Music twin sister, XU Lei, a xylophone, clarinet 12 ancient and modern interpretations of classical music, superb techniques, style fresh. Tastes of a truly fine album, amazing music in the new century's unique charm.
01. The Rhythm of The Rain
03. Dabancheng Girl
04. Greens Leeves
05. Beautiful Grass Land My Home
06. Lonely Shepherd
09. Kangding Love Song
10. Nanhai Girl
320 kbps including full scans
| MP3 VBR kbps | Incl. Covers | 160 MB | 2008 |
01. Kitaro - Message from the Cosmos
02. Mari Fujiwara - Water Mark
03. Toshiyke Watanabe - White Fantasy
04. Hideo Shimazu - Calmness
05. Kitaro - The Field
06. Takedake & Neptune - Japanese Roots
07. Febian Reza Pane - Borobudur
08. Manabu Ohishi - A White Pass to the Creek
09. Kitaro - Shimmering Horizon
10. Mari Fujiwara - Wind Forest
11. Keiichi Uko - Kingdom
12. Hideo Shimazu - Spring Prayer
01. Kitaro - The Wind
02. Hideo Shimazu - Slipping into April
03. Manabu Ohishi - Glittering Green
04. Takedake with Neptune - Korea Idea
05. Keiichi Uko - Sheep Cloud and Wind
06. Makoto Hirahara - Crescent
07. Kitaro - Evening Sun
08. Toshiyuke Watanabe - Children's Dream
09. Mari Fujiwara - Walking in Air
10. Kitaro - Taklamakan Desert
11. Takadake with Neptune - Java
12. Mari Fujiwara - Icarus
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"Music from around the globe to ease you into your day or calm you after hours. Some of it will touch your heart, some of it will get your feet tapping. Two disc compilation including 20 songs by top artist[s] like Ottmar Liebert, Craig Chaquico, William Aura, CUSCO, Himekami and The Soto Koto Band"
"This is one of those samplers that's really worth getting, unless you happen to have all the albums it samples. Two discs, divided into 'Night' and 'Day,' containing twenty tracks and around a hundred minutes of music, cover a broad range of styles, from the floaty sort of new age to the near-jazz stuff to the Soto Koto Band. The price is right, the overall mix is just so, and it's likely that any listener will wind up buying one or more of the albums sampled. ~ Steven McDonald, All Music Guide"
| MP3 320 Kbps | Full Cover Scans | 225 MB |
. Barcelona Nights - Ottmar Liebert
. Northeaster - Cusco
. Return Of The Eagle - Craig Chaquico
. Kelefa - Abdel Kabirr/The Soto Koto Band
. August Moon - Ottmar Liebert
. Flute Battle - Cusco
. Passage - Randy Tico
. Namaskar - Tri Atma
. Morning In Martinque - Eko
. Horse Latitudes - Eko
. Summers End - Craig Chaquico
. Starry Night (March Of Kings) - Ottmar Liebert
. Kilimanjaro - The Soto Koto Band
. Isle Of Gold And Silver - Himekami
. Stay With Me - William Aura
. Tosa Dunes - Himekami
. Seaplanet - Cusco Listen
. Bathed In Moonlight - Himekami
. On My Wings - Nightingale
. Sky's Beyond - Nightingale
Born in Cologne, Germany in 1956, Karunesh released his first album 'Sounds of the Heart' in 1984, which quickly became a classic in the New Age genre. More albums followed and Karunesh became established as one of the best known artists in that genre. He has lived in Maui, Hawaii since 1992 and his musical expression has expanded more and more into World Beat/World Fusion.
Songs from his world album 'Global Spirit' are featured on the Buddha Bar compilations and many more can be found in numerous world fusion projects.
"I want to go beyond the limits and barriers separating different cultures, mixing different music styles and let them flow and dance together. Music is the one language in the world that everybody understands, across all cultures, religions and beliefs.
Rhythym is food for the body, melody nourishes the heart and atmospheres fill the soul - and my music touches the listener on all these three levels."
"This music runs the course of a special program designed to clean the heart chakras. Four phases serve as a lengthy prelude to the closing tracks that venture deeply into the sounds of 'The Inner Temple' and 'Tibetan Sound Bowls,' with the closing track stretching out to over fifteen minutes in length. As a leader in the fields of healing and New Age music, Karunesh easily shifts his focus to the more specific area of meditation, including special exercises, which are included in the accompanying booklet. Each phase of approximately seven minutes ends with a gentle sounding bell. By the time you reach the closing track, a state of deep relaxation and receptivity should have been found. After that, anything is possible."
Bitrate: 320 kbps Encoder: LAME 3.96
A journey from strumming guitar in north America to the ragas of the ancient South Indian Veena.
Nadaka as a childI was born on 4 January 1958, in Quebec City, into a fairly well-off family. My father was what I would call a conservative liberal, who had great faith in the Capitalist world. My mother was dedicated to family life, always active and cheerful and, with a somewhat rebellious nature, she subtly fostered disobedience. Each in their way encouraged us to see beyond the scope of our provincial borders, south to the States and across the ocean to Europe - in short, what most North Americans considered to be the civilized world, but no further. The youngest of five brothers, I enjoyed a life of relative freedom and happiness; however, my early annoyance with dictated structures made me a rather poor candidate for the establishment in which I lived.
NadakaWith a natural inclination towards all things musical, I played various instruments from an early age and eventually, at the age of eleven, settled on guitar, touching Nadakaupon different styles including classical. The popular music of late 60s and the early 70s, the progressive English groups, kindled my imagination both musically and as regards the challenge they seemed to pose for our society. Nothing new, really, but nevertheless it seemed as if the world was going through radical changes with Music as a privileged messenger of a new age. It was through the Beatles that I first heard the twangs of a Sitar, which opened a small window onto India. Soon after, Eastern philosophies and esoteric thoughts captivated me.
It was at the age of fifteen, when my dream of joining the music conservatory came to naught, that a yearning for a deeper meaning in my life led to my decision to travel alone and experience the world. A pilgrimage of sorts, hitching rides or simply walking across borders, this adventure-filled journey brought me from Europe to the gates of the Sahara, through the Middle East, Afghanistan, Pakistan and finally to India, where I have been living for the past thirty years.
In India, travelling from north to south, I reached Madras in October 74 and stayed at the Theosophical Society with the legendary Bharata Natyam dancer Rukmini Devi. She introduced me to some of the traditional aspects of Indian culture and, although she encouraged me to stay as her guest and learn classical Indian music at Kalakshetra, the famed dance and music campus she had founded, my heart and mind were set on a place a little farther south, near the French town of Pondicherry, called Auroville.
Inspired by the ideals of India's great sage, Sri Aurobindo (1872-1950), the international settlement of Auroville was founded in 1968 by Mira Alfassa, also known as the Mother (1880-1973). Auroville's call for human unity and its founding charter held great promise for the future. They still do today, and this unique endeavour has attracted the attention of societies and people from all walks of life, both as an alternative community and as a developing international township.
The first years in Auroville, during which, without thought of personal gain, we gave all we had to make this dream come true, are often described as the pioneering years. From transforming this largely barren land into a forested oasis, to constructing our primitive dwellings, all had to be done and all seemed possible.
Sharing a large part of our life with the rural population, I soon became enthralled by all things Indian, naturally also by Indian music. In this remote area far from any city; recorded music, apart from Tamil film songs blaring from the surrounding villages, was quite rare, but the sounds of the local drums playing through the night or the temple clarinets filled the void.
I learned Tamil and spoke the local dialect. I studied the Veena and Indian vocal and became familiar with the language of Ragas, and also discovered the Tambura, a string instrument that serves as a drone while chanting. I could sing the Om endlessly and… endlessly I did. Life was hard, beautiful, and years passed.
I learned my first scales and short songs in the South Indian vocal style with Krishna Kumar. Krishna was born into a family of musicians and dancers who wandered the South from village to village. As a child he had followed the caravans along with his father and his innate artistic sense made him decide to pursue a career in dance and music. He joined Kalakshetra for a formal training in Classical Dance and later started teaching and performing in Germany and India, along with his wife Geeta. Krishna had a most cheerful nature and, although my lessons with him were brief, I was pleased when years later he invited me to record with him.
Nemat Darman, Santoor and precussion playerI was initiated into the more metaphysical aspects of Indian music by Nemat Darman, a great Santoor and percussion player, who stayed as a guest in my house for some months in 1980. Nemat was originally from a tradition of Iranian musicians. After having lived in Germany for some years, where he was a percussionist in the Munich Orchestra, his love of traditional music and Ragas brought him to India, which he considered to be the source of Middle-Eastern music.
He had what seemed to me then an extremely unusual approach to music and some of the experiences I shared with him seemed almost magical. I once asked how he had developed such perfect timing, to which, with his usual humour, he answered: "It comes from the patience you acquire when your job in an orchestra means waiting an hour or more just to give a few precise hits of the triangle".
These months of intense musical training gave me a deeper understanding of music and of sound itself. This exposure to Ragas and traditional music made me put the guitar aside and take up the Sarod (a fretless Indian string instrument), although soon enough I was inevitably drawn back to my guitar, devising ways of playing in an Indian manner.
Ramji, RamanathanAnother great source of inspiration came from my visits to Trichy, where I would meet a philosophical and rather saintly Brahmin by the name of Ramanathan. Ramji, as we called him, had dedicated his life to music, musicology and the craft of building outstanding instruments. Musicians from across India would come to this music sanctuary, right at the steps of the Rockfort temple, to procure a Tambura, or simply to hear this great man speak. His research into the perfect tonalities of Ragas and other related topics made him a sought-out source of knowledge. I would listen to his ancient tales of music and descriptions of his life in the early part of the last century, which were made all the more delightful as they were accompanied with songs in ancient Tamil and the occasional verses from Shakespeare. I always felt fortunate to be in his peaceful presence.
Ramji, RamanathanThis was only a part of my regular and often amazing trips through the south of India, where Tamil culture still prevails. I would often stop along the way and spend some hours or a night in small temples remote from what we call civilization. Indescribable sights and experiences made me dream and realize in awe the great power that ancient India has carried
down to us through the ages.
Vikku VinayakramApart from the occasional scoring for documentaries and concerts, my life as a musician took a different direction in 1990, when I was commissioned to compose and direct the music for a children's feature film. In an unusual turn of events, this film featured the renowned percussionist Vikku Vinayakram.
Vikku had been touring for years with guitar icon John McLaughlin and his Indian jazz-fusion group Shakti. After our time together in the studios, he spontaneously offered to join me in an upcoming concert at IIT Madras. I learned a lot just being around this famous yet most humble person, and the support he offered me over the years is more than any musician could ask for.
Nadaka, Ganesh and KumareshAt that time, he introduced me to Ganesh and Kumaresh, two young violin prodigies who were happy to work with me on the fusion side. I spent many years in close relationship with the two brothers, especially Ganesh. Their unique mode and flawless technique have been a major influence on my guitar style. Our association has been very creative, their house in Mylapore becoming my second home.
A.R. Rahman and NadakaWe worked on our first demos with A.R. Rahman in his Panchatan studios. This was before he became perhaps the most famous Indian musician. The long hours in the studio were spent in a relaxed way with Rahman, who would add a few keyboard tracks or doctor the mix. Years later Rahman invited me to play in one of his songs, Kamosh Raat, for a Hindi film, my only contribution to the Indian film industry.
In 1992, we started work on Straight to your Heart. Vikku and his son, Selvaganesh, joined us for some memorable recording sessions. I completed the final tracks and the mix in Paris with "Sound Wizard" Didier Weiss, who later engineered most of my projects.
Some time later we were joined by drummer extraordinaire Shivamani. We would spend days on end rehearsing at my home: Ganesh and Kumaresh, Selvaganesh, Shivamani and myself, with numerous others in tow, like old buddies under the wing of uncle Vikku (maaman). For a show at the all night Vasantahaba Festival near Bangalore, we did the sound check at 3 a.m. in front of an expectant audience. Once we got going, it clicked.Protima Bedi, India's matinee film idol turned patron of the arts who was the person behind this whole event, was thrilled and wrote me a moving letter of appreciation. As a sort of conclusion to this phase of my life, I recorded Celebration with Ganesh and Shivamani.
Trilogy Studio1999. In an evident move away from fusion, I began working on a musical exploration in which the deeper, more meditative aspects of Indian (also Tibetan) music took me over. Having once started, I became immersed in this musical adventure, my whole life revolving around what eventually became a musical trilogy. Months on end were spent on research and experimentation - Sanskrit or Tamil pronunciations, subtle ways of striking or stroking different instruments, nature recordings, exact microphone placements, etc. It seemed at times like a sort of microscopic search for the inner soul of each instrument -be it a gong, a voice, even a drop of water.
I retreated into my home studio and, with a conscious effort to keep silence as the foundation; sounds gradually emerged, grew and eventually found their perfect place in this creation. Musicians contributed their parts in this common spirit. The project was complete with graphics and texts which fitted precisely as they revealed themselves on the way. This became the Lotus Trilogy.
2001. The need to resurface and the simple joy of playing my Raga-Guitar brought me back to Madras. A meeting with the violinist Raghavendra Rao led to my collaboration with the Basavaraj brothers. These brothers between themselves harbour a great musical discipline that bring together the two great classical Indian traditions, Hindustani and Carnatic. At every rehearsal, there was a clear sense of joy and a great will to create without a specific goal aside for the love of indian music we all shared.
We soon ended up in the studio recording some tracks. With a certain aim towards perfection and little space for compromise, one day's recordings would easily be scrapped the next.
Balamuralikrishna, Vikku and Basavaraj BrothersI was also very clear on the direction and not to fall in the usual trappings of today's Indian fusions where virtuosity, mathematics and gimmickry too often replace quality, simplicity and good taste. After over a year all the musicians were happy with the final tracks the album was released. Though the event was a little hyped up for publicity, I did feel proud to that both Balamuralikrishna (who is, to me, the greatest living Karnatic vocalist) and Vikku were present to receive the first copies of our album Living Colours.
After a couple of years gap I have started performing again live with the Basavaraj Brothers; Sharing the stage with these outstanding musicians is always an uplifting experience.
I have composed pieces for solo guitar and I love the purity of single instruments played alone. On the other hand, the life pulse brought by an added percussion is gratifying. Of all the percussion instruments I know, Tabla, (played by a master) has to be one of the most complete in itself.
In a stroke of good luck, or fate, I met Somnath Nandi, who had moved from his native Bengal to Pondicherry. Together we work on the more improvised aspects of Indian Music within ragas and talas, often without the limitation of fixed time. I find the balance between my guitar along with vocal together with the tabla gratifying and I can freely adapt my style to both Hindustani and Carnatic. And…so it goes.
This short description of my musical world would have been incomplete without those here mentioned and these images remain as some of my most memorable experiences. Though I often wish I had more time to go deeper into each of these great musicians specific discipline, I have followed the current for my own musical entity, moving on towards new musical and life experiences.
The Lotus of the Quiet Mind
Nadaka - vocal, anantar harp, bamboo anklung, percussions, tambura
Debi Gosh on the sarod
Bryce Grinlington on the flute
“In the stirrings of nature and holy chants alike the silent deeper mind can hear the essence of sound itself. India's ancient seers knew it as the infinite sound of OM.”
Bitrate: 128 kbps Encoder: LAME 3.93 /( Track 4,5 and 7 are 24 kbps sorry for that )
The Lotus Of The Quiet Mind
Wright is unquestionably one of the most original and sincere young artists to arrive on the music scene in the last three decades. THE ORCHARD finds Wright again produced by Craig Street who has an uncanny ability to get vocalists to dig deep into their own psyches. Wright's smokey vocals blend folk, country, soul into what sounds and smells like her (and my) native Georgia. This time out, however, Wright co-wrote 8 of the 12 tracks on this CD. Her most frequent compositional partner here is the underrated Toshi Reagon (daughter of Dr. Bernice Johnson Reagon, noted historian, vocalist and founder of Sweet Honey `N the Rock). The opening track, a Wright/T. Reagon composition "Coming Home" has a gospel/anthem quality. "Leave Me Standing Alone" is a decidedly funky uptempo plea. Yet Wright does best when she shows off her considerable interpretive skills on the old Ike & Tina Turner chestnut "I Idolize You." Her reading of Patsy Cline's classic mid-tempo "Strange" is slowed down here and turned into a languid and haunting torch song. But buyer beware. This is not Soul music; it is not Folk; it is not Jazz; it is not Blues; and it is not Country. But it contains components of all of the above. It reminds the listener of the hybrid that is Southern music, and Georgia music in particular. I can smell the Georgia pines and feel the red clay between my toes with each listen. All of Wright's albums tend to become more impressive and more enjoyable with each listen. THE ORCHARD continues that tradition. Wright's deep and serene introspection may not appeal to all listeners. She almost requires that the listener bring something of him/herself to the table. But if you hang around awhile, you will not be disappointed. ~L.J.Allen
1. Coming Home 2. My Heart 3. I Idolize You 4. Hey Mann 5. Another Angel 6. When I Fall 7. Leave Me Standing Alone 8. Speak Your Heart 9. This Is 10. Song For Mia 11. Thank You 12. Strange
01.Enter the Kingdom
05.Energy of Love
06.Flow of Energy
09.Moving into Stillness
10.Harmony & Balance
07.Shells & Sand
Mp3 VBR kbps Including Cover Scans
Bruce BecVar, an extraordinarily gifted multi-instrumentalist and composer has just released his most masterful work to date: River of Gold. On this, his 12th album, the master guitarist has reached a new pinnacle of artistic achievement in songwriting, musicianship and production values. Listeners will be swept away by the albums fluid guitar, melodic keyboards, and subtle percussive accents. The albums New Age Fusion sound and glimmer of exotic vocals makes it a natural for both New Age and smooth jazz fans. A seeker and healer as well as an artist, BecVar makes music for its effect on peoples lives. Listeners report feeling uplifted, soothed and joyful on hearing his music. Composing and recording is for me a very spiritual practice, says BecVar. It is an exacting process of listening to the creative impulses of Spirit and being diligent about translating what I hear into a finished recording that captures that original essence in its most undiluted form.
In the tradition of musical prodigies, BecVar records primarily in his own custom home studio, plays a variety of instruments, and produces and engineers all his own albums. Doing the engineering and production is important to me for a number of reasons, but most of all, so I can make certain the sound I have in my head is what eventually ends up on the CD. I like to put the same love and attention into production that I do into composing and playing.
BecVars relationship with music began at an early age. When he was 8, he picked up his fathers ukulele and promptly began producing chords and harmony on it. At 9, he picked up the guitar. I put my ear next to it and began playing, composing. I had an almost innate knowingness of the instrument, almost any instrument - violin, cello, percussion, recorder, flute and piano. I rejected formal music training and Im glad for it. My path was clearly geared toward the intuitive approach.
His affinity for woodworking, combined with his love of music, naturally led BecVar to the fine art of building instruments. At the age of 11, he crafted a dulcimer from materials and plans given to him by his father, and by 12 had built his first acoustic guitar. He subsequently became apprentice to the town guitar repairman, working on everything from guitars to kazoos.
BecVars art and skill in the making and embellishing of instruments, along with growing recognition for his guitar compositions, brought him to Northern California in the early 70s. He set up shop in Sonoma where he became well-known as a Luthier, making one-of-a-kind electric guitars for such world-class rock n roll bands as The Who, The Peter Frampton Band, Led Zeppelin, The Jackson Five, Earth, Wind & Fire and Carlos Santana. One of his guitars, ornate with exotic inlay and carving, now resides in the permanent collection of New Yorks Metropolitan Museum of Art.
Meanwhile, he continued playing and composing. Aided by the after-hours use of a recording studio in the music shop where he worked, BecVar began production of his first album. In 1986, he released Take It To Heart on his own label, Shining Star Productions, and began working as a musician full time. The album met with outstanding critical acclaim as well as commercial success, validating Bruces uncommon approach to music. Windham Hill founder, Will Ackerman discovered Take It To Heart, invited BecVar to perform with him in the Windham Hill Summer Concert Series in 1987, and included an original cut of BecVars on the Windham Hill Guitar Sampler.
When he was preparing to record his second album, The Nature of Things (1989), BecVar couldnt find an instrument that produced the kind of sound he was seeking. Not surprising then that the former professional luthier decided to design one himself. I was looking for a new, versatile instrument that produced an ethereal but still resonant tone. So I designed the Shakti harp. A custom 28 - string acoustic/electric instrument, the Shakti harp combines the sounds of guitar, harp, koto and zither, giving BecVars music an even more unique sound.
BecVars third release, Forever Blue Sky (1990) was his breakout album, residing on Billboards New Age chart for over a year. Then his career took a turn to the East. Early influences of Ravi Shankar, explorations of Eastern religions, and divine synchronicity led BecVar to vocalist-yoga instructor-healer Nada Shakti. Their synergy gave birth to Samadhi, an intriguing collection of Hindu Vedic hymns and chants, accompanied by original instrumentation. BecVar and Shakti also combined forces with a group of Tibetan Lamas for the production of one of the most popular of the Tibetan overtone chant recordings, Tibetan Sacred Temple Music (1990), and later, Shakti and BecVar released Jiva Mukti (1994).
In 1992, BecVar released the more contemporary-sounding Rhythms of Life (1992), co-produced by Don Camardello (Ottmar Liebert) in his Santa Barbara studio. For the project, BecVar teamed with Paul McCandless (Windham Hill), Alex Acuna (Weather Report) and younger brother Brian BecVar (Kitaro band). The album, available through Higher Octave Music, is enjoyed by New Age and smooth jazz fans alike. Later that year, BecVars mood turned spicy and bold, inspiring him to record the nuevo flamenco-flavored Arriba (1992). The genre turned out to be perfect for guitar whiz BecVar, Arriba is fiery and romantic, with that silky BecVar touch. Indeed, it is so well loved that one cut, Istanbul, is included on the top-selling Narada Collection Gypsy Passion, alongside songs by such artists as Ottmar Liebert and Strunz & Farah.
BecVars most recent musical project before River of Gold was his immensely popular three-album series, The Magic of Healing Music, created for Deepak Chopra. The series, based on ancient Ayurvedic principles popularized by Dr. Chopra, consists of Vata, Pitta and Kapha, each intended to balance the particular dosha for which it was named. BecVar worked closely with Dr. Chopra and with Dr. David Simon, director of The Chopra Center, on the project. The series was later released as one double album, which continues to be a top seller.
River of Gold (1998) Arriba (1992)
The Magic of Healing (1997/95) Samadhi (1990)
Time Dreams (1994) Forever Blue Sky (1990)
Jiva Mukti (1994) The Nature of Things (1989)
Rhythms of Life (1992) Take it to Heart (1986)
Band members: Nada Shakti: vocals
Bruce BecVar: acoustic guitar, Shakti Harp, keyboards, recorder flutes & percussion
Jiva Mukti (1994) Tracklist
1. Praise to Tara
3. Guru Brahma
5. Heart Sutra
6. Jiva Mukti
9. Isha Vasyam
EAC-320kbps mp3 l 110 mbs l Front and Rear Scans
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| EAC-APE - 335 MB | Full Cover Scans | MP3 320 Kbps - 125 MB |
(01) [The R.E.G. Project] Istanbul
(02) [The R.E.G. Project] Amman Amman
(03) [The R.E.G. Project] Soboh el Kheir
(04) [The R.E.G. Project] Cuerpo a Cuerpo
(05) [The R.E.G. Project] Afreg
(06) [The R.E.G. Project] Trip to Anjar
(07) [The R.E.G. Project] Childhood
(08) [The R.E.G. Project] Waiting Immigrant
(09) [The R.E.G. Project] Ya Leil
(10) [The R.E.G. Project] Chill'in Sunset
(11) [The R.E.G. Project] Solar
(12) [The R.E.G. Project] Takssim
Eastern melodies and electronic dance beats come together in the world of the R.E.G. Project. The initials R.E.G. represent the three Beirut, Lebanon, DJs that make the group: Ralph Khoury, Elie Barbar, and Guy Manoukian. Barbar and Manoukian had already been working together, and when they heard Khoury spinning at the chic Beruit club Circus, they decided to ask him aboard. The first 12" from the three, "Harem," was a local hit and eventually caught the attention of Paris DJ Claude Challe, the man behind the Buddha Bar compilations. A collection containing nothing but R.E.G. Project music, Claude Challe Presents: Near Eastern Lounge, was released in early 2003. By the end of the year the group was successful enough to drop the Challe endorsement off the cover and released II under their own name. ~ David Jeffries, All Music GuideEAC-APE [ 335 MB]
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MP3 320 Kbps [125 MB]
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