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Black Sabbath-Paranoid: Classic Albums DVD

Classic Albums: Black Sabbath-Paranoid DVD

Black Sabbath – Paranoid
Classic Albums DVD

Is there any band that has influenced heavy metal like Black Sabbath? And is there another album that cemented the genre like Sabbath’s sophomore release, Paranoid? Early Sabbath is what many of the hardcore fans still cling to- those glory years from the debut self-titled Black Sabbath album through at least Sabotage, although I really dig Never Say Die and Technical Ecstasy, too.

But let’s get to the point: if it weren’t for Paranoid, and epics such as “War Pigs,” “Iron Man” and the title track, the fate of Black Sabbath would have been much different. As this Classic Albums DVD recounts, though, it seems as if the band was being led by some mysterious “fifth member” as the foursome of Ozzy Osbourne, Tony Iommi, Geezer Butler and Bill Ward wrote and recorded Paranoid. And what is most striking about this DVD is not just how original Sabbath were, but how musical.

Watching this DVD, and getting plenty of first-hand accounts from the band members and original recording engineer, Tom Allom, gave me new appreciation for the record and how bloody talented these blokes were. So much is made of how “heavy” Sabbath were-and certainly there was no precedent for such a sound-that the parts making up the music are often forgotten. Remember, Sabbath were really a power trio-Geezer, Tony and Bill played instruments and didn’t sing (I know Ward had a cameo later in the band’s career) while Ozzy wove his strange magic over the ever-changing riffs and rhythms. Lost in it all was the fact that Butler and Ward were a swinging rhythm section, able to turn on a dime from the slow gloom of the “War Pigs” intro into the almost Big Band sounds of “Fairies Wear Boots.” Laugh for a second, but go back and really listen and you’ll hear the influence of Ward’s hero, Gene Krupa, and not just on that track. It’s no wonder, listening to Ward recount his childhood growing up where his parents staged “jazz parties” on Saturday night, and the young Bill awakening to explore his father’s friends “traps” with near mystical rapture.

Butler, too, gets his due when the original 4-track tapes are manipulated by Allom so we can each band member playing his respective parts to the Paranoid tracks. Butler’s bass lines-long and flowing, like a heavy metal Jaco Pastorius-are the thread that sew these tracks tight. Whether he was doubling Iommi’s guitar lines for emphasis or running wild underneath a solo, Butler was metal’s answer to Free’s Andy Fraser.

There’s no other guitarist-in any genre-responsible for more classic riffs than Tony Iommi. I’m not just talking about main riffs from “Paranoid” or “Iron Man,” but the uncountable secondary and sub-riffs that complete the songs. That doesn’t even take into account the classic solos. How many guitar solos can you hum note for note? I bet the outro to “Iron Man” is one of them. I love listening to Ward and Butler thrash about, doubling the song’s time while the ringing open notes of the intro buzz about. Then, Iommi breaks in with the start of the solo, really another riff that gets its power from the accented notes, just before he dives full in with a barrage of bends and triplets that sound like they’re destined to derail but never do.

Not to forget Ozzy. As I said earlier, the original Black Sabbath seemed to be guided by larger forces and Ozzy’s melody lines and vocals are part of that darker cosmos. The DVD showcases some of Ozzy’s early attempts at creating lyrics in the moment as the three others played around him. Check out the early incarnations of “Planet Caravan” and “Paranoid” to hear how adept Ozzy was at locking into and interpreting the music around him. It’s uncanny. Just like the band.

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Free – Forever DVD

Free Forever DVD 300x300 Free   Forever DVD

Let me first say that this DVD should be required viewing for any fan of classic rock. Though Free‘s existence was short-lived, the legacy of Paul Rodgers, Andy Fraser, Paul Kossoff and Simon Kirke is alive and well nearly 40 years on.

The very thing that used to make or break a band – a radio single – can also spin the greatest songs into the grave. I don’t know how many times I’ve heard Free’s biggest hit, “All Right Now,” but I grew weary of it long ago. Watching the band perform it in their prime, while the song was still fresh and gaining popularity, helped me reconnect and appreciate it. Kossoff’s bare-bones riff fleshed out with Fraser’s brilliant use of bass harmonics is rock at its most primal and anthemic. And that’s where Free excelled.

What jumps out immediately is the attitude and power of these four. The July 1970 performance for Grenada TV is a monster and worth the price of the DVDs alone. Of the five songs – “Ride On Pony,” “Mr. Big,” “Songs Of Yesterday,” “I’ll Be Creepin’” and “All Right Now” – it’s “Mr. Big” that blows up the stage. Kirke starts it off, pounding out a snare-bass drum/hi-hat groove at a snail’s pace. Kossoff then enters, with a skeletal three-notes-and-a-chord riff that’s blues-y and sleazy. Finally, Fraser pops in with his bass, alternating between single notes and those long, rubbery slides that made him the Jaco Pastorius of the rock world. (Did Fraser ever play a bum note?) On top of it all is Rodgers’ incomparable voice, soaked in blues and mature beyond reasoning for a 20-year-old. From the barest threads, Free take “Mr. Big” and build it into a roaring storm. Kossoff turns the tune on top of itself, playing a pattern of cascading arpeggios, while Fraser rocks back and forth, fingers running across his Fender as Kirke smashes out the rhythm. It’s an absolutely stunning performance.

Along with the performance footage, the DVD is studded with interviews past and present. Get the  scoop on how “All Right Now” was composed, through the accounts of Rodgers, Fraser and Kirke. Fascinating, and now with 5.1 surround sound. A must-see and hear for Free fans and those wondering what all the fuss was about. You’ll now know.

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Thin Lizzy – Are You Ready?

Thin Lizzy Are You Ready 300x300 Thin Lizzy   Are You Ready?

The back DVD cover of Are You Ready? calls Thin Lizzy “one of the greatest rock bands ever to come out of Ireland.” That’s partly true. Thin Lizzy are one of the greatest Irish music acts, period, although the version of the band featured on this 1981 footage – Phil Lynott, Scott Gorham, Snowy White, Darren Wharton and Brian Downey – is not my favorite.

The live set from Loreley, Germany, is an interesting mix of past and present songs that lets viewers have a listen to music from Lizzy’s early days up to the release of Renegade. Sub-titling this DVD Greatest Hits Live is not really accurate, though; a better one would be Some Greatest Hits and Obscurities, as I would challenge casual Thin Lizzy fans to hum a few bars from “Memory Pain,” “Trouble Boys” or “Sugar Blues.” When you think of Thin Lizzy hits two songs spring to mind: “Jailbreak” and “The Boys Are Back In Town,” and both are included, along with essentials “Cowboy Song,” “Black Rose” and “Emerald.” As it happens, those last three comprise some of the best footage here.

Gorham plays the guitar hero to six-string perfection, wailing on his Gibson Les Paul and playing riffs and guitar chords with savage energy. He’s clearly into the music and his dedication to the Thin Lizzy sound is evident throughout. White, in contrast, looks bored for a big chunk of the show and doesn’t show much emotion until 11 tunes in, when “Cowboy Song” kicks fully into gear. By that time, Lynott is dripping sweat and stoking the fuel box, poised to ignite an already hot German audience. “Black Rose” features an impeccable drum solo from Downey, who remains one of the most unsung players of his day. I have yet to hear anyone with a better drum sound than Downey, in studio or on stage. Like Gorham on guitar, Downey’s playing is fiery and spot-on. Keyboardist Wharton gets scant footage and presence in the sound mix; his brief moments, though, show him as enthusiastic and clearly having a blast.

Lynott is the ever-consummate stage manager, holding court over the crowd with a magician’s command. Overall, the DVD sound is a mixed bag – Gorham and White’s guitars suffering the most – but Lynott’s vocal and bass are up-front and always present. Lynott was more than just a master with music lyrics, he was a lyrical and rhythmic bassist and plays his heart out here. And his impish side is on full display, too. When he teases the crowd about not playing “Rosalie,” there’s no English to German dictionary needed. The audience members react with delight, as he pulls at their strings before announcing the very song they want to hear. It’s a lot of fun, and by the time the boys shine up “Emerald” for the show stopper, you’ll likely forget the video’s flaws and remember one of Ireland’s greatest music acts flying free. Music – classic music – never dies.

For an in-depth look at Thin Lizzy, check out this Youtube Music Video interview with Gorham, Downey and guitarist Brian Robertson, who recount their tenure with the band and share many great stories.

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John Mayall’s Bluesbreakers – Live at Iowa State University

John Mayall Live At Iowa State

The legendary John Mayall, prime instigator of the 1960’s British blues movement, had decided to revive the Bluesbreakers name with a top-notch quintet, including guitarists Walter Trout and Coco Montoya, circa 1984.  This combo was at the peak of their powers in 1987 when a gig at Iowa State University was captured on camera.  The video from this show has seen the light of day courtesy of a few different companies, but the latest version is out on Quantum Leap.  Although this configuration of the Bluesbreakers would only exist for another two years, it’s quite clear that they were having a blast backing Mayall at what he does best — faithful takes on the blues that are equal parts entertainment and history lesson.

There are two major quibbles that I have with this release.  The track listing in the DVD menu and what’s printed on the case do not match the actual order of the songs in the concert.  Also, Montoya, the crew, or the venue were having some sort of technical difficulties which resulted in Montoya’s guitar being too quiet for the mix. That aside, the nine-song set covers a lot of ground and serves as a showcase for Mayall’s flexibility as a performer and for the raucous brilliance of Walter Trout.

Beginning with Mayall at the organ on “Birthday Blues,” the band lets their leader set the mood for what’s to come.  The guitarists know that they’ll get their turn in the spotlight and Trout takes one on Mayall’s own “Little Girl.”  On the Bluesbreakers’ classic, Mayall takes a back seat as a sweaty, manic Trout gets warmed up on his Strat.  Mayall next steps up to the front of the stage, harmonica in hand, for another Bluesbreakers’ gem, Little Walter’s “It Ain’t Right.”  Soon afterward, Mayall has strapped on his own guitar and is providing lead lines for “Rolling With The Blues.”  Trout again delivers a blazing solo that has the viewer wondering if Trout is going to step out of his pants, fall off the stage, or spontaneously combust.  The rhythm section consisting of drummer Paul Hines and bassist Bobby Haynes are tight throughout the performance, but shine especially brightly on “Rolling” and the track “Riding On The L & N.”  Mayall opts to provide slide guitar here while Montoya provides perfect back-up harmony vocals.

I we overlook the trappings that date this show, such as the outmoded hairstyles and clothes on the subdued white folks in the audience (Mayall himself is not immune, bearing a Harley muscle shirt and shaggy mullet) we’re treated to a very solid show from this short-lived band.  Mayall has always been a man enraptured by the myths and realities of American Blues.  That respect has never waned over his 40+ year career and Live at Iowa State University is a charming document of the energy spent during Mayall’s musical love affair.

- Mark Polzin

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The Beatles Magical Mystery Tour Memories DVD

The Beatles Magical Mystery Tour Memories

Before discussing The Beatles Magical Mystery Tour Memories DVD, it must be stated that there are absolutely no performances on the disc that were actually recorded by The Beatles themselves.  While many of the songs from the classic Beatles album are approximated by relatively unknown musicians to set the stage for the piece, the rights to the Beatles’ recordings were not acquired by the producers of the film.  That said, let’s review the film’s contents.

Victor Spinetti, long-time associate of John Lennon and the actor who played the Army Sergeant barking nonsensical orders in the Magical Mystery Tour film, is the narrator of this DVD release.  His recollections, though tainted by his nearly worshipful love for his late friend, are very precise despite the passing of time.  His anecdotes are peppered amid those of other Beatles associates and the residents of Devon and Cornwall who had a front row seat during the filming of The Tour.  Commentary on particular sequences and the doings of “the lads” off-camera are offered up by the likes of Mike McCartney, Neil Innes and Spencer Davis.  The chaos within The Beatles’ organization as they tried to follow the whims of the inexperienced filmmakers (mostly Paul McCartney) is discussed by Beatles Press Officer, Tony Barrow and Beatles Tour Manager, Tony Bramwell.  Archival footage from the press and others trying to capture glimpses of the foursome’s antics is bedded beneath the guests’ remembrances.

Despite the poor reception of the film at the time of its release, it’s evident that all involved had a splendid time. Little thought was given to the exact nature of the bizarre content of the picture-in-the-making by those in awe of the godlike quartet. Magical Mystery Tour was filmed in 1967, almost immediately following the death of Brian Epstein. What the Memories DVD shows is a group of musicians trying to regain control of their organization and maintain the integrity and unity of their band. This documentary is intended for the hardcore Beatles fan and music historian. Those unfamiliar with the esoteric fringes of the machine behind The Beatles may be sorely disappointed by its content. For those readers still interested in watching, you’ll quite enjoy the kooky mind of Neil Innes, the spacey views of Mike McCartney, and the genuine reverence of Spencer Davis (who, at the time, was more of a peer than someone left behind during The Beatles’ ascendancy).  At less than an hour’s running time (more if you watch the excellent bonus scenes), you won’t have lost much by hearing about these special Memories.

- Mark Polzin

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Redemption – “Frozen In The Moment – Live In Atlanta” DVD review

Redemption \

Redemption is a progressive metal band that was formed in Los Angeles in 2000 around the talents of guitarist Nick van Dyk. Despite lineup changes, the group has released three albums to great critical and audience acclaim.  Some significant fans are the members of Dream Theater, who invited Redemption to support them during their 2007 U.S. tour. The tour culminated in an appearance at the 8th annual Prog Power show in Atlanta, Georgia, in October 2007.  The short set of just over an hour is captured on Frozen In the Moment, an outstanding DVD released by the band’s current label Inside Out/SPV, which includes a CD with the same performance, a video for the song “Bleed Me Dry,” a tour diary set to a previously unreleased instrumental track, and a slew of outtakes showing that these very serious musicians also have a goofy side.

The set begins with “Threads,” the lead track from Redemption’s 2005 release The Fullness Of Time.  The song is a showcase for the entire band, especially the twin-harmony guitar attack of van Dyk and Bernie Versailles.  Vocalist Ray Alder (also of Fates Warning and Engine) is in fine form yet never becomes the center of attention during the group’s blitzkrieg of virtuosity.  Drummer and master of other kit-mounted percussion Chris Quirarte, is spectacular from the starting gun and never looks back throughout the performance.  Quirarte also handles harmony vocals as does van Dyk and keyboardist Greg Hosharian, giving another dimension to the band’s sound.

The bulk of the set features songs from Redemption’s latest CD, The Origins Of Ruin. Especially tight are the tunes “Bleed Me Dry” and “The Suffocating Silence.”  The bottom end on “Bleed,” courtesy of bassist Sean Andrews, is as complicated as the guitar parts and is demonstrative of the fact that each group member can hold his own when called upon.  Alder’s voice is more impassioned on the live version of “Bleed” than on the studio recording, while Hosharian’s solo gives a break to the guitarists and shows that this is a “metal” band seeking to pull in many sonic sources.  Watching van Dyk and Versailles hold the crazy melody of “Silence” together during Hosharian’s solo impresses me not so much in that they can play it so well, but more because they make it look so damn easy.  The ridiculously fast drumming at the song’s end only adds to my awe.

“Fall On You,” another cut from Ruin, tops out over nine minutes and begins with a quieter, more melodic moment before the menace of Andrews’ bass foretells of the heaviness to come.  The song’s lyrics are some of their best, telling of a separated pair that retains a bond throughout the darkness offered up by the world.  There are subtle tempo changes that pull the listener along through blinding solos from the guitarists and Hosharian.  The band dips back into Fullness to present the nearly 15 minute “Sapphire” as well.  This song is where the band adds the prog elements that led to their invitation to Atlanta that day.  Alder and the other vocalists are especially good during a rather lengthy piece without a second of drag.

Redemption was very energized during their 2007 tour, and they’ve rolled right into the recording of a new record due later in 2009.  Frozen In The Moment serves to whet the appetite for the band’s rapidly growing fan base and also demonstrates that their recordings are not at all the result of studio trickery.  This is a band that can perform extremely complicated music in a live setting such that their studio performances can sound somehow less perfect in comparison.  I’m anticipating that we’re in for a treat when Snowfall On Judgment Day hits the racks later this summer.  It’s likely that Redemption will be brandishing the magic displayed on tour while playing together better than on anything they’ve yet recorded.

- Mark Polzin

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Rush – “Snakes & Arrows Live” DVD

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Snakes & Arrows Live is an exciting and important document of Rush on tour in Amsterdam, during the fall of 2007. The three-DVD set is notable not just for the music (27 songs in all) but for the fantastic high-definition footage. We get up-close shots of Geddy Lee, Alex Lifeson and Neil Peart as they play their signature parts on classics such as “The Spirit Of Radio,” “Limelight” and “Tom Sawyer,” and stage shots of the men who seem to be having a marvelous time – the smiles are contagious. And the audio is as impressive as the video.

A few things stand out immediately: Lee’s voice – once the emitter of castrati-like notes – has mellowed and deepened, giving the older tunes a new resonance. Lifeson’s guitar solos – heard here in the context of 30-plus years of music – remain instantly recognizable and completely individual. Lifeson is a very underrated soloist. And what more can be said about Peart? He is one of rock’s greatest drummers – one of the few whose drum parts from song to song actually matter. Whether you are a drummer or not, the rhythms of “Tom Sawyer,” “2112″ and countless other songs are lodged in your melon. I promise. It’s wonderful (and humbling) to watch him work the kit – a true master.

Best of all, the discs contain a perfect mix of hits, new songs and some surprises that Rush fans will love. The music samples heavily, and rightly so, from Rush’s stellar 2007 album Snakes & Arrows, a record I assert is the band’s best since 1982’s Signals. Whether it’s the broad, bluesy opening of “The Way The Wind Blows,” the driving instrumental “The Main Monkey Business” or Lifeson’s gorgeous acoustic piece “Hope,” this album has everything that makes Rush such a special outfit. Take the Snakes & Arrows’ tracks and generously pepper the set list with chestnuts including “Entre Nous,” “Circumstances,” “Natural Science,” “A Passage To Bangkok,” “Witch Hunt” and “Subdivisions,” and you’ve got a superb retrospective of Rush’s amazing musical journey.

And be sure to check out the DVD extras, particularly the “comic” bits featuring Geddy and Alex.

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Glass Hammer – Live At The Tivoli DVD review

\Glass Hammer are simply one of the best progressive rock bands going today. I remember hearing their 2001 release, Chronometree, and being blown away by its old-school keyboard and guitar sounds, and humorous storyline. Since then, I’ve followed the band and had occasion to chat with head Hammers Steve Babb and Fred Schendel and can attest that they are not only excellent songwriters and musicians, they are also very nice guys.

Like most Glass Hammer fans, I’ve wished to see them perform live, but their concerts are something of a rarity so I’ve consigned myself to watching them on DVD. Their latest such effort, Live At The Tivoli, captures Glass Hammer (from two shows) playing in 2006 before a hometown crowd in Chattanooga, TN. Backed by the Adonia Strings, the GPS Girls Choir and the 150-member strong Lee University Choral Union, GH performed a 10-song set, featuring material from Lex Rex, The Inconsolable Secret, Shadowlands and The Compilations, 1996 to 2004. As well, we’re treated to a performance of “Eiger Dreams,” a track available on the band’s Web site as a digital download only.

Glass Hammer proper are an eight-piece band: Babb (bass, vocals), Schendel (keyboards, vocals), Carl Groves (lead vocals), Matt Mendians (drums), David Walliman (guitar), Susie Bogdanowicz (vocals), Bethany Warren (vocals) and Flo Paris (vocals). Although Babb and Schendel are the leaders, they rule graciously, giving Groves, Walliman and Mendians plenty of room to shine. Mendians and Walliman, particularly, give revelatory performances here. Walliman flies across the fretboard with ease, as if he were tying his shoes. Mendians is a master of the accent, using a simple cymbal splash to great effect. They’re both monster musicians. The Choral Union sounds spectacular, particularly on the shining outro to “Knight Of The North” (my favorite track of the lot) or the ethereal choral solo “Beati Quorum Via.” Groves and band take Dan Fogelberg’s “Longer” from its humble beginnings as a simple guitar/vocal love song and guide it on a sweeping journey. A real treat. Hammer close the show with the concluding Inconsolable Secret track, “Having Caught A Glimpse,” on which Paris sings with an almost impossibly angelic voice. The song ends with a religious-like intensity and spirit. It’s like attending service at the church of progressive rock. (I think it’s in Canterbury?)

Before unplugging the gear, Hammer return for an encore – the classic Yes track “South Side Of The Sky.” Bogdanowicz comes center stage and does a fantastic job singing, sounding more like Jon Anderson than you might imagine. I like the footage of Schendel playing Rick Wakeman’s memorable keyboard parts, from piano to synthesizer, and watching Babb bring it home on the bass. As the band rock out, the Choral Union members can be seen in the background, swaying to and fro with the song. A fitting end.

Live At The Tivoli can be played in stereo or 5.1 Dolby Digital – due to a system glitch, I wasn’t able to experience the surround option. Judging from the reports of those who have, it’s the way to hear this. Still, the two-channel mix is pretty good.

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The Black Crowes – Freak ‘N’ Roll Into The Fog

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The Black Crowes waited years before getting into the DVD game, and their first, Freak ‘N’ Roll Into The Fog, is a glorious glimpse into America’s last great rock band working a San Francisco Fillmore crowd into a frenzy. What makes the Crowes special is their ability to bridge the best of the ‘60s and ‘70s with their own Southern twist. They write great songs. They cover great songs. They jam. Among the 19 tracks, the Crowes stuff the cannons with a booming “My Morning Song,” a horn-and-chorus-drenched “(Only) Halfway To Everywhere,” a “Seeing Things” that sears with gospel-like intensity, and an acoustic version of “Cursed Diamond” showcasing guitarist Marc Ford’s lyrical slide playing. Like The Grateful Dead, the Crowes never play the same show twice. Here, they bring the house down fittingly with a superb cover of The Band’s “The Night They Drove Ol’ Dixie Down.”

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Desperate Man Blues DVD review

desperate man blues2 Desperate Man Blues DVD review

Desperate Man Blues is a DVD that every record collector should see. It chronicles the long-time efforts of Joe Bussard, an obsessed music lover in the purest sense of the word. Bussard has spent much of his life traveling the backroads of the Southern United States in search of “America’s real music” – country, blues, jazz and bluegrass from the 1920s and early 1930s. During his travels, he amassed more than 25,000 78 rpms, including recordings from pioneering artists such as Blind Blake, Charley Patton, Robert Johnson and Jimmie Rodgers.

As would be expected, Bussard is extremely knowledgeable and opinionated – claiming that rock and roll is the cancer of music, and that real jazz ceased to exist after the Great Depression. His zone of musical reality spans about seven years, from 1925 to 1932 or so, but in that frame exists a whopping amount of original music from a time in the history of the U.S. when playing music for many rural families was as much of a part of the daily existence as gathering food for the evening meal.

Bussard’s stylistic prejudices aside, he’s a hard person to dislike. Watching him take an obscure 78 from his immaculately kept record shelves, giving it a quick cleaning before playing – with ever-present cigar in mouth – and tapping out a rhythm on his knees, and a broad grin spread across his face, it’s almost impossible not to get caught up in his enthusiasm.

While many of us began collecting records from an early age, few of us made the efforts to preserve music like Bussard. His mission to safekeep American music – what sometimes may be the sole recording of an artist – is, in my mind, very admirable. Bussard found his true love early on and has done everything since to keep the passion alive.

Though I don’t agree with Bussard’s take on music in the broad sense, I respect his efforts and thoroughly enjoyed watching this unique man talk of his records with the reverence and joy they so much deserve.

And don’t miss the great footage of Son House playing “Death Letter Blues” on one of the DVD’s many extras.

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