The Easybeats: Album by Album Thread (pt2)

Discussion in 'Music Corner' started by MilesSmiles, Dec 19, 2013.

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  1. Mylene

    Mylene Senior Member

    They had Cocktail International vol 5, 6 and 8 at Camberwell Market this morning. No sign of the elusive vol 12.
     
  2. garethofoz

    garethofoz Forum Resident

    Location:
    Radlett, U.K.
    How much were they?
     
  3. garethofoz

    garethofoz Forum Resident

    Location:
    Radlett, U.K.
    "Rocka" entered the Australian albums chart (Kent Music Report) on 6th September 1976, which supports an August release date. It peaked at #37; pretty good for a label sampler.
     
  4. Mylene

    Mylene Senior Member

    $1 each
     
  5. garethofoz

    garethofoz Forum Resident

    Location:
    Radlett, U.K.
    A bargain!
     
  6. william r small

    william r small Forum Resident

    Location:
    Cleveland, OH
    Easybeats Photo Post
    The British Blitz

    The Easybeats played their first UK concert on Sunday, 13th November 1966 at The Saville Theatre in London opening for The Four Tops. In short order they were being signed for bookings through Brian Epstein’s NEMS Enterprises, and were hopping around the UK ballroom circuit in new pin-stripe suits designed by George Young. These stage outfits managed to look both contemporary and retro at the same time and for the next several months they became a crucial part of The Easybeats’ image in an era when matching band uniforms were still the norm. The British Assault ended on 25th March ‘67 when the group flew to Helsingborg, Sweden to prepare for an opening spot on the Rolling Stones tour of western Europe. These shots date from various performances in early 1967. (The top photo is by Robert Whitaker and is used here with permission.)

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  7. william r small

    william r small Forum Resident

    Location:
    Cleveland, OH
  8. garethofoz

    garethofoz Forum Resident

    Location:
    Radlett, U.K.
    Great photos, Bill.

    One of the interesting things, for me anyway, is that Harry and George are singing into separate microphones, whereas on the "Bandstand" special a few months earlier they were singing into one mike, à la Paul McCartney and George Harrison.

    I was always puzzled by the band's sudden change of appearance when they got to the UK. Stevie went from the long-haired wild-child seen on "Bandstand" and "It's All Happening" to a comparatively short-haired elf, and the new Mod-ish uniform (which Stevie seems to have avoided in some of these photos) replaced the suits of the Australian era. It's as if they underwent a marketing makeover for the UK market.

    These photos offer a great snapshot of the band as they found the global fame they deserved - if only for a few months.
     
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  9. paulisdead

    paulisdead fast and bulbous

    Not sure if anybody here went along to this?

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  10. Jae

    Jae Senior Member

    I've been thinking about this - I'm not sure there's a direct connection between the single and compilation LP. If so, I'd expect the same title to be used on each to remove ambiguity.

    Also, if you look at many EMI singles from that era, they happily state "Taken from the LP Whatever", although this wasn't always the rule.

    One thing I did notice, which may mean nothing, but many of the songs on the LP were recent contemporary singles, released within six months of the album. Makes it kinda like a "Hits of 75/6" type compilation (although, obviously, there are some older tracks on it). But other than a WAG I have no idea.

    Gareth or others who have the LP: does the intertrack commentary give any indication? Maybe the songbook says more?
     
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  11. paulisdead

    paulisdead fast and bulbous

    Tony Cahill Memorial & Paddle Out

    This was posted on my Easybeats blog:

    https://www.facebook.com/events/1545616145654317/?notif_t=plan_user_invited

    4 October at 09:00 in PDT.

    Avenue 19 & Scott Adams

    The incomparable Tony Cahill has left the building and left a giant void in our hearts. Please join us as we paddle out and spread Tony's ashes in the ocean at his beloved Venice Beach.

    We will meet at the Tower at AVENUE 19 at 9 a.m.
    Following the paddle out there will be a POTLUCK brunch at Scott Adams house: 26 18th Avenue in Venice.

    PLEASE READ BELOW & PLEASE MESSAGE ME if you are planning on attending and let me know what you can bring.

    We Need:
    Paper Plates, Cups, Plastic Utensils
    Coffee
    Juices / Water
    Donuts
    Bagels & cream cheese
    Fruit plates
    or ANY DISH you would like to bring
    and BYOB if you so desire


    Happy to get the word out.
     
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  12. garethofoz

    garethofoz Forum Resident

    Location:
    Radlett, U.K.
    If you count the reissue of "Good Times", every track on "Rocka" was released in Australia as either a single or an LP cut in either 1975 or 1976. ("Can't Stand the Heat" was a European single in 1974 but I don't think it came out in Australia then).

    Is it possible that the "Good Times" single was released to promote the Drum reissue of "Best of the Easybeats Volume Two", on which it features? Could that reissue actually have been in 1976 - after the reissue of the first one, rather than contemporaneously with it?
     
  13. Jae

    Jae Senior Member

    I can't see evidence of "Can't Stand The Heat" being released on single in Australia, at least not in the standard unified series.

    "Evie Pt 1" was June 1974.

    Possible. Curiously, where did we get 1975 from (not me!).
     
  14. belushipower

    belushipower Forum Resident

    This bugged me about this LP when I wanted to put songs on compilation tapes.
     
  15. garethofoz

    garethofoz Forum Resident

    Location:
    Radlett, U.K.
    Sorry, Jae, you're right about "Evie" being 1974. "Guitar Band" is 1974 as well.
     
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  16. Jae

    Jae Senior Member

    Actually, re-reading this - there is no doubt in my mind that Vol 2 came out after Vol 1. I've never thought they came out together.

    Curiously, does anyone have a copy of Vol 2 with a front-laminated sleeve?
     
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  17. william r small

    william r small Forum Resident

    Location:
    Cleveland, OH
    Minutiae for Record Collector Nerds like ourselves: Alberts releases through the budget Drum label can be confusing because the LPs actually have two catalog numbers. A Drum number appears on the front cover. Then the back cover shows both a Drum number and also an altogether different Alberts number. And then, on the label itself, only the Alberts number appears. (How did retailers order these things anyway !!?!)

    The titles that concern us, and their numbers, are as follows –
    The Best of The Easybeats Featuring Stevie Wright – Drum 8119, BALP 10228
    The Best of The Easybeats Volume 2 Featuring Stevie Wright – Drum 8151, BALP 10264
    The Vanda Young Story Volume 1 -- Drum 8182, BALP 10291
    (The first two above are detailed in Post #769, page 31 of this thread.
    The third title is a Various Artists LP with no Easybeats content.)

    The listings at the “Discogs” site (below) are likewise confusing because they show “The Vanda Young Story” LP under its BALP number and as a 1976 release, which it is. The “Best of” LPs are not recognized individually but other releases numerically surrounding them are shown further down the list by their Drum numbers and they would be placed squarely in 1975. Does this help any?

    http://www.discogs.com/label/100900-Drum

    PS - Jae, never seen a laminated Volume 2.
     
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  18. garethofoz

    garethofoz Forum Resident

    Location:
    Radlett, U.K.
    In the middle of 1977, as interest in The Easybeats' catalogue continued to grow, two further versions of the already much-covered "Good Times" surfaced on opposite sides of the Pacific. First out of the box, in July, was a version by Australian powerpop outit and sixties revivalists Punkz, a fun outfit managed by Glenn A. Baker in an attempt to replicate the huge local success of fifties revivalists Ol' 55. After a debut single pairing two Troggs covers had gone nowhere, the band turned to two sure-fire hit sources for the follow-up, with the A-side given over to a cover of The Searchers' Sloan-Barri-penned hit "Take Me For What I'm Worth" (you can hear it on Youtube) and the B-side featuring the band's take on The Easybeats' greatest party anthem. Issued on Mushroom (K 6815), the single had all the right ingredients to become a hit with the "Countdown" generation of Australian music fans, although it has to be admitted that the band failed to add anything to either of the stellar originals. Unfortunately though, the band's name counted against them - originally named in recognition of the US sixties punk movement commemorated on the "Nuggets"LP, they found themselves compared instead to the sudden explosion of punk bands in the UK with whom they had absolutely nothing in common. This disconnect between the band's name and their image effectively doomed the record and it rapidly disappeared into the deletion racks. Although the A-side was belatedly issued in the US in 1980, so far as I am aware, the band's take on "Good Times" has never been reissued anywhere.

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    Sensibly, the band responded to the single's failure by changing their name to Cheek, in which guise we shall meet them again sometime soon.

    A month later in August, across the Pacific in the U.S., a second version of "Good Times" appeared, titled, like all U.S. versions, "Gonna Have a Good Time". The artist was a singer named John Scoggins, who included a version of the song as the closing track on the otherwise self-penned album "Pressed For Time" (Tiger Lily TL 14059). Scoggins was the front man for a band called Ramparts, although the album was credited to Scroggins alone. An enthusiastic fan on rateyourmusic.com rates it as the third best powerpop album ever (after Big Star's "Radio City" and Todd Rundgren's "Something / Anything"), which might be extreme, but copies of the album do go for big bucks on ebay.

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    Hailed as a return to simple rock and pop values, the album received favourable reviews, and a contemporary show in Greenwich Village resulted in a good notice in "Variety", which drew attention to the band's use of "Gonna Have a Good Time" as the opening number in the band's live show.

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    The live performance must have been better than the record - the excerpt of "Gonna Have a Good Time" that can be heard on amazon.com does not, to my mind, justify the hyperbole. (Listen to a short blast here: http://www.amazon.com/gp/product/B004EY13MM/ref=dm_ws_sp_ps_dp).

    Good reviews did little to help sales of the album, which failed to trouble the compilers of the "Billboard" album chart. It has never been issued on CD but is available (in the U.S. anyway) as a digital download via all the usual distributors of such things.
     
  19. paulisdead

    paulisdead fast and bulbous

  20. garethofoz

    garethofoz Forum Resident

    Location:
    Radlett, U.K.
    In September, the focus shifted from "Good Times" to "Friday On My Mind" with two different covers surfacing in the UK. The first appeared on 2nd September on an EP by third division punk band London (MCA 319). The band had been discovered by Simon Napier-Bell (whose name is already familiar from posts # 518 - 521 and will occur quite frequently on the Solo Years thread in due course) on his return to the UK after several years in Australia, Spain and other sunny climes. Completely out of touch, Napier-Bell had been amazed by the anatgonism between the band and their audience and signed them for a £150 000 guarantee, only to realise that, in 1977, what he was seeing was far from unusual and that, in the wake of The Sex Pistols, London were nothing particularly special. Napier-Bell quickly signed them (and sold them) to MCA and recouped his advance. MCA were not so lucky.

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    The four-track EP ("Summer of Love" (Regan) / "No Time" (Regan) / "Friday On My Mind" (Vanda-Young) / "Siouxsie Sue" (Voice)) was a follow-up to their flop debut single, and also appeared as a 12" (30cm) EP (12MCA 139). It was also issued in Germany (MCA 0032.034). Although not a hit in either country, it came close, rising to # 52 in the "Record Retailer" "breakers" chart (a list of those singles below # 50 that were still climbing; similar in design to the US "bubbling under" chart published in "Billboard"). It was however the closest the band came to commercial success. A subsequent album omitted "Friday" and stiffed (the two things were not necessarily linked) and the band died a miserable death, although they reformed for some well-received live shows in the new millenium. Drummer Jon Moss went on to find stardom in Culture Club.



    Curiously, the band's version of "Friday On My Mind" was recorded in the same studio as The Easybeats' original. All four tracks from the EP were reissued in 1997 on th the CD "The Punk Rock Collection" (Oi! Records, AHOY CD 77). A brief history of the band can be found here: http://www.milestredinnick.co.uk/page10.html

    The same month that the London E.P. appeared in record stores, pub rock favourites The Kursaal Flyers issued their version of "Friday On My Mind" on the in-concert set "Five Live Kursaals" (CBS 82253; the album also appeared in The Netherlands and in Yugoslavia with the same catalogue number).The album's title was a clear nod to the previous decade's "Five Live Yardbirds" album which had first brought Eric Clapton to wide attention, and the record caught the band at a rocking peak.

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    Originally a country-rock style outfit from Southend, the band had moved toward power pop and cracked the top twenty in 1976 with the excellent "Little Does She Know" but the arrival of punk swept pub rock out of contention and just a year later the band were yesterday's heroes. Chas de Whalley reviewed the record in "Sounds" on 24th September, confessing himself a fan, but despite offering a good selection of the band's material, caught at legendary London venue The Marquee, interest was limited to existing fans and the record stiffed. The band broke up at the end of the year.

    Sadly, the Kursaal's version of Friday does not seem to be on Youtube. The album was reissued in 2009 as a two-on-one with the 1976 studio set "The Golden Mile" (Rev-Ola CRREV 293).
     
  21. paulisdead

    paulisdead fast and bulbous

    The Shame Just Drained: The Vanda & Young Collection Vol. 1 (Australia - Stereo - Albert Productions APLP.026)

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    Released: 10th October 1977.
    Recording Dates and Producers: various see tracks entries.
    Compiled and Co-Ordinated by: Glenn A. Baker.


    At 25 - Glenn A. Baker was already known in the Australian music industry as music journalist, 2JJ presenter and manager of the rock n' revival group Ol' '55. Baker's love for The Easybeats had began at age 11. Then penniless - he would look in awe at the colourful record sleeves of the pop stars in the racks of his local music store. He would finally get his chance to interview his hero George Young for Australian Rolling Stone in 1976. That same year – he had compiled an album of artists who had performed the songs of Vanda and Young for Albert Productions called The Vanda & Young Story Volume 1. The sleeve featured detailed liner notes explaining the history of each song, even including rare versions of some. But despite this lavish treatment, the compilation was unceremoniously released on the budget Drum label without much fanfare. The following year, Baker again approached Albert Productions about the possibility an Easybeats rarities album – in the vein of The Who's Odds & Sods (1974). Reluctant at first – Alberts approved the project and gave Baker access to their vaults. Searching through the acetate discs, master tapes and log sheets – Baker reportedly found “75 unreleased songs” by the group. These included roughly 35 songs recorded with Ted Albert at his makeshift studio in the abandoned 2UW Theatre, songs from the aborted 2nd London album and various song writing demos from their visits to Central Sound Studios in 1967/68. Using the The Vanda & Young moniker again The Shame Just Drained: The Vanda & Young Collection Vol. 1 would be released on Albert Productions' main label on October 10th 1977.


    The Original 1977 Track Listing

    Side A
    1. Little Queenie

      Recorded: Early 1965, Ted Albert’s Studio at the 2UW Theatre, Sydney.
      Producer: Ted Albert. Thread Entry: Part 1, Page 1, Post #9.


      An early recording from the band's initial sessions with Ted Albert. Vocal by Stevie.

    2. Baby I'm A Comin'

      Recorded: August 1966, Abbey Road Studios, London.
      Producer: Ted Albert. Thread Entry: Part 1, Page 8, Post #187.


      The band's first attempt at a single for United Artists (along with “Mandy”). The recordings were ultimately rejected by United Artists and Shel Talmy was brought in as producer. Lead vocal by Stevie.

    3. Lisa

      Recorded: January / March 1967, Pye Recording Studios, London.
      Producer: Shel Talmy. Thread Entry: Part 1, Page 11, Post #273.


      Recorded during the Good Friday sessions, “Lisa” was later released on the French E.P. - Who'll Be The One. “Lisa” was also the name of Harry Vanda’s mother. Lead vocal by Stevie.

    4. I'm On Fire

      Recorded: 1968, Central Sound Studio, London.
      Producer: Harry Vanda and George Young. Thread Entry: Part 2, Page 3, Post #63.


      One of the first Central Sound demos to appear on this album. The song was later given to Australian artist Mike Furber. Vocal by George.

    5. Wait A Minute

      Recorded: 1968, Central Sound Studio, London.
      Producer: Harry Vanda and George Young. Thread Entry: Part 2, Page 3, Post #63.


      Another demo from Central Sound. This would be later recorded by Los Bravos. The “Freddie” George addresses is Freddie Winrose the studio engineer. Vocal: George.

    6. We'll Make It Together

      Recorded: June / July 1967, Olympic Recording Studios, London.
      Producer: Glyn Johns. Thread Entry: Part 1, Page 20, Post #489


      From the abandoned 2nd United Artists album. Featuring Mellotron by Freddie Smith. Vocal: Harry.

    7. Peter

      Recorded: 1968, Central Sound Studio, London.
      Producer: Harry Vanda and George Young. Thread Entry: Part 2, Page 3, Post #63.


      Demo from Central Sound. Lead vocal by George.

    8. Me And My Machine

      Recorded: 1968, Central Sound Studio, London.
      Producer: Harry Vanda and George Young. Thread Entry: Part 2, Page 3, Post #63.


      Demo from Central Sound. Lead vocal:George.
    Side B
    1. The Shame Just Drained

      Recorded: 1968, Central Sound Studio, London.
      Producer: Harry Vanda and George Young. Thread Entry: Part 2, Page 3, Post #63.


      Demo from Central Sound. Vocal by George.

    2. Mr. Riley Of Higginbottom & Clive

      Recorded: June / July 1967, Olympic Recording Studios, London.
      Producer: Glyn Johns. Thread Entry: Part 1, Page 20, Post #489


      From the abandoned 2nd United Artists album. Lead vocal by Stevie.

    3. Kelly

      Recorded: 1968, Central Sound Studio, London.
      Producer: Harry Vanda and George Young. Thread Entry: Part 2, Page 3, Post #63.


      Demo from Central Sound. Lead vocal by George.

    4. Where Old Men Go

      Recorded: June / July 1967, Olympic Recording Studios, London.
      Producer: Glyn Johns. Thread Entry: Part 1, Page 20, Post #489


      From the abandoned 2nd United Artists album. Lead vocal by Stevie.

    5. Johnny No-One

      Recorded: 1968, Central Sound Studio, London.
      Producer: Harry Vanda and George Young. Thread Entry: Part 2, Page 3, Post #63.


      Demo from Central Sound. Lead vocal by Harry.

    6. Amanda Storey

      Recorded: Probably late 1967, Pye Recording Studios, London.
      Producer: Probably Easybeats & Mike Vaughan. Thread Entry: Part 1, Page 20, Post #489 and Page 26, Post #630


      String arrangement by Bill Shepherd. Probably an outtake from the early “Vigil” sessions. Vocal by Stevie.

    7. Station On Third Avenue

      Recorded: June / July 1967, Olympic Recording Studios, London.
      Producer: Glyn Johns. Thread Entry: Part 1, Page 20, Post #489


      From the abandoned 2nd United Artists album. Vocal by Stevie.

    In 1992, the album was released on CD by Repertoire Records. It featured these bonus tracks:

    • Do You Have a Soul (3rd Version)

      Recorded: Early 1967, Pye Recording Studios, London.
      Producer: Shel Talmy. Thread Entry: Part 1, Page 11, Post #273.

      This edited U.S. album version is 20 seconds shorter than the standard version.


    • "Check the Bassline" (“Where Did You Go Last Night” backing track).

      Recorded: June / July 1967, Olympic Recording Studios, London.
      Producer: Glyn Johns. Thread Entry: Part 1, Page 20, Post #489


      A backing track take of “Where Did You Go Last Night” from the abandoned 2nd United Artists album.

    • Watch Me Burn

      Recorded: 1968, Central Sound Studio, London.
      Producer: Harry Vanda and George Young. Thread Entry: Part 2, Page 3, Post #63.


      Central Sound demo. The song was later given to Australian artist Mike Furber. Vocal by George.

    • Where Did You Go Last Night

      Recorded: June / July 1967, Olympic Recording Studios, London.
      Producer: Glyn Johns. Thread Entry: Part 1, Page 20, Post #489


      From the abandoned 2nd United Artists album. Vocals by George.

    • Heaven and Hell (U.S. Single Version).

      Recorded: 6th May 1967 at Olympic Studios, London.
      Producer: Glyn Johns. Thread Entry: Part 1, Page 18, Post #447


      The censored U.S. version (UA 50187). The line: "discovering someone else in your bed” was changed to “"discovering that your love has gone dead”

    • Happy Is the Man (remix)

      Recorded: 18th January 1967, Pye Recording Studios, London.
      Producer: Shel Talmy. Engineer: Glynn Johns. Thread Entry: Part 1, Page 11, Post #266.


      A 1992 stereo remix of the song. Vocals: Stevie.

    • Land of Make Believe (mono album mix)

      Recorded June / July 1967 at Olympic Studios, London.
      Producer: Glyn Johns. Thread Entry: Part 1, Page 37, Post #905

      Originally from the abandoned 2nd United Artists album, this mix dates back to 1967 as it appears on a 10 song compilation reel from those sessions (see Part 1, Page 20, Post #489). This version was later officially released on the mono versions of the Vigil album (both UK and Australian). Lead vocal by Harry.
    • Coke Jingle, No.1

      Recorded: Early 1966. Producer unknown.
      Thread Entry: Part 1, Page 5, Post #119.


      A re-recorded version of “Come And See Her” recorded for Coca-Cola. Featured on the promotional E.P. Swing For The Jingle.
    • Coke Ads #2 & 3

      Recorded: Early 1966 and Late September/Early October 1969, Sydney.
      Producer: Ad 2 Producer unknown. Pat Aulton (Ad 3). Thread Entry(s): Part 1, Page 5, Post #119 and Part 2, Page 12, Post #289.


      Ad #2 is an original jingle written for Coca-Cola. This was released on the promotional E.P. Swing For The Jingle. Ad #3 was recorded during the band's final tour in Australia, this is noteworthy for being the final studio recording from the band.
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    The rear jacket of the 1977 Australian release. With liner notes by Glenn A. Baker.

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    The German reissue released 1982 (Impact - IMLP 4.00199)
     
    Last edited: Oct 5, 2014
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  22. fitzysbuna

    fitzysbuna Senior Member

    Location:
    Australia
    Johnny No-One
    Amanda Storey
    Station On Third Avenue these are my fav tracks off original album!
     
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  23. Bill

    Bill Senior Member

    Location:
    Eastern Shore
    When I first saw The Shame Just Drained in a Maryland record store in 1978, I couldn't believe it. Tip of the iceberg, of course, but I was astounded at the quality of this unreleased material. Still think its great.
     
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  24. paulisdead

    paulisdead fast and bulbous

    My hat has to go off to Glenn A. Baker for getting these tracks out of the vaults and to the public. And this of only the beginning - the following years would see more tracks released on his own Raven Records label.
     
  25. Jae

    Jae Senior Member

    I had no appreciation for the album until "meeting" paulisdead and william r small through this forum last year. In fact, despite having it in my collection I can't recall ever listening to it before then.

    I have a new appreciation for it now. Some great tracks, particularly Lisa (I've always loved this track though, ever since having a crush on a girl called Lisa in high school), We'll Make It Together, The Shame Just Drained, Mr. Riley of Higginbottom & Clive, Where Old Men Go, Johnny No-One, Amanda Storey, and Station on the Third Avenue.
     
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