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J. Cheek "John Cheek" (Southend-on-Sea)
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The Unforgettable Fire (Remastered) [VINYL]
The Unforgettable Fire (Remastered) [VINYL]
Price: 18.81

2 of 3 people found the following review helpful
4.0 out of 5 stars ...and may your dreams be realised, 26 Oct 2009
I remember my sister telling me - about how `The Unforgettable Fire' was the soundtrack to her painting for her Art degree at Aberystwyth, around the turn of 1984/5. The ambient textures, the lush, sweeping soundscapes, the occasional broad-stroke such as `Pride (In The Name Of Love)' perfectly matching - if not her muse, then her mood - as she endeavoured artistically, in a remote coastal resort by the Irish Sea. Many miles away on the other side, just a few months earlier, the men behind the music were purchasing their first, modest homes in County Dublin besides the same sea.

Having established themselves as Christians in one of the most vital new bands to come out of the Post-Punk era, they now broke fresh ground and formed a production partnership which would come to characterise their future sound(s) and influence nearly every decision they were to make; artistically, commercially, politically and spiritually.

Brian Eno was an atheist listening only to Black Gospel when this young Irish band first approached him. In fact, he'd listened to nothing else for three years, so disillusioned was the Roxy Music keyboardist with conventional rock and it's rituals. He suggested that the French-Canadian catholic musician, Daniel Lanois, join him: initially, to pass the gig over to him. Realising that the band wanted to play on to his own tune, Eno stayed and the result was something which, a quarter-century on, hasn't dated at all; despite criticism at the time that it was merely a `transitional album'.

Titles like `Elvis Presley and America' and `4th July' alluded to their growing obsession with the States; the title-track along with `A Sort Of Homecoming' even now, are remarkable feats of song-writing and arranging; the band members clearly competent by now, to pull them off. Two Martin Luther King tributes, (the other being the meditative `MLK') weren't enough at the time to prevent the feeling that this was a less-overtly Christian album than it's three predecessors. But closer inspection of `Bad' - which Bono recently admitted he wished he'd developed more - reveals a piece of art notable for it's spiritual yearnings for the sake and state of the souls of others. Indeed, this was a group moving away from religious sloganeering towards artistic engagement, highlighted by subtle use of Biblical metaphors: red wine puncturing skins, mountains disappearing into the sea and so on. Reaching a quiet crescendo midway, with `Promenade', we're in a living room on the Irish coast, with it's sentiment of moving "up the spiral staircase/To the Higher Ground". Van Morrison couldn't have put it better.

`The Unforgettable Fire' was a song and an album inspired by paintings from Hiroshima and Nagasaki survivors, which Bono associated with his impressions of the account of Sodom and Gomorrah. Indeed, he quotes the line from Genesis: "...and don't look back," Spiritually and artistically, they never did. JOHN CHEEK


The Unforgettable Fire (Remastered - Super Deluxe Edition)
The Unforgettable Fire (Remastered - Super Deluxe Edition)
Price: 40.99

10 of 12 people found the following review helpful
4.0 out of 5 stars ...and may your dreams be realised, 26 Oct 2009
I remember my sister telling me - about how `The Unforgettable Fire' was the soundtrack to her painting for her Art degree at Aberystwyth, around the turn of 1984/5. The ambient textures, the lush, sweeping soundscapes, the occasional broad-stroke such as `Pride (In The Name Of Love)' perfectly matching - if not her muse, then her mood - as she endeavoured artistically, in a remote coastal resort by the Irish Sea. Many miles away on the other side, just a few months earlier, the men behind the music were purchasing their first, modest homes in County Dublin besides the same sea.

Having established themselves as Christians in one of the most vital new bands to come out of the Post-Punk era, they now broke fresh ground and formed a production partnership which would come to characterise their future sound(s) and influence nearly every decision they were to make; artistically, commercially, politically and spiritually.

Brian Eno was an atheist listening only to Black Gospel when this young Irish band first approached him. In fact, he'd listened to nothing else for three years, so disillusioned was the Roxy Music keyboardist with conventional rock and it's rituals. He suggested that the French-Canadian catholic musician, Daniel Lanois, join him: initially, to pass the gig over to him. Realising that the band wanted to play on to his own tune, Eno stayed and the result was something which, a quarter-century on, hasn't dated at all; despite criticism at the time that it was merely a `transitional album'.

Titles like `Elvis Presley and America' and `4th July' alluded to their growing obsession with the States; the title-track along with `A Sort Of Homecoming' even now, are remarkable feats of song-writing and arranging; the band members clearly competent by now, to pull them off. Two Martin Luther King tributes, (the other being the meditative `MLK') weren't enough at the time to prevent the feeling that this was a less-overtly Christian album than it's three predecessors. But closer inspection of `Bad' - which Bono recently admitted he wished he'd developed more - reveals a piece of art notable for it's spiritual yearnings for the sake and state of the souls of others. Indeed, this was a group moving away from religious sloganeering towards artistic engagement, highlighted by subtle use of Biblical metaphors: red wine puncturing skins, mountains disappearing into the sea and so on. Reaching a quiet crescendo midway, with `Promenade', we're in a living room on the Irish coast, with it's sentiment of moving "up the spiral staircase/To the Higher Ground". Van Morrison couldn't have put it better.

`The Unforgettable Fire' was a song and an album inspired by paintings from Hiroshima and Nagasaki survivors, which Bono associated with his impressions of the account of Sodom and Gomorrah. Indeed, he quotes the line from Genesis: "...and don't look back," Spiritually and artistically, they never did. JOHN CHEEK


No Line On The Horizon (Ltd Edition Digi Pack)
No Line On The Horizon (Ltd Edition Digi Pack)
Price: 19.99

1 of 3 people found the following review helpful
5.0 out of 5 stars Epiphanies, eternal echoes, moments of surrender, 2 Mar 2009
LAST MONTH the Brits presented their Lifetime Achievement Award to the Pet Shop Boys, for services-to-music. An accolade awarded to a band from Dublin, eight years' previously. The two-man Pet Shops are well-known for being identified personally with a certain, ahem, `label'; albeit something which hasn't directly influenced their music, too overtly. Having been around for even longer, U2 are similarly known for another, somewhat different description - but in their case, their Christianity directly (and indirectly) shines through all that they do: and it shines on this, their 12th and possibly most acclaimed studio album.

Put it this way. Were it to be their last, it would mean going out on a high point. Way to go.

BECAUSE U2 have the album they probably wanted to make, the one they would've made four years ago, when attempting a stripped-down, raw record and discovered they couldn't maintain it for more than a few songs; when they chose to then add flashes of red and purple to Ramones-style three-chords' grey. `How To Dismantle An Atomic Bomb' seemed overwhelming at first, leaving the listener gasping for less. Repeated plays gave rise to the feeling that some tracks were a little unrealised: `yes ...no... not quite`.

That's not the case here. Whilst not exactly the brave, paradigm-shifting progression we anticipated, it proves if you reach for the universe you may not reach it, but you'll get a lot further than if you just set yourself modest targets. 'No Line' aims for a Promised Land just outta sight, and sometimes gets there: not least with one of the slow-burners, 'Moment Of Surrender'; at over seven minutes the longest track and amazingly, recorded in one take. The (autobiographical) relating of a religious experience in the everyday setting of a cash point: "At the moment of surrender/I folded to my knees/I did not notice the passers-by/And they did not notice me". A song of immense heart-felt yearning, including the key-lyric: "Of vision over visibility." It sums up an undertone persistent throughout - of traffic-cops facing heavenwards; of girls focusing on infinity; of soldiers and war-reporters seeking redemption whilst appearing to disappear from view.

WAS IT Kevin Rowland who said, "Beauty is the ultimate protest"? This record, this work of art should be played in every lift to remind us, in these times, that there's still possibilities, rumours of glory, hints of there being more to life than what seems. Amidst unlikely dashes of Hazel O'Connor and Brian Auger Trinity, there's the lush, sweeping soundscapes of Sigur Ros, the ethereal qualities of Air and Daft Punk. An essential development, alongside the introduction of cellos and french horns is the involvement of Brian Eno and Daniel Lanois, from producers to co-songwriters now, on much of the material. Loops, gloops, and tom-toms help take us sonically to the territory of Radiohead and `Viva La Vida' Coldplay, and away from the dirty, BRMC-drive of their last outing. The final two tracks even sound reminiscent of Bruce Cockburn.

Should that erstwhile Canadian troubadour , or anyone from the CCM fold offer something halfway as good as this, it will be an achievement - and will indeed, mean that 2009 is a remarkable year for `Christian' music.

JOHN CHEEK
Comment Comment (1) | Permalink | Most recent comment: Mar 11, 2012 12:59 PM GMT


No Line On The Horizon (Vinyl)
No Line On The Horizon (Vinyl)
Offered by westworld-
Price: 44.98

5 of 9 people found the following review helpful
5.0 out of 5 stars Epiphanies, eternal echoes, moments of surrender, 2 Mar 2009
LAST MONTH the Brits presented their Lifetime Achievement Award to the Pet Shop Boys, for services-to-music. An accolade awarded to a band from Dublin, eight years' previously. The two-man Pet Shops are well-known for being identified personally with a certain, ahem, `label'; albeit something which hasn't directly influenced their music, too overtly. Having been around for even longer, U2 are similarly known for another, somewhat different description - but in their case, their Christianity directly (and indirectly) shines through all that they do: and it shines on this, their 12th and possibly most acclaimed studio album.

Put it this way. Were it to be their last, it would mean going out on a high point. Way to go.

BECAUSE U2 have the album they probably wanted to make, the one they would've made four years ago, when attempting a stripped-down, raw record and discovered they couldn't maintain it for more than a few songs; when they chose to then add flashes of red and purple to Ramones-style three-chords' grey. `How To Dismantle An Atomic Bomb' seemed overwhelming at first, leaving the listener gasping for less. Repeated plays gave rise to the feeling that some tracks were a little unrealised: `yes ...no... not quite`.

That's not the case here. Whilst not exactly the brave, paradigm-shifting progression we anticipated, it proves if you aim for the universe you may not reach it, but you'll get a lot further than if you just set yourself modest targets. 'No Line' aims for a Promised Land just outta sight, and sometimes gets there: not least with one of the slow-burners, 'Moment Of Surrender'; at over seven minutes the longest track and amazingly, recorded in one take. The (autobiographical) relating of a religious experience in the everyday setting of a cash point: "At the moment of surrender/I folded to my knees/I did not notice the passers-by/And they did not notice me". A song of immense heart-felt yearning, including the key-lyric: "Of vision over visibility." It sums up an undertone persistent throughout - of traffic-cops facing heavenwards; of girls focusing on infinity; of soldiers and war-reporters seeking redemption whilst appearing to disappear from view.

WAS IT Kevin Rowland who said, "Beauty is the ultimate protest"? This record, this work of art should be played in every lift to remind us, in these times, that there's still possibilities, rumours of glory, hints of there being more to life than what seems. Amidst unlikely dashes of Hazel O'Connor and Brian Auger Trinity, there's the lush, sweeping soundscapes of Sigur Ros, the ethereal qualities of Air and Daft Punk. An essential development, alongside the introduction of cellos and french horns is the involvement of Brian Eno and Daniel Lanois, from producers to co-songwriters now, on much of the material. Loops, gloops, and tom-toms help take us sonically to the territory of Radiohead and `Viva La Vida' Coldplay, and away from the dirty, BRMC-drive of their last outing. The final two tracks even sound reminiscent of Bruce Cockburn.

Should that erstwhile Canadian troubadour , or anyone from the CCM fold offer something halfway as good as this, it will be an achievement - and will indeed, mean that 2009 is a remarkable year for `Christian' music.

JOHN CHEEK
Comment Comment (1) | Permalink | Most recent comment: Dec 30, 2010 7:10 PM GMT


Inside the Zoo with "U2"
Inside the Zoo with "U2"
by Lola Cashman
Edition: Hardcover
Price: 14.95

3.0 out of 5 stars Before the court case...., 13 Feb 2009
They've a way to go before they're subject to the sheer wealth of different titles that The Beatles or Bob Dylan currently command shelf space with in Britain's High Streets. But U2 books are still appearing with welcome regularity at the moment, with some 25 of them published in the last ten years.

But another tour book--after two or three such efforts covering Dublin's finest in the mid-nineties--doesn't, at first, exactly bring with it waves of novel expectation. This one, however, may still go down as a favourite among hard-core fans, as for a change, it comes from the pen of the "official band stylist."

Lola Cashman, the dizzy daughter of a notorious character from London's east end, was already enjoying a somewhat bohemian lifestyle working with Terence Donovan and David Bailey, when approached by Bono Vox to completely overhaul the band's image. Not a fan of U2, she nevertheless accepted the gig, jumping on board to tour the world.

But don't be deceived by the book's title, nor the recent shot of Bono on the cover: this is all about working for the world's biggest band during its 1987 Joshua Tree tour. Readers expecting a chronological account will be disappointed; the author pays little heed to context and, at times, could be talking about any U2 gig at any time. If you're looking for a seedy, true-adventures-of, type of tour exposé, then look elsewhere. Far from it being a story of groupies, drug busts and mystery deaths, the four band members are painted as being remarkably normal people in the circumstances . . . all the while surrounded by intense media attention and industry figures that appear ruthlessly competitive.

In fact, the most shocking tale is that of a naked U2, hot out of the showers post-concert, disagreeing violently over which pair of new underpants is which. There's also the author, being frog-marched out of the Vatican with The Edge and his wife after a hilarious misunderstanding; we get the time when, live on stage she kicked Bono accidentally in the groin--and the evening when she comforts a sad Jack Nicholson through a night of joyous U2 music just a short distance away.

This work isn't authorized. It's also one that would've benefited from better editing. Important names such as Paul McGuinness and Phil Joannou are spelt incorrectly throughout. There's the feeling of a book being done on the cheap; but herein lies its charm. Cashman writes how she speaks and the inner photos are from her own collection. Unfortunately, although she describes U2's clean living, Christian image by instead describing them as four fragile human beings, this is a book that only hints at the band's spirituality. It's for U2 fanatics. Those looking for an understanding of their beliefs will be better served by Steve Stockman's _Walk On._

JOHN CHEEK


Under A Blood Red Sky/Live At Red Rocks
Under A Blood Red Sky/Live At Red Rocks
Price: 20.80

1 of 1 people found the following review helpful
5.0 out of 5 stars Dublin's finest continue to reappraise their early back catalogue - with added visuals, 13 Feb 2009
EVERYONE REMEMBERS the first time they heard it. Whatever `it' is, people remember when the music changed their lives. Whether it's Cliff first hearing Elvis, or a generation of rebellious teenagers catching the Sex Pistols on the notorious 'Today' programme, there's moments when music turns your life around.

Only in this instance, it didn't have the same affect. Not at first. It was late on the Friday evening; it was past my bed-time; I didn't watch the whole performance. As someone just into his teens in 1983, the 'Blood Red Sky' concert film didn't rock my world. A late-night edition of Channel 4's 'The Tube' was screening this blur of red, black and white and I was simply pleased that U2 had finally made it...I'd loved the 'I Will Follow' single from 1980. It was to be eight years later, as a new Christian, that I was to finally watch it's entirety.

NOW, 25 years on and when U2 are re-releasing their early stuff, we have the film and the live album it gave rise to, in all their untrammelled glory. Simply put, this is their best reissue this year. As the opening clarion chords of 'Out Of Control' kick-in you notice the superior quality of the sound on this package compared to it's vinyl and video predecessors. Looking like The Clash's Irish cousins, the 'War'-era U2 had more in common with the Alarm than with the Simple Minds they were so often compared to, then. Along with the American, military (not necessarily in that order) combat garb and massive mullets, it's the sheer optimism and positivity of those post-punk anthems. A lyrical tour-de-force of spiritual concerns and biting political commentary (Irish terrorism, potential nuclear holocaust, one-night stands).

THE AUDIO quality of this digitally-enhanced release, on either format, is worth noting but gets upstaged by the tremendous photography which made the film so remarkable. An amphitheatre in the middle of the Rocky Mountains, the backdrop of red rocks gives the gig a gladiatorial, almost-historic context. Goodness knows how it seemed to local Coloradoans, who travelled for several miles (in the rain) to this apocalyptic-style setting, to hear a new wave band not-so-much proclaim `No Future', but contrarily sing intelligently of faith, hope and love. As the crowds echo the words from Psalm 40 on the final song, the assertion of director Gavin Taylor rings true: " [The press] couldn't decide whether it was a rock concert or a religious gathering..."
JOHN CHEEK


War
War
Price: 24.95

2 of 3 people found the following review helpful
5.0 out of 5 stars 'Boy' comes of age at the end of the New Wave, 13 Feb 2009
This review is from: War (Audio CD)
BY THE time of their third album in '83, U2 had already split-up: at least, in the minds of Bono and The Edge. For a fortnight during the previous summer, the singer and particularly, the guitarist could no longer reconcile being Christians and being in a band. An `Isaac moment'; once The Edge had decided to quit, it became increasingly clear to him, what the right path was.

The seeds of their next record and possibly their future, musically, were sown in this brief `death'. Certainly, the opening track of 'War' was birthed at this time: the group's statement at that point, on matters of faith, politics - and sectarian Ireland - it proved to be the 'Anarchy In The UK' or the 'My Generation' of the (now closing) post-Punk period and, so controversial were it's lyrics, 'Sunday Bloody Sunday' was pulled from release as a single on either side of the Irish Sea. It also featured a clear identification with the hope found in Jesus Christ.

THE WHOLE record displayed the same assured, defiant optimism. Looking back, 'War's' intentional back-to-basics spirit, far from being the bombastic, irony-free collection that it's sometimes been painted as, actually contains elements of the `wallpaper music' which it set-out to oppose - read New Romantic horns, flashes of Funk, female backing-singers. The stunning single which was 'New Year's Day' would, in later years, be sampled and taken back into the charts by several dance acts. But it was the poignant, meditative 'Drowning Man' and `40' - inspired by Psalm 40 - that would most mark the group out, as genuine talents. The second CD here, offers up few interesting rarities and suggests that apart from the album itself, the U2 cupboard was otherwise bare. But 'War' was enough.
JOHN CHEEK


October
October
Price: 47.88

3 of 4 people found the following review helpful
3.0 out of 5 stars Not so much a `difficult second album', as nowadays a `Christian' album, 13 Feb 2009
This review is from: October (Audio CD)
BY AUTUMN '81, a long time in music then, with fashions changing so quickly - U2 were verging on splitting up. Well, not quite; that was still to come. For now, they struggled with a case of stolen lyrics and a crisis of faith, as they lived that `difficult' second album.

Listening again, it's interesting how the naivety and innocence of their debut, in terms of sound, had progressed from dinky drums and xylophone to the sparse production and bleak soundscape of post-Punk, Joy Divison-esque 'October'. Intriguing were the reviews of the time, clearly already informed of the group's Christian beliefs. Listening afresh, their so-called `Christian' album is no more overtly-religious than any which have followed, in lyrical concern. Largely gone, however, is the adolescent angst. Still to come, the political commentary. Only two years previously, Bob Dylan announced his conversion to Christ with the evangelistic 'Slow Train Coming' and coupled with Cliff and After The Fire both in chart ascendancy, a new wave act with spiritual sympathies wasn't a complete surprise to the listening public. Indeed, 'October' sat well with 'Slow Train' and complimented the latter's preaching with a work of art remarkable for it's genuine doubt, confusion and apprehension.

In amongst it, the sheer joy of 'Scarlet'; the still-raw bereavement of 'Tomorrow', the anthemic 'Gloria'. Dense, intense and atmospheric, the Uilleann pipes suggest Ireland as a geographical place. The album's title and lyrical feel countenance a time for death and re-birth.

JOHN CHEEK


Boy
Boy
Price: 35.95

2 of 3 people found the following review helpful
3.0 out of 5 stars Four lads who shook the world, 13 Feb 2009
This review is from: Boy (Audio CD)
THE LACK of a new U2 long-player designated 2008's re-mastered, reissued first three albums of their oeuvre, not just as summer stop-gaps for serious fans, as now the target for new year consumers, flush with Christmas money and record store vouchers.

Although it's hard to believe, there was a time when U2's peers weren't Oasis, R.E.M. or the Stones; The Blades and Protex featured among their contemporaries as Dublin's finest debuted amidst the Mod revival and where Blondie, Talking Heads and The Clash were expected to clean-up the decade. Boy is testimony to their longevity and to how relevant they sounded in 1980. As those latter artists got high on `experimentation', U2 were in the vanguard of post-Punk and the sad beauty of things like The Ocean threatened to mask the sheer innocence and naivety, not just of the lyrics but the sonic landscapes of I Will Follow and Out Of Control. Re-mastered, they yield a new freshness as four teenagers grapple with adolescent feelings towards relationships, spirituality and adult life.

CONTAINING the most interesting Bonus-CD of the three, there's 1978's Street Missions - a song I'd only heard previous on a rare, bootleg tape.
JOHN CHEEK


How To Dismantle An Atomic Bomb
How To Dismantle An Atomic Bomb
Offered by Quick Discount Sales
Price: 3.77

0 of 1 people found the following review helpful
4.0 out of 5 stars Bubblin' Dublin, 11 Feb 2009
For hardcore fans of any artist a new album is not so much a release, it's an event. It's one usually accompanied by activity arising from expectation and out of a desire to fulfill a ritual: the wait outside for the store to open, or the longer wait at a pre-arranged signing session, and then the wait for the first chart placing as the new material, unfamiliar at first, sinks in and beds down in your consciousness. I remember such experiences as a thirteen year-old fan of The Jam, as each new single was anticipated so keenly, I couldn't believe it when the rest of the record-buying public didn't necessarily, always feel the same as I did.

However, you'd be forgiven for thinking that they do, over this particular U2 release, judging by the hype that's proceeded it - leaving aside the Apple TV adverts and the iPOD deals, the interest garnered by the starring role of a most unusual world-statesman, has led to a large amount of belated goodwill for a band with longevity and consistently-high musical standards, which are no longer in question. So, when asking is-it-actually-any-good, it's nice to know that it justifies all the fuss. Indeed, so awesome is HTDAAB, that at times, as one reviewer's already put it, "...it leaves the listener gasping for less."

U2 talked initially, of making a real 'rock 'n' roll record', and afterwards remarked that, This Is The One. It could eventually join 'The Joshua Tree' and 'Achtung Baby' as the trio of essential U2 albums. But get this: rumours of it being 'the sound of the original group', have been grossly over-exaggerated. There's strains of all the previous albums in there, but it's closest in sonic terrain to their last outing, 'All That You Can't Leave Behind'.

The opener, and single 'Vertigo' you should already know, and with 'Miracle Drug' - a likely live crowd-pleaser, next year - quickly following, the emotive 'Sometimes You Can't Make It On Your Own' has U2, by this stage, reaching for transcendent heights. The atomic bomb that exploded in Bono's life was the death of his father Bob, in 2001, and this song and other places on the record are a naked account of his struggles to come to terms with bereavement.

A strong start and the emotional intensity changes after that. They get deep down and dirty and 'Love And Peace Or Else' is reminiscent of BRMC's 'Spread Your Love'. That particular 'Frisco combo's lyrical concerns were often religious in language, although coming from a dark place. U2's are specifically full of light. 'City Of Blinding Lights' continues those themes and harks back to some of the words and concerns on 1997's 'Pop'. It's one of several cuts that sound even better at night - traveling late in a car, or looking across moon-lit water...it's one that highlights that the band are still receptive to new musical influences, with the slightest hint of Keane, Doves and even David Gray, here and there.

Arguably, the heaviest mother on this record is the Jane's Addiction-esque 'Crumbs From Your Table', inspired by Bono's recent dealings with right-wing Christian fundamentalism, all the while pleading the cause of the Third World and flagging-up the AIDS pandemic. Sadly, the Bride Of Christ never seemed so glamorously vacuous, as on here.

For the most politicized group in history now, this is still a warmly spiritual album. Their Christianity is more to the fore than their placarding, even if it was hard to differentiate between the two, in the last. The politics are oblique now, as shown on 'A Man And A Woman', the band's first foray into reggae. What a bummer this song could've been. U2 stray dangerously close to Enrique Iglesias territory, but the slightly swampy feel keeps more to Bob Marley and Moloko, thankfully.

At the height of their career, The Jam's singer and songwriter Paul Weller wanted to make the best album of all time; suffering a nervous breakdown in the process. The resulting work was to be their last. U2 wanted HTDAAB to be their 'Who's Next' - it's certainly a case of where next, for the world's biggest band. Because, despite the awesomeness of HTDAAB there's still the feeling that if they had to, they could still step up a gear. How high can they go?

John Cheek


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