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All-Reviews.com Top 50 Songs*:
for the 2nd week of June, 2002

*based on airplay at alternative, pop and rock radio stations a cross the nation (reviews by LarryG)

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(songs 1-25)

  1. Fat Joe featuring Ashanti-What's Luv?    (down 3 positions)      buy it!
    What's Luv is the first mainstream hit for South Bronx native Joseph Cartagena. Fat Joe, like Ja Rule before him, has made the pop charts by placing his rough voice into a light hip hop setting. What's Luv is laid back and slight like Ja Rule's hits and perhaps even more engaging. What's Luv sounds like Ja Rule's Always On Time and the remixes of J. Lo's I'm Real and Always On Time, which is not surprising, considering that many of the same people were involved in making each record. Fat Joe's voice isn't polished but his parts are wrapped with a relaxed beat in a catchy, bubbly synth riff and surrounded by choruses with Ashanti's ultrasweet singing and Ja Rule's distinctively cocky voice. What's Luv's lyric doesn't say much beyond it's what's love got to do with it(as long as we trust each other) chorus. Fat Joe tells us he doesn't care if you've got a man or whether you're "the office type or like to strip" as long as you have "thick hips" and don't "talk too much." What's Luv is from Fat Joe's Jealous One Still Envy CD(his 1997 CD was called Jealous Ones Envy so he presumably will eventually get around to a CD called something like Jealous Ones Still Envy my Phat Heaviness).

  2. Incubus-Warning    (unchanged)      buy it!
    Incubus keep giving us likable, unremarkable atmospheric rock songs. Warning, third chart hit from the Morning View CD, is appealing. Warning is even more laid back than I Wish You Were Here and Nice To Know You but it has a similar vibe. On the verses, Brandon Boyd's vocal drifts along with some minimal guitar and sonic effects. The chorus, with Mike Einziger's electric guitar strumming, is harder and more focused, but the song retains it's dreamy feel. Warning is positive and spacy, advising that as you float "in this cosmic jacuzzi", "count your blessings", "don't ever let life pass you by" and love yourself. Warning seems intentionally inconsequential but it is quite appealing.

  3. John Mayer-No Such Thing    (up 4 positions)      buy it!
    Further proving that you can't keep a mediocre, pleasant song down, No Such Thing, from the Room For Squares CD, has returned to the chart. No Such Thing was on the lower end of the top 50 for more than two months last winter thanks to play on "adult alternative" radio. With its mild sense of rebellion and John Mayer's genial, modest vocals, No Such Thing was perfect for that yuppie friendly format. Even after it dropped off the top 50, No Such Thing hung around some stations' playlists. Its innocuous charm eventually caught the attention of VH1 then pop radio. No Such Thing reminds me of well made, easy rock hits by thoughtful, poppy white guys like Marc Cohn, Sister Hazel and Five For Fighting. No Such Thing's whimsical lyrics gently protest a world that tells you "stay inside the lines" and proclaim that "the real world" is "just a lie you've got to rise above." Mayer, a Berklee College of Music dropout turned Atlanta based singer/songwriter, is only in his mid 20s and seems a little young to be making such smooth, familiar, unchallenging music. Mayer has been compared to Dave Matthews. No Such Thing is even tamer than Matthews' amiable music, which at least has a little jazzy edge.

  4. Our Lady Peace-Somewhere Out There    (unchanged)      buy it!
    Seeking an American commercial breakthrough, Canada's Our Lady Peace move into Creed/Goo Goo Dolls/Aerosmith territory for a string laden rock ballad that sounds like a hit. Somewhere Out There, from the Gravity CD, isn't my favorite Our Lady Peace song(the less sweeping ballad Clumsy probably is), but I find it less annoying than some rock ballads. Our Lady Peace singer Raine Maida has always been a rather serious, intense fellow so it's less jarring than for someone like Steven Tyler to hear Maida shift into mellow mode. Maida's hoarse, yearning singing doesn't have Scott Stapp's self important vanity and Somewhere Out There's sound isn't as bloated as on Creed's hits. Still, Somewhere Out There loses out by following a pop formula. I like Somewhere Out There's heartfelt verses but the song's personal touch is steamrollered when the big guitars and heavy orchestration come in. Somewhere Out There is about waiting "on a bed of nails" for the return of an old flame who transcended a feeling of being "lonely and out of place" by moving on to a new life.

  5. Default-Deny    (up 1 position)      buy it!
    Like their friends and fellow Canadian pop rockers Nickelback, Default are very serious and intense. Their music is even more generic and lacking in personality than Nickelback's. Like so many bands these days, Default sound like fans of Pearl Jam and Alice In Chains as they emulate those bands' big, ambitious guitar and drum sounds and add little of their own character. Dallas Smith, like Creed's Scott Stapp and so many others, is a deep voiced singer who delivers every proclamation with a fervent passion, as if every song is about a life and death matter and any hint of lightness or humor would detract from the vital importance of their message. Smith's voice is big and strong but it lacks of any subtlety or variety. On Deny, the second chart hit from the Fallout CD, Smith's voice, Jeremy Hora's power chords and Danny Craig's drums pound with sledgehammer obviousness. Deny has the big, yearning sound of Pearl Jam's Even Flow and a touch of Metallica's mix of heavy metal and mysticism around the edges. Nothing distinguishes it from the work of Default's predecessors. Deny's lyrics are of the "you ungrateful bitch" variety so popular with male teens. Smith tells the woman who split and left him in hell that after "I've done it all for you", "I'll never crawl to you."

  6. Pink-Don't Let Me Get Me    (down 7 positions)      buy it!
    The former Alicia Moore tells us on Don't Let Me Get Me that since school, when she dated teachers and got into fights, she's done things that get her in trouble and make her hate herself. The context of the song is Pink's decision to toss the sleek dance pop sound of her Can't Take Me Home CD for the more rocking arrangements on Missundaztood. Pink seems genuinely conflicted. She knows that slick music and marketing made her a star and sounds genuine as she refers admiringly to Britney("she's so pretty"). Still, she resents the advice of Arista exec LA Reid to change "everything you are" and finds the music that made her successful irritating. Don't Let Me Get Me also avoids the calculated, synthetic sound of her first CD's hits but it isn't as striking a departure as the buoyant, raucous B-52's influenced Get The Party Started. Pink and her Missundaztood collaborator ex 4 Non Blonde Linda Perry have constructed a song with a pleasant, adult sound. Especially towards its end, when a yearning guitar kicks in, Don't Let Me Get Me reminds me of Natalie Imbruglia's Torn. Its crisp if unexciting beat and compact synth riff also brings to mind the kind of restrained synth pop hit that was common in the mid 80s.

  7. Michelle Branch-All You Wanted    (down 6 positions)      buy it!
    I assume that a large number of Michelle Branch's fans are girls in their early teens who have outgrown or are too cool for Britney or Christina. Branch's songs have the feel of schoolgirl poetry and are probably heavily influenced by Alanis and Jewel's youthful, searching and intense work. All You Wanted doesn't have the rocking energy of Everywhere, the first hit from Branch's Spirit Room CD, but it has a similar sincere charm. Branch isn't a great singer but her voice has an open, innocent appeal. All You Wanted's music, with a steady, perky beat and good sprinklings of rock guitar is simple, modest and likable. All You Wanted is a sweet story of volunteering to "save" someone who seemed to have everything together but needs "someone to show you the way."

  8. P.O.D.-Boom    (unchanged)      buy it!
    The first two singles from the San Diego band's Satellite CD described religious rebirth and a school shooting. P.O.D's third chart hit has a more standard topic for a rock rap song: celebrating and bragging about the band's success in rocking "the masses". Because it's less about the meaningfulness of Sonny Sandoval's pronouncements and more about the music and because it rocks harder, I don't dislike Boom as much as Alive and Youth Of The Nation. I still find Sandoval quite annoying. Boom sounds like lots of songs that mix hip hop and hard rock. At its best, it has the hard, no nonsense edge of Rage Against The Machine. At its worst(when Sandoval chuckles "is that all you got? I'll take your best shot."), it has Limp Bizkit's silly narcissism. Marcos Curiel creates a good, big guitar sound. In parts, Sandoval's rapping is tough and not bad. In other parts, he's just obnoxious.

  9. Nelly-Hot In Herre    (up 1 position)      buy it!
    The new Nellyville CD is sure to sell millions but its first single Hot In Herre sounds more like a soundtrack throwaway than a song meant to create frenzied anticipation of a new record. I've had mixed feelings about Nelly's previous hits. The lyrics were mostly rehashed gangsta rap but Nelly's fast, smooth style was undeniably impressive. Hot In Herre again shows off Nelly's cocky, seemingly effortless technique but it's very relaxed and feels less substantial or edgy than some of his previous work. Now that he's a big star, Nelly is less interested in rapping about guns, weed and the thug life and more about enjoying the perks of success. On Hot In Herre, Nelly shares his philosophy: "what good is all the fame if you ain't f---in the models." Nelly demonstrates an obsession with making ostentatious displays of wealth. Women figure in only as possessions that come with the big bucks. They're more than happy to undress or do whatever they can to please Nelly. Hot In Herre has a good, light beat and synth that moves the song along easily. The music and rap have a great flow. Hot In Herre is another Nelly song with hard to resist music and a very stupid lyric. Nelly is one of many very talented performers who's also a big jerk.

  10. Earshot-Get Away    new to music chart      buy it!
    Get Away is from the LA based band's Letting Go CD. Get Away has the intense, dramatic feel of Tool or A Perfect Circle. Singer/songwriter Will Martin does an agonized howl like Maynard James Keenan's. On the verses, Martin's vocal moves forward in jerks over an ominous, rumbling bass. Then on the chorus, Martin's wail gets tougher as the guitars begin to pound. Get Away's sound isn't very likable but it is big and powerful. On Get Away, Martin apparently complains about having to live through all kinds of tension and pressure because of all the sick and disturbing things that have come out since his partner started looking inside.

  11. Shakira-Underneath Your Clothes    (down 6 positions)      buy it!
    Before she made the Laundry Service CD, Colombian pop star Shakira Mebarak apparently studied American pop. Especially in its first half, Underneath Your Clothes sounds a lot like The Bangles' Eternal Flame. Like that song, Underneath Your Clothes is corny but gets real poignance from a sincere vocal and solemn backing. With subdued drums and keyboards, Underneath Your Clothes maintains has a serious tone. However Shakira's singing, with her tendency to pinch certain vocal lines and add little yodels to others, can't help but spice things up. The lyrics also find a slightly new and odd way to express a standard love song idea. Instead of beneath the surface or in his heart or soul, she finds her man's "endless story" and the place where she gets credit for "being such a good girl" underneath his clothes. With Penny Lane style horns, Underneath You Clothes achieves a goofy majesty.

  12. Dirty Vegas-Days Go By    (up 6 positions)      buy it!
    Days Go By follows Start The Commotion by becoming a hit dance song after appearing in a Mitsubishi commercial. Dirty Vegas is an British electronic dance group featuring producers/lead musicians Paul Harris and Ben Harris and singer Steve Smith. With a mechanical techno beat and a vocoder effect that's been used in lots of trashy eurodisco songs, as well as Cher's Believe, Days Go By is nothing new but it's well made and has a more substantial feel than many dance songs. Days Go By effectively matches its starkness and the iciness the vocoder gives Smith's voice to its tale of days long bouts of romantic obsession. Days Go By's beats and haunting synths get people on the dance floor and, like classic mixes of songs by people like New Order and Bjork, create an interesting, ominous atmosphere.

  13. Counting Crows-American Girls    (unchanged)      buy it!
    American Girls is from Counting Crows' fourth studio record Hard Candy. Sheryl Crow sings harmonies on American Girls. Adam Duritz doesn't sing about what SPF he's using but American Girls, like Soak Up The Sun's, intentionally loosens things up and achieves a fun, summery feel. American Girls resembles previous good midtempo Crows songs like Rain King and Have You Seen Me Lately, with a little less rock heft than those songs. American Girls maintains its energy and buoyancy thanks largely to a good, driving beat and a nicely uncoiled guitar riff. Duritz can't help but show a little narcissism but American Girls avoids the heaviness of a lot of Counting Crows' music. Not surprisingly, the song's frothy tribute to how American Girls make "me feel so incredible" is largely ironic. American Girls bemoans the bad luck of meeting an emotionally fragile woman who leaves, taking "almost every thing from me." The lyric's unhappy ending doesn't negate the music's enjoyable, if slight, appeal.

  14. Jennifer Lopez featuring Nas-I'm Gonna Be Alright    (unchanged)      buy it!
    I'm Gonna Be Alright is another song that originally appeared on the J. Lo CD and reemerged in a significantly different form on the J To Tha L-O remix CD. The I'm Gonna Be Alright remix doesn't have the same pared down sound as the I'm Real and Ain't It Funny remixes but it does share the enjoyably laid back feel of those songs. The new mix of I'm Gonna Be Alright, like other J. Lo hits, is careful not to put too much focus on Lopez' thin, modest vocal. I'm Gonna Be Alright gets off to a good start with a strong, tough rap from remix veteran Nas(another remix with a more brittle beat and a more basic rap by 50 Cent isn't bad either). As on Ain't It Funny and Love Don't Cost A Thing, backup vocalists do much of the singing. Lopez' conversational voice humanizes the song and matches the song's deliberate, easy pace. I'm Gonna Be Alright is inconsequential dance pop but it's well made and nicely relaxed with a smooth bass dominated groove. After seeming to teasingly agree on the Ain't It Funny remix to the "you blew your chance when you had it" sentiment of P. Diddy's I Need A Girl, Lopez isn't as hard on I'm Gonna Be Alright's ex-boyfriend. Nas plays a jerk who reminds her of all the things he did for her but Lopez shows regret about leaving someone she still loves.

  15. Box Car Racer-I Feel So    (up 2 positions)      buy it!
    The Box Car Racer CD is a side project for Tom DeLonge and Travis Barker, the guitar player and drummer from Blink 182. Box Car Racer's members also include guitarist Dave Kennedy and bass player Anthony Celestino but Box Car Racer is clearly DeLonge's show. I Feel So is like Stay Together For The Kids and other Blink work that contrasts the band's usual fast, stupid, youthful rock songs with mid tempo songs that have a kid's earnestness. Like on Stay Together, DeLonge yells the chorus. But he also sings a quieter verse like Mark Hoppus did on Stay Together. Because the Blink boys seem to have the potential to move beyond their fun but limited main style, I'm encouraged by a song like Adam's Song or I Feel So which shows signs of growth. I Feel So still rocks. It has a good, big guitar sound on the chorus and DeLonge does his trademark bratty vocal. But I Feel So also has a sweet, simple sincerity. DeLonge's ability to convey adolescent confusion is impressive. He sings about wishing he was a better person, apparently so he would be better equipped to deal with a troubled relationship.

  16. Moby-We Are All Made Of Stars    (down 7 positions)      buy it!
    Moby's new CD is called 18, reportedly because the songs are based on music Moby was listening to in the early 80's when he was that age. You have to go back a few years earlier to We Are All Made Of Stars's most obvious influence: David Bowie's 70's work; most specifically Heroes. We Are All Made Of Stars has Heroes' patient pace and soaring guitar line. As on Heroes, an icy musical atmosphere contradicts the lyrics' optimism. In a distanced, filtered voice, Moby sings about being part of an unstoppable, growing movement that heralds the future. We Are All Made Of Stars also brings to mind Bowie's Starman, futuristic synth songs like Gary Numan's Cars and Porcelain from Moby's great 1999 Play CD. Nothing about We Are All Made Of Stars quite strikes me like the "this is goodbye"s of Porcelain's stark masterpiece of a dream evocation and the music isn't as original as on many of Play's brilliant constructions. Still, I find We Are All Made Of Stars' contrast between cold, synthetic verses and a warmer chorus, where Moby's earnest vocal overcomes the dark, mechanical mood, compelling and moving.

  17. Hoobastank-Crawling In The Dark    (down 6 positions)      buy it!
    Crawling In The Dark, from the L.A. band's self titled major label debut, is another song that sounds pieced together from other successful rock songs. It's got Korn style atmospheric guitar, a serious, troubled singer, big power chords and a vague Faith No More/Limp Bizkit style hip hop sensibility. But Crawling In The Dark also has good tempo shifts and it's more interesting than much of the similarly imitative music on rock radio. I like the way the song speeds up and gains energy on the chorus. Doug Robb keeps things from getting too draggy as he sings about "looking for the answer" and trying to find direction in life.

  18. Lenny Kravitz-Stillness Of Heart    (down 2 positions)      buy it!
    Dig In, the first single from the Lenny CD, showed a side of Lenny Kravitz that he hadn't shown much before. Dig In was a light, fun rocker that lacked the heavy attitude than often drags down Kravitz' music. Stillness Of Heart doesn't have Dig In's lightness and excitement but it's still a good, if not great, second single. Stillness Of Heart's melody is very similar to that of his second to last hit: Again. Stillness Of Heart achieves a good edge by holding back and going nice and slow. Heavy bass and drums create a good, slow jam on the verses and are joined on the chorus by a solid, steady guitar strum. Unlike Dig In, Stillness Of Heart doesn't really sound like a hit. Nothing really happens. It's got a good atmosphere but doesn't grab you. Kravitz' typically complacent vocal doesn't help. On Stillness Of Heart, Kravitz sings about trying to calm and center himself so that he can move on after a tough romantic experience. I'm not questioning Kravitz' pain but his way of expressing it is hardly great poetry. This is the second verse: "I got more than I can eat, a life that can't be beat/yet still I feel this heat, I'm feeling incomplete/What am I buying, my soul is crying."

  19. 311-Amber    (down 4 positions)      buy it!
    311's music is often pretty mellow. I'll Be Here Awhile, their From Chaos CD's second chart hit, was laid back, genial and inconsequential. On Amber, From Chaos' third single, 311 are even more relaxed than usual but the easy mood works. Amber has a likable hippie vibe that's consistent with its goofy "amber is the color of your energy" hook. 311's typical ska flavoring goes down especially easily on Amber thanks to good, crisp drumming and loose, jazzy guitar lines including one that's given a rubbery preamped bounce Nick Hexum's vocal can be annoyingly innocuous but it floats effortlessly on Amber in a way that's just right. Amber is a tribute to a distant friend whose voice still "rings like a bell" who glides "through my head blind to fear."

  20. Jennifer Lopez-Ain't It Funny    (unchanged)      buy it!
    Ain't It Funny, the fourth single from the J. Lo CD, is pleasant, innocuous dance pop. With a touch of Latin flavor, Ain't It Funny is similar to Madonna's La Isla Bonita but its rigid beat and repetitive shape mean it's less interesting. Lopez' voice is slightly less hidden in electronics than usual. Lopez' vocal on Ain't It Funny sounds like her speaking voice. It's thin and a little whiny but at least it sounds fairly real, at least until the studio vocal pros take over for the slick, familiar chorus. Ain't It Funny is about trying to overcome differences and memories of romantic failure to make a relationship with a seemingly perfect guy work. Like I'm Real, Ain't It Funny has been rereleased in a "remix" featuring Ja Rule which is nearly a totally different song. With a minimal beat and sly, relaxed synths, the new version of Ain't It Funny, available on the new J To Tha L-O remix CD, is significantly better and more interesting than the generic dance pop of the original though it is hampered by a similarity to the I'm Real remix. Lopez is comfortable with a cool, restrained vocal which doesn't show her limitations as much as when she sings all out. Her confident singing matches the new lyrics. Unlike the original where she anxiously hopes that things can work out with her guy, the remix finds her taunting a guy who played around when they were together with the fact that he blew his chance. Lopez has found a dynamite formula: releasing a record with perky, heavily produced dance pop versions of her songs that appeal to mainstream pop stations then releasing sleek, minimal versions that establish her cred with urban R&B audiences. The best part is she gets a lot of people to buy both records.

  21. Craig David-Walking Away    (up 1 position)      buy it!
    Craig David has come close to replicating in the U.S. the huge success he's had in England. Walking Away is the third single from the Born To Do It CD he made when he was 19. Walking Away, like David's first two hits, has an appeal that's modest at best. David seems like an unremarkable rehash of relaxed American R&B singers. My favorite part of Walking Away is the riff taken from U2's One, which gives the rather bland song most of the flavor it has. But Walking Away does what it's supposed to. It's a smooth, soothing ballad, with a steady, decent beat, that's softened further by strings. David's singing isn't amazing but it's genial. He doesn't have that annoying cockiness he had on his first two hits. David sings on Walking Away about leaving a woman who was too prone to fight and listen to gossip about him.

  22. U2-In A Little While    (down 1 position)      buy it!
    The songs on U2's All That You Can't Leave Behind took on greater meaning after September 11th. Their empathetic, hopeful feeling seemed perfect for the times. U2 picked a great to move away from the ironic, superficial songs that characterized much of their 90s work and combine the hopefulness of their earlier work with a modesty appropriate for guys who've been around long enough to know that goals aren't always easily met. The singles from All You Can't Leave Behind have been big anthems but the CD also has good quiet songs like the simply idealistic Peace On Earth and the playful Wild Honey. In A Little While, the CD's fifth song to make the top 50, is a rich love song with a timeless quality. Brian End added subtle strings to The Edge's good, basic guitar riff. Bono remarkably kept his enormous ego in check nearly throughout All That You Can't Leave Behind. He's very sweet on In A Little While, promising a longtime friend "surely you'll be mine."

  23. Usher-U Don't Have To Call    (down 11 positions)      buy it!
    U Don't Have To Call is the third "U" hit from Usher Raymond's 8701 CD. Like the earlier hits, U Don't Have To Call is pleasant listening but nothing spectacular. U Don't Have To Call was produced by the ubiquitous Neptunes. They deploy the same bomb dropping effect they used on Britney's I'm A Slave For U but otherwise give U Don't Have To Call a considerably less intense sound. Usher's voice is strong enough that The Neptunes don't have to create the kinds of distractions they did for Britney. At its best, U Don't Have To Call recalls the great, easy flow of Michael Jackson's Off The Wall. Mostly, the song amiably but inconsequentially breezes by. Usher's vocal is comfortable and likable but unremarkable. Usher tries to be a sensitive man women adore and a tough guy men respect. On U Don't Have To Call, he doesn't criticize the girl he loved and sacrificed for when she says she's leaving but he's already ready to go out tonight and look for someone else.

  24. Jimmy Eat World-Sweetness    new to music chart      buy it!
    Sweetness is the second chart hit from the CD originally called Bleed American that, since September 11, the record company wants known as just Jimmy Eat World. Sweetness is a good example of why Jimmy Eat World has been labeled an emo rock band and of why the Arizona based band can be so appealing. Everything about Sweetness is done with great intensity and sincerity and its eager attempt to ingratiate is successful. Jim Adkins is very likable. His full voiced vocal never flags. Stopping and starting on a dime, Tom Linton and Adkins's impressive barrage of guitars gives Sweetness a rock and roll edge but doesn't overwhelm the band's open, positive sound. Sweetness reminds me of a big, glossy Cheap Trick song like Surrender or Dream Police, with good natured seriousness taking the place of that band's tongue in cheek goofiness. Sweetness rocks harder than Jimmy Eat World's surprise monster hit The Middle but like that song, it has high energy that seems to keep building. Instead of The Middle's Major Tom synth riff, Sweetness builds to a climax by adding a perky, one finger piano line. Considering the music's upbeat mood, Sweetness has a surprisingly dark subject matter. Adkins sings that a relationship used to be like a sweet game but, feeling tethered, he doesn't want to play the game anymore. I still find Jimmy Eat World's over the top, innocent enthusiasm tough to take in large doses but short shots like Sweetness are hard to resist.

  25. Aaliyah-More Than A Woman    (unchanged)      buy it!
    Aaliyah's tragic death at age 22 cut short what would likely have been a long, successful music and acting career. At least, the continued success of her self titled CD means that the last memory of Aaliyah won't be the awful movie Queen Of The Damned, which even her charisma couldn't save. We Need A Resolution and Rock The Boat, Aaliyah's previous singles, fell short of the top 50 but More Than A Woman gives her another pop hit. Aaliyah's voice was adequate rather than remarkable but she also had a real presence and a cool, strong, distinctive image. Her gifts are nicely displayed on More Than A Woman. More Than A Woman was produced by Timbaland, who worked with Aaliyah on her One In A Million CD and on Romeo Must Die's Try Again. More Than A Woman is not as striking as Try Again but it's a good and smooth with a crisp beat, a likable keyboard riff and strong backup singers to fill out the sound. Aaliyah again presents a confident persona. She's unsure if a guy is ready for her but encourages him to "tempt me". She's ready to give in to passion and promises him an exciting life with her if he proves himself.

Songs 1-25


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