My Kind Of Country

Country music from a fan's point of view.

Tag Archives: Lonestar

Album Review: The Oak Ridge Boys – ‘Christmas Time’s A-Coming’

We kicked off the Christmas season with Wednesday’s review of Spotlight Artist Sammy Kershaw’s A Sammy Klaus Christmas. Continuing the theme, veteran performers the Oak Ridge Boys also have a new Christmas album out. It’s their sixth since 1982, but perhaps surprisingly there isn’t much overlap of material even though most of the songs are pretty familiar.

A delightful ‘Let It Snow! Let It Snow! Let It Snow!’ opens proceedings genially. Gene Autry’s ‘Here Comes Santa Claus’ makes great use of Richard Sterban’s gravelly bass. Sterban slightly overdoes it, though, on an otherwise attractive ‘White Christmas’.

The muscular ‘Peterbilt Sleigh’, written by Lonestar’s Richie McDonald (who has recorded it himself) with Philip Douglas and Ron Harbin, is a silly but quite entertaining story of Santa needing to call on a trucker for help when his sleigh breaks down one Christmas Eve. In contrast, the Harlan Howard song ‘All I Want For Christmas Is You’ is a sweet, understated seasonal love song, with Sterban on lead.

The group sadly bring little new to ‘Christmas Time’s A Coming’ (although it’s enjoyable enough) or the overused ‘The Christmas Song’. I didn’t like their ridiculously overblown version of ‘Santa Claus Is Coming To Town’ at all, and could also have done without a dragging take on ‘I’ll be Home For Christmas’.

The bulk of the material (as with Kershaw’s album) offers secular cheer, but brace of religious numbers appears three-quarters through the set. The best of these is the delicately tender ‘Getting Ready For A Baby’, written by Jerry Salley, Sue C Smith and Lee Black, and which touchingly explores the emotions of Mary and Joseph. An intimate ‘Mary, Did You Know’ is also feelingly interpreted.

‘Mary Had A Little Lamb’ (not the nursery rhyme, but a new song about the baby Jesus) has a faint Celtic feel but drags a bit. ‘Glorious Impossible’ is okay but a little forgettable. The hymn ‘Joy To The World’ seems on paper perfect fare for the quartet’s four part gospel harmonies, but an arrangement with electric guitars bursting in is horribly misjudged.

Overall, this makes a pleasant if inessential addition to the ranks of Christmas albums.

Grade: B

Country Heritage: 25 from the ’80s

This article will focus on some artists who either had a very short period of great success or had an extended run of near-success. In other words, I cannot justify an entire article on any of them.

Deborah Allen was born in 1953 in Memphis, and probably has had greater success as a songwriter, having written hits for artists including Tanya Tucker, Sheena Easton and Janie Fricke. As a performer, RCA had the bright idea of dubbing her voice onto old Jim Reeves recordings to create duets. The three duets released as singles – “Don’t Let Me Cross Over,” “Oh, How I Miss You Tonight” and “Take Me In Your Arms And Hold Me” – all went Top 10 in 1979-80. As a solo artist, Allen charted 10 times with three Top 10 singles: “Baby I Lied” (1983–#4), “I’ve Been Wrong Before” (1984–#2) and “I Hurt For You” (1984–#10).

Baillie and The Boys were a late 80s act which charted 10 times between 1987 and 1991 before disappearing from the charts. Seven of their hit records went Top 10, with “(I Wish I Had A) Heart of Stone” (1989–#4) being the biggest. Kathie Baillie was the lead singer, and while initially a trio, the group became a duo in 1988 with few people able to tell the difference.

Debby Boone is one of two answers to a trivia question – name the two families that have had a #1 pop record in each of three consecutive generations. One answer is obvious – the Nelson family – big band leader Ozzie Nelson (“And Then Some”, 1935), Rick Nelson (“Poor Little Fool”, 1958 and “Traveling Man”, 1960) and Rick’s sons Gunnar and Matthew Nelson (recording, under the name Nelson, “Love and Affection”, 1990).
The Nelson family answer works top down and bottom up as the members of the chain are all blood relatives. In the case of Debby Boone’s family, it only works top down. Debby (“You Light Up My Life“, 1977), father Pat Boone (seven #1s from 1955-1961 including “Love Letters In The Sand“) and grandfather Red Foley – no blood relation to Pat Boone but a blood relation of Debby’s (“Chattanooga Shoeshine Boy”, 1950).

Debby Boone may be a direct direct descendant of the American pioneer Daniel Boone. She is distantly related to two stars of American television, Richard Boone (Have Gun, Will Travel, Hec Ramsey) and Randy Boone, (The Virginian and Cimarron Strip).

Enough with the trivia – Debby charted on the country charts thirteen times from 1977-1981 although most of those were pop records that happened to chart country. Starting in 1979 Debby started consciously recording for country markets. “My Heart Has A Mind Of Its Own” reached #11 in early 1979. The next three records did relatively nothing but the first single issued in 1980 “Are You On The Road To Loving Me Again” finally made it to the top. She would chart four more singles before turning to gospel/Christian music.

Larry Boone is best known as a songwriter, having cuts by Kathy Mattea, Don Williams, Tracy Lawrence, Rick Trevino, George Strait, Shenandoah, Marie Osmond and Lonestar. As a singer, he wasn’t terribly distinctive – sort of a George Strait-lite.  Boone charted 14 singles from 1986-93, with only 1988’s “Don’t Give Candy To A Stranger” reaching the Top 10. The other Top 20 singles were “I Just Called To Say Goodbye Again” and a remake of “Wine Me Up” – both of which reached their peak chart positions in 1989.

Dean Dillon charted 20 times from 1979-93, with his biggest hit being “Nobody In His Right Mind (Would’ve Left Her)” which reached #25 in November, 1980. During 1982 and 83, RCA paired Dillon with fading star Gary Stewart, hoping for the kind of magic that was later achieved when Kix Brooks and Ronnie Dunn were paired together. No real hits came of this collaboration, but the recordings were quite interesting and are available on CD.

Fortunately for Dillon, he is a far better songwriter than singer. His hits as a writer include George Jones’ “Tennessee Whiskey,” and more than a dozen George Strait Top 10s. In fact, Strait has recorded over 50 of Dillon’s songs, ensuring that the wolf will never again knock at Dean Dillon’s door.

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Concert review: International Festival of Country Music, Wembley Arena, London – 26 February 2012

For over twenty years (1969-1991) the premier country music event in the United Kingdom, and perhaps in Europe, was the annual International Festival of Country Music held at Wembley Arena in London, which for many years gained country music a wider audience thanks to TV coverage and provided a springboard for the international careers of many country artists. After a hiatus of another two decades, the original promoter, Mervyn Conn, decided to revive the festival this year. The event was reduced to a single day on Sunday 26 February (at its peak it was held over a three-day weekend), with the majority of the lineup moving on to branded festivals in Belfast, Northern Ireland (29 February), Zurich, Switzerland (2 March) and Mannheim in Germany (4 March).

I felt I couldn’t miss the return of this iconic event, but sales overall seem to have been disappointing. Even with ticket prices substantially discounted close to the event, the arena was far from full, so it is not clear whether there will be a repetition, but those who attended clearly enjoyed the experience, offering generous applause throughout the afternoon and evening. The lineup offered a wide range of acts from various aspects of the broad church that is country music these days, and ranging from veterans to newcomers. Presentation was slick early on, courtesy of the genial Essex based country DJ and occasional singer Steve Cherelle, who did an excellent job. Later on, compering was divided between him, veteran DJ David Allan, who did the job at the original festival, but is now rather obviously frail, and the even older George Hamilton IV. They reminisced about the original festival’s glory days, and it was good to have the event’s heritage acknowledged, but it did get a bit rambling and unfocussed at times. Read more of this post

Week ending 7/30/11: #1 singles this week in country music history

1951: I Wanna Play House With You — Eddy Arnold (RCA)

1961: Heartbreak, USA — Kitty Wells (Decca)

1971: Bright Lights, Big City — Sonny James (Capitol)

1981: Feels So Right — Alabama (RCA)

1991: I Am A Simple Man — Ricky Van Shelton (Columbia)

2001: I’m Already There — Lonestar (BNA)

2011: Dirt Road Anthem — Jason Aldean (Broken Bow)

Week ending 7/23/11: #1 singles this week in country music history

1951: I Wanna Play House With You — Eddy Arnold (RCA)

1961: Heartbreak, USA — Kitty Wells (Decca)

1971: When You’re Hot, You’re Hot — Jerry Reed (RCA)

1981: Feels So Right — Alabama (RCA)

1991: Don’t Rock The Jukebox — Alan Jackson (Arista)

2001: I’m Already There — Lonestar (BNA)

2011: If Heaven Wasn’t So Far Away — Justin Moore (Valory)

Week ending 7/16/11: #1 singles this week in country music history

1951: I Wanna Play House With You — Eddy Arnold (RCA)

1961: Heartbreak, USA — Kitty Wells (Decca)

1971: When You’re Hot, You’re Hot — Jerry Reed (RCA)

1981: Fire and Smoke — Earl Thomas Conley (RCA)

1991: Don’t Rock The Jukebox — Alan Jackson (Arista)

2001: I’m Already There — Lonestar (BNA)

2011: Honey Bee — Blake Shelton (Warner Bros.)

Week ending 7/9/11: #1 singles this week in country music history

1951: I Want To Be With You Always — Lefty Frizzell (Columbia)

1961: Hello Walls — Faron Young (Capitol)

1971: When You’re Hot, You’re Hot — Jerry Reed (RCA)

1981: I Was Country When Country Wasn’t Cool — Barbara Mandrell (MCA)

1991: Don’t Rock The Jukebox — Alan Jackson (Arista)

2001: I’m Already There — Lonestar (BNA)

2011: Honey Bee — Blake Shelton (Warner Bros.)

Week ending 7/2/11: #1 singles this week in country music history

1951: I Want To Be With You Always — Lefty Frizzell (Columbia)

1961: Hello Walls — Faron Young (Capitol)

1971: When You’re Hot, You’re Hot — Jerry Reed (RCA)

1981: Blessed Are The Believers — Anne Murray (Capitol)

1991: The Thunder Rolls — Garth Brooks (Capitol)

2001: I’m Already There — Lonestar (BNA)

2011: Honey Bee — Blake Shelton (Warner Bros.)

Week ending 6/25/11: #1 singles this week in country music history

1951: I Want To Be With You Always — Lefty Frizzell (Columbia)

1961: Hello Walls — Faron Young (Capitol)

1971: When You’re Hot, You’re Hot — Jerry Reed (RCA)

1981: But You Know I Love You — Dolly Parton (RCA)

1991: The Thunder Rolls — Garth Brooks (Capitol)

2001: I’m Already There — Lonestar (BNA)

2011: Honey Bee — Blake Shelton (Warner Bros.)

Week ending 2/5/11: #1 singles this week in country music history

1951: The Shotgun Boogie — Tennessee Ernie Ford (Capitol)

1961: North To Alaska — Johnny Horton (Columbia)

1971: Joshua — Dolly Parton (RCA)

1981: I Feel Like Loving You Again — T.G. Sheppard (Warner Bros./Curb)

1991: Daddy’s Come Around — Paul Overstreet (RCA)

2001: Tell Her — Lonestar (BNA)

2011: Somewhere With You — Kenny Chesney (BNA)

Album Review: The SteelDrivers – ‘Reckless’

A few years ago I probably wouldn’t have paid much attention to a group like The SteelDrivers. Though I’ve always liked bluegrass, it was always a change-of-pace type of music for me, and I was more inclined to listen to more traditional acts like Bill Monroe, Ralph Stanley, or Ricky Skaggs. Gravelly, bluesy vocalists like Chris Stapleton have never really been my cup of tea; yet to my great surprise, I was blown away the first time I heard The SteelDrivers, whose 2008 debut album was among that year’s best offerings. At times, lead vocalist Stapleton sounds more like a Delta blues singer than the lead vocalist for a bluegrass band. Yet somehow at works. It may be partially a reflection of my own evolving musical tastes, but mostly it is a testament to the fine musicianship of the other band members. This group is no Lonestar, consisting of a powerhouse lead vocalist backed with anonymous, interchangeable musicians, and for that reason I have every confidence that The SteelDrivers will continue to flourish after the departure of Chris Stapleton, who recently quit the group to focus on his family and songwriting.

Reckless
, the group’s sophomore offering, picks up where their eponymous debut album left off. There are no radical departures from the first album, though the group continues to push the boundaries by melding aspects from other musical genres with bluegrass. Though it may raise some eyebrows among bluegrass purists, the result is a refreshing change from the usual pop/soft rock that Nashville has been pedaling in recent years. The album was produced by Luke Wooten, and eleven of the album’s twelve tracks were written by either Chris Stapleton or mandolinist Michael Henderson.

The album opens with the energetic, fiddle-driven “The Reckless Side of Me”, which includes Tammy Rogers’ beautiful harmony vocals. Next is “Good Corn Liquor”, the only song on the album provided by an outside songwriter (Ronnie Bowman), which is slightly reminiscent of “Drinkin’ Dark Whiskey” from the band’s first disc. “Good Corn Liquor” is followed by some non-traditional tracks like “Where Rainbows Never Die”, “The Price” and the Civil War-themed “Can You Run” which sound a bit like attempts to “grass up” songs that might not have necessarily been conceived as bluegrass songs.

Things take a more traditional turn beginning with “You Put The Hurt On Me”, the album’s best track and the one that comes the closest to mainstream country. If promoting The SteelDrivers to mainstream country radio weren’t an exercise in complete futility, this is the track I would select to become a single. The high lonesome sound returns with the excellent “Midnight On The Mountain” and “Guitars, Whiskey, Guns and Knives” before detouring back into contemporary territory with “Angel Of The Night”.

Patty Loveless fans will be familiar with “Higher Than The Wall,” which appeared on her 2003 disc On Your Way Home. A live version was also included on The SteelDrivers’ previous album as an iTunes bonus track. For that reason alone, I was slightly disappointed to see it reprised here. It’s an excellent song, brilliantly performed, but it’s taking up a slot that could have gone to a different song that most of us hadn’t heard before.

Overall, Reckless isn’t quite as good as its predecessor, but I’ve grown to like it more each time I listen to it. Fans of the first SteelDrivers album won’t be disappointed, and I wholeheartedly recommend it to even those who don’t normally listen to bluegrass. It bends the rules just enough that it should appeal to the non-bluegrass listener, who might be pleasantly surprised after giving the album a try.

Grade: A

Reckless
is available from vendors such as Amazon and iTunes.

Week ending 9/4/10: #1 singles this week in country music history

1950: Goodnight Irene — Red Foley & Ernest Tubb (Decca)

1960: Alabam – Cowboy Copas (Starday)

1970: Don’t Keep Me Hangin’ On — Sonny James (Capitol)

1980: Cowboys and Clowns — Ronnie Milsap (RCA)

1990: Next To You, Next To Me — Shenandoah (Columbia)

2000: What About Now — Lonestar (BNA)

2010: All About Tonight — Blake Shelton (Reprise)

Week ending 8/28/10: #1 singles this week in country music history

1950: Goodnight Irene — Red Foley & Ernest Tubb (Decca)

1960: Alabam – Cowboy Copas (Starday)

1970: Don’t Keep Me Hangin’ On — Sonny James (Capitol)

1980: Drivin’ My Life Away — Eddie Rabbitt (Elektra)

1990: Next To You, Next To Me — Shenandoah (Columbia)

2000: What About Now — Lonestar (BNA)

2010: All About Tonight — Blake Shelton (Reprise)

Week ending 8/21/10: #1 singles this week in country music history

1950: I’m Movin’ On — Hank Snow (RCA)

1960: Please Help Me, I’m Falling — Hank Locklin (RCA)

1970: Don’t Keep Me Hangin’ On — Sonny James (Capitol)

1980: Tennessee River — Alabama (RCA)

1990: Next To You, Next To Me — Shenandoah (Columbia)

2000: What About Now — Lonestar (BNA)

2010: Free – Zac Brown Band (Southern Ground/Atlantic)

Week ending 8/14/10: #1 singles this week in country music history

1950: Why Don’t You Love Me — Hank Williams (MGM)

1960: Please Help Me, I’m Falling — Hank Locklin (RCA)

1970: Don’t Keep Me Hangin’ On — Sonny James (Capitol)

1980: Stand By Me — Mickey Gilley (Epic)

1990: Good Times — Dan Seals (Capitol)

2000: What About Now — Lonestar (BNA)

2010: Lover, Lover — Jerrod Niemann (Sea Gayle/Arista)

Single Review: Jamey Johnson – ‘Macon’

Jamey Johnson’s long-awaited new single starts off with a somewhat misleading piano intro that gives the impression that “Macon” is one of those pop-infused power ballads that Lonestar and Collin Raye used to turn out regularly in the 90s. But about thirty seconds in, someone seems to have remembered that this is a Jamey Johnson record, and the piano gives way to the pedal steel and acoustic guitar and the song gets underway for real. Suddenly, the polished pop ballad becomes a Southern rock-infused anthem that is one part Waylon Jennings, one part David Allan Coe, and one part Marshall Tucker Band.

The tune is a little light in the lyrics department — Johnson has to get his big rig home to Macon ASAP because the lady in his life has made it abundantly clear that she doesn’t want to be left alone too long. That’s pretty much all the song has to say, which is probably a huge advantage from a commercial standpont; there is nothing controversial a la “That Lonesome Song” so country radio has no built-in excuses to ignore Johnson this time around.

“Macon” has a very retro sound, in a 1970s Southern rock sort of way. It’s definitely not traditional and it’s likely that had it been released in the 70s, radio programmers might have deemed it too rock-oriented to fit in with the country radio format. But things have changed considerably at country radio in the past forty years, so it would appear that Johnson has got a decent shot at getting some airplay. He’s managed to craft a record that will satisfy country fans’ nostalgia for some Outlaw music, but more importantly, he’s created one that lacks the blandness and cliches that have fatally flawed so many contemporary country releases.

Written by Jamey Johnson & Kacey Coppola

Grade: A-

“Macon” is available for download at iTunes and Amazon.

Album Review: Lonestar – ‘Party Heard Around The World’

Lonestar has more or less been out of the limelight since 2007 when they lost both lead singer Richie McDonald and their record deal with BNA. Party Heard Around The World is the former supergroup’s first studio album featuring Cody Collins as the new lead vocalist. Aside from one single from 2008, “Let Me Love You”, which stalled at #50 and is included in this collection, they have been largely absent from the airwaves. As such, they have a lot of lost ground to recover with both radio and their fans, so one would expect that they would knock one out of the park on their first studio release in nearly four years. Unfortunately, Party Heard Around The World is uninspired and pedestrian and a disappointment on almost all levels.

It’s difficult for any band to hang on to old fans after losing its lead singer. Collins is a competent vocalist, but his voice is not as distinctive as McDonald’s, nor does he convey the same level of emotion as his predecessor. One welcome change is that there are no overwrought power ballads or songs about domestic bliss, nor a sippy cup to be found in this collection. The band blamed their fading popularity at country radio on their former label’s choice of singles. They’ve made a conscious effort to change directions with this release, avoiding the pop excesses and oversinging that had marred many of their 90s and early 2000s hits. Though I wasn’t expecting a collection of hardcore honky-tonk songs, I did think, upon learning that the group had signed with the mostly roots-oriented Saguaro Road Records, that they might have moved to a more Americana-oriented sound. Instead they’ve opted for bland, combining middle-of-the-road mid-tempo numbers that are better suited for the adult contemporary market with a few soft rock numbers, namely the title track and “Y.O.U.”

There is very little here to appeal to country fans, old or new and it is unlikely that this album will reverse Lonestar’s declining commercial fortunes. The band’s sound has changed sufficiently to alienate those who were Richie McDonald fans, while failing to provide anything interesting enough to attract new ones. The electric guitars are too prominent in the mix and too loud; the fiddles and mandolins, though present, are only briefly audible, and the steel guitar is completely absent.

Overall, Party Heard Around The World isn’t a terrible album; its primary flaw is that it is utterly forgettable. The songs are all very similar and tend to bleed together, rendering them unmemorable once they are finished playing. There really isn’t anything about this album that makes it worth recommending, unless one is curious to hear how Lonestar sounds in the post-Richie McDonald era.

Grade: C

Changing the face but not the name

Gary Nichols

This week’s news that the great bluegrass-based group the SteelDrivers have changed lead singers after one acclaimed album from the distinctive sound of songwriter Chris Stapleton (who wants to return to a life concentrating on writing) to former Mercury artist Gary Nichols was a little disappointing. Musicians would probably disagree with this, but to me the lead singer is the most distinguishing feature of any band’s identity – and changing the face at the front seems to change the dynamic for better or worse.

One-time hitmakers Lonestar have a new album out soon with a new lead singer, but do not seem to be attracting much attention with it. They in fact started out with two lead singers (John Rich and Richie MacDonald), and when John Rich left to try a solo career (which flopped, leading to his finding success as half of Big & Rich) that did not cause any problems for the band, who went on to release their biggest hit, ‘Amazed’. But when Richie left the band a couple of years ago, the group had already passed its commercial peak. Richie’s solo career has not been particularly successful, and although I haven’t heard Lonestar’s material with their new lead singer yet, I would be surprised if it brought them back to the top.

One band to have gone through various changes of personnel, but for whom real success was associated with the original lead singer was Highway 101, a favorite of mine from the late 80s. Fronted by Paulette Carlson, the group released three fine albums and a string of top 10 hits including several #1s between 1987 and 1990. Paulette then decided she wanted to go it alone, and released a solo album. This proved to be a bad move for her as her new record was a complete flop. The band meanwhile recruited a new lead singer, Nikki Nelson who had a strong, commercial voice, but one with less personality than Paulette’s. The new line-up had a few hits in the arly 90s, but ones which peaked lower on the charts than their earlier material. In 1996 Paulette rejoined the group and they released the appropriately entitled Reunited, but their time had passed and they could not reignite the flame of their glory days. They split again, and the band tried with a third lead singer, with even less success. I understand they are currently performing with Nikki Nelson again. This was a case study where the original combination of lead singer and band was the magical one, and subsequent reinventions just didn’t work.

Chris Stapleton

Sometimes switching the lead singer works out. The Dixie Chicks’ early records featured two lead singers (Laura Lynch and Robin Lee Macy) who were both eventually discarded. It was only when Natalie Maines joined that the band got their major label deal, and proceeded to mass success in the late 90s. Even today, after they have fallen from grace with country radio, the Court Yard Hounds side venture of sisters Emily Robison and Martie Maguire, the founder members of the Chicks, without Natalie, seems unlikely to attract the same level of support of their most recent album with her. Since the other two own the rights to the name, it is interesting that they decided to drop it for this project.

These last two cases do involve someone with a particularly distinctive voice which served to mark the band out. A similar case involving a less successful group is Trick Pony and its lead singer Heidi Newfield. When Heidi left to go solo, the band initially tried to find a new lead singer, but Heidi’s replacement Aubrey Collins left before any new music could be released, and the surviving band members eventually called it a day. In this case some lead vocals had been taken by one of the guys in the band, but Heidi was the dominating presence at the center of the group.

In previous generations, however, changes of personnel were less disruptive. The Statler Brothers replaced Lew De Witt with Jimmy Fortune, and the Oak Ridge Boys have been going since 1945 with many changes. However, these cases did not involve changing a sole lead singer. The pioneering Carter Family consisted of A P Carter, wife Sara and sister-in-law Maybelle in the 1930s; later on Maybelle continued the group with her daughters. Bluegrass groups seem generally to be formed around an inspirational instrumentalist rather than the singer, and have frequently featured changes in lead vocalist. The Nitty Gritty Dirt Band have changed personnel over the years, but retained a strong musical identity regardless.

Which of today’s groups could survive a new face at the front?

Week ending 3/13/10: #1 singles this week in country music history

1950: Chattanoogie Shoe Shine Boy — Red Foley (Decca)

1960: He’ll Have To Go — Jim Reeves (RCA)

1970: It’s Just A Matter Of Time — Sonny James (Capitol)

1980: My Heroes Have Always Been Cowboys — Willie Nelson (Columbia)

1990: Chains – Patty Loveless (MCA)

2000: Smile – Lonestar (BNA)

2010: Why Don’t We Just Dance — Josh Turner (MCA)

Week ending 9/5/09: #1 singles this week in country music history

Conway+Twitty1949: I’m Throwing Rice (At The Girl I Love) — Eddy Arnold (RCA)

1959: The Three Bells — The Browns (RCA)

1969: A Boy Named Sue — Johnny Cash (Columbia)

1979: I May Never Get To Heaven — Conway Twitty (MCA)

1989: I’m Still Crazy — Vern Gosdin (Columbia)

1999: Amazed – Lonestar (BNA)

2009: Big Green Tractor — Jason Aldean (Broken Bow)

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