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May 11

U2 – “The Fly”

Popular106 comments • 6,745 views

#668, 2nd November 1991

The Wikipedia article on Achtung Baby is illuminating in unexpected and glum ways. For a start, the demands of Wiki-style are never kind to projects which centre on ambiguity and every last bit of knowingness gets flatly ironed out. But more, the behind-the-scenes material – a boil-down of dozens of books, articles, and retrospectives – suggests what a ghastly and drawn-out process Not Being U2 was for U2. (My favourite factoid: how one proposed album title was Man – as opposed to Boy, you understand – before someone noticed this would squarely poleaxe the whole ‘not pompous any more’ look)

This points to one of the big questions about New U2 – the extent to which this music was impressive, or just impressive because of who was making it. When we watch a film about an ex-con, for instance, we often cheer them on when they reject a life of crime or violence while expecting the drama to hinge on their return to it. In our everyday lives, of course, we don’t find it much of a struggle not to commit armed robbery. Similarly, many bands find it surprisingly easy not to make tedious and overblown rock records, so how much of the interest in U2’s early 90s material comes from them fighting these deadly urges, rather than the fact (or otherwise) of their success?

“The Fly” seems designed to state these changed priorities as clearly as possible. Everything you identify with 90s U2 – the elliptical lyrics, the attempts at funkiness, Bono getting his Bowie on and trying out different characters – is here in force, and for me the later Achtung Baby singles had nothing like the impact this did. Of course, this one had the good fortune to break Bryan Adams’ geological span at number one – after sixteen plays of “Everything I Do” I can report that “The Fly” sounds bloody amazing, and I felt similar goodwill towards Bono at the time.

But even free of context “The Fly” is a good record, as contemporary and striking as it needed to be. It’s built on a loose, loping rhythm which makes the song a harsher cousin of 1990’s ‘Madchester’ sound, with the breezy wah-wahs of the Farm or the Happy Mondays replaced by crunching, churning guitar work. If The Edge has a good comeback, Bono isn’t quite so convincing: his aphorisms set a mood well without adding up to much, and “the sheer face of love” is a fine image, but for all that the song needs it I can never enjoy his falsetto, and there’s still a few of his rock-singer-isms (“…chiiiild”) hanging around to sour the modernist milk.

At a safe distance, what intrigues me about U2’s reinvention is how little actually changed. The group were desperate to throw off their ties to a specific past, and fled into the comforting arms of another one – decamping to Hansa Studios was simply swapping a romantic America for a romantic Europe. And the elements the group played up on Achtung Baby – their theatricality, their love of texture – were always there: Rattle And Hum was a performance of a style as much as the Zoo TV material was, the heat-haze guitar on The Joshua Tree as evocative and alien as any of the electronic sound on Achtung Baby.

From this perspective choosing between Old U2 and New U2 was simply a question of working out whether Nine Inch Nails were a healthier influence for a rock band in 1991 than John Lee Hooker. But something else had shifted. U2 remained, as they always remained, an heavy-handed bunch. This was the secret of their success – in the Joshua Tree days their sincerity and scale bludgeoned you, needing no interpretation. But now they shifted their weight from content to context – they were just as heavy-handed, but about their artifice not just their art. They now hammered you with ‘postmodernism’, and in doing so helped make this thumping knowingness a signature of their times.

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Comments

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  1. 76
    LondonLee on 11 May 2011 #

    While there was a certain whiff of U2 bandwagon-jumping, especially with the dance mixes, I always saw AB as them getting back to their roots. Their first single was produced by Martin Hannett remember and when I saw them live back in ’81 the support band was This Heat who were about the height of avant garde post-punk noise.

    While we’re giving Bono a bit of a kicking I was informed by someone who has done some fund-raising work with him that he refuses to allow any photos of him without his sunglasses on to be published. The guy emailed me one of him with Bono sans shades with the message “PLEASE DON”T PUBLISH THIS!”

  2. 77
    swanstep on 11 May 2011 #

    @wichita, 69. Love Orton’s Sweetest Decline from her second album. Yum. (I’ve seen her do it live, where it was just OK, but the recorded version is a knockout.) As for Cash having a slender set of achievements for a legend… I’d say, even setting the Rick Bubin-fuelled comeback stuff, he’s good for at least 4-5 albums of really great material (admittedly including lots of live versions of his original Sun stuff) especially if collaborative stuff with June Carter is included (their Carrying On collab. album is a fave – I didn’t much like the Walk the Line movie but I was thrilled that they used ‘Long-legged Guitar-pickin man’ from that record for the closing credits). He’s got at least as much fantastic stuff as Elvis or Willy Nelson (as you mention). You’re setting a *very* high standard for legend status if people are required to have more runs on the board than that (regardless of the wider cultural impact and influence of their peak stuff). I’m pretty sure, for example. that you can wrap up all the Abba or all the Kate Bush anyone would ever need in 4-5 discs.

  3. 78
    wichita lineman on 11 May 2011 #

    Abba and Kate Bush weren’t making records for 50 years.

  4. 79
    Rory on 11 May 2011 #

    I know very little about Willie Nelson, but these columns convinced me that he has a lot more going on than you might suspect. Similarly, Johnny Cash.

  5. 80
    wichita lineman on 11 May 2011 #

    Crazy is one of the greatest songs ever written by anyone. I Walk The Line is likewise. Both have great voices. It’s not that I don’t like Willie or Johnny, but they had REALLY long careers and their legends are HUGE compared to their list of classic songs. That’s all. I think Lee Hazlewood, for one, has just as strong a claim to an elevated ‘American outlaw hero’ status.

    Re 77: Live versions of Sun songs?? Course that doesn’t count!

    The Beth O game was more to show a) how much her music was a Notting Hill lifestyle accessory in the 90s and b) how many people pretended to like her without knowing any of her songs. I’m glad she’s got some actual fans.

  6. 81
    Cumbrian on 11 May 2011 #

    #78: You’re right, Kate Bush has only been going 34 years. Whippersnapper.

    I think Cash was generally a better intepreter of other people’s songs than he was at writing his own – especially in the immediate post Sun records period up to Live at Folsom/San Quentin – this might be because he was strung out on drugs and didn’t write much (I don’t know).

    It’s a bit harsh to say that he didn’t do much in the period between Sun and American Recordings though. He knocked together concept albums in the early 60s, including Bitter Tears about the plight of the American Indian (which includes the aforementioned Ballad of Ira Hayes) and Sings The Ballads of The True West – funnily enough, all about the Old West – which was a double concept album well before any of these Johnny Come Lately rock bands got around to trying their hand at such things. Plus, some of his most famous songs are from the post Sun period (though as noted he didn’t write a lot,if any, of them): 25 Minutes To Go, Ring Of Fire, Long Black Veil, Ballad Of Ira Hayes, Jackson, etc.

    I think the idea that he didn’t get up to much in his early Columbia years is mostly a product of the fact that Columbia wanted him to re-record a load of his Sun material, so that they could make some money off the old songs, plus the raucous readings of the earlier material that forms the backbone of the prison albums’ reputations.

    I would, however, support the contention that Cash didn’t do much of consequence post mid 70s until the American Recordings, with the odd exception (Ghost Riders In The Sky, there’s a good cover of Springsteen’s Highway Patrolman too).

  7. 82
    David Belbin on 11 May 2011 #

    Saw U2 on the October tour, lost interest in them after The Joshua Tree but bought the 7″ of this, the last one in my U2 pile. It has a little something going for it, but is hardly memorable. I’ll be surprised if they play it at Glasto next month. I saw Beth Orton last month, for the third time, and, despite her being heavily pregnant and coughing a lot, she was in good form. Solo acoustic suits her better than the band she’s had before and she has loads of new songs she hasn’t recorded yet. Her most recent, ‘Comfort of Strangers’ isn’t quite as good as ‘Central Reservation’ (which is a lot better than ‘Trailer Park’). ‘This One’s Gonna Bruise’, which Ryan Adams wrote for her to sing on the patchy ‘Daybreaker’ is a stone cold classic.

  8. 83
    Mike Atkinson on 11 May 2011 #

    “The Fly” – or “The Fluke”, as I wittily dubbled it at the time – is one of a tiny handful of U2 songs that I actually, genuinely like, and it was also the first record of theirs that I ever bought (not that there were many to follow). Nevertheless, my favourite Achtung Baby-derived single remains the Perfecto remix of “Even Better Than The Real Thing”; never was a track more aptly titled!

  9. 84
    Ed on 12 May 2011 #

    My teenage years were massively over-determined by U2, to the extent that I had a cap-sleeved ‘War’ white flag T-shirt, and a mullet, just like Bono. I was preposterously excited by the fact that there was a band that was rooted in the music that I loved (Patti Smith and Television, basically), but could get on TOTP. For many people, I guess, U2 were a gateway from pop into rock; for me it was the other way round.

    So I have never been able to hate U2, even when their music was perfectly uninteresting, as it has been for all of the 21st century. And at the time of ‘The Fly’, U2 were easy to love. The Jesus Jones comparison upthread is spot-on – certainly a closer match than MBV and Public Enemy, which I think U2 claimed at the time – but the record is all the better for it, with a great churning rhythmic riff and passages of eerie rapture when Bono deploys his rarely-heard falsetto. And TF is one of the weakest songs on ‘Achtung Baby’, which does a great job of capturing the realisation that you are not really young any more. I am surprised by the idea that got around that this was U2’s “fun” album; it is actually a very dark piece of work. It is also one of the last in the line of “classic rock” albums that came to a dead stop around the end of the decade, with ‘Kid A’, or possibly ‘OK Computer’. I would not claim to play it terribly often, partly because I pretty well know it by heart, but I will always think fondly of it.

    #56 Thanks! That is a great post.

    #68 etc: As with so much involving the Pet Shop Boys, it is ambiguous, isn’t it? Yes, they are having fun with WTSHNN; Tennant’s deapan voice, the segue into ‘Can’t Take My Eyes Off of You, and the B-side are all proof of that. But they are reasonably respectful of the source, and the record sounds absolutely terrific, possibly inspiring U2’s subsequent dance mixes. So to me, it is the classic pastiche: neither attack, nor tribute, but somethng else.

  10. 85
    DietMondrian on 12 May 2011 #

    #84: I don’t think PSBs were attacking U2’s music (they must have liked WTSHNN enough to cover it, after all) so much as their (and by extension, other rock bands’) joy-sucking po-faced earnestness, belief in their superiority to pop, multinational-backed pretence at outlaw status, etc, etc.

  11. 86
    swanstep on 13 May 2011 #

    More Berlin/Hansa studios: the Pushing ahead of the Dame (Bowie) blog is up to Heroes. Recommended to say the least.

  12. 87
    Rory on 13 May 2011 #

    When “The Fly” buzzed into view, I was already halfway through my first nine-week term as an MPhil student in England. By this point I was a regular visitor to the local independent record store (which I now see went under in 2003), spending my precious converted coin on a string of CDs recommended by new friends and the UK student zeitgeist in general: The Stone Roses, Screamadelica and Blur’s Leisure all got heavy play in those early weeks. And then came Achtung Baby.

    In previous comments I’ve written about my late-’80s ambivalence about U2, despite having been a big fan of Under a Blood Red Sky and Boy. My interest was sustained by key tracks from their major ’80s albums, like “The Unforgettable Fire”, “Where the Streets Have No Name”, “God Part II”, and, yes, “Desire”; but it felt like an increasingly long time since I’d loved one of their albums wholeheartedly.

    Achtung Baby changed that overnight. I can’t remember when I first heard the clarion call opening of “The Fly”, but I was instantly hooked, and picked up the album more or less immediately. Within days it was my favourite U2 album, filling the gaps I had heard in previous releases with sounds I hadn’t known I was looking for – some of them not far from the bands mentioned above – and featuring a string of tracks with hardly any duds. Only “Who’s Gonna Ride Your Wild Horses” struck me as weak, and even that was later rescued for me by the Temple Bar Edit of the single release. The rest sounded amazing, each and every one.

    In the Bryan Adams entry I wrote about music serving as continuity between the other side of the world and this, but through bands like the Stone Roses, Primal Scream, Blur, Ride, and towards the end of my stay Spiritualized, it was also acculturating me to my new location (in space and, in hindsight, time). What was so extraordinary about Achtung Baby was that it did both at once. Here was a band I had effectively grown up with, having discovered them at the end of the year I discovered pop, whose previous straight rock releases sat perfectly comfortably in an Australian musical context (with the exception of the noodlier parts of The Unforgettable Fire); and here they were raiding a musical toybox I had only just discovered, and only because I’d uprooted myself from that context. It was thrilling.

    Also thrilling were its roots in the most exciting news event of my lifetime to that point (and probably to this point), the collapse of the Berlin Wall. The darker corners of Achtung Baby sounded like the ghosts of East Berlin, and the excited clatter of its more upbeat tracks sounded like the rattling open of a cage. And this was before I’d actually visited Berlin, which I first did in 1998, where you can hear the opening notes of “Zoo Station” in the sound of every tram. Turning their attention from America to Germany felt in 1991 like exactly the right move.

    As I said, I loved just about each and every track. The pinnacle had to be “One” – something about its lyrics and texture spoke to me then, and does now – but I could also listen to “Zoo Station” again and again. My favourite sequence of the album, though, was “So Cruel” followed by “The Fly” followed by “Mysterious Ways”, with this track the pivot of the whole album, and in some ways an encapsulation of it.

    That opening riff again: a fantastic single opening, clearing whatever you were listening to out of the way so that you only had ears for this; but also a perfect contrast on the album to the elegance of “So Cruel”. And then those clattering drums, as if Larry Mullen was banging on the side of a Trabi, and over the top of them the Edge’s best guitar work in ages. I loved every second of that solo and outro.

    Yer man Hewson never sounded better to me, either. I’m inured enough to the derision he attracts here to state simply that I like his voice, and especially here: the breathiness of it, the growl of it, the whine of it, the falsetto of it, the insistence of it. And although I’ve sometimes had problems with his lyrics, these ones can still delight me after all these years. Nobody has mentioned my favourite line of the song, which seems to capture so much about where U2 was in 1991: it’s no secret that ambition bites the nails of success. Screw this one up and we’re toast, boys. They didn’t.

    I listened to Achtung Baby again a few times when we were discussing “Desire” last year, and although it had lost a little of its startling impact in light of what came after (from U2 and others), it held up for me – although it sounded even darker and, in places, sparser than I’d remembered. “The Fly”, though, still stands out from its surroundings.

    As musical madeleines for the favourite times of my life go, I’ve had worse. 9.

  13. 88

    Grabbing and making public Carsmile’s joke in another place, the famous “pomo homework” that Eno gave them was in fact a copy of “Info Freako”

  14. 89
    punctum on 16 May 2011 #

    And then, suddenly, the future turned round, stared the past squarely in its smug and obtuse face and winked a permanent NO…

    Blame Eno, now making his how-much-longer-could-we-have-been-expected-to-wait exceptionally belated debut on Popular, except of course he’s been here for virtually all the journey, taking notes in the 1967 audience, lurking in the 1971 wings, belching nowness in the 1972 arena, starting to pull a few strings in 1975, glued to 1977 and 1981 like a butterfly to an anemone, smiling beningly at 1982 and 1988 while stretching his legs briefly in 1989 and then singlehandedly kidnapping grizzly old pseudo-roots revivalists U2 (they had no choice but to come willingly and loudly), locking them in his idolatrous steel cube, reminding them roughly of what their real roots were and then forcing them to listen to the Young Gods, to My Bloody Valentine, to KMDFM and Sonic Youth, to Madchester (but not in a Jesus EMF way), to take the KLF on board, to fear a whitened planet with the Bomb Squad (did I mention Son Of Bazerk?), to float with Orb, Orbital and Aphex, to twist their world into a storm of accursed currencies, to record their about-bloody-time follow-up to Here Come The Warm Jets…Eno, who stripped Roxy, hijacked Talking Heads and now decided to restart his pop career in the body of U2…

    Achtung Baby wasn’t all brash trash; sometimes the difference was purely cosmetic, since songs like “Who’s Gonna Ride Your Wild Horses?” and “Mysterious Ways” could have fitted onto the tricompartmental wagon of Rattle And Hum if they’d been twisted in the Chubby Checker/Jive Bunny way. But “Even Better Than The Real Thing” signified the beginning of elongated detachment, “Love Is Blindness” cries in its victim’s blood, “Until The End Of The World” made Wim Wenders suddenly seem like Henry Hathaway on a grumpy Tuesday…

    And I am not forgetting that its greatest song – and maybe their greatest song – was the most conventional; the soberly wrecked central axis of “One”…we’re not the same but get to carry each other, don’t see through me dad, see me through, but there’s more to say about that when we get to another U2 number one, far off in the future…

    But it had to be “The Fly,” the record’s most clearly unclear song, the farthest departure on the album from anything resembling “U2” (because the Joshua worshippers forgot Boy in people, or it never got to them in the first place), which had to lead the assault, to get Bryan Adams, the past, out of their stranglehold on the top of the charts, the utterly misleading and false 1991 charts; forced out of their securely respectable box and made to matter again by the Punctum Catcher Eno, “The Fly” sings – well, whispers – about sex and dirt and it’s a telephone call from an inmate of Hell, how goes it (“It’s no secret that a conscience can sometimes be a pest”), here’s looking at Bono singing about secrets dreaming about truths (“All kill their inspiration and sing about their grief”), but the stars are falling from the sky, the world is in darkness tonight and every night, and the song crawls with its cracking-up beats, its muffled, distorted premium-line panting (Siouxsie, “Peek-A-Boo,” did you think we weren’t listening?), guitars which pole vault the stadium only to crash into the gamma rays of Jupiter, a falsetto from another life (Billy MacKenzie, in 1991 still not a ghost and evidently not forgotten)…

    There is eventually nowhere left for the song to go but to pull down Joseph and the Bartman and so-called Enigmas which have tortured this year of years (“You know I don’t see you when she walks in the room”) and pleasantries and supersonic Philips hi-fi Knopfler galleries of monocolour, and so it falls apart with glee, the Edge wriggling and screaming like an electrocuted moth against the fading lightbulb of thrusting Thatcher-killing drum programs as Bono relishes imminent destruction (“The universe exploded ‘cos of one man’s lie”) and even gives “the past” its own custom-built epitaph, its assisted suicide note (“Look I gotta go, yeah I’m running out of change” – taking that “change” literally and symbolically – “There’s a lot of things, if I could I’d rearrange”). U2 miraculously managed to pull all of the important 1991 strands together…but really it was Brian who, as with so many previous eleventh hours in pop, saved the day, compelled us to look at the gloriously profuse alternatives; Brian told Bryan to fuck off quicksnap (not the first time he’d done that with a Bryan either) and, even as a base (camp) gesture, “The Fly” showed those pasts who now was the boss. As though there was a time when he wasn’t. Did I mention Spiderland by Slint?

  15. 90
    Ed on 29 Jun 2011 #

    #82. So they did do this at Glastonbury, quite early on in a set that was very Achtung Baby-heavy, presumably as a result of intensive FT study to see how they might win over the doubters. That was very welcome, although I think that the critical consensus that the show was competent rather than inspired gets it right. What felt fresh and thrilling at Wembley Stadium in 1992 felt tired and unimaginative two decades later. The best bit was the interpolation of a few bars of ‘Can’t Take My Eyes Of of You’ into ‘Where the Streets Have No Name’, which raised a grudging smile among my U2-sceptic set.

    What was much less welcome, though, was the grotesquely heavy-handed over-reaction to the very mild-mannered tax protest. Time for Bono to make some restitution, I think.

  16. 91
    Mark G on 29 Jun 2011 #

    I take it they didn’t do “get on yr boots” then?

  17. 92
    swanstep on 29 Jun 2011 #

    @Mark G., 91. No they did both Boots and Vertigo. The frontloaded Achtung baby stuff, e.g., The Perfecto mix of Even Better Than followed by The Fly to start, however, just stood out.

    That said, it appears to have been a superstar-making weekend for Janelle Monae…

  18. 93
    Ed on 30 Jun 2011 #

    @92 Re Janelle Monae, I hope you’re right, and her ranking on Amazon rocketed after her performance, but I wonder if she’s a bit too problematic ever to be a real superstar.

    On the Readers’ Poll 2010 thread, Erithian pointed out that part of her set was on a loop on the BBC red button service on Tuesday. Not sure if it’s still there, I am afraid. Online, there is a nice package including a setlist, stills and video here: http://www.bbc.co.uk/music/festivals/glastonbury/2011/artists/janellemonae/
    The iPlayer videos generally stay up for a week, so hurry while stocks last.

    I thought the show was great, but it was very characteristically her: the wonderful combination of exuberance and precision; the charmingly gratuitous weirdness – painting a picture while singing one song! – and the slightly distancing effect of all the theatricality, were all in evidence. If you were put off before by her Broadway show-tune tendencies, Glastonbury would not have changed your mind. The set also confirmed that ‘Tightrope’ is by some distance her strongest song. That half-second single-syllable hook – the stressed accent on each repetition of “-een” – is the most brilliantly economical and expressive pop device for a long time.

    What I came away thinking about, though, was her androgyny. For a woman to combine James Brown stage moves, Prince-like arrangements (especially the guitar), and a Jackson 5 cover (as well as a Stevie Wonder one) is even now a pretty bold move, I think. Beyonce played with some of the same ideas in her set, but she was already a megastar, so the stakes were lower.

    It occurred to me that Monae has the same sort of relationship to Brown that PJ Harvey had to Nick Cave (although that one eventually went a bit further, of course), or Justine Frischman did to Hugh Cornwell. Which helps make her cool, but may not help her become a superstar.

    That said, she did win over at least one convert. As I was over-enthusiastically suggesting that Beyonce was the best show I had ever seen, my friend harrumphed and said it was not even the best performance by a black American woman singer he’d seen in the past two days.

  19. 94
    punctum on 30 Jun 2011 #

    Thing is, in the album midweeks, Beyonce is outselling Gaga and the two Adeles put together and Janelle Monae’s not even in the top 40.

    Moral: you can storm Glasto as much as you like, but if Sainsbury’s don’t stock you, you’re not coming in.

  20. 95
    Mark G on 30 Jun 2011 #

    Yeah, but the papers also are all going “yay Beyonce!”, and pressing the red button is too much work they’d much rather re-print press releases…

  21. 96
    punctum on 1 Jul 2011 #

    Or misquote lyrics and build an entirely pointless article around them (Zoe Williams in yesterday’s Grauniad).

  22. 97
    Erithian on 1 Jul 2011 #

    Ed #93 – no, Janelle was only on the red button on Tuesday. Monday was Elbow, Wednesday was Hurts, yesterday was U2 and today is Bellowhead (which I’m looking forward to seeing tonight). Peculiar selection, but chances are random bits of Glasto will turn up on BBC4 for a week or two yet.

  23. 98
    Ed on 4 Jul 2011 #

    @96. That Zoe Williams article was a real trainwreck. It’s a shame, because she is usually excellent: I’ve read great pieces by her on feminist writing, public sector strikes and exercise, just in the past ten days. (Not a very impressive performance by Guardian readers either, who get to the second page of comments before someone points out the misunderstanding.)

    Unexpectedly, the best piece I have read about Beyonce at Glastonbury was by – of all people – Clive James in the Daily Telegraph on Saturday. There are occasional lapses into his characteristic leering, but overall it is an eloquent and thoughtful account of what makes her great.

    @97 Bellowhead are good, then? Sadly I missed them on the BBC, but I am going to Latitude this year when it has a generally pretty drab line-up, and I am looking for bright spots.

  24. 99
    lonepilgrim on 5 Aug 2011 #

    if the original Achtung Baby wasn’t enough:

    http://pitchfork.com/news/43432-u2-announce-iachtung-babyi-reissue-box-set/

    I think I’ll pass

  25. 100
    DanH on 3 Aug 2013 #

    So this was the song that finally knocked Bryan Adams off the perch? In America, that distinction belonged to “The Promise of a New Day” by pre-AI Paula Abdul. I’m pretty sure I heard it once after 1991, after hearing it a lot that year.

  26. 101
    hectorthebat on 29 Mar 2015 #

    Critic watch:

    Michaelangelo Matos (USA) – Top 100 Singles of the 1990s (2001) 101
    Woxy.com (USA) – Modern Rock 500 Songs of All Time (combined rank 1989-2009) 909
    Q (UK) – The 1001 Best Songs Ever (2003) 475
    Q (UK) – The 1010 Songs You Must Own (2004)
    XFM (UK) – The Top 1000 Songs of All Time (2010)
    Panorama (Norway) – The 30 Best Singles of the Year 1970-98 (1999) 12
    Gilles Verlant and Thomas Caussé (France) – 3000 Rock Classics (2009)
    New Musical Express (UK) – Singles of the Year 26
    Rock de Lux (Spain) – Songs of the Year 23

  27. 102
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  31. 106
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