in performance: joe bonamassa

joe bonamassa.

joe bonamassa.

It wasn’t until the halfway point of his 2 ¼ hour guitar manifesto last night at the Singletary Center for the Arts that Joe Bonamassa paused long enough to chat with the near capacity crowd.

There was business to tend to at this juncture, the concert’s only substantial break. The guitarist thanked the audience, his crew and his band of heavy hitters (which included longtime CBS Orchestra drummer Anton Fig, Double Trouble keyboardist Reese Wynans, heralded Nashville bassist Michael Rhodes and former Tower of Power trumpeter Lee Thornberg). But before any of that, there was some justifiable gloating to do over the announcement earlier in the day that Bonamassa’s newest recording, “Live at the Greek Theatre,” had received a Grammy nomination for Best Traditional Blues Album. In giving the news a homey spin, Bonamassa acknowledged he learned of the honor not through the Recording Academy that oversees the Grammys, but via a message from his mother.

Outside of that little chat, Bonamassa was all business, wielding a guitar sound born out of the blues but fortified with an electric stamina that generously and frequently borrowed from rock ‘n’ roll. The show opening “This Train” began a five song selection of original compositions off of “Blues of Desperation,” a studio album released earlier this year. While some of these works called upon colors from Bonamassa’s seven-member band (a barrelhouse piano run by Wynans here, a Southern fried horn riff from Thornberg and saxophonist Paulie Cerra there), the music was driven by heavy, humid guitar grooves and one piledriver Bonamassa guitar solo after another.

The mood didn’t noticeably lighten until the show began veering into the “Three Kings” repertoire of “Live at the Greek Theatre” – specifically, songs popularized by guitarists Freddie King, Albert King and B.B, King. There was still a weight to Bonamassa’s treatment of these tunes, including a toughened version of “Never Make Your Move Too Soon,” a Crusaders-penned song B.B. King cut with a jazzy vibe in 1978. Bonamassa had none of that last night. His version let the guitars roar (both in his leads and in solid, propulsive rhythmic playing) before Thornberg and Cerra capped a pronounced party mood with brief but boisterous horn solos.

There were also a few detours into dynamics, as in the way a quartet version of Led Zeppelin’s “How Many More Times” veered from its expected aural thunder to a guitar solo of surprising sparseness and delicacy. But the full, tireless spirit guiding this performance was best showcased by an encore finale of “Hummingbird” that served as a double tribute. The song was popularized by B.B. King (who died last year) and written by Leon Russell (who died last month). Though still abounding with gusto, the work offered a more balanced vocal and ensemble blend, allowing Bonamassa to lighten ever so lightly his voluminous guitar sound. One had to imagine that making room to pay homage to two legends simultaneously demanded that.


the first wave of forecastle 2017

james murphy, chieftain of forecastle co-headliner lcd soundsystem.

james murphy, chieftain of forecastle co-headliner lcd soundsystem.

Start thinking summer, people. The 15th Forecastle festival in Louisville has just announced its “first wave” of acts for next year, a roster that includes Brooklyn dance rock/electronica troupe LCD Soundsystem, pop stylists Weezer and the electro pop duo Odesza.

Want more? Then plan on sets by Bowling Green-bred rock renegades Cage the Elephant, British pop-punk experimentalist PJ Harvey, soul/Americana sensations Nathaniel Rateliff and the Nightsweats, roots rock champion JD McPherson, veteran soul/funk brigade Charles Bradley and the Extraordinaires, Christian rockers Needtobreathe, rock/folk/Americana favorite Conor Oberst and Louisville’s own Twin Limb.

Forecastle will run July 14-16, 2017 at downtown Louisville’s 85 acre Waterfront Park. General admission weekend passes are on sale, just in time for holiday shopping needs, at $149.50 excluding ticketing fees. For more ordering information, go to

Further performance bookings, schedules and single day ticket sales will be announced early in 2017.

king of the road

joe bonamassa.

joe bonamassa.

There is a credo printed on the inside cover art to Joe Bonamassa’s new “Live at the Greek Theatre” album. What it entails isn’t so much a philosophy but a practice, a four word summation of the guitarist’s life as a working musician.

“Always on the road.”

For Bonamassa, this is a simple truism. Since opening for B.B. King at the age of 12, he has amassed a critical reputation as a vanguard instrumentalist that is exceeded only by an even greater profile as a live performer, be it in a format of straight blues or through any number of side projects that veer into rock (Black Country Communion with Glenn Hughes, Jason Sherinian and Jason Bonham), jazz/funk (Rock Candy Funk Party) or collaborative blues/soul settings (with singer Beth Hart).

Add to that the number of live albums he has released chronicling his touring adventures (an astounding 10 since 2012) and there is little doubt Bonamassa indeed lives for – and on – the road.

“A lot of musicians make a record, do a tour and then they go away for four or five years,” said Bonamassa, who returns to Lexington for a Dec. 6 concert at the Singletary Center for the Arts. “That’s fine if that’s how you want to do it, but I come from the B.B. King school of touring where you make a record just so you can stay on the road.”

That’s why Bonamassa’s vast catalog of live recordings is peppered with studio albums, the works he promotes on tour and, ultimately, the products of what his touring life brings him. His newest is “Blues of Desperation,” an hour long set of original compositions released in March that displays a broad dynamic range of the blues, from barnstorming guitar excursions to comparatively meditative pieces.

“I wanted to do another original record,” the guitarist said. “It’s been great for me to rediscover songwriting. I kind of had a few years of dormancy where I wasn’t inspired to write as much. It’s nice to get back into it and create your own world again. It’s a lot of fun.”

Music from “Blues of Desperation” will constitute roughly half of the Singletary Center show. Much of the rest will be devoted to the repertoire from “Live at the Greek Theatre.” Don’t let the somewhat unrevealing album title fool you. This isn’t a standard revisit to older, familiar music. Instead, Bonamassa fronts an 11 member band on the record boasting horns, backing vocalists and, most importantly, songs drawn exclusively from careers of the guitar-slinging Three Kings of blues music – Freddie King, Albert King and B.B. King.

“Those are the cats,” Bonamassa said. “That’s where the DNA is written in my world. I don’t think 10 years ago I could have done something like this. I just don’t think it would have been in my wheelhouse to pull it off, vocally or musically. I mean, I’m very proud of what we’ve been able to accomplish with an 11 piece band. I mean, 10 or 15 years ago, the fact that I had 11 people in my whole crew on the road was an undertaking much less an 11 piece band. We’re traveling now with an eight piece band including two great singers and two horns. It’s been great. To have that big sound is really important because those guys had big bands. Those guys had big show bands. So this is an honor. I’ve always wanted to have a big band on the road.”

The ensemble – which includes former CBS Orchestra/David Letterman drummer Anton Fig, Stevie Ray Vaughan keyboard alumnus Reese Wynans and veteran trumpeter Lee Thornburg (all of whom are scheduled to perform with Bonamassa at the Singletary) – also allows the guitarist to explore the stylistic differences within the music of the Three Kings, from Freddie’s muscular guitar tone to Albert’s soul/blues fondness to B.B.’s gifts as an instrumentalist, bandleader and, especially, vocalist.

“Freddie was the firecracker of the three. Albert was the soul man and B.B. was the blues. It was harder to find songs of Freddie’s. We tried to stay away from the well worn paths, but it was also one of these things where we wanted to get deep into the catalog to some of Freddie’s pre-vocal era, into the Shelter years (referring to the label Freddie cut a trio of superlative albums for during the early ‘70s) and beyond. Albert was soul based, straight up, and B.B. was a shouter. B.B. had, arguably, to me, the best of the three voices. But that’s like saying, ‘What’s better, a Ferrari or a Ferrari?’”

The record and tour also boast another, more unintended tribute. Among the B.B. King recordings they cover is a soul-steeped, quietly combustible tune initially cut by the blues giant in 1970 called “Hummingbird.” Its composer was the great song stylist Leon Russell, who died last month.

“At first, I wasn’t so keen on doing it. Kevin (Shirley, Bonamassa’s long time producer) kept telling me, ‘You’ve got to try it.’ Then as soon as we got an arrangement of it, I was, ‘Oh, man. This is the best thing we’ve done in a long time.’ It’s a beautifully written song, but a quirky song. It works, though. We close our show with it every night. I would like to close with something more uptempo, but you can’t follow that song. That’s a tribute to the writing, to the bigness of it.”

Joe Bonamassa performs at 8 p.m. Dec. 6 at the Singletary Center for the Arts, 405 Rose St. Tickets: $89-$125. Call 859-257-4929 or go to

cosmic charlie’s re-opens

cosmic-charlies-10Strike up the band. Actually, strike up several of them. Cosmic Charlie’s, the self-described “funky music club” has completed its move to a new neighborhood. The venue officially opens for business in its new location at 723 National Ave. on Thursday and will resume its regular schedule of live music this weekend.

“We’re still going to have a lot of the same format, a lot of jam bands, bluegrass on Sundays, things like that,” said co-owner and talent buyer Mark Evans. “I’m more of a rock ‘n’ roll fan, personally. So this time I’m going to try and do more stuff that I’m interested in, as well. I was just selling what was selling before, trying to cater to the neighborhood, because that’s who was coming. But that was never our goal.”

The “neighborhood,” as in the one they vacated earlier this fall, favored the student population of the University of Kentucky. The venue opened in 2009 in University Plaza at the corner Woodland and Euclid in the same space that housed the popular Lynagh’s Music Club during the 1990s.

“We had been open at Woodland Avenue for seven years,” Evans said. “Our lease was coming to a close and we were ready to move on from that location. So at the beginning of the summer we decided to start shopping.”

The move to National Ave. places the new Cosmic Charlie’s the heart of Warehouse Block, one of the more recent Lexington neighborhoods experiencing a retail and residential renaissance.

“Now that we’re in a neighborhood with families and a more mature audience, I hope to present a wider array of genres at the club,” Evans said.

The new Cosmic Charlie’s first live music performance with be a Friday tribute show to the Pixies and Weezer as performed by Halloweezer and Brenda. Saturday brings in Louisville jam band Vessel with Fatbox. A pair of 25th anniversary shows by local Grateful Dead cover band Born Cross Eyed is scheduled for next weekend (Dec. 9-10). For a full schedule of confirmed Cosmic Charlie’s shows, go to


in performance: jim james

jim james.

jim james.

If Louisville audiences didn’t have the bearded, bushy haired visage of Jim James already imprinted on their collective rock ‘n’ roll psyches, they might have wondered exactly who the artist was onstage last night at the Louisville Palace.
For sure, it was James, back in his hometown for Thanksgiving. But this was very much a workingman’s holiday as the singer, guitarist and song stylist was in the midst of a tour away from his more familiar artistic enterprise, My Morning Jacket. That explains, to a degree, what might have thrown anyone not versed in the music he makes under his own name. In My Morning Jacket, James is a conjurer, a rock star of epic and very mobile design. With the five member band he assembled last night, which used the Louisville indie trio Twin Limb as its backbone (as well as the evening’s opening act), James largely unplugged from rock ‘n’ roll to become the psychedelic soul crooner that regularly sings with low, reflective fervor on his new solo album, “Eternally Even.”
James and his band played all of the record’s eight tunes (nine if you count the fuzzed out, keyboard/percussion dominate prelude to “We Ain’t Getting Any Younger”). The most immediate difference between these songs and MMJ music, outside of the new record’s very outward preference for lo-fi psychedelia and Shuggie Otis-style soul, was the heavy de-emphasis on guitar. While James tried to calm any game changing fears by prefacing the show-opening “Hide in Plain Sight” with a jagged electric guitar break, such moments were sporadic. The bulk of the evening’s guitar chores went to Twin Limb’s Kevin Ratterman, whose playing worked off more ambient waves of processed sound rather than organic leads, solos or hooks. As such, newer works like “Same Old Lie” and “True Nature” favored a denser melodic fabric than the familiar MMJ drive while slightly older works from James’ 2013 solo debut record, “Regions of Light and Sound of God” (in particular, “A New Life”) opted for a more vintage pop appeal that, at times, recalled the massive musical constructions of Phil Spector.
All of this was appealing enough even though James appeared, from a performance standpoint, a little stymied. Free of heavy guitar detail, be prowled across the stage empty handed as he sang. Sometimes, the effect allowed him to dig into the more spiritual, introspective vibe of the new material. In other instances, he just seemed uncomfortable and lost.
But the ace in the hole of this two hour show was an extended encore segment that served as a compact but riveting journey through James’ music outside of MMJ. It began with the solo acoustic “Changing World,” pulled from the 2012 album “New Multitudes” that pinned new music to unpublished Woody Guthrie lyrics. That bled into perhaps the evening’s most moving and unexpected number, an a cappella turned sing-a-long version of Bob Dylan’s “The Times They Are-A Changin’” that sounded frighteningly topical. James then regathered his band to revisit Monsters of Folk’s “Dear God,” the New Basement Tapes’ “Down on the Bottom” and two more “Regions of Light” songs, “Of the Mother Again” and “State of the Art,” with a cover of the Velvet Underground’s emancipating “I’m Set Free” spliced in between. This was where folk, soul and, yes, blazing rock ‘n’ roll crashed into each other, creating a remarkably full artistic profile where a Jacket was clearly not required.

in performance: david crosby

david crosby.

david crosby.

David Crosby seemed to take delight last night at the Norton Center for the Arts in Danville at the notion high ranking politicos might be rankled by his 45 year old song “What Are Their Names,” a tune that lambasted corporate driven wars and the body counts they trigger.

“I’d like to think they don’t like me singing it,” he remarked before the work swelled into an incantation that had all the earmarks of a vintage protest tune. Here’s the thing, though. This actually proved to be a fish-out-of-water moment for a singer whose career began during the Vietnam era. The rest of the program centered far more on the contemplative music from Crosby’s just released “Lighthouse” album.

Aided by Snarky Puppy bandleader, bassist and guitarist Michael League, who co-wrote much of the new material and produced all of “Lighthouse,” Crosby performed seven of the record’s nine songs. Thematically, those works reached from the flight of global refugees (“Look in Their Eyes”) to more internalized meditations (“By the Light of Common Day”). Musically, their outlines were light in structure and folkish in design. But they were also poetically jazzy in execution, especially when you factored in contributions by keyboardist Michelle Willis and guitarist Becca Stevens, both accomplished songwriters whose primary function last night was to recreate the vocal stacks Crosby and League created for “Lighthouse” onstage. The resulting music was attractive enough though somewhat tentative sounding in spots (this was just the second performance of this quartet’s young existence) with little variance in tone and temperament from song to song, save for the more percussive syncopation of the New York ode “The City.”

There were also nods to the past, of course. “Laughing” and “Orleans” were resurrected from Crosby’s 1971 debut album “If I Could Only Remember My Name” with League summoning pedal steel-like ambience from electric guitar on the former. “Carry Me,” a 1975 work originally cut with Graham Nash, nicely retained its steadfast sense of hope in this drummer-less setting. Taking the most fluid advantage of the ensemble’s vocal possibilities, though, were “Déjà Vu” and “Guinnevere,” the latter of which gave Stevens and Willis the job of delivering the high harmonies supplied most often through the years by Nash.

Joni Mitchell’s “Woodstock,” slowed with summery, pastoral grace, was saved for an encore, capping off a performance that made all the requisite stops in the past but was obviously built for maximum performance in the here and now.


sharon jones, 1956-2016

sharon jones.

sharon jones.

By contemporary music standards – meaning criteria that stressed image and appearance over artistic instinct and integrity – Sharon Jones was a success story that should have never happened. She possessed not the camera ready looks that sold most careers, nor did she cater to the commercial whims of artists that turned the soul music traditions she took to so naturally into shameless, retro-directed stabs at stardom. As the breakout artist of the heralded indie soul-roots label Daptone, Jones was never a revivalist, either. She simply embraced the emotive core of predominantly new songs and let her potent yet very elemental voice roar. Sure, her brass-savvy band, The Dap Kings, dressed her vocals with the kind of organic orchestration that helped define soul and R&B music during the ‘50s and ‘60s. But this particular pairing of singer and band never remotely sounded like a purposely retro driven enterprise. In terms of spirit and stamina, Jones and the Dap Kings created a soul sound that was never less than immediate and vital.

Jones died yesterday at age 60 after an extended battle with pancreatic cancer.

Jones’ Daptone records – especially, 2007’s “100 Days, 100 Nights,” 2010’s “I Learned the Hard Way” and 2011’s far more aggressive and funky “Soul Time!” were splendid documents of a vintage-flavored soul sound retooled with vitality for the present day. But it was onstage, where the full powers of Jones and the Dap Kings came into play.

I was lucky enough to see them in performance twice. The first, a 2008 concert in Louisville was surprisingly tentative. Jones sang great, but the show’s numerous quirks, including a faulty monitor mix, seemed to get the better of her to the point where she briefly left the stage. All in all, an accomplished evening that fell short of expectations.

The second was at the now defunct Buster’s in 2010 and the difference was astounding. The voice, the band, the audience and, most of all, the spirits, were all in peak form. The latter attribute sold the show. Having been introduced onstage as “the most brilliant star in the Daptone soul universe,” Jones gave a quick demonstration of the dance moves she grew up with – the Pony, the Funky Chicken, the Mashed Potato and the Swim – with the Dap Tones’ three man horn team at her side. Later, she triggered the volcanic vocal intensity of “When I Come Home” but chilled the festivities for the regal soul cool that sat at the heart of the title tune from “I Learned the Hard Way.” At every step, the singer looked to be having the time of her life. The singing was astounding, the music was arresting, but it was attitude that ignited this joyous, cross-generational soul celebration.

“Soul music ain’t something you can count off every few measures as you go,” Jones told me in an interview prior to the performance. “Oh no. You’ve got to feel it. It all comes from the heart. And that’s what you hear when we’re onstage – that presence, that happiness, that spirit. You’re feeling what we’re feeling.”


a new home for the moonshiner’s ball

Summer is a tough time to contemplate before winter even arrives. But the promoters behind The Moonshiner’s Ball have a big between-season announcement to share. When the festival convenes again in May, it will have a new home.

What that means is the Fourth Annual Moonshiner’s Ball will relocate from HomeGrown Hideaways, the “hundred acre holler” in Berea that helped host the event for the past three summers, to the 400 acre Jenkins Farm in the Red Lick Valley of Estill County.

“We have inched closer and closer to capacity for the last two years,” said festival organizer Travis Young. “Last year, I think we probably would have sold it out if it hadn’t been for really bad weather. So we’ve had our eye out for a place that would allow us to grow. This year, we’ll be pushing the lineup to where we’re going to need a little more space.

“It has some other perks, as well. It has a big, wide, flat campground where we can really spread it out and make it very easy for everyone to get in and out. We’ll have a lot of extra space to park cars for people who want to come in on day passes.”

Although a privately owned property, Jenkins Farm is no stranger to music gatherings. It was home to the Red Lick Valley Bluegrass Festival for 37 years.

An initial lineup of performers for next year’s Moonshiner’s Ball will likely be announced in January along with the start of ticket sales. The festival’s mix of national and regional acts in recent years have included The Reverend Peyton’s Big Damn Band, Ben Sollee, Vandaveer, The Duhks, Tyler Childers and Daniel Martin Moore.

Performance dates for the 2017 Moonshiner’s Ball are May 19-21. That will again make it one of the first major Central Kentucky music festivals of the summer season.

For more information go to


mose allison, 1927-2016

mose allison.

mose allison.

A third giant has left us in just under a week. First, Leonard Cohen departed. Then went Leon Russell. This afternoon came word that Mose Allison has died, four days after his 89th birthday.

Allison’s visibility to the pop mainstream was modest compared to the legacies of Cohen and Russell. That’s largely because he wasn’t a pop artist, but rather a jazz and blues pianist who sang like an unassuming hipster elder, squeezing wry social commentary and pure acerbic whimsy into songs far too clever to be considered sarcastic but too worldly to be brushed off some kind of pseudo-pop novelty.

But make no mistake. Rock ‘n’ roll was plenty hip to what Allison was up to over the years. Among his most vocal champions was Van Morrison, who spearheaded an Allison tribute album, “Tell Me Something,” in 1996. Then there was The Who, who turned Allison’s shuck-and-jive meditation “Young Man Blues” into an atomic anthem on its landmark 1970 concert album “Live at Leeds.” A newer generation chimed in when Americana journeyman and noted song stylist Joe Henry served as producer for Allison’s final studio album, 2010’s “The Way of the World.”

But the beauty of Allison’s music sat in its simplicity. He was as basic, at least on the surface, as someone like John Prine was (and still is) to singer-songwriter based folk music. Like Prine, there was a tremendous narrative depth to Allison’s songs. But since the latter’s whispery, conversational singing was so summery, the potency of his music could often be disarming. There was an unforgiving nature to his lyrics, though, with song titles regularly serving as set ups for savage punch lines.

A few examples:

+ “Everybody’s Crying Mercy” (… “when they don’t know the meaning of the word.”)

+ “Your Mind is on Vacation” (… “and your mouth is working overtime.”)

+ “Ever Since the World Ended” (… “I don’t get out much anymore.”)

Allison would regularly mix jazz and blues standards in with his own songs during concerts – gems both familiar (the Willie Dixon staples “Seventh Son” and “I Live the Life I Love”) and comparatively obscure (the 1947 Nat King Cole hit “Meet Me at No Special Place”). It all became part of the Mose lexicon – a light, bluesy and imminently soulful sound that was immovably cool.

Allison played Lexington regularly during the ‘80s – at the now-demolished Breeding’s on Main and at the University of Kentucky’s Memorial Hall. Though nearing 60 at the time, his style was essentially unchanged since his first albums on the Prestige label were issued in the late ‘50s. When in town, Allison usually played with pickup bands of local musicians that quickly fell in sync with the swift, blues-savvy swing of his songs.

On record, there was a tendency, at times, for producers to gussy Allison’s music up with additional instrumentation, especially on his late ’60s and early ‘70s albums for Atlantic. His most recommended and enduring work was displayed on records built around unobtrusive piano trios. As such, the two volumes of “The Mose Chronicles: Live in London” (released in 2001 and 2002) are ideal for novice fans. But are trio sets and serve essentially as primers on Allison’s sardonic and soulful songs, all of which are sung with a casual performance ease that nonetheless packed a substantial emotive wallop.

In the end, Allison was perhaps the best judge of his own artistic dichotomy. In one of his most clever late career compositions, 1987’s “What’s Your Movie,” he seeks a means of defining a hapless profile. Maybe his motives were likely rooted elsewhere, but I’m guessing this enduring musical original was singing, with cool and elegance to spare, about himself.

“What’s your movie? Are you the artist who’s misunderstood? The bad guy trying to do good? The nicest damn fella in the neighborhood?”


in performance: jd mcpherson

jd mcpherson.

jd mcpherson.

It takes no small level of nerve to have one of your own compositions, much less your sophomore album, share its title with one of pop music’s most familiar vanguard songs. But when JD McPherson tore into the jubilant charge of “Let the Good Times Roll” last night at Willie’s Locally Known, you tended to place the classic jump blues tune of the same name on the back burner. McPherson used his song to ignite an unrelentingly potent 75 minute set where roots music styles and traditions were reassembled into a keenly crafted, sonically crisp and joyously executed sound of his own.

Some of the references were pretty exact, like the rockabilly strut that propelled “Crazy Horse” or the Coasters-meets-Beach Boys croon that warped around blasts of turbo charged guitar twang during “Bridgebuilder.” But there were also times when McPherson’s ultra-focused band zeroed in on second generation inspirations, such as the jittery chorus of “Firebug” that recalled some of Nick Lowe’s Rockpile-era music from the late ‘70s. Curiously, McPherson acknowledged the influence directly by following the tune with a cover of Lowe’s “Rome Wasn’t Built in a Day,” one of the first tunes in the set to decelerate into a cooler, more contemplative groove.

Mostly, though, it was McPherson’s total reinvention of the vintage sounds that made for the performance’s most arresting moments. To that end, the show’s entire pacing came into play. This wasn’t a performance that dwelled on small talk. One song seemed to incite the next, creating a domino effect of sorts that had you absorbing its impact through clusters of tunes rather than through individual ones.

An extraordinary case in point came when the buzzsaw guitar coda from “Bridgebuilder” gave way to a bossa nova-like interlude from keyboardist Ray Jacildo. That, in turn, crashed head on into cyclical guitar riffs from McPherson and Doug Corcoran that detonated “Head Over Heels,” the least roots-savvy song of the night. The guitar maelstrom was further agitated by waves of electric fuzz bass by Jimmy Sutton, who otherwise spend the majority of the evening adding to the set’s more organic, rustic stride on acoustic upright bass.

For sheer diversion, there was the encore version of “Oil in My Lamp,” which sent this Americanized roots and rock celebration down to Jamaica for a very cool and credible serving of ska.

Expertly paced and vigorously executed with a clean but still deeply soulful sound mix to cap it all off, this one the most authoritative, efficient and seriously fun rock outings of the fall.


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