U2 Still has a great album in them

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No it’s not. The whooo-hoooo’s from the Live Aid performance of Bad are out of this world. They put everything that followed to shame.

I don't think he has the control he did a few years later, his voice seems to be unnecessarily strained at times. It's a similar issue I have with the album version.

And to me, in R&H he looks like a man possessed by the content and emotion of the song; I had never seen anyone like that before at the time I first watched R&H. In Live Aid, there's definitely some of that but he's also a little distracted by the event/venue.

Adam's bass sure sounds great, though.
 
Boston 1 was hands down the best concert I’ve ever seen. And I saw Bruce play for 3.5 hours in a comparatively small (10,000) arena in Baltimore not long before Christmas where he did Born to Run in its entirely. That was fucking awesome. That was the best concert I’d ever seen. Until Boston 1.

Boston 1 was actual musical transcendence — the “tight narrative” worked, kept you in its grip, and then it exploded in ecstasy and I left my body several times. And they ended with “40” and hi. Shining the stage light on the crowd. I walked away thinking that if that was the last time I saw U2, I’d be fine with it.

I would put I/E & E/I as their best tour after Zoo TV. They really put together something great this decade that was extensively thought through and coherent. Like Zoo TV. Twice.


Looked back on that whole set from Boston 1 and that was phenomenal. I was in Toronto for both concerts that same week and just looked back at those sets and forgot how unbelievable they were as well. Agreed I/E and E/I were great tours, but picking a favorite tour is like picking a favorite child so that’s not going to happen. :). Very fond of every tour I’ve ever seen since Popmart and they were all special in their own way for sure.
 
Yeah that Boston 1 show was pretty damn good. The stage set up for those 2 tours made the GA experience great for pretty much everyone, and the shows were well crafted with just a couple of "low" points (Song For Someone, piano EBW).
The 2015 run in Boston was great, saw 3 of the 4 shows (1, 3 & 4), and each had something special, night 3 had Crystal Ballroom followed by AIWIY, 4 had Volcano and again had 40 as closer.
 
I don't think he has the control he did a few years later, his voice seems to be unnecessarily strained at times. It's a similar issue I have with the album version.

And to me, in R&H he looks like a man possessed by the content and emotion of the song; I had never seen anyone like that before at the time I first watched R&H. In Live Aid, there's definitely some of that but he's also a little distracted by the event/venue.

Adam's bass sure sounds great, though.

The Rattle and Hum version of "Bad" is what made me a U2 fan. I was into them before, but I liked them about the same as any other band who had a few songs I liked. But when I watched that live version of "Bad", something clicked for me. That was in 1995, and it's been that way ever since. U2 strike a different chord with me than any other band.
 
The 2015 run in Boston was great, saw 3 of the 4 shows (1, 3 & 4), and each had something special, night 3 had Crystal Ballroom followed by AIWIY, 4 had Volcano and again had 40 as closer.

Damn you.

I got AIWIY (first time that tour) and 40 the second night I went, but on my first, the E stage selections were Elevation and Stuck, and they closed with the default Still Haven't Found, a terrible choice.

They also did Electric Co. back to back instead of swapping for Out of Control the second night as planned, but I was fine with that since I've seen OOC before, and EC is one of my fav live songs by them.

Had I chosen Night 5 in Los Angeles, I would have heard Volcano and The Troubles, so I'm still pissed with my results.
 
they closed with the default Still Haven't Found, a terrible choice.

It was a fine closer on the lone 2015 show I saw. Though made slightly weird by the person next to me losing their mind that “they’ve already played this one! Why are they playing a song twice?! What a rip off”.

I’m fairly sure she must have confused it with WOWY. But Europe 2005 would also probably have some thoughts to share with her.
 
Looked back on that whole set from Boston 1 and that was phenomenal.


i'm looking at it now -- he was in fantastic voice, and we got everything. send in the clowns. MOS at the end of Bad, which he should do more often. even shine like stars :love:

no COVID. and Obama was still president!

i needed nothing more when it was finished.

maybe The Troubles. that would have been good. but, really, no complaints. although i guess "one" was subpar.

anyway ...
 
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Boston 1 was hands down the best concert I’ve ever seen. And I saw Bruce play for 3.5 hours in a comparatively small (10,000) arena in Baltimore not long before Christmas where he did Born to Run in its entirely. That was fucking awesome. That was the best concert I’d ever seen. Until Boston 1.

Boston 1 was actual musical transcendence — the “tight narrative” worked, kept you in its grip, and then it exploded in ecstasy and I left my body several times. And they ended with “40” and hi. Shining the stage light on the crowd. I walked away thinking that if that was the last time I saw U2, I’d be fine with it.

I would put I/E & E/I as their best tour after Zoo TV. They really put together something great this decade that was extensively thought through and coherent. Like Zoo TV. Twice.

I thoroughly agree with all of this. Especially the observation that the narrative "kept you in its grip and then exploded in ecstasy." YES! That was the feeling.......everything was cohesive, they did an amazing job of introducing the band and how growing up influenced them as people and artists. Everything that followed from there was much more understandable in context. The end of the very tight narrative, for me, was the conversation between old and young Bono in "Bullet."

"Explosion in ecstasy" is the perfect way to describe everything after "Bullet." I felt a form of the same feeling at all of the 5 I/E shows I attended. However, the feeling that night, Boston 1, was head and shoulders above the other nights. It was almost as if you could feel the roof lifting off the Garden from "Pride" on.

I'd say I/E & E/I was the best tour since ZOO TV as long as, in my opinion, you leave out the American leg of E/I. European leg, absolutely. Strong as hell and a nice, full Experience narrative once the Berlin songs got added. E/I was great in Boston, but if I had to pick a U2 show that wasn't on the level of the others I've seen, it was that one.

i'm looking at it now -- he was in fantastic voice, and we got everything. send in the clowns. MOS at the end of Bad, which he should do more often. even shine like stars :love:

no COVID. and Obama was still president!

i needed nothing more when it was finished.

maybe The Troubles. that would have been good. but, really, no complaints. although i guess "one" was subpar.

anyway ...

Damn, are you speaking my language!

It was the best I've ever heard Bono sound.

MOS/Bad was when I knew for sure that this night would never be forgotten.

WOWY, I distinctly remember being 6 rows straight back from the E Stage. The energy was building and building through Edge's outro. Bono felt it as he walked back to the main stage and I remember just taking it in- knowing I was witnessing something special as it was- then all of a sudden, Bono stopped, turned half way around and belted out "shine like stars."

That of course was the end of the main set, and I don't think I've EVER heard a crowd roar like that! I worked concert security for many years in Boston and I saw U2 up at the Montreal Hippodrome in 2011. Not even close for crowd noise.

One was definitely sub par, but it was more than made up for by an amazing COBL/Streets run that featured Bono telling off a few hecklers over his global health work. Then to have 40 at the end. An amazing version of it at that, with Dennis Sheehan's Red Rocks story told.

Though I am only 33, and no one can time travel, I feel like I experienced the closest thing I possibly could to seeing U2 in the 1980s that night.

Walking out, everyone had the same feeling, it seemed. A few were still carrying "40" all the way out of the building and into a beautiful summer night in Boston.

Obama was President. No COVID.

I was at a hopeful turning point in my own life.

WOW! What a world away from the times we find ourselves in now.

The more I think of this show, it was the recent peak of my life. LOL!
 
Looked back on that whole set from Boston 1 and that was phenomenal. I was in Toronto for both concerts that same week and just looked back at those sets and forgot how unbelievable they were as well. Agreed I/E and E/I were great tours, but picking a favorite tour is like picking a favorite child so that’s not going to happen. :). Very fond of every tour I’ve ever seen since Popmart and they were all special in their own way for sure.

Unreal sets. That is what, at the end of the day, I think, gives I/E the edge over every tour since Zoo TV. That plus the fact that there was this amazing energy of the band really believing in what they were doing and going for it. I think the energy was due to 3 things:

1) Emotional weight from the SOI/growing up themes. Incorporating that narrative even into the warhorses- the Bullet conversation, the observations on how far Ireland had come in attaining peace in Pride, the story of heroin in Dublin featuring in hometown performances of Bad.

2)The double blows of the Apple criticism and Bono's injury tainting the perception of an amazing album they truly believed in. They came out on tour swinging hard with something to prove- much like Elevation to my perception.

3)The hits were often stacked up together at the end of set 2/the encore, allowing for maximum energy to build. Nothing beats U2 flying through back to back anthems.

I mean, I thought Boston 1's run of Bullet-Pride-BD-Bad-WOWY-COBL-Streets-One-40 easily tied or maybe surpassed Zoo TV's Bullet-RTSS-Streets-Pride.

An aside, if U2 ever decides to just do a "U2 through the ages" tour, no new album to support, I really hope they keep a narrative for the first part of the show . For hits/staples, only throw in the traditional early hitters like I Will Follow, Mysterious Ways, Desire, Vertigo, UTEOTW, etc. Then for the last part of the show, do something like All I want is you-Bullet-Running to standstill-Sunday Bloody Sunday-New Year's Day-Bad-Streets-Pride- Still Haven't Found-With or without you////encore break/////COBL-BD-One-40.
 
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Unreal sets. That is what, at the end of the day, I think, gives I/E the edge over every tour since Zoo TV. That plus the fact that there was this amazing energy of the band really believing in what they were doing and going for it. I think the energy was due to 3 things:

1) Emotional weight from the SOI/growing up themes. Incorporating that narrative even into the warhorses- the Bullet conversation, the observations on how far Ireland had come in attaining peace in Pride, the story of heroin in Dublin featuring in hometown performances of Bad.

2)The double blows of the Apple criticism and Bono's injury tainting the perception of an amazing album they truly believed in. They came out on tour swinging hard with something to prove- much like Elevation to my perception.

3)The hits were often stacked up together at the end of set 2/the encore, allowing for maximum energy to build. Nothing beats U2 flying through back to back anthems.

I mean, I thought Boston 1's run of Bullet-Pride-BD-Bad-WOWY-COBL-Streets-One-40 easily tied or maybe surpassed Zoo TV's Bullet-RTSS-Streets-Pride.

An aside, if U2 ever decides to just do a "U2 through the ages" tour, no new album to support, I really hope they keep a narrative for the first part of the show . For hits/staples, only throw in the traditional early hitters like I Will Follow, Mysterious Ways, Desire, Vertigo, UTEOTW, etc. Then for the last part of the show, do something like All I want is you-Bullet-Running to standstill-Sunday Bloody Sunday-New Year's Day-Bad-Streets-Pride- Still Haven't Found-With or without you////encore break/////COBL-BD-One-40.

I like and agree with this post. U2 are a great band in my book. They are legends. I know no band lives forever, but their music will stand the test of time. And they have wonderful memories of all those shows. Bono obviously loves what he does. I think a number of their albums can never be repeated, but they can take different stances on the music they record, to mix it up and appeal to a younger audience. But even U2 will admit, they'll never repeat the success of The Joshua Tree: even though it was the 80's it came out. Their music has evolved though and will change to add interest.
 
I dunno, this band does seem notoriously difficult to find that sweet spot. I'm sure for a producer it's got to be a nightmare to try to get them from beyond that initial moment of inspiration (Elvis Presley and America, Womanfish, Winter) but not to the point where it's overcooked and overproduced (Stand Up Comedy, You're the Best Thing...). It seems lately they like the "songs being crafted" approach that loses some of looseness and exploration of their earlier songs.

Maybe what they need is to have an album with just one "sound" to it, like I dunno... R&B. Something akin to Black Panthers, and avoid the buffet style albums where it feels like they're just checking things off a list ("big dumb rawk song, check. Big emotional ballad a la 'One', check. Song about wife, check. Insipid song about 'love', check").

I don't think they'll have another great album... but definitely another great song. If they can still write something like The Little Things... there's still hope.
 
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I don't think he has the control he did a few years later, his voice seems to be unnecessarily strained at times. It's a similar issue I have with the album version.



And to me, in R&H he looks like a man possessed by the content and emotion of the song; I had never seen anyone like that before at the time I first watched R&H. In Live Aid, there's definitely some of that but he's also a little distracted by the event/venue.



Adam's bass sure sounds great, though.



What sets the R&H version of Bad apart from the rest, which puts it up there as one of the best recorded live performances for me,is the initial restraint he has when singing the verses. It sounds like he is singing in a lower tone I guess. Then towards the end during the fade-away part where he would typically stop singing and walk the stage or whatever, he instead sings/shouts fade-away over and over again and tosses in a few passionate “no!”s before belting out a powerful “I’m Wide awake”.
 
What sets the R&H version of Bad apart from the rest, which puts it up there as one of the best recorded live performances for me,is the initial restraint he has when singing the verses. It sounds like he is singing in a lower tone I guess. Then towards the end during the fade-away part where he would typically stop singing and walk the stage or whatever, he instead sings/shouts fade-away over and over again and tosses in a few passionate “no!”s before belting out a powerful “I’m Wide awake”.
I don't care for that performance, either, mainly due to the poor "Ooh! Ooh!"'s that are failed falsetto attempts by a hoarse Bono.

As "Bad" snippets go, the 'Sympathy For The Devil' one I found a bit over the top, but then I find almost everything U2 does to be over the top.

But I think it's hard for me to separate the audio quality of that performance from the video of it in the film. It is probably the most genuflective images of Bono in the entire movie, as we see his sweaty armpits about 46 times, and then it suddenly goes into that cheesy slow-motion sequence that looks like it's from the 1960s not the late 1980s.
 
Not to mention the very weird look of the braces / suspenders with no shirt. In general though, the black and white R&H footage is some of the greatest and most beautiful of any artist I’ve ever seen. It is perfect. Seems dopey that the entire show is sitting around, awaiting release.
 
What sets the R&H version of Bad apart from the rest, which puts it up there as one of the best recorded live performances for me,is the initial restraint he has when singing the verses. It sounds like he is singing in a lower tone I guess. Then towards the end during the fade-away part where he would typically stop singing and walk the stage or whatever, he instead sings/shouts fade-away over and over again and tosses in a few passionate “no!”s before belting out a powerful “I’m Wide awake”.

:love:

Not to mention the very weird look of the braces / suspenders with no shirt. In general though, the black and white R&H footage is some of the greatest and most beautiful of any artist I’ve ever seen. It is perfect. Seems dopey that the entire show is sitting around, awaiting release.

Haha, the shirtless suspenders! Which still isn't as bad as Bono's haircut during the TUF/Live Aid era...


#ReleaseTheJoanouCut

:applaud:
 
"Maybe what they need is to have an album with just one "sound" to it, like I dunno... R&B. Something akin to Black Panthers, and avoid the buffet style albums where it feels like they're just checking things off a list ("big dumb rawk song, check. Big emotional ballad a la 'One', check. Song about wife, check. Insipid song about 'love', check")."

I like this idea, dismantlemyfly. Personally, I'd like to see U2 release an album of straight-up rockers. I've been listening to Rush's Counterparts lately, and it would be amazing to see U2 do something like that to close out their career.
 
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imo, shirtless suspenders count as a shirt. At least that's what I told the host at Olive Garden a few months back when they tried to enforce the "No Shirt, No Shoes, No Service" policy on me.
 
What’s not to like about that. Amazing. Thanks for the link.

To have shows of this quality sitting in a vault somewhere is borderline criminal. Is it that because they don’t like R&H that they dezone even these performances from the JT tour? With the JT30 tour, surely not?
 
They're perfectionists. They can't let go of anything. That's why they overcook so many things.

It's tough for me to really rip them apart for it too. Because in certain aspects of my life, I'm the same way (and the complete opposite in others). I truly think they've been collectively in the mode where no matter what, they're never going to be happy with what they release, even if they say otherwise in interviews at release time. It's a really tough thing to control mentally because they never get that "high" off of feeling like they released the perfect song or album, and then the constant tweaking makes them go down an ugly rabbit hole.

Stand Up Comedy is the perfect example of this. It started out as a song called "For Your Love' and there was a real tough to hear clip that surfaced of it, but it really seemed like a simple but banger of a song with a real catchy chorus. Could have been a good single and one of the better songs on NLOTH. Instead, the band cooked and cooked and cooked and in the end, scrapped the best parts of the song and not only delayed the album a couple months to finish this track, but did so in ultimately releasing the worst album track of the band's career.
 
A bit of history

Q Magazine Previews New U2 Record

December 26, 2008

December 26, 2008

Editors’ Note: All props go to Q Magazine for their upcoming preview of the new record. If you read this, it is for informational purposes only, and you need to go buy the magazine when it is released. Please visit http://www.qthemusic.com/

“U2 will soon return with their first album since 2004’s How To Dismantle An Atomic bomb. First stop on the promotional trail is of course a world exclusive interview and photo shoot with Q. The band graces the cover for the forthcoming edition, on the shelves on December 31…” Photos by Gavin Bond.

The 11 tracks to date are as follows:

Stand Up
Rousing groove-based rocker with shades of Led Zep and Cream. Edge mentions that they’re trying to keep Stand Up in a rough state and not overproduce it by putting it through Pro-Tools which cleans up imperfections.

Edge - “Stand Up is just a great gutsy performance from everyone. Stand Up is a swaggering rock and roll song with a real groove………there’s some dirt in what your playing……………Yes, its totally unreasonable. If you’re going to do a big guitar song I think you need to push it all the way. It started with a Moroccan rhythm and gone rock n roll.”

Magnificent
Slow building anthem with the ambience of the Unforgettable Fire and laced with the wide eyed wonder of U2’s earlier albums. Edge here is at his most dynamic. Features the line:”Only love can reset your mind”.

Get Your Boots On
Formerly titled Sexy Boots this demented electro grunge employs a proto-rockn’roll riff, but propelled into the future, with a hip-hop twist in the middle. Feature bono in flirtacious, self depreciating mode: “I dont wanna talk about wars between nations”.

Momement of Surrender
Georgiously melodic 7 minute song that already has the air of the U2 classic about it, with lyrics about dark stars and existential crises:”I did not notice the passers-by/And they did not notice me”. Recorded in one take. This album’s One.

Unknown Caller
Opens with the sound of birdsong recorded live in Fez. A middle eastern flavoured percussion loop drives this tale about a man”at the end of his rope” whose phone bizarrely begins texting him random instructions: “Reboot yourself”,”Password, enter here”,”You’re free to go”.
Dallas Schoo describes the song as “one of Edge’s major solos in his life - you wont hear better than that on any other song”.

No Line on the Horizon
Began life as a slow paced Eno-esque ambient treatment, before being dramatically reworked in the Olympic Sessions into an abrasive punk-rock tune akin to Vertigo, with its “No! Line!” chorus chant.

Bono - “It’s the Buzzcocks meets Bow Wow Wow”, reckons Bono.

Crazy Tonight
Upbeat pop track with distinct echoes of 60’s era Phil Spector, particularly the moment when its chorus disappears into a wash of reverb. Centres around the line: “I’ll go crazy If I dont go crazy tonight”,

Bono - “Which sounds like a T=shirt slogan to me” notes the singer. Brian Eno said that Crazy Tonight was in a bad way which surprised Larry.

Every Breaking Wave
Lillywhite cues up the track, a slow burning track called Every Breaking Wave that gradually builds to a climax brimming with passion and intensity. Bono begins to sing rocking forward and backwards on his studio chair…………he performs a note perfect vocal that employs the movement of the ocean as a
metaphor for the human struggle, before building to the plaintive line “I dont know if I’m that strong”. Two takes and 10 minutes later its done. Key line “Every Sailor knows that the Sea/Is a friend made enemy”

Breathe
Arabic cello gives way to joyful chorus. Brian Eno says this is U2’s best ever song. It’s 8pm and Eno, Bono and Will.i.am are on Olympic Studio 1 writing a cello part for a song called Breathe that U2 - a touch ambitiously - are only beginning to record in ths final fortnight, never mind mix………….the singer belts out a rollicking vocal featuring door-to-door salesman, a cockatoo and a chorus that begins “Step out into the street…….sing your heart out”.

Winter
6 minute ballad. Echoes of Simon & Garfunkel in this poignant, acoustic string laden ballad about a soldier in the snow of Afghanistan. Will appear in the new film ‘Brothers’ starring Tobey Maguire about the emotional fallout of the war. Edge on backing vocals with Bono for Winter.


Cedars of Lebanon
Daniel lanois instigated closer that finds Bono imagining himself as a weary, lovelorn war correspondent “squeezing complicated lives into a simple headline”. Ends with the possibly telling line “Choose your enemies carefully cos they will define you”

Edge interview snippets -

- “I want people to listen to it as opposed to just buying it. I want this to be an album people go back to, and really get into, in-depth. Like all the records I love………..I think we’ve learned a few things over the years. So I think it could hopefully be a bringing to bear all of those eureka moments from the past. And I think it could be our best album.”

***On Beach Clips - Edge heard them and Bono was cool with them being recorded, the others and the record company wasn’t too happy. He blames it on the vino vérité!!!

Bono interview snippets -

- Bono on Tour plans. “Well, I can’t say too much because the LiveNation people would die. But think its fair to say that what we’ve planned for outdoors has never been done before and that we’ve been working on it for a long time. It’s a feat of engineering genius.”

- Bono talks about a song called Tripoli which is a guy on a motorcycle, a Moraccan french cop, whos going AWOL. He drives though France and Spain down to this village outside of Cadiz where you can actually see the fires of Africa burning. After the interview Bono drove Paul Rees (Q Editor) around Shepards Bush and played two other songs not named.

Adam interview snippets -

- Q asks - Did the others have a good album? Adam - “I think this has been very, very hard. It’s been hard on Edge, cos its taken a lot of his time. And Bono because he had to find new ways of expressing himself. Some of the lyrics are Bono writing in the third person, which is not something he has been very successful at before. Larry found it difficult as well. I had a really good record. And I dont say that very often. I normally have shit record where I really struggle.”

- “From the first session Larry was performing on an electronic drum kit. Normally Larry drums so hard, it’s very hard to spend hours working up stuff when you’ve got all this bang and clatter. But the electronic kit made him play in a certain way. So the music came from a distant place.” Later Larry said this was the 1st time Eno sat down and went through building the drums.

Larry interview snippets -

- “Is it better? I think its some of the best music we’ve ever written. That’s not the party line, I really believe that. Have we brought it to its ultimate and most appropriate conclusion? I dont know…its not quite what people would expect a U2 experimental thing would be. I mean, if you think of Zooropa or Passengers, this is not that. This has got a lot of weight.”

Key Larry interview notes:
- He wants to get another album out sooner than later after this release as thye’ve loads of material.
- They got on well with Rick Rubin but just clashed as they dont like to just go in and complete songs, they need to improvise.
- He says he’s careful over bono-isms. I think they’ve gagged Bono a bit more on this album!
- He holds no punches and wont tie the party line. He calls Tony Blair a war criminal and is uneasy seeing Bono mixing with him.
- Brian Eno said that Crazy Tonight was in a bad way which surprised Larry.
- He finishes his interview as one track only has Brain Eno tapping his chest and has no drum part.
 
Stand Up
Rousing groove-based rocker with shades of Led Zep and Cream. Edge mentions that they’re trying to keep Stand Up in a rough state and not overproduce it by putting it through Pro-Tools which cleans up imperfections.

Woof.

I can't say for certain that a different arrangement for SUC would make me like it any better (read: at ALL)... but I'd like to hear this rough early version, because maybe it doesn't sound like a fuckin' Jason Mraz song.
 
“putting it through Pro-Tools which cleans up imperfections.” is one of the stupidest things I’ve read about music production in awhile. Pro-Tools doesn’t clean up imperfections. It’s a DAW just like any of the others, and only cleans up imperfections if you specifically decide to clean up imperfections.
 
Unknown Caller
Opens with the sound of birdsong recorded live in Fez. A middle eastern flavoured percussion loop drives this tale


Definitely made a mistake removing that. And Edge says above that Stand Up also had a Moroccan rhythm originally, I can't imagine it making the song worse compared to the trash that emerged.

No Line on the Horizon
Began life as a slow paced Eno-esque ambient treatment, before being dramatically reworked in the Olympic Sessions into an abrasive punk-rock tune akin to Vertigo, with its “No! Line!” chorus chant.


I'm still pissed they didn't keep that chant from end of the alt. version in the one on the album.
 
So much to take from that original q article.

They should release the demos of NLOTH pre will I am. The album was sadly Iovined in Honour of the altar of mediocrity for which Iovine has aspired to. Several songs seem to have been castrated along the way.
 
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