On Prefab Sprout In the summer of 1985, I worked in the cassette department of Tower Records in New York City. A few months before, my girlfriend of a year told me at a birthday party that I threw for her, that she was sleeping with somebody else. Later, when I asked why she left me, she answered, “You’re too nice. I need somebody a little meaner.”
Still carrying the burden of broken promises and a shattered heart when I met my Tower’s Records co-worker Barry Walters. A student at NYU, Barry also wrote music reviews for the Village Voice. While stacking shelves, he and I would get into these long discussions about pop music. Perhaps picking-up on my melancholy nature, he introduced me to the two discs that became my favorites of 1985: Bryan Ferry’s wonderful Boys and Girls and Prefab Sprout’s brilliant Steve McQueen aka Two Wheels Good.
 While I admired Ferry’s laid back cool, it was the Prefab’s bitterly charming singer/songwriter Paddy McAloon with whom I connected as his compositions “When Loves Break Down,” “Horsin’ Around” and “Appetite” became my instant musical manifestos of post-teen misery. With each subsequent album, Paddy and Prefab’s sound only got better, richer and more ambitious. In addition, it was from reading interviews with Paddy in various Brit-pop newspapers that got me into listening to George Gershwin and Cole Porter.
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