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23 janvier 2012 1 23 /01 /janvier /2012 11:00




Origine du Groupe : Spain
Style : Soul
Sortie : 2011

From Official Site :

With the wheels well-oiled and on full steam The Pepper Pots train arrives with its fourth album “Train to your lover”, a new step forward in a career in constant evolution, yet continuing within the same parameters - those of finding that “Old School” sound of the best albums of the mid-60´s.

To find this sound The Pepper Pots have recorded the album in their own recording studio “Black Pepper Studio”,  using an entirely analogical setup and using similar instruments to those used in the golden era of Soul. Each band member has collaborated in each of the tasks involved in the recording: the composition, arrangements, production, mixing…..and the final mastering touch comes from the hands of the legendary Bob Ohlsson, Motown sound engineer during the classic period of the label -between 1965 and 1972, working with leading artists including Stevie Wonder, Marvin Gaye, The Four Tops, The Temptations, Smokie Robinson & the Miracles, The Spinners or Gladys Knight & the Pips.

The result is 12 own tracks that stretch from the best of the Supremes to early Jackson 5, from deep soul ballads of Doris Duke to ground-breaking northern soul; classic sounds and influences The Pepper Pots have sprinkled with new life with some of their best songs to date.

With 300 appearances and counting, The Pepper Pots have moved audiences in concerts around the globe: Tokyo, Osaka, San Francisco, Los Angeles, Berlin, Paris, London, Moscow, Helsinki, Vienna, Verona, Prague, Bern, Barcelona, Madrid… as well as featuring at major festivals such as South by Southwest (Austin-Texas), Summer Jam Reggae Festival (Cologne-Germany), Rock for People (Hradec Králové – Czech Republic), BAM Festival (Barcelona-Catalonia), Black Music Festival (Girona-Catalonia) and many others.

Liner Notes

"I worked as a recording and mastering engineer at Motown Records in Detroit between 1965 and 1972. People often ask me “What is the secret of the Motown Sound.” Berry Gordy, Motown’s founder, has frequently answered with just the word “LOVE!” I really couldn’t agree more.
We loved what we were doing and we loved each other. It was something I could feel the first time I walked in the studio door and something that was just as unusual as it was remarkable. We were amazed that our recordings had actually broken down cultural barriers and brought people together by expanding their sense of who they were. I can’t say anybody intended this outcome or deserves any particular credit for it however I’m immensely proud to have played my tiny role.
What I love about the Pepper Pots is the fact that I can feel the love that they have poured into their songs and performances. What more could one possibly ask for?"

Tracklist :
01. Can't Let Him Go
02. I Need To Hold Your Hand
03. Wanna Blindly Trust You
04. Fated Heart
05. Let's Go Dance
06. Dreams of Coming Back
07. Train To Your Lover
08. I Can't Choose
09. It's Not Easy
10. You Are the Best Song
11. You Hurt Me Really Bad
12. Gladden Your Soul

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29 décembre 2011 4 29 /12 /décembre /2011 14:00



Origine du Groupe : North America
Style : Soul Funk , Instrumental
Sortie : 1967 - 1968

From Wikipedia :

At an early age Purdie began hitting cans with sticks and learned the elements of drumming techniques from overhearing lessons being given by Leonard Heywood. He later took lessons from Heywood and played in Heywood's big band. Purdie's other influences at that time were Papa Jo Jones, Buddy Rich, Gene Krupa, Joe Marshall and Art Blakey.

In 1961 he moved from his home town of Elkton, Maryland, to New York. There he played sessions with Mickey and Sylvia and regularly visited the Turf Club on 50th and Broadway, where musicians, agents, and promoters met and touted for business. It was during this period that he played for the saxophonist Buddy Lucas, who nicknamed him 'Mississippi Bigfoot'. Eventually Barney Richmond contracted him to play session work. In the same year original Beatles drummer Pete Best and guitarist Tony Sheridan recorded tracks in Hamburg with the Beatles. Later Bernard Purdie added drum overdubs to tracks from these sessions,including "Ain't She Sweet", "Take Out Some Insurance on Me Baby" and "Sweet Georgia Brown". The main reason for this was to give them a punchier sound for the US market. These tracks were eventually released on January 31, 1964 by Polydor. Ringo Starr's physical approach to drumming was probably influenced by Purdie's Motown style.

Purdie was contracted by arranger Sammy Lowe to play a session with James Brown in 1965 and recording session records also show that Purdie played on "Ain't That A Groove" at the same session. This was one of several sessions he played with Brown and the track "Kansas City" from Brown's album Cold Sweat (1967), displays one of the most sophisticated and driving shuffles recorded for Brown's catalogue. Purdie is also credited on the albums Say It Loud-I'm Black and I'm Proud (1969) and Get on the Good Foot (1972) on which "Ain't That A Groove" appeared.

Purdie started working with Aretha Franklin as musical director in 1970 and held that position for five years, as well as drumming for Franklin's opening act, King Curtis and The King Pins. In 1970 he performed with both bands at the Fillmore West; the resulting live recordings were released as Aretha Live at the Fillmore West (1971) and King Curtis's Live at Fillmore West (1971). His best known track with Franklin was "Rock Steady", on which he played what he described as "a funky and low down beat". Of his time with Franklin he once commented that "backing her was like floating in seventh heaven".

Tracklist :
1. Soul Drums
2. Bee 'N' Tee
3. Caravan
4. Soul Bossa Nova
5. Jimmy's Back
6. Funky Donkey
7. Bill's Groove
8. On The Outskirts Of Minitown
9. Testifyin'
10. Modern Jive
11. Blow Your Lid (But Watch Your Cool)





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29 décembre 2011 4 29 /12 /décembre /2011 12:00



Origine du Groupe : North America
Style : Soul Funk
Sortie : 2011

By Daryl Easlea from http://www.bbc.co.uk

Few acts have created their own universe as successfully as Brooklyn-based Sharon Jones and the Dap-Kings. Forming in 1996, the band’s quest to create bona-fide funk-soul has long outlived their original critics’ view that the 10-piece band was merely some form of extended pastiche. Using only original instruments from the 60s and 70s and recording in glorious analogue, they eschew any post-modern references and create full-on, joyous grooves which achieve their aim of sounding like they were dug up in some dusty old vinyl shop.

Having cemented their reputation in the UK as being Mark Ronson’s house band and featuring strongly on Amy Winehouse’s Back to Black album, their albums have never quite captured their full force as a live act. Soul Time!, a compilation of singles, B sides and live favourites of the past decade comes pretty close though, and serves as a perfect introduction to the band. Showcasing bandleader Bosco Mann’s soulful writing, Soul Time! scores with its note-perfect emotion and keening brass arrangements.

Genuine (Parts 1 and 2), a single in 2004, opens here, complete with its fade and return; it sounds like something from James Brown’s People label, and sets the album’s relentless, upbeat tone. New Shoes, written by guitarist Binky Griptite, is a pounding northern soul-influenced stomper. The 2009 Christmas single, Ain’t No Chimneys in the Projects, is the most successful track here and underlines their formula perfectly – taking a beguiling title and subject matter (how a little girl receives Christmas presents in a chimney-less flat) with sensitive, nostalgic arrangements. Co-writer Jones, of course, is the star, and sings of her mother, soulfully conveying her emotion and strength.

The Dap-Kings have also recorded cover versions sparingly (remember their version of Janet Jackson’s What Have You Done for Me Lately?) – and were therefore able to dodge carefully the Live Lounge-inspired tribute craze of the mid-00s. The lone cover on Soul Time! is a beautiful, tender reading of Shuggie Otis’ Inspiration Information that fills out the sketchiness of the original without losing any of its tentative, fragile wonder.

There is nothing modern about Soul Time!, yet it sounds both refreshing and contemporary. The exceptional musicianship and impeccable vocals may not be to everyone’s taste, but for 40 very happy minutes, you can revel in SJDK’s very discrete world.

Tracklist :
01. Genuine Pt. 1 (3:58)
02. Genuine Pt. 2 (3:04)
03. Longer and Stronger (3:43)
04. He Said I Can (2:52)
05. I'm Not Gonna Cry (3:24)
06. When I Come Home (2:54)
07. What If We All Stopped Paying Taxes? (4:41)
08. Settling In (2:48)
09. Ain't No Chimneys In The Projects (2:21)
10. New Shoes (2:18)
11. Without A Trace (3:51)
12. Inspiration Information (4:08)





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18 novembre 2011 5 18 /11 /novembre /2011 13:15



Origine du Groupe : North America
Style : Soul
Sortie : 2002 (1979)

Pour http://alternativesound.musicblog.fr

Beaucoup ont découvert Lee Fields en 2008 avec l'impeccable "my world". Pourtant, celui qui fut surnommé "little JB" pour sa ressemblance physique et vocale avec James Brown fit ses premières armes dès la fin des 60's et sorti son premier long format en 1979 ("let's talk it over"). Cependant il ne rencontra pas le succès espéré, si bien qu'il se retira de la musique et devint agent immobilier dans les années 80 !

Il faudra attendre 1992 pour qu'il nous revienne avec le dispensable "enough is enough". Mais le retour aux choses sérieuses  se fera par l'intermédiaire des Soul Providers (ancien nom des Dap Kings, backing band de Sharon Jones notamment) avec qui il enregistre l'excellent "gimmy the paw" en 1997, auquel suivra l'année suivante son 3e véritable album solo, "let's get a groove on". Cependant son réél chef d'oeuvre sortia en 2002 et s'intitule "problems". Disque imparable à la croisée de la funk et de la soul, "problems" est un must have absolu pour tous les amateurs de black music. Lee Fields y a pondu un classique de chez classique avec 10 titres imparables rivalisant sans problème avec ce que le genre a connu de meilleur durant son âge d'or. Devenu introuvable et du coup côté très chèr sur le marché d'occasion,  le label Truth & Soul a eu la lumineuse idée de le rééditer en cd et 33t. Vous n'avez désormais plus d'excuse pour passer à côté de ce chef d'oeuvre.

Tracklist :
1. The Right Thing
2. Rapping With Lee
3. Bad Trip
4. Get On The Good Foot
5. I Don't Know Where I'm Going
6. Clap Your Hands
7. Honey Dove
8. I'm The Man
9. You Made A New Man Out of Me




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17 novembre 2011 4 17 /11 /novembre /2011 13:30




Origine du Groupe : U.K
Style : Electro Jazz , Nu-Jazz , Nu-Funk
Sortie : 2010

By Djouls from http://www.parisdjs.com

Diesler's first release was Cotton Wool, part of Tru Thoughts Shapes One compilation: despite being written when he was only 20, the song still found its way onto Radio 1, a massive achievement for a debut track. This success was followed with the Ladies and Gentlemen Get Your Engines Ready EP in June 2004; a mixture of smooth, laid-back vibes and up tempo beats, from jazz and funk to latin rhythms, it showcased Dieslers globe-trotting sound, and magpie-like ear for the best samples, to devastating effect.

He followed that up with his debut album & double vinyl EP releases Diggin It Something Rotten in April 2005 and a calendar year later with Keepie Uppies, both of which are on the Tru Thoughts label. His 3rd album, The Rhythm Station, was released in October 2007 on Freestyle Records and a remixes compilation, 'Tracks On The Rocks' in 2009. He has just completed work on the next Diesler LP, Tie Breakers, which is due out on Unique / Socialbeats just about now in spring / summer 2010.

In addition to all his original work Diesler produced 2 songs for Tru Thoughts vocalist Kinny on her 'Idle Forest Of Chit Chat' LP and has worked on the soul project 'Laura Vane & The Vipertones' whose debut LP came out in August 2009 gaining support from Jonathan Ross, Mark Lemarr & Craig Charles (BBC Radio, UK).

With his 4th album Mr. Diesler, a truly unique musician and individual, has knocked out yet another killer LP that provides a 360 degree genre agenda - an overview of the 2010 nu-jazz scene encompassing hip-hop, funk, soul, house, broken beat, afro beat and electronica - The In Sound From Way Out! Don't miss his regular show on samurai.fm that goes by the same name folks!

As a first proper 7inch single Unique will release 'Reggae Magic' - a stunning roots-reggae vocal version and DUB on the flipside derived from the original album track entitled 'Samba Magic' that was reworked and produced by french reggae aces Grant Phabao. Reggae Magic's also featuring the wonderful vocals of singer Laura Vane with whom Diesler performs regularly as dj / soundsystem, completed numerous own productions & remixes and most recently co-wrote the successful album of Laura Vane & The Vipertones.

Soon to come is another 2nd single out on 12inch and cd with remixes of UK's currently buzzin' Warrior One outfit that takes 'Samba Magic' to a garage and somewhat dubstep grounds.

Tracklist :
01. Samba Magic (feat. Laura Vane)
02. Panther Sneer (feat. Double Yellow)
03. Deepest Cuba
04. South Side Morning (feat. Stee Downes)
05. Zebra Boogie (feat. Linda Bloemhard)
06. Pick Pocket (feat. Laura Vane)
07. Buzzin
08. Back to My Old Tricks (feat. Linda Bloemhard)
09. Chillin' (feat. Caroline Ekström)
10. Change/Trust (feat. Stee Downes)




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26 septembre 2011 1 26 /09 /septembre /2011 12:00



Origine du Groupe : North America
Style : Soul
Sortie : 1975

By Joe Tangari from http://pitchfork.com

Buried somewhere down in the footnotes of the story of Stax Records is 24-Carat Black, one of the final acts to record for the label before it crumpled under the weight of debt and ceased to be in 1975. Their lone album, Ghetto: Misfortune's Wealth, is a soul obscurity revered by DJs and a certain stripe of crate digger. It was an expensive record to make, and it's safe to say it didn't recoup, flopping big time on its release in 1973. One wonders if anyone, including the band's leader, Dale Warren, expected it to succeed. It's a desolate, bleak concept record about ghetto life with virtually no pop moves and plenty of sermonizing about socio-economics. Not a recipe for chart-busting.

There's something very of its time about 24-Carat Black. They were a kind of loose collective in the early 1970s, a moment when the Civil Rights movement had achieved most of its tangible goals and had to contend with harder things than laws, like ingrained prejudice and systemic inequality. Ghetto: Misfortune's Wealth was a record that spoke to the moment, but unfortunately spoke to almost no one. Even as Stax foundered and his record disappeared without a trace, Warren kept the band going, recording with two different lineups (one with 13 members, the second with 14 members) for the next couple of years in an attempt to craft a suitable follow-up. He made about 20 recordings, of which only six survive today-- the Numero Group guys found them by accident, cleaned them up and sequenced them like a 24-Carat Black sophomore album that never was.

From the 37 minutes of music here, Warren seems unperturbed by the first LP's commercial demise. He's moved on from the ghetto narratives and songs of struggle on Misfortune's Wealth, dipping back to reinvent a few songs he'd written for other Stax acts in the 60s and moving forward with new ones built around romantic relationships. Here he's exploring desire and heartbreak with the same ear for lonely desperation, fluid arrangements and restraint that he showed on the band's album. It grooves, but not in a dancefloor sense-- "I Don't Love You" has a funk-spiked jazz underpinning, with lots of lead sax to back Princess Hearn's chilly soul wail. He brings the easy soul groove of "I'll Never Let You Go" to a simmering climax, only to drop the rhythm for the cooing, oohing, aahing breakdown, supplying what could have been a gooey sex jam with a cold, minimal backing. It's totally counterintuitive, but it works. The singer is sultry and desirous, but also possessive and demanding-- a valediction of the fact that love gone bad can still feel uncannily good.

Love's just gone bad on "I Want to Make Up", a desolate duet of sorts that finds the female singer sparring with a spoken male vocalist who coldly dismisses her, walking out as the song ends, leaving her with just a few spectral harmonies for company. "The Best of Good Love Gone" is nearly a straightforward 70s soul song, with Jamerson-style bass and great, subtle drumming, but it cops a lot from jazz and psychedelia, taking on a character of its own that's clearly 70s, but has aged quite well. The epic closer, "I Begin to Weep", opens with funky choral grandeur, but collapses in a heap seven minutes in, leaving vocalist Robert Dunson to wander through a landscape of droning organ, whispering and mumbling to himself as drums call out into the emptiness with repeated patterns.

Warren's music could be high-concept, but unlike 24-Carat Black's one true album, this stuff is approachable on a purely emotional level. In some senses, Gone: The Promises of Yesterday bests Ghetto: Misfortune's Wealth, but the two records are ultimately too dissimilar for a direct comparison to be of much use, especially considering how few people have actually heard Misfortune's Wealth. As a sort of long-delayed follow-up, this disc delivers easily, and it's bound to please fans of early-70s conscious soul-- think Isaac Hayes, Boscoe, the Pharaohs, Black Renaissance, and even the Temptations to get your bearings. Then dive into the singular musical world of Dale Warren. It's an interesting place, even after all those years of moldering in the basement.
Tracklist :
01. Best of Good Love Gone 5:40
02. I Want to Make Up 6:39
03. I Don't Love You 2:17
04. I'll Never Let You Go 5:11
05. Gone the Promises of Yesterday 5:57
06. I Begin to Weep 11:49



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4 septembre 2011 7 04 /09 /septembre /2011 14:00




Origine du Groupe : Nederlands
Style : Funk
Sortie : 2006

From Official Site :

“As a daily routine Monsieur Dubois, a retired ornithologist, would live his life looking up to the sky in search of something special. After doing so for years, his uneventful life brutally ended, when one day Dubois spotted six as of yet undiscovered species of all sorts. They were flying together most elegantly and did so in one tight formation! Overwhelmed by emotions, the fanatic birdwatcher produced a heartfelt primordial shout and instantly got into a state of shock, having just encountered such tremendous beauty. Breathing out his very last breath, the old man gave this particular group his name and died happily ever after…“

Starting out as a jamband back in 1999, Monsieur Dubois has developed into a tight unit performing a crossover best described as “Danceable Hardjazz”. Monsieur Dubois adds a particular twist to anything that grooves, with a sound defined by obstinate beats, furious solos, spacy Rhodes and pumping bass. A sound that easily finds its way to the public and has made Monsieur Dubois perform all over Europe over the past decade.

Monsieur Dubois newest album just got released and is called “Slow Bombastik”. Imagine being dragged from a dark sweaty discotheque to a crowded marketplace in Lagos, or suddenly finding yourself on the desolate Russian plains just after you watched a Blaxploitation movie in the centre of Amsterdam. Slow Bombastik feels just like this.

After the debut “Ruff” and successor “Soul Integration”, the Dutch band strikes again with a versatile album that sounds to the point and isn’t afraid of the simple or the empty. Monsieur Dubois has put a bag of fresh influences into the new sound, but hasn’t forgotten to feature its mean trademark: getting steamed up with stubborn grooves and furious solos…

On the first two albums “Ruff” and “Soul Integration”, Monsieur Dubois already showed a raw yet sophisticated character, featuring original grooves, tasty improvisation and tight interplay. After release these albums stayed in the jazz charts for many months, followed by an Edison nomination and the proclamation “Best Dutch jazz album of the decade”. The albums also received great response from the international press: “Furious debut” (Jazz Thing), “Brilliantly leaves behind many current hypes” (De Morgen), “Ready to conquer the rest of Europe” (JAZZISM).


Tracklist :
1. Das Banck
2. Bowlin'
3. Spy's Metaphor
4. Monsieur Dubois S'Amuse
5. Dreaming
6. Mutiball
7. Da Heazz
8. G.T.R.
9. I.D. #1
10. Rue Danemark
11. Killer Herman + Hidden Track



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2 septembre 2011 5 02 /09 /septembre /2011 10:30




Origine du Groupe : U.K
Style : Funk , Nu-Funk , Nu-Soul , Jazztronic
Sortie : 2008

By Oscar Policeman "Soul Searcher" From http://www.amazon.co.uk

This album has been a long time coming - teasin' us with a few ep releases over the last few years, but hey, it's well worth the wait. High points include Think and Chocolat with Heidi Vogel's creamy vocals, Things You Do feat. the ever stylish and totally ice cool Gerry Williams and the decade's funkiest floor filla Stop You're Killing Me. That track is killer man - you ain't dancin', you ain't livin'. This crew make jazz funk as it should be made - heavy duty. And they're British!! Dance on!


Tracklist :

1. Think - Afro Elements, Heidi Vogel
2. It Remains to Be Seen
3. Ju Ju
4. Things You Do - Afro Elements, Gerry Williams
5. Latinspiration - Afro Elements, Heidi Vogel
6. Volcano
7. Afrolude...
8. Four Letter Word
9. Lift Your Life - Afro Elements, Benny Diggs,
10. Volcano [Raydio Mix] - Afro Elements, Jeff Lorber 11. Chocolat - Afro Elements, Gerry Williams
12. Stop You're Killing Me
13. Casa del Ritmo
14. Heavy Hands [*]
15. Chocolat [Mr. Gone's Club Sandwich]



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15 août 2011 1 15 /08 /août /2011 19:00




Origine du Groupe : North America
Style : Funk Groove Rock , Instrumental , Alternative Rock
Sortie : 2010

By Kevin from http://indiesandtheunderground.blogspot.com

Remember crunk? That mix of booming 808 bass, drum machines, sinister samples and screamed, one-syllable chants that gave birth to countless strip club anthems ("Get Low" anyone?) and provided the soundtrack to countless nightclub brawls? Which would account for about 80 percent of Lil Jon and the Eastside Boys' music. Well maybe not 80 percent. But at least 50 percent tops.

Well make way for runk, a mix of funk and rock birthed by Boston trio Otis Grove. Drawing on those genres as well as R&B, jazz and hip hop, the band comes up with some truly unique sounds. Album opener "Monark," with its blistering, distorted riffs and maniacal organ, sounds like Metallica dropping in on a New Orleans church service, while the collision of twin guitar solos and whirling, eerie synthesizers sound like a long lost Red Hot Chili Peppers track.

The laid back guitar licks and bright organs of "Uncle Runky" would feel right at home at a afternoon barbecue. "Waiting," crafts a seductive mix of minimalist licks and sharp drums before surrendering midway to a monstrous groove of floor-shaking bass, fiery, frenetic guitar solos and a wailing wall of organ sound. Brash funk freakout, "Fausto" with its fuzzy distortion, rubber-band bass, is another standout track.

Otis Grove are clearly talented musicians, able to both improvise and snap back into the melody at a moment's notice. Sam Gilman coaxes a endlessly array of sounds out of his organ, electronic piano and mellotron, while guitarist Tyler Drabick and drummer Blake Goedde display enough versatility to keep with Gilman's experimentation. It would be interesting to hear what the band would sound like with words and vocal melodies. But Otis Grove have provided more than enough ways for listeners to get runk.


Tracklist :
01 – Monark – 05:17
02 – The Bunk – 04:25
03 – Basket Case – 03:48
04 – Rock City – 04:09
05 – Bobby Nosox – 05:20
06 – Uncle Runky – 05:27
07 – Plywood Snowshoe – 05:11
08 – Waiting – 06:13
09 – I Won’t Forget – 05:21
10 – Fausto – 06:31



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13 août 2011 6 13 /08 /août /2011 11:00



Origine du Groupe : North America
Style : Soul
Sortie : 1969

From http://www.amazon.com

Nancy Dupree initially found her elementary school music students in Rochester, NY resistant to participation in class. Once she dropped the standard literature (which asked Mr. Bear to come and play) and began composing music that bore relevancy to contemporary society and to their very tuned-in and grownup interests, she found they immediately took to performing. Her songs addressed, for example, the contributions icons James Brown and Jelly Roll Morton (aka Docta King) made to society, the intangible assets each child naturally possessed (What do I have? Guts...heart...and soul) and fighting for civil rights (I want my freedom; I want it now). Not only did singing about meaningful issues in real musical styles reveal the immense talents the students had, but it gave all a critical lesson in empowerment.

Tracklist :
01. What do i have
02. James brown
03. Bag snatchin'
04. Docta king
05. Virgin mary
06. I want
07. Frankenstein
08. Cold
09. Jingle bells
10. Call baby jesus



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