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Post by maddogfagin on May 18, 2022 5:45:55 GMT
I wonder how many books have used this iconic image on the cover
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Post by maddogfagin on May 18, 2022 5:39:46 GMT
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Post by maddogfagin on May 18, 2022 5:33:23 GMT
John aka bunkerfan is taking a short holiday with his wife to celebrate their 50th wedding anniversary so . . . . 18th May1804 Napoleon Bonaparte is appointed Emperor of the French. Even today, the French leader, a native of Corsica, is widely known for his successful military campaigns - and his final defeat at the Battle of Waterloo. 1980 Mount St. Helens erupts. The eruption killed 57 people. A large part of the previously cone-shaped volcano was replaced by a massive crater; its summit is now some 1300 feet (400 meters) lower than before the eruption. 1987 A fire destroyed Tom Petty's house in Los Angeles, the cost was estimated at $800,000. 1961 Birthday of Enya Ni Bhraonain, from Irish family band Clannad who had the 1982 UK No.5 single 'Harry's Game'. Enya had the solo, 1988 UK No.1 single 'Orinoco Flow', and the 2001 US No.2 album 'A Day Without Rain'. Enya is Ireland's biggest selling solo artist and second overall behind U2 with an estimated 75 million records sold worldwide.
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Post by maddogfagin on May 17, 2022 15:53:09 GMT
Jethro Tull - Flute Cake 18-10-1970 (SBD RECORDING)362 views Premiered Jan 29, 2022 FRANKNZAPPA2 1.4K subscribers 00:00 Nothing Is Easy 08:15 My God 19:13 We Used To Know 23:39 With You There To Help Me 35:50 A Song For Jeffrey 40:43 Sossity You're A Woman/Reasons For Waiting The Forum, Inglewood October 18th 1970 Ian Anderson / vocals, flute, acoustic guitar Martin Barre / guitars John Evan / keyboards Glenn Cornick / bass Clive Bunker / drums
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Post by maddogfagin on May 17, 2022 15:28:33 GMT
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Post by maddogfagin on May 17, 2022 5:44:06 GMT
ultimateclassicrock.com/11th-albums/?utm_source=Sailthru&utm_medium=email&utm_campaign=New%20Campaign&utm_term=UCRROCKS 40 BEST 11TH ALBUMS16th May 2022 Making an album is no small feat. Making 11 of them is another matter entirely. For some artists, the work piles up quickly — Bob Dylan's 11th album, New Morning, arrived in 1970, only eight years after his debut recording. The Rolling Stones issued their 11th album, 1973's Goats Head Soup, less than a decade after their 1964 debut. Others have taken a bit more time to get to that point. Robert Plant released his 11th solo album, Carry Fire, just a few years ago in 2017. It's difficult to imagine, then, that there was a point in the earlier days of his career where Plant wrote off the notion of working as a solo artist. "During the Zep years, I never imagined a full-scale album project without the other guys, and even less, the idea of new writing partners," Plant said in a 2019 episode of his Digging Deep With Robert Plant podcast. For some, their 11th albums served as landmark releases and opened new doors not only in their careers but the trajectory of rock music as a whole: The Beach Boys' Pet Sounds, the Beatles' Abbey Road, Fleetwood Mac's Rumours. Others could be found experimenting with albums that didn't necessarily break the charts upon release, but were nonetheless important stepping stones: David Bowie began his "Berlin trilogy" with Brian Eno, releasing Low in 1977; Neil Young introduced the Synclavier into his work on Re-ac-tor in 1981; Joni Mitchell shifted back toward pop with Wild Things Run Fast in 1982. From groundbreaking to grounding, we're taking a look at Rock's 40 Best 11th albums in the below list. 23. Jethro Tull, 'Heavy Horses' (1978)Barely a year after their prog-folk classic Songs From the Wood, Jethro Tull carried that rustic flavor into follow-up Heavy Horses, which only pales comparatively due to its lack of surprise. His voice now evolved into a harsh, gravelly tone, Ian Anderson leads the band through their paces of knotty rockers ("No Lullaby") and lushly orchestrated epics (the nine-minute title track). This slightly darker, more downcast sequel may forever live in the shadow of Songs From the Wood, but Heavy Horses remains a significant work in the Jethro Tull canon – and an underrated snapshot from the near-end of their signature era. (Reed)
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Post by maddogfagin on May 17, 2022 5:30:31 GMT
Radio Spots for Jethro Tull "This Was" - 1968 - RARE Promo 7" Record 65 views May 15, 2022
Radio Wasteland 799 subscribers
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Post by maddogfagin on May 16, 2022 15:18:19 GMT
Rockpop In Concert 1982 (Ian Anderson's Announcement)Jethro Tull - Rockpop In Concert 1982 (Ian Anderson's Announcement)1,054 views May 14, 2022 Jethro Tull 169K subscribers Ian Anderson announces the premiere of the Rockpop In Concert (1982) show on the 28th May, 2022. To celebrate the anniversary of the album release 'The Broadsword and the Beast', the restored concert will be available for 24h on the official YouTube channel. Subscribe to the channel here: bit.ly/3de3SY4 sounds good ,alarm set for 28th may ,is it an enhanced version of this concert m.youtube.com/watch?v=3JBCcLz7WHAI would hope so with the inclusion o the first 2 songs. The complete set list courtesy of www.setlist.fm/28 MAY 1982 Westfalenhalle 1, Dortmund, Germany Clasp Hunting Girl Fallen on Hard Times Pussy Willow Heavy Horses Jack-in-the-Green Keyboard Solo Drum Solo Sweet Dream Aqualung Locomotive Breath Cheerio
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Post by maddogfagin on May 16, 2022 11:53:08 GMT
How to Play the Flute in the Style of Jethro Tull! Excerpt from Cross Eyed Mary 11 views May 16, 2022
Khashayar Ghazianzad
438 subscribersI'm just sharing my passion and enthusiasm for playing the flute in the style of Jethro Tull that was really brought to prominence by Ian Anderson and his tremendous skills.
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Post by maddogfagin on May 16, 2022 5:51:46 GMT
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Post by maddogfagin on May 16, 2022 5:48:15 GMT
www.bostonglobe.com/arts/music/2019/09/04/ian-anderson-years-jethro-tull-tinny-garden-acoustics-and-never-being-too-old-rock-and-roll/EUImP0yYSsegpuKqaf5KVI/story.htmlIan Anderson on 50 years of Jethro Tull, tinny Garden acoustics, and never being too old to rock and rollBy Steve Morse Globe correspondent,Updated September 5, 2019, 12:00 a.m. Ian Anderson of Jethro TullNICK HARRISONIan Anderson, the longtime mastermind behind English rockers Jethro Tull, has a reputation of being tough and prickly in interviews, sometimes bordering on intimidating. Yet, Anderson came across as rather upbeat and funny during our recent phone chat from his sprawling, 400-acre home in Wiltshire. He even admitted that every morning he gets up and has “a glass of chilled vodka,” though that’s about it for his alcohol consumption. “I’m one of those people who never drink after mid-morning,” he said with a laugh. “I’m not a big drinker.” He is, though, a big talker. Get him started on a subject and he’ll set sail, but the core truth is that he’s having fun these days and is still a committed optimist at 72 when it comes to performing. He’ll bring his “50 Years of Jethro Tull” show to the Chevalier Theatre in Medford on Wednesday. “I always like to feel you carry an optimism with you every time you walk out on stage, that this is going to be one of the best shows you’ve played,” he said. “Even if it’s in the upper 10 percent, that’s a good goal to aim for — and that in itself is energizing.” Astonishingly, 36 different musicians have been in Jethro Tull through the years (including Tony Iommi, later of Black Sabbath), but Anderson has remained the anchor since they broke through in the ’70s with progressive rock albums “Aqualung,” “Thick As a Brick” and “A Passion Play.” Jethro Tull — the name actually refers to an 18th-century agriculturist — toured as an opening act for Led Zeppelin, then exploded and became a frequent headliner at the old Boston Garden, which is where we’ll pick up our edited conversation: Q. I saw a number of your Boston Garden shows. What was it like to play there? The acoustics were rough, and I remember Billy Joel once said, “Even hockey sounds bad there.” A. It wasn’t an easy place to play. But people had no point of comparison and very often had very unrealistic memories of concerts back then. They recall with such apparent clarity how wonderful this was, but the reality was there was a thin, weedy sound and there were these little matchstick figures on the stage. It was an age when people look back on it with memories that are altogether too kind. Q. Weren’t you also on the forefront of concert video back then? A. Yes, in 1973 we did it with “A Passion Play.” Not all the way through the show, but there were three big segments of projected video on a screen. Then in ’75 and ’76 we did it again. And we’ve been working with video again in the last 10 years or so. There are times when we stick with videos that have become almost as classic as the song itself. And sometimes that’s OK, but otherwise you have to keep coming up with new stuff and ideas. A lot of time, effort and money go into making it. Q. I’ve read you’ve played 3,000 concerts in the last 50 years, and you still do 100 a year. That seems phenomenal. What keeps you out there? A. Typically, it’s been 75 to 100 shows a year. It certainly adds up. I might do three or four shows a week assuming they’re not too far away and I can hop a plane to Europe. So that seems OK and means three nights a week I get to sleep in my own bed and play with the cats and have some form of a life, even if I’m working at home, which sometimes of course I am. But being in my own home is very precious. And next year is filling up fast. There is a harsh reality that I’m not going to do this forever, so why quit when you’re having fun? Q. I remember your song years ago, “Too Old to Rock ’n’ Roll, Too Young to Die.” Was it a bit prophetic? A. Yeah, but that’s fine because it’s a kind of anthemic cheering-on of people who stick to their cultural roots. It’s not political. It was written to describe a person who is an old rocker (or biker) and he was wed to that way when I suppose he was an aspiring teenager and a young adult on a motorcycle and in a black leather jacket and he dreamed of being Marlon Brando and James Dean. It was about a culture, about people who have their clothes, their music, and their way of celebrating life on the open road. It’s kind of triumphal in the sense that you have someone who says, “Yeah, what the hell. I know what I like. This is me.” Q. I want to applaud you for your lyrics through the years. They’re consistently high quality and thought-provoking. Are they something you work extremely hard on? A. There’s a very easy answer to that. I write very quickly and I record very quickly, too. My band on the other hand, they want to keep every take, and I hate doing that. I’m a destructive editor. I record something, and when I re-record it, it automatically deletes what I don’t want. I’m making very quick judgments about my own performance. I can’t be bothered with too much editing. That’s the way I work. Life is too short. Q. What’s your feeling about the Rock and Roll Hall of Fame? It seems incredible that Jethro Tull is not in there yet. A. I really do believe it’s an American institution about celebrating, glorifying, and recording the history of Americana in terms of music. It should be about American acts. To me that’s what it’s there for. There is a whole bunch of American artists who need to be recognized long before you start thinking about a bunch of rich Brits who have made far too much money out of the US! Q. There seems to be a prejudice against the English acts sometimes. I remember David Gilmour of Pink Floyd saying they were eligible three or four years before they got in. And that’s Pink Floyd! A. I really don’t feel any engagement there. American music brought me into music through big band music when I was a child and then the earliest rock ’n’ roll and then blues. So American music got me going, but by the time I was 17 or 18, I couldn’t walk past a mirror without thinking, “Well, I’m not black. I don’t live on the South Side of Chicago, and I never had the experience of being a black in contemporary America.” I was imitating something that wasn’t really mine. I just found that to be very disingenuous. which is why the first Jethro Tull album was called ”This Was,” because it was essentially the time when we were trying to open the door by being a little middle-class white blues band in London, and that was just a means to an end. Q. Then you changed your style, right? A. Yes, and about a year or so later the advent of rock became progressive rock in 1969. That term was first coined by the British music press for bands like us and King Crimson, Yes, and the bands that came along a year or two later like Genesis. We were off and running after that new banner. Arguably, Britain did more of that and did it better than anybody else. So that made me feel better. And of course progressive rock these days is still a very real force in music.
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Post by maddogfagin on May 15, 2022 16:51:02 GMT
www.talkhouse.com/i-cant-get-anybody-into-jethro-tull-and-i-love-it/I Can’t Get Anybody Into Jethro Tull (And I Love It)Morgan Enos (Other Houses) on the prog legends’ new album and the joys of private musical communion. By Morgan Enos | February 1, 2022 The first is Randy Newman. “But he’s a mordant and incisive artist,” I say! “He has songs about bigotry and child murder and beating people up!” No dice: I guess the Pixar soundtracks are insurmountable for some people. (To clarify: I love those, too.) The second is Steely Dan. Despite their black humor and Serious Music bona fides (Wayne Shorter, Steve Gadd, and the Brecker Brothers played with them, for chrissakes!), I guess the yacht-rock perception remains — despite bearing zero aural or aesthetic resemblance to, say, Seals and Crofts. It’s the third I want to talk about: Jethro Tull. Newman may be an acquired taste, but much like The Dan, I argue that they offer something for most people. Thunderous hard rock? Dig Stand Up and Aqualung. Jingle-jangling folk? Head straight for Songs from the Wood and Heavy Horses. Electronic textures? Crest of a Knave. Knockout acoustic ballads? All over the place. Certain tunes, like “Wond’ring Aloud,” “Really Don’t Mind,” and “One White Duck / One White Duck / 0¹⁰ = Nothing at All,” I’ll take to my grave. And their first album since I was 11, The Zealot Gene — which arrived January 29 — just gifted me a few more. While Ian Anderson may be the only original member of the band, The Zealot Gene sounds more like their most beloved work than anything they’ve done in 30 years. But more importantly, highlights like “Jacob’s Tales,” “Sad City Sisters,” and “Barren Beth, Wild Desert John” rank among Anderson’s most psychologically rich and incisive offerings. All that said, despite a dozen albums I could cite — and my readymade treatise about the mystique, curiosity and raw intellect therein — I rarely get more than an, “Oh… cool” when I rave about Tull. This happens even when my captive audience is already a disciple of other progressive giants, like King Crimson, Genesis, or Yes. Given that I’m unable to call up my late father, a Tull disciple, I can feel somewhat solitary in this musical obsession these days. (Caveat: my wife, Brenna — who was reared on acts like the Chieftains — connects to the traditional-folk elements.) But perhaps there’s something to having a musical fondness that I share with few others I know. I love the Beatles, the Stones, and the Who, but they could never be mine. Tull feels mine. Allow me to theorize as to why Jethro Tull remains bizarrely underrated. Sure, they were a staple of classic rock and remain household names — even somebody with no real connection to their music probably knows the flute, the haggard fellow on the cover, and the “Aqualung, my friend” line. But whether it was due to the codpiece, the onstage pirate ship, the 45-minute song, or their ill-advised dalliance with the saxophone, Tull comes with some… connotations. And I understand: for every flawed album I vociferously defend, there are a few — like War Child, A Passion Play, and Under Wraps — that I never listen to at home. If those were their introduction to the band, I totally get why someone would pass. It helped that I started young. Even in my single digits, my dad taught me to listen to and understand their lyrics, even pausing the elliptical “Moths” over and over in his Honda Prelude so I’d absorb every line. Raised as one of Jehovah’s Witnesses — a denomination that emphatically opposes the trappings of mainstream Christianity — I was reared to grasp Anderson’s anti-dogmatic feelings in “Wind Up.” And growing up in nature on a steady diet of Tolkien, I could imagine “Jack-in-the-Green,” about a character somewhere between Tom Bombadil and Radagast, as a raggy denizen of my verdant surroundings. That’s all to say: it’s not like I grew to love Tull after I underwent the usual musical phases, from psychedelia to punk to hip-hop. I will freely admit that their connection to a beloved parent and my earliest memories makes me biased — an eternal Tull apologist. Anyway, to cite the Beatles again, the Get Back discourse was a startling reminder of their universality; everything I’ve mapped onto their story proved to be one tiny constellation in a supercluster of galaxies. But with pretty much just a smattering of my in-laws back home and some greyhairs on fan-sites aboard the Tull train, the communion feels more private — and therefore more special. I’ll make another admission: Tull’s acoustic material does more for me than the rockers, even though I love many of the rockers. This holds true for The Zealot Gene. While the blazing “Mrs. Tibbets” and “Shoshanna Sleeping” are great, it’s the suite of ballads near the end, from “The Betrayal of Joshua Kynde” to “In Brief Visitation,” that most speaks to me. And, gosh, that last one: I honestly can’t get it out of my head. Drawn from the Gospels of John and Luke, Anderson uses Christ as a launchpad to consider “fall guys” of all stripes. Wait a minute: Jesus as a fall guy! The notion would be off-putting if I didn’t know about Anderson’s abiding support for Christianity, or if the song wasn’t suffused with such love and wonder. “There are probably other cases where people who probably do good things still end up being pilloried in some way because they’re easy targets,” Anderson explained to me during a recent GRAMMY.com interview. That makes me think of Tull’s place in the musical landscape: beloved by a global cult fanbase, but largely frozen into an Anchorman joke otherwise. I’m at peace with that: if Anderson’s questionable, mid-’70s stage outfits made you head for the hills, great: more for me! Maybe they’re too brainy, too silly, too theatrical, too ambitious, too erudite, too comfortable with “uncoolness” for the hipster reappraisal train to pick them up along with ELO and the Grateful Dead. But for me, those are the exact qualities that make Tull like coming home. (Photo Credit: Heinrich Klaffs)
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Post by maddogfagin on May 15, 2022 16:38:08 GMT
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Post by maddogfagin on May 15, 2022 5:44:48 GMT
pastdaily.com/2019/09/09/mick-abrahams-wommett-in-concert-1970-past-daily-soundbooth/Mick Abrahams - Maybe unsung hero, but not to those who know. (photo: Getty Images) Mick Abrahams’ Wommett – In Concert – 1970 – Past Daily SoundboothBy gordonskene 3 years ago Mick Abrahams’ Wommett, in a rare almost unknown concert from John Peel’s Sunday Program on November 15, 1970 from BBC Radio 1. The thing about Rock History, especially those coming to it somewhat late, is that aside from the big broad strokes; those bands and artists that created an indelible impression in music history, there were many, countless bands and artists who provided missing links, early influences and lasting impressions on those audiences at the time, but have perhaps faded from memory as years go on. Mick Abrahams was one of the key and founding members of Jethro Tull, back when they were billed as a Blues band. As lead guitarist, Abrahams provided contributions to the pivotal debut album This Was, but left the band short after the release to form other bands and carry on leaving lasting impressions with audiences and critics alike, most notably Blodwyn Pig, who released two landmark albums before splitting up. After the demise of Blodwyn Pig, Abrahams formed the even shorter-lived band Wommett, which never had any commercial releases, and for a long time collectors were only aware of their Top Of The Pops (Mike Raven BBC Session) appearance from 1970. But just around that time was another appearance, this one for John Peel’s Sunday Concert from November 15, 1970. Sadly, it’s not complete – but a good half-hour of some memorable music by one of the criminally overlooked artists of the late 60s/early 70s. You always find yourself scratching your head, baffled why one artist makes it as a household name and another stays on the sidelines, largely relegated to the position of backbone for a genre. Mick Abrahams went through several lineups before settling on The Mick Abrahams Band. During the time-span of 1968-2009, the time of the first of several health issues for Abrahams which has forced him temporarily into retirement while he makes a full recovery, Abrahams has officially released, been involved in or had bootlegs of some 41 albums during his career so far. He is far from obscure, but his popularity is primarily with those in the know, or have followed his career since the legendary This Was for Tull. If you haven’t heard this concert before, even a half-hour snippet is worth the price of admission alone and gives further evidence the History of Rock is massive and overflowing with uncredited and overlooked (by the mainstream) contributions. Crank it up and check it out.
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Post by maddogfagin on May 15, 2022 5:28:59 GMT
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Post by maddogfagin on May 14, 2022 14:58:54 GMT
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Post by maddogfagin on May 14, 2022 14:40:42 GMT
Rockpop In Concert 1982 (Ian Anderson's Announcement)Jethro Tull - Rockpop In Concert 1982 (Ian Anderson's Announcement)1,054 views May 14, 2022 Jethro Tull 169K subscribers Ian Anderson announces the premiere of the Rockpop In Concert (1982) show on the 28th May, 2022. To celebrate the anniversary of the album release 'The Broadsword and the Beast', the restored concert will be available for 24h on the official YouTube channel. Subscribe to the channel here: bit.ly/3de3SY4
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Post by maddogfagin on May 14, 2022 5:44:03 GMT
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Post by maddogfagin on May 14, 2022 5:40:26 GMT
Don't Mess With Old People 39,043 views June 21, 2021
Kevin R Nye 13.8K subscribers Another quick fun story to start your morning with a laugh!
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Post by maddogfagin on May 14, 2022 5:34:44 GMT
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Post by maddogfagin on May 13, 2022 16:34:04 GMT
I'm not ignoring putting the tracks in order . . . it just I haven't finalised it yet as I keep changing my mind! My top 4 as of today 1. Mine is the Mountain 2. Mrs Tibbets 3. Three Loves Three 4. Where did Saturday Go ? "In Brief Visitation" has taken over at #1 pop pickers (I would have loved to have heard Alan Freeman say that radio link)
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Post by maddogfagin on May 13, 2022 16:03:32 GMT
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Post by maddogfagin on May 13, 2022 5:53:28 GMT
www.bootleglps.com/BLOG/jethro-tull-flute-cake-tmoq-71044JETHRO TULL FLUTE CAKE TMOQ 71044After reviewing three real dogs, it was nice to put a great one on my turntable and sit back and enjoy. Jethro Tull "Flute Cake" is sort of a bootleg classic, if such a thing exists. It first came out on TMOQ, my copy claims to be from TMOQ, but a check of Hot Wacks shows it is European copy pressed from the original plates. My LP is on red vinyl. Flute Cake was recorded at the Anaheim Convention Center in 1970 and has a paper insert. Stamped covers and other insert artwork exists. Side One: Nothing Is Easy / My God / We Used To Know Side Two: Wish You Were There To Help Me / A Song For Jeffery / Sossity, You're A Woman Rating: A minus. I am only giving this a "minus" because it is audience recording, but it really is a great LP. The fidelity is very good considering it did not come from a soundboard, and there's not a lot of distracting singing along and screaming from the audience like on the Monkees LP I reviewed earlier this week. I would definitely recommend this one, it is a classic. It is being sold for $25 - $150 out there, so you just need to dig around a bit.
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Post by maddogfagin on May 13, 2022 5:37:43 GMT
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Post by maddogfagin on May 12, 2022 16:14:44 GMT
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Post by maddogfagin on May 12, 2022 16:09:07 GMT
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Post by maddogfagin on May 12, 2022 5:46:48 GMT
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Post by maddogfagin on May 12, 2022 5:39:00 GMT
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Post by maddogfagin on May 11, 2022 14:42:40 GMT
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Post by maddogfagin on May 11, 2022 5:35:25 GMT
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