:::: More of The same ... by JuClayton



#Historic messages:

- 05/12/2004 a 11/12/2004
- 21/11/2004 a 27/11/2004
- 14/11/2004 a 20/11/2004
- 07/11/2004 a 13/11/2004
- 31/10/2004 a 06/11/2004
- 17/10/2004 a 23/10/2004



#More sites:

- #U2.com
- #The Clayton's Garden


#They vote here::

- Give an note for this page:

#Recommend the blog!


#Thank's for visit:

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*****AMPLIFIERS of MR.CLAYTON*****



Alembic Preamp: Adam used this during the 1997-98 Popmart tour.

AMPEG SVT2T: This was Adam's main bass amp during the ZOOTV and Zooropa tours.

Ashdown ABM C410H-500 combo: Used in the studio.

Ashdown Entwistle/Clayton Custom: Ashdown RPM-1 preamp, two PM1000 Power Magnifiers, a pair of ABM212 cabinets and a pair of ABM115 bins. Used during the Elevation 2001 tour

Audio Limited Cambridge Engl. SR707 Pro:

AUDIO RA2000:

AUDIO RA3000:

BSS FDS 360: Frequency Dividing system + limiters

SWR Preamp: Adam used this during the 1997-98 Popmart tour.

Effects and Stompboxes

Alesis Quadraverb: This is Adams main multi-effects processor.

Boss Chorus Ensemble: These are located in Adams rack. This effect has separate tone knobs, which allows you to adjust the hi-frequencies different from the bass-frequencies.

BOSS Chromatic Tuner TU-12: This is an Adams alternate tuner.

Boss OD-1: Overdrive pedal. This is located in Adams rack.

Demeter DI: This is used for direct-in recording.

Digitech Bass Whammy pedal:

DMX 120x-DS: This is a sub-harmonic synthesizer. It creates a bass note one octave below the not that is played.

Dramwer Dual-Gate DS201: Noise reduction system. This is used to minimize hum and noise


IPK Maximum Total Load Note exceed 10A: Voltage protection system

KORG DT-1 Pro tuner: This is Adams rack mount tuner.

Ibanez DM1000: Digital delay

Ibanez UE400: Multi-effects processor

Moog Taurus I Synthesizer: These were used during "Exit", "Pride (IN The Name Of Love)" and "I Still Haven't Found What Im Looking For"

Mu-Tron Auto-Wah

Rocktron RSB-18 Switching System: This is the floor unit Adam uses as a switching control.

Rocktron Patchmates: Adams uses this for selecting the different pedals

Sony UHF Wireless Tuner WRR37:

--------------------------------------------
Artists Using Ashdown
'Real Bass Amplification'

An ashdown update from U2's Elevation tour

May 29th 2001

With the North American leg of U2's massive Elevation tour now past the halfway point, reports from the road suggest that Adam Clayton's mighty Ashdown bass rig continues to shake the continent with consummate ease, performing faultlessly night after night.

"I spoke with Adam's Bass Tech Stuart Morgan just before the sell out show at Toronto's Air Canada Center" reports Ashdown main-man Mark Gooday. "He told me that Adam is delighted with the rig and that discovering Ashdown was like the end of a lifelong search - 'real bass amplification' he calls it."

Mark originally sent a range of Ashdown heads, cabinets and combos to Dublin for auditioning prior to the recording of the 'All That You Can't Leave Behind' album. Suitably impressed, Adam chose an ABM C410H-500 combo to use in the studio and, when the time came to go on the road, Mark suggested that he should try the custom rig originally designed by Ashdown for bass legend John Entwistle".

"I asked John if Adam could try his rig and he was happy to oblige," says Mark. "We sent it over to Ireland for rehearsals and Adam loved it. So we made an exact replica and swapped it out after U2's gig at the London Astoria. I think it was the only way John was going to get his gear back!"

The Entwistle/Clayton touring rig comprises of an Ashdown RPM-1 preamp, two PM1000 Power Magnifiers, a pair of ABM212 cabinets and a pair of ABM115 bins. Not surprisingly, interest from bass players around the world has been considerable, leading to Ashdown making all four items available from their standard catalogue.

Park Farm, Inworth, Colchester, Essex, CO5 9HS , England
Tel : +44 (0)1376 572872 - Fax : +44 (0)1376 572972

BY :
*****http://u2adamfiles.tripod.com/adamclayton/id7.html*****

- Posted by: JuClayton... in 19h06
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*****BASS GUITARS of MR.CLAYTON*****

Auerswald Custom-1997: This is the big yellow space-bass looking thing that Adam was using on the PopMart tour.

Fender Precision-1972: This CBS-era sunburst Precision bass has a Fender Jazz Bass neck.

Fender Jazz Bass-1964: This CBS-era natural finish Jazz bass has a 1966 Fender Jazz Bass neck.


Fender Precision Bass-19XX: White finish w/a black pick guard

Fender Jazz Bass-1972: This is a CBS-era bass with a natural finish

Fender Jazz Bass-1961: Sunburst finish

Gibson Thunderbird-19XX: Adam can be seen with this natural mahogany finish bass in the "Rattle And Hum" movie, "Rattle and Hum" book and "Desire" video.

Gibson Les Paul Bass-19XX: This white finish, Les Paul style bass was used in the "Even Better Than The Real Thing" video. This bass is also pictured in the Acthung Baby promo pictures from Hansa Studios that appeared in the Achtung Baby CD booklet/album cover/cassette cover and the November 1991 Rolling Stone U2 cover story (About the making of Achtung Baby).

Ibanez Musician-19XX: This brown finished bass was used extensively by Adam during the War and Unforgettable Fire tours.

Music Man Stingray-4 string-XXXX: White finish.

Music Man Stingray-5 string-XXXX: White finish w/white pick guard.

Rickenbacker 4001 Bass-19XX: Black finish. This was used early in U2s career but hasnt been seen onstage in ages.


*****http://u2adamfiles.tripod.com/adamclayton/id5.html

- Posted by: JuClayton... in 18h58
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*****SOLO PROJECTS OF ADAM CLAYTON*****

ADAM CLAYTON - SOLO PROJECTS

#1984 Do They Know It's Christmas Single - Band Aid

#1989 Acadie Album - Daniel Lanois
Still Water Promo - Daniel Lanois
The Maker Single - Daniel Lanois
Jolie Louise Single - Daniel Lanois

#1991 Bringing it all Back Home Album - Various
#1991 Sharon Shannon Album - Sharon Shannon (1991)
Spellbound Album - Sharon Shannon (1999)
The Heart of Ireland Compilation Album - Various (1997)

#1993 99X Live II Compilation Album - Various (1995)
Just Passin' Thru Compilation Album - Various (1996)
Childline Compilation Album - Various (1996)
Amazing Grace Compilation Album - Various (1997)

#1994 Flyer Album - Nanci Griffith (1994)
Flyer Album Promo - Nanci Griffith (1994)
These Days in an Open Book Promo - Nanci Griffith (1995)
On Grafton Street Promo - Nanci Griffith (1995)
Merry Little Christmas Promo - Various (1994)

#1996 Common Ground Album - Various
Common Ground Pre-Release Promo Album - Various
Common Ground Sampler Promo - Various

#1996 Mission: Impossible Soundtrack Album - Various
Mission: Impossible Single - Larry Mullen and Adam Clayton
Mission: Impossible Promo - Larry Mullen and Adam Clayton

#1999 Born Again Savage Album - Little Steven

#2000 Million Dollar Hotel Soundtrack - Various
Million Dollar Hotel Soundtrack Promo Albums - Various

#2004 Nancy Sinatra Album - Nancy Sinatra

*****http://www.u2wanderer.org/disco/adam.html*****
*****Thank's to u2wanderer!



- Posted by: JuClayton... in 18h52
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Adam Clayton October 01, 1984

Adam Clayton in Conversation with Neil Storey U2 Magazine/


Neil Storey: The album - how difficult has it been?

Adam: Well, the album has been no more difficult than any other album to make - it's taken slightly longer this time. It's obviously not the right time for post-mortems at this point, as we haven't even finished yet, but certainly a lot of the reason why the album has taken slightly longer is the nature in which we did it. We started with a new producer for our fourth studio album, so it was a big change.

What were the reasons for choosing Eno as opposed to any of the other people that were mentioned at one point - the Jimmy Iovines of this world and people like that?

I think they were all good ideas at the time, and we considered them, but it came closer and closer to making a decision and none of them felt spot-on. I think the band basically has a very personal attitude to the way it works, and people around us who are close are important, and I think if we'd gone for somebody American it would have been very alien to our world and way of working. And there wasn't really anybody English who was available or right, that we felt 100% right about, until Brian came along.

Where did the original idea of using Brian come from?

I don't remember. It's one of those ideas that crop up - somebody says, "What about using Brian Eno?" and people say, "Yeah, that's interesting." I think it had been around for a while, I think we couldnt have done it if he had still been working with Talking Heads, and at the time when it had cropped up, he had been working with Talking Heads, and it wouldn't have been right to have used him then. We wanted him to actually come to this project with something of a period to move away from Talking Heads and be prepared to start with a rock band again. And he was certainly interested and excited by that idea.

How surprised do you think he was by being approached by basically a rock 'n' roll band like yourselves?

I don't think he was surprised by us. I think some of the other people who approach him are the ones that surprise him - like Whitesnake, or whatever. He said he gets two or three requests a week, and most of them are fairly normal, but he said the odd time when he gets metal bands approaching him, he finds that very odd. Mind you, it's probably the next thing he'd do, knowing the way he thinks [laughs].

So therefore as soon as he was confirmed you took the decision to move to Slane Castle?

Well, Slane had been an integral part of it long before he'd been committed to it, because Iovine had seen it with a view to recording there as well.

The ambience of actually recording out of Windmill Lane, and in somewhere like Slane, means that you can actually live there and almost record in your dining room

There were three essential reasons, I think. First of all Windmill isn't conducive to live recording, they don't have a live room, it's very much a controlled studio atmosphere. And our plan has been progressively over the albums that we've done, that we want to get back to doing live takes rather than the usual way of recording from the bass drum up. So we needed a place where we could do that, we needed a place that sounded good - now Slane we could play live and the rooms sounded good, and also we've done three records here (Windmill Lane) and to be perfectly honest it was nice to have a different environment.

Coupled with the fact that when I was up there I saw you had a rehearsal room, so that meant you were rehearsing the songs prior to going in and putting down the basics?

We spent a month or two writing up there anyway, so we had a good technique, so if we had a problem we could work it out in the rehearsal room, and then go into the main room to record.

So therefore down in Windmill the finishing off process has happened?

Yes, we saved a lot of overdubs for down here because the desk that we'd basically recorded the backing tracks on is a very simple desk, and you couldn't do that much special treatment and that sort of thing with what you were doing, so we did more of that here.

And for the first time you've used a Fairlight?

Only out of convenience really. We had done some demos in a studio with a Fairlight, we had Brian who obviously knows about synthesizers, and we've just filled out the textures of the songs with instruments and sounds. In fact we've only really used the Fairlight on one track, and in fact we've even added to that with real orchestration. We used the Fairlight just for convenience to put down some string ideas, and came back to it later with an arranger and put down real strings as well. So I think the Fairlight was only really used as a means to an end, to see if an idea worked.

The extra instrumentation - Edge is presumably using various keyboards and so on?

In a funny way we haven't ended up using as much keyboards as we thought we might. In that I mean none of the keyboards at any point are ever highlighted. In the past, because we didn't have keyboards a lot of the overdubs would end up being guitar or bass - to fill out all the extra textures. Now that weve got keyboards it's a lot quicker and easier to find a sound on a keyboard and put a part down that doesn't necessarily have to be highlighted in a stage situation.

How much do you think the playing has changed or shall we say matured? I remember Bono saying as the album was beginning to be conceived, that it was the giant leap forward. Do you think it has been that great leap forward for U2? Was it really the end of U2 Mach I and the beginning of Mach II?

I think so, but its not something that you put the record on and say instantly, "Wow, haven't they changed, haven't they matured, it's completely different." It's not that - it's a small step. Larry's playing is amazing - well it always has been, but it's developed even more on this record. I think in a way Edge and I probably do much the same as we've always done, except just better. Bono's singing and structuring of songs has improved, it's more mature.

Don't you think that's a direct result of having someone like Eno working as obviously closely as he is? In the sense that this time round you're using a producer with an engineer as opposed to an engineer turned producer. I think that's the crux of it.

That's right. I think the effect that Eno's had is because he hasn't known how we've worked in the past. He's forced us up avenues we wouldn't naturally have gone in the confines of our comfortable relationship with Steve Lillywhite - and that's what's changed it. I think also the whole feel of the record is deeper emotionally. We still have the hard songs that we've always had, but I think they're treated in a less hard way. I don't think that takes away from the excitement of them, I just think it gives them more depth overall. And it means you can go back to them more and more.



- Posted by: JuClayton... in 23h16
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....

now is hour razor in the meat...,
Yes I have fear ... and  all the love that will have in this life...
Courage... is everything what I can have now...
...hour of sun
 


- Posted by: JuClayton... in 10h09
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U2 - Tomorrow



Won't you come back tomorrow
Won't you come back tomorrow
Won't you come back tomorrow
Can I sleep tonight?

Outside, somebody's outside
Somebody's knocking at the door.
There's a black car parked at the side of the road
Don't go to the door
Don't go to the door.

I'm going out.
I'm going outside mother.
I'm going out there.

Won't you be back tomorrow,
Won't you be back tomorrow,
Will you be back tomorrow?
Can I sleep tonight?

Who broke the window
Who broke down the door?
Who tore the curtain
And who was it for?
Who heals the wounds
Who heals the scars?
Open the door, open the door.

Won't you come back tomorrow?
Won't you be back tomorrow?
Will you be back tomorrow?
Can I sleep tonight?

'Cause I want you
I, I want you
I really want you.
I, I want, I, I
Want you to be back tomorrow
I want you to be back tomorrow.
Will you be back tomorrow?
Can I sleep tonight?

I want you to be back tomorrow
I want you to be back tomorrow.
Will you be back tomorrow?
Open up, open up, to the Lamb Of God
To the love of He
Who made the blind to see.

He's coming back
He's coming back
O believe Him.

 



- Posted by: JuClayton... in 01h00
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Non je ne regrete rien

Non je ne regrete rien

"Non, rien de rien,
non, je ne regrette rien!
Ni le bien qu´on m´a fait,
ni le mal;
tout ça m´est bien egal!

Non, rien de rien,
non, je ne regrette rien!
C´est payé,
balayé,
oublié.
Je me fous du passé!

Avec mes souvenirs
j´ai allumé le feu!
Mes chagrins, mes plaisirs,
je n´ai plus besoin d´eux!
Balayés les amours
avec leurs trémolos,
balayer pour toujours!
Je repars à zéro

Non, rien de rien,
non, je ne regrette rien!
Ni le bien qu´on m´a fait,
ni le mal;
tout ça m´est bien egal!

Non, rien de rien,
non, je ne regrette rien!
Car ma vie,
car me joies
aujourd´hui
ça commence avec toi"

Thank you my old pal!





- Posted by: JuClayton... in 00h47
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Adam talks -propaganda 11-1989

It's summer and everybody in U2 is off on holiday. When they return preparations will begin in earnest for the Autumn tour of Australia, New Zealand, the Far East and a clutch of European dates. Unlike Larry Edge and Bono, Adam has decided to stay at home in Dublin for the break, having been away to both the US and Australia in the months since Rattle and Hum was released. It was November '88 when the band were last in the public eye and Adam rehearses his diary as something like this: "Most of November was taken up attending premieres and meeting people; then there was the album release and all that boring stuff like photo sessions and meeting people; in January and February we really got into the B-sides with the intention of coming up with some new songs but in fact we recorded some cover versions; I don't know what happened to the rest of the year. There's always something going on but we haven't been touring have we? ... er, Smile Jamaica ... was that January? ... no, that was October... oh, videos like All I Want Is You - that was another month ... it seems like we've been in the studio or rehearsing every day since..."
When U2 are off the road or not making an album they cannot close down completely. If it's not business as usual, it is business as unusual. Sitting in the board-room of the band's Windmill Lane offices Adam tries -unsuccessfully - to describe a "normal day": "You start the day by opening the mail and then you gradually get into making phone calls; then around two in the afternoon you start rehearsing...er..." His voice trails away. Well, good try but the problem is that U2 is not exactly a 9-5 job and there are few "normal" days. There are constant factors though: "The phone rings every five minutes - 'Do you want to do this ... Do you want to do that?' The requests range from 'Can you meet me for lunch? ' to 'Can you open my supermarket?' and it's incredibly confusing because we're not heads of state, we're not businessmen, we're musicians. None of us wants all that crap but it's there the minute you open your door. Although you just want to be left alone ... to play your guitar in your bedroom the way you used to, suddenly there's all these people demanding bits of you and in the end I just say 'No' to pretty much everything." Unfortunately, he laughs, "Even saying no to everything takes up most of your time ... it's a ridiculous situation to find yourself in."
Which is why the opportunity U2's position now gives them to make music at their leisure and continue their exploration of other kinds of music is so important. At the turn of the year as Edge described in Propaganda 10, the band recorded perhaps ten different cover versions for possible use as b-sides, some of which like Everlasting Love and Unchained Melody have already seen the light of day, others of which may never. "Some just didn't work," explained Adam. "It wasn't right for us to do some of them. Like the old Creedence number Fortunate Son - it was a great idea as it refers to the draft-dodgers in Vietnam, the Senators' sons avoiding the draft. When we looked at it it was in the middle of the Senator Den Quayle controversy but that soon passed and it didn't work when we'd finished it.
"Another song was that Bruce Cockburn song If I Had a Rocket Launcher which again is great when Bruce Cockburn does it but it just doesn't happen for us."
Relaxed and eagerly anticipating his holiday, he says the direction of the next album is completely unpredictable ("Bono will change his mind from one end of the day to the next so it's best to wait until you hear a positive noise on what's happening.") but says that God Part II hints, for him, at "the direction where we're going, it's a fresh sound, not that clichéd rock 'n roll sound." He cites his favourite U2 songs as Love Comes Tumbling ("a great, melancholy tune and very simple') and his favourite memories as filming Under a Blood Red Sky ("pretty hectic, it felt like the end of the world') and "Getting back from America after the October tour when we couldn't pay the crew." He claims to have vivid memories of touring round Europe in the back of a VW van in the early eighties but says that he does not miss it. And with the conveniences of home and familiar surroundings, Adam has also been keeping his ear to the ground and catching up on listening to music, of all kinds.
He's been listening to the new Neneh Cherry record, to Van Morrison's Avalon Sunset -"But I'm always listening to him so it doesn't really count" - to The Pixies and The Triffids, to traditional Irish session music and to African music. "I don't like anyone new at the moment unless they're rap - NWA is something I've just come across - a tape given to me by Chris Blackwell which is the heaviest black New York rap and if there was censorship there'd be bleeps all the way through but it's got a good attitude."



- Posted by: JuClayton... in 19h20
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The great Henfil...

It is not challenge with that in we come across them that it determines who we are and what we are in becoming, but the way with that we answer to the challenge. We are combatant, idealistic, but fully conscientious, why having conscience in does not compel them to have theory on the things. In it only compels them to be conscientious. Problems to be successful, freedom to prove.And, while we believe our dream, nothing is casual" (Henfil)
 


- Posted by: JuClayton... in 17h50
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In memory of Oscar Wilde ... Birth date: October 16, 1854 - "The ideas never not die"

 By the time William Wilde was was 28, he had graduated as a doctor, completed a voyage to Madeira, Teneriffe, North Africa and the Middle East, studied at Moorfields Eye Hospital in London, written two books, and been appointed medical advisor to the Irish Census of 1841. When the medical statistics were published two years later they contained data which had not being collected in any other country at the time, and as result William became the Assistant Commissioner to the 1851 Census. He held the same position for the two succeeding Censuses, and in 1864 he was knighted for his work on them.  When William opened a Dublin practice specializing in ear and eye diseases, he felt he should make some provision for the free treatment of the city's poor. In 1844, he founded St. Mark's Ophthalmic Hospital, built entirely at his own expense.  Before he married, William fathered three children. Henry Wilson was born in 1838, Emily in 1847 and Mary in 1849. To William's credit, he provided financial support for all of them. He paid for Henry's education and medical studies, eventually hiring him into St. Mark's Hospital as an assistant. Sadly, Mary and Emily, who were raised by William's brother, both died in a fire at the ages of 22 and 24.Oscar's mother, Jane Francesca Elgee, first gained attention in 1846 when she began writing revolutionary poems under the pseudonym "Speranza" for a weekly Irish newspaper, The Nation. In 1848, as the country's famine worsened and the Year of Revolution took hold of Europe, the newspaper offices were raided and had to close. Jane, who was also gifted linguist with working knowledge of the major European languages, went on to translate Wilhelm Meinhold's gothic horror novel Sidonia the Sorceress. Oscar would later read the translation with relish, and draw on it for the darker elements of his own work.Jane's first child, William "Willie" Charles Kingsbury, was born on September 26, 1852 and her second, Oscar Fingal O'Flahertie, on October 16, 1854. The daughter she had longed for, Isola Emily Francesca, was delivered on April 2, 1857. Ten years later, however, Emily died from a sudden fever. Oscar was profoundly affected by the loss of his sister, and for his lifetime he carried a lock of her hair sealed in a decorated envelope.....The father died on April 19, 1876, leaving the family financially strapped. Henry, William's eldest son, paid the mortgage on the family's house and supported them until his sudden death in 1877. Meanwhile, Oscar continued to do well at Oxford. He was awarded the Newdigate prize for his poem, Ravenna, and a First Class in both his "Mods" and "Greats" by his examiners. After graduation, Oscar moved to London to live with his friend Frank Miles, a popular high society portrait painter.  In 1881, he published his first collection of poetry. Poems received mixed reviews by critics, but helped to move Oscar's writing career along.....In the summer of 1891, Oscar met Lord Alfred 'Bosie' Douglas, the third son of the Marquis of Queensberry. Bosie was well acquainted with Oscar's novel Dorian Gray and was an undergraduate at Oxford. They soon became lovers and were inseparable until Wilde's arrest four years later. In April 1895, Oscar sued Bosie's father for libel as the Marquis had accused him of homosexuality. Oscar withdrew his case but was himself arrested and convicted of gross indecency and sentenced to two years hard labor. Constance took the children to Switzerland and reverted to an old family name, "Holland." Upon his release, Oscar wrote The Ballad of Reading Gaol, a response to the agony he experienced in prison. It was published shortly before Constance's death in 1898. He and Bosie reunited briefly, but Oscar mostly spent the last three years of his life wandering Europe, staying with friends and living in cheap hotels. Sadly, he was unable to rekindle his creative fires. When a recurrent ear infection became serious several years later, meningitis set in, and Oscar Wilde died on November 30, 1900. 

"The more one analyses people, the more all reasons for analysis disappear. Sooner of later one comes to that dreadful universal thing called human nature. " The Decay of Lying - Oscar Wilde

"All the judgments are judgments for the entire life, in the same way as all the sentences are sentences of dead". Oscar Wilde

Oscar Wilde: "Man is least himself when he talks in his own person; give him a mask and he will tell you the truth."

 

Read more here: http://www.cmgww.com/historic/wilde/



- Posted by: JuClayton... in 00h59
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Adam's Quote...

Clayton calls these arena shows some of the best U2 has ever played. Stadium operas lose the "light and shade, the subtlety of the songs. You need to work on a different level." They've done it, of course. I have in front of me a photograph of Clayton in an orange hoodie tunic and white goggles playing a yellow space-bass from the Las Vegas launch of the Pop Mart tour. Clayton laughs."That Pop tour was ... great on many levels, but I think we made a few mistakes along the way. I guess we should have known better. But we didn't give the record long enough for people to get to know it. And we didn't introduce people to it in the way that we did this record." _ (Bass notes: U2's Adam Clayton on geography, spirituality and rock'n'roll from The Montreal Gazette, May 26, 2001 - by Mark LePage )



- Posted by: JuClayton... in 01h08
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