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Spectropop - Digest Number 1294



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               SPECTROPOP - Spectacular! Retro! Pop!
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There are 25 messages in this issue.

Topics in this digest:

      1. Re: Four Evers Noisy CD
           From: Tom Taber 
      2. Re Vance & Pockriss
           From: Tony Baylis 
      3. Re: Kusick-Anton
           From: Al Kooper 
      4. Re: Mary Hopkin
           From: Mike 
      5. Re:  Sammy Davis Jnr
           From: James Botticelli 
      6. Songs that "quote" others
           From: Steve Harvey 
      7. Re: Biggest record label blunders!
           From: Clay S 
      8. Re: Bubblegum Acts Play Psych
           From: Austin Roberts 
      9. Re: "I Love You More Than You'll Ever Know"
           From: Bob Radil 
     10. Re: Spine Shiverers / Big Finishes
           From: Austin Roberts 
     11. Emitt Rhodes article
           From: S'pop Team 
     12. Re: Sings The New Sound From England
           From: Bob 
     13. Re: Unchained Melody
           From: Al Kooper 
     14. Re: Summertime Guy
           From: Ed Rambeau 
     15. Re: Thanx To Austin and Others - Love This Group!
           From: Austin Roberts 
     16. RE: Scooby - Austin Roberts Connection
           From: Scott Shot 
     17. Re: "I Love You More Than You'll Ever Know"
           From: Doug Richard 
     18. Re: "I Think We're Alone Now" sdrawkcaB :eR
           From: Robert R. Radil 
     19. Buffalo Nickels
           From: Steve Harvey 
     20. Re: Change in direction / Colours
           From: Billy G Spradlin 
     21. Re: budget vinyl / Elvis' Sun master tapes
           From: Mikey 
     22. Re: Johnny Tillotson
           From: Mark Wirtz 
     23. Re: "Porpoise Song" in stereo
           From: Rat Pfink 
     24. Re: Shirley Matthews
           From: Ed Rambeau 
     25. Re: Forthcoming 'Smile'
           From: Paul Bryant 


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Message: 1 Date: Sat, 24 Jan 2004 08:01:17 -0800 (PST) From: Tom Taber Subject: Re: Four Evers Noisy CD Mark wrote: > I have over 2,000 CDs in my collection and this is by > far the worst sounding thing I have. Most of the songs > are taken off of horrible condition, scratchy records > with no attempt whatsoever made to de-noise them or > clean them up. My pet peeve - cds (usually of questionable legality) made from 45s that no one even bothered to put in mono! Minor pops and clicks are so much less annoying if they're not the only stereo effect on an otherwise mono recording. $5 worth of RCA plug connections will put the source into mono. I also urge anyone making cdrs to put an equalizer between their receiver and the cd recorder - cds, 45s, and lps vary so much in their volume that without one, sound levels are all over the place. Tom Taber, reasonable guy or anal-retentive perfectionist - you be the judge! -------------------[ archived by Spectropop ]-------------------
Message: 2 Date: Sat, 24 Jan 2004 16:10:39 -0000 From: Tony Baylis Subject: Re Vance & Pockriss Alan Warner "There was also the novelty song WHILE THE RECORD GOES AROUND by The Playmates which was a big radio hit in the UK when EMI released the original American version on their local Columbia label in 1958." "While the Record Goes Around" is not a novelty song, but maybe you are thinking instead of a Vance/Pockriss song also by The Playmates 'What Is Love'. US #15 1959 .. 'Sways with a wiggle with a wiggle when she walks, sways with a wiggle when she walks .....' of course, they are referring to her ponytail (Drat). On the subject of WTRGA, this was a B side in the US, with the A, "The Day I Died", charting at #81 1958. I recall that Sam (Costa maybe ????) someone, used "While The Record Goes Around" as the theme to a 15 minute record show on the wireless. Again concerning The Playmates, they did a vocal version of the theme from the film "On the Beach" which I believe was an instrumental in the film. Tony Baylis -------------------[ archived by Spectropop ]-------------------
Message: 3 Date: Sat, 24 Jan 2004 11:10:42 EST From: Al Kooper Subject: Re: Kusick-Anton Previously: > The writers credited with the "A" side were Kusick-Anton, Kusick was probably Larry Kusick, a NYC songwriter I wrote some songs with in my youth.. -------------------[ archived by Spectropop ]-------------------
Message: 4 Date: Sat, 24 Jan 2004 11:52:54 EST From: Mike Subject: Re: Mary Hopkin Phil M. wrote: > Does anyone know what Mary Hopkin does these days? I recall reading an extensive interview with Mary within the past few years, possibly in Goldmine or DISCoveries. She's alive and well, still recording, had lots to say about her years of fame. For one thing, she actively hated songs like "Knock, Knock, Who's There" -- didn't like the song to begin with, and also I think generally chafed at her sweetness and light image. A post subsequent to the above noted that another round of Apple albums is due for the CD reissue treatment songs, and among them was Mary's second album "Earth Song, Ocean Song," which is very good indeed. A great selection of songs, and it benefits from the absence of McCartney's occasionally heavy-handed production on "Postcard." Mike -------------------[ archived by Spectropop ]-------------------
Message: 5 Date: Sat, 24 Jan 2004 11:16:55 -0500 From: James Botticelli Subject: Re: Sammy Davis Jnr Howard wrote: > Sammy Davies Jr. did a vocal to Hawaii 5-0 which was an album track, > but I'm damned if I can remember the title of either now. > Spectropoppers - help :-) This track gained a certain amount of > 'fame' due to spins at the Wigan Casino. Simon White wrote: > Howard, it was "You Can Count On Me", which of course you knew, and I > can't remember the album title either, but it was on 20th Century. It > came up on Spectropop before I think. > Sammy has two later (minor) Northern plays with "The Shelter Of Your > Arms", also done magnificently by the great Bobby Sheen, and "Not For > Me", the Bobby Darin song. Clap...I just kumpleeted a CD-R called "Sammy Davis Junior Now!" in which all his 'groovy' work gets its day in the sun. With help from Z-Dog~ -------------------[ archived by Spectropop ]-------------------
Message: 6 Date: Sat, 24 Jan 2004 09:06:21 -0800 (PST) From: Steve Harvey Subject: Songs that "quote" others I always liked tunes that hint at another song with a bit of a riff or lyrics. For example: Bang A Gong ends with "meanwhile I'm still waiting" which is a swipe off of Chuck Berry's "Carol"; Bryan Ferry's "Let's Stick Together" which quote "Can I Get A Witness?" with "somebody, somewhere, tell her it ain't fair"; The Box Tops "Cry Like A Baby" ends with "You left the water running"; The Drifters' "Under the Boardwalk" has the music riff from "Up On the Roof"; The Beatles' "All You Need Is Love" has McCartney singing a snippet of "She Loves You", for some reason when I first heard this I took it to mean that Beatles were breaking up because they were mocking their own material; Sugarloaf's "Don't Call Us" uses the "I Feel Fine" riff. Your turn. -------------------[ archived by Spectropop ]-------------------
Message: 7 Date: Sat, 24 Jan 2004 18:39:36 -0000 From: Clay S Subject: Re: Biggest record label blunders! The Kingsmen's "Louie Louie" is listed at the (approximately) correct time of 2:42 on the original Jerden 712 pressing. When Wand picked it up the time was somehow changed to 2:24. Deliberate or typo error -- anyone know? The error has been repeated on numerous reissues. Clay S. -------------------[ archived by Spectropop ]-------------------
Message: 8 Date: Sat, 24 Jan 2004 13:47:09 EST From: Austin Roberts Subject: Re: Bubblegum Acts Play Psych Previously: > The Ohio Express used to play > heavy psych on stage to avoid those sticky sticky > hits, but now, as I said, it's bubblegum music all the > way. David Coyle wrote: > Sounds like the case of The Lemon Pipers, who fancied > themselves a heavy psych band and were reportedly not too > thrilled at the material they were made to record. > However, these guys could actually deliver the psych goods > when permitted. "Through with You" from their first album > is a psych classic...though most of you guys would probably > hate it -- all eight minutes plus of it! Hey Mike, Along those lines,when Johnny Cymbal had Cinnamon out under the name of Derek. (who was actually his brother) he decided to send his bro Derek out as the artist. Unfortunately, Johnny hadn't heard Derek's group in a a couple of years. Anyway,I was at Bang Records (NYC) one night with Johnny ,when an irate call came in from a club owner in the midwest. When Johnny first picked up the phone all he could hear was a raucous Cream like version of Cinnamon in the background as the owner held the phone up. When he got back on the phone he started screaming about the group representing themselves as Derek. Cymbal calmly said to the guy "Here's the real Derek, talk to him" as he handed an unsuspecting Austin Roberts the phone. Such was my buddy Cymbal. Loved him for that kind of quick wit, just wished it had been someone else sitting next to him that night. Austin -------------------[ archived by Spectropop ]-------------------
Message: 9 Date: Sat, 24 Jan 2004 19:31:03 -0000 From: Bob Radil Subject: Re: "I Love You More Than You'll Ever Know" I wrote: > Regardless of your intentions, "I Love You More Than You'll Ever > Know" ended up being one of my favorites. I was a bit dissapointed > hough last year when filling in on "The 60s Show" on WNHU/New Haven > when I played it from CD and it turned out to be from a different > take or recording from what I remember on the original vinyl LP. Al Kooper wrote: > Could only have been the CD SOUL OF A MAN - which is a live album > from 1995. BTW I just remixed CHILD IS FATHER TO THE MAN in 5.1 > Surround Sound and remastered the stereo tp SACD. Dont know when > they'll (SONY Legacy) release it but it's darned good. I don't know. It didn't sound live. I'll have to get my original LP out of storage and compare it to the CD at the station. If it *is* the same take after all, we can just blame my aging ears! In any case, I'll get back to you on this. Bob Radil -------------------[ archived by Spectropop ]-------------------
Message: 10 Date: Sat, 24 Jan 2004 14:35:54 EST From: Austin Roberts Subject: Re: Spine Shiverers / Big Finishes John Sellards: > ...or the great last chord of "Been So Long" by the Pastels. > Maybe this is a new thread - great endings???? Naw. Rashkow had gone off center with something (as Mike is prone to do, which makes him an interesting dude) and I was just trying to get back to great endings, vocals, etc. How about Billy Stewart's vocal ending on Summertime (for that matter his whole vocal)? Austin -------------------[ archived by Spectropop ]-------------------
Message: 11 Date: Sun, 25 Jan 2004 07:30:47 -0000 From: S'pop Team Subject: Emitt Rhodes article [from Message #18386] > Thought you folks might be interested in the cover story on > Emitt Rhodes that ran in yesterday's CityBeat out here in LA. > http://www.lacitybeat.com/article.php?id=583&IssueNum=33 -------------------[ archived by Spectropop ]-------------------
Message: 12 Date: Sun, 25 Jan 2004 06:02:14 -0000 From: Bob Subject: Re: Sings The New Sound From England Previously: > and the ill fated "Sings The New Sound From England" Al Kooper: > I actually like that album. > It was obviously an attempt by Bobby Vee to "steal" the > Beatlesound before it acrtually got over here, but those > Merseylads moved just a little too fast for the Bobmeister. > To me it's like having an extra dose of Lennon-McCartney > early tunes on hand. Imitation? Why yes....but quite well > done and the sincerest form of flattery. Al, I liked the album too, but the poor guy was crucified for making it! Actually, BV was onto the Beatles very early on. He did shows with them when they were hot in England and totally unknown here, and knew at some point they were going to be huge in the USA also. Snuff Garrett was trying to get Al Bennett to sign them to Liberty in the worst way but Al didn't want to hear about the $50,000 price tag at the time!! Bobby told me he did that album as a tribute to the Beatles sound and never expected that kind of reaction. That may have been a bit naive, but it wasn't like he hadn't done other tribute albums already! Btw Al, your tune on the "Look At Me Girl" album, "Fly Away", is right there with the best cuts on the album. One thing about Bobby Vee is that he could do justice to a good piece of material, and "Fly Away" is a really good piece of material! Bob -------------------[ archived by Spectropop ]-------------------
Message: 13 Date: Sun, 25 Jan 2004 00:44:06 EST From: Al Kooper Subject: Re: Unchained Melody Andrew Hickey: > Some guy?! Al Hibbler was only the singer with Duke Ellington's > band for 7 years, and one of the *very* few singers with > Ellington ever to actually have a half-decent voice...his > version of "Trees" is probably his best known performance. Naaah !!!! Unchained Melody - original version After The Lights Go Down Low - huge hit My favorite thing about Al Hibbler, a blind, black man, was he would randomly break into a British accent in the middle of a song for one line; for no apparent reason. He's my fave 50s singer for that reason alone !! Al Kooper -------------------[ archived by Spectropop ]-------------------
Message: 14 Date: Sun, 25 Jan 2004 00:04:14 EST From: Ed Rambeau Subject: Re: Summertime Guy JB writes: > Piping in for that Swan Baby, "Summetime Guy". It was a > HUGE hit in Lexington Massachusetts on WCOP-AM (now defunk) > in 1962. Me and my home boys did pre-karaoke to it the entire > summer. so Eddie, as you were known then, you got the job done. See that....and I never even knew till now. 1962 to 2004 are a lot of years to have not known something. But better late than never. Thanks, JB, for clueing me in. Ed Rambeau -------------------[ archived by Spectropop ]-------------------
Message: 15 Date: Sat, 24 Jan 2004 12:44:12 EST From: Austin Roberts Subject: Re: Thanx To Austin and Others - Love This Group! Dr. Mark: > I just want to thank Austin and others who have answered > or commented on my questions. Hi Dr. "Mark", As someone who has spent his whole life (since 16,except for a stint in the Marines) involved in music,it's people like you that I appreciate the most because you've never lost your excitement level for the music of the times that I feel were the best in pop music. Many thanks to you Mark and everyone like you, Austin Roberts -------------------[ archived by Spectropop ]-------------------
Message: 16 Date: Sat, 24 Jan 2004 14:04:18 -0600 From: Scott Shot Subject: RE: Scooby - Austin Roberts Connection Joe Nelson wrote: > Cool info from Austin: He wrote and sang lead on "Pretty Mary > Sunshine" and "Seven Days A Week" from the great, original > SCOOBY DOO cartoon. Both songs are among my two boys' favorites!" Cool info for sure for us Saturday morning tune lovers. Of course, "Pretty Mary Sunlite" was actually sung by Jerry Reed, as it was part of the Scooby Doo Movies series. But I was wondering if Austin might share some insight on how he got this Scooby Doo gig. Also, I've always thought the sound of "Seven Days A Week" was very Archies. Obviously, the success of that musical series was the impetus for the Scooby Doo tracks. But did Hanna Barbera actually say they wanted an "Archies sound"? And how many tracks did you record for the show? How did they present the idea, seeing as there was no actual rock band in the show? Also, I have heard for years that an album was released in '69 or '70 that included the music from the Scooby Doo series (like those Archies & Josie & the Pussycats gems). I've never been able to find any evidence of it, though, in my 20+ year search. Does it really exist? The CD "Scooby-Doo's Snack Tracks" was released by Rhino in 1998. The first half is pretty great, but it takes a turn toward the unlistenable about halfway through when you get to the songs that Hanna-Barbera wrote themselves. Sorry for the revival of the Scooby topic-- I have just now mananged to get to those digests from the new year! This group is sending out 200K worth of messages daily! It's incredible... and rather daunting to keep up with. Scott in Houston -------------------[ archived by Spectropop ]-------------------
Message: 17 Date: Sat, 24 Jan 2004 20:31:51 -0000 From: Doug Richard Subject: Re: "I Love You More Than You'll Ever Know" Al Kooper wrote: > Could only have been the CD SOUL OF A MAN - which is a > live album from 1995. BTW I just remixed CHILD IS FATHER > TO THE MAN in 5.1 Surround Sound and remastered the stereo > tp SACD. Dont know when they'll (SONY Legacy) release it > but it's darned good. Sounds like I'll be buying my third or fourth copy of that record soon... Doug -------------------[ archived by Spectropop ]-------------------
Message: 18 Date: Sat, 24 Jan 2004 20:49:14 -0000 From: Robert R. Radil Subject: Re: "I Think We're Alone Now" sdrawkcaB :eR Glenn wrote: > Did I say "myth"? I meant to type: Truth. Total truth. > It was just a typo! > Seriously, after hearing the segments you played to Musica, > Bob, there can be absolutely no denying that the segment from > "Mirage" is exactly "ITWAN" played backward. It's stunning! > It couldn't have been accomplished with just a simple chord > reversal. So I admit that I was wrong. > However, I am sure I can find the early Tommy James interview > where he made the statement that they reversed the chord sequence > of "ITWAN" to create "Mirage", and said nothing about playing the > record backwards. Of course, playing the record backwards would > also have naturally led to the reversed chord sequence, but in this > particular interview James said nothing about that. Perhaps it was > at a point where he wasn't ready to own up to it? > When I find the interview I'll post the quote. I would certainly like to see it. As Joe Nelson mentioned elsewhere, this is something I discovered back in 1967 when "Mirage" was added to WPOP's playlist. As a goof, I had modified a turntable to play backwards after learning that the vocal track on the fade of "Rain" by The Beatles was backwards. I then listened to a number of songs backwards. And this was more that 2 years before the "Paul is dead" rumours! Why couldn't I discover it??? Anyhow, while I try to keep my records in good condition, it's me that's a bit warped! :) Bob Radil -------------------[ archived by Spectropop ]-------------------
Message: 19 Date: Sat, 24 Jan 2004 12:53:14 -0800 (PST) From: Steve Harvey Subject: Buffalo Nickels Dan Hughes wrote: > I bought BUFFALO SPRINGFIELD AGAIN after reading about it > in Hit Parader magazine. Hated it first time through, but > continued playing it and it got better with each listen. > Now I love it. Buffalo Springfield were definitely a band that improved with each album. LAST TIME AROUND is even better although it does come off like a batch of solo pieces strung together ala THE WHITE ALBUM. -------------------[ archived by Spectropop ]-------------------
Message: 20 Date: Sat, 24 Jan 2004 21:30:49 -0000 From: Billy G Spradlin Subject: Re: Change in direction / Colours Scott wrote: > Colours.... The first LP is great Beatles-styled psych-pop. > The 2nd LP is nothing like the debut and is simply dull. I got to hear a CD-R dub of "Atmospheres" after several years of loving their first album and was greatly disapointed. After the first cut "Angie" and it quickly goes downhill. Colours first album is in serious need of a CD reissue! Billy 60's Jangle Radio http://listen.to/jangleradio -------------------[ archived by Spectropop ]-------------------
Message: 21 Date: Sat, 24 Jan 2004 17:38:01 -0500 From: Mikey Subject: Re: budget vinyl / Elvis' Sun master tapes Steveo: > Perhaps they were worried that he couldn't sing conventionally, > like Perry Como or Vaugh Monroe? and were worried. Dunno Yes, I agree. And Perry Como was "The Man" at RCA, so they used him as a yardstick. Mikey -------------------[ archived by Spectropop ]-------------------
Message: 22 Date: Sat, 24 Jan 2004 18:04:29 EST From: Mark Wirtz Subject: Re: Johnny Tillotson Dan Hughes: > Five S'poppers sent me questions for Johnny Tillotson. As I lost contact with Johnny some years ago, I would like you to send him my warmest regards. It so happened that, after Johnny had been one of my teenage idols before I came to the UK and entered the the music business, he and I and the gang did a concert tour In Saudi Arabia of the ARAMCO oil bases back in the late 70s (I was Johnny's pianist and band leader). And what an unforgettable adventure we shared!!! Tell him that I'd love to connect with him. Best, Mark Wirtz (writing from London, after a truly memorable session with Tony and Anthony Rivers! :):):) -------------------[ archived by Spectropop ]-------------------
Message: 23 Date: Sat, 24 Jan 2004 18:02:44 -0500 From: Rat Pfink Subject: Re: "Porpoise Song" in stereo Bryan wrote: > That long version -- 4:00 (Colgems single #66-1031, 1968) > -- is soon-to-be available again on an upcoming Rhino > Handmade release, 'Hallucinations: Psychedelic Pop Nuggets > From The WEA Vaults (RHM2 7821). The "Listen To The Band" box set has a 4:15 stereo version. RP -------------------[ archived by Spectropop ]-------------------
Message: 24 Date: Sat, 24 Jan 2004 18:19:50 EST From: Ed Rambeau Subject: Re: Shirley Matthews Mick Patrick: > Shirley Matthews "(He Makes Me) Feel So Pretty" (Amy 910, > 1964). Written by Eddie Rambeau, Bud Rehak & Bob Crewe, > Arranged by Charlie Calello, Produced by Bob Crewe. > Were you at the session, Ed? Is that Jeanne Thomas & the > Rag Dolls I hear on back-ups? Were you a lyrics man, or melody? > Shirley was a great singer, deserved a hit. I suppose I was at the session, Mick, however I've been to so many recording sessions that it's hard to remember them. So I can't honestly say who sang backup, altho' Bob Crewe used Jeanne Thomas quite a bit. I was both a lyrics and melody man. Often times I even wrote both. There is a Los Bravos song I wrote complete lyrics to while in Cannes at the music festival in 19 blah, blah, blah. I can't even remember the name of it. Mike Edwards will remember. Hey, Mike...help me out. Ed Rambeau -------------------[ archived by Spectropop ]-------------------
Message: 25 Date: Sat, 24 Jan 2004 15:44:04 -0800 (PST) From: Paul Bryant Subject: Re: Forthcoming 'Smile' Hi Poppers This article Grin and bear it Sylvie Simmons Friday January 23, 2004 The Guardian Alas peddles a lot of the usual myths. For instance > Shy and reserved, he still looks fragile, despite the > enormous progress made since his breakdown in the > mid-1960s, which confined him first to his bed for two > years and then, for even longer, to the controversial > care of Eugene Landy (the psychiatric doctor whose > relationship with Wilson was finally severed by the > courts)." This is all muddled up. After the "first breakdown", which was 1964, Brian entered into his most brilliantly creative three years. The famous Brian in bed period came much later. (And we would hope Brian had indeed made "enormous progress" in FORTY YEARS!) > It's so different now," says Melinda. "This band > really supports Brian. They love his music and they > love him . He always needed to be told, 'this is > incredible', 'this is great', and in the past he > didn't get that from [the Beach Boys] or anybody. But > now he's got what he needs around him to be able to > courageously attack this new project." I really can not believe the Beach Boys didn't ever tell Brian his songs were wonderful! Melinda says he didn't get this kind of praise from anybody - what about all the music press calling Brian a genius for years? That became a problem in itself. So what makes Melinda say this? > "Teenage symphonies to God", Brian called it. The > Beach Boys, when they got back, called it "freaked > out" and "fucked up". Mike Love, Wilson's cousin and > most vocal critic in the band, scoffed that it was "a > whole album of Brian's madness". Already reeling from > a distressing battle with the group's record company, > Wilson was overwhelmed.' Here's a big myth - that Brian had to fight with the Beach Boys all the way & finally crumbled under their unrelenting unbelief in Smile. If you listen to the Sea of Tunes boots of Smile sessions you hear a whole lot of time and trouble being taken by the Beach Boys trying to get the complex vocals right. Brian was getting them to do very odd things at times, and to my ears they really put their hearts into the whole thing. (And also it sounds like they were quite as stoned as Brian was.) I appreciate that they might have has misgivings, but they still went along with Brian for months. > The final straw was the sudden appearance at the top > of the charts by another far-reaching concept album: > Sgt Pepper's Lonely Hearts Club Band, by arch-rivals > the Beatles. Wilson put the Smile tapes on the shelf, > went home, got into bed and closed the door. " This is wrong, Smile collapsed way before Sgt Pepper. All the writers agree that Brian had given up Smile by spring 67. > And for decades, while some of his Smile songs were > rejigged for subsequent Beach Boys albums or slipped > out on bootlegs or the internet, he refused even to > mention the project. Until last October, when he went > back to the album and finished it. " I confess this is news - so he's finished it! Wow. > "The people in England appreciate my music more", > Wilson says.' I'm English so I don't object to Brian saying this but once again I can't believe it's true. > [Brian says] "We didn't want it to come out. Because > we thought that it was too weird. Too weird. We > thought that it was a weird album." > Such a pity, I say. If it had come out before Sgt > Pepper, it might have changed the course of music > history - or certainly the way people viewed the Beach > Boys. His face clouds. "No", he says.' Quite right, Brian - it was very weird and it wouldn't have changed the course of music history if by that she means people would have tried to follow its unique vision. No one would have been able to. pb -------------------[ archived by Spectropop ]-------------------
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