Buffalo Springfield’s “Best Of” — The French Vinyl That Captured the Soul of the Sixties #vinylrecords

"Best of Buffalo Springfield" Album Description:

Buffalo Springfield's "Best of Buffalo Springfield" 12" Vinyl LP Album stands as a testament to a transformative period in the musical landscape, capturing the essence of the tumultuous times it emerged from. This rare French edition, with extensive liner notes by Philippe Paringaux in French, adds a distinctive touch to the overall experience.

The time period in which Buffalo Springfield flourished was the mid-1960s, a pivotal era marked by social and political upheaval. The music of Buffalo Springfield was a reflection of the zeitgeist, echoing the voices of a generation grappling with change. The inclusion of band members such as Stephen Stills and Neil Young contributed to the band's unique sound, leaving an indelible mark on the musical tapestry of the 1960s.

Released at a time when vinyl records were the primary medium for music consumption, this 12" LP encapsulates the craftsmanship of an era when albums were not merely a collection of songs but a carefully curated artistic expression. The tactile nature of vinyl, coupled with the analog warmth of the sound, enhances the overall nostalgic experience for collectors and enthusiasts.

The French edition of "Best of Buffalo Springfield" adds an extra layer of cultural richness. Philippe Paringaux's liner notes provide a French perspective on the band's significance, offering a nuanced understanding of Buffalo Springfield's impact on the global music scene. This international dimension contributes to the album's allure, making it a sought-after piece for collectors interested in the cultural exchange facilitated by music.

The album's cover, a visual representation of the band's identity, also reflects the design aesthetics prevalent in the 1960s. The artwork serves as a time capsule, transporting listeners back to an era of vibrant counterculture and artistic experimentation.

How a Steamroller Gave Buffalo Springfield Its Name

A vintage Buffalo-Springfield steamroller, similar to the one that inspired the band's name in 1966. — A vintage Buffalo-Springfield steamroller — the unlikely muse behind one of rock’s most poetic band names.

The name Buffalo Springfield wasn’t born from a dream or a lyric — it came from a machine. In 1966, while rehearsing outside a Los Angeles house, Stephen Stills, Neil Young, and Richie Furay noticed a road roller parked nearby. The metal letters on its side read “Buffalo-Springfield Roller Company.” Someone pointed and said, “That’s it.”

The name stuck — part industrial Americana, part poetic accident. The original Buffalo-Springfield company, based in Springfield, Ohio, made steamrollers and road-building machinery. That humble hunk of rusting steel would roll its name straight into rock history — proof that inspiration can strike anywhere, even from a piece of heavy equipment.

Buffalo Springfield — The French Sleeve Notes That Tried to Explain the Unexplainable

Transcript of the French Liner Notes

Les années durant lesquelles le Buffalo Springfield était là bien vivant avant d'entrer dans la légende, et lançait le rock and roll sur des voies encore ignorées de lui, dans l'indifférence quasi-générale, furent des années de frustration et d'insuccès, musicalement si riches. cependant, qu'elles furent décisives pour l'évolution de la musique américaine. Aujourd'hui des années plus tard, la seule évocation du nom Buffalo Springfield arrache à tous les amateurs de pop music des soupirs extasiés et des mots de regret. Rares, cependant, furent les privilégiés qui purent, à l'époque où la formation existait, se procurer ses trois albums, " Buffalo Springfield ".

" Buffalo Springfield again" et "Last time around". Grâce à celui-ci, qui propose treize "morceaux choisis" très représentatifs de ce que le groupe a produit de meilleur, le public français pourra enfin apprécier, a posteriori - mais mieux vaut tard que jamais - l'étonnante saveur d'un art si actuel aujourd'hui que l'on comprend combien il était en avance hier. Hier, c'était au temps du rock and roll américain enfermé dans l'impasse de ses propres limites, s'imitant lui-même à n'en plus finir, et c'était aussi le début de l'avènement de ces groupes britanniques qui allaient renvoyer à l'Amérique sa propre musique comme l'aurait fait un miroir déformant.

La traînée météorique du Buffalo Springfield passa quelque peu inaperçue au milieu de ces bouleverse ments, et il aura fallu quatre ans aux Américains pour se rendre compte qu'ils avaient sous la main ce qu'ils allèrent alors chercher ailleurs : le dépassement par la musique des rythmes et des syncopes du rock and roll, le passage de l'hypnose pure à la recherche formelle, un art, enfin, qui n'était plus une imitation outrancière, caricaturale, de la musique noire. Buffalo Springfield, et particulièrement ses deux leaders, Steve Stills et Neil Young, apportait tout cela, et plus encore, seul groupe, avec les Beatles et deux ou trois autres, à parler clairement et de façon originale au milieu du balbutiement général.

Buffalo Springfield vola haut et très vite au dessus de la mêlée, posant les jalons d'une musique nouvelle qui allait bien-tôt s'appeler "pop", portant d'entrée à une quasi-perfec • tion un genre aujourd'hui universellement apprécié par l'intermédiaire d'un groupe qui s'appelle... Crosby, Stills, kk Nash & Young. Deux sur quatre... Bien entendu. Buffalo Springfield ne fit pas naître, comme ça, une musique si originale qu'on puisse la déclarer dépourvue de toute influence. Mais l'art du groupe, dans lequel se retrouvent un peu de rock and roll et beaucoup de country music, est un mélange si subtil, si équilibré de ces influences originelles qu'il parvient à les raffiner à l'extrême sans leur faire perdre une parcelle de leur âme.

Pour la première fois apparaissait dans la jeune musique américaine la notion constante d'arrangement - et cela était dû au mer veilleux musicien qu'est Steve Stills - ajoutée à un impact aussi fort que celui du rock pur - et cela était dû à Neil /, ; Young, à sa voix frêle et forte à la fois, à ses poèmes de vie. Pour la première fois - les Everly Brothers mis à part - 'I ; un groupe s'attachait au raffinement du travail à plusieurs voix, offrait des subtilités mélodiques et harmoniques sans perdre de sa force. Pour la première fois aussi, le rock and roll véhiculait des mots d'une intelligence aigue et célébrait ses noces avec la poésie. Tout cela, c'est au Buffalo Springfield que la musique le doit.

Tous les morceaux de cet album sont l'illustration de ces vérités que l'on ne connait pas encore assez. Tous, sauf " Good time boy " qui est de Richie Furay, sont de la plume de Steve Stills et de Neil Young. Tous, et c'est sans doute là le plus étonnant quand on sait à quelle vitesse évolue la pop music, pourraient avoir été écrits il y a une semaine. La caution des années est là. elle aussi, pour démontrer la grandeur de l'art du Buffalo Springfield. Combien, en effet, des disques de cette époque, même parmi ceux des "grands", ont supporté de pareille façon l'épreuve du temps? Ni les mélodies ni la façon de les interpréter n'ont vieilli.

C'est un signe qui ne trompe pas. Mais Buffalo était en avance, trop, même pour l'Amérique. Porté à bout de bras par la finesse de Steve Stills et la profonde sincérité de Neil Young, soutenu par la guitare de Richie Furay, la basse de Bruce Palmer et la batterie de Dewey Martin, le groupe alla un temps son chemin solitaire puis éclata, chacun de ses membres allant porter la bonne parole dans d'autres formations. Il avait eu le temps de don-ner à la pop music américaine ses lettres de noblesse et un réservoir d'inspiration dans lequel puiser pendant des années. Personne ne s'en prive d'ailleurs, aujourd'hui encore.

Philippe PARINGAUX ("Rock & Folk")

Buffalo Springfield — The Sleeve Notes in English

English Translation of the French Liner Notes

The years during which Buffalo Springfield was alive and well before entering legend, and was launching rock and roll on paths still unknown to it, amid almost total indifference, were years of frustration and failure—musically so rich, however, that they were decisive for the evolution of American music. Today, years later, the mere mention of the name Buffalo Springfield brings sighs of ecstasy and words of regret from all lovers of pop music. Few, however, were the privileged ones who, at the time when the group existed, were able to obtain its three albums, “Buffalo Springfield,” “Buffalo Springfield Again,” and “Last Time Around.”

Thanks to this one, which offers thirteen “selected pieces” very representative of what the group produced at its best, the French public will finally be able to appreciate, retrospectively—but better late than never—the astonishing flavor of an art so current today that one understands how far ahead of its time it was yesterday. Yesterday was the time when American rock and roll was locked into the dead end of its own limits, endlessly imitating itself, and it was also the beginning of the advent of those British groups who were to send America back its own music as if through a distorting mirror.

The meteoric trail of Buffalo Springfield passed somewhat unnoticed amid these upheavals, and it took the Americans four years to realize that they had within reach what they later went to seek elsewhere: the transcendence, through music, of the rhythms and syncopations of rock and roll, the passage from pure hypnosis to formal exploration—an art, finally, that was no longer an excessive, caricatural imitation of Black music. Buffalo Springfield, and particularly its two leaders, Steve Stills and Neil Young, brought all that and more—the only group, with the Beatles and two or three others, to speak clearly and originally amid the general babbling.

Buffalo Springfield flew high and very quickly above the fray, laying the foundations of a new music that would soon be called “pop,” bringing from the outset to near perfection a genre today universally appreciated through the medium of a group called… Crosby, Stills, Nash & Young. Two out of four… of course. Buffalo Springfield did not create, out of nowhere, a music so original that it could be declared devoid of any influence. But the art of the group, in which one finds a little rock and roll and a great deal of country music, is such a subtle, balanced mixture of these original influences that it manages to refine them to the extreme without losing a particle of their soul.

For the first time there appeared in young American music the constant notion of arrangement—and that was due to the marvelous musician that is Steve Stills—added to an impact as strong as that of pure rock—and that was due to Neil Young, to his voice both fragile and strong at once, to his poems of life. For the first time—the Everly Brothers aside—a group devoted itself to the refinement of multi-voice work, offered melodic and harmonic subtleties without losing its force. For the first time also, rock and roll carried words of sharp intelligence and celebrated its marriage with poetry. All that, music owes to Buffalo Springfield.

All the pieces on this album illustrate these truths that are still not well enough known. All, except “Good Time Boy,” which is by Richie Furay, are from the pens of Steve Stills and Neil Young. All, and that is no doubt the most astonishing thing when one knows how quickly pop music evolves, could have been written a week ago. The seal of the years is there too, to demonstrate the greatness of the art of Buffalo Springfield. How many records of that era, even among those of the “greats,” have withstood the test of time so well? Neither the melodies nor the way of performing them have aged.

That is a sure sign. But Buffalo was ahead of its time—too far ahead, even for America. Carried along by the finesse of Steve Stills and the deep sincerity of Neil Young, supported by the guitar of Richie Furay, the bass of Bruce Palmer, and the drums of Dewey Martin, the group went its solitary way for a time and then broke apart, each of its members going on to spread the good word in other bands. It had had time to give American pop music its letters of nobility and a reservoir of inspiration in which to draw for years to come. No one deprives themselves of it, even today.

Philippe PARINGAUX ("Rock & Folk")

Band Members / Musicians:

Band Line-up:

Stephen Stills – Vocals, Guitar

Stephen Stills (Full-name; Stephen Arthur Stills, 3 June 1945) is an American musician, singer, and songwriter, best known as a member of the rock band Crosby, Stills, Nash & Young. He was born on January 3, 1945, in Dallas, Texas, and began playing guitar at a young age. In the mid-1960s, he moved to New York City, where he formed the band Buffalo Springfield with Neil Young and others. After the band's breakup, Stills formed Crosby, Stills, Nash & Young with David Crosby, Graham Nash, and Neil Young.

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Throughout the 1970s, Stills released several solo albums, including "Stephen Stills" and "Stephen Stills 2," which featured hit songs such as "Love the One You're With" and "Change Partners." In the 1980s, he reunited with Crosby, Stills, Nash & Young for several tours and albums.

In addition to his work with CSNY, Stills has collaborated with a wide range of artists, such as Manassas, Ringo Starr, and Bonnie Raitt. He was inducted into the Rock and Roll Hall of Fame in 1997 as a member of Crosby, Stills, Nash & Young. Stills continues to tour and record music, and continues to be a respected figure in the music industry.
Neil Young – Guitar, Vocals

Neil Young, born Neil Percival Young on 12 November 1945, in Toronto, Ontario, Canada, is a legendary singer, songwriter, and guitarist. Renowned for his distinctive voice, poetic lyrics, and versatile musical style, Neil Young has established himself as one of the most influential and enduring musicians of his generation.

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Young's passion for music was evident from an early age. He began playing the ukulele at the age of five, and by his teenage years, he had already taken up the guitar and harmonica. Inspired by artists like Elvis Presley and Chuck Berry, he formed his first bands, The Jades and subsequently The Squires, in his early teens.

In the mid-1960s, Neil Young co-founded Buffalo Springfield, a prominent part of the folk-rock scene. Their debut album in 1966 featured the classic track "For What It's Worth," an anthem for the 1960s counterculture movement. Despite internal conflicts, Buffalo Springfield released three albums before disbanding in 1968.

Following Buffalo Springfield’s breakup, Young embarked on a solo career spanning decades, releasing acclaimed albums such as "Everybody Knows This Is Nowhere" (1969), "After the Gold Rush" (1970), and "Harvest" (1972). His work bridged rock, folk, and country, producing timeless classics like "Heart of Gold" and "Old Man."

Neil Young's collaborations include Crosby, Stills, Nash & Young , where he co-created politically charged songs such as "Ohio" and "Woodstock." He remains an active musician whose influence continues to resonate worldwide.

Richie Furay – Guitar, Vocals
Richie Furay is an American singer, songwriter, and guitarist best known for his work with Buffalo Springfield and later as a founding member of Poco. His fusion of rock and country helped pioneer the country-rock sound that shaped the early 1970s California music scene.
Bruce Palmer – Bass
Bruce Palmer (1946–2004) was a Canadian bassist and one of Buffalo Springfield’s founding members. His inventive bass lines added melodic depth and drive to the group’s arrangements, influencing many future rock and folk-rock bass players.
Dewey Martin – Drums
Dewey Martin (1940–2009) was a Canadian drummer known for his energetic style and crisp timing. Before Buffalo Springfield, he performed with several rockabilly and country artists, and later formed the band New Buffalo Springfield, carrying forward the group’s rhythmic legacy.

From Buffalo Springfield to CSNY – How a Short-Lived Band Ignited a Folk-Rock Revolution

For a band that lasted barely two years, Buffalo Springfield cast an enormous shadow. Formed in Los Angeles in 1966, the group was an improbable fusion of restless songwriters, competing visions, and fragile egos — the kind of chemical mix that burns brightly and burns out fast. Yet out of that chaos came the foundation for one of the defining supergroups of the late 1960s: Crosby, Stills, Nash & Young.

Buffalo Springfield’s lineup — Stephen Stills, Neil Young, Richie Furay, Bruce Palmer, and Dewey Martin — embodied the creative electricity of their era. Stills brought precision and pop craftsmanship; Young countered with wild emotional fire and daring experimentation. Their 1967 hit “For What It’s Worth” became a generational anthem, while deeper cuts like “Broken Arrow” and “Mr. Soul” hinted at the introspective and socially charged songwriting that would later define 1970s folk rock.

But brilliance rarely coexists peacefully. Clashing egos, shifting ambitions, and a revolving door of lineup tensions led to the group’s breakup in 1968 after just three albums. Each member took off in a different direction: Stills into the Laurel Canyon scene, Young into a solo career, and Furay into the country-rock outfit Poco.

Meanwhile, the Los Angeles canyon air was thick with musical cross-pollination. Stills found himself harmonizing with David Crosby, newly ousted from The Byrds, and Graham Nash, quietly disillusioned with The Hollies. Their voices locked together as if by design — effortless, ethereal, and warm. They formed Crosby, Stills & Nash, whose 1969 debut album redefined West Coast harmony and introspective songwriting.

Then came the missing ingredient: Neil Young. Stills, remembering the unpredictable energy Young brought to Buffalo Springfield, invited him to join. With his fiery guitar work and mercurial songwriting, Young transformed the trio’s smooth harmonies into something rawer, more dangerous — and infinitely more powerful.

Thus emerged Crosby, Stills, Nash & Young, a band that captured both the utopian dreams and the internal contradictions of their generation. Their rise from the ashes of Buffalo Springfield was not accidental — it was evolutionary. Stills and Young carried forward the same tension that had made their first band both combustible and transcendent.

If Buffalo Springfield was the match, CSNY was the wildfire — born from the same spark, but fanned into a larger cultural blaze. Both bands defined their time, but together, they charted the emotional and musical map of an era that still echoes through rock’s collective memory.

BUFFALO SPRINGFIELD – Best of Buffalo Springfield Album Photo Gallery:

Album Front Cover Photo

The album cover of Buffalo Springfield’s “Best of Buffalo Springfield” presents a carefully composed grid of twelve sepia-toned photographs resembling early 20th-century studio portraits. Each image captures the same woman in different poses and attire, her hair long, wavy, and naturally styled in some frames, pinned or covered by elaborate hats and furs in others. The variety of numbered references beneath the photos—such as “12359A” and “12367A”—suggests an archival contact sheet or a photographer’s proof sequence.

The top row features four near-identical portraits where the subject faces forward, wearing a delicate headband across her forehead, the lighting emphasizing her soft facial features. The middle row transitions to more formal Edwardian portraits: she wears high-collared garments, a thick fur stole, and a plumed hat, each shot displaying subtle differences in profile and expression. The bottom row amplifies the theatrical mood—she sits, draped in fur and adorned with extravagant feathered headwear, blending poise with quiet defiance.

The typography above the portraits spells “Buffalo Springfield” in cream-colored, hand-drawn script with a whimsical, curving style typical of late-1960s design. In the lower right corner rests the black-and-white ATCO Records logo: a minimalist, circular emblem anchoring the composition with modern contrast. Together, these elements fuse nostalgia with modernity—evoking both the antique charm of the early photographic era and the reflective, sophisticated mood of Buffalo Springfield’s folk-rock legacy.

Album Back Cover Photo

The back cover of “Best of Buffalo Springfield” maintains the refined, archival tone of the album’s front artwork. The dominant element is a large column of French liner notes by Philippe Paringaux from “Rock & Folk” magazine, printed in white serif text against a deep brown background. Paringaux’s essay traces Buffalo Springfield’s brief yet pivotal career, emphasizing their fusion of rock, folk, and poetic lyricism that helped reshape American pop music of the 1960s.

Centered within the text is a small oval inset photograph—an Edwardian-style portrait of a woman in a lavish hat trimmed with feathers—creating a visual link to the sepia portraits featured on the front cover. This image adds a nostalgic, almost cinematic texture to the otherwise modern graphic design.

Below the liner notes lies a monochrome band photograph: five members of Buffalo Springfield—Neil Young, Stephen Stills, Richie Furay, Bruce Palmer, and Dewey Martin—gathered outdoors amid what looks like rural debris and grass, with one member crouched beside a black dog. The shot captures an unguarded, pastoral moment that contrasts the intellectual tone of the upper text.

On the lower right, the album’s track listing appears in a clean, white-bordered rectangle, listing key songs such as “For What It’s Worth”, “Mr. Soul”, and “Broken Arrow.” Beneath it, the ATCO Records logo and the note “Distribution C.E.D.” confirm the French origin. The overall design feels scholarly yet warm—a meeting of literature, memory, and music pressed into cardboard and ink.

Close up of Side One record’s label

The label for “The Best of Buffalo Springfield” displays the instantly recognizable ATCO Records design used during the late 1960s. It is horizontally split—an orange upper half with the large, blocky white “ATCO” letters outlined in black, and a cream lower half containing the album’s title, track list, and technical details in tidy serif type.

The left side shows the catalog number ATCO-503051 and “FACE 1,” indicating this is Side One. On the right, the rights society BIEM is printed above the stereo indication and matrix code XCED ATCO-3051. The track listing includes seven titles such as “For What It’s Worth,” “Expecting to Fly,” and “Mr. Soul.” Each song lists its composer (S. Stills or N. Young) and running time.

The rim text along the bottom reads “Division of Atlantic Records, New York, N.Y.,” confirming ATCO’s affiliation with Atlantic Records. The use of English-language rim text and BIEM rights marking identifies this as a French-manufactured export pressing for European distribution. The typography is crisp, centered, and mechanically aligned—reflecting ATCO’s clean design ethos of the period.

ATCO Records, France Label

This classic orange-and-cream ATCO label design was used by ATCO Records between 1968 and 1972. It visually balances bold branding with functional clarity, making it one of the most recognizable Atlantic subsidiary designs of its era.

Colours: Orange upper half, cream lower half, black text
Design & Layout: Two-tone horizontal split with centered track listing and serif typography
Record company logo: Large white “ATCO” lettering outlined in black; symbolizes strength and clarity; placed prominently for brand recognition
Band/Performer logo: None printed; only text title “Buffalo Springfield” at bottom
Unique features: French BIEM rights stamp; “FACE 1” side marking; export matrix code XCED ATCO-3051
Side designation: Printed as “FACE 1” (French for Side 1) in small uppercase letters
Rights society: BIEM (Bureau International de l'Edition Mécanique)
Catalogue number: ATCO-503051
Rim text language: English
Track list layout: Centered text block with track numbers, titles, composer initials, and durations
Rights info placement: Upper right quadrant beside stereo and matrix info
Pressing info: French pressing for ATCO, distributed by C.E.D.
Background image: Solid color fields; no imagery or background pattern

Index of Crosby Stills Nash & Young Vinyl Album Discography and Album Cover Gallery

CROSBY STILLS NASH AND YOUNG - 4 Way Street 12" Vinyl 2LP

CROSBY STILLS NASH AND YOUNG - 4 Way Street album front cover vinyl record

By the time of the "4 Way Street" tour in 1970, CSNY had already released two studio albums and had become known for their intricate harmonies, socially conscious lyrics, and improvisational jams.

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Updated

CROSBY STILLS NASH - Allies album front cover vinyl LP album https://vinyl-records.nl

CROSBY STILLS NASH - Allies 12" Vinyl LP

A mix of live fire and studio precision, “Allies” showcases Crosby, Stills & Nash reconnecting with the spirit that defined their era. From the political bite of “War Games” to the soulful harmonies of “Wasted on the Way,” this 1983 release embodies timeless chemistry and resilience amid the evolving 1980s rock landscape.

CROSBY STILLS NASH AND YOUNG - American Dream 12" Vinyl LP

CROSBY STILLS NASH AND YOUNG - American Dream album front cover vinyl record

The album "American Dream" features a mix of original compositions and cover songs, which blend the band's signature harmonies and acoustic guitar work with contemporary production techniques.

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CROSBY STILLS NASH AND YOUNG - Deja Vu (Multiple International Versions) 12" Vinyl LP

CROSBY STILLS NASH AND YOUNG - Deja Vu (Multiple International Versions) album front cover vinyl record

"Déjà Vu" is widely regarded as one of the greatest albums in rock history. The record features a mix of folk, rock, and country influences, with stunning harmonies and intricate instrumentation throughout.

- Deja Vu White Album Cover (1970, France) - Deja Vu ( 1970, Germany ) - Deja Vu Club Edition / Sonderauflage ( 1970, Germany ) - Deja Vu (1970, United Kingdom)

CROSBY, STILLS, NASH AND YOUNG - So Far 12" Vinyl LP

CROSBY, STILLS, NASH AND YOUNG - So Far album front cover vinyl record

"So Far" offers a journey through the band's early years. The album's tracklist reads like a "greatest hits" collection, including iconic songs such as "Suite: Judy Blue Eyes," "Ohio," "Woodstock," and "Teach Your Children."

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CROSBY, STILLS, NASH AND YOUNG - Wasted on the Way b/w Delta 7" Vinyl Single

CROSBY, STILLS, NASH AND YOUNG - Wasted on the Way b/w Delta album front cover vinyl record

At the heart of this musical offering are two tracks that effortlessly blend harmonies, storytelling, and instrumental prowess. "Wasted on the Way," penned by Graham Nash, embodies the bittersweet nostalgia of looking back on life

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CROSBY, STILLS, NASH AND YOUNG - White Album 12" Vinyl LP

CROSBY, STILLS, NASH AND YOUNG - White Album front cover vinyl record

Album cover has wrong title E.L.P and has probable misplaced. The record label is completely WHITE , recorded Live in the early 70s , recorded Live in the early 70s

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