Thursday, February 12, 2015

The Statler Brothers~ "Some I Wrote"




The discography of The Statler Brothers, an American country music group, consists of 38 albums and 69 singles. 

The group debuted in 1965 with "Flowers on the Wall", a number 2 country and number 4 pop hit. Although they never made top 40 on the pop charts again, The Statler Brothers continued to chart on Hot Country Songs until 1990, reaching number one with "Do You Know You Are My Sunshine" in 1978, "Elizabeth" in 1983, "My Only Love" in 1984 and "Too Much on My Heart" in 1985. 


The Statler Brothers
Statler Brothers promo image.JPG
The Statler Brothers in 1983
Background information
Origin Staunton, Virginia, United States
Genres Country, gospel, southern gospel, vocal harmony
Years active 1955–2002
Labels Columbia, Mercury, Music Box, Yell
Associated acts Johnny Cash, The Oak Ridge Boys, The Blackwood Brothers
Website www.statlerbrothers.com

Past members Lew DeWitt
Don Reid
Harold Reid
Phil Balsley
Jimmy Fortune
Joe McDorman

Releases
Studio albums 38
Live albums 2
Compilation albums 5
Singles 69
Music videos 10
No.1 Single 4


The Statler Brothers (sometimes referred to in country music circles as simply The Statlers) were an American country music, gospel, and backing vocal group for Johnny Cash. The quartet was founded in 1955 in Staunton, Virginia.

Originally performing gospel music at local churches, the group billed themselves as The Four Star Quartet, and later The Kingsmen.[1]

In 1963, when the song "Louie, Louie" by the garage rock band also called The Kingsmen became famous, the group elected to bill themselves as The Statler Brothers. Despite the name, only two members of the group (Don and Harold Reid) are actual brothers and none have the surname of Statler.

 The band, in fact, named themselves after a brand of facial tissue they had noticed in a hotel room (they joked that they could have turned out to be the Kleenex Brothers).[2]

Don Reid sang lead; Harold Reid, Don's older brother, sang bass; Phil Balsley sang baritone; and Lew DeWitt sang tenor and was the guitarist of the Statlers before being replaced by Jimmy Fortune in 1983 due to DeWitt's ill health.[3]

DeWitt died on August 15, 1990, of heart and kidney disease, stemming from complications of Crohn's disease.[4]

The band's style was closely linked to their gospel roots. "We took gospel harmonies," said Harold Reid, "and put them over in country music."[1]

The group remained closely tied to their gospel roots, with a majority of their records containing at least one gospel song. They produced several albums containing only gospel music and recorded a tribute song to the Blackwood Brothers, who influenced their music.

 The Statler Brothers also wrote a tribute song to Johnny Cash, who discovered them. The song was called "We Got Paid by Cash", and it reminisces about their time with Cash.[1]



Career

Very early on in the group's history, before the name The Statler Brothers was established, Joe McDorman was a member.[5]

The Statler Brothers started their career at a performance at Lyndhurst Methodist Church near their hometown of Staunton.[1]

 In 1964, they started to become Johnny Cash's backing vocal for an eight and a half year run as his opening act.[2] This period of their career was memorialized in their song "We Got Paid by Cash". They were featured regularly on Cash's hit show The Johnny Cash Show on ABC.

 The show ran from 1969-1971. Due to their expanding career the Statlers left Cash's entourage around the mid 1970s to pursue their own careers. They left Cash on good terms.

Two of their best-known songs are "Flowers on the Wall", their first major hit that was composed and written by Lew DeWitt, and the socially conscious "Bed of Rose's".

 In the 1980s, the Statlers were a mainstay on The Nashville Network (TNN), where their videos were shown regularly. Also on TNN, between 1991 and 1998, they hosted their own show, The Statler Brothers Show, a weekly variety show which was the channel's top-rated program for its entire run.[6][7]

Their songs have been featured on several film soundtracks. These range from "Charlotte's Web" in Smokey and the Bandit II, to "Flowers on the Wall" in the crime dramedy Pulp Fiction.

Throughout their career, much of their appeal was related to their incorporation of comedy and parody into their musical act, thanks in large part to the humorous talent of Harold Reid; they were frequently nominated for awards for their comedy as well as their singing.

They recorded two comedy albums as Lester "Roadhog" Moran and the Cadillac Cowboys, and one-half of one side of the album Country Music Then and Now was devoted to satirizing small-town radio stations' Saturday morning shows.

They earned the number one spot on the Billboard chart four times: for "Do You Know You Are My Sunshine?" in 1978; "Elizabeth" in 1984; and in 1985, "My Only Love" and "Too Much on My Heart".[8]
Since forming, the Statler Brothers have released over 40 albums.[9]

The Statler Brothers purchased and renovated their former elementary school in Staunton, and occupied the complex for several years. The complex consisted of offices for the group, a small museum and auditorium, as well as an adjacent building which served as office space for unrelated businesses.

 A garage was built to store the two tour buses that the group had used for many years. The group has since sold the building which has been converted back into a school.[citation needed]

In 1970, the group began performing at an annual Independence Day festival in Gypsy Hill Park in Staunton. The event, known as "Happy Birthday USA", lasted for 25 years and included many country music figures including Mel Tillis, Charley Pride and many others.

The event drew as many as 100,000 fans each year. The group also honored their hometown with the song "Staunton, Virginia" on their 1973 album Do You Love Me Tonight.


Source: Wikipedia.org

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Petula Clark~ "Downtown"


"Downtown" is a pop song composed by Tony Hatch which, as recorded by Petula Clark in 1964, became an international hit, reaching No. 1 in Billboard Hot 100 and No. 2 in UK Singles Chart. Hatch received the 1981 Ivor Novello award for Best Song Musically and Lyrically.[1]
 
"Downtown"
Single by Petula Clark
from the album Downtown
B-side "You'd Better Love Me" (non-LP track)
Released November 1964
Format Vinyl
Recorded 16 October 1964, Pye Studios, London
Genre Pop
Length 3:05
Label Pye 7N 15722
(United Kingdom)
Warner Bros. 5494
(United States)
Vogue EPL.8301 (France)
Vogue DV 14256 (Netherlands)
Vogue DV 14297 (West Germany)
Vogue STU 42207 (Denmark)
Vogue US-105 (Japan)
Writer(s) Tony Hatch
Producer(s) Tony Hatch
Petula Clark singles chronology
"True Love Never Runs Smooth"
(UK-1964)
"Downtown"
(1964)
"I Know a Place"
(1965)



As recorded by Petula Clark

Background

Tony Hatch had first worked with Petula Clark when he assisted her regular producer Alan A. Freeman on her 1961 No. 1 hit "Sailor".

 In 1963 Freeman had asked Hatch to take over as Clark's regular producer: Hatch had subsequently produced five English-language singles for Clark none of which had charted.

In the autumn of 1964 Hatch had made his first visit to New York City, the purpose being to seek material from music publishers for the artists he was producing. Hatch would recall: "I was staying at a hotel on Central Park and I wandered down to Broadway and to Times Square and, naively, I thought I was downtown.

 Forgetting that in New York especially, downtown is a lot further downtown getting on towards Battery Park. I loved the whole atmosphere there and the [music] came to me very, very quickly".[2] According to Hatch he was standing on the corner of 48th St waiting for the traffic lights to change, looking towards Times Square when "the melody first came to me, just as the neon signs went on."[3]

Hatch envisioned his embryonic composition "as a sort of doo wop R&B song" which he thought to eventually pitch to the Drifters:[4] Hatch had scored his biggest success to date with the Searchers' "Sugar and Spice" modeled on the Drifters' hit "Sweets for My Sweet", and had also produced a cover of the Drifters' "Up on the Roof" for Julie Grant.

It has been alleged that Hatch gave Julie Grant the opportunity to record "Downtown" which Grant turned down[5] but this does not accord with Hatch's statement that he played "Downtown" for Petula Clark within a few days of conceiving the melody and only completed the song's lyrics after Clark had asked to record it: also Hatch has said that prior to Clark's expressed interest in "Downtown" "it never occurred to me that a white woman could even sing it."[4]

Within a few days of his New York City junket Hatch visited Paris to present Clark with three or four songs he'd acquired from New York publishers for Clark to consider recording at a London recording session scheduled for 16 October 1964 which was roughly two weeks away: Hatch – "she was not very enthusiastic about [the material] and asked me if I was working on anything new myself.

 Reluctantly (because the song was still so unfinished)"[6] – according to Clark besides the title lyric Hatch had only written "one or two lines"[7] – "I played her the tune of my New York inspiration and slipped in the word 'Downtown' in the appropriate places. 'That's the one I want to record,' she said"[6] – "'Get that finished. Get a good lyric in it. Get a great arrangement and I think we’ll at least have a song we’re proud to record even if it isn’t a hit.'" [8]

"Downtown" was recorded 16 October 1964 at the Pye Studios in Marble Arch. Thirty minutes before the session was scheduled, Hatch was still touching up the song's lyrics in the studio's washroom. Of his arrangement for the session Hatch would recall: "I had to connect with young record buyers...but not alienate Pet[ula]'s older core audience...The trick was to make a giant orchestra sound like a rock band."[3]

The session personnel for the recording of "Downtown" who were assembled in Studio One of Pye Recording Studios – Hatch insisted that all session personnel on his productions be recorded performing together – included eight violinists, two viola players and two cellists, four trumpeters and four trombonists, five woodwind players with flutes and oboes, percussionists, a bass player and a pianist: also playing on the session were guitarists Vic Flick, Jimmy Page and Big Jim Sullivan and also drummer Ronnie Verrell, while the Breakaways served as vocal chorale.

Hatch's assistant Bob Leaper acted as conductor.[8]

According to Petula Clark, the session for "Downtown" consisted of three takes with the second take ultimately chosen as the completed track [yet, elsewhere, an "extended" version, instrumental+backing vocal track, most likely from a session tape makes claims questionable].[9]


Impact

Tony Hatch would recall playing the completed "Downtown" track for Pye Records executives saying: "Nobody knew what to make of it and no release date was set.

  Then Pye's general manager called and said Joe Smith – Warner Bros.' head of A&R – was in London looking for British material. When Joe heard Pet[ula]'s record, he loved it and scheduled the single for urgent release in the [United] States".[3]

 When Hatch, surprised by Smith's enthusiasm for releasing "Downtown" in the US, asked if Smith didn't consider "Downtown" to be a "very English record" Smith replied: "It's perfect.

 It's just an observation from outside of America and it's just beautiful and just perfect."[2]

In the wake of Smith's interest "Downtown" was released in the UK in November 1964.

 It entered the UK Top 50 dated 14 November 1964, ending a virtual two-year UK chart absence for Clark; of the ten singles she'd had released in the UK during that period only one, "Chariot", had appeared in even the lower charts (#39 the spring of 1963). "Downtown" rose to #2 UK in December 1964, remaining there for three weeks, kept out of the #1 position by the Beatles' "I Feel Fine".

 Certified a Gold record for sales in the UK of 500,000, "Downtown" also reached #2 in Ireland and #1 in Australia, New Zealand, Rhodesia and South Africa, and was also a hit in Denmark (#2), India (#3), the Netherlands (#3) and Norway (#8).

But "Downtown" had its greatest significance in the reception it was afforded in the United States, where it was released by Warner Bros. in November 1964: after early regional break-outs, notably in Detroit, Miami, and Washington D.C., "Downtown" debuted at #87 on the Hot 100 chart in the Billboard issue dated 19 December 1964.

Despite the Christmas season typically being the worst time to break a new hit, "Downtown" shot up to #41 in its second week on the Hot 100 chart ascending in its third and fourth charting weeks to respectively #12 and #5; then after a subsequent single point advance to #4 "Downtown" leapt to #1 on the Billboard Hot 100 dated 23 January 1965, retaining that position a further week before being overtaken by the ascendancy of the Righteous Brothers' "You've Lost That Lovin' Feelin'".

The song became the first #1 hit for the year 1965.[10]

 Petula Clark thus became the first UK female artist to have a US #1 hit during the rock and roll era and the second in the annals of US charted music, Vera Lynn having hit #1 US with "Auf Wiederseh'n Sweetheart" in 1952.

"Downtown" also made Clark the first UK female artist to have a single certified as a Gold record for US sales of one million units. "Downtown" would be the first of fifteen consecutive hits Clark would place in the US Top 40 during a period when she'd have considerably less chart impact in her native UK, there reaching the Top 40 eight times.

Petula Clark, who had been playing to her French speaking fans in small venues in Quebec when "Downtown" entered the US charts, swiftly cut non-English versions of the song for the markets in France, Italy and Germany; the absence in each region's language of a two-syllable equivalent of "downtown" necessitated a radical lyric recasting for the versions aimed at France ("Dans le temps")

 Italy ("Ciao Ciao", winning the Festivalbar, a juke-box contest) and Spain ("Chao Chao") which respectively charted at #6, #2 and – for three weeks – #1: "Dans le temps" also reaching #18 on Belgium's French-language chart.

The title and lyric "Downtown" was retained for an otherwise German version which was the most successful foreign-language version, reaching #1 in Germany, #3 in Austria, and #11 on the charts for the Flemish region of Belgium.


Dolly Parton version

Dolly Parton recorded "Downtown" in Nashville in October 1983 in the sessions for her covers album The Great Pretender, a Val Garay production which focused on hits from the 1950s and 1960s.

"Downtown" served as the album's second single release in April 1984 reaching No. 36 on the Billboard C&W chart and crossing over to No. 80 on the Billboard Hot 100 pop chart: to date "Downtown" marks Parton's final solo Hot 100 appearance.

Parton's version altered some of the lyrics: "Listen to the rhythm of a gentle bossa nova" became "Listen to the rhythm of the music that they're playing". Petula Clark has described Parton's take on "Downtown" as "cute, because she didn’t even try to sound like my recording."[15]

 
"Downtown"
Single by Dolly Parton
from the album The Great Pretender
B-side "The Great Pretender"
Released April 1984
Recorded December 1983
Genre Country
Label RCA Nashville
Writer(s) Tony Hatch
Producer(s) Val Garay
Dolly Parton singles chronology
"Save the Last Dance for Me"
(1983)
"Downtown"
(1984)
"Tennessee Homesick Blues"
(1984)



 

Emma Bunton version

Background

BBC News announced 20 October 2006 that Emma Bunton would record a remake of the Petula Clark hit "Downtown" to be the 2006 official BBC Children in Need single, with Bunton quoted as saying: "I've always loved 'Downtown'...and I'm really looking forward to putting my own stamp on it. The track's good fun and one everyone will know."[16]

 Bunton, whose admiration for Petula Clark was evident on the 2004 Free Me album, recorded "Downtown" at AIR Studios (Lyndhurst) with Simon Franglen producing; the orchestra for the track was recorded at Angel Studios with Gavin Wright conducting.

The track was released on 13 November 2006 and Bunton premiered her version of "Downtown" on the 2006 Children in Need telethon which began broadcast 17 November 2006.

Although Bunton would allege knowing "Downtown" composer Tony Hatch "quite well",[17] Petula Clark would state that neither she [i.e. Clark] nor Hatch had prior knowledge of Bunton's remake.[18]

Clark also stated that she considered Bunton's remake to be an "outright copy"[15] of Clark's original recording: "I could ask: 'What's the point'...but Emma's recording is wonderful and...for a great cause"[18] (i.e. Children in Need).


"Downtown"
Single by Emma Bunton
from the album Life in Mono
B-side
Released 13 November 2006
Format
Recorded 2006
Genre Soul
Label Universal
Writer(s) Tony Hatch
Producer(s) Simon Franglen
Emma Bunton singles chronology
"Crickets Sing for Anamaria"
(2004)
"Downtown"
(2006)
"All I Need to Know"
(2007)
Audio sample

Menu
0:00
file info · help

Music video
"Downtown" on YouTube

Impact

"Downtown" by Emma Bunton debuted on the UK singles chart 25 November 2006 at #24. Centralfm.com noted Bunton's chart debut, declaring "Downtown" "the song she was born to cover...

One of the all time great pop songs, ['Downtown'] was long overdue for a revival and Emma Bunton pays it the respect it deserves.

" Centralfm predicted "Downtown" would rise to the Top 3 in its second week and the single did indeed jump to No. 3 on the chart for 2 December 2006 having sold 30,582 units in the relevant week: the mid-week stats had ranked "Downtown" at #2 behind "Patience" by Take That but on the chart for the full week Bunton was bested not only by Take That at No. 1 but by the previous week's No. 1 "Smack That" by Akon which outsold "Downtown" by 57 copies.[19]

While affording Bunton her highest charting single since her No. 1 solo debut "What Took You So Long?" in 2001, "Downtown" would prove to have little staying power, spending only three weeks in the Top 20, performances by Bunton on a Christmas Day broadcast of Top of the Pops and New Year Live failing to significantly buoy its popularity.

Total UK sales for "Downtown" by Emma Bunton were tallied at 77,039 units.


Source: Wikipedia.org 

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Bob Dylan~ "Knockin' On Heaven's"



"Knockin' on Heaven's Door" is a song written and sung by Bob Dylan for the soundtrack of the 1973 film Pat Garrett and Billy the Kid.

 Released as a single, it reached #12 on the Billboard Hot 100 singles chart.

 Described by Dylan biographer Clinton Heylin as "an exercise in splendid simplicity,"[1] the song, measured simply in terms of the number of other artists who have covered it, is one of Dylan's most popular post-1960s compositions.

Members of the Western Writers of America chose it as one of the Top 100 Western songs of all time.[2]

"Knockin' on Heaven's Door"
Single by Bob Dylan
from the album Pat Garrett & Billy the Kid
B-side "Turkey Chase"
Released July 13, 1973
Recorded February 1973
Genre Folk rock, gospel
Length 2:32
Label Columbia
Writer(s) Bob Dylan
Producer(s) Gordon Carroll
Bob Dylan singles chronology
"George Jackson"
(1971)
"Knockin' on Heaven's Door"
(1973)
"A Fool Such as I"
(1973)

Story line and song structure

The song describes the collapse of a deputy sheriff, dying from a bullet wound; he tells his wife "Mama, take this badge off of me; I can't use it anymore."

The song consists of four chords in the key of G major: G, D, Am7, and C. The basic pattern throughout the song is G-D-Am7-Am7 and then G-D-C-C, and this is repeated. Over the years, Dylan has changed the lyrics, as have others who have performed this song.

Source: Wikipedia.org 
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Peter O' Toole~ "To Dream The Impossible Dream"


Peter Seamus O'Toole[1] (/ˈtl/; 2 August 1932 – 14 December 2013) was an Irish stage and film actor.

 He attended the Royal Academy of Dramatic Art, and began working in the theatre, gaining recognition as a Shakespearean actor at the Bristol Old Vic and with the English Stage Company, before making his film debut in 1959.

He achieved international recognition playing T. E. Lawrence in Lawrence of Arabia (1962) for which he received his first Academy Award nomination.

 He received seven further Oscar nominations – for Becket (1964), The Lion in Winter (1968), Goodbye, Mr. Chips (1969), The Ruling Class (1972), The Stunt Man (1980), My Favorite Year (1982) and Venus (2006) – and holds the record for the most Academy Award acting nominations without a win.

 He won four Golden Globes, a BAFTA and an Emmy, and was the recipient of an Honorary Academy Award in 2003.

Man of La Mancha


Man of La Mancha
Man of La Mancha film poster.jpg
Theatrical release poster
Directed by Arthur Hiller
Produced by Arthur Hiller
Saul Chaplin
Alberto Grimaldi
Screenplay by Dale Wasserman
Based on Don Quixote de la Mancha
by Miguel de Cervantes
Starring Peter O'Toole
Sophia Loren
James Coco
Harry Andrews
John Castle
Ian Richardson
Music by Mitch Leigh (musical)
Laurence Rosenthal (incidental music)
Cinematography Giuseppe Rotunno
Edited by Robert C. Jones
Production
company
Produzioni Europee Associati
Distributed by United Artists
Release dates
  • December 11, 1972 (New York)
  • September 8, 1973 (Italy)
Running time
132 minutes
Country United States
Italy
Language English
Budget $12 million

Man of La Mancha is a musical with a book by Dale Wasserman, lyrics by Joe Darion and music by Mitch Leigh.

 It is adapted from Wasserman's non-musical 1959 teleplay I, Don Quixote, which was in turn inspired by Miguel de Cervantes and his seventeenth-century masterpiece Don Quixote.

 It tells the story of the "mad" knight, Don Quixote, as a play within a play, performed by Cervantes and his fellow prisoners as he awaits a hearing with the Spanish Inquisition.[1]

The work is not, and does not pretend to be, a faithful rendition of either Cervantes' life or of Don Quixote. Wasserman complained repeatedly about taking the work as a musical version of Don Quixote.[2][3]

The original 1965 Broadway production ran for 2,328 performances and won five Tony Awards, including Best Musical. The musical has been revived four times on Broadway, becoming one of the most enduring works of musical theatre.[4]

The principal song, "The Impossible Dream", became a standard. The musical has played in many other countries around the world, with productions in Dutch, French (translation by Jacques Brel), German, Hebrew, Japanese, Korean, Icelandic, Gujarati, Uzbek, Hungarian, Serbian, Slovenian, Swahili, Finnish, Ukrainian and nine distinctly different dialects of the Spanish language.[5]

Man of La Mancha was first performed at the Goodspeed Opera House in East Haddam (Connecticut) in 1965, and had its New York premiere on the thrust stage of the ANTA Washington Square Theatre in 1965.[6]




Man of La Mancha is a 1972 film adaptation of the Broadway musical Man of La Mancha by Dale Wasserman, with music by Mitch Leigh and lyrics by Joe Darion.

 The musical was suggested by the classic novel Don Quixote by Miguel de Cervantes, but more directly based on Wasserman's 1959 non-musical television play, I, Don Quixote, which combines a semi-fictional episode from the life of Cervantes with scenes from his novel.

The film was financed by an Italian production company, Produzioni Europee Associates, and shot in Rome.

 However, it is entirely in English, and all of its principal actors except for Sophia Loren are either British or American. (Gino Conforti, who plays the Barber, is an American of Italian descent.)

The film was released by United Artists.

 It is known in Italy as L'Uomo della Mancha.

The film was produced and directed by Arthur Hiller, and stars Peter O'Toole as both Miguel de Cervantes and Don Quixote, James Coco as both Cervantes' Manservant and Don Quixote's "squire" Sancho Panza, and Sophia Loren as scullery maid and prostitute Aldonza, whom the delusional Don Quixote idolizes as Dulcinea.

Gillian Lynne, who later choreographed Cats, staged the choreography for the film (including the fight scenes).
 

Plot

Main article: Man of La Mancha
Cervantes and his manservant have been imprisoned by the Spanish Inquisition, and a manuscript by Cervantes is seized by his fellow inmates, who subject him to a mock trial in order to determine whether the manuscript should be returned.

Cervantes' defense is in the form of a play, in which Cervantes takes the role of Alonso Quijana, an old gentleman who has lost his mind and now believes that he should go forth as a knight-errant.

 Quijano renames himself Don Quixote de La Mancha, and sets out to find adventures with his "squire", Sancho Panza.

Source: Wikipedia.org

Somebody Come and Play In the Traffic With Me! Earn as You Learn, Grow as You Go!



The Man Inside the Man
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Friday, December 19, 2014

Hey All How You Doing? Me I am a Little Better Now!

As I believe I have gotten the Site at Sinbadthesailorman Dot Com under control.

Here is what the deal was my Hub and site “Sinbad The Sailor Man Dot Com” was acting up and when I put a ticket in I found out It has been UN supported for the last Year! But Now what is left of it and still up and working is at Sinbadthesailorman Dot Info.

I am currently Rebuilding the PW&OSfStSM Site at a WordPress Themed Site. It will still be Hosted at Fatcow.com and It will have the Original Dot Com address Sinbadthesailorman.com.

The Dot Info should be Up but, It may not be Fully Functioning not even as well as It did Yesterday! And It will decline in functionality as time goes by. There is nothing I can do about It as of today Its a third party website builder for Fatcow and It is being phased out! But like a way Back Site you'll be able to see what It is and was.

This Post will be a site wide Posting and you will see It at all my sites and on my FaceBook pages, Twitter.com, and wherever else I can think about getting It up and then remember to do so.


 The New Wordpress Theme is Visible

 

But appears nothing like a Wordpress theme and It Won't for a good week and a half most likely. But the Addresses of both sites are showing up as Up and they are something and Bits and Pieces of both. They are not completely restored and the Old Website won't be to my understanding as I mentioned above here. So this is why I am putting this Info Out too you all. So you don't think I built a bunch of totally useless crap and slapped It up trying to make a buck.


Well I got to Run because I am under the Gun Here and I need to try and save the Christmas rush earnings ability If I can If Not Oh well It Looks like Easter and St Valentines Day will be my next chance to earn with Amazon.com and my other Affiliates.


Stuff Happens and It will Happen When You Least Expect It! Especially If You Don't Stay On Top of Things!




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