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49 minutes ago, xtaticboy82 said:

Currently 79 on Metacritic. 

Madonna’s career is remarkably consistent. She’s amazing. 

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Meine Album- Kritik

Natürlich ist für einen Madonna Fan ein Leichtes, eine Kritik zu einem neuen Madonna- Album zu schreiben. Und ich garantiere, dass in dieser Kritik bestimmt nirgends steht, wie „alt diese Frau“ schon ist und bestimmt steht auch nirgends „sie solle nun endlich abtreten“.

Das einzige Mal, wo ich mich vielleicht auf das Alter dieser Ikone beziehen würde, ist im Dank für ein so tolles Album, das 14. Album in ihrer fast 40 jährigen Karriere.

Natürlich wird es viele geben, die dieses Album zerreißen würden, doch sie zerreißen nicht in Wirklichkeit das Album, sondern Madonna. Eine Frau, die einfach ihren Weg weitergeht. Scheiß drauf, was die Männer sagen und von ihr verlangen. Und scheiß drauf, was die Gesellschaft von ihr erwartet.

Ich konzentriere mich auf die Musik, die so vielfältig und bestimmt nicht „einfach“ ist. Damit meine ich, wir reden hier von Kunst, von echter Kunst und insbesondere von einer tollen und ziemlich vielschichtigen Produktion.

Nicht umsonst hat Madonna ihren Hauptproduzenten Mirvais als „Disco God“ bezeichnet. Die beiden haben zusammen nach „Music“ (2000) auch das völlig unterschätze persönliche Album „American Life“ (2003) produziert und das Duo scheint erneut echte „Magie“ geschaffen zu haben, wenn man sich drauf einlässt.

Oft hat man das Gefühl, „ist das jetzt ein Lied?“, „gehört der Part wirklich dazu?“, „was genau macht sie jetzt?“- Ich war selten so überrascht von einer neuen Madonna Platte.

Es ist für mich seit „Ray of Light“ die Platte, die mich am meisten berührt hat.

Hier geht es nicht darum, „Hits zu landen“ oder „anderen zu gefallen“, sondern das zu machen, was Madonna eigentlich schon immer gemacht hat: Genau das zu machen, worauf sie Bock hat, entgegen jeder Konvention, immer schön gegen den Strom schwimmen und vor allem Musik zu schaffen, die Fragen stellt und zur Diskussion anregt.

Längst hat sie verstanden, dass sie nie wieder einen Hit landen wird und niemals mehr so viele Platten verkaufen wird, wie früher. Aber darum geht es bei MADAME X auch nicht. Es geht darum, dass sie uns auf eine weitere Reise einlädt und nicht alle werden diesen Weg gehen. Egal.

Die Musikstile sind kunterbunt gemischt, MADAME X klingt wie ein Mitschnitt ihrer gesamten Karriere und ist dennoch neu und innovativ. Reggae, Pop, Soul, ein wenig Rap, Gospel, Chor, gefühlvolle Balladen, portugiesische und Latinmusik- Einflüsse. Madonna klingt oft nicht nach Madonna, sondern nach Madame X, die verschiedene Rollen und Personen in ihren Songs annimmt. Und da darf sei meiner Meinung gerne ihre Stimme "verstellen", der Vocoder als Stilmittel ist bisher noch nicht verboten worden.

Ein Highlight ist das bekannte „Medellin“- „I took a pill and had a dream“, der perfekte Eingangssong und vor allem auch die beste erste Singleauskopplung mit dem dazugehörigen Hammer- Video. Ein Mitschnitt ihrer ganzen Karriere in einem Video hineingebracht. Von dem Brautkleid, zum Kreuz von „Like a prayer“, dem Domina- Style von „Erotica“ und dem Cowgirl von „Music“.

Und der nächste Song ist gleich ein Hammer mit einem Video, was so nur Madonna herausbringen kann: „Dark ballet“- beginnt wie ein typischer Madonna Song und wechselt und sampelt Tschaikovskies „Nussknacker- Der Tanz der Rohrflöten“. Ein absoluter Geniestreich, den viele vielleicht gar nicht verstehen werden. In dem Video spielt ein schwarzer, HIV- Positiver Transgender die Hauptrolle und hier geht es um die Themen, die Madonna schon immer ausgemacht haben: Für Freiheit, für Gleichbehandlung aller Menschen egal mit welcher Rasse, Herkunft und Hautfarbe, egal welche Religion und welche sexuelle Orientierung. Es geht um den Menschen und darum, dass das Leben gut ist, auch wenn man mitten im Dunst ist und das Licht noch nicht wirklich gesehen hat. Außerdem geht es darum, dass man eben genau das tun und machen muss- man muss für seine Sichten und Ziele einstehen und dafür kampfen, sonst ändert sich nichts.

Und es spiegelt auch die Sängerin wider, denn man muss erst die Nuss knacken, um an die Wahrheit zu gelangen und viele werden genau dies nie schaffen.

Die ganzen sogenannten Pop- Prinzessinnen können sich hier abgucken, wie man es eben richtig macht!

Die stärksten Stücke sind für mich „Looking for Mercy“- Kritiker beschreiben dieses Lied als ein „Album- Filler“- für mich absolut gefühlvoll und ich könnt im Text und in der Melodie dahinschmelzen. Unglaublich experimentell und dennoch klingt „Extreme Occident“ wie ein Song, auf den ich schon länger gewartet habe („I was right, and I've got the right to choose my own life“) oder Zeilen aus „Crave“: „'Cause I'm just me (yeah), that's all I can be (ooh), something real (yeah), something I can feel. You know I just can't change, this is how I'm made“.

Es gibt auch endlich wieder einen richtigen Dancesong ganz im Style der 90er („Vogue“, „Rescue me“) mit „I don’t search, I find“ mit eindeutigen Referenzen zu ihrem 1992er Geniestreich „Erotica“.

Ich möchte auch unbedingt das Lied „God Control“ empfehlen. Ein Kunstwerk, viele Musikstile in einem Song vereint, Klassik, Dance, House, Rap, Sprechgesang und ein Beat, der vor allem den „Gays“ gefallen wird. Der Song an sich ist sehr politisch und Madonna bringt es auf den Punkt: „Everybody knows the damn truth, Wake up , wake up“.

Das einzige Lied, welches mir nicht gefällt, ist „Batuka“, mit dem Song kann ich persönlich nix anfangen. Natürlich weiß ich, dass das Album schon jetzt von den Kritikern verrissen wird und das ist mir auch ziemlich egal.

Mir persönlich gefällt es sehr und ich versuche es so „objektiv“ zu beschreiben, wie ich kann: Es ist das vielseitigste, spannendste, teilweise bizarrstes Album, was ich je von ihr gehört und- und was Madonna auf ihren letzten Alben nicht so wirklich geschafft hat, ist ihr diesmal wieder gelungen:

Eine perfekte Neu- Erfindung mit der Persona MADAME X, die die Welt aus ihrer Sicht beschreibt und vor allem mit sich im Reinen ist.

MADAME X erscheint am 14.06.2019

 

 

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Just now, vertigokane said:

Where are all of the other reviews from other music publications? I want to see Slant, Spin and Pitchfork. 

I think those will most likely come out Thursday or for sure Friday 

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Madonna - Madame X

6/10

https://www.clashmusic.com/reviews/madonna-madame-x

Bizarre or bold, delusional or avant-garde, this album is guaranteed to make you feel something - good or bad, or even both...

Expecting the unexpected is the wrong way to go into ‘Madame X’, after all, this is Madonna. If anything, expecting the expected (and then some) would be a more appropriate way to digest what really could be the most bizarre album of 2019.

Madonna’s edge has always been the shock factor. When it comes to lyrics and music videos, she practically invented it. But ‘Madame X’ feels different, not because it isn’t set out to shock (it undoubtedly is) but with lyrics like, “We need to wake up” thrown at around every corner of the album it’s to not at least entertain the idea of self-parody. For instance, opener ‘Medellín’ with Columbia’s Maluma - exploding with carnival charisma - is a hip-swayer (there’s no doubt you’ll catch yourself singing along to “Slow down papi” after a few listens) but a bizarre start when the next five songs go on to highlight worldly troubles such as fake icons and poverty, and the album’s overall sense of doom and gloom.

This near-humorous approach to addressing humanity’s pitfalls is only heightened halfway through ‘Dark Ballet’, when a rendition of Tchaikovsky’s ‘Nutcracker’ suddenly rears its sweet and sticky head. We are then told that, “The storm isn’t outside, it’s inside of us”…which is so laughable that it's got to be applauded.

A good portion of the album’s tracks are co-produced by French producer Mirwais, who is no stranger to working alongside Madonna. Another prominent producer amongst the rankings is frequent Kanye collaborator Mike Dean, and after first listen a clear pattern emerges as to who got which task. Dean’s first track, ‘Crave’ with Swae Lee, is the perfect chart topper - a steady back-beat paired with identifiable lyrics about love and desire, with Lee’s verse acting as the cherry on top. Dean goes on to appear on the credits of others, like ‘Crazy’ and ‘Come Alive’ – perhaps the album’s stronger songs, if “stronger” means the perfect pre-drinks backing tracks.

Mirwais however, seems to have been handed the trickier task of making the impact tracks, such as ‘Extreme Occident’ (and ‘I Don’t Search I Find’. Here enters the extreme over-production with an added gallon of autotune. Over the years Madonna has never shied away from the voice-enhancer, but its heavy presence on the album points to either full frontal delusion or avant-garde postmodernism.

It is truly hard to conclude. But ‘Madame X’ isn’t just an album (if it is that at all) – it’s an opera, or a comedy of errors. It’ll make you feel confusion, frustration, happiness and maybe joy, but it will definitely make you feel. 

Words: Laura Copley

Dig it? Dig deeper: Maluma, HMLTD, Sinitta

 

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"Bizarre" keeps coming up in a lot of reviews.  It seems a lot of critics aren't really sure what to make of it.   I'm happy that Madonna is making music that is challenging its listeners, even if it doesn't guarantee glowing praise. 

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4 minutes ago, Msig said:

Madonna - Madame X

6/10

https://www.clashmusic.com/reviews/madonna-madame-x

Bizarre or bold, delusional or avant-garde, this album is guaranteed to make you feel something - good or bad, or even both...

Expecting the unexpected is the wrong way to go into ‘Madame X’, after all, this is Madonna. If anything, expecting the expected (and then some) would be a more appropriate way to digest what really could be the most bizarre album of 2019.

Madonna’s edge has always been the shock factor. When it comes to lyrics and music videos, she practically invented it. But ‘Madame X’ feels different, not because it isn’t set out to shock (it undoubtedly is) but with lyrics like, “We need to wake up” thrown at around every corner of the album it’s to not at least entertain the idea of self-parody. For instance, opener ‘Medellín’ with Columbia’s Maluma - exploding with carnival charisma - is a hip-swayer (there’s no doubt you’ll catch yourself singing along to “Slow down papi” after a few listens) but a bizarre start when the next five songs go on to highlight worldly troubles such as fake icons and poverty, and the album’s overall sense of doom and gloom.

This near-humorous approach to addressing humanity’s pitfalls is only heightened halfway through ‘Dark Ballet’, when a rendition of Tchaikovsky’s ‘Nutcracker’ suddenly rears its sweet and sticky head. We are then told that, “The storm isn’t outside, it’s inside of us”…which is so laughable that it's got to be applauded.

A good portion of the album’s tracks are co-produced by French producer Mirwais, who is no stranger to working alongside Madonna. Another prominent producer amongst the rankings is frequent Kanye collaborator Mike Dean, and after first listen a clear pattern emerges as to who got which task. Dean’s first track, ‘Crave’ with Swae Lee, is the perfect chart topper - a steady back-beat paired with identifiable lyrics about love and desire, with Lee’s verse acting as the cherry on top. Dean goes on to appear on the credits of others, like ‘Crazy’ and ‘Come Alive’ – perhaps the album’s stronger songs, if “stronger” means the perfect pre-drinks backing tracks.

Mirwais however, seems to have been handed the trickier task of making the impact tracks, such as ‘Extreme Occident’ (and ‘I Don’t Search I Find’. Here enters the extreme over-production with an added gallon of autotune. Over the years Madonna has never shied away from the voice-enhancer, but its heavy presence on the album points to either full frontal delusion or avant-garde postmodernism.

It is truly hard to conclude. But ‘Madame X’ isn’t just an album (if it is that at all) – it’s an opera, or a comedy of errors. It’ll make you feel confusion, frustration, happiness and maybe joy, but it will definitely make you feel. 

Words: Laura Copley

Dig it? Dig deeper: Maluma, HMLTD, Sinitta

 

Ahgahg so BASIC 

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7 minutes ago, Msig said:

Madonna - Madame X

6/10

https://www.clashmusic.com/reviews/madonna-madame-x

Bizarre or bold, delusional or avant-garde, this album is guaranteed to make you feel something - good or bad, or even both...

Expecting the unexpected is the wrong way to go into ‘Madame X’, after all, this is Madonna. If anything, expecting the expected (and then some) would be a more appropriate way to digest what really could be the most bizarre album of 2019.

Madonna’s edge has always been the shock factor. When it comes to lyrics and music videos, she practically invented it. But ‘Madame X’ feels different, not because it isn’t set out to shock (it undoubtedly is) but with lyrics like, “We need to wake up” thrown at around every corner of the album it’s to not at least entertain the idea of self-parody. For instance, opener ‘Medellín’ with Columbia’s Maluma - exploding with carnival charisma - is a hip-swayer (there’s no doubt you’ll catch yourself singing along to “Slow down papi” after a few listens) but a bizarre start when the next five songs go on to highlight worldly troubles such as fake icons and poverty, and the album’s overall sense of doom and gloom.

This near-humorous approach to addressing humanity’s pitfalls is only heightened halfway through ‘Dark Ballet’, when a rendition of Tchaikovsky’s ‘Nutcracker’ suddenly rears its sweet and sticky head. We are then told that, “The storm isn’t outside, it’s inside of us”…which is so laughable that it's got to be applauded.

A good portion of the album’s tracks are co-produced by French producer Mirwais, who is no stranger to working alongside Madonna. Another prominent producer amongst the rankings is frequent Kanye collaborator Mike Dean, and after first listen a clear pattern emerges as to who got which task. Dean’s first track, ‘Crave’ with Swae Lee, is the perfect chart topper - a steady back-beat paired with identifiable lyrics about love and desire, with Lee’s verse acting as the cherry on top. Dean goes on to appear on the credits of others, like ‘Crazy’ and ‘Come Alive’ – perhaps the album’s stronger songs, if “stronger” means the perfect pre-drinks backing tracks.

Mirwais however, seems to have been handed the trickier task of making the impact tracks, such as ‘Extreme Occident’ (and ‘I Don’t Search I Find’. Here enters the extreme over-production with an added gallon of autotune. Over the years Madonna has never shied away from the voice-enhancer, but its heavy presence on the album points to either full frontal delusion or avant-garde postmodernism.

It is truly hard to conclude. But ‘Madame X’ isn’t just an album (if it is that at all) – it’s an opera, or a comedy of errors. It’ll make you feel confusion, frustration, happiness and maybe joy, but it will definitely make you feel. 

Words: Laura Copley

Dig it? Dig deeper: Maluma, HMLTD, Sinitta

 

Strange review considering they gave MDNA an 8/10

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Of course, so its score will go down. LOL. I wonder if some of these reviewers whose reviews count go harder on her than the ones who don't?

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They give a lower rating because they dont see M as the artist she is. They put her in the « pop/dance » category and don’t believe it when she is a little avant garde, a little weird, or talks about important issues. That’s why MDNA got a higher rating from them

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28 minutes ago, Msig said:

 

Bizarre or bold, delusional or avant-garde, this album is guaranteed to make you feel something - good or bad, or even both...

 

NO WAY!? REALLY? I will feel something? wow. 

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Mmm bit of a strange review. I haven’t heard it yet so I can’t talk too much, but I never like the ‘hmm gosh it’s hard to know what to make of it’ takes. I want more identifiable analysis pls, no fence sitting 

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I understand  why they would say it’s bizarre. I don’t think that’s a bad thing. The album is bjorkish, the songs aren’t really in  standard pop formats. None of them are truly safe 

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Overall rating from this Italian online magazine: 3.0/5

====================================

Madonna - MADAME X - la recensione

"Madame X", ecco la Madonna multiculturale

Pop digitale e cosmopolita, un manifesto multiculturale da cui emergono anche inquietudine e solitudine. Ma il disco è più audace che riuscito

image.png

Voto Rockol: 3.0/5
Recensione di Claudio Todesco

In un recente e magnifico servizio fotografico per il New York Times, Madonna si confronta con alcune immagini di sé stessa da giovane. In una si abbraccia con tenerezza, in un’altra s’avvolge in sé stessa come in una coperta, in una terza s’affaccia da un taglio praticato su un occhio. Il richiamo al passato fa parte della narrazione legata al nuovo album “Madame X”. La pop star ha spiegato che il titolo viene dal soprannome affibbiatole quando aveva 19 anni e già impersonava una moltitudine di personaggi. E nel descrivere lo spirito del disco ha evocato sia la noncuranza con la quale accoglieva le critiche a inizio carriera, sia la tendenza che aveva ad assorbire stili e influenze. Questo però non è un ritorno alle origini, nonostante le citazioni di “Vogue” e “Like a prayer”. Non lo è nei suoni, nella scrittura, nel canto, nei testi. È un disco sulla fluidità dell’identità, sua e nostra. È pop digitale e cosmopolita che pretende di avere il mondo come campo giochi e come palcoscenico, un’opera multiculturale dotata di un sottotesto politico da cui emergono anche inquietudine e solitudine.

Nel 2017 e per un paio d'anni, Madonna si è trasferita nei pressi di Lisbona per consentire al figlio David Banta di frequentare la scuola calcistica del Benfica. Lì è stata introdotta dal cantante Dino D’Santiago alla scena musicale locale che conta una varietà di stili e ascendenze. Madonna ha registrato alcune session casalinghe e le ha spedite a Mirwais, il produttore di “American life” e di parti di “Music” e “Confessions on a dance floor”. In quel microcosmo Madonna ha sperimentato un’idea di musica permeabile alle influenze provenienti da altri luoghi del mondo che un tempo avremmo considerato periferici e che oggi sempre più penetrano il mainstream – si veda il caso di Rosalía. “Ho trovato la mia tribù e un mondo magico di musicisti incredibili che hanno rafforzato la mia convinzione che la musica di tutto il mondo sia veramente connessa e che sia l’anima dell’universo”, ha detto la cantante. Per parafrasare una canzone dell’album, il futuro è un viaggio culturale.

Da quei frammenti musicali è nata l’idea di strutturare l’album come un percorso dove convergono suoni da Portogallo, Capo Verde, Brasile, India, Stati Uniti, Giamaica, Europa. C’è proprio l’idea del viaggio propiziato – così racconta la canzone che apre il disco, il singolo con Maluma “Medellín” – da una qualche sostanza magica. “Ho preso una pillola e ho fatto un sogno”, racconta la canzone. “Madame X” è quel sogno, un’esplorazione di fonti sonore da cannibalizzare, materiali melodici o ritmici da rielaborare in chiave pop. Ecco allora reggae, batuque, morna e fado strappati dall’immaginario di minoritari estimatori dei suoni del mondo e buttati sulla pista da ballo con electro e trap-pop, sintetizzati in un suono digitale cupo e sfacciato, abbinati alla voce della cantante che è molto spesso filtrata fino ad assumere le sfumature metalliche tipiche di Auto-Tune.

“Madame X” è uno di quei dischi in cui alla fine di ogni canzone ci si chiede: e ora dove andrà a parare? L’eclettismo è una virtù se è ben coltivato e riempito di senso, ma patchwork come “Dark ballet” e “God control”, per di più piazzati nella prima parte dell’album, subito dopo “Medellín” che non è certo un singolo forte, possono sconcertare al primo ascolto. Gli elementi che li compongono– si va dalla disco music anni ’70 a Cajkovskij – non sempre appaiono fusi in mondo coerente. In “Dark ballet”, i passaggi dalla sezione pianistica alla parte declamata con effetto vocoder al segmento finale recitato suonano come il tentativo di proporre una performance densa, serissima, significativa e spiazzante, ma il gusto è discutibile e le scelte sonore sembrano slegate dal significato della canzone. Da sempre il pop sposta i confini del ridicolo, ma la voce robotica che declama un testo su lotta e fede ispirato a Giovanna D’Arco suona come un’incoerenza senza senso. “Dark ballet” è un oggetto artistico kitsch.

Eppure “Dark ballet” sta ricevendo grandi elogi per l’audacia. Effettivamente, nel disco Madonna rivendica per sé una grande libertà, anche ad esempio di riempire i pezzi di “vuoti” anti-radiofonici. È che a volte non sembra fare buon uso di questa libertà. Non scorda però di rassicurare il pubblico e così, ad esempio, “I don’t search I find” trasfigura “Vogue” in chiave trance. E altrove piazza canzonette piccine che assecondano il gusto massificato. Ma è vero che “Madame X” suona come nessun altro disco della cantante. Affidandosi a trend e tecniche produttive contemporanee, Madonna e i suoi produttori, fra cui Mirwais, Mike Dean, Diplo, Billboard, Jeff Bhasker e Jason Evigan, riempiono il disco di atmosfere decisamente cupe che fanno il paio con alcuni testi dove la pop star confessa di sentirsi sola e perduta, in cerca di comprensione. I suoni trap-pop saltano fuori dal mix in modo vivido e, come spesso accade nei dischi pop di questi anni, “Madame X” lo si apprezza maggiormente ascoltandolo in cuffia.

Se riuscite ad andare oltre il travestimento con la benda da pirata con cristalli di Swarovski e l’abbigliamento da fantasy distopico, potete immaginare Madame X come una sorta di cospiratrice progressista che gira il globo mutando identità. Quella latina sembra predominante, nel bene (la cover di “Faz gostoso” della brasiliana Blaya, qui con Anitta, che ha una vitalità che altrove manca) e nel male (il pop francamente scemotto di “Bitch I’m loca”). Ma ci sono anche echi di musica africana, indiana, caraibica e un’ampia varietà di atmosfere, praticamente una per canzone. Questa sorta di nomadismo digitale s’abbina a testi che, procedendo per flash e slogan, raccontano il mondo da un punto di vista progressista ed evocano temi che vanno dal femminismo al controllo delle armi da fuoco. Al di là dei riferimenti all’America di Trump che si possono cercare nei testi, “Madame X” è a suo modo – ed è un modo molto sfumato e molto pop – un disco politico, l’affermazione di un’identità composita e cangiante in un’epoca di nazionalismi.

Attraverso l’affermazione della personalità e la formula magica che la stessa Madonna ha contribuito a creare nel pop, empowerment, “Madame X” lancia messaggi su uguaglianza e diritti e in questo è un album perfettamente coerente con la storia della cantante. E così, in “Killers who are partying” Madonna s’immedesima con le vittime del mondo usando un esercizio di retorica (“sarò povera se il povero è umiliato”, “sarò l’Islam se l’Islam è odiato” e così via) abbinato al pathos tipico della morna di Capo Verde, che è musica che canta la mancanza e la distanza con struggente malinconia. L’album si chiude con un estratto dal celebre “We call BS”, dove BS sta per bullshit, ovvero stronzate. È il discorso pronunciato da Emma González, l'attivista scampata alla strage del febbraio 2018 di Parkland, Florida. La canzone s’intitola “I rise” ed è una sorta di inno di chi “è morto mille volte ed è sopravvissuto”. È il lieto fine di un disco audace, ma non perfettamente riuscito, a tratti bizzarro, incoerente, caotico.

TRACKLIST
Medellín feat. Maluma
Dark Ballet
God Control
Future feat. Quavo
Batuka
Killers Who Are Partying
Crave feat. Swae Lee
Crazy
Come Alive
Extreme Occident
Faz Gostoso feat. Anitta
Bitch, I’m Loca feat. Maluma
I Don’t Search, I Find
Looking for Mercy
I Rise

Link: https://www.rockol.it/recensioni-musicali/album/8671/madonna-madame-x?refresh_ce

 

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I’ve just read the Q Magazine review. They’ve given it 4 out of 5 and praised Dark Ballet, Crave and God Control as stand out tracks.

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2 minutes ago, Lindyloo said:

I’ve just read the Q Magazine review. They’ve given it 4 out of 5 and praised Dark Ballet, Crave and God Control as stand out tracks.

Is there a link?

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