The Cavern
Rock & Words
MAGICAL MYSTERY TOUR (The Beatles, 1967)
Artist: The Beatles (A)
Recording Dates: Apr 25 – Nov 7 ‘67
Release: December 8th, 1967. USA
Record Label: Capitol/Parlophone
Producer: George Martin
Rating: 10 (MUST HAVE)
Era: Psychedelia (1966-1969)
Subgenre: Psychedelia (1966-1969)
Best Song: Choose at your leisure...
Tracklist: 1) Magical Mystery Tour; 2) The Fool On The Hill; 3) Flying; 4) Blue Jay Way; 5) Your Mother Should Know; 6) I Am The Walrus; 7) Hello Goodbye; 8) Strawberry Fields Forever; 9) Penny Lane; 10) Baby You're A Rich Man; 11) All You Need Is Love.
“Roll up, roll up to the Mystery Tour, step right this way…” With these words, we embarked on this magical and mysterious journey. I must say that I have a special fondness for this album because it was the first non-compilation Beatles album I ever heard, when I was around 12 years old. And I think I couldn't have had a more wonderful introduction. It still has that power to evoke memories of my adolescence, as it was the gateway to a whole universe of music—colorful, vibrant, full of life. Thanks to this album, the way it hooked me allowed me to immerse myself in the rest of the Beatles' discography, and therefore, in all the other bands and albums I know today. In the Beatles' intro, I said that Paul's invitation to get on this train was decisive. That's how I boarded "The Left Side of Music," since the right side is that easy, fleeting, light, opportunistic music that only caters to fads and seasons, and which in no way leaves a mark on history. That's why "Step right this way" has always been so symbolic, and it still moves me every time I hear it.
But it doesn't just evoke my adolescence. Magical Mystery Tour is just that, a mystical journey back to the '60s. It's a direct trip to the Summer of Love. It's capable of evoking sensations, aromas, and emotions that I never even dreamed of experiencing; but listening to this album, you can almost feel what that hippie generation must have felt: freedom and vibrant energy. Sgt. Pepper's doesn't have this freshness. It's a circus act, and as such, it sounds somewhat artificial, less melodic, and although it was certainly revolutionary in many ways, I still don't understand how the vast majority of people consider it superior to this gem. Magical Mystery Tour is much fresher, and although the songs are loose and lack a conceptual idea, it still sounds more solid and cohesive to me. It's not a story it tells, unlike Peppers' attempt at a circus-like concept, but rather a way of life: the energy and optimism of "Magical Mystery Tour," the delicacy and melancholy of "The Fool on the Hill," the watery psychedelia of "Flying," which also says everything necessary with its title, the dark loneliness of "Blue Jay Way," the innocent simplicity of "Your Mother Should Know," the complexity of that solemn experimental joke called "I'm the Walrus," the joy and lyrical contradiction of "Hello, Goodbye," the nostalgia of "Strawberry Fields Forever," the suburban song of "Penny Lane," the acerbic Lennonian critique with Hindu undertones in "Baby You're a Rich Man," and the ultimate love anthem of that summer and, indeed, of music history, "All You Need Is Love." I'm not ashamed to say that this album was my favorite for a long time, and even today it's among my top three Beatles albums.
On the other hand, this was the group's first "commercial failure." And their first work with the "umbilical cord forcibly cut," that is, their first work without Brian Epstein's guidance. But let's take these quotes one step at a time.
Let's start with the "not a compilation" thing. This wasn't a proper album. In reality, in England it was released as a double EP containing the tracks from the film *Magical Mystery Tour*, which make up the entire A-side of the record, up to "I Am the Walrus." "Penny Lane" and "Strawberry Fields" were singles recorded in late '66 and released in early '67, marking the beginning of their mature psychedelic period. But EPs weren't very popular in the US, so Capitol Records turned *Magical Mystery Tour Is One of Those American Bastards* into an LP and released it as the film's soundtrack. Many consider it a compilation for these reasons, but none of the songs were released on any other LP, which, in my opinion, disqualifies it from that label. Another point is that, despite not being released in England, record stores imported it from the United States, and it ended up being a huge sales success there as well, even though it was more expensive. In the USA it was #1 for 8 weeks. In England it wasn't released until 1976, and perhaps that's why many don't consider it a proper album.
Now, the Beatles suffered their first major setback of the Magical Stone era. Sgt. Pepper's had just been released, and the Beatles were enjoying the popularity and influence it had given them in the face of the hippie generation. Never before had an album received such acclaim from both critics and fans.
George Harrison convinced the rest of the Beatles to attend a 10-day transcendental meditation course with Maharishi Mahesh Yogi in Bangor, Wales, to escape the noise and stay grounded. The Beatles traveled by train, departing London on August 25th. Amid the media circus that ensued, Cynthia Lennon missed boarding the train, which the press was already calling the "Magical Mystery Tour." Cynthia would later say that she burst into tears at that moment, not because she couldn't go with them—that could have been solved with a car trip, which might have been faster than the train—but because she knew she had lost her husband forever. Yoko's presence was becoming increasingly strong in John's life. They weren't yet lovers, but the Japanese woman had managed to infiltrate his life and was a powerful intellectual influence on him. Cynthia knew then that she had lost him and that it was only a matter of time before the marriage crumbled. The quartet, therefore, arrived in Wales where they began their encounter with transcendental meditation and with the famous Maharishi.
Meanwhile in London, more than just John's marriage was falling apart. The Beatles are impossible to imagine without Brian Epstein. He's generally overlooked, but without Brian's business acumen, I don't think the Beatles would ever have left Liverpool. His influence wasn't on the music itself, but he created their image, gave them professionalism, and built a brand that still generates trillions of dollars today. He organized those colossal tours and ensured his lads earned more than any other band, whether from concerts, films, record sales, royalties, and so on. The lads loved him like a father, and Paul even went so far as to say that if anyone deserved to be called the fifth Beatle, it was Brian. Well, at that point, Epstein was the only one in the Beatles' inner circle who wasn't enjoying the success of Sgt. Pepper's at all. Besides the Fab Four, Epstein also managed Gerry & The Pacemakers, Billy J. Kramer & The Dakotas, The Fourmost, and Cilla Black, among others. But when the Beatles announced in 1966 that they would no longer tour, he was devastated. Organizing those tours was a fundamental part of his life. And in a way, he was sidelined after that decision. Between the hippie festivals and the offers he received for concerts with his star band, he fell into a depression. His personal life was also in chaos by then, as he was very dependent on his mother and lived in a homophobic society, having to endure John's sharp jokes and extortion attempts. He bought the Saville Theatre to fill the void and started working as a theater producer, another of his passions, but apparently it wasn't enough. By the time of the Peppers era, he had little influence over the quartet. He was taking large quantities of barbiturates to sleep, and when he couldn't get up in the morning, he started taking amphetamines to wake up and stay alert. The doses counteracted each other, and he began taking increasingly larger amounts. On August 27, Peter Brown called Bangor. John was annoyed to take the call—"it had better be something important." He picked up the receiver, remained silent for a moment, hung up, and turned to the others to announce that Brian had died of an overdose. The Maharishi led them through a session to comfort them and help them accept the loss. That afternoon, they returned quietly to London. Officially, it was an accidental overdose, but within the inner circle, no one was ever certain. Years later, Peter Brown would reveal that he found a suicide note in which Brian asked him not to reveal it to anyone. If you ask me, that day marked the beginning of the Beatles' slow and painful breakup.
Without Brian, the Beatles began a power struggle to control the group. They weren't exactly orphaned or leaderless. It's just that Brian had little left to contribute at that point. Meanwhile, George Martin began to gain more importance. His role in the instrumentation and orchestrations was even more significant than on Peppers. Martin became the magician who made the Beatles' most exotic studio wishes come true, musically speaking. I don't know if he was ever more creative and relevant than he was then. While he had already contributed to the orchestrations on Peppers, they served as a backdrop, whereas on MMT, the orchestras and additional instruments are as important as, or even more important than, the electric instrumentation. If you don't believe me, go to the Anthologies and listen to the bare bones of the songs! On the business side, Peter Brown, Brian's right-hand man, took over the management of Nems and began to shape the Beatles' own record company at Paul and John's request. Paul was the one who took control of the group. Immediately, their next project began to take shape: a bizarre, psychedelic, unscripted film in which they were supposed to climb aboard a yellow truck with an entire circus and film whatever happened or occurred to them. The film, Magical Mystery Tour, was a grotesque ode to absurdity and ended up being a commercial failure—the first for the Beatles—after its release in December 1967 for British television. They thought they were untouchable, but critics and fans alike tore it apart, seeing it as nothing more than a documented LSD trip. But while the film sank, a shrewd move by Capitol Records, which handled the Beatles' distribution in the USA, ensured the album stayed at number one for eight weeks and earned Grammy and Oscar nominations for Best Original Score. Hence the quotation marks around "commercial failure," haha.
In any case, it shows that whatever they did could turn to gold, even indirectly. Magical Mystery Tour is a perfect album, without filler (unlike Peppers), much more varied, more detailed in its finishes and arrangements, more emotive and vibrant, and it better reflects that spectacular Summer of '67. Paul's work on bass is already colossal; there aren't really any riffs, but he creates high-quality, bouncy, and unpredictable lines that are very, very difficult to follow, as is Ringo. Melodically, it's impeccable, a masterpiece that puts a smile on your face from beginning to end, full of hooks and catchy choruses. The lyrics are more mature, without being overly complex, resulting in universal anthems. And we have a handful of timeless classics, from "Strawberry Fields Forever," "Penny Lane," and "The Fool on the Hill" to "All You Need Is Love," which, in its simplicity, I consider a strong contender for the best song ever. What more does it take for people to take this album seriously? I currently only consider it below Abbey Road and Revolver. And yes, above the White Album and Sgt. Pepper's. The last album where the Beatles functioned as a perfect team, without ego clashes, without using their bandmates as mere studio musicians. Sublime. Beautiful.
The journey begins precisely with “Magical Mystery Tour”, which opens with a slow brass arrangement that gradually accelerates to cruising speed. Don't you just love symbolism? Paul delivers the famous welcoming line, and we're off with the song. “Magical Mystery Tour” continues the style of the “Sgt. Pepper's” track, serving as an intro to the entire album, though it doesn't attempt to encompass a single concept or unity. It was written specifically for the film, but it works as a phenomenal opener for the album and a fitting welcome to this auditory journey. We're immediately launched into the catchy chorus with John dominating the backing vocals with that “Roll uuuuuuuuuuuuup, roll up for the mystery tour,” while Paul inserts phrases between verses. This creates a very dynamic groove as the brass and piano add psychedelic color. Paul takes center stage in the bridge: “The Magical Mystery Tour is waiting to take you away…” Then come effects like bursts of air blast that travel from one earbud to the other, and there's another change at 1:10 where it calms down a bit before returning to that train-like effect , gradually accelerating. Possibly my favorite section. The changes are very simple, but they make it work perfectly. At the end, there's an outro with a strange little piano as the song fades out. It's a completely simple thing, designed for the film, but you can't deny that it's currently one of the most anticipated songs at Paul's concerts, where entire stadiums join in the choruses. An opening that isn't exactly devastating, which couldn't be more fitting. It's energetic, positive, bright, and perfect for sing-alongs in stadiums. I know Paul didn't intend it that way, especially considering the era in which it was written, but ultimately, it has become a classic over time. A minor classic, but a classic nonetheless.
Next up is “The Fool On The Hill”, one of Paul’s most beautiful, delicate, moving, and underrated ballads. And it’s not even a saccharine love song! The song is entirely Paul’s, and although it was long rumored to be somewhat autobiographical, Paul later clarified that it was based in part on the Maharishi, who had made a great impression on him after the few days he spent with him, even though his detractors called him a “fool.” George Martin’s instrumentation is superb. It begins with a very cute piano and that gorgeous vocal melody, one of McCartney’s best, and with a plethora of vocal hooks. Then flute arrangements are added, completely dominating, and taking the song from a certain drama to an innocent tenderness in a playful and, well… silly section, complete with a curious harmonica making a duck-like effect at 1:25, during the flute solo and the coda. But all these changes are very moving; they complement each other to tell the story and make it work. The fool who, in the end, was wise in his peculiar way of thinking. Paul went to Nice to film the scene for this song, playing the fool. He managed to leave without a passport when he realized the hill was "the most perfect in the world" for the video. Upon arriving, he called Mal Evans to send his documents and video equipment to film that scene on the foggy little hill where he rolls his eyes and acts like an idiot. Another great song that I think is a bit underrated. John would later say that it was proof that Paul had enough creativity to write high-quality lyrics without anyone's help.
Then comes “Flying”, which is a very strange song and definitely works best in the context of the film, with those clouds changing color. But the track is very cute, with watery, psychedelic sounds and great harmony. When I was a kid, just discovering the album and the band, I loved the song's distant, hypnotic feel, and I thought it was like a vocal warm-up or something for the group. Hahaha. By the way, it's one of the very few instrumental tracks by the Beatles, unless someone counts the La La La's. It's also credited to all four of them. The vocal harmonies are very interesting, with a low tone that seems dominated by Ringo… is this the lead vocal track they let him sing on every album? Hehe. Another interesting fact is that John played the Mellotron for the first time on this song. A short, harmless, and enjoyable track.
“Blue Jay Way” continues in that vein. It’s a George composition, with Indian influences, but dark and tremendously melancholic, with a menacing air. Ringo’s drumming is colossal, and it’s partly what gives it that dense, dangerous, and claustrophobic feel. Although it has a strong Indian influence, this time they don’t use any Eastern instruments. The effects are created with a Hammond organ, a cello, and reversed vocal recordings. They also use vocal layering to achieve an ethereal tritone effect in George’s voice. The vocal melody is again excellent and rivals Paul’s. Hypnotic and catchy. The lyrics are bizarre. “There’s a fog upon LA and my friends have lost their way”??? When has there ever been fog in Los Angeles? He’s clearly referring to a cloud of dust, haha. George was inspired by a time he traveled to California without the rest of the band, accompanied only by Neil Aspinall. They agreed to meet at a certain spot, but Neil got lost and Harrison panicked, not knowing his way around the enormous city. “Blue Jay Way” was the street where he was waiting. The ending is brilliant, with those repetitions of “don’t be long” like dark mantras. The song, like many of George’s Hindu-influenced tracks, is one you either love or hate. Personally, I love it, for its malevolent yet mystical feel. But all in all, I think that along with “Flying,” it’s one of the weakest links on the album.
Next up is “Your Mother Should Know”, another Paul song. Many accuse it of being weak and silly, but I find it wonderful, driven by that retro-tinged piano, which Paul intentionally created, recalling the old songs from the 40s that his and John's mothers used to sing. I don't know why it's so criticized; it's innocent and charming, with that opening that wanders between minor and major keys, and a beautiful vocal melody, with John and George answering the lead line in a velvety falsetto. Just a year later, the whole world would be turning its back on psychedelia and returning to these kinds of vintage tunes. Besides, the sequence in the film is hilarious, with the four of them coming down a staircase in tuxedos, doing a ridiculous yet equally charming little dance. That scene alone makes the whole movie worthwhile! In short, it's Paul proving that the simpler, the better it sounds.
Side A ends with “I Am the Walrus”, one of the band's and the 60s' most iconic songs. John does the exact opposite of what Paul had done up to that point: a complex, experimental, outlandish, almost defiant track. But perhaps it's the most perfect experiment the Beatles ever undertook. The song already shows some influence from Yoko's “abstract art,” but it mainly occurred to John because he learned that a university offered a class dedicated exclusively to interpreting Beatles lyrics. So he challenged himself to create a song with complex poetic imagery, but without any meaning whatsoever. People have racked their brains for decades trying to decipher the meaning of this song when it was simply Lennonian imagery, absurdity, with a vague influence from Lewis Carroll's poem “The Walrus and the Carpenter.” The melody has a mid-tempo rhythm, with a very unusual phrasing. Martin's orchestrations are superb, intertwining winds with violins and that rhythmic piano that guides the entire song, achieving a leading role. The choruses are as catchy as bubblegum, with that "I'm the eggman" and a chorus responding "whooooooo." The coda is even stranger, full of odd sounds and loops, reversed tracks, and a 16-person choir with an orchestral crescendo vaguely reminiscent of "A Day In The Life" due to the tension it builds, and even a fragment of Shakespeare's King Lear with a character reciting "sit you down, father, rest you." But of all the experimental work Lennon did, this is perhaps the best, most catchy, hallucinogenic, and unpredictable. George Martin's sound effects are, I think, just as, if not more, creative and deserve another mention, highlighting the lyrics like the jester's laughter. A timeless classic.
The second side opens with “Hello Goodbye”, which follows the same vein as “Your Mother Should Know.” It’s equally simple and charming, with a touch of country from the playful violin and a descending riff that pays homage to Harrison, once again putting the guitar front and center. I particularly love the “ting” when Paul sings “And I say I don’t know,” which sounds like the guitar is crying. John and George provide great backing vocals, and Ringo delivers one of his most complex and underrated performances, with a surprising number of off-beats and fills. The vocal melody is captivating and perfect, full of hooks, inflections, falsetto flourishes, and the coda melody… You might say the lyrics are silly (I actually like them), but musically they’re perfect, beautiful, and impossible to listen to without ending up with a huge grin on your face. It’s infectious with optimism. For the clip, the four of them appear in the outfits from the Peppers cover, and in the coda some girls in Hawaiian skirts dance suggestively while Paul sings "heba, heba helloa".
Now comes one of the classics. “Strawberry Fields Forever” was part of the quartet's first single in '67, sharing a double A-side with “Penny Lane” after they were rejected for Sgt. Pepper's. Words can hardly describe this song. It's the Beatles' first truly psychedelic track, with John reaching his lyrical maturity, heavily influenced by Bob Dylan. It's inspired by scenes from John's childhood, specifically an orphanage called “Strawberry Fields” where they used to sneak in to play in the trees. The melody is beautiful, perhaps John's best ballad with the group, sung with a nostalgia and a slightly raspy, distant tone that gives the impression he might burst into tears at any moment. The intro features a Mellotron with a flute effect, played by Paul. Then the guitar slides in to introduce John, who sings in a rhythmic fashion. The bass line is simple yet profound. The guitar plays slow arpeggios like cascades of notes. Ringo adds incredibly complex flourishes at the end of the verses, and some surprising off-beats within them. In the parts where John sings almost a cappella, his drums are recorded in reverse, like bursts of sound. Starr's performance here is masterful, one of his best and most underrated. The instrumentation is magnificent, with cellos, winds, a double bass making sporadic appearances… everything combines to create a nostalgic and melancholic atmosphere. At 2:50, the song begins its exit with George's high notes and Ringo's incredibly difficult rhythm. The song fades away with harp effects. But it returns with a strange coda featuring flutes forming a circular pattern, creating a nightmarish, chaotic effect. John is heard saying "Cranberry sauce," which had no meaning, but at the time everyone interpreted it as "I buried Paul" to support the ridiculous theory that McCartney had died in 1966 and been replaced by Billy Shears. The lyrics, as I said, are among John's best in his entire career. Brilliant and meaningful lines: "I think I know I mean a yes, But it's all wrong, That is I think I disagree," where Dylan's ironic influence is evident, or "Living is easy with eyes closed, misunderstanding all you see. It's getting hard to be someone but it all works out. It doesn't matter much to me," which I consider one of his most beautiful verses. And a mention also goes to George Martin, who, with just four tracks, becomes a magician, delivering a brilliant production perfectly suited to John's songwriting. Without Martin's boundless creativity, the song would have been a pretty but uninspired little ballad, like the one we heard on Anthology II.
“Penny Lane” was Paul’s answer to “Strawberry Fields”. It was as if to say, if you can make a nostalgic song, so can I. And it’s undoubtedly charming; it wasn’t considered a B-side for nothing, but rather released as a double A-side. The song is beautiful, filled with Paul’s childhood memories of that corner of Liverpool called Penny Lane. A suburban tune with the piano as the guiding instrument and the bouncy bass adding color. The trumpets and horns are fundamental in delivering those majestic yet melancholic flourishes. In the chorus, John blends in beautifully for exquisite harmonies, and we have a piccolo trumpet solo at 1:10 and again at the end. The rhythm is like an informal march, and overall the song has a fresh, sunny, relaxed atmosphere that exudes optimism, contrasting somewhat with John’s more somber and introspective style. Another great song, also considered a classic, and which many believe to be the best single ever. Even so, I find it slightly inferior to its Lennon counterpart.
Next up is “Baby You're a Rich Man”, a John track that borrows from George's Indian influences, particularly through the use of a rare instrument called the clavioline, which sounds like a “crumpled violin.” The bass line is delightful, featuring impossible-to-repeat scales characteristic of this jazzy, psychedelic, and improvisational period in Paul's career. George adds his own touch with a guitar riff, the sound of which he muffles with his palm. Ringo keeps the rhythm, and handclaps are added to accompany the exotic beat. John sings in a very unusual falsetto for almost the entire song, sounding particularly sharp and ironic. It's said to have been dedicated to Brian Epstein, especially because of the line “How does it feel to be one of the beautiful people?” It's usually considered a minor track, and certainly doesn't reach the heights of the best on MMT, but the complex structure and catchy melody are nonetheless fascinating; on a good day, I might mark it in red, just like George's. Something almost no one knows is that Mick Jagger helped with the backing vocals. Apparently, he was hanging around the studio and ended up being invited to sing (it was possibly the day they were invited to the party at Keith Richards' cottage, which only Harrison attended, and after they left, the police raided the Stones' house for drugs). So, in reality, Mick recorded two tracks with the Beatles.
And we conclude with “All You Need Is Love”. This is a testament to John's lyrical maturity and his knack for creating universal, transgenerational anthems. If there's one song that defines the hippie era, it's this one. But it has transcended time to become an anthem of love and pacifism. The lyrics are mature and philosophical, reflecting on what humanity seeks but ultimately finds ultimately useless, because this search for transcendence shouldn't be external, but internal. In 1967, the first satellite broadcast of a live Eurovision program took place, linking artistic performances from various countries and broadcasting them live worldwide. It was historic! England, instead of contributing something formal and aristocratic, surprised everyone by presenting its best act of the moment: The Beatles, live, launching a previously unreleased song globally. Paul and George Harrison say that John already had the song before Brian Epstein notified them of their participation in Eurovision. Ringo and George Martin say he composed it especially for the occasion. Be that as it may, it couldn't have been more fitting: a universal song with a direct message understood in any language: All you need is love. It's that simple. A slogan that is perhaps underestimated, but it's true. You don't need to look any further. The message of the verses is overshadowed by the power and intensity of this simple chorus line. It begins with the opening notes of the Marseillaise, and a choir singing "love, love, love" over piano and harpsichord. John finishes the verses with a cheerful "it's easy," as if surprised that others can't see what is obvious to him. "All you need is love," he sings in the verses, with a saxophone flourish and the orchestra following that martial rhythm. At 1:20 comes George's solo, simple and brief, but emotive and magnificent, which is followed by a string crescendo for a new chorus. The formula keeps repeating itself. It's that simple. That's how easily an immortal and magnificent work is created. Shortly before the coda, Paul, in an affected voice, invites everyone to join in what's coming: "All together now" and "everybody!", after which the orchestra delivers a spectacular arrangement for the coda, which becomes a party in which John inserts "Yesterday" and then Paul sings "She loves you yeah yeah yeah…". Mick Jagger was included in the backing vocals for the live broadcast, and in return, John and Paul would participate in the backing vocals for the Stones' "We Love You". In any case, for me, this is one of the best songs in history not because it's complex or has virtuosic instrumentation, but precisely because of its simplicity and the intensity of those five words: "All You Need Is Love", which could stand as the most important message that Lennon and the Beatles tried to send us, and which the world seems reluctant to understand. A beautiful, simple, powerful song with an undeniable message. It has brought tears to my eyes more than once, and I know it will continue to do so.
In short, anything I could add is superfluous. Lennon reaches his lyrical maturity, and even in the most experimental tracks, he never loses his pop and melodic edge, achieving a seemingly impossible balance. Although the idea for the film that ultimately shaped the album came from Paul, it's undoubtedly John who steals the show with the best tracks. McCartney sounds effortlessly simple, yet irresistible despite the pop songs. He's at his compositional peak, and as a bassist, he delivers extraordinary and complex lines that often go unnoticed, but with this album, he finally overcame the competition Brial Wilson posed in both areas, as he completely unleashed his full potential. Ringo sounds phenomenal, and this is one of his best performances, with complex rhythms, fills, and off-beats that give each song a unique touch and personality. George is the one who fades into the background a bit, given the lack of prominent riffs, solos, or even guitars, but in his standout moments he shines brightly, like the embellishments in "Strawberry Fields" and the solo in "All You Need Is Love." A magnificent work, much more melodic and solid than its older sibling, Peppers. Some bands, if they're very lucky, manage to produce one or two classic tracks in their entire career. Here we have at least four or five. No one has the right to underestimate this gem. No one. Definitely a must-have!
By Corvan
Apr/20/2012
