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██▓▓▒░░░░░░░░░▒▒▓█▒░ ░░▒▒▄▄██████▄▄ Burzum █▓▒ ▐▒░ ▒▌░ ░▓█
█▓▐▓▓▒░░░░░▒▒▓▓█▀▒░ ░▒▒▄██▓▓░░░░██████▄ "Daudi Baldrs" █▓▒ ▐▒░ ▒▌░ ░▒█
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▀▄█ █▄ ▄█ █▄▀
▀ ▀ █ WASHED UP SCENESTERS PRESENTS : █ ▀ ▀
▄▄▀ ▀▄▄
█ █
█ Joe Bonamassa--Sloe Gin █
█ █
█ Artist ....: Joe Bonamassa █
█ Album .....: Sloe Gin █
█ Genre .....: Blues █
█ Label .....: J&R Adventures █
█ Catalog # .: 60283 █
█ Language ..: English █
█ █
█ Source ....: CDDA █
█ Grabber ...: EAC █
█ Encoder ...: LAME 3.97 (VBR NEW) █
█ Bitrate ...: VBRkbps █
█ Size ......: 58,6 MB █
█ █
█ Rel. date .: Aug-19-2007 █
█ █
█ n/a █
█ █
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▀▄█ █▄ ▄█ █▄▀
▀ ▀ █ ▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀ █ ▀ ▀
▄▄▀ [ TRACK LiST ] ▀▄▄
█ █
█ █
█ This is *NOT* a substitute of the original - If you like it, BUY IT! █
█ -------------------------------------------------------------------- █
█ █
█ NB TRACKNAMES: LENGHT: █
█ █
█ 01. ball peen hammer 03:30 █
█ 02. one of these days 05:44 █
█ 03. seagull 03:52 █
█ 04. dirt in my pocket 03:52 █
█ 05. sloe gin 08:16 █
█ 06. another kind of love 03:13 █
█ 07. around the bend 05:18 █
█ 08. black night 04:24 █
█ 09. jelly roll 02:15 █
█ 10. richmond 04:33 █
█ 11. india 03:22 █
█ 48:19 min █
█ █
█ -------------------------------------------------------------------- █
█ To the involved artist(s): consider this release as a free, world █
█ wide promotion campaign and thank us! █
▄▀ ▀▄
█ █
▀▄█ █▄ ▄█ █▄▀
▀ ▀ █ ▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀ █ ▀ ▀
▄▄▀ [ RELEASE NOTES ] ▀▄▄
█ █
█ █
█ █
█ Product Description: █
█ █
█ Sloe Gin, the seventh solo studio album from Joe Bonamassa, is █
█ scheduled for release by Premier Artists Records (US) and █
█ Provogue Records (Europe) on August 20, 2007. This would have █
█ been everybody's Summer of 2007 CD had it been on shelves in █
█ early June. █
█ █
█ On the other hand, Sloe Gin isn't a summer album. It has the █
█ makings of a year-round classic that could set a new standard █
█ for recorded blues, rock, blues-rock and a few other genres not █
█ always associated with "Joe Bonamassa the blues artist". Within █
█ the first 20 seconds of the opening track, "Ball Peen Hammer", █
█ it's clear we're in the presence of something special. █
█ █
█ A strong opener █
█ █
█ The dark, folk-blues song opens with acoustic guitar, resonator, █
█ deep bowed hint of the Bovaland Symphonic Orchestra strings, and █
█ the crystal clear voice of Joe Bonamassa. The recording quality █
█ of Joe's vocal leaves nothing to the imagination. This is a █
█ gutsy, confident singer willing to lay it on the line. No █
█ hiding. No distance. The consonants are unmasked and hard, like █
█ the song being sung: "I'm gonna go there, I'm gonna climb. Now I █
█ don't know about no law, I don't see no crime. Ain't no reason, █
█ ain't no rest. I'm gonna get down to the water and get █
█ undressed. █
█ █
█ Over the next three minutes, the unrelenting churn of "Ball Peen █
█ Hammer" reveals the aggressive frustration of the Chris █
█ Whitely-penned song through a classic rock style use of tension █
█ and release, volume-down acoustic moments followed by a quickly █
█ rising wall of sound underpinned by the Bova strings. By the █
█ close, Bonamassa's standing on the crest of an heroic sonic █
█ mountain railing at the gods, shouting, "I cant stand it, I cant █
█ stand it. I cant wait to see them walls fallin down. Gliss up, █
█ gliss down, quick fade, time to breathe. █
█ █
█ Song's over, heart's pumping, but, wait a minute, was there a █
█ guitar solo? After all, this is Joe Bonamassa, Guitar Player's █
█ 2007 blues player of the year, the fellow with his own Signature █
█ Sounds, Styles & Techniques instructional DVD, the █
█ just-turned-30 blues ambassador who as a 12-year-old guitar █
█ wunderkind awed crowds as the opening act for B.B. King. █
█ █
█ If what is meant by "guitar solo" is moments where the guitar █
█ stands up front to carry the song forward, the answer's yes. █
█ But, if the phrase means a flurry of "listen to this" █
█ single-note lines presented to demonstrate technical prowess, █
█ the answer is no, and this says much about both "Ball Peen █
█ Hammer" and the album in general. Sloe Gin is not a collection █
█ of songs that serve as an excuse for guitar solos, it's an █
█ album of convincing music on which Bonamassa uses his guitar to █
█ serve the songs. █
█ █
█ What Sloe Gin is and is not █
█ █
█ Though it includes several flat-out blues and blues-rock █
█ numbers, Sloe Gin is not a blues album per se. █
█ Instead, it's a Joe Bonamassa-the-artist-as-he-sees █
█ himself-today 11-track sampler that includes an array of █
█ styles and influences. The album is primarily a rich and █
█ uniquely Bonamassa blend of US-UK rock, folk, blues, and country █
█ on which you'll find an American country-folk-style ballad █
█ drawing on British-based acoustic passages and Led Zeppelin-ish █
█ blues-rock arrangements with a twinge of Southern rock. Note the █
█ seven covers selected for Sloe Gin: Chris Whitley's "Ball Peen █
█ Hammer" (US); "One of These Days" by Alvin Lee (UK); Paul █
█ Rodgers' "Seagull" (UK); "Sloe Gin" written by Bob Ezrin █
█ (Canada/US) and Michael Kamen from the US for British performer █
█ Tim Curry (UK); "Another Kind of Love" by John Mayall (UK); █
█ "Black Night", written by either Charles Brown or Jessie Mae █
█ Robinson, both from the United States (US); and "Jelly Roll" █
█ written and originally recorded by John Martyn (UK). █
█ █
█ Bonamassa says Sloe Gin's variety was inspired in part by Rod █
█ Stewart's 1969 solo debut, The Rod Stewart Album, in which █
█ Stewart, who had just left the Jeff Beck Group, sought to █
█ demonstrate his artistic range through a blues-flavored album, █
█ several tracks of which feature acoustic slide guitar. █
█ █
█ In fact, when Bonamassa and producer Kevin Shirley (a name █
█ Bonamassa fans will recognize from 2006's successful You & Me), █
█ started planning the Sloe Gin project, Joe considered making it █
█ an all-acoustic album. That plan was replaced by an █
█ acoustic-electric compromise (six predominantly acoustic tracks █
█ and five electric). But, whether acoustic or electric, it's the █
█ album's emphasis on singing, song, and stylistic blending that █
█ sets it apart from Bonamassa's previous records. Rock, classic █
█ rock, blues-rock, Southern rock, electric blues, traditional █
█ acoustic blues, piano bar ballad blues, country, English folk, █
█ American folk, roots, and Indian raga all play a straight or █
█ blended role in this Joe Bonamassa sampler. █
█ █
█ Sloe Gin is a magic mirror album. It serves up a reflection of █
█ what predispositions the listener brings. Blues fans will call █
█ it a blues album, rock fans will call it rock, those in between █
█ will call it blues influenced rock, or vice versa, but then the █
█ blues, rock, blues-rock factions will be hard pressed to account █
█ for the acoustic country-folk flavored ballads "Around The Bend" █
█ and "Richmond" or the acoustic raga-influenced atmospheric █
█ "India", all three of which are Bonamassa originals (with █
█ co-writers). If calling Sloe Gin a Bonamassa sampler isn't █
█ graphic enough, think of the album as a musical buffet in which █
█ unrelated entres share a single trait: they taste good. █
█ █
█ The contributions of Kevin Shirley █
█ █
█ Serious mention must also be made of the contributions to Sloe █
█ Gin by Kevin Shirley who produced and mixed the album (Shirley █
█ also produced, engineered and mixed You & Me). It's not just Joe █
█ Bonamassa that will stun your ears in the first 20 seconds of █
█ "Ball Peen Hammer", you'll also be struck by the extraordinary █
█ recording quality of the track, and then of the album overall. A █
█ partial list of Shirley's credits includes work on CD or DVD █
█ projects by Led Zeppelin, Aerosmith, Rush, Joe Satriani, Black █
█ Crowes, Dream Theater, and Silverchair. █
█ █
█ In his role as producer, Shirley's efforts and contributions █
█ will remain mostly unknown except through the words of Joe █
█ Bonamassa. "It's unbelievable," Joe says in a pre-release █
█ one-sheet, "he takes my vision, augments it, and brings it █
█ further than I ever would have thought to." As a mixer, Shirley █
█ is a consummate placement professional. He treats the use of █
█ panning, or channel placement of a song's musical elements, as █
█ an art form and in doing so successfully, becomes an important █
█ performer in his own right. More attention should be paid to the █
█ contributions of producer, engineer (Jared Kvitka), and mixer on █
█ albums as sonically intense as Sloe Gin. █
█ █
█ Between now and August 20, you'll be tempted to visit sites like █
█ Amazon to hear snippets from the album's tracks, but avoid the █
█ temptation. Save your ears from those grossly downsampled █
█ versions and save them for the high resolution CD originals. █
█ █
█ Track listing with comments █
█ █
█ 1. "Ball Peen Hammer": Written and previously recorded by Chris █
█ Whitely (Dirt Floor, 1998, Messenger Records). Whitley's █
█ original is worth a listen on its own merits and to hear the █
█ dark, powerful source from which Joe and Kevin drew inspiration. █
█ On a side note, after several listens, "Ball Peen Hammer", and █
█ other tracks from Sloe Gin, started suggesting a single-voice █
█ violin (or fiddle, depending upon your mindset) either threading █
█ the background or as soloist or in duet mode with Bonamassa's █
█ acoustic guitar. Several violinists came to mind, such as Alison █
█ Krauss on the album's acoustic ballads and either of the two █
█ violinists (Alex De Pue and Ann Marie Calhoun) with Steve Vai's █
█ Sound Theories Tour on the heavier, electric, up-tempo tracks. █
█ One string leads to another. █
█ █
█ 2. "One of These Days": The pre-release liner notes credit this █
█ song to Joe Bonamassa and Alvin Lee, but in light of the fact █
█ that it first appeared on the Ten Years After album, A Space in █
█ Time, that was issued (1971, Capitol) before Joe was born, it's █
█ obviously not a Bonamassa-Lee co-write. The song is a forceful █
█ blues-rocker with an extended outro that could remind listeners █
█ of Clapton's "Layla" (opinion of Joe Bonamassa and Kevin █
█ Shirley), British blues-rock, or classic Southern rock in █
█ general (this writer's opinion, due mostly to the style of the █
█ slide guitar). It's the magic mirror at work. █
█ █
█ 3. "Seagull": A Paul Rodgers (Free) and co-writer Mick Ralphs █
█ song first recorded by Bad Company. This essentially acoustic █
█ track could have started and stayed small and intimate, but the █
█ arrangement goes for dramatic effect and mixes coffee house █
█ small with outdoor concert stage large. By the end of the song, █
█ you'll understand the importance Bonamassa-Shirley arrangements █
█ often place on sonic contrast to invoke a sense of theater and █
█ the heroic through devices that hearken back to the best days of █
█ classic rock, days that gave rise to the larger than life sound █
█ of groups like Led Zeppelin. █
█ █
█ 4. "Dirt in My Pocket": This is classic rock acoustic-electric, █
█ big sound, stadium music, complete with jangly acoustic passages █
█ in which keyboard player Rick Melick adds a bit of tabla (2:15). █
█ Written by Bonamassa and Jim Huff, it serves as a perfect █
█ example of Bonamassa's application of restraint. You'll expect █
█ heavy extended guitar soloing, but you'll have to wait until the █
█ next track for that. █
█ █
█ 5. "Sloe Gin": The title track is a cover of a somewhat obscure █
█ song that appears on Tim Curry's 1978 debut solo album, Read My █
█ Lips. Most might know Curry as a TV and screen actor, though █
█ he's also had an extensive career in theater which he began as █
█ part of the original London cast of the musical Hair before █
█ moving on to play Dr. Frank-N-Furter in The Rocky Horror Show. █
█ More recently, Curry has donned the stage role of King █
█ Arthur in Spamalot. Though sloe gin might seem an unlikely drink █
█ of choice for someone, as the song's lyrics go, "Tryin' to wash █
█ away the pain inside", and a mental image of Curry as Dr. █
█ Frank-N-Furter or King Arthur trying to do exactly that might █
█ summon visions of comedy, satire or farce, "Sloe Gin" is a █
█ serious, blues-infected, though not traditionally █
█ blues-structured, song written by Bob Ezrin and Michael Kamen █
█ for Curry's album, which, likewise, was a serious, though █
█ somewhat offbeat, music project (it's rumored that Nils █
█ Lofgren appears on the album playing accordion). █
█ █
█ Bonamassa's version is a strong, slow, direct lament about █
█ loneliness. It's the longest (8:13) track on Sloe Gin. At around █
█ 4:46, the music fades out and and the sound of sirens fades in █
█ serving as both the end of the lyric portion of the arrangement █
█ and the introduction of the remainder, which is an extended █
█ electric guitar solo. The segue is surprising and interesting. █
█ Are the sirens an ambulance response to an attempted suicide █
█ by the "so damn lonely" person and the extended guitar solo, █
█ with its several wailing passages, an inner glimpse on the way █
█ to the hospital? We're free to imagine. It's a powerful song, █
█ powerfully presented. █
█ █
█ Joe says this about "Sloe Gin": I never would have found that █
█ one on my own or gone where Kevin [Shirley] went with it. I █
█ really owe that whole sound to him." █
█ █
█ 6. "Another Kind of Love" [*]: Back to classic blues-rock with a █
█ John Mayall song from Mayall's 1967 album A Hard Road that █
█ featured guitarist Peter Green. Green was a seminal British █
█ blues player that some younger blues fans may not have yet █
█ discovered. Today, his name is often overshadowed by others from █
█ the Bluesbreakers guitar fraternity such as Eric Clapton, Mick █
█ Taylor, and, more recently, Walter Trout, Coco Montoya, and █
█ Buddy Whittington. It's interesting to note that Green is █
█ closely associated with a 1959 Gibson Les Paul Burst, and █
█ Bonamassa plays his version of "Another Kind of Love" with a new █
█ Gibson 1959 Les Paul re-issue. Not to say that Bonamassa is █
█ intentionally paying tribute to Green on this track, but Joe's █
█ quick vibrato on the solos is very reminiscent of Green's style. █
█ If it is a tribute, it's a fitting one. █
█ █
█ 7. "Around the Bend": Fans will remember this acoustic-based █
█ ballad from 2004's Had To Cry Today. Though the two versions are █
█ separated by only three years, the difference is striking. Both █
█ Bonamassa's voice and his instrumental presentation have █
█ matured, though no doubt the input and influence of Kevin █
█ Shirley also play a role. The new version is smooth and complete █
█ and lets the song take its own time in the telling while the █
█ original was a bit nervous and rushed, not fully flushed out. █
█ █
█ 8. "Black Night": 1951 was a good year for singer-pianist █
█ Charles Brown. His version of "Black Night", done as a █
█ piano-centric blues ballad, topped the R&B charts. Though the █
█ pre-release liner notes attribute Brown as the writer of "Black █
█ Night", some sources claim it was written by Jessie Mae █
█ Robinson. Brown's subsequent career was built on a style he █
█ called "blue ballad", a smooth, sophisticated approach to the █
█ blues that's also referred to as "nightclub" or "cocktail" █
█ blues. Though he slipped from the chart-topping limelight, in █
█ the '90s Brown again received wide recognition when he toured █
█ with Bonnie Raitt who has said, "I fell for the lure of 'Black █
█ Night' because Charles Brown had a sound all his own. I found █
█ out how many blues and jazz singers were influenced by Charles █
█ and it all made sense. He was the bridge." Brown, who passed █
█ away in 1999, was posthumously inducted into the Rock and Roll █
█ Hall of Fame in the Early Influence category. The presenter █
█ was Bonnie Raitt. █
█ █
█ In the hands of Bonamassa and Shirley, "Black Night" becomes a █
█ much more aggressive, electric slow blues that reflects an █
█ interesting mix of soft and hard, sweet and sour, a █
█ Bonamassa-Shirley approach to musical contrast that's often █
█ reflected in Sloe Gin. Bonamassa's solos are relatively short, █
█ but very tasteful. The change in his electric guitar tone █
█ following his switch from the Fender Stratocaster is very █
█ noticeable, and some passages are reminiscent of early Carlos █
█ Santana with respect to both tone and phrasing. Bonamassa says █
█ much in a short space, getting right to the point. █
█ █
█ 9. "Jelly Roll": Add a flatted seventh to the first chord in █
█ "Jelly Roll" and you'd swear you're listening to Bonamassa █
█ covering a two minute piece of up-tempo traditional acoustic █
█ Delta blues. You're not. What you're hearing is Joe covering a █
█ Delta blues-influenced piece by UK singer-songwriter-guitarist █
█ John Martyn that appears on Martyn's album, Solid Air (1973, █
█ Island Records, re-released in 1998). No complex arrangement █
█ here, just Joe fingerpicking an acoustic and letting us know, "I █
█ bake the best jelly roll in town. I'm the only man baking and █
█ I'm gonna keep my damper down." Excellent and certainly not █
█ often heard presentation of English folk meets Delta blues. █
█ █
█ 10. "Richmond": Written by Joe Bonamassa and Mike Himelstein, █
█ "Richmond" is a bittersweet fish out of water there's no place █
█ like home country-folk acoustic ballad that also contains a █
█ strong dash of UK-folk influence. Magic mirror time again. █
█ Lyrics are US-based, but the arrangement and Joe's vocal will █
█ remind you of Rod Stewart, though Joe has less gravel. An █
█ extended mid-section or outro with Joe on acoustic slide would █
█ have been great. It would be nice to hear him stretch his █
█ unplugged legs. █
█ █
█ 11. "India": This will strike some, if not many, as a strange █
█ choice for the album closer. "India", composed by Bonamassa and █
█ keyboardist Rick Melick (who plays tabla on this track), seems a █
█ late '60s Haight-Ashbury acoustic atmospheric instrumental. With █
█ the preceding ten tracks so devoted to emotional storytelling, █
█ "India" can be a bit of a jolt on first listen. There's no tale █
█ to be told, only a mood to be created. But, remember, this is a █
█ Joe Bonamassa music sampler, not a concept album on which each █
█ track tells part of a larger story, unless, as is the case, the █
█ story being told by Sloe Gin is that Joe Bonamassa the musician █
█ is much more than Joe Bonamassa the electric blues guitarist. It █
█ also tells us that Joe's interests and influences extend beyond █
█ the US and UK. █
█ █
█ [* Joe has been quoted saying "I sequenced the album (Sloe Gin) █
█ as a throwback to the Side A/Side B set-up of vinyl █
█ records...listening to an album as a whole is a lost pastime. I █
█ wanted to bring that experience back around." In an interview █
█ with Modern Guitars that will be published separately, Bonamassa █
█ says he considers tracks 1-5 the A side and tracks 6-11 the B █
█ side.] █
█ █
█ Other musicians appearing on Sloe Gin █
█ █
█ Anton Fig: drums and percussion █
█ Carmine Rojas: bass █
█ Rick Melick: keyboards and tabla █
█ Bogie Bowles: drums on "Seagull" and hammer dulcimer █
█ Jeff Bova: orchestral arrangements █
█ The Bovaland Symphonic Orchestra*: strings █
█ █
█ [* a "virtual" orchestra consisting of high-quality samples █
█ created by the multi-instrumentalist Jeff Bova] █
█ █
█ Closing comments █
█ █
█ It may have been simply a poor choice of words by Joe Bonamassa. █
█ The same pre-release one-sheet previously mentioned quotes Joe █
█ saying, "Sloe Gin is different than anything I've ever done █
█ before [agree]. I know we [Bonamassa and Shirley] bettered You & █
█ Me." █
█ █
█ Bettered? The word expanded is more accurate. You & Me and the █
█ Bonamassa-Shirley association certainly laid the groundwork for █
█ Sloe Gin, but the new album builds off that groundwork and goes █
█ in a new direction more clearly focused on song, voice and █
█ expanding the Bonamassa-Shirley blending of influences. If value █
█ judgments are appropriate, it's difficult to imagine Bonamassa █
█ bettering Sloe Gin with his eighth solo studio release. █
█ █
█ █
█ Side Notes By the CORE of WUS: █
█ █
█ WUS Definition - Psykotic Silent Assassins here to eliminate all █
█ who oppose us. █
█ █
█ WUS stands for Washed Up Scenesters - Whats this mean? It means █
█ many of the old school members of the █
█ underground at one time are now here to school the new school █
█ underground. █
█ █
█ How many suppliers does WUS have? Lets just say its well over █
█ infinite as a teaser. Whats this mean? It █
█ means the original core of WUS will not retire till we hit █
█ 100,000 releases. Whats this mean for you? It █
█ means you better have enough money to store digital copies of █
█ our releases somewhere. █
█ █
█ Why do we do this? We do this because there are those that have █
█ this tendency to piss us off, and then there █
█ are the groups that don't have a clue as to what real friendship █
█ and teamwork really mean. Whats this mean? █
█ This means that WUS will teach everyone how its really done. █
█ █
█ Last but not least, if it wasn't for our Elite Red Blooded █
█ Viking society of supplying Warriors, we wouldn't █
█ be here today. █
█ █
█ Our suppliers consist of every corner of the world. Nuff said. █
█ █
█ █
█ █
█ DISCLAIMER: Piracy? What the "FUCK" is that? █
█ █
█ █
█ We specialize in "ALL YEARS" + "ALL GENRES" + "ALL LANGUAGES" █
█ █
█ █
█ Greets To All Our Friends From The Past & Now The Present: █
█ █
█ PWA, DOD, iNC, THG, ACiD, iCE, MYTH, CULT OF THE DEAD COW, █
█ QUARTEX, RAZOR1911, HiGH VOLTAGE, PENTAGRAM, PTL, █
█ HOODLUM, ROMKIDS, TRSi, ESi, ZENITH, CLASSIC, MALiCE, MASTERS OF █
█ DiSASTER, EXODUS, FATE, NAFTA, DiViNE, F4CG, █
█ FAiRLiGHT, PHRACK, NEXUS, GLOW, TDT, CORE, PARSEC, TYRANNY, █
█ MOTiV8, RTS, EQUALiTY, DEVOTiON, REBELS, █
█ SNEAKERS, DEViANCE, CLASS, 2600, NUKE, PHALCON/SKiSM, NOKTURNAL █
█ TRADiNG ALLiANCE, SCUM, LEGiON OF DOOM, ALPHA █
█ FLIGHT, PREMiERE, AMOK, ANTHROX, PARADiGM, TDU-JAM, DOMiNATORS, █
█ SKiD ROW, LEGEND, and on and on... █
█ █
█ Keep the scene secure! Keep all releases off XDCC, FSERVE, █
█ NEWSGROUPS, P2P, BTorrent, and other forms of █
█ public accessible sites.. Your only hurting the scene which █
█ entails hurting your friends within the █
█ underground.. If you like this release please consider buying █
█ the original! █
█ █
█ We definately do not greet any part of the government. We like █
█ to keep our dignity and do this the █
█ underground way. █
█ █
█ █
█ █
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█ █
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▄▄▀ [ Oi ] ▀▄▄
█ █
█ 4 HORSEMEN, █
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█ █
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▄▄▀ [ ABOUT ] ▀▄▄
█ █
█ █
█ Founded overnight by monkeys with typewriters, WUS is yet another █
█ group of inferior and copycatting amateurs. The only reason why █
█ we're around is because we like to expose our monstrously huge cock █
█ out in public and brague about it in nfos. █
█ █
█ Your true pseudo-friends, █
▄▀ ▀▄
█ ▄▄▄ ▄▄▄ █
▀▄ ▄▀ ▀▄ WUZZiES iNC. ▄▀ ▀▄ ▄▀
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"Those who cannot remember the past are condemned to repeat it."
George Santayana (1863-1952)