A well known rarity, The Common People’s Of The People/By The People/For The People is one of the more collectable Capitol releases.  Prior to this LP, the group released two primitive garage singles which are very good but nearly impossible to find.

For many years very little was known about the Common People.  Terrascope’s interview with lead singer Denny Robinett cleared up many unanswered questions regarding the band’s existence and roots.  The Common People hailed from Baldwin Park California (LA area) and played the local club circuit.  ”Lord” Tim Hudson, of Lollipop Shoppe and Seeds fame, managed this mysterious psychedelic outfit.  Of The People/By The People/For The People is an interesting mixture of garage pop and orchestrated psych whose reputation has soared in recent years – it’s a bit overrated to these ears but generally a worthwhile LA psych rock trip.

The first three tracks of the album were arranged by David Axelrod and are an amazing mixture of swirling strings and raw lead vocals.  The string arrangements mesh seamlessly with Denny Robinett’s vocals, creating a sound which was very unique for 1969 – an unsettling amalgam of folk-rock, psychedelia, and orchestrated pop.  Had the whole album been arranged and produced by David Axelrod it might have turned out to be a psychedelic masterpiece but unfortunately, the budget tightened up, forcing the band to abandon its original vision for something that’s more run-of-the-mill and less exciting.  It’s even been suggested that Axelrod might have pulled out of these sessions because his wife suffered serious injuries from a car accident.  In the end, the group was forced to move on and complete the album without him.  Most of the remaining tracks are solid garage pop numbers.  The low points are two generic horn rock numbers and one despicable novelty tracked titled, “They Didn’t Even Go To The Funeral.”  By no means a classic or masterpiece, Of The People/By The People/For The People is a flawed but worthy album – a solid psych rock record that will satisfy many fans of the genre.  The buzzing organs and occasional fuzz guitar of  ”Why Must I Be,” “Take From You,” “Land of Day” and “Go Every Way” deliver the garage goods in a downbeat, moody fashion.  The album’s key strengths are its mood, Robinett’s gruff vocals, and Axelrod’s soaring string arrangements/production on the LP’s first three tracks.

Denny Robinett claims that Capital never promoted Of The People/By The People/For The People and that it “was never available for sale in any store.”  Australian label Ascension and Fallout have recently reissued this disc on cd.  The Fallout reissue includes the early singles but is a “grey area” release.

Read Terrascope’s interview with Denny Robinett for more information on The Common People.

mp3: Soon There’ll Be Thunder
mp3: Why Must I Be

Original | 1969 | Capitol | search ebay ]
Please do not purchase the illegal Fallout pressing of this record.

Here’s another genuinely “lost” sixties psych album, laid down in 1967 but not seeing the light of public exposure until forty-three years later.

Coming together in ‘66 at the University of Connecticut in Storrs, these six students and alumni must have thought they had a stellar musical career in store, because not only did all the undergrads drop out of their courses but they took as their name the astronomical designation of the Sombrero Galaxy in the constellation of Virgo. This didn’t exactly roll off the tongue, but in the trippy atmosphere of the times it conveyed a trendy spaced-out attitude. The auguries were however unpromising; while David Bliss, Steve Starger and Danny Shanok were all experienced pianists, Minty Collins wasn’t even a musician though he was determined to become one, “liberating” a flute from the UConn Music Department and teaching himself the basics. Chas Mirsky contributed rudimentary but suitably whacked-out electric guitar, whilst to fill out the backline Starger switched to Farfisa organ and Shanok took the bass guitar. No-one came forward to be the featured vocalist, but drummer Bob de Vos proved to possess a creditable baritone and was duly pressed into the rôle.

The band assembled an acid-soaked collection of originals, mostly from the pen of pianist Bliss, relocated to Stanford, CT in January ’67 and gigged their set around New England, honing their chops and tightening their act. In April they moved to NYC where they auditioned for Mercury and were invited to rapidly record their whole oeuvre live in the studio as a monophonic demo. From this two sides were selected for a single and re-recorded to professional studio standards. “Going Home” and “Skipping Through The Night” appeared as a 45 on Mercury’s Smash subsidiary, garnered some desultory airplay on Northeast radio stations and disappeared. Despite a few subsequent high-profile concert appearances supporting the likes of the Doors and Country Joe & The Fish, the band’s briefly-flaring star had passed its zenith and by the fall of ’67 they’d split. It wasn’t till the early 90s that Tim Page, a professor at UConn, much taken with hearing the play-worn single on the college’s Campus Restaurant jukebox, would seek out former band members Mirsky and Starger and discover that the original tapes from the Mercury audition still existed. It took a further two decades before the estimable Tune In imprint of psych reissue specialists Cherry Red was able to license the tapes for CD release, along with both sides of the Smash single.

The two Smash tracks are carefully-produced, commercially-viable soft-psych numbers. The twelve “lost” album tracks, by comparison, are a revelation; given the uncompromisingly basic circumstances of their creation they shouldn’t work but somehow they do, revealing a band on the cusp of garage R’n’B and psychedelia, given a fizzing veneer of excitement by the live-in-the-studio performance and unvarnished production values. Even the crude, play-in-a-day lead guitar, flute and harmonica figures contribute to the ambience rather than detracting, whilst Bob de Vos’s Scott Walker-ish vocal is an unexpected asset. The leadoff “Colors” is definitive garage-into-psych with clichéd lysergic lyrics, ringing Wurlitzer piano arpeggios, hyperactive bass and fuzzed-up boxing-glove guitar. “Negative Zone” is Brit R’n’B straight out of the Pretty Things with wailing harp, cheesy Farfisa and rattling maracas framing its cod-protest lyrics. “Imagination Dead Imagine” offers a soporific, trippy mantra with spacey Floyd-style organ, jazzy piano fills and druggy flute and guitar leads, while “Forever Gone” is a doomy blues, heavy with eleventh chords on the Wurlitzer, reverbed vocals and a dragging surf guitar solo. The closing “So Bright” is a pulsating piano-driven rocker that strays into Moody Blues territory with stacked harmonies and flute colouration. All the other tracks provide energetic, freewheeling variations on these themes with plenty of tempo and instrument changes.

The In Tune reissue CD from 2010 is an excellent remaster and includes a comprehensive illustrated history of the band with input from Page and various former members.

mp3: Colors
mp3: Imagination Dead Imagine

Reissue | 2010 | Tune In | buy ]
Spotify link | listen ]

Not too many bands were coming out of Oregon in the late 60s, and it’s not the first locale that comes to mind when you hear the sun drenched songs on Afterglow’s only record.

Originally called “The Madallions,” Tony Tucemseh, Ron George, Roger Swanson, Gene Resler, and Larry Alexander became Afterglow to record their self titled debut in 1966. Under the direction of producer Leo Lukia, a very interesting album was cut at Golden State Recorders that autumn.

Released in early ’67 on MTA records, Afterglow made hardly a dent and the group disbanded soon after. The tragedy of this is apparent when hearing such a delightful record full of pop hooks and potential.

It may have been their relatively remote location that helped quicken the bands demise, but it also added to the unique songwriting on Afterglow. If you hate the sound of the Farfisa organ, you should probably pass on this record altogether. It makes a prominent appearance on every cut, and though the production is slightly derivative the writing is extremely progressive and original for such an obscure debut. Definitely a must for fans of The Zombies, The Left Banke, and Joe Meek’s mid period freakbeat phase.

“Chasing Rainbows” is by far the best track here with it’s odd melody and rhythmic changes melding into a dizzying hook. A dark autumnal vibe undercuts the sunny arrangements, with tracks like “Mend This Heart of Mine”  and “Dream Away”.

“Love” could almost pass for a Meek production with its buzzy organs and slightly off kilter vocal sound. ”It’s a Wonder” should be a staple of modern classic rock radio with its catchy hook and Zombies by-way-of the Byrds harmonies, which really drives home what a shame it is this album wasn’t heard more.

There’s an excellent reissue on Sundazed that includes some decent bonus tracks (mostly alternate versions/backing tracks). It’s available on both CD and Vinyl.

mp3: It’s a Wonder
mp3: Meadowland of Love

Reissue | Sundazed | buy here ]
Reissue | Sundazed | buy here ]

In 1966, Fresno CA band the Kings Verses went into the studio to cut the 10 tracks that make up the bulk of this special LP release.  What could have been a fine mid 60s garage LP ended up in the can for what seemed like an eternity.  The good folks at BeatRocket took it upon themselves to release these excellent recordings on vinyl/MP3.  The record label was also kind enough to include two quality live cuts from around the same time – all in good sound. This live material was culled from the band’s first place performance at the 1966 KYNO Battle of the Bands. Legal complications with the musicians’ union and LA’s Hullabaloo Club would ultimately seal this legendary group’s fate.

During their heyday the Kings Verses played LA’s Griffith and also appeared at the Elysian Park Love-Ins. Their sound alternated between crunching garage punk and sullen folk-rock (think early Love).  For garage rock fanatics this is a major find, along the lines of another mysterious CA group that never released any official singles or albums in their day but produced a slew of unreleased recordings, the Public Nuisance.

To my knowledge, all the tracks on the Kings Verses LP are original compositions that come from the pen of guitarist Jim Baker.   Furious punkers “The Ballad of Lad Polo” and “A Million Faces” caught my attention first but album opening raver “Light” is just as good.  ”The Ballad of Lad Polo” is a near classic track that proves this group was more than just a myth – the Kings Verses catch fire here, unleashing a blazing fast paced rocker with lots of great static-like fuzz.  Other good cuts are the fuzzy instro “Mind Rewind”, the menacing garage ballad “She Belonged To Me” and a trio of beguiling folk-rockers, “It’s Not Right”, “E. Sok Baxter” and “You Can Be.”

Had this been released on vinyl back in 1966 it would have been up there with the very best garage rock albums.

mp3: Ballad of Lad Polo
mp3: It’s Not Right

Compilation | 1998 | BeatRocket | buy from sundazed ]
Digital Download | buy from reverbnation ]

With a plethora of recent reissues (Jackpot – vinyl and RPM – cd), it seemed like a good idea to backtrack to this classic record and give it another listen.  C.Q. was to be the Outsiders last album (their 3rd LP), an attempt to reach the group’s original core audience amidst a troubling commerical downfall.  Not only is this one of the best “international” psych albums but it’s as good as anything by the early Pink Floyd, psychedelic era Pretty Things or Love.  Its closest reference point is probably the Pretty Things superb S.F. Sorrow – there are no soft, wimpy moments on either of these records, just pure intensity and garage punk muscle.  C.Q. is what the Rolling Stones’ Their Satanic Majesties Request should have sounded like.

C.Q.’s strength is in it’s consistency and diversity.  No two songs sound alike yet every experiment is well thought out and successful.  The group’s hallmark start-stop punk rhythms are firmly in place on many of C.Q.‘s tracks but by 1968 the Outsiders had grown considerably, incorporating more folk-rock and psych sounds into their repertoire.  Psych cuts such as the very European sounding “Zsarrahh” (supposedly a nod to Wally Tax’s Russian roots), the brief “Bear,” an avant garde folk-rock cut titled “Prison Song” and “C.Q.” heralded a new, more experimental outfit.   Other cuts such as the sensitive “You’re Everything On Earth,” a bluesy, spacy cut titled “It Seems Like Nothings Gonna Come My Way Today,” and “I Love You No. 2″  were folk-rock gems that showed off Tax’s soft, expressive side.  That being said, it’s the harder cuts that warrant the greatest attention.  “Misfit,” “Doctor,” “The Man On The Dune,”  ”Happyville,” and “Wish You Were Here With Me Today” are masterful acid punkers.  “Doctor,” one of the group’s best LP tracks, features distorted vocals and an explosive fuzz guitar freakout.  “The Man On The Dune,” another classic and personal favorite, is a blistering psych punker with jagged guitar fuzz and a strange, unsettling conclusion.  It goes without saying that C.Q. is one of the immortal 60s albums.

As mentioned above, there have been many reissues of C.Q. To me, the Pseudonym reissue was the best as it featured three terrific non-lp tracks (“Do You Feel Alright” is an excellent cut that should have been a hit).  The recent RPM disc features six good live cuts from 1968 while the Jackpot reissue is a straight up vinyl offering with no extras.

mp3: The Man On The Dune
mp3: It Seems Like Nothing’s Gonna Come My Way Today

Reissue | 2005 | Pseudonym | buy here ]
Reissue | 2011 | RPM | buy here ]
Reissue | 2011 | Jackpot | buy here ]

INDEX  were a popular local psych rock group from Grosse Pointe, an affluent suburb outside of the Detroit, Michigan area.  Their debut album, commonly referred to as “The Black Album,” was released in December of 1967.  The group consisted of drummer Jim Valice and guitarists Gary Francis and John Ford.  150 original LPs were pressed on DC Records, making this album very rare and super expensive.

“The Black Album” was recorded in mono using a reel-to-reel tape recorder.  This primitive, underproduced recording technique has only added to the album’s mysterious, acid drenched mystique.  Gary Francis played a Gibson 12 string electric guitar on most of the album’s tracks, which were recorded in the ballroom of the Ford Estate.  Of the 9 tracks, 4 are instrumentals while the remaining 5 tracks were recorded with vocal arrangements.  Most of the album’s tracks are quality originals although INDEX adds some interesting basement-garage-raga-surf sounds to well known standards such as ”Eight Miles High,” “You Keep Me Hangin On” and “John Riley.”  “Eight Miles High” is probably INDEX’s best known track, being full of superb raga guitar work and downbeat amateur vocals.  Other than the Byrds’ original, this is probably the best version of this song I’ve heard but kudos to English band East of Eden, who recorded a very fine unreleased take of “Eight Miles High” in 1969.  “Feedback,” another popular track that received limited airplay back in the late 60s, is an explosive, feedback laden monster (instrumental) that sounds like the Velvet Underground circa 1968.  Other fine tracks are the acid surf instro “Israeli Blues,” psychedelic folk-rockers “Fire Eyes” and “Rainy, Starless Night” and the wah-wah crazed “Turquoise Feline.”  INDEX is without doubt one of the classic “must own”  American psych albums.

Comparisons are hard to draw upon because INDEX doesn’t sound like anything I have heard before.  The group name check The Who, The Byrds and Jimi Hendrix as influences but the Velvet Underground and Dick Dale can also be heard in the INDEX’s unique sound.   Vinyl reissues have been around for years but are somewhat expensive.  Lion Productions recently released a fine 2 disc set which includes INDEX’s two official albums along with some unreleased studio material.

“Feedback”

Reissue | 2fer | 2011 | Lion Productions | buy ]

“Girls with guitars / What’s the world coming to?” sang Mary Chapin Carpenter in 1993, with her Rickenbacker 620 clutched firmly to her bosom and her tongue firmly in her cheek. Since the emancipating mid-70s influence of punk, women have been free to pick up electric guitars and emulate, or even outperform, their male counterparts, either as solo virtuosi (Bonnie Raitt, Rosie Flores) or in all-female bands (the Slits, the Bangles). How different it all was back in the sixties! Ever since the arrival of the Stratocaster back in ’54 the electric axe had garnered a near-universal image as a phallic symbol, culminating in the onstage antics of Hendrix, Page, Ted Nugent and Marc Bolan. As a matter of course, only men played the electric guitar and bass, and indeed the drum kit; a few lady folksingers got to pick melodiously at an acoustic, but during the Beat Era and the ensuing Golden Age Of Rock the idea of females seriously picking up the men’s toys and running with them was almost unthinkable. What about Fender bassist Megan Davies with the Applejacks, or drummer Honey Lantree with the Honeycombs, you ask? OK, they turned a few heads on Ready Steady Go, but they were almost universally dismissed as novelties.

It was with some surprise, then, that I discovered the Liverbirds, a fully-fledged all-female Beat band from Liverpool who came together as early as 1962, were regulars at the Cavern, opened for the Rolling Stones several times in late ’63, spent two years on the infamous Hamburg circuit, and despite a forecast to the contrary by John Lennon (“All-girl outfits can’t last”) stayed together for six years, finally bowing out after a tour of Japan. Nothing remotely folky about these ladies; they elected to play an abrasive brand of R’n’B with all the spiky garage-band pizzazz of the early Stones or Pretty Things, whilst coming onstage in masculine-cut waistcoat suits and frilled shirts for all the world like a female Kinks. Their enduring lineup featured Pam Birch on lead vocal and rhythm guitar, Valerie Gell on lead guitar, Mary McGlory on bass and Sylvia Saunders on kit, and their recorded legacy reveals that they all had real chops.

Beyond cosmopolitan Liverpool, the girls’ reception by conservative UK audiences and sceptical record company A&R men proved predictably underwhelming. However, when invited to work in Germany by Star-Club owner Manfred Weissleder early in 1964 they immediately wowed the famously indulgent Reeperbahn audiences with their energetic, high-volume set of Chuck Berry and Bo Diddley covers, earning the nickname “die Weiblichen Beatles” – “the female Beatles”. As an inducement to a second tour, Weissleder offered to record them on his recently-incepted label; their recording career on Star-Club would eventually stretch to four singles and two albums. German chart entries and TV appearances followed, and the girls toured extensively there and in Denmark and Switzerland, even once sharing a bill with Berry himself in Berlin, where legend has it they defied a management instruction to avoid Berry’s songs and brazenly opened with “Roll Over Beethoven”.

Their recordings were unsurprisingly never released in the UK, and apart from the odd anthologised track remained firmly underground here till compiled by Ace subsidiary Big Beat in 2010 as From Merseyside To Hamburg, the CD comprising the entire 1964-65 Star-Club recordings, 29 cuts in all. The tracks from their first original album, Star Club Show 4, are the best: raw, unadorned R’n’B covers recorded live in the studio. These could almost be the Pretties, driven along as they are by Birch’s angry, punky contralto, McGlory’s muscular, metronomic bass, Saunders’s no-nonsense percussion and Gell’s scratchy machine-gun Fender Jaguar lead work. Their takes on Chuck Berry’s “Talking About You”, Berry Gordy’s “Money” and the blues chestnut “Got My Mojo Working” are fit to strip wallpaper. The later sessions offer more of the same but also move further towards Motown, with creditable tilts at the likes of Doug Sahm’s “She’s About A Mover”, Holland-Dozier’s “Heatwave” and Smokey Robinson’s “Shop Around” – all good Reeperbahn fare – plus a couple of modestly Beatle-ish Pam Birch originals which originally appeared as single B-sides; the production is more measured and less viscerally exciting. Today, the individual albums remain unavailable but the compilation is a great-value testament to a bunch of pioneering female rockers, and is highly recommended.

“Talking About You”

Compilation | 2010 | Big Beat | buy here ]

The Shame Just Drained was a collection of Easybeats material that slipped out on vinyl in 1977.  The album contained 15 unreleased tracks from the group’s mid 60s prime, 1966-1968.  Most of these songs date from aborted studio sessions with Glyn Johns (Central Sound Studio Sessions – 1968) and Shel Talmy (Olympic Studios Sessions – 1967).

There were many fine Aussie rock groups in the 1960s but none of them exploded onto the scene with as much excitement or anticipation as the Easybeats. Their live performances and chart smashes firmly established the Australian rock n roll scene. They recorded several fine albums (Friday On My Mind is probably their best) and waxed many classic Oz singles throughout their fabled career. Late 60s tracks such as “Land Of Make Believe,” “Peculiar Hole In The Sky,” “Falling Off The Edge Of The World,” and “Come In You’ll Get Pneumonia” were as good as anything being released in the UK or US at the time. Then there was “Good Times,” a song which famously caused Paul McCartney to pull his car over and ring the BBC to ask for a replay. While some of their best songs were recorded in the late 60s, the groups final albums, Vigil and Friends, are considered major disappointments.

By 1969, drugs and management issues had reduced the Easybeats to a bland good-time pop group, lacking the muscle and adventure of previous years. While their sharp demise was sad, when the Easybeats were on, they were surely one of the best.

The Shame Just Drained strongly recalls the Kinks from Something Else, or more accurately, The Great Lost Kinks Album – a mishmash of aborted late 60′s sessions and raw, mid 60′s material. Great power pop numbers such as “Wait a Minute” and the fiery “Baby I’m a Comin” hold hands with observational Ray Davies-like numbers “I’m on Fire”, “Mr. Riley of Higginbottom and Clive” and “Kelly” – this is the late 60′s Easybeats at their finest. Other songs such as “Amanda Storey”, “We’ll Make It Together” and “Where Old Men Go” are also excellent, featuring more a psych pop vibe with mellotrons, tinkling piano and sophisticated arrangements.

“Baby I’m A Comin’”

Reissue | 2005 | Repertoire | buy here ]
Original | 1977 | Albert | search ebay ]
Spotify link | listen ]

The Rising Sons seem to have done things backwards. Built around Taj Mahal, Ry Cooder, and Jesse Lee Kincaid (whose ‘She Sang Hymns Out of Tune’ would later find its way onto records by Nilsson, Hearts and Flowers, and the Dillards), the band would certainly have been deemed a supergroup had it gotten its act together a couple of years down the line. As it stands, the band first made a name for itself on the hip side of the Los Angeles folk scene before eventually finding its way into the studio with producer Terry Melcher, fresh from his success with the Byrds. Though these recording sessions would ultimately lead to the demise of the band, they yielded a strong, if scatterbrained, collection of blues-oriented folk-rock – excellent music that would unfortunately remain unreleased for over thirty years.

Though a compact disc of the band’s recordings was compiled in the late nineties, it was put together as a historical or archival release, and as such, was a little messy in its presentation (a handful of the cuts featured new, overdubbed vocals by Taj Mahal). Fortunately, however, Sundazed Records has recently taken matters into their own hands and pulled off a beautiful restoration job, putting together twelve of the leanest cuts from that mid-sixties session and releasing what they think the first Rising Sons record would have been like, had it actually seen daylight. Even the artwork on this release has been carefully and lovingly designed to look like a vintage record jacket.

The album opens with “Statesboro Blues,” the Blind Willie McTell standard, and a barreling take on the Monkees tune “Take A Giant Step.” Both songs would later be re-cut by Taj Mahal in arguably superior arrangements, but the sides here have a brash recklessness to them that’s both engaging and refreshing. Cooder’s slide guitar and Kincaid’s twelve-string are all over the place, buzzing around the songs and really propelling above your usual late-sixties fare. When the band sets aside the fuzz tones and brings out the acoustic instruments on “The 2:10 Train,” it’s extraordinary to hear how beautiful the Sons can sound when they put their minds to it. Linda Albertano and Tom Campbell’s folk ballad positively dances here, and is as laid back as the earlier cuts are furious, gesturing towards the road Taj would soon take with Jesse Ed Davis and beyond.

If you dig the later work of any of the members involved, or are simply looking for a righteous slice of Los Angeles folk rock, the Rising Sons album delivers. The band manages to deliver an eclectic range of Americana with the perfect blend of rock and roll attitude and musical traditionalism. If it all sounds a little wild and messy, it comes with the territory – this stuff is the real deal. Dig.

“Take A Giant Step”

Vinyl Reissue | 2001 | Sundazed | buy here ]
Spotify link | listen ]

This group took their name from the classic Byrds/Gram Parsons song.  Hickory Wind, from Indiana, were fairly young musicians when they cut this mini gem in 1969.  If you consider the limited studio technology on hand, Hickory Wind came up big, with a very good country-rock garage psych private press LP.  Initially, when you look at the record, it resembles one of those male/female folk duo LPs or maybe a private press christian rock album (note the small crucifix at the bottom of the record and the amatuer illustration).  Thankfully, it’s neither of those.   There are mild Buffalo Springfield, Byrds and Beatles echoes throughout the album but closer, more accurate references might be  Riley or Spur.

Most of the albums tracks are strong but only a handful qualify as excellent.   “Father Come With Me” and the bizarre spoken word number “Mr. Man” give the album its psychedelic folk-rock sheen – both are great tracks with lots of organ and moody garage vocals.  “Time and Changes,” a pounding garage rocker with sizzling fuzz would soon be recut by B.F. Trike, which was essentially a later version of Hickory Wind.  In some circles, ”Time and Changes” is considered a classic.  The remaining cuts have a strong country-rock/folk-rock flavor.  The bare bones production of Hickory Wind gives these compositions a unique quality that makes this album memorable – no albums I know of have quite this sound.  “Country Boy,” “The Loner,” “I Don’t Believe,” “Judy,” and “Maybe Tomorrow” are well worth hearing, all eerie slices of early country-rock/Americana.

I’ve read other reviews that describe Hickory Wind as only half a good album or not that good at all.  Don’t believe this.  Hickory Wind is a fine album – consistent throughout with lots of interesting twists and turns.  Check out the recent Beatball reissue as original vinyl LPs will be impossible to find (just 100 original Gigantic label LPs were pressed).  Rockadelic would release B.F. Trike’s only album, which is also a good post psychedelic hard rock album.

“Country Boy”

CD Reissue | 2007 | Beatball | buy here ]
Vinyl | 1969 | Gigantic | search ebay ]