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DISCID=d70cc311
DTITLE=Johnny Cash / At San Quentin - Legacy Edition (Disc 1)
DYEAR=2006
DGENRE=Country
TTITLE0=Carl Perkins / Blue Suede Shoes
TTITLE1=The Statler Brothers / Flowers On The Wall
TTITLE2=The Carter Family / The Last Thing On My Mind
TTITLE3=The Carter Family / June Carter Cash Talks To The Audience
TTITLE4=The Carter Family / Wildwood Flower
TTITLE5=Johnny Cash / Big River
TTITLE6=Johnny Cash / I Still Miss Someone
TTITLE7=Johnny Cash / Wreck Of The Old 97
TTITLE8=Johnny Cash / I Walk The Line
TTITLE9=Johnny Cash / Medley: The Long Black Veil - Give My Love To Ro
TTITLE9=se
TTITLE10=Johnny Cash / Folsom Prison Blues
TTITLE11=Johnny Cash / Orange Blossom Special
TTITLE12=Johnny Cash & June Carter Cash / Jackson
TTITLE13=Johnny Cash & June Carter Cash / Darlin' Companion
TTITLE14=The Carter Family / Break My Mind
TTITLE15=Johnny Cash / I Don't Know Where I'm Bound
TTITLE16=Johnny Cash / Starkville City Jail
EXTD=At San Quentin (Legacy Edition) - Disc 1 of 2\n2006 Columbia/Lega
EXTD=cy\n\nOriginaly Recorded live at San Quentin Prison, San Quentin,
EXTD= California on February 24, 1969. \nLP Originally Released 1969\n
EXTD=At Folsom Prison And San Quentin CD Edition Released December 19,
EXTD= 1989\nAt San Quentin (The Complete 1969 Concert) CD Released Jul
EXTD=y 4, 2000 \nLegacy 2CD+DVD Edition Released November 14, 2006\n\n
EXTD=AMG EXPERT REVIEW: (2CD+DVD Edition) At San Quentin was released 
EXTD=as a single-disc expanded edition in 2000 bearing the subtitle "T
EXTD=he Complete Concert," so the appearance of the triple-disc Legacy
EXTD= Edition of the album a mere six years later brings up one simple
EXTD= question: if the 2000 edition was complete at a single disc, how
EXTD= is this set more complete? The answer is both complicated and si
EXTD=mple. First, one disc of this three-disc set is a DVD containing 
EXTD=the hour-long documentary about this concert shot for Granada TV 
EXTD=in the U.K. and originally aired in 1969. Second, the 2000 CD mor
EXTD=e or less contained the entirety of Johnny Cash's portion of the 
EXTD=concert, but this contains the entire concert, which means that i
EXTD=t has performances from the other three acts on the tour: Carl Pe
EXTD=rkins, the Statler Brothers, and the Carter Family. This, along w
EXTD=ith some extended audience chatter, accounts for the great majori
EXTD=ty of the previously unreleased material on these two discs: nine
EXTD= of the 13 previously unreleased cuts fall into this category, le
EXTD=aving only four Johnny Cash tracks that didn't show up on the pre
EXTD=vious reissue. All four songs are at the same level of excellence
EXTD= as the previously released At San Quentin music: there's a seaml
EXTD=ess medley of "The Long Black Veil" and "Give My Love to Rose," a
EXTD= rampaging "Orange Blossom Special," an excellent duet between Jo
EXTD=hnny and June Carter on "Jackson," and the very funny, very quick
EXTD= bawdy "Blistered." But Cash wasn't the only act on fire at San Q
EXTD=uentin that night; his touring partners all turned in great momen
EXTD=ts, as they functioned as opening acts, intermissions, and suppor
EXTD=t for Cash. The Carter Family sings both traditional ("Wildwood F
EXTD=lower") and new ("Break My Mind") tunes, the Statler Brothers ser
EXTD=ve up their hit "Flowers on the Wall" and Glen Campbell's "Less o
EXTD=f Me" with equal aplomb, and Carl Perkins is in prime form, teari
EXTD=ng up "Restless" and the instrumental "The Outside Looking In" wi
EXTD=th some wild, ragged guitar.It's all great music, but in this inc
EXTD=arnation, At San Quentin doesn't have the pace of a record album,
EXTD= the way that both the original ten-track 1969 album and the 2000
EXTD= CD did. With all this additional material -- including a bunch o
EXTD=f stage patter -- this version of At San Quentin does feel like a
EXTD= re-creation of the original concert, so it ebbs and flows in its
EXTD= momentum as musicians circle on and off the stage, and it isn't 
EXTD=quite as grabbing as the judiciously edited albums, which cut out
EXTD= the filler this CD purposely puts back. It makes for an interest
EXTD=ing historical document; it's easy to forget that Cash toured wit
EXTD=h this kind of revue and it's a bit of a revelation to hear him a
EXTD=s a ringmaster to this revolving-door country music carnival, and
EXTD= his offhand, sometimes off-color jokes about the water, the pris
EXTD=on, and his backstage stash of pills are all welcome reminders of
EXTD= his sense of humor, something that can be overshadowed by the my
EXTD=thos of the Man in Black. But this At San Quentin, like the two p
EXTD=revious At San Quentin albums, illustrates just what a complex, d
EXTD=ynamic personality Johnny Cash was, while being a hell of a lot o
EXTD=f fun. The 2000 CD is still the choice for those who just want th
EXTD=e best of Cash himself, but for listeners who want to immerse the
EXTD=mselves within the total experience of the concert -- from relivi
EXTD=ng it via the CDs or through the documentary -- this is certainly
EXTD= worth buying again. -- Stephen Thomas Erlewine\n\nAmazon.com Edi
EXTD=torial Review\nIn 2000, Sony Legacy issued an expanded CD version
EXTD= of this landmark 1969 live Cash LP, which included "A Boy Named 
EXTD=Sue," the Shel Silverstein novelty number that became one of Cash
EXTD='s biggest hits. The original LP contained ten songs from Cash's 
EXTD=show, which actually ran far longer; the CD release added eight a
EXTD=dditional Cash performances. That, of course, happened before his
EXTD= death and the unexpected success of the Walk the Line. Now, this
EXTD= 2-CD set presents the entire concert, start to finish. Still gri
EXTD=ppingly intense after 37 years, it not only assembles all Cash's 
EXTD=performances, but those by the other members of his stage show: J
EXTD=une Carter, her mother and sisters (performing as the Carter Fami
EXTD=ly), Cash's buddy Carl Perkins of "Blue Suede Shoes" (and "Daddy 
EXTD=Sang Bass") fame, and the Statler Brothers, known then for their 
EXTD=1965 hit "Flowers on the Wall." Cash's performances remain beyond
EXTD= criticism, but Perkins, the Carters, and the Statlers smoke near
EXTD=ly as much. Among the high points is their unreleased, spine-chil
EXTD=ling gospel medley of "He Turned the Water into Wine," "Daddy San
EXTD=g Bass," and "The Old Account." The accompanying DVD comprises a 
EXTD=documentary shot at the show by Britain's Granada TV, in which th
EXTD=e Cash performances act mainly as a leitmotif to its focus on San
EXTD= Quentin and its inmates. --Rich Kienzle \n\nAMAZON.COM CUSTOMER 
EXTD=REVIEW\nI had doubts, but this is superb., November 22, 2006\nRev
EXTD=iewer: Dan Plankton (Somerville, MA)\nI'm a longtime Cash fan who
EXTD= has owned every edition of this album. I held off on this one, p
EXTD=erhaps in part due to resentment at Sony for releasing the falsel
EXTD=y advertised "Complete San Quentin Concert" only six years ago. B
EXTD=ut after watching the DVD of the original Granada TV (UK) program
EXTD=, I recommend this set without reservation. Despite some comments
EXTD= I read, the DVD has plenty of performance footage (it's 54 minut
EXTD=es long and about two-thirds onstage footage and one-third San Qu
EXTD=entin documentary, and that one-third is also quite interesting t
EXTD=o watch). You see the complete performance of A Boy Named Sue and
EXTD= several songs that weren't on the original album and CD issues, 
EXTD=like Orange Blossom Special (great to watch Johnny playing the "h
EXTD=armonic-i") and Jackson. It appears that the video and sound have
EXTD= not been enhanced at all--there's lots of grain, and the mono so
EXTD=und distorted slightly at high volume. I got used to it and still
EXTD= thoroughly enjoyed viewing it. \n\nOne interesting note: Watchin
EXTD=g the video, it appears that June Carter's vocal on Darling Compa
EXTD=nion must have been overdubbed in-studio for the original album. 
EXTD=Her vocal is different in the live footage -- and still good, so 
EXTD=I don't know why they overdubbed. I didn't spot any other differe
EXTD=nces between the live footage and the album recording. \n\nMy one
EXTD= minor complaint: At this price Sony could have included a disc o
EXTD=f the original 10-song "Johnny Cash at San Quentin" album, for hi
EXTD=storical interest and for times when you want to listen to a clas
EXTD=sic 40-minute Cash album instead of a full 100-minute concert.\n\n
EXTD=\nAMAZON.COM CUSTOMER REVIEW\nFinally, the whole San Quentin show
EXTD=!, November 15, 2006\nReviewer: redtunictroll (Earth, USA)\nThe 2
EXTD=-CD Legacy Edition releases have taken a number of approaches to 
EXTD=expanding classic releases, but none has been so holistically inv
EXTD=iting as this deluxe reissue of Cash's classic live album. Columb
EXTD=ia's 2000 CD reissue (subtitled "The Complete 1969 Concert") adde
EXTD=d eight Cash performances that had been shaved off the original v
EXTD=inyl release, but left four more sitting in the vault. This lates
EXTD=t edition not only restores the four missing Cash performances, b
EXTD=ut adds the solo performances from Cash's troupe - Carl Perkins, 
EXTD=The Statler Brothers, and The Carter Family - presenting the enti
EXTD=re show from start to finish. \n\nThe restored material serves se
EXTD=veral purposes. First, the missing Cash tracks (both solo and wit
EXTD=h wife June) are as good as those originally released. Second, ea
EXTD=ch of the three supporting acts was strong enough to have topped 
EXTD=the bill, and so their individual tracks are welcome on purely mu
EXTD=sical grounds. Finally, presenting it all in sequence gives liste
EXTD=ners the you-are-there experience, starting with the warm-up, Cas
EXTD=h's arrival on stage, and the choreography with which the four ac
EXTD=ts intertwine their histories and catalogs. \n\nAs you play throu
EXTD=gh the two discs it's clear that Cash was not only a gifted singe
EXTD=r, songwriter and performer, but a talented showman, skillfully w
EXTD=eaving himself into the exchanges with his troupe. Though he's cl
EXTD=early the focal point, he gives his fellow performers plenty of l
EXTD=imelight. He sings seven songs on his own, a pair of duets with J
EXTD=une, and then trades solo spots with the Carters, Perkins and the
EXTD= Statlers. Cash joins the Carters for June's "Ring of Fire," and 
EXTD=brings the Statlers and Perkins up for a trio of songs. The show 
EXTD=closes with a rousing medley of "Folsom Prison Blues" "I Walk the
EXTD= Line" "Ring of Fire" and "The Rebel - Johnny Yuma." \n\nAs on th
EXTD=e 2000 reissue, many of the concert's best moments are Cash's dia
EXTD=log with the audience. Though not a prisoner, he clearly identifi
EXTD=es with their confinement and rebel spirit, noting that the Briti
EXTD=sh film crew had tried to influence his song list, and he was hav
EXTD=ing none of it. The comfort with which he holds the stage is refl
EXTD=ected in the ease through which his songs and adlibs tumble forth
EXTD=. Surrounded by friends, family and his longtime backing band (W.
EXTD=S. Holland, Marshall Grant and then-new guitarist Bob Wooten), Ca
EXTD=sh's performance is as natural as his breathing. \n\nNew to this 
EXTD=release are tracks from Cash ("The Long Black Veil/Give My Love t
EXTD=o Rose," "Orange Blossom Special," "Blistered," and a duet with J
EXTD=une Carter on "Jackson"), Carl Perkins ("Blue Suede Shoes," his t
EXTD=hen-current single, "Restless" and the instrumental "The Outside 
EXTD=Looking In"), The Statler Brothers ("Flowers on the Wall" and a c
EXTD=over of Glen Campbell's "Less of Me") and The Carter Family ("The
EXTD= Last Thing on My Mind" "Wildwood Flower" and "Break My Mind"), a
EXTD=ll superb. \n\nThe CDs are augmented by a DVD that includes an ho
EXTD=ur-long 1969 documentary produced in the UK by Granada Television
EXTD=. The transfer's a bit dull (and the audio is mono), with some sc
EXTD=ratches and jumps, but overall it's quite watchable. The program 
EXTD=intercuts performance footage with prisoner and guard interviews.
EXTD= And though this is more a documentary about San Quentin and pris
EXTD=on life than a concert film, it still provides visual evidence of
EXTD= Cash's comfort with his captive audience. Not only does he seem 
EXTD=at ease, but he shares the feeling with his fellow performers. Ju
EXTD=ne Carter - perhaps the only woman in San Quentin at that moment 
EXTD=- seems surprisingly happy (though perhaps not completely relaxed
EXTD=) during their duet performances. \n\nThe original edited release
EXTD= of this concert still provides a wonderfully visceral anthology 
EXTD=of Johnny Cash, but this documentary form of the original adds an
EXTD=other dimension. The extra performances are all worth hearing, an
EXTD=d the restoration of the show's original pacing and interplay bet
EXTD=ween the acts are critical to reproducing the show's original emo
EXTD=tional tenor. This is a true essential among the vast riches of t
EXTD=he Cash catalog. [2006 redtunictroll at hotmail dot com]\n\n\nOR
EXTD=IGINAL 1CD EDITION NOTES\nAMG EXPERT REVIEW: With all due respect
EXTD= to Cash's breakthrough Sun recordings, this 1969 live album may 
EXTD=be his finest moment. Recorded two days before his 37th birthday,
EXTD= this captures Cash and company in loose and unedited form from t
EXTD=he original issue, heavily fortified with the addition of nine pr
EXTD=eviously unreleased tracks from the same concert. With a best sel
EXTD=ling album and hit TV show under his belt, Cash dispenses charism
EXTD=a galore on this set, intermingling with the prisoners in an almo
EXTD=st conversational manner. With the addition of the previously unr
EXTD=eleased material, the concert (which was originally televised for
EXTD= the BBC) has a much better flow than the original material and t
EXTD=he whole shebang finds Cash at the absolute top of his game. Afte
EXTD=r you collect up all his important Sun recordings, this one shoul
EXTD=d be your next stop. -- Cub Koda\n\nAmazon.com Editorial Reviews\n
EXTD=While Johnny Cash at Folsom Prison, the 1968 album that made Cash
EXTD= a household word, spent only two weeks at No. 1, this 1969 follo
EXTD=w-up topped the charts for 20 weeks. As with Folsom, the San Quen
EXTD=tin LP had to be edited due to space limitations. Now, 31 years a
EXTD=fter the fact, the show can at last be heard in true perspective.
EXTD= All the original performances hold up, including the album's hit
EXTD= single: Shel Silverstein's "A Boy Named Sue," presented unbleepe
EXTD=d for the first time. Equally impressive are the eight restored t
EXTD=racks and unexpurgated between-song patter. Cash's opening rendit
EXTD=ions of "Big River" and "I Still Miss Someone" are bracing. So ar
EXTD=e four closing songs teaming Cash with his complete performing tr
EXTD=oupe (the Carter Family, Carl Perkins, and the Statler Brothers).
EXTD= Their gospel performances ("He Turned the Water into Wine," "The
EXTD= Old Account," and an early version of "Daddy Sang Bass") are ele
EXTD=ctrifying, as is a concluding medley featuring everyone. Unstoppa
EXTD=ble today even by illness, Cash is presented here at his roaring,
EXTD= primal best. --Rich Kienzle \n\nAmazon.com Customer Review\nThe 
EXTD=Rough-Cut King of Country Music at His Best!, August 14, 2000 \n\n
EXTD=Pay no attention to whatever critic asserted that this album shou
EXTD=ld have "remained in solitary." The LP version was my first Johnn
EXTD=y Cash album; I've since collected them all, but this new CD take
EXTD=s first place. What a show!\n\nCash purists who've seen the Grana
EXTD=da TV special made in conjunction with the album know that this C
EXTD=D is neither "complete" nor "uncensored." At least two songs are 
EXTD=missing: "Orange Blossom Special" and "Jackson." (At three differ
EXTD=ent places on the disc you can hear convicts calling out the latt
EXTD=er title; rest assured Cash and his wife did oblige them.) An off
EXTD=-color remark Cash made to a TV cameraman at the close of "I Walk
EXTD= the Line" has been trimmed. Also, unlike last year's "At Folsom 
EXTD=Prison" reissue, the selections here are not in original running 
EXTD=order. But knowing this diminishes neither the importance of what
EXTD= IS here, nor the CD's enjoyment factor.\n\nThis album marked the
EXTD= debut of lead guitarist Bob Wootten, who'd replaced the late Lut
EXTD=her Perkins, originator of Cash's "boom-chicka-boom" backing. Woo
EXTD=tten was never hotter than during his first year with the troupe,
EXTD= and his double-timed licks add to the sense of wild urgency that
EXTD= permeates the concert. And vintage rock-n-roll fans need to get 
EXTD=this album if only to hear Carl Perkins. In addition to his licks
EXTD= on John Sebastian's "Darling Companion" and the classic "A Boy N
EXTD=amed Sue," Perkins takes a verse of "The Old Account" and display
EXTD=s the kind of southern-black vocal soul that shows up Elvis for t
EXTD=he pretender he was. Eric Clapton, among others, knew that Perkin
EXTD=s was the real deal; the one verse here proves it.\n\nBut the mai
EXTD=n event is Cash. Rough-hewn, raw, unencumbered by neither the dru
EXTD=gs of earlier years nor the sense of religious responsibility to 
EXTD=come, this is the Man in Black's finest hour of the most successf
EXTD=ul year of his career. It is THE Cash album to own.\n\nCD Now Rev
EXTD=iew\nBraced by the mind-boggling success of 1968's At Folsom Pris
EXTD=on (a double-platinum live country album? And from a prison?), 37
EXTD=-year-old Johnny Cash tempted fate by taking his sprawling countr
EXTD=y/gospel revue into yet another California big house just over 13
EXTD= months later. \n\nIf that move looks like a marketing no-brainer
EXTD= from today's vantage point, keep in mind that, in the short time
EXTD= since the At Folsom Prison taping, the Viet Cong Tet offensive h
EXTD=ad shattered the myth of U.S. military invincibility, Martin Luth
EXTD=er King Jr. and Bobby Kennedy had been assassinated, many of the 
EXTD=nation's urban centers had erupted in violence, and -- oh, by the
EXTD= way -- news of prison riots was almost daily fare. \n\nSo, with 
EXTD=Nixon having moved into the White House just weeks before on a pl
EXTD=atform of law and order and a quick end to the war in Vietnam (re
EXTD=ally), the stage Cash took at San Quentin was draped with a figur
EXTD=ative black veil worlds away from Folsom's "Aw, shucks, I done it
EXTD= and I got caught" bad-boy camaraderie. \n\nThough not overtly ap
EXTD=parent in the set list, there is a subtext of anger and menace be
EXTD=tween and beneath the music of At San Quentin, which is palpable 
EXTD=and, oddly enough, energizing. Recollections by Johnny and June C
EXTD=arter Cash help to explain the raw-nerve context (this show was t
EXTD=he source of the Man in Black's infamous bird-flipping photo), as
EXTD= do Marty Stuart's excellent liner notes and the interview with S
EXTD=an Quentin alumnus, Merle Haggard. \n\nThis collected insight sud
EXTD=denly makes sense of the heretofore inexplicable reprise of "San 
EXTD=Quentin," and illuminates the desperate edge of the soaring "(The
EXTD=re'll Be) Peace in the Valley." \n\nAs with At Folsom Prison, Leg
EXTD=acy's well-mounted reissue of At San Quentin boasts excellent sou
EXTD=nd reproduction, removes the ridiculous bleeps (in case you've al
EXTD=ways wondered what the daddy in "A Boy Named Sue" was a son of), 
EXTD=and restores the hour-long performance to its complete and proper
EXTD= order. \n\nAdding a full eight cuts to the original release's 10
EXTD= (with the unreleased final six tracks escalating to a driven, te
EXTD=nt-revival fervor rarely approached on record), this version of A
EXTD=t San Quentin obliterates the previously released "snapshot" edit
EXTD=ion. As fine as its first incarnation was, until you've heard the
EXTD= full boat, you really haven't heard it at all. -- Jim Musser - C
EXTD=DNOW Contributing Writer\n\nVH1 Online Review\nBack in the '60s, 
EXTD=while Joan Baez, the Farinas, and Pete Seeger were playing protes
EXTD=t ditties to liberal audiences, Johnny Cash was bringing the word
EXTD= - cold and hard - to maximum security prisons. His prison concer
EXTD=ts, preserved on a couple of seminal recordings, testify to a soc
EXTD=ial engagement more difficult to classify and certainly more risk
EXTD=y than preaching to the converted at the Newport Folk Festival. W
EXTD=hat's more, these concerts kick the proverbial ass. \nCash perfor
EXTD=med at San Quentin as early as 1958; Merle Haggard was in the aud
EXTD=ience and says it was the turning point in his life. More than 10
EXTD= years later, Cash, who was a seasoned prison entertainer by then
EXTD=, still managed to convey a sense of rawness and risk on 1969's J
EXTD=ohnny Cash at San Quentin. Even when the inmates roar with enthus
EXTD=iasm, you sense how easily ecstatic approval could turn threateni
EXTD=ng. And the stakes are higher when Cash's wife, June, and her sis
EXTD=ters and mother (of the legendary Carter Family) are up there on 
EXTD=stage, too, lending their spooky, nasal harmonies to Cash's grave
EXTD=lly growl - a little heavenly band thrown before hell's inmates.\n
EXTD=\nThe Man in Black plays to his audience, singing (twice) "San Qu
EXTD=entin," a bitter, hymn-like complaint written from the point of v
EXTD=iew of one of his incarcerated audience members. The inflammatory
EXTD= couplets ("San Quentin I hate every inch of you/ You've cut me a
EXTD=nd you've scarred me through and through") ignite the kind of upr
EXTD=oar you'd expect. "Folsom Prison Blues" (Click here to listen) ge
EXTD=ts an especially loose and bumptious treatment, with a fuzzy guit
EXTD=ar solo that would make Neil Young jealous.\n\nThe remastered and
EXTD= complete version of the concert reveals Cash's growing commitmen
EXTD=t to gospel (and, by implication, to God) during this period of h
EXTD=is career. Toward the concert's close, the mantra-like "He Turned
EXTD= the Water Into Wine" hits an unmistakable note of crusty but con
EXTD=vincing Christian piety. The show's last full number, "The Old Ac
EXTD=count Was Settled Long Ago," suggests redemption from the bleak p
EXTD=icture painted in "San Quentin" and points to a justice greater t
EXTD=han the one that provided Cash his (literally) captive audience.\n
EXTD=\nPlaying to a prison audience seems to have brought out Johnny C
EXTD=ash's essence: blunt honesty, gruff compassion, and artistic inte
EXTD=grity. His convictions, both musical and moral, seem as urgent to
EXTD=day as they did in 1969.\n 1999 Viacom International Inc. All Ri
EXTD=ghts Reserved.\n\nCMJ (6/19/00, p.32) - "...This beefed-up landma
EXTD=rk release reissue contains nearly an album's worth of extra mate
EXTD=rial..." \n\nCD Connection Review\nRecorded live at San Quentin P
EXTD=rison, San Quentin, California on February 24, 1969. Originally r
EXTD=eleased on Columbia (9827). Includes liner notes by Marty Stuart,
EXTD= Johnny Cash, June Carter Cash, Lou Robin plus an interview with 
EXTD=Merle Haggard conducted by Marty Stuart. \n\nDigitally remastered
EXTD= by Vic Anesini (Sony Music Studios, New York, New York). \n\nOne
EXTD= of country music's unequivocal stars, Johnny Cash retained respe
EXTD=ct for the travails of the audience elevating him to that positio
EXTD=n. Recorded live at one of America's most notorious prisons, this
EXTD= album displays an empathy bereft of condescension and captures a
EXTD= performer combining charisma with natural ease. The material is 
EXTD=balanced between established favorites and new material including
EXTD= "Wanted Man," an unrecored Bob Dylan song, and the lighthearted 
EXTD=hit "A Boy Named Sue." It was not the first time Cash had recorde
EXTD=d in a penal instution, but this appearance, at a time when Ameri
EXTD=can values were vociferously questioned, suggested the artist's r
EXTD=ebelliousness had not dimmed. 
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