# xmcd
#
# Track frame offsets: 
#        150
#        26280
#        39867
#        53075
#        67482
#        88575
#        101737
#        119137
#        129922
#        154170
#        163217
#        179942
#        190440
#        206007
#        218640
#        230977
#
# Disc length: 3339 seconds
#
# Revision: 1
# Processed by: cddbd v1.5.2PL0 Copyright (c) Steve Scherf et al.
# Submitted via: ExactAudioCopy v0.90b4
#
DISCID=f50d0910
DTITLE=Sly & The Family Stone / Fresh (Remastered + Expanded)
DYEAR=1973
DGENRE=Funk
TTITLE0=In Time
TTITLE1=If You Want Me To Stay
TTITLE2=Let Me Have It All
TTITLE3=Frisky
TTITLE4=Thankful N' Thoughtful
TTITLE5=Skin I'm In
TTITLE6=I Don't Know (Satisfaction)
TTITLE7=Keep On Dancin'
TTITLE8=Que Sera, Sera (Whatever Will Be, Will Be)
TTITLE9=If It Were Left Up To Me
TTITLE10=Babies Makin' Babies
TTITLE11=Let Me Have It All (Previousy Unissued Alternate Mix)
TTITLE12=Frisky (Previousy Unissued Alternate Mix)
TTITLE13=Skin I'm In (Previousy Unissued Alternate Mix)
TTITLE14=Keep On Dancin' (Previousy Unissued Alternate Mix)
TTITLE15=Babies Makin' Babies (Previousy Unissued Alternate Version)
EXTD=Fresh (Remastered + Expanded)\n2007 Epic/Legacy\n\nOriginally Rel
EXTD=eased June 30, 1973\nCD Edition Released July 1, 1991\nLimited De
EXTD=luxe Edition Collector's Box Set Released March 20, 2007\nRemaste
EXTD=red + Expanded CD Edition Released April 24, 2007\n\nAMG EXPERT R
EXTD=EVIEW: Fresh expands and brightens the slow grooves of There's a 
EXTD=Riot Goin' On, turning them, for the most part, into friendly, we
EXTD=lcoming rhythms. There are still traces of the narcotic haze of R
EXTD=iot, particularly on the brilliant, crawling inversion of "Que Se
EXTD=ra Sera," yet this never feels like an invitation into a junkie's
EXTD= lair. Still, this isn't necessarily lighter than Riot -- in fact
EXTD=, his social commentary is more explicit, and while the music doe
EXTD=sn't telegraph his resignation the way Riot did, it comes from th
EXTD=e same source. So, Fresh winds up more varied, musically and lyri
EXTD=cally, which may not make it as unified, but it does result in mo
EXTD=re traditional funk that certainly is appealing in its own right.
EXTD= Besides, this isn't conventional funk -- it's eccentric, where e
EXTD=ven concise catchy tunes like "If You Want Me to Stay" seem as el
EXTD=astic as the opener, "In Time." That's the album's ultimate charm
EXTD= -- it finds Sly precisely at the point where he's balancing funk
EXTD= and pop, about to fall into the brink, but creating an utterly i
EXTD=ndividual album that wound up being his last masterwork and one o
EXTD=f the great funk albums of its era. [The 2007 reissue of Fresh in
EXTD=cludes bonus tracks.]  -- Stephen Thomas Erlewine\n\n\nAMG EXPERT
EXTD= REVIEW: (Collector's Box Set) Sly & the Family Stone: The Collec
EXTD=tion contains the seven albums the group released on Epic Records
EXTD= between 1968 and 1974 (which were recorded between 1967 and 1971
EXTD=). Sony BMG has simply packaged these discs -- A Whole New Thing,
EXTD= Dance to the Music, Life, Stand, There's a Riot Goin' On, Fresh,
EXTD= and Small Talk -- all of which have been completely remastered a
EXTD=nd contain bonus material and liner essays, all in a slipcase box
EXTD=. They've all been released separately in digipack, so there isn'
EXTD=t anything additional to be had. The price point isn't really dif
EXTD=ferent either, and given the wildly varying quality of some of th
EXTD=ese sides, buying the box is for a very specific kind of fan or c
EXTD=ollector.  -- Thom Jurek\n\n\nAmazon.com Editorial Review\nComing
EXTD= as it did on the heels of the utterly whacked There's a Riot Goi
EXTD=n' On, 1973's Fresh surprised a lot of Sly fans by actually livin
EXTD=g up to its name. The weariness and paranoia of Riot are totally 
EXTD=missing in action, replaced by a relaxed optimism that seems to s
EXTD=hine from every note of tracks like "If You Want Me to Stay" and 
EXTD="In Time." The band--newly buttressed by the rhythm section of Ru
EXTD=sty Allen and Andy Newmark--plays it loose and funky, and Sly's o
EXTD=ddball sense of humor resurfaces on a cover of Doris Day's "Que S
EXTD=era, Sera (Whatever Will Be, Will Be)." Sadly, Sly would never ag
EXTD=ain make a record even half as fresh as Fresh. --Dan Epstein \n\n
EXTD=AMAZON.COM CUSTOMER REVIEW\nOne of the great ones, August 27, 200
EXTD=2\nReviewer: A music fan\nIt's the same low-to-the-ground funk th
EXTD=at "Riot" was built upon, but with a little more forward motion. 
EXTD=Almost as idiosyncratic, though, what with Sly's lucid-dreaming s
EXTD=piel and grooves that stay out of your face while driving maximum
EXTD= head-nodding. The current Epic release contains the original mix
EXTD=es and versions from the '73 LP release, by the way; the original
EXTD= 1991 CD had the "wrong" ones, but was quickly pulled. A must-own
EXTD=, and one that nearly 30 years later still seems to be ahead of t
EXTD=he future. "Tell your mama and the drummer."\n\n\nAMAZON.COM CUST
EXTD=OMER REVIEW\nLarry Graham is one hard man to replace, August 23, 
EXTD=2001\nReviewer: TUCO HUMILITY "BABYLON13" (Los Angeles, CA)\nThe 
EXTD=4 stars are only 4 when compared to "There's a Riot Going On," th
EXTD=e greatest and purest Pop-Rock-Funk record of the '70s, and my al
EXTD=l-time favorite thoroughly transcendent popular music achievement
EXTD= after Hendrix's "Band of Gypsies," Peter Gabriel's "Security," a
EXTD=nd the 1972 opus "Close to the Edge" from Yes; compared to almost
EXTD= everything else though an easy 5 stars. \nThe main problem is th
EXTD=e absence of Larry Graham, one of the baddest cats to ever play t
EXTD=he bass guitar. Rusty Allen does a competent job in his place, bu
EXTD=t competent doesn't cut it: since Graham's style is personality d
EXTD=riven through the technique as much as Jack Bruce's or Jaco Pasor
EXTD=ious's. In fact, without Graham's influence Jaco Pasorious, Alpho
EXTD=nso Johnson, Stanley Clarke, Ralphe Armstrong, and all those othe
EXTD=r super-technical funk-based bass players of the '70s would've lo
EXTD=st maybe half the main licks that form the basis of their playing
EXTD=. Everything funky in the '70s came directly from Graham who open
EXTD=ed up what the bass players in James Brown's bands did all the wa
EXTD=y through and adapted it to the much more complicated Sly composi
EXTD=tions. \n\nWhat many people don't realize because the music sound
EXTD=s so 'natural,' is that Sly was actually a trained musician. He s
EXTD=tudied music for 3 years in college in the early '60s and had a c
EXTD=omprehensive knowledge of all types of music which he drew on. Th
EXTD=e stuff he composed, as 'natural' as it sounds, is way more sophi
EXTD=sticated and subtle than what most jazz players of the period did
EXTD=: string a few interesting chord changes together and improvise o
EXTD=ver it. Not that improvisation can't be called composing: but onl
EXTD=y at its absolute best. No wonder Miles Davis started playing fus
EXTD=ion in this period! Sly and Hendrix and all the other brilliant r
EXTD=ock acts of the period forced him to. It wasn't any type of 'sell
EXTD=-out,' it was an artistic necessity. How can you not want to keep
EXTD= up in some way when revolutionary records of pop-culture sophist
EXTD=ication are being made all around you? And there's no purer form 
EXTD=of pop-culture sophistication than the dense miniature universes 
EXTD=of Sly's tunes from the heydey of the Family Stone: Prince sure h
EXTD=ad a good model to strive towards when he started his bands. \n\n
EXTD=Graham had had enough of Sly's ego-tripping eccentricities, and S
EXTD=ly had had enough of Graham's, in fact, they bitterly hated each 
EXTD=other at this point and both had bodyguards to protect them and i
EXTD=ntimidate the other, sort of like some gangsta rap stars these da
EXTD=ys! After a particulary hairy incident described in Joel Selvin's
EXTD= book on Sly and the 'Family," Graham left forver to form his own
EXTD= band Graham Central Station. This very scary, thoroughly drugged
EXTD=-out period of the band's demise is documented in Selvin's book t
EXTD=hrough conversations with members of the band and those around th
EXTD=em, the only one to deal honestly with the mysteries of what happ
EXTD=ened. Some 10 years after this period Sly and George Clinton were
EXTD= busted together for drug posession, though according to some rep
EXTD=orts in the early '90s Bobby Womack had helped Sly get clean and 
EXTD=yet another 'comback album' was in the works. At the Rock 'n' Rol
EXTD=l hall-of-fame induction, Sly did not speak to any of the other f
EXTD=ormer members of the band present, including his brother and sist
EXTD=er. This was maybe the saddest irony of all, that the most unifyi
EXTD=ng, barrier-transcending band of the '60s should even now after 2
EXTD=5 years only exist as yet another tragic demonstration of alienat
EXTD=ed fragmentation. Sly's 'comback' albums have all been either dis
EXTD=appointing or just plain embarrassing, and the latest project sup
EXTD=posedly entitled "Phuture Phunk" has been 'in the works' since 19
EXTD=97. Judging by his output in the past 20 years, I wouldn't hold m
EXTD=y breath that it'll drop anytime soon, nor that it would match th
EXTD=e Grahamless but still excellent last gasp of a once awe-inspirin
EXTD=g group: "Fresh." \n\nAnd, it goes without saying that anyone out
EXTD= there who likes this kind of 'dated' and superior-as-hell 'old s
EXTD=chool' music from the '70s, should check out the reissue of "Insp
EXTD=iration Information/Freedom Flight" by Shuggie Otis, Sly's label-
EXTD=mate, one of the great forgotten masterpieces of the '70s.\n\n\nA
EXTD=MAZON.COM CUSTOMER REVIEW\nAptly titled, October 4, 2000\nReviewe
EXTD=r: A music fan\n"Stand" and "Riot" are better known and arguably 
EXTD=more "important" albums. But "Fresh" is in some ways Sly's looses
EXTD=t and most accessible album and might be my favorite. It's certai
EXTD=nly the one that sounds the least dated today. All the tracks hav
EXTD=e an easy funkiness to them, though I must admit I still can't qu
EXTD=ite get into his bizarro cover of "Que Sera, Sera." Sly would nev
EXTD=er again make an album this good, due in part to the drug problem
EXTD= he cleverly refers to here ("I switched from coke to pep, and I'
EXTD=m a connoisseur") and the fact that the group was falling apart.\n
EXTD=If you really want some fun, seek out the rare alternate version 
EXTD=of this disk, which Epic mistakenly pressed when the album was fi
EXTD=rst put on CD. They quickly recalled it, but there are still copi
EXTD=es out there. All the songs but "In Time" are different in some w
EXTD=ay - generally they seem to be in earlier stages of production or
EXTD= have different arrangements. Many have VERY different vibes as a
EXTD= result. They all sound great, though, and fans of this album wil
EXTD=l love the alternate takes.\n\nAMAZON.COM CUSTOMER REVIEW\nSly an
EXTD=d the Family's near masterpiece., October 27, 1998\nReviewer: A m
EXTD=usic fan\nTo me, nothing represents the true essence of funky R&B
EXTD= like Sly and the Family--except mebbe some of that early Parliaf
EXTD=unkadelic thang. This was Sly's last entry in what was known as h
EXTD=is "Trilogy of Funk"; the first two albums were "Stand" and "Ther
EXTD=e's A Riot...". Superstar bassist, basso profundo (barotone profu
EXTD=ndo?) Larry Graham went on to do his own thing, Andy Newmark repl
EXTD=aced the original drum guy, and Sly was maybe gettin' a little bi
EXTD=t too snowed in for his own good...but nevermind all that, listen
EXTD= to how great this album is. The band was as tight as Dick's hatb
EXTD=and. Sly's vocals were somewhere between a church preacher's fire
EXTD= and brimstone rantings and the friendly neighborhood drunk every
EXTD=one knew--like everyday people. Although mebbe some of the cuts w
EXTD=ere too inaccessible for radio play, but I remember hearing "Fris
EXTD=ky"--the album's not-too-well-hidden-double-entendre-d(!?!)piece 
EXTD=on pop radio at that time. The most recent Epic records release o
EXTD=f the album on CD has outtake mixes, rather than the final produc
EXTD=t I remember hearing in '73-74, but that's ok, too. That's one of
EXTD= the things that makes "Fresh" very compelling--from the gospel-b
EXTD=lues tinged Doris Day classic,"Que Sera, Sera" to the confessiona
EXTD=l grooves, "Thankful and Thoughtful" and "In Time". A near master
EXTD=piece.\n\n\nAMAZON.COM CUSTOMER REVIEW\nOne Of Sly Stone's Last G
EXTD=reat Albums!!!, August 14, 2004\nReviewer: Brandon Ousley (Chicag
EXTD=o, Illinois United States)\nLet's get one thing straight about Sl
EXTD=y Stone's 1973 classic, "Fresh". It was Sly's last great album. T
EXTD=he record, itself, brighten up the dark and progressive funk of h
EXTD=is 1971 masterpiece, "There's A Riot Going On". "Fresh" wasn't in
EXTD=novative like "Stand!" and "There's A Riot Going On". But, it was
EXTD= probably an attempt for him to find more positive and uplifting 
EXTD=music, so it wouldn't be bitter, dark, and too political. Almost 
EXTD=every song on this record was funky and pleasant. Sly doesn't sou
EXTD=nd too bare and dislocated like he was on his 1971 release, "Riot
EXTD=". On here he sounds loose and fun. The opening, "In Time" is an 
EXTD=electricfying, funk groove with catchy and sophisticated rhythms.
EXTD= It's really optimistic, lyrically and musically. The song is mai
EXTD=nly about everything happening in time. "If You Want Me To Stay" 
EXTD=is really the song that stands out the most on this album. This c
EXTD=atchy funk-pop tune is an apology. To me, it was an attempt to ge
EXTD=t Sly's fans to feel sorry for him and what he had done. Sadly, i
EXTD=t was Sly Stone's last number one hit. The next song, "Let Me Hav
EXTD=e It All" is a sexy and soulful cut with wailing organs, sophisti
EXTD=cated background vocals, and fresh drum beats. "Frisky" is a pers
EXTD=onal favorite of mine. It's a mellowed-out, funky tune with edgy 
EXTD=lyrics. I really like how the horns were mixed on this song. It h
EXTD=as very hip rhythms. "I Don't Know (Satisfaction)" is an enjoyabl
EXTD=e, optimistic cut with inspirational lyrics. "Thankful 'N' Though
EXTD=tful" is a gospel-inspired tune. The song, itself, is downright f
EXTD=unky, but in some parts, it can be somewhat confusing. "Skin I'm 
EXTD=In" is another one of those innovative classics. It's a socially 
EXTD=conscious tune with gripping lyrics about race- our actions, our 
EXTD=fashion, and our life. "Keep On Dancin'" really didn't excite me 
EXTD=that much. It's a more hip and up-tempo sequel to his 1967 hit, "
EXTD=Dance To The Music". The song does have some amazing basslines, t
EXTD=hough. "Que Sera Sera" is an odd cover song of Doris Day's origin
EXTD=al version. I mean, it has blues music fused with low-tempoed sou
EXTD=l. Sly sounds a little stoned on this record. He lets one of his 
EXTD=background singers sing the whole song, while he sings the chorus
EXTD= of the song. Really strange, but beautiful. "If It Were Left Up 
EXTD=To Me" sounds like it should've been on one of his earlier record
EXTD=s like 1968's "Life". It's kind of corny, but it's also soulful. 
EXTD=The last track, "Babies Makin' Babies" is another funky, social c
EXTD=onscious tune with Sly singing about people in the younger genera
EXTD=tion having babies. The lyrics in this song are kind of stubborn,
EXTD= but at least they have a positive message in them. In my humble 
EXTD=opinion, "Fresh" is a great, above-average funk album. But, I sti
EXTD=ll feel that it was recorded in a big rush. Ultimately, it marked
EXTD= a new and improved direction for Sly and it proved to be his las
EXTD=t great album, before his decline started in 1974 with the "Small
EXTD= Talk" album. The new Family Stone line-up sounded great, but som
EXTD=etimes they sounded kind of lazy and boring, on most of the track
EXTD=s. The album, itself, strays away from the dark and heavy funk of
EXTD= There's A Riot Going On. It's a 70's funk classic. A 5-star must
EXTD= buy. A+\n\n\nAMAZON.COM CUSTOMER REVIEW\nGoin' out with a blast 
EXTD=- - A Timeless Funk Classic !, October 13, 2001\nReviewer: Eddie 
EXTD=Landsberg "jazz organist and Jazz/Soul music buff!" (Tokyo, Japan
EXTD=)\nFRESH pretty much marked the begining of the end for Sly, \nye
EXTD=t at the same time a FRESH and new sound and hints of things to c
EXTD=ome by the 'soul children' - - the countless musicians who would 
EXTD=pick up the reigns of funk from the master and keep the music ali
EXTD=ve.\nFRESH definitely is a different album... it is neither your 
EXTD=typical early '70s funk or soul album, your mid '70s disco cross 
EXTD=over... and it definitely isn't a "Doobie in your funk" situation
EXTD= (to quote from you know who !)... FRESH is distinctly Sly, but a
EXTD= very different Sly... you can feel his genius, yet the lyrics ar
EXTD=e much deeper and at times much more cynical than his previous wo
EXTD=rks - - you definitely get the impression that he's doing a bit o
EXTD=f soul searching. He's taken you from Woodstock to the ghetto. Ev
EXTD=en the groove is a bit different (much more "urban") - - Most dis
EXTD=tinct about this album though is the studio technology he's using
EXTD=, from the subtley layered overdubs within the to the clever inco
EXTD=rporation of drum machines (with the actual live drummer.) - - To
EXTD= this extent, its an album that's very funky, yet in some ways a 
EXTD=bit "spaced out" (like Sly probably was when he recorded the albu
EXTD=m) and its definitely way ahead of his time.\n\nFRESH was one of 
EXTD=the first funk albums I ever got, and if you've read some of my o
EXTD=ther lists and reviews, I'm sure you know, I definitely got into 
EXTD=the funk, so to that extent it means a lot to me... I've been lis
EXTD=tening to it on and off for 17 years, and still MOVE when I hear 
EXTD=it. - - I've even started doing a funked up version of IF YOU WAN
EXTD=T ME TO STAY with my organ trio. Whatever the case, it definitely
EXTD= isn't your typical funk or Sly Stone album, but it definitely is
EXTD= timeless booty shaking funk and message music. - - Get this albu
EXTD=m, and if you haven't heard his GREATEST HITS CD or "the classics
EXTD=", go for them (and Graham Central Station) as well. Sly lives!\n
EXTD=\n\nHalf.com Details \nProducer: Sly Stone \n\nAlbum Notes\nSly &
EXTD= The Family Stone: Sly Stone (vocals); Freddie Stone (guitar); Pa
EXTD=t Rizzo, Jerry Martini (saxophone); Cynthia Robinson (trumpet); R
EXTD=osie Stone (piano); Rusty Allen (bass instrument); Andy Newmark (
EXTD=drums).\n\nAdditional personnel: Little Sister (background vocals
EXTD=).\n\nSly and the Family Stone created the blueprint for funk's d
EXTD=irection in the late '60s; a sound dense, sophisticated, and comp
EXTD=lex on one hand, spacious and rhythmically elemental on the other
EXTD=, a style that seemed loose and open, yet demanded musical precis
EXTD=ion. In the early '70s, Sly left behind the churning, up-tempo an
EXTD=thems to brotherhood and positive thinking to develop a darker, m
EXTD=ore introspective sound that focused ever more intently on the su
EXTD=btle interaction of rhythmic elements. The result, as heard on 19
EXTD=71's THERE'S A RIOT GOIN' ON and 1973's FRESH, proved Sly's artis
EXTD=tic apex.\nThough lesser known than RIOT, and featuring cleaner, 
EXTD=brighter production values, FRESH is no less astonishing than its
EXTD= predecessor. The first five tracks alone, including the shifting
EXTD= pulse of "In Time," the almost religious "Thankful N' Thoughtful
EXTD=," and the unendingly listenable "If You Want Me To Stay," are en
EXTD=ough to make this disc a classic. Add to these the bubbling groov
EXTD=e of "Babies Makin' Babies" and a definitive cover of "Que Sera, 
EXTD=Sera," and FRESH becomes a document of meticulously constructed, 
EXTD=high-minded soul music at its finest. Don't be misled by the corn
EXTD=y, dated cover photo--this is one of the greatest funk albums eve
EXTD=r.\n\nIndustry Reviews\n...FRESH is Sly's new direction for 1973,
EXTD= a potpourri of styles, new musical attitudes and futuristic blac
EXTD=k trances...the stonedest record I've ever heard, and one of the 
EXTD=most repeatedly listenable...\nRolling Stone (08/02/1973)\n\nRank
EXTD=ed #11 in Rolling Stone's 50 Coolest Records.\nRolling Stone (04/
EXTD=11/2002)\n\nRanked #186 in Rolling Stone's The 500 Greatest Album
EXTD=s Of All Time\nRolling Stone (12/11/2003)\n\n\n\nROLLING STONE RE
EXTD=VIEW\nSly Stone rose like a rocket in 1968 and 1969, offering sup
EXTD=remely funky psychedelic soul, social commentary and instantly cl
EXTD=assic phrases such as "different strokes for different folks." Bu
EXTD=t around 1971, things began to change. There's a Riot Goin' On wa
EXTD=s a rambling, rambunctious, rock-funk symphony that begged listen
EXTD=ers to dislike it. His concerts were a mess: He showed up hours l
EXTD=ate (when he showed up at all), performed for a short time and le
EXTD=ft fans murmuring. \n\n1973's Fresh seemed to herald a new course
EXTD=. The gay set of percolating mid-tempo grooves took direction fro
EXTD=m James Brown, children's rhymes, gospel, Miles Davis' jazz-soul 
EXTD=experiments and Sgt. Pepper's Lonely Hearts Club Band. It recalle
EXTD=d the funky little band in the Baptist church down on the corner;
EXTD= it was so gentle and socially aware it could've replaced Free to
EXTD= Be . . . You and Me in some grade-school classes. \n\n\nBut Sly'
EXTD=s music was just that: sly. Alongside songs he could've played in
EXTD= church, like "Thankful n' Thoughtful" ("Something could have com
EXTD=e and taken me away/But the mainman felt Sly should be here anoth
EXTD=er day"), and songs for the juke joint like "Skin I'm In," there 
EXTD=were bass, trumpet and sax notes that bent and twisted in midair,
EXTD= notes that seemed to make their point then immediately get stage
EXTD= fright and turn tail. The twenty-nine-year-old clear-eyed philos
EXTD=opher contemplated life and society, urging social responsibility
EXTD= on songs like "If It Were Left Up to Me" and "Babies Makin' Babi
EXTD=es." He also spoke of his life: In the first song, "In Time," he 
EXTD=says, "I switched from coke to pep and I'm a connoisseur." Meanin
EXTD=g the teacher who brought this album to her class would soon be u
EXTD=nemployed.\n\n\nAt the time, no one could imagine that Fresh woul
EXTD=d be Sly's final great statement, that the ensuing years would se
EXTD=e a trickle of increasingly embarrassing records, and, eventually
EXTD=, metaphoric exile. Sly even seems to have goodbye on his mind on
EXTD= Fresh. On the first single, "If You Want Me to Stay," he sang, "
EXTD=You can't take me for granted and smile/ Count the days I'm gone/
EXTD= Forget reaching me by phone/Because I promise I'll be gone for a
EXTD= while." Then, like Bobby Fischer, the soul genius slowly dropped
EXTD= off the grid, still thumbing his nose at a world that places him
EXTD= alongside James Brown, Marvin Gaye, George Clinton and Al Green 
EXTD=on the Mount Rushmore of soul. (RS 826 -- Nov 25, 1999)  --  TOUR
EXTD=E
EXTT0=
EXTT1=
EXTT2=
EXTT3=
EXTT4=
EXTT5=
EXTT6=
EXTT7=
EXTT8=
EXTT9=
EXTT10=
EXTT11=
EXTT12=
EXTT13=
EXTT14=
EXTT15=
PLAYORDER=
