Badly Drawn Boy - One Plus One is One Astralwerks/EMD
Reviewed by Shel Desormeaux
Album rating: 
The Hour of Bewilderbeast, released in 2000, was a gleeful experiment in ‘what does this do?’. It was pure and perfect pop fun, and Badly Drawn Boy’s (a.k.a. Damon Gough’s) name was on the lips of every college boy in the Midwest. The album was considered an instant classic, and he followed up in no time with the About a Boy soundtrack, which attracted as much (if not more) acclaim as the movie it accompanied.
One Plus One Is One, Gough’s follow-up to 2002’s Have You Fed the Fish? (a nice little bit of growing up), is sober, thoughtful and mature. It could almost be seen as a plea for peace and love after a year or so of losing loved ones and watching different parts of the world go up in balls of mortar and smoke. In the midst of such pain, we try to hang onto old, reliable love, as in “Another Devil Dies” (“And when we sing/I hear another devil dies”), although it too isn’t long for this world, and we know it. “Year of the Rat” (the album’s first single) reflects on the turmoil that most of the world has been existing in over the past year, and repeats Damon’s mantra of “the one,” an ideal that circles almost every one of his projects and is obviously the focus of this bittersweet offering.
One Plus One Is One is sweet and soft; a quilted photo album bursting with pictures of Damon’s life or anyone else’s. A series of snapshots capturing many moments in time, it is sweet and hurt and unstoppable, full of endings and the beginnings they bring. Like life, it’s pretty wonderful.
Comments? Click here to let us know what you think.
Jump Back To Top
Bjork - Medulla Elektra/Asylum
Reviewed by Shel Desormeaux
With the first few stanzas of “Pleasure is All Mine,” the opening track of Medulla, Bjork re-establishes herself as one of the few artists on the planet who is really and truly without fear. Medulla (Latin for ‘marrow) is almost devoid of instrumentation, save some light percussion and the very odd (and random) blip, managing to be the most raw, lush and somehow complete album she’s ever released.
Still present are her broken candycane lyrics, tangy sweet yet sharp. A few of the songs stand out as a need to understand the paradoxical darkness of love and its unknown consequences, like “Desired Constellation” (“It’s tricky when you feel someone has done something on your behalf/it’s slippery when your sense of justice murmurs underneath and is asking you/how am I going to make it right?”) and “Where is the Line” (“Where is the line with you? I want to be flexible/I want to go out of my way for you/but enough is enough”). To the latter, Mike Patton (former frontman of Faith No More) lends his considerable vocals, and the Icelandic Choir performs on many of the tracks, as does Inuit throat singer Tanya Tagaq, Robert Wyatt, and the Roots’ MC Rahzel.
No jangly guitars, no insistent bass lines… just vocals and samples of them. There is nothing to distract us from those shrieks or moans or coos or tremors. If Bjork’s voice had feet, it would tiptoe on over and kick you in the ass.
Comments? Click here to let us know what you think.
Jump Back To Top
The Black Keys - Rubber Factory Fat Possum
Reviewed by Adam D. Miller
The Black Keys are two guys in their twenties from Akron, Ohio who like to play simple and raw blues-rock, while drawing upon soul, funk, and rock influences. Dan Auerbach provides guitar and vocals, while Patrick Carney plays the drums. The major problem with their latest record, Rubber Factory, is that the album’s weakest track, “When The Lights Go Out”, is what has been selected to start the album. Because of this, I had a sour taste in my mouth almost immediately.
The good news is that Rubber Factory gets better. “10 A.M. Automatic” is a solid rock ‘n’ roll song with a clichéd chord structure, but a melody and vocal quality that makes it effective and unique. And if you dig guitar solos, the one that ends the track is about as good as it gets when it comes to accessible guitar solos. Other highlights include “The Desperate Man”, which starts out like a Booker T. & The MG’s instrumental (without the organ, of course) and continues like an Allman Brothers Band track, with great slide guitar. “Girl Is On My Mind” sounds like a 1960s relic that could have been found on the Nuggets box set, while “Stack Shot Billy” sounds like one of the darker blues romps on The Rolling Stones’ Exile On Main Street. The album’s one cover tune, The Kinks’ “Act Nice And Gentle”, is inspired and enjoyable, and in fact, one of the best Kinks covers I have heard.
But the album is tedious, and probably would have been better as an EP. Inconsistent songwriting plagues the record on more than a few occasions. “All Hands Against His Own” would have been a much better song had the melody been something more original than Auerbach mirroring the tune of the opening guitar riff. Cool as a guitar riff, not so cool as a vocal. The Black Keys try to slow it down midway through the album with a Stonesy ballad called “The Lengths.” Nice try, but it simply doesn’t work. “Grown So Ugly” is Auerbach’s attempt to sound like either a real blues/rock singer or Chris Robinson of The Black Crowes. Unfortunately, the lyrics are “I got up this morning, put on my shoes, tied my shoes, went to the mirror.”
If you like The White Stripes, The Strokes, Franz Ferdinand, Jet, and overall, the whole rock ‘n’ roll revival scene, then Rubber Factory is probably a welcome addition to your collection. It shows promise of a band that could potentially be as good as The White Stripes. With more maturity and more consistent songwriting, it’ll get there soon. Keep at it, boys.
Comments? Click here to let us know what you think.
Jump Back To Top
Brian Wilson - Gettin' In Over My Head Rhino
Reviewed by Adam D. Miller
“Dancin’. Dancin’. Dance the night away, Dance the night away. 1:30. 2:30.” His voice is a little shakier, and his hair is a little thinner, but the gorgeous, full-bodied harmonies of Brian Wilson have not faltered since his 1960s hey-day as the leader of The Beach Boys and composer of such albums as Pet Sounds and Smile. When we listen to his music, we are automatically transported to sunny California. The harmonies and the music is reminiscent of a cool, summer breeze.
Gettin’ In Over My Head is the third proper Brian Wilson solo album; and his first since 1998’s Imagination, the album that coincided with Wilson’s return to the concert stage, a setting that Wilson had mostly remained absent from since having a nervous breakdown in 1964. Gettin’ In Over My Head proves that Wilson is still a studio genius, layering wonderful vocal harmonies over a “wall-of-sound” instrumental landscape, much like his mentor, Phil Spector. At moments, the album sounds eerily like the 1965/1966 transitional period of The Beach Boys. The title track, for instance, is reminiscent of the Pet Sounds track “I Just Wasn’t Made For These Times.” But let’s not fool ourselves. Wilson does not rely on tried and true techniques to the point that he is simply rewriting “Little Deuce Coupe.” The music sounds as fresh as ever, thanks to musicians and vocalists who are more than happy to help Wilson continue to express his distinctive musical vision.
The album begins with “How Could We Still Be Dancin’”, a collaboration which finds Wilson delivering the opening harmonies before guest vocalist Elton John takes over with the verse. The track recalls the gritty lead vocals that Carl Wilson brought to 1970s Beach Boys songs like “You Need A Mess Of Help To Stand Alone.” Although it is unusual that the first track on a Brian Wilson album is primarily being sung by Elton John, the collaboration is both effective and entertaining. Of course for Wilson, having his songs sung by others is nothing new. Some of his best songs with the Beach Boys (“God Only Knows”, “Good Vibrations”) were sung by his brother Carl, who recorded the lead vocal for this album’s second track, “Soul Searchin,” prior to his death in 1998. Fans of Solomon Burke’s Don’t Give Up On Me will have already heard this track. One imagines that this version is more aligned with the sound it would have had, had it been included on a latter-day Beach Boys album.
Despite its many great songs, Gettin’ In Over My Head is not without its flops. The album’s two other guests, Eric Clapton (“City Blues”) and Paul McCartney (“A Friend Like You”) don’t really add much to the album, which is probably more due to the weakness of the tracks themselves than the celebrity endorsements. At their worst, however, these tracks are half-decent, which makes for a pretty good album, one that allows Wilson’s genius to shine through on more than a few occasions.
Comments? Click here to let us know what you think.
Jump Back To Top
Elvis Costello: Reissues Rhino
Almost Blue, Goodbye Cruel World, and Kojak Variety are the latest Elvis Costello albums to receive double-disc treatment in what has been an ambitious reissue program from Rhino Records. Disc 1 contains the original, remastered album, while Disc 2 is entirely comprised of bonus materials, such as alternate studio versions, demos, and live recordings. Rhino has already released most of the essentials in Elvis’ catalogue in this treatment, so nothing from this trio is essential for the casual listener. In fact, to some these are considered among Elvis’ weakest efforts. However, like the other Costello reissues, the bonus discs reveal many hidden treasures that only serve to make the albums better.
Almost Blue was originally released in November 1981, after Elvis had already established a name for himself in modern pop music. He had released five Nick Lowe-produced albums, beginning with his 1977 debut My Aim Is True and closing with Trust, which was released earlier in 1981. Anyone with more than a casual interest in Costello already knew that his musical world was very eclectic and that he appreciated and wrote in a variety of styles. In 1979, at the height of Elvis’ fame as a new wave rock ‘n’ roller, his “Stranger in the House” appeared on a George Jones duets album. What soon followed was Almost Blue, an album comprised of classic country songs by Gram Parsons, Hank Williams, Don Gibson, Merle Haggard, and Charlie Rich, among others. The album is solid, and it is clear that Elvis is passionate about the songs he is singing, such as “Sweet Dreams” and the minor hit of the album: “Good Year For The Roses.” The bonus disc, however, is the true revelation here. Aside from containing the aforementioned duet with George Jones, it also contains a previously unreleased duet with Johnny Cash entitled “We Oughta Be Ashamed”, excellent studio outtakes, and a whole score of live cuts with John McFee on pedal steel (the most impressive of which is a rendition of the Costello original “Girls Talk”).
Goodbye Cruel World is widely viewed as Elvis Costello & The Attractions worst effort. Elvis himself puts it best in the liner notes of the reissue: “Congratulations! You’ve just bought our worst record!” Most of the songs are solid (“Love Field”, “The Comedians”, “Home Truth”), but suffer from the cheesy production techniques of Clive Langer and Alan Winstanley, who would have done us all a favour by staying away from Elvis (note: while we’re wishing folks had buggered off, let’s add Daryl Hall, who guests on “The Only Flame In Town”, to that list). Again we are rewarded by a bonus disc which sheds a little light on what went wrong with the album by offering many of the album’s songs in less obnoxious versions. Unfortunately, many of the acoustic demos are hissy and therefore not very pleasing to the ear. There are some great moments, but not enough to make this reissue worth it to anybody but Elvis Costello completists.
Kojak Variety is the best of the bunch in this group of reissues. Released in 1995, Kojak Variety is a collection of Costello singing some of his favourite songs, backed by greats like James Burton and Marc Ribot. The album showcases the “variety” of Elvis’ musical interests, featuring songs by Bob Dylan (“I Threw It All Away”), The Kinks (“Days”), Willie Dixon (“Hidden Charms”), Mose Allison (“Everybody’s Cryin’ Mercy”), Burt Bacharach (“Please Stay”), and others. Few of the songs are improved upon their originals, but like Almost Blue, it is clear he enjoys paying tribute to his favourites. The Kojak Variety bonus disc contains twenty additional cover tunes by the likes of Bob Dylan (“You’re Gonna Make Me Lonesome When You Go”), Paul Simon (“Congratulations”), Gram Parsons (“Still Feeling Blue”), The Grateful Dead (“Ship of Fools”), among others. While some had already been released in one form or another, it is nice to have them all on a single disc.
Like the original releases of Almost Blue, Goodbye Cruel World, and Kojak Variety, this batch of Costello reissues is probably the least essential to date. If you love the sound of Elvis exploring other genres and singing the songs of others, however, then Almost Blue and Kojak Variety at the very least are worth the extra few dollars, especially if they are absent from your collection to begin with.
Comments? Click here to let us know what you think.
Jump Back To Top
Garden State Soundtrack Sony
Reviewed by Shel Desormeaux
First time director Zach Braff (TV’s Scrubs) felt strongly that choosing the right songs was important in adding weight to the movie Garden State, the story of a man who returns to his home (and estranged family) for his mother’s funeral. The movie is indeed a comedy, but Braff’s co-star Natalie Portman observes, "It also has a heart. A lot of funny stuff these days is so cynical, but there's nothing cynical about this movie. It's untraditional and unlike anything I'd ever seen before. That's what made it exciting."
Comprised of older material, such as Nick Drake’s “One Of These Things First” and Simon & Garfunkel’s “The Only Living Boy In New York,” as well as newer lesser-known artists like Iron & Wine, The Shins, and Thievery Corporation, Braff handpicked all of the songs himself. “Essentially, I made a mix CD with all of the music that I felt was scoring my life at the time I was writing the screenplay,” he said. The result is nicely diverse, with the songs crossing multiple genres while remaining consistently sweet, many of them appropriately conveying the idea that maybe you can never go home again, but you can always try.
Comments? Click here to let us know what you think.
Jump Back To Top
Geriant Watkins - Dial W for Watkins Yep Roc
Reviewed by Adam D. Miller
At his best, Geriant Watkins is the perfect blend of John Hiatt and latter-day Nick Lowe; mature and gentle, yet rowdy and humorous. With this in mind, it shouldn’t come as a surprise to anyone that Watkins serves as keyboardist for Lowe’s touring band. Unfortunately, Watkins is only at his best on a handful of the 14 tracks that make up Dial ‘W’ for Watkins.
The cleverly titled album gets off to a relatively slow start. It begins with a tender, reflective song about life called “Two Rocks.” The song is tender and short, but probably would have served as a better song later in the album since very little about it makes the listener want to proceed. Its saving grace is that it is a short song, running at less than two minutes. What follows is the worst track on the album, an experiment in humour gone completely wrong. “Turn That Chicken Down” may be a song added in for comic effect, but it sounds like it utilizes sound effects of a person with a bad cold and an out-of-tune saxophone, not to mention singing that doesn’t line up with the music.
Thank heavens for track three. The album’s best track, “Be My Love” sounds like an outtake from Nick Lowe’s The Convincer covered by John Hiatt. The vocals and lyrics are repetitive but effective and make for a tender and upbeat love song. The low-fidelity instrumental “Cold War” is an effective break from the album’s predominantly repetitive style, with excellent Hammond B3 from Mr. Watkins. Watkins’ cover of The Beach Boys’ “Heroes and Villains” turns the song into a 1950s shuffle with traces of lounge lizard stylings. Highly effective at times, but the scatting and French-language interjections add little to the track (I highly doubt Brian Wilson envisioned any “doobeedoobeedoo” backing vocals for his magnum-opus).
It is clear why Nick Lowe would want to involve himself with someone like Geriant Watkins. The two men come from a very similar place, musically, and at times the similarity is uncanny. The drawback of that is that Watkins is not as strong a songwriter or vocalist as Lowe, and offers little else to draw the listener. But if you enjoy Nick Lowe’s recent material, John Hiatt’s voice, and a unique sense of humour, then Dial ‘W’ For Watkins is sure to leave you satisfied.
Comments? Click here to let us know what you think.
Jump Back To Top
A Girl Called Eddy Anti-
Reviewed by Adam M. Anklewicz
Perhaps the best thing I can say about A Girl Called Eddy is that the cover art is great. Picking up the album, I was greeted by what looked like a record that had fallen from the 1970s. Wear and tear on the sides of the CD’s cardboard case, simulated ring marks from the vinyl, and a photo that screamed early 1970s singer-songwriter. What I was faced with however was a far cry from what the cover art implied. Sadness, despair and boredom all run through this album.
A Girl Called Eddy is Erin Moran, a singer-songwriter who is heavily influenced by 1970s style she evokes with her album’s cover art. Eddy’s musical style automatically recalls the greats, such as Bob Dylan and Joni Mitchell. Unfortunately, she doesn’t provide the interesting lyrics, melodies or creativity that her influences did. Eddy is able to sound bored and tired at the same time, and the depression spreads. Not an enticing combination. Songs like “Kathleen” leave you wondering what the point was and who thought this could sell. “Life Thru The Same Lens” is perhaps the only high note on the album. Eddy gives a bit of pop to go along with the lament on this track. It is the only breath of air on the album, but it doesn’t last long, and is simply not enough of a peak.
Comments? Click here to let us know what you think.
Jump Back To Top
John Adams – On The Transmigration of Souls Nonesuch
John Adams, composer
Performed by the New York Philharmonic, Loren Maazel, conductor
Reviewed by Billy Lurken
This may be a rarity for Being There magazine: a review of a classical piece. But this isn't a review of yet another ensemble taking a stab at Beethoven's Fifth. On The Transmigration of Souls was composed by 57-year old American composer John Adams, who was co-commissioned by the New York Philharmonic and the Lincoln Center to write a piece to honor the heroes and victims of the 9/11 attacks.
Transmigration is more than a classical piece; it's a moving, multimedia music experience. The musical elements of the piece are not unlike those found in other modern classical compositions: harmonic dissonance, lack of memorable themes or melodies, complex rhythms. What captivates listeners is how Adams mixes taped sound bites and spoken words with the orchestral and choral music to create an incredibly surreal sonic environment. The choral text and sound bites mainly consist of phrases from memorials and missing persons posters near the ruins of the World Trade Center, as well as quotes from relatives of victims and names of those who perished on that day.
Throughout the twenty-five minute piece, the composer's use of dynamics is perfect, with the ensemble crescendoing to an eerie climax during the portion of the text which repeats "I wanted to dig him out. I know just where he is" and then repeats the words "Love" and "Light" in a chant-like manner. From that point on, the piece assumes a tranquility similar to that found in an earlier Adams piece called Christian Zeal and Activity.
Composing a piece to commemorate such an important and emotional event in American history would have indeed been a daunting task in the hands of a lesser composer, but Adams met and exceeded the challenge to create a truly soulful and transcendent experience.
Modest Mouse - Good News for People Who Like Bad News Epic
Reviewed by Brighid Mooney
The good news for people who love Modest Mouse is that their follow up to 2000's The Moon and Antarctica picks right up where that album left off and carries its idea farther than anyone could have ever hoped. Lyrically down to earth (quite literally), and with a more restrained sound, Good News For People Who Love Bad News is Modest Mouse's most focused and accessible album to date. But rather than being too restrictive, this strapping down merely keeps them from flying off into the stratosphere. Laid-back in attitude and musically backed by a great deal of force, Good News is an album with a lot on its mind. Serving as a one-line guiding point for the album's entirety, the prescient lyric “we've lost the plot and we just can’t choose” bemoans having too much to say and no coherent way to say it. It's a statement very true to Good News, and one that portrays an album that is both overwhelming in its scope and precise in its presentation of the bewildered misgivings of youth.
Over the course of the album's sixteen songs, Isaac Brock and company contemplate mortality, spirituality, and the stalled feeling you sometimes get when life doesn't seem to be going anywhere in particular. “If you find a way out, oh would you just let me know,” Brock sings in “Blame It On the Tetons.” The concept of death and dying is interwoven again and again with God, evil, and heaven and hell. In his lyrics, Brock seems to be searching for a place and meaning in the world, apart from a reliance on God, who has proven to be something of a letdown; an “Indian giver,” and “a control freak.” The lyrics are often poetic, sometimes obtuse, and occasionally nonsensical. But “language is the liquid that we're all dissolved in,” and even when the words become almost too esoteric, the feelings they evoke are not.
Good News is a true labour of love; an album that almost didn't get made; one that cost Modest Mouse their longtime drummer and founding member Jeremy Green, and very nearly: Brock's sanity. After several false starts, including a stint in a house in Portland and some time not well spent in a Seattle studio, and under intense pressure from the band's new big label, Sony, Modest Mouse fled to a most unlikely place to finally knock out the album: Oxford, Mississippi's Sweet Tea Studio. There, with the help of producer Dennis Herring, in a studio usually frequented by the great blues musicians of the South, Modest Mouse was at last able to do what they had first set out to do. If Good News seems sprawling, manic, and desperate, it is a testament to what Modest Mouse went through during the album's recording, and a direct representation of the mammoth physical and emotional effort it took to make. That feeling, of both desperation and accomplishment, permeates the album through and through, and to great effect.
True to Modest Mouse's experimental and progressive roots, Good News opens with a horn intro from the Dirty Dozen Brass Band and features guest vocals from the Flaming Lips. Taking cues from the Talking Heads, Modest Mouse has always seemed to strive to defy the rules of rock music, and Good News features plenty of rock oddities. But the album itself is fairly straightforward, drawing on a variety of recognizable influences. “The World At Large” and “Blame It On the Tetons” are both tinged in alt-country and “Devil's Workday,” with its creepy carnival music, plays like a love letter to Tom Waits. “Dance Hall" is desperate, fun, and chaotic, and along with "Bury Me With It," echoes of the Pixies. And certain moments, such as when Brock sings "If life's not beautiful without the pain, well I'd just rather never ever even see beauty again," are stylistically reminiscent of Lou Reed. Taken all together, the album comes off with ingenuity and eccentricity, and with a surprisingly unruffled attitude toward life. “If it takes shit to make bliss,” sings Brock in “The View,” “well I feel pretty blissfully.”
Comments? Click here to let us know what you think.
Jump Back To Top
Peter Elkas - Party of One Maple Music/Universal
Reviewed by Adam M. Anklewicz
Peter Elkas’ debut record, Party Of One, is simply beautiful. Elkas has spent the better part of the past year making his way through Canada on numerous occasions, touring in support of such acts as Sloan, Joel Plaskett, The Superfriendz and Jet. After releasing six of the album’s ten songs as an EP with the same title, Elkas gained the attention of Maple Music, who are now releasing the full-length version of the album.
Elkas had received accolades from the press and built a solid fan base with his former band, The Local Rabbits. Along with his fellow band members, Elkas explored many styles, from pop (“61 Days”) to blues (“Wintertime Daydream”) to rock (“At Least You Got The Cake”). On Party Of One, Elkas gets a bit more down to earth and soulful. With help from producer Don Kerr (Kyp Harness), the listener is surrounded by a beautiful voice, some lovely melodies, and great lyrics such as “I’d love to jump outside and meet him/(to meet the sun)/So he could carry me to freedom/Curled up inside the warmth he breathes/I’d look down upon the trees.”
“Party Of One,” the opening track of the album, recalls the title track of fellow Murderecords alum Mike O’Neill’s debut album, What Happens Now. Elkas asks, “Will I have to dance and sing alone?”, while O’Neill asked, “What happens now?”; both of them just beginning their careers as solo artists unsure of their path. It appears that Elkas is heading in the right direction with Party Of One.
“Build A Harmony” is pure fun with a great feel. Perhaps it should have opened the album to get the listener going with a little dance. The standout on the album is “Everybody Works.” It’s the agreement with Elkas’ statement, “What more could there be/Than a sunny day off for you and me?” The song connects with the common hatred of a joyless job.
My chief complain with the album has to do with Don Kerr’s production style. The album as a whole sounds distinctly like the style of Ron Sexsmith, whom Kerr has repeatedly worked with. Sexsmith’s style seems a bit odd when another musician is using it, and this is most evident on “Build A Harmony.” After about three listens, I found that I got used to the similarities and could start to appreciate the album for its own style and sound. None of the songs let the listener down, and as a whole the album is great. Elkas seems to have really taken control of this project and created something worth sharing.
Comments? Click here to let us know what you think.
Jump Back To Top
William Shatner - Has Been Shout! Factory
Reviewed by Adam M. Anklewicz
Everyone has heard William Shatner’s rendition of The Beatles’ classic “Lucy In The Sky With Diamonds.” There are many who wish they never had. Montreal-born William Shatner is not a singer and admits this whole-heartedly. Has Been, Shatner’s first album since 1968’s Transformed Man, consists of spoken word-over-music produced by Shatner’s friend Ben Folds, with help from a few other stars such as Aimee Mann, Joe Jackson and Henry Rollins. Unfortunately Leonard Nimoy doesn’t make a visit.
Best known as Captain James T. Kirk from his role in the ever-popular 1960s sci-fi series Star Trek, William Shatner enjoys having fun with his image. Shatner is able to make an enjoyable and listenable album that would surprise even the biggest sceptic. His writing and collaborations with friends is very obviously comical. “Has Been,” a cowboy romp, features the lyrics “we’re laughing at his failures/though they have not done shit”, focusing on the concept of being a has-been and labelled that by people who have done nothing in their own lives.
The album opens with a cover of Pulp’s “Common People.” Shatner recites the lyrics over music with Ben Folds singing along. “I Can’t Get Behind That” is a wonderful rant about anything and everything: “My favourite shows on television have 12 minutes of advertising/I can’t get behind that.” Complaining about gas prices, war, and everything else, Shatner will have you laughing for several minutes after each song finishes, while the closing track “Real” is about Shatner not really being Captain Kirk, but just the same as you and me.
If you listen to this album expecting musical gold you will be thoroughly disappointed. If you expect the confidence and swagger of Jim Kirk, you will again be disappointed. William Shatner is honest about himself and has fun with this album and if you are looking to have an enjoyable time too, this album provides it.
Comments? Click here to let us know what you think.
Jump Back To Top
Or, click below:
Visitors from the US:
Visitors from Canada:
