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Birds In Row [We Already Lost the World]

July 13 street date. Birds In Row are a melodic/abrasive band from Laval, France. Blurring the lines between hardcore, punk, and related sub-genres, Birds In Row offer something of substantial weight to their listeners. Collectively carrying somber hearts and poignant souls, they navigate through melancholic seas to shape beautifully hook-laden songs unlike anything else out there today. “We Already Lost the World” is their latest, a stunning nine song album that blends post punk and angular rock influences into something emotional and electric. Recorded and mixed by Amaury Sauve at The Apiary, and mastered by Thibault Chaumont at Deviant Lab.
Boards Of Canada [Hi Scores (re-issue/remaster from 1996)]

July 13 street date (date change). LONG-AWAITED VINYL AND CD REPRESS! re-recorded and re-mastered from the original DAT tapes and has been re-cut onto heavyweight collector’s edition vinyl. The CD will be placed in a Digi-Pak sleeve with some extra art & the vinyl will have a double-sided 12” poster. The original image on the back of the sleeve will now be in colour. There will be a spot varnish finish on the images & text alongside the usual Skam Braille sticker to give the whole package new depth and a refreshing look and feel. Originally released in 1996, ‘Hi Scores’ constitutes Boards Of Canada’s second official release after 1995’s ‘Twoism’.
Cash, Johnny [Sings The Songs That Made Him Famous (180g/yellow vinyl)]

July 13 street date. The comprehensive remastering and repackaging upgrade of the Man In Black's legendary Sun catalogue continues with the release of Johnny Cash's second LP. Released in November 1958, Johnny Cash's "Sings the Songs That Made Him Famous" was a superb collection of many his Sun hits and featured "Ballad Of A Teenage Queen", a No. 1 country smash which also crossed over to no. 14 in the pop charts, "There You Go", "Train Of Love", "Home Of The Blues", "The Ways Of A Woman In Love", and "Guess Things Happen That Way", his biggest national pop hit on Sun. 1958 was one of Johnny Cash's most prolific years in the charts and helped make him the Sun label's most consistently successful artist. Complete with sleeve notes by noted Sun Records authority Adam Komorowski and president of Sun Entertainment Corporation John Singleton, this LP has been remastered from the original Sun master tapes by Nick Robbins at Soundmastering Studios and cut to lacquers at half-speed for unrivalled sound quality by Barry Grint at Alchemy Mastering in London.
Deafheaven [Ordinary Corrupt Human Love]

July 13 street date. (Available on CD / standard 150g black vinyl / HQ 180g black vinyl / indie-exclusive colour vinyl) Deafheaven was formed in 2010 by vocalist George Clarke and guitarist Kerry McCoy. They released their debut studio album Roads To Judah in 2011. They added drummer Daniel Tracy to the group and released their breakthrough album Sunbather in 2013. After rounding out their line up with guitarist Shiv Mehra and bassist Stephen Clark—each subsequent live set felt like a religious experience for the bigger (and bigger) shows that followed. Their third album, and first for ANTI-, 2015’s New Bermuda, was heavier, sturdier, and more grounded in the dirt than Sunbather. They toured extensively to support New Bermuda playing tours and festivals with Lamb Of God, Anthrax, Danzig, and Gojira. Deafheaven’s new album, Ordinary Corrupt Human Love, finds them working with old friends again. The Jack Shirley-produced and Nick Steinhardt-art directed (of Touché Amoré) collection gets its title from Graham Greene’s novel The End of the Affair, referencing a moment when someone is looking for love, in all of its imper¬fection and simple beauty. This sentiment is carried throughout the hazy, yearning romanticism of the record with song titles and words as sumptuous as the sounds around them. Clarke describes the composition of Ordinary Corrupt Human Love beginning with “small seeds of healing, repair, and rebirth,” and like each subsequent Deafheaven album, this record is, in fact, a revelation.
ESG [Come Away With ESG]

July 27 street date. Note: LP is black vinyl (different from the RSD issue). Come Away With ESG - 35-year anniversary release of the classic genre-busting debut album by the Bronx sisters ESG. The sample-friendly opus that’s the inspiration for hip-hop, house and post punk. Music that falls outside of the no wave, new wave and post punk library, it’s for the dance floor but it’s not funk, there’s no horns, no driving organ; it’s the opposite of Sly And The Family Stone but no less cool and no less groovy. “A lasting document of their unique brand of minimal funk that would influence subsequent post-punk, hip-hop, and dance music acts. Stripped down to the most basic of drumbeats and rudimentary bass lines, ‘Come Away’ confirms the notion that the real rhythm is what happens between the beats. – AllMusic
Essex Green [The Long Goodbye (re-issue/white vinyl)]

July 20 street date. First time pressed to vinyl !! LPs are pressed at IRP to white vinyl, limited to 1k for the world!! Includes coupon for full album download & three rare digital bonus tracks! The Essex Green are a neo-psychedelic pop outfit from Brooklyn, NY, via Burlington, VT. The ban--primarily composed of songwriters Jeff Baron, Sasha Bell, and Chris Ziter--specializes in a classic sound inspired by 1960s–1970s pop and folk in the tradition of bands like The Left Banke and Fairport Convention. Celebrating its 15th anniversary in 2018, The Long Goodbye, second album in the Essex Green discography is pressed to limited edition white vinyl and available here for the the first time on LP. The album includes a full download plus three rare digital bonus tracks: “The Boo Hoo Boy Reprise,” “Mendocino,” and “Everybody’s Missin’ the Sun.”
Essex Green [Cannibal Sea (re-issue/blue vinyl)]

July 20 street date. First time pressed to vinyl !! LPs are pressed at IRP to blue vinyl, limited to 1k for the world!! Includes coupon for full album download & three rare digital bonus tracks! The Essex Green are a neo-psychedelic pop outfit from Brooklyn, NY, via Burlington, VT. The band--primarily composed of songwriters Jeff Baron, Sasha Bell, and Chris Ziter--specializes in a classic sound inspired by 1960s–1970s pop and folk in the tradition of bands like The Left Banke and Fairport Convention. Cannibal Sea, originally released in 2006, is the third album in the Essex Green discography. This LP reissue marks the first appearance on vinyl. This limited edition blue pressing includes a full download plus three rare digital bonus tracks: “Pack Up Your Sorrows,” “San Bernadino,” and “Victor.”
Essex Green [Hardly Electronic]

June 29 street date. Formed in Brooklyn in 1998, The Essex Green released four albums between 1999 and 2006. They became one of the few bands from the Northeast to be associated with the groundbreaking Elephant 6 Collective. Their unique blend of harmony-infused pop music culminated in the 2006 release of Cannibal Sea. Sasha Bell, Jeff Baron, and Christopher Ziter were last seen together in the late aughts, waving from their van as they bid farewell to Brooklyn. And then, the unthinkable: The Essex Green went silent. But why? Legal cannabis? Climate change? Bad oysters? Nothing so dramatic. It was a simple promise made among them to chase down their separate dreams: Baron to build a houseboat and navigate the mighty Allegheny, Monongahela, and Ohio Rivers; Ziter to return to his home state of Vermont and lead local fermentation efforts; and Bell to decamp to Montana to study elk rutting. Having achieved their goals or not, they vowed to break their silence in secret on the frigid waters of Lake Champlain during the blood moon eclipse of 2015 when the effect of the moon in Libra would be most powerful. Over the next two years, the three continued to meet and record in undisclosed locations. The result is Hardly Electronic, a music mapping of the trio’s personal journeys over the past decade. Fans will recognize The Essex Green’s signature sound in this work of wax: stacks of harmonies, upbeat melodies telling melancholy tales, layers of keys and sparkling Telecasters. Their time-honored custom of fusing obsession with spontaneity has been refined through experience and wisdom. Hardly Electronic explores the evolution of old friendships, the sadness of losing touch, the inadequacies of technology, and finally, the desire for reconnection. The result is classic Essex Green sonic diversity.
Face To Face [Hold Fast (Acoustic Sessions)]

July 27 street date. When it comes to punk rock, few can rival what FACE TO FACE has accomplished in 27 years (!) as a band. While always staying true to their signature sound, they are consistently finding new and exciting ways to keep their fans invigorated. With this in mind, it will come as no surprise that the band shifted gears on their upcoming album "Hold Fast (Acoustic Sessions)". As the name implies, the new album features 10 acoustic renderings of classic Face To face songs. Comprised of fan-favorites ranging across their entire catalog, the songs on "Hold Fast (Acoustic Sessions)" are so much more than simply stripped down versions of the originals on acoustic guitar. The songs come to life in a whole new way with robust instrumentation and a savvy musical perspective that puts them right at home among today’s most respected Americana and Alt-Acoustic acts. Of course, these fresh new takes still feature the unforgettable melodies that fans originally fell in love with, making them the perfect addition to summer playlists for both long-time fans and new listeners alike.
Germs [GI (translucent blue vinyl/indie shop exclusive)]

July 27 street date. (Special Edition Translucent Blue Vinyl!! Indie-shops only!) One of the leading bands of the ’70s Los Angeles punk scene, the Germs (Darby Crash, Pat Smear, Lorna Doom, and Don Bolles) only released one studio album before the untimely death of lead singer Crash at the age of 22. Equal parts Sex Pistols and Iggy Pop, the band’s legendary live shows bordered on chaos, with Crash having a tendency to cover himself with whatever food was located nearby while diving into the crowd whenever possible. The lone album the band did manage to record, (GI), was produced by Joan Jett and features 16 tracks of unbridled garage-punk bliss.
Giant Sand [Returns To Valley Of Rain]

August 10 street date. Valley of Rain was Giant Sand’s debut album recorded in 1983, and released in 1985. It included Howe Gelb on vocals, guitar and Winston Watson on drums for most of it, Tommy Larkins on drums for some of it and Scott Garber on fretless bass for all of it. At the time of the recording, Howe was unacquainted with the possibilities of tube (valve) amps and had recorded most of the album with a Roland JC120 at the miraculous 8 track facilities of The Control Center in Korea Town, Los Angeles by Ricky “Mix” Novak. This impromptu recording had occurred because the band refused to cancel their first Los Angeles live gig, at Madame Wong’s, when the band (Giant Sandworms) had broken up days before in Tucson. Instead, Howe headed out anyway with Scott, the newest member who’d only been in the band for about a year, after band mainstays Billy Sed and Dave Seger reasonably decided ‘enough was enough’ following a rough and tenuous year spent in the lower east side of NYC attempting to further the band circa 1981/82. Tucsonan Winston Watson was already living in Los Angeles and was brave/kind enough to jump in for the live date with no rehearsal. The result was so sparked with adrenalin, that the trio set up an impromptu studio session the next day to attempt to capture the sonic thrust on tape. The total cost of the day and a half recording was $400 including one 1” reel of 30 minute tape. When Enigma Records offered to release the album they requested another 15 minutes of music to make it a full LP. Ron Goudie was then called in to oversee the extra recordings. It was then when Howe borrowed an amp that had been stored at the studio did he discover the bolster of a tube amp and his world changed. The amp was a slightly modified Fender Twin Reverb owned by Robbie Krieger of The Doors. 30 some years later, now that the band had been put to sleep indefinitely, those very first songs had begun creeping into the last Giant Sand tours. It somehow seemed appropriate to give them another shot with the proper amp just to see what they could’ve been. What made the idea more approachable was the availability of both original drummers living back in Tucson. The first attempt came last summer with both Winston & Tommy and Thøger Lund on bass, as well as the 2 newest members, 29 year old Gabriel Sullivan and 23 year old Annie Dolan on double neck guitars. The sound was insane. The funny part was Gabriel, who engineered and mixed the session, gave it an intentional 80s production sound. Howe later explained to Gabe he had been at war with that production trend since those first original recordings. So they all tried it again at Christmas time, this time with a newly discovered Fender 30 amp that had only been in production from 1980 – 1983. This new re-recording of that first album now sounds like it should’ve sounded. It was re-done for $400 and the same day and a half session time as the original. Scott Garber even drove up from Austin TX with his fretless to play so that the album is literally the originally line up for at least half of the songs. And yes, no pedal boards were used too. The band intends to tour this summer playing only those Valley of Rain songs. Giant Sand Returns To Valley Of Rain.
Green River [Come On Down (pink vinyl)]

Please note: new street date is July 27. Limited edition pink vinyl! Released in 1985 on the legendary Homestead label, GREEN RIVER's "Come On Down" was a record existing in its sonic universe - out of step with its own time. Was it glam? Was it punk? Was it metal? Was it cool? We now know it was one of the building blocks of what Mark Arm would coin as "grunge", but in 1985 this record was a silent groundbreaker. It was not only the raw, sludgy, slower guitar sound that makes this band important in its place in rock history, but the members of Green River would go on to lead some of the biggest names in the genre: Mudhoney and Mother Love Bone, the latter of which also contained the roots of Pearl Jam. Includes a previously unreleased rare bonus track!
Interrupters [Fight The Good Fight]

June 29 street date. Produced by Rancid’s Tim Armstrong!! The Interrupters are an L.A. based four-piece bound by their rebel spirit and deep love of punk, rock, ska and 2 Tone. They make super high-energy rock -n-roll that’s equal parts catchy and confrontational. Their third album, Fight The Good Fight, was produced by Rancid’s Tim Armstrong and released on his Hellcat imprint for Epitaph Records. The album features front-woman Aimee Interrupter, guitarist Kevin Bivona, bassist Justin Bivone and drummer Jesse Bivona, spitting out lyrics that take on matters as thorny as family, friendship, martial law and loyalty, while churning out bouncing rock-steady rhythms and snarly guitar riffs. The Interrupters have built their live act of unstoppable energy and a feeling of easy community that reflects their familial vibe. They had toured the world with the likes of Green Day and Rancid and played huge festivals from The Vans Warped tour to Coachella. “There is usually a dance party going on in the crowd, which we appreciate since we always have our own dance party happening on stage,” says guitarist Kevin Bivona. The Interrupters will be dancing their way to a town near you this summer on many festivals and tours including The Punk in Drublic Festivals, Back to The Beach Festival and the Main Stage on Vans Warped Tour.
Lambchop [What Another Man Spills (2LP)]

August 3 street date. First time pressed to vinyl in North America!! Originally released in 1998, What Another Man Spills celebrates 20 years in 2018. What Another Man Spills (1998) represents a milestone in Lambchop’s career, but not in the modern sense of a ‘landmark’ release. Building on foundations that had once sounded almost literally creaky, it expands upon the tentative manoeuvres they’d undertaken with the previous year’s Thriller (1997) and gestures confidently towards its brassy successor, Nixon, which would arrive in 2000 to wild acclaim and previously unimaginable commercial success. Indeed, it sits at a crossroads between the band that Lambchop first emerged as, and the band that they would later become. If it felt at the time like a reasonable, yet slightly confused descendant of what had gone before, without it, one suspects, what followed might never have been possible. In fact, what might first seem an anomaly in their catalogue, a deviation from a previously familiar path, instead becomes a beacon lighting the way forward. It is, one might say, both ugly duckling and beautiful swan all at once. In terms of production, What Another Man Spills represented a huge leap forward, and stylistically it took bold, convincing strides towards uncharted territory too. Its impact wouldn’t be felt for another couple of years, of course, but then it would suddenly look like part of a carefully orchestrated masterplan. Today, too, it continues to stand as a vibrant, satisfying snapshot of a band at a pivotal moment in their lengthy career. Soon Lambchop would almost entirely leave their formative aesthetic behind to embark on a journey that would reach so many people it would ultimately help transform Nashville’s image as culturally moribund and reactionary. But what and who Lambchop were, and what and who they are, never really changes, despite their gradual evolution. They are, and always will be, Lambchop, and they could never have been that without What Another Man Spills.
Love Language [Baby Grand]

August 3 street date. (Black vinyl packaged in a black paper dust sleeve, inside a double gatefold jacket with full lyrics. Includes digital download. CD Housed in a 4-panel digipak with 8-page lyric booklet.) The Love Language’s Baby Grand has its share of breakup songs—nobody writes those better than Stuart McLamb—but this time, even as something is being mourned, something else is being worked through; as lovers have been left behind, so have places and a time in life. Listen as the heartbreak and yearning of “New Amsterdam” come crashing down into the beautiful stasis of “Southern Doldrums,” or as the beautiful lift of the startling sequence of songs that make up Baby Grand’s propulsive midsection gives way to a moody instrumental called “Rain/Delay,” a collection of distant plinks and plonks struggling to assemble themselves into melody. The song “Juiceboxx” is what you’d get if Mick Jagger crooned his “Emotional Rescue” falsetto over a backing track by the Style Council, and “Let Your Hair Down” impressively suggests what “Caroline, No” might have sounded like if only it had been written by George Michael.
Milk Carton Kids [All the Things I Did And All the Things I Didn't Do]

June 29 street date. The Milk Carton Kids’ fifth album , All the Things That I Did and All the Things That I Didn’t Do arrives from ANTI- Records on June 29. The new project marks the first time that acoustic duo Joey Ryan and Kenneth Pattengale have brought a band into studio with them. “We wanted to do something new,” Pattengale says. “We had been going around the country yet another time to do the duo show, going to the places we’d been before. There arose some sort of need for change.” “Musically we knew we were going to make the record with a bigger sonic palette,” says Ryan. “It was liberating to know we didn’t have to be able to carry every song with just our two guitars.” “Sometimes in singing, we’ll switch parts for a beat or a bar or a note,” Ryan says. “And things start to obscure what is the melody and what is the supporting part.” A third presence rises out of their combined voices. “There are only so many things you can do alone that allow you to transcend your sense of self for even a short period,” Pattengale says. “I’m the lucky recipient of a life in which for hundreds of times, day after day, I get to spend an hour that is like speaking a language only two people know and doing it in a space with others who want to hear it.” Produced by Joe Henry (Joan Baez, Allen Toussaint, Billy Bragg). For Fans of The Barr Brothers, Shovels & Rope, Dawes.
Murr, Cornelia [Lake Tear Of the Clouds]

July 13 street date. On her debut album Lake Tear of the Clouds, Los Angeles-based singer/songwriter Cornelia Murr taps into the bucolic spirit of the Hudson Valley in upper New York State. Working with producer Jim James of My Morning Jacket, Murr conjures a hazy blend of folk and cosmic soul music, her voice floating over ghostly soundscapes that bring to mind the fantasias of Broadcast, Stereolab’s most pastoral moments, and the spooky romance of Beach House. Murr was born in London and resides in California as a dual citizen, but spent much of her childhood moving through the United States, from Colorado to Massachusetts, California to New York City and upstate New York. It’s the latter locale that most informs the spiritual geography of the album, which invokes the cyclical journey of water from the highest point in the Adirondack Mountains to the valley below and out to sea. Like that water, Murr’s voice flows with a liquid grace.
NOFX [Ribbed: Live In A Dive (incl. download)]

Aug. 3 street date. FAT's fan-favorite "Live in a Dive" is back!!! And who better to revive this classic live series than Fat Mike's very own NOFX? And yes, "Ribbed: Live in a Dive" is the classic 1991 NOFX "Ribbed" album from start to finish! This gives us what we expect from a NOFX show: equal parts punk rock and comedy hour, chock full of all the wit and hijinks you can handle. On NOFX’s previous live records they changed up the old classics a bit. Fast songs became slow songs, slow jams became fast-paced rippers; all the while sprinkling in their signature drunkenness and glaring mistakes. However, fans who love the original "Ribbed" studio LP, fear not! There was no messing around when they recorded this thing in 2012 at the Mayan Theater in Los Angeles, CA. All 14 songs are played true to their original form. Vinyl edition includes download.
Save Face [Merci]

July 13 street date. SAVE FACE is a New Jersey-based rock band which features vocalist/guitarist Tyler Povanda, guitarist Phil McGarry, bassist Chris Aveta, and drummer Chris Flannery. Merci is their new album and Epitaph Records debut, which features tracks with that are instantly catchy, built on heavy guitar riffs and throat-shredding vocals which embody the raw yet melodic sensibilities of SAVE FACE. The band is known for their passionate live performances which have earned them a dedicated following in recent years. Merci is the follow up to their 2016 release Folly, a six-track EP that showcased their hook-driven but viscerally charged sound. Last November, the band delivered Folly: On The Rocks—a stripped-down, partly acoustic, more intimate rendition of the EP. The band has also taken on a relentless touring schedule over the past few years. With the band’s ambition and constant need to be on tour, SAVE FACE was on the road for 9 months in 2017, including a run with label mates The Menzingers. Continuing the grind in 2018, SAVE FACE will tour this spring as support for Boston Manor.
Swans [Soundtracks For the Blind (4LP/box/remaster 2018)]

July 27 street date. Soundtracks for the Blind (1996) was Swans last studio album prior to their 2010 reformation. Remastered and released for the first time on vinyl, the package consists of four LPs in individual jackets, enclosed in a box with a poster, insert and download card. The box set is limited to 4,000 copies worldwide, and once sold out will be followed later in 2018 by a gatefold LP version. “This album has everything in there – all the ideas from Swans’ initial 15 years of work.  There’s some contemporary recordings of the band as it existed in ‘96/7, but there’s also a huge amount of sounds and recordings that Jarboe and I collected over the years. These are reassembled, looped, mangled, and in many cases overdubbed upon to create new pieces of music… I really set my own trap, dug my own grave on this one. There was SO MUCH material to deal with, to sift through, and the task of making it into something coherent was at times debilitating. But in the end I managed to sculpt something out of it which actually breathes, seems to live, in most places I think. … When I decided to reform Swans in 2010 Soundtracks was what I referred to as a starting point” – Michael Gira / Swans 2018
Thou [Rhea Sylvia]

July 27 street date. Thou is a forward thinking metal/punk band from Baton Rouge, Louisiana. Through constant output they’ve attained prolific status, having released nearly forty genre bending records on labels like Gilead Media, Thrill Jockey, and Robotic Empire. Each one blurring the sub-genre lines that define the sludge, noise, metal, and experimental music worlds. “Rhea Sylvia” is the first of three EPs the band plans to release in 2018. It is a six song monster that sees Thou exploring melodious territory with more confidence than ever before. All the while maintaining a heaviness and depth that few other bands could ever achieve.
V/A [Give Me My Flowers: Powerhouse Gospel on Nashboro Records]

July 20 street date. "Powerhouse Gospel on Nashboro Records" .. Founded in 1951 by independent record store owner and radio show promoter Ernie Young, Nashville, TN’s Nashboro Records recorded some of the most potent and forceful gospel music of the time period. Although initially begun in response to overwhelming demand for gospel locally, Nashboro quickly became nationally applauded for its curatorial prowess (under the guidance of Rev. Dr. Morgan Babb of the Radio Four) and signature production style. The lightly-reverbed, clear sound of a Nashboro record is unmistakable. Give Me My Flowers is a compilation of some of the finest cuts released by Nashboro Records, many of which have not been previously reissued. It kicks off with a total banger, The Hightower Brothers’ “Until He Comes,” which would have made an amazing cover song for Spacemen 3. Iola and Sullivan Pugh, also known as The Consolers, top off the A-side of the compilation with the intensely potent namesake track, “Give Me My Flowers”. A final highlight is “Almighty God” from Sister Pope and the Pearly Gates; dare you to get it out of your head after you hear the chorus even once. Not only are the featured artists endlessly skilled at their craft, their songs are absolutely explosive. This is the opposite of indifference or irony; there is a mission here, steeped in a full-heartedness that can only be derived from selfless devotion. Additionally, the songs featured on Give Me My Flowers are representative of a far too overlooked and important chapter in Nashville’s music history. These musicians, store employees and businesspeople played a critical role in building the infrastructure for independent music to flourish in their city. Naturally, it is a cornerstone in Third Man’s long-term mission to support and highlight the complete music histories of Tennessee and Michigan, from the most rightfully revered to the most critically under-represented. All of these tracks were assembled with producer and journalist Mike McGonigal (Detroit Gospel Reissue Project, Temperature’s Rising: An Oral History of Galaxie 500) and transferred directly from the 45 collection of Kevin Nutt (Case Quarter Records, Sinner’s Crossroads radio program).
Waits, Tom [Foreign Affairs (2018 remaster)]

July 13 street date. Remastered 2018 Reissue!! Tom Waits' first seven albums, originally released through Elektra Asylum Records in the 1970's, have been re-mastered and are being re-released via Anti-Records! 1977’s Foreign Affairs takes the jazz and poetry that Tom Waits explored on his earlier albums in a more cinematic direction, foreshadowing his own breakthrough work in the 80s. Opening with the instrumental “Cinny’s Waltz” and featuring some new standards like “Muriel” and “I Never Talk To Strangers”, his dramatic duet with Bette Midler, this album gets into some of Waits’ most ambitious storytelling ever. Foreign Affairs also features the jazzy, colorful “Jack and Neil” and the sweeping, dramatic “Potters Field” as well as classic Waits ballads “Burma Shave” and “Sight for Sore Eyes”.

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