70s albums. He also managed to continue with Columbia with help from his manager. Azoff's own Full Moon label had a production and distribution deal with Columbia, through its Epic Records imprint, and it was by way of Epic/Full Moon that he got a second chance. This time out, however, Fogelberg would record in Los Angeles with guitarist/producer Joe Walsh. Fogelberg quickly discovered that he had a sympathetic and enthusiastic partner in Walsh, and everything literally fell into place, even Graham Nash's presence (at Walsh's request) singing harmonies on the resulting album, Souvenirs, which featured a range of renowned Los Angeles-based musicians. The results were more than golden -- they ended up double platinum, as "Part of the Plan" reached the Top 20 in 1974 and Souvenirs rode those charts for six months and sold steadily for years after. The album had mostly the same mix of elements as its predecessor, but this time it was widely heard and accepted. The country-flavored rock of "Part of the Plan," the reflective singer/songwriter work of "Song from Half Mountain," the bluegrass-flavored "Morning Sky," and the heavier "As the Raven Flies" (which recalled Neil Young's "Ohio") -- all seemed to fit together perfectly.

Now Fogelberg was a star, leading an Illinois-spawned band called Fool's Gold and touring almost constantly for the next two years. In the midst of it all, he completed a third album, Captured Angel (1975) -- which he produced himself this time -- which showed him extending his sound in more ambitious directions, and in surprising circumstances. It was during 1975 that he'd returned home to spend time with his father, who had been hospitalized, and afterward, while staying in Peoria, cut what were supposed to be demos of the songs he wanted to use on his new album, with Fogelberg playing every instrument and doing all the vocals. Instead, when Azoff and Davis heard the demos, they insisted that this was the album, and that he could never recapture the feel he'd gotten on songs like "Comes and Goes" working with other musicians. He eventually came to an agreement with the label that the percussion parts would be redone by Russ Kunkel, and the final version of Captured Angel included Norbert Putnam on bass on certain tracks, and Al Perkins on pedal steel guitar and David Lindley on fiddle, plus some string arrangements by Glen Spreen, but otherwise it was truly a Fogelberg solo effort. That album only solidified his fame, as well as making him a special favorite of college students (especially coeds) across the country, and a tour with the Eagles in 1975 -- who, by then, were being managed by Azoff -- only enhanced his profile.

Fogelberg moved to Colorado in the mid-'70s, and his initial time there resulted in the songs that became the basis for his next album, Nether Lands (1977). Ironically, the songs came at the end of an extended dry spell as a songwriter, the first of his adult life. He found himself unable to compose for months, and then, suddenly, he started writing again, but in a much more ornate, elaborately conceived, classically influenced idiom. The songs were bolder both lyrically and musically -- the title track, in particular, was notable for employing the services of composer/arranger Dominic Frontiere in orchestrating it. The album was a hit, and he was still riding that initial wave of recognition and the concertizing that went with it, even if he was now taking the audience in some unexpected directions. Fogelberg decided at this point to step back a bit -- get off that wave -- and do something purely for his own satisfaction musically. In 1978, he began work on a record that was to be more of a personal indulgence than anything else, the non-commercial side of Dan Fogelberg, sort of his equivalent to those instrumental albums that Frank Sinatra had issued as a conductor a couple of times in his career, or Neil Young's later Everybody's Rockin'. He teamed up on what became a duo album with jazz flutist Tim Weisberg for the album Twin Sons of Different Mothers (1978) -- but instead of being a curio or a footnote in his output, it ended up charting high and generating a huge hit single in the guise of "The Power of Gold" (which, ironically, had been added to the LP at the last minute). The album ended up in the Top 20 and was embraced by critics and the public alike. For the next few years, Fogelberg was literally riding a creative and commercial whirlwind, peaking with his 1980 album Phoenix, which was propelled to platinum status with help from the number two single "Longer." The year before, he also fulfilled a longtime career goal by playing Carnegie Hall in New York, to a sellout audience that included his parents.

Fogelberg's career in the 1980s began with an unexpected turn -- concept albums were common enough by then, but most record labels also tended to strongly discourage the recording of double LPs, owing to the expense and the difficulties in selling and marketing them. But midway through finishing his next album, and with the single "Same Old Lang Syne" already in release and record stores and buyers poised for a new LP, he suddenly decided to expand the planned record, writing new songs and effectively doubling its length, as well as delaying it well into 1981, the better part of a year beyond what the label or his manager had planned on. The result was his boldest production to date, The Innocent Age (1981), a massive project featuring some VIP collaborators (including Joni Mitchell and Emmylou Harris), from which four hit singles, the earlier "Same Old Lang Syne" plus "Run for the Roses," "Hard to Say," and "Leader of the Band" (the latter a tribute to his father), were ultimately extracted. That album marked his commercial peak, and seemed to end a phenomenally popular and productive phase of his career. As though to mark the transition, the following year Epic released its first hits compilation on Fogelberg, a ten-song LP on which four of the slots were filled by the singles off of The Innocent Age.

It was three years before his next new album, during which time Fogelberg's musical sensibilities evolved in new and more specialized directions. He turned toward more personal and experimental forms of music, none of which proved remotely as popular with the public or with critics as his 1970s work. Additionally, as was the case with many artists of the 1970s and earlier, the playing field was fundamentally altered in the 1980s. MTV and music videos as promotional devices became central to getting exposure and airplay, and recording artists now needed a distinct visual style as well as a sound to make it to the front rank; additionally, a new generation of music critics, most of whom were bent on showing contempt for most of the favored artists of the previous decade or two, were now speaking in the press. His 1984 album Windows and Walls did reach the fans, and even generated a hit in "Language of Love," but got a hostile reception from the critics of the period. And his turn toward bluegrass music, helped in part by his contact with Chris Hillman, who'd also turned back toward his bluegrass roots at the time (and recorded Fogelberg's "Morning Sky" as the title track of his latest album), didn't make him any more accessible to the mainline music critics of the day. The resulting album, High Country Snows (1985), was a good seller and showed off Fogelberg's roots brilliantly, but did nothing to enhance his pop credibility, which had waned considerably over the previous three years.

Fogelberg withdrew somewhat in the years that followed, playing anonymously in bars around Colorado as part of an outfit called Frankie & the Aliens, formed by Joe Vitale. He seemed to be headed back to his teenage roots, and in the process redefined himself musically. When he re-emerged with The Wild Places and the worldbeat-flavored River of Souls in the early '90s, he was writing what amounted to topical songs about the environment, a subject with which he'd become much concerned since moving permanently to Colorado. By that time, he'd established a fully equipped home studio that provided him with the independence that he craved, and he was beholden to the record label merely as a conduit for his work. Epic, for its part, kept releasing Fogelberg's music, including a superb 1991 live album called Greetings from the West, and his earlier albums made perennially popular CD releases. Home Free was also extensively remixed by Norbert Putnam for its CD re-release in 1988 (those desiring to hear the original mix can find it on BGO's U.K. double-CD reissue of Home Free/Souvenirs). Indeed, all of Fogelberg's compact discs reflected an unusual degree of care in their production, especially for Columbia catalog reissues of the era, when the label was often just slapping down the digital masters and batting them out without an eye toward quality.

In 1995, he and Tim Weisberg did another collaboration together, No Resemblance Whatsoever, which seemed to pick up right where their 1978 album had left off without skipping a beat. In 1997, Columbia honored Fogelberg with a four-CD career retrospective compilation entitled Portrait: The Music of Dan Fogelberg from 1972-1997, looking back over his previous 25 years of work. Fogelberg closed out the old century with First Christmas Morning, which saw him plunge several centuries into the past in pursuing traditional holiday music, evoking sounds that, in the context of work from a pop/rock artist, had previously only been heard from Jan Akkerman on his Tabernakel album and the work of the Amazing Blondel, nearly 30 years before. Finally, in 2003, Fogelberg went back to the acoustic singer/songwriter sound of his early career with the appropriately titled Full Circle album. This seemed like the possible opening of a promising new phase to his work and career. Those prospects were dashed in mid-2004, however, when Fogelberg was diagnosed with advanced prostate cancer, to which he finally succumbed in late 2007. ~ Bruce Eder
full bio

Selected Discography


Track List: Love In Time

1. Love In Time

2. Soft Voice

3. So Many Changes

4. Come To The Harbor

5. A Growing Time

6. The Colors Of Eve

7. Diamonds To Dust

8. Nature Of The Game

9. Sometimes A Song

10. Days To Come

11. Birds


Track List: River Of Souls

1. Magic Every Moment

2. All There Is

3. The Minstrel

4. Faces Of America

5. Holy Road

6. Serengeti Moon

7. Higher Ground

8. A Love Like This

9. River Of Souls

10. A Voice For Peace


Track List: High Country Snows

1. Down The Road

2. Mountain Pass

3. Sutter's Mill

4. Wolf Creek

5. High Country Snows

6. The Outlaw

7. Shallow Rivers

8. Go Down Easy

9. Wandering Shepherd

10. Think Of What You've Done

11. The Higher You Climb


Track List: Windows And Walls

1. The Language Of Love

2. Windows And Walls

3. The Loving Cup

4. Tucson, Arizona (Gazette)

5. Let Her Go

6. Sweet Magnolia (And The Travelling Salesman)

7. Believe In Me

8. Gone Too Far


Track List: Greatest Hits

1. Part Of The Plan

2. Heart Hotels

3. Hard To Say

4. Longer

5. Missing You

6. The Power Of Gold

7. Make Love Stay

8. Leader Of The Band

9. Run For The Roses

10. Same Old Lang Syne


Track List: The Innocent Age

Disc 1

1. Nexus

2. The Innocent Age

3. The Sand And The Foam

4. In The Passage

5. Lost In The Sun

6. Run For The Roses

7. Leader Of The Band/Washington Post March

8. Same Old Lang Syne

Disc 2

1. Stolen Moments

2. The Lion's Share

3. Only The Heart May Know

4. The Reach

5. Aireshire Lament

6. Times Like These

7. Hard To Say

8. Empty Cages

9. Ghosts


Track List: Phoenix

1. Tullamore Dew

2. Phoenix

3. Gypsy Wind

4. The Last To Know

5. Face The Fire

6. Wishing On The Moon

7. Heart Hotels

8. Longer

9. Beggar's Game

10. Along The Road


Track List: Nether Lands

2. Once Upon A Time

3. Dancing Shoes

4. Lessons Learned

5. Loose Ends

6. Love Gone By

7. Promises Made

8. Give Me Some Time

9. Scarecrow's Dream

10. Sketches


Track List: Souvenirs

1. Part Of The Plan

2. Illinois

3. Changing Horses

4. Better Change

5. Souvenirs

6. The Long Way

7. As The Raven Flies

8. Song From Half Mountain

9. Morning Sky

10. (Somone's Been) Telling You Stories

11. There's A Place In The World For A Gambler


Track List: Home Free

1. To The Morning

2. Stars

3. More Than Ever

4. Be On Your Way

5. Hickory Grove

6. Long Way Home (Live In The Country)

7. Looking For A Lady

8. Anyway I Love You

9. Wysteria

10. The River


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Well written bio. Dan was truly gifted on so many levels. Fortunate to have seen him several times, solo and with a band in the 80's, 9'0s and early 2000's. One of my all time faves. I miss him.
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thomas.ollie r 3
I saw Dan with Fools Gold twice and again on 3 separate concerts. Beautiful melodic musical depth and passion. Thanks Dan RIP
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you can count on me we will make it together
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The first time I herd this song I was in summer camp two married counselors sang that song around the camp fire thank god I can remember my teen years and smile
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Thank you, Bruce Eder, for a beautiful and thoughtfully - w r i t t e n piece on Fogelberg. These qualities seem to be getting rarer and rarer in biographical music reviews today, most of which seem bent on displaying the contempt referenced in Eder's piece. I agree with the comments below...Foge l b e r g was an intelligent and sensitive songwriter and performer and reflected the best of what music can do for the human spirit.
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goodnight my blue eyed baby
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Beautiful music, voice and man. Truly missed by all.
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It still saddens me to think Dan Fogelburg is not with us anymore. Fond memories of how his music buoyed me during my first time away from home for college.
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Yes, Captured Angel. Come on Pandora, please add this to the playlist
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checkout 1 of the best albums ever made Captured Angel by good ole Dan
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This was one of those singers whose death really saddened me. He had such a great style and wrote beautiful songs. I'm glad I got to see him in concert one time.
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Yes! I agree - AWESOME bio, Bruce! When I was going thru a very difficult time in 1973, I heard his song, To the Morning and had to finish listening to it - ended up late for my class, but so well worth it! That song helped me make it thru that year and his music makes me just stop and listen! He's my musical hero and favorite musician, bar none! Broke my heart when I heard that he'd died several years before I learned about it.
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Great bio Bruce. Well done -- from one Dan-man to another. Really appreciate his body of work and the way it seems timeless to me. Had the pleasure of meeting Dan once in CA during my college days and found him to be a pleasure to speak with...humbl e and focused on our conversation despite peripheral fans vying for his attention. No equal IMHO.
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This guy is just f**king magical.
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He was the most beautiful musician in all parts of his music. His music helped me through some of the turbulent times of my life. He was a very gifted musician in my life time and gone too soon.
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In the 70's I bought every album he came out with. It was so amazing to read the album cover back and find out that he played every instrument, was also the backup voices, AND designed and drew the album covers. Boy, I miss real albums! I'll bet I listened to Netherland 4-5 times a day, everyday for 3 years. I think I finally wore deep grooves in it..LOL. Now I have all his albums in CDs and still listen to him. Talk about a lasting presence, RIP Dan.
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How is Dan Fogelberg not in the Rock and Roll Hall of Fame ? All one has to do is look through his body of work. An injustice to an artist who died much too soon.
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This one of the best bio's on Pandora. A Fogelberg devotee from early on...his music highlighted poignant times of life. Deeply missed by many and his music epic.
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THANK YOU SoulAlone1! I was afraid I'd have to consult the NY TIMES.
WERE TALKING ABOUT Fogelberg's Leader of the Band.
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The Leader of the Band was Fogelberg's father.....
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Still no answer? Who WAS The Leader of the Band.
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WHO WAS THE LEADER OF THE BAND? A real or fictitious character? LIKE the song: VINCENT, about Vangough, The Artist. Spelling OFF, for sure!
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Where's Captured Angel?
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wondering why Twin Sons of a Different Mother Album isn't listed,this has to one of his best albums that i've heard back 1978 my college days

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Happy Birthday Dan! We all miss you!
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He should be in the hall of fame. Love his music!
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Why is he not in the hall of fame?
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I've LOVED his music from the first I heard it; God I miss him
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Christi Bloomfield likes it
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Great one! But what album is Tucson Arizona on?
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Dan was a genius. His music is timeless. When I bought Innocent age I played it for my parents (daddy was 80 and mother in her 70's) and they loved it as much as I did. Brilliant and much missed.
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You can go into danfogelberg . c o m for info to vote him into the Rock/Roll Hall of Fame. I agree with you....he should absolutely be inducted!
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Love it
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I believe when all is said and done, that Dan will be regarded as one of the most talented artists of our lifetime. The scope of his music is almost unmatched by any artist that I can think of. He was never pigeon-holed into one or two musical criteria. He obviously composed and played from his heart, always laying his soul out there for everyone to see. For him to not be in the Rock and Roll Hall of Fame is a travesty. I'm willing to start a campaign to make that happen if anyone is interested.
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Easy to listen
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T, Same Old Lang Syne ............ . . . . N L t2
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What a talent. What a good man.
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Wow I didn't know he passed away......
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Believe in Me......just a beautiful song.
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dragonlady60 8 8
Rip ..Dan.u r missedxoxo
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"Longer" is my favorite song by Dan Fogelberg.♥♥
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Dan- You're sorely missed. There's not one time when driving thru the CO mtns.I didn't have you on my music list playing away.I also liked Jim Croce and Sweet Baby James. You're song "Longer" is my favorite love song and if I ever get "hitched" again that will be playing in the background. You're gone but not forgotten-Ev e r . Your music epitomized the mountains of Colorado-my favorite spot on earth.
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He is so special and missed by all his fans. I'm taken back in time with every song I hear. Please play more of Dan's music.
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This is such a touching song... it makes me cry.i love and miss my Dad
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