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PostPosted: Sun June 24th, 2018, 16:07 GMT 
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Estamos perdiendo las tradiciones del foro... Markitos onde andas!!!

Aunque ya pasó... Nit de Sant Joan :D

https://youtu.be/n7BUtnQO-n0


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PostPosted: Sun June 24th, 2018, 23:16 GMT 

Joined: Sun December 21st, 2008, 22:42 GMT
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Senyor Timbaler wrote:
Estamos perdiendo las tradiciones del foro... Markitos onde andas!!!

Aunque ya pasó... Nit de Sant Joan :D

https://youtu.be/n7BUtnQO-n0


acabo de llegar del pueblo
¿que crees, que anoche no la escuché?
:mrgreen: :mrgreen: :mrgreen:


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PostPosted: Mon June 25th, 2018, 00:01 GMT 
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Pasé dos noches de San Juan en España... 1986 en Barcelona y 2010 en Andalucía .. espero no sean las últimas!!! :lol:


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PostPosted: Mon June 25th, 2018, 21:04 GMT 
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markitospb wrote:
Senyor Timbaler wrote:
Estamos perdiendo las tradiciones del foro... Markitos onde andas!!!

Aunque ya pasó... Nit de Sant Joan :D

https://youtu.be/n7BUtnQO-n0


acabo de llegar del pueblo
¿que crees, que anoche no la escuché?
:mrgreen: :mrgreen: :mrgreen:


Claro, preferís iros a pasarlo de pm por ahí en lugar de entrar a postear en ER. :lol:

chambre wrote:
Pasé dos noches de San Juan en España... 1986 en Barcelona y 2010 en Andalucía .. espero no sean las últimas!!! :lol:


A ese ritmo la próxima en el 2034!

Salud y rocanrol!


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PostPosted: Tue June 26th, 2018, 11:06 GMT 
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Senyor Timbaler wrote:
Estamos perdiendo las tradiciones del foro... Markitos onde andas!!!

Aunque ya pasó... Nit de Sant Joan :D

https://youtu.be/n7BUtnQO-n0

Mi niño chico no me deja tiempo pa ná pero entro de vez en cuando para ver qué se comenta aunque no diga nada yo :)

Feliz verano a tod@s

JC


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PostPosted: Thu June 28th, 2018, 05:44 GMT 
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Feliz verano JC!

A ver si hay alguna sorpresilla veraniega... Hace un par de años tuvimos el After the Empire... El año pasado un minutillo del Lily...

Otra cosa... ¿Donde están las primeras tomas del Maggie's Farm? Llamadme incrédulo... Pero no me trago que eso saliera a la primera.

Y... ¿nadie grabó en condiciones el concierto que acabó con el homenaje a Petty? La grabación que ciircula digamos que no mata.

Salud!


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PostPosted: Thu July 5th, 2018, 05:48 GMT 
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Qué pasa gente. Alguien sabe algo de esto?

https://www.giginjapan.com/bob-dylan-81clover-studio/

Salud!


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PostPosted: Fri July 6th, 2018, 09:54 GMT 
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Senyor Timbaler wrote:
Qué pasa gente. Alguien sabe algo de esto?

https://www.giginjapan.com/bob-dylan-81clover-studio/

Salud!



Markitos ya está al tanto, eso me deja tranquilo :lol:


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PostPosted: Thu July 12th, 2018, 18:47 GMT 
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Senyor Timbaler wrote:
Qué pasa gente. Alguien sabe algo de esto?

https://www.giginjapan.com/bob-dylan-81clover-studio/

Salud!


:arrow: https://www.collectorsmusicreviews.com/ ... reme-disk/

Bob Dylan, ‘Clover Studio 1981’ (Empress Valley Supreme Disk)

Trouble (Take 6) / The Groom’s Still Waiting At The Altar (Correct speed version) / Bolero (Heart Of Mine) (Instrumental take 1) / Heart Of Mine (Outtake) / Property Of Jesus (Original mix) / Caribbean Wind (Outtake) / Magic (Outtake – Full version) / Let It Be Me (Outtake) / Watered Down Love (Outtake) / Trouble – Instrumental Jam / Mystery Train (Rehearsal) / Shot Of Love (Outtake) / Every Grain Of Sand (Original mix) – Bonus Tracks – Bolero / Heart Of Mine (inst. take. 2) / Bolero / Heart Of Mine (Take 3 with distant off mic vocal)

Shot Of Love, as deemed by many listicles, seems to float around the middle of a few of Bob Dylan’s “best of” lists. Appearing as the last of Dylan’s Christian albums, it certainly gets a little more love than ‘Saved’ and sometimes deservedly so. It is a powerful album, Dylan still drawn to drag fire from his religious conversion and, more so than ‘Saved’, he was still reaping the reward of the highs of his bucolic live shows. At the time however, the reviews were insipid – Rolling Stone giving the kindest rating of 3 and a half stars, it’s sister publication, ‘The Rolling Stone Album Guide’ being less keen, awarding it only 2 stars out of 5. To the modern listener, they may take issue with the rather too slick, polished production – Rather stylised and ’80’s’ sounding, it’s not as synth-led as, say, “Empire Burlesque” but lacks the heart of an album that should be more rock than gossamer gospel.

This import CD features a newly discovered tape made from dubs from outtakes and rehearsals connected to the album (With an additional couple of takes from an alternate source slotted on to the end). Empress Valley have been gentle transferrers of this tape. A stunning grab itself from the masters, rich and with that ‘studio but bootleg’ sound that we’ve become accustomed to over the years, giving you that elicit rush that we’ve become accustomed to.

Thirteen tracks all in all, here they are in order;

Trouble (Take 4) – The tape starts rolling just as the take starts picking up, losing the guitar overdubs for the top, the track really feels and sounds much more like a jam than the polished affair that we hear on the album. The next thing you notice is it’s played a little faster, the slick soloing in the middle turns amateurish and weedy. The clicking, drumstick percussion is out, replaced by a heavier beat, like someone playing cardboard boxes instead. The track draws to a natural end with Dylan asking, “Did you get any of that?”

The Grooms Still Waiting At The Altar (Correct Speed) – A slower, heavier sound to this track. Only maybe by semitones, the unpolished gruff crunch of the bootleg making this the preferable listening experience. The tape ends with a little spare, organ and disbelieving cries of awe from the control room, alongside harmonies from the gospel choir.

Bolero / This Heart Of Mine (Instrumental Take 1) – It’s already a beautiful track but what might make you consider ‘This Heart Of Mine’ even more? Try this instrumental for a start. As delicate as rice paper, the track chimes beautifully, the sweet guitar lines nestling gently against each other, this having been named an instrumental, you can hear Dylan’s voice in the very back ground, keeping time

This Heart Of Mine (Outtake) – Now you’ve heard the backing, we go forward to a more polished take. Preceded by a count in, a fresh Dylan vocal. This take is actually clearer than the finished take, the guitar takes as much of the floor as the piano but we lack the backing harmonies which would be worked on later.

Property Of Jesus (Original mix) – Beginning with the sound of tape starting up, there is a brief bass and piano warm up prior to the count in. The production itself is a great deal more AM radio than FM.

Caribbean Wind (Outtake) – One of those songs that Dylan battled with, it’s appearances, though lauded by critics when it was played live, was brief as despite various run throughs in the studio, never quite fit with the ideal concept, Dylan took the decision to file the song away. This is one of only 3 of the completed takes, the same as on the Scorpio set but in much better quality.

Magic (Outtake – Full Version) – An upbeat rocker with a very rock n’ roll / Buddy Holly edge, it was a serious contender for inclusion on the album though deemed to be too frothy alongside the rest of the content (Not specifically by Dylan), it lost it’s position and was dropped before the final pressing. Maybe I might be the only person who thinks that because of Dylan’s romantic position at this point, he was almost happy to let his mask slip a little by turning out something that more poppy than the serious religious affectations, also, it could just be one of those throwaway pieces that he’d considered for
running at 5:09, this is the longest version available

Let It Be Me (Outtake) – A version of the track that the Everly Brothers made famous. (Or otherwise known as ‘Je t’appartiens’, if you’re French and of a certain age.) originally included on the B-side of the single, ‘Heart Of Mine’, this is one of those moments in the Dylan would take to calling out for in the studio – Dylan knows it, his backing singers are familiar with it, his band also know but they drop in a very loose version all the same – As nice as it is to hear, it’s one of those that you wouldn’t bookmark for future listening, unlike the take on ‘Mystery Train’ (See below)

Watered Down Love (Outtake) – Much clearer on here than the mixed album, you can hear various calls at 2:38 by Dylan (“Alright”) that are not audible on the CV.

Trouble (Instrumental Jam) – A run through of the track between takes, if only to get a groove going, there is a very distant (Dylan) vocal underneath but, again, it’s much more of a place keeper as opposed to anything definitive.

Mystery Train (Outtake) – A full band run through of this oldie, very probably at the behest of Dylan again, the band are full of it, itchy worm guitar lines, baseball stadia organ, full throated backing and a nice warming build to power. It is unfortunately brief for it’s 3:53 length but one of the highlights of this set.

Shot Of Love (Outtake) – A much earlier mix, this omits the harmonies used on the official album, again, it’s clearer than the mixed artefact, Dylan’s vocals a a lot bolder, the piano that was mixed out almost entirely on the CV is much more present bringing more texture to the piece. It also fades out more quickly than the finished version, leaving an extended coda.

Every Grain Of Sand (Original Mix) – “Try that one more time .. let’s try that one more time” suggests Dylan, whether this means the song or an element within isn’t quite clear. The track doesn’t really differ from the official piece musically but upon mastering, the CV was applied with some heavy compression, listen again and really hear it breathe.

Bonus tracks; Both bonus tracks are taken from ‘Studio Master Reel #14’. The quality is the same as the tape above with just a little tape wrinkle on the first track.

Bolero / Heart Of Mine (Inst. take 2) – Beginning with the sound of the tape starting up, this take almost immediately begins with a bum note, carries on gamely but Dylan’s solo almost breaks down too – maybe it’s apparent that he shouldn’t be trying too hard on a warm up but there are some particular errors made. It all folds at 2:46 when the band decide that it’s possibly better that they give up.

Bolero / Heart Of Mine (Take 3 w. Distant off mic vocal) – Another near instrumental, much better played instrumentally but in the back ground, very distantly, it sounds like Dylan isn’t taking this seriously at all, calling out his lyrics in an operatic style, make that ‘Pavarotti singing Dylan in a bar style’, and you’re much closer to the point. This only continues half way through when the singing stops and the track continues apace. It ends as the band decide just to wrap it all up.

What can I say? An extraordinary new boot with some serious upgrades and new material from one of Dylan’s more curious directions – Finally, the chance to hear some extra tracks that never made the cut alongside the usual ‘making of ..’ style tracks, along with the fantastically stylish packaging (A wonderful looking picture disk!) makes this an essential boot to get and may very well be the biggest release this year so far


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PostPosted: Sat July 14th, 2018, 09:37 GMT 
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Gracias por el texto. Tiene buena pinta. Tengo especial curiosidad/ganas de escuchar ese Groom still waiting sin "arreglar". Supongo que será distinto a otro que rula como "rough mix" en otro bootleg (no recuerdo título ahora).

Salud!


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PostPosted: Sun July 29th, 2018, 02:12 GMT 
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Location: Chile, Concepción.
De sólo oír los rumores del próximo bootleg series, se me hace agua la boca... :lol:
La información de las sesiones nos habla de unas 90 pistas y quizás más...
Por mientras, oigo el "Meet me in the morning":
https://www.youtube.com/watch?v=18J_W4PBomE

Foto de Bob, Toronto, 1974:
https://cdn.shopify.com/s/files/1/1107/5568/products/dylan_toronto_for_shop_2048x2048.jpg?v=1477139429


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PostPosted: Sat August 4th, 2018, 08:57 GMT 
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Si habéis pinchado en el link 5 de la página principal de ER (5 - Rare live '60s Bob Dylan recordings get official release EU: Unavailable due to legal reasons - (Journal Star)) Y no habéis podido leer nada por no sé qué problema legal, aquí está el texto.


Quote:
Rare live '60s Bob Dylan recordings get official release
L. KENT WOLGAMOTT Lincoln Journal Star Aug 3, 2018


In 2012, 2013 and 2014, a since-changed quirk in European copyright law prompted the official release of bootlegged live Bob Dylan performances from 1962-66 as a means to stop the recordings from coming into public domain there -- and free for anyone to release.

Now, the “50th Anniversary/Copyright Extension” albums have been compiled into “Live 1962-1966: Rare Performances from The Copyright Collection,” a widely released two-CD set.

For that, Dylan fans should be thankful as the package contains a true rarity -- the first known recording of a live performance of “Blowin’ in the Wind” captured, along with “Corrina, Corrina,” at Gerdes Folk City, the New York coffeehouse, in April 1963.

The first disc then follows Dylan through his breakout 1963 concerts at Town Hall, with a touching performance of “Boots of Spanish Leather,” at Carnegie Hall, where a stirring, driving “Masters of War” is the standout track, and the March on Washington, where he’s joined by Joan Baez on “When The Ship Comes In.”

The first disc ends with Dylan in full folk mode playing London and the Newport Folk Festival in 1964 and the first six tracks of disc two, including classic takes on “It’s Alright, Ma (I’m Only Bleeding)" and “It’s All Over Now, Baby Blue” in the spring of 1965.

Then Dylan went electric and the set concludes with a half-dozen tracks that include an urgent “It Takes A Lot To Laugh, It Takes A Train To Cry” from the infamous Newport Folk Festival performance, with plenty of guitar from Mike Bloomfield, a loping “I Don’t Believe You (She Acts Like We Never Have Met),” a dark “Ballad of a Thin Man” and fine take on “Visions of Johanna,” all from the U.K. in 1966 with the band that became The Band.

Those who dismiss Dylan as overrated, etc., won’t care at all about “Live 1962-1966.” But for Dylan aficionados, the record is music history captured live -- and a much appreciated addition to the master’s catalog.


Salud!


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PostPosted: Mon August 6th, 2018, 10:30 GMT 

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Sabe alguien si alguna vez Dylan ha tocado alguna canción de Kris Kristoferson???


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PostPosted: Mon August 6th, 2018, 10:52 GMT 
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They Kill Them, en Knocked Out Loaded (1986)
Me sonaba un montón.
Miguel Adellac.


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PostPosted: Sun August 12th, 2018, 14:57 GMT 
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Hablando de KOL. Un fake casero que me pasaron que a mi me gusta. Una versión más corta del "Got my mind made up" que devuelve la voz de Petty y la armónica a la mezcla. Es curioso, algo chapucero pero no ta mal.

:arrow:


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PostPosted: Mon August 13th, 2018, 10:06 GMT 
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pachito wrote:
Sabe alguien si alguna vez Dylan ha tocado alguna canción de Kris Kristoferson???


En el larguísimo set del Toad's Place de 1990 cantó "Help Me Make It Through the Night".

:arrow: https://instaud.io/2y6S


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PostPosted: Wed August 15th, 2018, 01:00 GMT 
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Qué poco cunden las tarjetas sd si les metes flacs.

Salud!


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PostPosted: Mon August 20th, 2018, 02:51 GMT 
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Relajaos, solo es humor....

Image


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PostPosted: Mon August 20th, 2018, 09:04 GMT 
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El repasito que le dio Krahe a Flipe.
https://youtu.be/rMgp0JvVmbw

Salud!


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PostPosted: Wed August 22nd, 2018, 05:34 GMT 
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Senyor Timbaler wrote:
El repasito que le dio Krahe a Flipe.
https://youtu.be/rMgp0JvVmbw

Salud!


¡Jajaja! Ostras, que mordaz canción.

Y como olvidar el clásico:

Image

Cuando los jueces tenian sentido del humor y no se escandalizaban como con los tuits de Cassandra sobre Carrero Blanco. Recordemos que el año en que salió este álbum (1995) también sucedió el atentado de ETA contra Aznar.

***

Una más de las épocas zapateriles:

"Zapatero a tus zapatos"

Attachment:
Zapatero zapatero.png


Y en un hipotético caso que Zapatero el zapatero:
- Se hubiera hecho zapatista (seguidor del mexicano Emiliano Zapata)
- Usara zapatófonos como el Superagente 86
- Bailara zapateado

Tendríamos una expresión como la siguiente:

Zapatero zapatero zapatista zapatea zapatos zapatófonos zapateando

¡Estoy flipando, tíos!


You do not have the required permissions to view the files attached to this post.


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PostPosted: Wed August 22nd, 2018, 23:45 GMT 
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Lo más triste de todo es que tanto como esa portada del
bombazo mix como los tuits de Casandra son la misma mierda, gilipolleces totales, no aportan nada interesante. La diferencia es que a Casandra la querían meter en el talego por repetir chistes que todo el mundo se sabe. Evidentemente estoy de parte de Casandra aunque considere que lo que diga Casandra poco o nada tenga de interesante. La verdad es que a Casandra parece que le falte un hervor. Y tres hervores a los que la querían meter en el talego.

Anda que si a Casandra le da por cantar la de "Carrero era almirante naval" la condenan a garrote.

Personalmente interesantes me parecen otras cosas, más actuales y más en contexto que las chorradas de Casandra. Como esta canción de los Platero, siempre pensé que iba dirigida a alguien de los acérrimos a los tiros. Igual habla de otra cosa. Yo qué sé.
https://youtu.be/iTqFfr_qffo

Y en esta creo que habla de lo mismo.

https://youtu.be/cCivFvC6svg


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PostPosted: Thu August 23rd, 2018, 09:26 GMT 
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Senyor Timbaler wrote:
Lo más triste de todo es que tanto como esa portada del
bombazo mix como los tuits de Casandra son la misma mierda, gilipolleces totales, no aportan nada interesante.


Voy a matizar esto porque a veces se me olvida que no todos usamos el idioma de la misma forma y no quiero que se entienda otra cosa. Digo que son "gilipolleces" porque tanto esa portada de disco como los chistes de Casandra son tonterías. Y lo triste es que al final, los que se escandalizan por unos chistes que todo el mundo se sabe, nos obligan a tener que defender algo tan básico como el derecho a decir tonterías sin correr el riesgo de ir a la cárcel.

Una sociedad paranóica, a lo John Birch, como en la canción.

Salud!


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PostPosted: Thu September 6th, 2018, 20:41 GMT 
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Como esta sección se titula "Di lo que quieras...", me apetece compartir algo con quienes también habláis español.

Acabo de asistir a un concierto en el que el músico, amigo mío, me ha saludado desde el escenario al presentar su versión vienesa de Red River Shore definiéndome como "la persona más fan de Bob Dylan en todo el mundo". Mientras decido si me lo voy a tatuar, quiero que los conozcáis: él se llama Ernst Molden, y la canción Madl aus der Lobau:

https://www.youtube.com/watch?v=Ymr0QNzOFwE

Hay quien llama a Molden "el Dylan de Viena". Definiciones aparte, molaría saber qué os parece.

Salud desde la "Danube Shore"!


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PostPosted: Fri September 7th, 2018, 18:29 GMT 
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cabanascaravan wrote:
Como esta sección se titula "Di lo que quieras...", me apetece compartir algo con quienes también habláis español.

Acabo de asistir a un concierto en el que el músico, amigo mío, me ha saludado desde el escenario al presentar su versión vienesa de Red River Shore definiéndome como "la persona más fan de Bob Dylan en todo el mundo". Mientras decido si me lo voy a tatuar, quiero que los conozcáis: él se llama Ernst Molden, y la canción Madl aus der Lobau:

https://www.youtube.com/watch?v=Ymr0QNzOFwE

Hay quien llama a Molden "el Dylan de Viena". Definiciones aparte, molaría saber qué os parece.

Salud desde la "Danube Shore"!


A mi me gusta escuchar versiones de canciones que conozco en idiomas que no conozco. Musicalmente me gusta. Ya dirás si la letra está currada. He estado escuchando algunas otras cosas ahora mismo, he cazado un Billy, otra que se parece a Ain't Talkin (pero creo sólo se parece) y aunque no sean de Dylan, he pillado por casualidad dos canciones que me gustan muchísimo y que él las titula como "Da Schurl und da Linke" y "Spruch ausn Südn".

Salud!


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PostPosted: Sun September 9th, 2018, 09:01 GMT 
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Muchas gracias por el feedback, Senyor Timbaler! :D

Me alegra saber que te ha gustado Molden. Y sí, la versión tiene una letra bastante currada, transponiéndolo todo no sólo al dialecto vienés, sino también al contexto geográfico y, digamos, "antropológico" de aquí, lo que le ha hecho ganar mucho público. La Lobau del título es una zona natural muy curiosa, situada junto al Danubio -un referente para cualquiera que viva en Austria, por más que poco tenga que ver con en Red River dylaniano-.

Lo más curioso que Molden le ha hecho a Dylan es esta versión de LARS, interpretada con un montón de gente para cerrar el acto de inauguración de los festivales de primavera de Viena, en mayo de este año:

https://www.youtube.com/watch?v=9huWQMziNwA

Feliz domingo.


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