Steel Notes Magazine Spring 2017 - Page 117 album Metal Health, which led to her being signed to Vanity Records in 1984. CBS bought out Tuesday's recording contract in 1987, and she released her own self-titled debut album on Parc/CBS Records that same year. The album contained a cover version of the Prince tune “Why You Wanna Treat Me So Bad?” “Out of Control”, the only single to be released from Tues- day's self-titled album, received decent expo- sure in dance clubs. It has been remixed several times with dif- ferent single releases. Tuesday promoted the album by making a series of mall ap- pearances, as well as performing at such venues as Madame Wong's West and The Palace. Thirteen years later, in 2000, Tuesday released her second album, “Here It Comes”, which had more of a commercial success than her self titled debut. In between releasing her albums and acting in such feature films as Mistress; Calendar Girl; The Babysitter (1995); and 2016's How to Be Single, Tuesday per- formed some highly memorable songs for film and television. Her recording of the song “Ivory Tower” was featured on the 1990 soundtrack to Mad About You. A 1996 episode of The Profiler titled “I'll Be Watching You” was scored with Tuesday's rendition of The Police's iconic classic “Every Breath You Take.” In 2001, Tuesday lent her vocal styling to the song “If It Takes All Night” for the movie “The Theory of the Leisure Class.” Steel Notes Magazine Tuesday has also enjoyed stints as a keyboardist and backing vocalist for the David Bowie Tribute Band Space Oddity, and most recently retired from performing as the lead singer in a Deborah Harry, Blondie tribute band named Rapture: The Blondie Tribute. “Faith”, an 18-track album featuring a collection of songs Tuesday recorded over the previous 25 years, was released in 2012. Tuesday cur- rently has all of her classic mate- rial available for download at most major download stores. But to Tuesday's devot- ed fans, her most successful song, even to this day, is Nightmare. Tuesday was so ex- cited to have gotten the role of Kristen in The Dream Mas- ter, that she wanted to lend her musical talents to the film as well. She wrote and recorded the song Nightmare (whose full length version runs just over 2 minutes, and is used during the film in its entirety) fairly quickly, gave it to the producer, and really thought no more about it during filming. When Tuesday sat down with the rest of the cast and crew to watch the final cut of Nightmare 4 for the first time, she almost fell out of her seat when she heard the opening notes of her song start to play at the tail end of the New Line Cinema logo. Steel Notes Magazine 117