When Tom Jones Turned Down Rivers Cuomo’s Hot Tub

In the fall of 1997, fans lucky enough to attend any of Rivers Cuomo’s solo Boston shows heard songs that were either never intended for Weezer, or intended for a future Weezer album that never was (it’s a paradox, just go with it).

One of those tracks was a song called ‘Hot Tub,’ written from the perspective of a deeply vulnerable guy who just wanted to party with a girl. At the time, Rivers casually told the crowd that ‘Hot Tub’ was a “joke song… so don’t take it too seriously.” Because it was a Rivers solo joint between Pinkerton and Green, most fans chalked it up as an interesting curiosity and moved on.

A few years later, Rivers shared his original 1993 demo with fans. Not only was it in much higher quality, but it featured a different bridge that made the narrator seem even more exposed. Unlike the live performances with his band, the studio demo boasted full instrumentation complete with organ-like keys alongside the electric guitars.

Along with the release, Rivers shared a surprising backstory: he wrote ‘Hot Tub’ for Tom Jones.

‘What’s New, Pussycat?’ Tom Jones.

The guy Marge Simpson had a crush on Tom Jones.

The amateur pilot who survived an alien invasion Tom Jones. (Well, not yet.)

Around 1993, someone in management had a connection to Jones’ team, who was actively soliciting tracks for his upcoming 1994 album, The Lead and How to Swing It. Listening back, you can actually hear it. The melody of ‘Hot Tub’s’ chorus and the drive of those organ keys genuinely sound like something tailored for a big, brassy Tom Jones delivery.

There was just one problem: it was the mid-’90s. Tom Jones was on album covers wearing mesh shirts, strutting through videos offering fans two tickets to the gun show.

Jones was leaning hard into his swaggering, hyper-masculine image. There was no universe where he was going to belt out lyrics like:

“Sometimes I’m so disappointed

I can’t be more of a man

Sometimes my life feels so empty

Not letting love play her hand.”

Rivers wrote ‘Hot Tub’ in 1993, just before Weezer headed to New York to record The Blue Album. Landing a placement on a Tom Jones record before their own debut was even out would have been a massive accomplishment for a young songwriter. But if Jones had taken it, we likely would have lost out on Rivers’ own home demo and those raw ’97 live performances.

In the end, it’s probably a good thing Tom Jones turned down that trip to Rivers’ hot tub.

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Weezer’s Gold Album: Advice for All Ages

Whenever a new Weezer album drops, fans tend to talk incessantly about the concept of that album. Luckily, many of their recent releases have had clear themes, but their 20th album, Weezer, or The Gold Album, is a bit more subtle.

To me, Gold is about the advice you’d give your younger self. It’s written by a band of veteran rockers, parents, and longtime friends. The songs reflect on decades of life lessons, regrets, and advice they wish they could give to their kids or younger selves.

Scott Shriner, Rivers Cuomo, Patrick Wilson, and Brian Bell

This album was a long time coming. The gap between SZNZ: Winter and Gold marks the third-longest wait for a new album in Weezer’s history. They poured a ton of work into it, initially in sessions with Swedish producer Klas Åhlund before co-producing with LA-based producer Kenny Beats.

In recent interviews, the band shared how the process unfolded. They started recording with Klas when they took a break to shoot an upcoming film. That project involved heavy improvisation, prompting Rivers to turn to Pat and ask, “Why can’t we make music like this?”

When they reconvened to resume work on their 20th album, things changed. After nearly 35 years together, working with Kenny Beats sparked a shift: for the first time, they wrote much of the album collaboratively as a full unit. Rivers stepped back from handling all the songwriting duties, allowing other members to take center stage. Rivers has been collaborating with other songwriters since Raditude, but this is the first time major songwriting has been done with the other guys in Weezer.

Patrick and Golden Rivers on a couch

In late ’91 and early ’92, Rivers and drummer Patrick Wilson decided to form a band. They held many conversations about the type of music they wanted to make, even doing some writing and composing together. Some early Weezer tunes sprung from this partnership. Many times, their songwriting interests have aligned. But there have been times they haven’t been on the same page. Patrick, the only other original member alongside Rivers, wrote two standouts on Gold: ‘Shine Again’ and ‘Nowhere.’ Even with Rivers on lead vocals, these songs sound distinctly like Pat. Brian Bell brings a similar energy on ‘The LA Sound;’ it’s Brian, but entirely Weezer. Other tracks weren’t written solo either; most were composed by a combination of Rivers, Pat, Brian, and even Karl Koch.

The band also talks about their raw recording approach: four guys playing together in a room without click tracks. The album has a texture that reminds me of classic ’70s rock, from the acoustic and electric guitars down to the vocal feel. They also kept in studio chatter, which is something they’ve been doing more with recent albums.

As a self-proclaimed easy-to-please Weezer fan, I found a lot to love here. Some of the stronger songs include: ‘Say Yes,’ a fun opener that is about being yourself above anything else. ‘Nowhere,’ a Pat song with some great soft-to-loud dynamic shifts. And probably the major album highlight, ‘Up in the Clouds.’ Originally written 20 years ago as ‘East Coast or West Coast,’ it evolved into its current form about a decade ago. Rivers’ ‘Up in the Clouds’ demos were great, and while I’m still wrapping my head around a few lyrical changes, the expanded arrangement works brilliantly.

Another song I want to mention is ‘The Show Must Go On.’ On first listen, I misheard Rivers singing “creeper,” but he’s actually saying “Creedler”, which is a word former bassist Mikey Welsh invented during his time in Weezer to refer to fans of the band Creed. Hearing them weave that memory into a song about growing up felt moving.

Mikey shouting at a Creed Video on MTV2, February 2001.

For me, these collaborations paid off. Weezer is doing different things with song structures here, for example, using pre-choruses on songs, and placing bridges before and after a song solo. Things they haven’t always done. It’s nice to see them play around like that after all these years, showing that, even though Rivers feels he has to make the same kind of music that he did in the past, he doesn’t really have to.

If I had to rank it, Gold sits comfortably in the upper-middle of Weezer’s discography. I love every Weezer album, although I like some better than others. For Gold, I really like every song. It has a great sound. It’s a bold album for these guys. The major drawback for me is similar to one of my main criticisms about Maladroit (which would rank near the bottom of the Weezer album list): every song on the album has the same sonic landscape. There’s guitars. Bass. Drums. Some tunes have acoustic guitars. But that’s it. I would have liked a little more in instrumentation. But unlike Maladroit, these songs have different, dynamic structures. And they mean something not just to Rivers, but to this band.

The collaboration led to a solid effort and I have a feeling this will pay off in the future. Over the past few years, Rivers would talk about this album and the process on his Discord channel. Without getting into exactly what was going on, you could tell he was excited about it. And that’s always good to see.

Rivers knows fans often just want the sound of 20 years ago. While Gold touches on that nostalgia, Weezer also pushes into new territory here. The result is an album that feels as inspiring to me today as The Blue Album did back in high school. And that’s pretty incredible.

Above, I shared Weezer’s ‘Up in the Clouds.’ Here’s Rivers’ version:

King TomLeave a comment

The Search For Cheri Beri

A week ago, I was minding my own business when I got a Discord message from a friend in the Weezer fan community that made me jump out of my seat.

“CHERRY BERRY IS OUT“

This is simultaneously a message that I’ve waited decades for and one that I thought I’d never get.

If you’re not a Weezer fan (or a casual (not that there’s anything wrong with that)), these words might not make much sense. But for some of us, it was the resolution of a long-standing mystery.

Lost in the Black Room

Rivers Cuomo and Brian Bell, 1998

So I should tell you that Cheri Beri (as it’s spelled on the official release) has a bit of a mythic/meme status in the Weezer fan community. And it’s partially my fault.

Rivers wrote and recorded his original demo of Cheri Beri in July 1998, right around his TKX period, the nadir of his ‘Black Room‘ era. The band practiced it at least once around then.

In early 1999, Rivers shut off all contact with the outside world to devote himself to songwriting. He emerged in 2000 with the batch of songs known as the Summer Songs 2000 (or SS2k). Everything from before 2000 was left behind.

Fast forward to the end of 2000, and Weezer is getting ready to record the Green Album. The SS2k material was not deemed commercial enough and was discarded, with the exception of Hash Pipe (which was Rivers’ choice, and a wise one at that). During the demo process, the band considered some older songs, including Cheri Beri.

Putting the Pieces Together

In 2010, I started writing Indecision and Abandoning the Past, an article about Weezer in 1998 and 1999, and the original journey for the band’s third album. I asked Karl Koch why Cheri Beri made the list. He said that was “Pat and Mikey saying ‘that song ruled why did we forget about it’? It’s a rocker, I don’t disagree it deserved fresh attention.”

Mikey Welsh (background) and Pat Wilson (foreground), in a car, 1998.

When Rivers started selling his demos in 2020, there was no recording of Cheri Beri in the Black Room bundle. It made sense. Some songs weren’t included because they had other performers, or because he was planning on using them for future works. I asked him about this, he said at the time that it was possible he had the demo somewhere else, that it was just not digitized. During a separate conversation about possible songs to be performed acoustically, I jokingly mentioned Cheri Beri. Rivers responded by saying “I could do that…you’ve never heard the song so you don’t know how strange that seems.“

One of the great things about the bundles is that Rivers is continually adding music to them. If he finds a file, or if Weezer releases a song that used an old demo, the file goes in the bundle. But after a few years with no news on the Cheri Beri front, I haven’t been expecting much. But that didn’t stop me from bringing it up whenever I could.

Unearthing the Tape

Last week, Karl Koch found the attached recording in his archives and Rivers added it to the bundle, finally sharing the song with fans and leading to the message that started all of this.

I had a feeling it would be a rough recording. And it is. It’s around a minute long, recorded on a home recording unit. Vocals and electric guitar only. It’s incomplete; just a verse and a chorus. It’s Rivers’ writing tape, so at one point, he sings ‘Cheri Beri…she knows the words to the…knows the words to this song.‘

But for such a short recording, it’s got a lot. First off, it’s better than all of the other guitar-and-vocals TKX songs. It’s heavy and poppy. It’s got some charm, especially in the lyrics (flubbed as they are) and vocal delivery. With Mikey bringing the heavy vibe (he and Pat were big into Fu Manchu and early Queens of the Stone Age at the time), this definitely would have sounded good alongside Trampoline and Everyone. And you can see why Pat and Mikey would think it was a fun song that should be revisited. And the Weezer of 2000 would have had fun with it too.

What’s Next?

Fan response to the clip has been decent, especially for a rough recording that’s just a verse and a chorus. Rivers mentioned it’s possible a full-band rehearsal take from the summer of 1998 might exist, but he says he can’t find it. I’m not holding my breath for that, but then again, there were times I didn’t think I’d ever hear this track, either.

Which brings me to a new problem. For the last few years, Cheri Beri was my go to when I needed a bit. Now that we have it, do I need some new material? Should I start asking about Damn that Wine or Ol’ Backwater? Or should I stick with Cheri Beri?

King Tom1 Comment

Rivers Demo Flood 11-15

11: 17 Beautiful Demons

From the Black Room

January 1998

Another sub-minute sketch from Rivers’ romantic/droney/Oasis period. This acoustic sample is the first of four on the tape labeled Beautiful Demons, all seemingly part of a song Rivers would officially catalog on February 20 1998. This bit of the song is sweet and melodic. Definitely a teaser for more.

⭐️⭐️

12: No One Else (Monterey Jack)

From The Blue-Pinkerton Years

August 1992

When I first heard No One Else shortly after cracking open my Blue Album CD, I fell in love with Weezer. I absolutely loved the sound of the song and still do to this day.

It was also a song that had an incredible influence on the band’s sound. After Rivers produced the demo in August 1992, the band spent some time debating whether to stray from a Pixies-influenced sound or into a No One Else-inspired and into a more pop-oriented direction. So they went down the No One Else road and it changed their sound for the better.

The original demo by Rivers is structurally similar to the completed song. But the tempo is slower. The pop feel is there, but it’s not quite yet the song that it will be. Having said that, the demo is still a very good listen.

⭐️⭐️⭐️⭐️

Part of Rivers Cuomo's handwritten lyrics for No One Else

13: He’s My Sweetheart

From The Blue-Pinkerton Years

October 5, 1992

If he were born 100 years earlier, Rivers Cuomo would have been a barbershop quartet superstar. Weezer used to do vocal warmups to barbershop and even had a barbershop tune, My Evaline, as a B-side on the Undone (The Sweater Song) single. And there are a handful of barbershop numbers (with Rivers performing all four tracks) in his home recordings.

He’s My Sweetheart is a short little ditty seemingly about friend of the band Patrick Finn. It’s a sweet little tune and it’s nice to see Rivers branch out.

⭐️⭐️⭐️⭐️

The members of Weezer dressed up as a Barbershop Quartet singing Barbershop.

14 Crazy Rock n Rollers

From Pre-Weezer

October 1991

For years, all Weezer fans had of Crazy Rock n Rollers was a handwritten lyrics sheet and a notation from band historian Karl Koch that with this song, “Rivers was starting to explore some new writing style. “Not so “giddy,” a little more “serious.””

There is a serious element to this song. It’s about a man living up on a hill who doesn’t get the ‘crazy rock n rollers.’ He goes to join them and still doesn’t get it. It doesn’t feel like there’s an ending to the song. The last line of the song is ‘and in his defense he said,’ before the song just fades out. (And contrary to fan belief, the ‘We will/not end up in bed’ scrawled on the lyrics sheet is not part of the song).

Despite the seriousness and truncated nature of the song, it’s still a bouncy catchy tune. And despite writing a song about an old guy who didn’t get the kids, the writer of this song ended up being one of the best crazy rock n rollers.

⭐️⭐️⭐️1/2⭐️

Rivers Cuomo's handwritten lyrics sheet for Crazy Rock and Rollers

15 Ballsy

From EWBAITE

2013

Rivers Cuomo played with a lot of styles and ideas in the time between Hurley and Everything Will Be Alright in the End.

Ballsy is a riff-oriented pop jam that doesn’t quite go anywhere. The theme (married guy having a platonic meeting with an attached woman) and chords would be reused on Pacific Daydream’s Mexican Fender. But outside of the opening riff and title, nothing about Ballsy particularly stands out in the song’s 1:38 runtime.

⭐️⭐️

King Tom

Rivers Demo Flood 6-10

6: Two to Tango

From Pre-Weezer

November 1991

Rivers’ early demos are all over the place in terms of musical style. And there’s nothing wrong with that. There are some enjoyable songs where the only drawback is that the quality may not be as good as some of his later recordings. T

wo to Tango is a slow atmospheric jam with some definite promise. And this is an early version of the song, with Rivers barking out instructions (to himself, most likely) in the middle.

Some may call that kind of thing unprofessional, but I like that, especially in home demos like this.

⭐️⭐️⭐️ 1/2⭐️

Handwritten lyrics for Two to Tango by Rivers Cuomo

7: pretty great piano melody 2-7-2013 8

From EWBAITE

February 7, 2013

In light of today’s news I’m foregoing the random number generator and picking the single little bit of music we know will be on Weezer’s upcoming OK Human.

Pretty Great Piano Melody is a seven-minute long sketch of Rivers improvising on the piano with a metronome in the background.

The melody will be part of OK Human’s second track, Aloo Gobi.

Rivers snuck it in the EWBAITE bundle despite him saying he wouldn’t include demos to be used in future Weezer releases.

The melody itself is, as the title says, pretty great. But the idea of this whole project is to rank the demo files as actual songs (as in how would they sound on the radio or on an album) and not their potential.

So because it’s a seven minute track of Rivers noodling on the piano focused on the same melody over and over, the rating might seem a bit harsh.

Having said that, there’s been a lot said about Weezer’s ‘masterpiece’ album – heavier songs (in terms of subjects), orchestral backing. But knowing there’s a melody like this on OK Human, something melodic (which is classic Weezer) has me looking forward to the album even more.

⭐️1/2⭐️

8: You Stupid Piece of Shit (168)

From the Green Years

Early 2000

When Weezer returned to action in 2000 after a multi-year hiatus, one of the new potential song titles that got fans’ attention was ‘The Ska Song.’

Fans got even more interested in this

⭐️⭐️⭐️⭐️

Weezer dressed up like space aliens

9: Since You Came Around 15

The White Year

2015

Jacked Up is one of the best songs on Weezer’s White Album. The song’s bridge is unexpected; sounding completely different from the rest of Jacked Up and taking the tune to a whole new level.

It turns out Rivers took the bridge from a completely different song, Since You Came Around, another White Album contender. SYCA evolved from a concept Rivers had called Hawaii.

Unlike most of the other White Year demos, all the versions of SYCA contain full instrumentation.

And it’s a good laid back song on its own. Even though Rivers used the tune as the bridge for another song, the concept (how someone else changed his life) would go on to be used on Sweet Mary from Pacific Daydream.

⭐️⭐️⭐️⭐️1/2⭐️

music for piano

10: 88 Piano and Melody

From The Black Room

May 1998

Some of Rivers’ demo bundles (most notably White Year, EWBAITE and Black Room) have a lot of sketches or voice memos, short clips where Rivers is working something out. And this is the first one of these addressed by this project.

Back in 1998, Rivers was still searching for a new sound for Weezer. He ended the previous year interested in drone rock, then shifted to Beatles/Oasis-style melodies (before landing on a final phase which would be way different).

The early 1998 time period features the fewest fleshed out songs of any time period in the released demo catalog. Most of what’s available are snippets or sketches.

88 Piano and Melody has potential. It’s sweet and melodic. But it’s only 42 seconds.

⭐️1/2⭐️

Rivers Cuomo playing piano and Mikey Welsh on the bass, 1998.

King Tom

Rivers Demo Flood 1-5

Originally published January 2021

1: I Want You (COR 001)

From The Black Room

January 1, 1999

After more than a year of being disappointed by his songwriting efforts, Rivers Cuomo went into seclusion, painted the walls of his room black and cataloged every element that went into writing & composing songs. This songwriting effort would eventually lead to the tunes that made up Weezer’s Green Album.

The first song in this effort, I Want You, is a departure from the riff oriented songs of the year before and isn’t quite the formulaic power pop song type that made up the Green Tracklist.

It’s perfectly in the middle. Catchy, seems to be about something and has a dynamic/evolving chorus. There’s no solo, but that’s okay. The song does everything it needs to do.

⭐️⭐️⭐️⭐️ 1/2⭐️

Screen capture of Winamp running I Want You by Rivers Cuomo

2: The Rules Of Life (v28 – vTo Par)

From The EWBAITE Years

2010-2014

There are some songs in Rivers’ released demos that have multiple versions. The Rules of Life is definitely one of the most attempted, with more than 40 versions available.

At it’s core, Rules is a great song that would have been a highlight of any album it was on. And it would have stood out, with a bridge containing the lyric ‘And then they’ll fuck you.’

But each version has some lyrical tinkering. Version 28 changes the bridge to ‘And they’ll be happy.’ That, combined with some other lyrical changes make this version stand out, and not necessarily in a good way.

I’d rank most versions of Rules pretty highly. And maybe that’s unfair to this one, but that’s the way it is.

⭐️⭐️

Screen capture of windows folder with different versions of The Rules of Life.

3: Beverly Hills

2004-07-20

From The Make Believe Years

July 20, 2004, SIR Demos

Weezer had a huge comeback single in 2005 with Beverly Hills. And while I think it’s a good song, it’s not something I go out of my way to listen to.

Rivers Cuomo, Beverly Hills Video

The demo has the same overall structure as the final song. But the composition feels looser and the lyrics are noticeably different.

Perhaps my favorite change is instead of the talk box on the solo, Rivers recorded this demo using a pan flute, changing the whole vibe of the song.

It’s still a song about wanting to be famous. But I’ve heard the single countless times over the last 15 years. Without the polish of the single, the pan flute and slightly off-key sound, the demo is a breath of fresh air.

⭐️⭐️⭐️⭐️

4: Rock and Roll Cockroach (Rough 3)

From The EWBAITE Years

Late 2010/Early 2011

Last summer, Weezer released Beginning of the End, the third single from their upcoming album Van Weezer. Sharp-eared fans recognized the tune as one Rivers worked on nearly ten years prior from a video published on Weezer’s YouTube channel.

Rivers Cuomo in the studio, playing guitar.

The song that would become Beginning of the End went through several iterations, starting with Rock and Roll Cockroach, a song about a rock band that has persevered throughout the years.

The song wouldn’t make it on 2014’s Everything Will Be Alright in The End, although the concept of a long-running rock band would. However, the tune was very appropriate for an album influenced by the sound of Van Halen.

The melody and arrangement are identical, and the Nostradamus line was carried over. But otherwise, the demo is its own song.

The demo is a step or two slower, but it’s still a good listen. And I love the “I want to be a star but not in someone else’s orbit” line.

⭐️⭐️⭐️

5: I Want to Know (COR: 305)

The Maladroit Years

July 17, 2001

In the fall of 2001, Weezer released a number of full-band demos showing the direction that would take them towards Maladroit. These songs were short, heavier rock numbers with meaningless and bizarre lyrics.

Some of the songs were good. But others were not.

Among the not-as-well-received of those was I Wanna Know, a short song with the immortal lyric “Tuchis on the side is heaven-sent/Giblets never run away, they come for free.”

Rivers’ original demo of the song is an expanded version of the tune, with more guitar noodling. But the demo itself was recorded with just an electric guitar on a handheld recorder. There may be a song there, but the audio quality certainly isn’t.

⭐️ 1/2⭐️

King Tom

Not So Social Media

I left Twitter two weeks ago.

After 15 years the (other) place for my thoughts got to be too much. Because of politics, because of the idiot owner, because of the algorithm. It just wasn’t the place for me. And it had stopped being some time ago.

I’m on the Bluesky now. And I’m much happier. I’m posting more. And I feel like the conversations are a lot better.

At one point I thought about importing parts of my Twitter history to Bluesky. But I don’t think that’s the right thing to do especially considering the site’s bandwidth issues. Some people (namely my daughter) think some of my posts should still be out there. So I may be re-posting some old things (especially my song-by-song reviews of Rivers Cuomo’s demos) here.

Let’s see how that works out.

King Tom

tracking the flood, part XL

1226Medicine 3
1227Hippies   – 2013-2-16 acoustic sketch
1228dictadroid9_2014_11_21_15_48_38
1229Bless   The World – v2
1230You’re   My Best Friend (voc intro)
1231The   Rules Of Life – v36
1232Untitled2-1
123311   Keeko Seeko
1234Minor   Piano Shuffle
1235Untitled9
1236Johnny_clash_2 over summer night ch
1237Erupt
1238Let’s   Keep It Platonic 2
1239Only   A Cockroach – RC2
1240the   week before @136
1241Work   11-1-2013 16h6m9s
124202   Beautiful Baby
1243Attention   Deficit Disorder 3
1244Anonymous   – v24
124512   Rip ‘n’ Shred
1246@96_on_the_beach_2015_2_26_15_12_41
1247Hey   Youngster
1248Anonymous   – v8
1249140. mixed mode 2012-01-31_14-31
1250Take   Anything You Want

King Tom

Tracking the flood, part xxxix

1201Ballad   Of The Brine – Rough 1 Nov
120228   His name is Brian, Brian Bell
1203Hold   Me Now
1204Pleased   To Meet You (Annie, Come Home)
120509   09 09 09 A09
1206Subjective 1
1207President   Of The United Flakes of Am
1208Friday   Feeling 5 @102
1209gun   it 1 @62.5
1210Cleopatra   – v26
1211No   Bars – v10
1212coda
1213dictadroid2_2017_8_29_8_23_59
1214Beautiful   Lies 3 tweaked chorus melody @128
1215The   British Are Coming – v1
1216Rest   In Peace – v23
1217commitment
121816   one more time around
121912_8   50’s progression I vi IV V
1220my   day 2 @155 nothing like the feeling
1221Bless   The Whole World – v7
1222Hey   Domingo
1223Where   Do All The Kids Hang Out 4 verse   melody @85
1224another   breakin the law
1225Johnny   Clash 7 bridge vox @180

King Tom

Tracking the flood, part XXXVIII

1176Cleopatra – v33
1177No Diligence
11781765
1179life_isn’t_fair_2014_10_5_10_51_59
1180No Bars – v7
1181The Best of Me – v5 2
1182I Just Threw Out the Love of My Dreams – SFTBH
1183You Think You’re Bad
1184ideas 11-8-2012 16h11m46s
118502 Push Me Back
1186Work 5-30-2013 16h53m3s
1187What The Hell 3
1188The Key To My Heart 2 AL @73
1189Memories (2008 edit) 2
1190Where Is My Protector – Rough 2 Instrumental Nov 10
119102 I Just Took the Most Wicked Dump
1192Fake Smiles And Nervous Laughter – v7
1193Hawaii – v7
1194gun it 11 new chords @ 62.5
1195Ain’t Got Nobody – v5
1196The Life I Never Lived – 2005-06-25 demo a
1197Pacific Sunset – v7
1198Crazy One
1199Ideas 11-8-2013 12h50m57s
1200Ideas 5-21-2013 16h18m19s

King Tom