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The band changed its name to Letters to Cleo in 1990. [4] The name "Letters to Cleo" is a reference to Hanley's childhood pen pal. [4] They spent their summers together in Canada, and they wrote each other letters to keep in touch over a ten-year period. At some point Cleo moved without giving Hanley her new mailing address, and Hanley's ...
Name Kay Hanley Best known for Letters To Cleo singer, your favorite songs from kids’ cartoons, co-founder of advocacy non-profit Songwriters of North America, and co-writer of the first ever ...
In 1999 Hanley began a shift in her music career. She wrote and performed songs for the Kids' WB cartoon series Generation O! along with the rest of Letters to Cleo and provided the singing voice for Rachael Leigh Cook's character Josie in the movie Josie and the Pussycats. In 2002, she released her first solo album, Cherry Marmalade.
It should only contain pages that are Letters to Cleo albums or lists of Letters to Cleo albums, as well as subcategories containing those things (themselves set categories). Topics about Letters to Cleo albums in general should be placed in relevant topic categories .
Go! is the third studio album by the alternative rock band Letters to Cleo. [3] [4] It was released in 1997 on Revolution Records. [5] It was their first album without their original drummer, Stacy Jones, who was replaced by Tom Polce. [6] The album peaked at No. 45 on Billboard's Top Heatseekers chart. [7]
Boston’s favorite alt-rock band of the 1990s, Letters To Cleo, brings their annual reunion show to The Paradise Rock Club in Boston this weekend
Aurora Gory Alice is the first studio album by Letters to Cleo. [4] It was released in 1993 on CherryDisc Records and re-released in 1994 on Giant Records. [5] The first single from the album was "I See," which got little exposure (although it was later used as the music that plays during the closing credits of Daria episode "Through a Lens Darkly").
Entertainment Weekly opined that "too often singer Kay Hanley sounds like a petulant Juliana Hatfield on their soapy, overdramatic love songs." [ 7 ] The New York Times compared the album to its predecessor, calling it "the same alt-rock in a different package".