Nostalgia: 10,000 Days Andy King Review

With a new Tool album on the way, I thought it would be fun to review some of the posts that came out around the time of their last album 10,000 Days release. One review that sticks in mind is the infamous review from Andy King, who I believe was a radio DJ who attended a listening party.

From memory he didn’t realise there was a non-disclosure agreement, and published a review of sorts online. It was reasonably quickly taken down, but the internet did what the internet does, and preserved it for prosterity.

Here it is!

Track 1- “Vicarious” (7min 3sec). 
Mesmeric start. Hypnotic beat. Jagged, angular off beats.  Familiar trancey passages punctuated by a guitar part reminiscent of an older Tool track. Tribal drum beats fuck with a lovely melody and climax with Maynard’s vocals.

Track 2 “Jambi” (7min 12sec) 
Melodic intro with almost balladic vocals from Maynard.  Lighter feel (almost, dare I say it, APC-tinged) but not for long. Danny gets stronger – Baresi releases our tubthumper and the feel gets much heavier into ‘chugga chugga’ off beats. Then – here’s some unusual guitar work.  Man, it’salmost Hendix-like! Then back into a heavy tribal groove

Track 3 “Wings For Marie (Pt 1)” (6min 20sec) / Track 4 “10,000 Days (Wings Pt 2)” (10min 26sec) 
Starting with Buddhist temple-flavoured gong tweaking the collective nipples of Kraftwerk, a deep sphincter-rumbling bass and om chanting might recall ‘Parabol’. After 3 minutes of this nerve-wracking niceness, all Hell breaks loose with mega-heavy riffdom before slipping back into spaciness after 30 seconds. Like an epileptic convulsion in a night of deep sleep. Hawkwind does Greensleeves whilst Pink Floyd look on. The Record Company people are starting to look nervous and uncomfortable as if they have seldom HEARD anything so strange and worrying.  What the fuck is this? Let me outta here! I need to go snuggle the Radio One Playlist! Suddenly it’s a crazed sea shanty for whacked-out space travelers.  ‘You’re the only one who can hold your head up high. It’s my time now… my time now… give me my… give me my…’ duets Maynard with himself. Danny fights free of the evil clutches of Dr Baresi and goes off on one. Adam’s guitar recalls something off Lateralus again. It’s Triad, I think, but it’s almost impossible to identify one riff whilst another song goes on. The musical equivalent of rubbing one’s head and tummy simultaneously in different directions. They’re doing this on purpose to fuck with our heads. Bastards! Returns to full-on rhythmic Toolishness to end. No it isn’t the end. It doesn’t end like any other song ends.

Track 5 “The Pot” (Probably 6min 11 sec) 
Oooooooh. This is THE one. Ya know what, pluggers? Radio might even go for this! Maynard’s vocals at the start are quite extraordinary. Place equal parts of Chris De Burgh, Tiny Tim and Bilal The Muezzin in a blender and run for your life. Easily the most commercial track to date. In fact, easily the most commercial track Tool have EVER done. That guitar is waaay strong again. Did Adam bribe Baresi? This is still twisted. It’s hard but commercial. The end spells a relief as climactic as a boil bursting. I go ‘Yessssss’ and the whole room of cool jouros looks round at me as if I’m a Bateman cartoon ‘The Man Who Ordered A Pork Sandwich In Blooms’. This is a SERIOUSLY awesome track. Just you mark my words.

Track 6 “Lipan Conjuring” (1min) 
In which Maynard becomes a Native American for no good reason. Strange, but we like a bit of strangeness.

Track 7 “Lost Keys (Blame Hofmann)”/ “Rosetta Stoned” (14min 45sec)
(Could be two medium length tracks and a terribly short one, too.  I’m now losing the will to live with the stopwatch. It’s 14min 45sec of music, whatever)  Guitars to the fore again. One long note with almost blues-like, overlaid note progressions. f@!# me, it’s House Of The Rising Sun cut with Ketamine. There are unsettling whispers and talking. Is this a bad trip or a psychiatry session? Come to think of it, is there a difference? ‘How Are You Today?’… ‘Tell Me Everything’ then THWACK! Into such a breathtakingly slappy, powerful riff kick that I’m actually physically winded for a nanosecond. Demonic, growling, rap noise over rhythmic heavy heavy groove. Forget the Were Rabbit jibe. This is a f@!# full-on, nasty, shaven headed WEREWOLF. A lightbulb goes mental in the room. The Record Company almost lose all cool and run for it. I damn nearly join them but now I AM crying. I am gulping back wracking sobs at the sheer Toolishness of this monstrous, magnificent track. This is the real deal. Again snippets from Lateralus. You ARE playing with us. You ARE! This is Tool’s equivalent of ‘spot the Hitchcock in the Hitchcock film’! But I don’t care. It’s like The Best Of Tool in one song. The Bomb. It ends like the violent end of a violent life. And then it ends again. Unless that’s another track, of course….

Track 9 “Intension” (6min 44sec). 
Odd noises. Sea shore meets ironworks. Ever see the cartoon meisterwerk ‘Spirited Away’? You MUST! In it there is a character called Kamajii The Boiler Keeper who has 6 arms and an army of small black coals. This sound is similar. Soon joined by elastic bass and drum twangling over multi-layered Maynard whisperings and chanted vox. Shades of Pink Floyd again.  Shades of the more ‘moody’ Lateralus tracks again. Reflection. Disposition. Tribal and hypnotic.

Track 10 Right In Two (9min 04sec. I think)
Melodic, slow, hypnotic. Almost balladic. Wall of Sound build-up. Danny does some Bamboo pole-type drumming into big rif***e. Big, big sound. Tool at their weightiest. It’s almost Chinese at the end.

Track 11 “Viginti Tres” 
The walk out track (their description not mine). Oddness. The Noodles of Satan.

Review: A Perfect Circle – Eat The Elephant

“This is not going to go the way you think” a prominent quote from the most recent Star Wars movie The Last Jedi – and I expect the latest A Perfect Circle album will be greeted with similar levels of division within the fanbase.  Seemingly gone is the goth-tinged hard rock of the first two albums, Eat The Elephant greets us with a range of largely more mellow, yet more diverse sounds.

It starts off with the title track Eat The Elephant, with an abrupt piano jerking us into their world, with some jazz vibes and some very deep notes.  Maynard sings about the need to begin, the Elephant seemingly a metaphor for a large project.

The second track Disillusioned matches the bands stance on phones/photos at concerts, and encourages us to reconnect at a less digital level. Many are somewhat critical of this stance, however personally I both like the message (it’s not pressing for a full digital disconnect) and think the track is one of the best on this album.

The Contrarian is the first “new” track that jumped out to me as being great – Maynard’s vocals take on an eerie tone throughout, with a range of singing techniques and layered vocals telling the tale.  It then breaks out into what is one of the more traditional APC like moments as it finishes with bang.

The lead single for the album is The Doomed, and it’s one that after reading many Fourtheye comments a selection of you felt were some kind of “theme” for the album.  Many sick of politics had ruled the album (and track) a dud, merely because they didn’t want to hear Maynard singing about politics.  In the end those fans needn’t have worried, as the album didn’t end up the big political protest that some feared.  The Doomed is a solid track, and definitely one of my favorites from the album.  Not to mention probably the heaviest moment.

So Long, And Thanks For All The Fish is quite the interesting track.  On the first couple of listens this upbeat and more poppy piece had me scratching my head and wondering what had happened to the band.  Even after a number of listens, I can’t say I’m a huge fan of this song, but I admire that Billy & Maynard have tried a few different things on this album.  This album really doesn’t sound like any other APC record.

TalkTalk was the final single released during the album promotion phase, and is another high point of the album.  The message is a quite topical one, and the chorus pretty catchy.  It’s a pretty vanilla song, but works quite well.

By And Down The River is a rerecording of By And Down from their greatest hits album Three Sixty.  I didn’t think much of the track then, and this new version doesn’t really change my mind on it.  Apparently Billy thinks it’s one of their best songs though, so I guess I must be missing something!

Almost straying into rock ballad territory is the track Delicious, but with a ballsier chorus and an almost Smashing Pumpkins like solo at the end.

DLB is one of those moody instrumentals that people like.  It sounds cool and all, but I expect I’d skip over it on most listens.  Not sure what DLB stands for though!

During recent tours the band played the tracks Hourglass and Feathers.  Hourglass has a distinctive synth sound which really draws attention to it, with Maynard chanting along.  Hard to judge tracks based on sketchy Youtube videos, but it never really seemed to translate live for me. One the record though, you can feel the vibe of the track – Maynard experiments quite a bit vocally on this track, not all of it works though.  It’s certainly one of the more interesting parts of the album, but ultimately it falls a little flat for me.

Feathers was the other track previewed live.  It really doesn’t do a great deal for me.  It plods along at a pretty mellow place, and doesn’t really take me anywhere.

The album leaves with a final piece called Get The Lead Out.  Lyrically it seems to play off similar themes to the title track, and has an almost trip-hop vibe in parts.  It’s a cool way to end the album, and for me one of the more experimental moments that clicked for me.

So after a few listens, the album began to gel a little.  It’s a great sounding album – Billy Howerdel and Dave Sardy have done a great job capturing the music, and Maynard’s vocals are strong, though somewhat unorthodox in parts.  He uses many vocal effects and layering not seen outside of Puscifer, and it mostly works.

Some will go to great lengths to work out lyrical jabs at Tool and other things, but my advice is to largely go with the flow.  Don’t read too much into what Maynard writes – it’s just part of the meal that is the elephant.

I’m not going to give this album a score.  I think overall it is a few notches below Mer De Noms and Thirteenth Step, however I do prefer it to eMotive.  Sure, I would have liked a more “traditional” APC album, but I didn’t walk away disappointed after listening, though perhaps a little underwhelmed.  It’s an album that feels like Maynard and Billy are trying to reach beyond the expectations of what A Perfect Circle is all about, and it misses the mark as often as it hits.  I am very interested to see what the future of this band holds though.  Is this one last crack, or will they continue this project over the years to come.?

Review: Puscifer at Thebarton Theatre, January 23rd 2017

Puscifer‘s latest Money $hot tour seemed to be getting great reviews on it’s various US and European legs, and Maynard James Keenan and co decided to share the love with Australian audiences with a tour taking in most capitals in Australia, as well as the MOFO Festival at Hobart’s MONA.  I was lucky enough to get along to the show at Thebarton Theatre here in Adelaide, and can report I had a great time!

First stop of the evening was a wine tasting session at local bar Udaberri run by Matt from Sip Wines.  He’s the Australian distributor for Maynard’s drops, and had a few bottles open for sampling.  For tasting were three reds and one white, the highlight for me was the Tarzan, which Matt tells me is out of stock!  I also had a chance to try Sense of Compression by Ochotoa Barrels – it’s a collaboration between a local Adelaide winemaker and Maynard.  It’s an expensive wine (was $13 for half a glass!) and while I enjoyed it, I came away preferring the much cheaper stuff.  Perhaps wine aficionados would appreciate it more then I!

After a quick bus trip home to pick up the car, I made my way to Thebby (as it’s know locally) for the show.  Entry to the venue was pretty easy, unless you were silly enough to pick up tickets at the door, for which there was a pretty long queue.  Once inside I grabbed a beer, chatted to a couple of other Fourtheye readers and then made my way into the main hall.  It was unusual to see this venue full of chairs, as every other show I’ve been to here has been general admission.  Unfortunately my seat wasn’t quite as close as I’d like, and was a bit off to the side, but the view was good enough despite that.

At around 8:00pm Luchafer came onstage to do their wrestling act.  The sound was pretty muffled – I got the impression they were taunting each other or having some form of dialog, and it’s possible we were meant to hear what was being said, but the sound was poor enough at this stage that I had no clue.  They “wrestled” on stage for about 20 minutes, the highlight of which was a Trump style pussy grab (with retribution).  It was interesting, but 20 minutes was more than enough.  The wrestlers were back for more antics during the show.

Puscifer made their way on stage at around 8:30.  Maynard and Carina Round started up on the wrestling ring, but moved around the stage during songs and between the 4 acts.  They played pretty much the same setlist they have for most of the Money $hot tour.  I enjoyed it and didn’t really find that there were any dull moments during the show.  For the most part the songs were heavier and had an extra punch missing from the recorded versions.  As a fan of heavier music unsurprisingly this went down pretty well with me!  I would have liked to have heard a few more older songs, but overall was happy with the setlist choice.

It was a pretty cool visual show as well, with a range of videos projected on the big screens being the band (and occasionally on two screens either side).  Highlights were the excellent visuals from the Grand Canyon video.  There were the occasional skits shown as well, but these seemed to suffer from poor sound quality, and frankly missed the mark for me.  They didn’t appear to get many laughs from the wider audience either.  They were only a very small segment of the show though, so didn’t really take anything away from the night overall.

The crowd was pretty quiet, remaining seated for the first two songs until Maynard proclaimed that if a 52 year old can dance on stage, then so can the rest of the crowd.  Personally I’m not a huge fan of seated shows – if Maynard wanted people to stand and dance, then it should have been GA.  Despite a few signs in the lead-up that the crowd would be small, it seemed as though the venue was reasonably full – it wasn’t a sell out but didn’t appear to be many spare seats either.

As mentioned before, the sound quality of the videos and wrestling was pretty poor, but the quality of the show seemed reasonably good.  Maynard’s vocals were relatively low in the mix I thought, but other than that didn’t have many complaints.  Maynard’s performance through the show was strong, and while Puscifer may not have the same vocal challenges Tool does, he sung well and was quite animated during the show.

In summary it was a really good night – I enjoyed the show from beginning to end and was very happy that Puscifer made the effort to visit our frequently skipped over town.  I’d happily go seem them again, and have no hesitation recommending others to check them out when they get the chance!

Review: A Perfect Union of Contrary Things

Last week my copy of Maynard James Keenan’s biography – A Perfect Union of Contrary Things arrived from the US, and over the last few days I’ve read through it, and composed a few thoughts in a review of sorts.  If you haven’t read the book, below contains a few minor spoilers of sorts, but nothing that should ruin your enjoyment of it.

The first half of the book covers Maynard’s life pre-Tool.  It goes through his upbringing with his mother in Ohio, then father in Scottville, time in the military, Boston and eventually LA.  It talks about his various pre-Tool bands such as texA.N.S., C.A.D. and adventures with Green Jelly. I found this section interesting and insightful, and painted a great picture of how Maynard evolved into the man he is today.

Moving onto Tool, it covers the beginnings of the band quite well, recounting stories with Tom Morello (and how he considered Maynard for the singing role in Rage Against The Machine) and the coming together of the band with Danny and Adam.  It tells anecdotes of the first few Tool shows, as well as their dealings with record labels during the signing process.  We also get some good insight into his work on the comedy scene including the famous Cuntry Boner performance with Laura Milligan with Adam joining in.

We get to hear the story of Maynard’s move to Arizona, as well as the tale behind his time and self discovery with some local Native Americans.  It gives us a good feel for Maynard’s connection, not just with the land but with nature in general – it’s a theme that has been with him throughout his life.

From then on though the book becomes a bit of a blur – Lateralus and 10,000 Days don’t get much more than a couple of paragraphs each, same with A Perfect Circle post-Mer De Noms.  Even Puscifer gets squeezed into a single chapter.

Hi wine making exploits get good coverage, but there is no mention of Blood Into Wine and some of the topics (and personalities) contained within.  We don’t really get much insight into delays in Tool albums except that Maynard doesn’t write his lyrics until the music is done (which differs quite a bit from the Opiate and Undertow it would appear).

Overall I was both pleased and disappointed with the book.  The first half I found quite interesting – surprisingly so since it really doesn’t cover much of what we Tool fans would expect.  It is well written, and paints a great picture of Maynard’s upbringing, and as well for me insight into the difference between growing up in the USA vs Australia.

This was tempered with what I felt was a somewhat disappointing second half.  Maynard’s “rockstar” career I felt was overly abbreviated, and was left craving more detail into almost everything.  Touring really isn’t discussed in any depth, nor is recording.  It wasn’t like he pushed one agenda over the other either – his recent work with Puscifer and wine making doesn’t get a whole lot more page space than his other projects.  I feel like there is more to be told and would come as no surprise if there were to be some kind of Tool biography, or even an MJK book that focuses on his music career – I (and I expect many here) would read this.

Negatives aside, I come away from the book feeling like I know much more about Maynard the person – and I expect this was probably the goal behind this story being told.  It’ll sound corny to some of you, but I do feel inspired by some of the words Maynard has had to say, and some of the philosophies behind how he works.  This book won’t change your life, but may challenge you to reconsider how you consider some aspects of life.

A Perfect Union of Contrary Things is an authorised biography written by Sarah Jensen with Maynard offering frequent insights into her writing.  You can grab a copy from Amazon!

A Perfect Union of Contrary Things
A Perfect Union of Contrary Things


Puscifer Review + Pictures has posted a review of last nights Puscifer show, as well as posting several good pictures:

I went to the Puscifer concert tonight with mixed and somewhat low expectations. I have been a fan of Maynard James Keenan’s work in both of his bands: TOOL and A Perfect Circle. I’m also an avid wine fan and think Maynard hit the ball out of the park with his own Merkin Vineyards Cauduceus wine series. I figured he had to fall at some point and disappoint me eventually, and with all the odd rumors surrounding Puscifer I was expecting to be less than impressed. It sounded so over the top that I just figured for a train wreck. I was very wrong.  In fact, I was quite blown away by the end of the night.

A good review and definitely worth a read.  Thanks to moneyisevil from Toolarmy for the tip.

Photo: © Erik Kabik/ RETNA/
Photo: © Erik Kabik/ RETNA/

Puscifer Live Review and Clips

Bellami from Toolarmy posted a brief review of the Puscifer show in Las Vegas last night:

Milla was HOT!!!

The show was composed of video taped comedy skits between Puscifer songs. Like an informal talk show, there was a couch and chairs in the center of the stage where the performers would chill when they weren’t performing. And of course, Maynard pouring his wine for everyone while the taped skits were on.

Mlla was HOT!!!

Opened up with a few taped skits ending with a live skit involving Maynard and a few comedians…then performed:

Sour Grapes
Rev 22:20 – solo by Juliette

… some more taped skits….

The Undertaker
Vagina Mine
Momma Sed

…a few more skits….

Polar Bear — new song – with Tim Alexander joining midway to play alongside Gil Sharone.
Trekka — with Maynard playing mandolin – only time he played an instrument
Indigo Children
The Mission — with Milla!!!
Queen Bee

Milla is Smokin’ HOT!!!

Maynard, Tim Alexander, Gil and Rani Sharone and Juliette performed the Puscifer tunes with Milla in for Mission. Gil Sharone was the main drummer with Tim Alexander joining up during certain parts of most of the songs.

DC and JC were in attendance. There were a lot of empty seats.

Milla is HOT!!!

A shame about all the empty seats.  I guess that’s one of the main problems when people try and scalp tickets for shows that aren’t as popular as expected.  Having said that, suck shit all those scalpers who lost money!

A couple of live clips (audio only) have also been posted on Youtube.  They’re not great quality, so be warned!

Maynard Stuff

A few Maynard related items this afternoon.  Firstly, as I’m sure most of you have read on Toolband a selection of his wines won 9 medals at a recent Arizona Republic Wine Competition.  Head over to the Caduceus site or Toolband for more details. Congratulations to Maynard on his endeavours and I hope to one day sample his fermented grapes.

I read somewhere (I can’t for the life of me remember where – perhaps someone can “remind” me) that not only will A Perfect Circle be appearing on the Last Call with Carson Daly show tonight, but Maynard will also be making an appearance.  Don’t turn off your television!

Lastly, there’s a good review by Raymond Flotat on  Not idea what that stands for but the pictures are pretty tasty.  Enjoy!

Review: Unleashed – The Story of Tool

A couple of weeks ago I was out shopping with a gift voucher in hand, and while in a local book store I noticed a familiar figure on the bestsellers shelf.  That familiar figure happened to be Maynard, and the book was Unleased – The Story of Tool. Seeing as Tom Clancy hasn’t released anything in a while, I decided to grab this and give it a shot.

The book covers the history of Tool starting from the background of the four founding members, right up until 2009.  Essentially, the book is a collection of interviews and quotes from the band.  The books itself seems to be written well enough, though I doubt it will win any prizes for literature. 

Without focusing unduly on them, the book also discusses various Tool side projects, in particular A Perfect Circle, Puscifer and Maynard’s wine endeavours, as well as briefly covering the rest of the bands projects.

Overall, it’s not a bad book, I enjoyed the read despite the fact I’d probably read 90% of the quotes before at some point.  There were a few inaccuracies I found, but nothing worth getting too upset about.  For a Tool fan who knows everything about the band, it’s hard to really recommend the book.  Also, much of what is in the book can be found on Google, in particular on the excellent Interviews section on Toolshed.

This book best suits someone who doesn’t know much about Tool, or is reasonably new to them, and would like to learn more about them that what is available on their Wikipedia page.  For completists, I’d suggest it is a worthwhile item for your bookshelf, though I wouldn’t call it essential at all.

No animals were harmed in the taking of these pictures….

Got an email today from Rick who sent me a link to this review of a recent Puscifer gig.  It’s on the Brooklyn Vegan website of all places and has some pretty cool pictures!  Check it out!

Soundwave 2010

I’ve been looking forward to Soundwave 2010 for quite a while now.  Not only were one of my favorite bands Faith No More reuniting, but it also featured several other favorites of mine, including Tool touring buddies Meshuggah and Isis.  Forecast for the day was originally in the high 30s, but thankfully this didn’t turn out to be the case – it was a beautiful Adelaide day in the end!

After entering the festival, the first thing we noticed was the increased size.  It looked like there was about twice as much room as last year, which was great!  The crowd seemed noticeably larger as well.  Hopefully this is as big as it will get in Adelaide, as I think overly large festivals aren’t quite as good.

We headed over to the Metal Stage (#4) to check out the first band on my list – Baroness.  The metal stage was inside basically an large circus tent, so I need not stand in the sun all day!  Baroness were playing their usual brand of Stoner Rock/Metal, and while they were ok, they didn’t really blow me away.

After a short change came sludge metallers Isis.  I’d been looking forward to them, especially as I felt their last album was quite good.  They played a total of 4 songs (they had a 40 minute set) all from Wavering Radiant.  They played them quite well, and were actually more animated on stage than I expected, however they just lacked something.  It was a little quiet, and I couldn’t help but feel that they weren’t really suited to this kind of environment.  If they come back and play in a local club I’ll check them out, and see if that makes a difference.

Clutch came on next, and they were the first big surprise of the day for me.  I am somewhat familiar with their recorded work, and quite frankly was blown away as to how well they played live.  Their singer was a barrel of energy, and the drummer is one of the better I’ve seen in a while.  Great shit and I’ll definitely check them out again if they tour in the future.

80s metal band Anvil followed Clutch, and once again I was surprised.  These guys seemed to be genuinely happy to be playing the show, and the front mans energy was really good.  The songs were somewhat generic, and the vocals sub par, but it was a great show, featuring some great drumming and a vibrator solo!

Following Anvil were the mighty Meshuggah.  I knew these guys would be good, and they didn’t disappoint.  I spent most of the set in the moshpit, and it was a blast.  They played a set heavy on obZen songs, which was slightly disappointing, but I loved it regardless.  Combustion was a highlight, as well as the set closer Future Breed Machine.  My friends commented that the sound was crap (and it was if you stood anywhere but directly in front) but in the moshpit it was brutal!  These guys are definitely one of the best live metal bands out there, and I will be seeing them every opportunity I get.  I recommend you all do the same.

Anthrax are a bit of a blast from the past, and they were up after Meshuggah.  Once again I was quite happy with how they performed.  They seemed to play a range of songs, mainly older stuff, and while I’m not all that familiar with their work, I was thoroughly entertained!   Caught In A Mosh was great fun…

We walked over to the main stage next (via the bar and food area) to check out the end of Janes Addiction‘s set.  While not as good as when I saw them last, they did seem to be having fun on stage, despite the stage facing directly into the setting sun!  They weren’t as good as I remember them being 10 years ago, which is no great surprise I guess, but it was fun regardless.  What stands out most to me was a great version of the epic Three Days  Jimmy Eat World followed JA, and I don’t really have anything nice to say about them so I won’t…

The headline act were next!  Faith No More came onto stage in a range of pastel suits, and started with a cover of Reunited.  As I expected, they kick some serious ass.  It’s been well over 10 years since I saw them last, and in now way have they lost any of their chops.  The energy and stage presence is something that many of the other bands on the festival should take note of.

Highlights of the set include The Gentle Art of Making Enemies, Surprise! You’re Dead and Patton telling us his "penis smelled like wombat".  The only disappointment was that there wasn’t a great deal of crowd interaction like there has been at other FNM sets, but the music more than made up for it.

Overall it was a fantastic day.  Adelaide truly is one of the best Soundwave’s in the country, as we don’t seem to be plagued by the problems of that larger ones.  The fact we got nice weather helped as well.  I’m looking forward to 2011 already!

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