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Author Topic: Bubs & Judd Review No Pier Pressure  (Read 35898 times)
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« on: May 03, 2016, 02:56:17 PM »

Part 1: A Beautiful Day


Bubs:   I suppose we should start at the beginning

This Beautiful Day begins.

Bubs:   For some reason, I have an a cappella mix of this

Judd:   Wait, what. Oh wait, yeah. I think someone from SS made that and put it on Soundcloud one time

Bubs:   okay, okay, okay, okay--had to pause it before it moved on. Right. So, this is an excellent beginner. Wouldn't you agree?

Judd:   Excellent? I'm not terribly partial to it but it's nice enough. I think that final chord sounds forced

Bubs:   Oh, really? What about it don't you like?

Judd:   I guess I'm not that taken with the melody

Bubs:   all right, well, I like the idea here

Judd:   I remember you having a go at that opening line

Bubs:   well, yeah, it's stupid. But I think having Brian up in front doing something that's supposed to be a bit downcast… maybe this would have been a better closer.

Judd:   maybe

Bubs:   the arrangement is tasteful

Judd:   it starts the album very promisingly

Bubs:   I like the strings and the horn

Judd:   I like the horn, too

Bubs:   I picture rain drops on windows

Judd:   maybe I don't like it that much just because it promises a much better album

Bubs:   and there's all those full, natural sounding harmonies, and the little flute fanfare after the final chord--or maybe it's not a flute

Judd:   I like that weird sound during the fadeout-yeah. did you notice the bad edit on Brian's vocal at 1:01? I didn't notice it until someone pointed it out but once you hear it you can't unhear it

Bubs:   let me put on the headphones

Judd:    okey dokes

Bubs:   hm, forgot to plug them in. here we go again

Judd:   tch tch

Bubs:   I don't notice anything

Judd:   there's a sudden jump to a higher note

Bubs:   I guess I wasn't really thinking of that as an edit. Could be, I s'pose

Judd:   eh. So yeah, it’s ok. I don't like that final chord so much because they put all their weight on it, like "WHOOAA WEREN'T EXPECTING THAT WERE YOU." Now then, RUNAWAY DANCER




(Let me know if this is you're having trouble reading this format and/or how you'd like it to be different.)
« Last Edit: May 04, 2016, 10:24:15 PM by Bubs » Logged
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« Reply #1 on: May 03, 2016, 03:01:12 PM »

 LOL
No probs reading that format.

You'd make a great webcast duo!

More please.
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« Reply #2 on: May 03, 2016, 03:50:01 PM »

How much wine you guys drink? Wink
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And production aside, I’d so much rather hear a 14 year old David Marks shred some guitar on Chug-a-lug than hear a 51 year old Mike Love sing about bangin some chick in a swimming pool.-rab2591
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« Reply #3 on: May 03, 2016, 04:21:29 PM »

Part 2: Christmastime Denim


Runaway Dancer begins.

Judd:    god, that sax just blares out of nowhere

Bubs:   That is probably the most unintentionally hilarious transition I've ever heard


Judd:   I read on some review that the synths on this song sound exactly like Wonderful Christmastime, and the more I think about it, it's uncanny

Bubs:    “My feelings on this album can be summed up adequately by one exact moment on this album, and that is the transition from "This Beautiful Day" to "Runaway Dancer". One moment, I'm experiencing bliss, assured that Brian can still make beautiful music. The next, I'm hit by a train with "COMMERCIAL INTERESTS" scrawled on the front of it in neon paint.” How I’ve described it before.

Judd:   ah yes. it's a really sh*t EDM song, but to be honest I don't really mind it

Bubs:   let's be real: who's looking for a dance track from a 70 year old man?

Judd:   aye. the problem I have with most of this album is that most of the songs are just insincerely faking sincerity, but at least this one is sincerely insincere. It's just a fucking
stupid pop song

Bubs:   this has got to be the biggest wtf moment on any album I've ever listened to. The way it's structured is like two slaps in the face: it starts with that sax and some snapping, like you wandered into a bad jazz club dressed entirely in denim, and then synths start to fizzle and it all breaks loose.


Judd:   and your grandpa cranks it. I quite like the outro

Bubs: “like you wandered into a bad jazz club dressed entirely in denim” did this make sense

Judd:    I've never read a more apt description of the song. It's hard to sum up thoughts on this thing. I don't really know how I feel about it, except that for reasons I can't quite comprehend I don't hate it. I also know that it is absolutely not good. Do you have any final thoughts on Runaway Dancer

Bubs:   I want to know who's responsible

Judd:    wasn't it written in the late 90s? I suspect Joe and Brian around the time of Imagination

Bubs:    maybe the blame lies more with the guest vocalist, Sebu, and his Capital Cities song style


Judd:   I don't think he's that bad. at least, I don't think he's the entire reason this track is the twisted concoction that it is

Bubs:    I'm thinking that maybe he helped steer the song into this direction. anyway...

Judd:   who knows. to me this sounds pretty much pre-1990
« Last Edit: May 04, 2016, 10:25:16 PM by Bubs » Logged
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« Reply #4 on: May 03, 2016, 04:38:11 PM »

Very cool. I tend to agree on the first two tracks. Smiley
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The Brianista Prayer

Oh Brian
Thou Art In Hawthorne,
Harmonied Be Thy name
Your Kingdom Come,
Your Steak Well Done,
On Stage As It Is In Studio,
Give Us This Day, Our Shortenin' Bread
And Forgive Us Our Bootlegs,
As We Also Have Forgiven Our Wife And Managers,
And Lead Us Not Into Kokomo,
But Deliver Us From Mike Love.
Amen.  ---hypehat
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« Reply #5 on: May 04, 2016, 06:42:36 AM »

Oh yes. Looking forward to more, guys. It's the tonic this board needs right now...
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« Reply #6 on: May 04, 2016, 11:06:43 AM »

It reminds me of "The Conversation" in the NY Times, wherein Gail Collins (liberal) and Arthur Brooks (conservative) have a genial chat about politics, etc. from their respective points of view.
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« Reply #7 on: May 04, 2016, 11:49:10 AM »

Part 3: The Escape Clause


Whatever Happened begins.

Bubs:    very inoffensive beginning; and middle; and the end, too

Judd:    and everything. the problem with the ballads on this album is that they do absolutely nothing to move me

Bubs:    ooh, the steely edge of pitch correction in that chorus

Judd:   at least this one is a great deal more sufferable than The Last Song. this one's not awful-- just incredibly safe.

Bubs:    no, I mean, the big harmonies are sorta cool

Judd:    it just sounds so sterile; it doesn't come to life. They add a little bit just when you think it's gonna end. I like that bit.

Bubs:   someone goes for it on the cymbals

Judd:    indeed

Bubs:    the arrangement is cool in places: I like hearing the occasional low piano notes. Isn't that bass line a rip off from something 65 or 66? the little descending one

Judd:    not sure. probably--it's got that echoey effect on it. I don't like how it's just old tricks put into bland new songs. my biggest problem with this one in particular is how it seems to be kind of a rehash of Southern California and From There to Back Again

Bubs:   I'm gonna pull up the lyrics for this one. “As the time goes by/And I wonder why/When I know the day is through.” I legitimately do not think those lines make sense. he's wondering why he knows when  the day is through...?

Judd:    what's the next part

Bubs:   “The summer wine/My favorite time/The night that I met you.” nothing

Judd:    nope

Bubs:    there's no reference; it’s just phrases put together. they seem like they go together, but they don't

Judd:    oh well. the chorus is the big emotional punch

Bubs:    "When I wake up in the morning/If I see that you're not there/If you're away I'll be OK/I know that you still care."this is basically a verse that cancels itself out. We're getting ready for the devastation: SHE'S GONE; HOW’S HE GONNA REACT. oh he's fine; okay; moving on, then

Judd:    How would you sum up that one?

Bubs:    music for a vacation spot commercial

Judd:    that's the next one

Bubs:    there are multiple vacation spots

Judd:    touché.  I'll just say that out of all the newer BB and BB-related songs, the ones about old age tend to be the best. it felt weirdly intimate and genuine on Midnight's Another Day and the last three songs on TWGMTR. but for some reason on this one it just doesn't. it feels like they've just made a formula out of it
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« Reply #8 on: May 04, 2016, 05:02:22 PM »

Exhibit D: Turks in Space


On the Island begins.

Judd:   there doesn't seem to be any pitch correction on Zooey; that's nice

Bubs:   I'm still upset there's no Zooey and Brian "Let's Put Our Hearts Together"


Judd:   ikr

Bubs:   there's something seductive about her vocals on this song


Judd:   too bad she's singing lyrics for a cruise liner ad

Bubs:   why would you need a bucket of sand IF YOU'RE ON A FUCKING BEACH. I saw the music video: that whole island is just sand

Judd:   nono, they get it FROM the beach. music video is pretty good actually. I'm sure this would be nicer with better lyrics, but I just think about Busy Doin' Nothing. That's such a lovely song and this is just bland

Bubs:   wait a second--Zooey sings "no food."what?

Judd:   they live off seasalt

Bubs:   wha-... bu-... they’re gonna die

Judd:   oh come on Bubs; isn't your idea of paradise dehydration and famine

Bubs:   this is a song about people who booked a vacation, their boat crashed, and now they're trapped on an island. there's no food, there's nothing to do, and they're beginning to hallucinate tables and television

Judd:   oh yeah, wow. that never really clicked with me. this song is genius

Bubs:   A lot of this is making sense now

Judd:   I can certainly enjoy it a lot more now. good job, On the Island

Bubs:   well, I guess that's it for this song then

Judd:   I like that it just ends bleakly on "there's really no place to go;” they're never getting out

Bubs:   See? It really starts to make sense

Judd:   wow. best song on the album.
« Last Edit: May 07, 2016, 03:55:25 PM by Dudd » Logged

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« Reply #9 on: May 04, 2016, 10:03:04 PM »

This Beautiful Day

Will:  I never pause the song.  Usually play it several times in a row before going into my track mix.  13 tracks, I'll show you some time. 

Will:  Yeah, I've got that a cappella clip too - it's still on his SoundCloud.  Have you heard his new track in the Smiler's That Make Music section?

Will:  Hey, are we gonna do the extra songs?  That would be cool.

Will:  bad edit?  I've heard it a hundred times.  Next time I will listen for it.  Or you could just play it again.

Will:  I'm ready for the rain drops.

Will:  Never follow with "Runaway Dancer"

Will:  Go to the one with the hunting horn.
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« Reply #10 on: May 04, 2016, 10:15:00 PM »

Hey, are we gonna do the extra songs?
You bet.
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« Reply #11 on: May 04, 2016, 10:17:19 PM »

Part 3.5: The End


Half Moon Bay begins.

Judd:   this one's quite nice, isn't it. for some reason the woodblocks irritate me on Whatever Happened but they're quite nice here. quite nice

Bubs:   this song is nicely done. might have been better to stick it after "This Beautiful Day"

Judd:   it gets a bit smooth elevator jazz around the middle, but whatever. wait no, the woodblocks are irritating here too

Bubs:   I'm just noticing there's a lot of exotica touches on this album

Judd:   it's tailor-made for a cruise liner of old people

Bubs:   the beginning is really interesting

Judd:   that's one of the loveliest bits of the album. doesn't sound far off the Gershwin album, this one. yes, I don't really have any qualms with this one other than the woodblocks, which I only dislike because some negative review pointed them out and I can't avoid them now because I'm a twat. what are your thoughts

Bubs:   I'm just doing some listening to it - I'm pretty sure I just heard the sound of running water, like a faucet. that's weird

Judd:   rly? that'd be cool

Bubs:   I'll tell you exactly when


Judd:   why isn't there more of that sort of thing on this album

Bubs:   starts right at 2:22, right channel

Judd:   weird, I don't hear it. oh well

Bubs:   I think it probably goes on too long

Judd:   maybe

Bubs:   you can get the entire idea of the song by about 2 minutes in

Judd:   that's not nearly enough time for the Kenny G sax solo

Bubs:   I think this is definitely one of the better songs on the album

Judd:   absolutely

Bubs:   yeah, I was gonna say some of the moments in the solo are a bit cheesy, and nothing interesting happens with the strings


Judd:   no

Bubs:   they just play basically what you think they would

Judd:   at least it's all easy on the ears in a good way. it's calming

Bubs:   I can see mixing up a mojito and then slipping this song on, and just getting lost for a few minutes. but we have to move on at some point


Judd:   oh yes. OUR SPECIAL LOVE

Bubs:   yeah Sad
« Last Edit: May 04, 2016, 10:25:17 PM by Dudd » Logged

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« Reply #12 on: May 05, 2016, 12:17:10 AM »

More please Smiley Totally digging this...
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« Reply #13 on: May 05, 2016, 12:41:52 AM »

OMG, favorite thread in years.
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« Reply #14 on: May 05, 2016, 05:05:12 AM »

Great thread, really helps the album experience. Grin
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« Reply #15 on: May 05, 2016, 06:37:37 AM »

I find that this back and forth actually sucks all the joy out of the album for me-- the two of you, between you, are able to nitpick every single weak moment. Now I won't be able to unhear the damn wood blocks!  LOL

That said, I'm enjoying reading this thread immensely.
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« Reply #16 on: May 05, 2016, 01:11:57 PM »

Part 4: Knee Deep


Our Special Love begins.

Judd:   so this is pretty much the worst song on the album. intro is nice enough I guess

Bubs:   I'd just like to point out that I started the 90s boy band thing that everyone says now

Judd:   a true innovation

Bubs:   FLY AWAY. f***

Judd:   chriiist the melody is just bland as f*** and I don't like Peter Hollens' singing

Bubs:   I don't like his voice

Judd:   but it's the goshdarn beatboxing. I kinda like when he goes a bit lower in the middle there. why did it have to be Peter Hollens

Bubs:   how did they know he existed

Judd:   this isn't quite as insufferable as I remember it being, but the beatboxing and pitch correction kills it

Bubs:   The "fly away" bit is just so heinous

Judd:   the lyrics are awful but I just don't pay attention to any of them on this album really

Bubs:   it's just… boy band dreck

Judd:   ugh. on we go.

Bubs:   I just don't feel like I've thrown enough hate at OSL. I need to drown it

Judd:   oh, pardon me

Bubs:   I need it to float away in the stream of my vitriol

Judd:   *fly. it's almost 6am and I've been up since 2pm. I don't have the energy to hate it

Bubs:   to wind up somewhere in the Missouri river and pour out to sea, the bloated carcass of cheap thrills, never to be seen again

Judd:   have you got it out of your system

Bubs:   I never will.

Judd:   pft.
« Last Edit: May 05, 2016, 05:36:25 PM by Bubs » Logged
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« Reply #17 on: May 05, 2016, 01:45:17 PM »

This might be the greatest thread ever.  Grin
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« Reply #18 on: May 05, 2016, 02:08:51 PM »

Judd and I are grateful for your kind words, everyone. We didn't think anyone would even bother to read this far. Tongue
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« Reply #19 on: May 05, 2016, 02:14:24 PM »

I'm loving it so far. LOL
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« Reply #20 on: May 05, 2016, 05:00:24 PM »

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« Reply #21 on: May 05, 2016, 05:52:11 PM »

Part 5: Participation Trophy


The Right Time begins.

Judd:   I like that organ lick that starts it off

Bubs:   bit "On the Island"-y, ain't it

Judd:   On the Island meets Lay Down Burden, except it's a bit better than the both of them

Bubs:   okay, not terrible yet… there it is

Judd:   this is the first song where the drums are too loud. I remember that being something I dislike about this album. they're just bangin in the chorus

Bubs:   pretty sure this song has "Sloop John B" references in the guitar somewhere. or maybe that's "Sail Away"

Judd:   I think that's Sail Away, yeah

Bubs:   it gets awfully close in this song

Judd:   true

Bubs:   what is that guitar part. that doesn't make sense with this song

Judd:   David Marks innit

Bubs:   it doesn't have the right tone

Judd:   I might be desensitized from all the hours of listening to this album. this one is definitely sufferable though. at least, it compares favourably to Sail Away

Bubs:   "so many times we get fooled again.” the way he sings that is bizarre. about 0:50, listen to the way he pronounces "fooled"

Judd:   yeah. sounds a bit like Panda Bear. i've been listening to a lot of panda bear. ahem, anyway

Bubs:   he's thinking forever, which is crazy

Judd:   I can forgive most of the crappy lyrics. not the most noted lyricists, the Beach Boys

Bubs:   I love love love the "for thinking it over" in the chorus. it's like we're moving backwards. at first, he's like "this is the right time for getting together forever,” and now he's like "why don't we split a bagel and talk about it"

Judd:   I'm hearing Brian more on "for thinking it over.” he must be sick of Al's sh*t

Bubs:   well, it's the same person narrative-wise, y'know


Judd:   ah yes. this is one of the "meh" songs on the album for me

Bubs:   these lyrics are all just meaningless. "Whatever happened to me and you/ And everything we've been going through/ So many pieces but never in a very straight line.” like, the second line doesn't work. whatever happened to the things we were going through? why do you sound nostalgic for troubled times? the third line tries so hard though, and, damn it, it's almost there.

Judd:   maybe it's about losing memory

Bubs:   "So many times we get fooled again/ With everything that's been happening/ Like changing places with someone/ In the back of the line/ But not this time.” who's fooling you? why are the things that are happening fooling you? what's this about going to the back of a line? what?


Judd:   he's fooled by his own memory y'see

Bubs:   you keep mentioning the things that are happening, but you suggest they're over in the first verse

Judd:   he thinks he's pushing past but he's just pushing past the same guy at the back of the line.

Bubs:   and then the whole song throws itself against a wall when he says "For getting to know her.” I THOUGHT YOU ALREADY KNEW HER. IT'S IMPLIED IN THE VERY FIRST LINE. THE FIRST ONE. HOW COULD YOU FORGET

Judd:   "getting to know her" is a daily routine because he keeps forgetting who she is. I like that it at least tries to SOUND eloquent. er, are we done with this one

Bubs:   I guess
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« Reply #22 on: May 05, 2016, 08:08:16 PM »



THAT'S EXACTLY WHAT I THOUGHT READING THIS THREAD!
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« Reply #23 on: May 05, 2016, 09:19:51 PM »

Part 6: Gain Strikes Again


Guess You Had to Be There begins.

Bubs:   I'm expecting a metal song or something when those drums come in

Judd:   I remember you posting on SS something like "this song is great" when it came out

Bubs:   i know. just listen to that beginning. all the little intertwining melodies, all the details, it's great

Judd:   yeah. I like the harmonies that come in on "we were sharing a new day"

Bubs:   there's some sort of tuned percussion hiding in there somewhere

Judd:   good chorus actually. maybe I didn't give this one enough credit. although that guitar on the second verse is weird

Bubs:   I do like some of the lyrics on this one, most likely due to Musgraves


Judd:   yeah, I suspect so. although the music itself doesn't exactly evoke prime to late 70s Brian

Bubs:   a lot of this song is good, a lot of the parts of songs. "people passed out on my floor.” nice job, Musgraves


Judd:   the "ooh ooh"s are really nice

Bubs:   but there's also something else about it that doesn't work. maybe the way it all comes to a screeching halt when Musgraves sings her bits

Judd:   oh yeah, that's just weird. it still sounds really clinical and soft like the rest of the album

Bubs:   it just sorta sounds like they didn't finish

Judd:   I'd like it better if it just kept building up momentum, because the first chorus especially actually sounds really joyous.  it starts really kicking into gear then it just stops a bit

Bubs:   and then more of that off-tone guitar

Judd:   yeah. even so, I like this more than I used to now

Bubs:   some of this song is good. it is. they're close with this one

Judd:   I guess I never paid much attention because it feels more like Musgraves' song than Brian's, but on its own it's good

Bubs:   if you're gonna play on a country song, please use the twang. not the gain. the twang.

Judd:   ah yes

Bubs:   I'm not sure if the last line is referring to it just being annoying or a hangover, but I hope it's the latter because I like that

Judd:   me too. so, best song on the album so far. what's next, are we doing the bonus tracks

Bubs:   yeah. oh, this one. this one is weeeeeeeeird


Judd:   not gonna lie, I love this one. but then again I've probably already said that

Bubs:   I think so that song of course being DON'T WORRY.


Judd:   woo
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« Reply #24 on: May 06, 2016, 08:03:42 AM »

This is a fantastic thread.  Thank you for your reviews.
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