|Different Every Time [2cd’s]|
Robert Wyatt — Different Every Time [2cd’s]
••• Robert Wyatt patří do slavné kohorty britských hudebních učenců konce 60. a 70. let, jako jsou Brian Eno, Peter Gabriel, Robert Fripp, Kevin Ayers a Kate Bush, kteří neúnavně sledují velmi osobní výraz. Ve Wyattově případě, jazz je centrální na této vášnivé stezce, (méně už jako žánr, nebo jako licence) k průzkumu nápaditých spojení sofistikovaných harmonických rámců, globálních hudebních zdrojů a textů v proudu času, filozofického myšlení a politického protestu. Všechno to zajiskřilo v roce 1967 pod záštitou britského progresivního rocku. Nicméně, Wyattova trpělivá vytrvalost přes měnící se hudební módu a osobní celoživotní zdravotní omezení od roku 1973 inspiruje umělce z world music, post~punku, a high~art elektroniky.
••• Setkal se i s básníkem Robertem Gravesem a francouzským malířem a sochařem Georgem Braquem v době, kdy mu bylo teprve 18 let.
••• “Miluji myšlenku. Dělá mi to radost jen přemýšlet o tom.” — Robert Wyatt Birth name: Robert Wyatt~Ellidge
Born: 28 January 1945, Bristol, England
Album release: November 18th, 2014
Record Label: Domino
Duration: 73:47 + 76:12 => 150:00
Robert Wyatt — Different Every Time: Ex Machina 
01. Moon In June (Soft Machine) 19:10
02. Signed Curtain (Matching Mole) 3:08
03. God Song (Matching Mole) 3:00
04. A Last Straw 4:57
05. Yesterday Man 3:10
06. Team Spirit 8:33
07. At Last I Am Free 4:18
08. The Age Of Self 2:48
09. Worship 5:48
10. Free Will And Testament 4:13
11. Cuckoo Madame 5:10
12. Beware 5:10
13. Just As You Are 4:22
Robert Wyatt — Different Every Time: Benign Dictatorships
01. The River (With Jeanette Lindstrom) 4:38
02. The Diver (With Anja Garbarek) 4:00
03. We’re Looking For A Lot Of Love (With Hot Chip) 5:21
04. Jellybabies (Epic Soundtracks) 3:01
05. Shipbuilding (3:04)
06. Richardson Road (With Grasscut) (3:47)
07. Turn Things Upside Down (With Happy End) (5:28)
08. Still In The Dark (Monica Vasconcelos) (5:49)
09. Venceremos (Working Week) (8:49)
10. Frontera (Phil Manzanera) (4:03)
11. La Plus Jolie Langue (With Steve Nass & Muriel Teodori) (3:30)
12. Goccia (With Christina Dona) (4:11)
13. Siam (Nick Mason) (4:42)
14. A L’abbatoire (With Mike Mantler) (2:44)
15. Sinking Spell (With Mike Mantler) (5:09)
16. Submarine (With Bjork) (3:10)
17. Experiences No. 2 (With John Cage) (4:46)
Description from label:
••• Domino are proud to release ‘Different Every Time’, a new compilation album of the works of Robert Wyatt. Curated by Robert together with Domino and biographer Marcus O’Dair, the double album features disk 1 ‘Ex Machina’, the ideal introduction for the Wyatt novice, compiling tracks from Robert’s entire career to date and acting as a companion to O’Dair’s new biography , also titled ‘Different Every Time’ (released by Serpent’s Tail on the 30th of October). Disk 2 brings together the best of Robert’s collaborations and guest appearances, or, as Robert has it, ‘benign dictatorships’, including some very special oddities and rarities available here for the very first time.
••• Starting out as a drummer for Soft Machine, sharing bills with Pink Floyd and Jimi Hendrix, Robert Wyatt blended Bohemian and jazz and brought it to the 60s rock scene. Focusing on singing and songwriting, he embarked on a unique solo career which earned him a loyal European following. Admired by his peers and with a career spanning five decades, he has collaborated with Bjork, John Cage, Brian Eno, Scritti Politti, David Gilmour and Hot Chip to name but a few, many of which are featured here. °::° http://www.dominorecordco.com/uk/
••• Ce double album sort en même temps qu’une biographie de Robert Wyatt, rédigée par Marcus O’Dair. Le CD1 est une compilation qui permet de retracer les différentes étapes de la longue carrière de l’auteur depuis ses débuts. et le CD2 offre une compil de raretés et de collaborations avec d’autres artistes. Bref, un excellent choix pour les non~initiés à l’oeuvre si particulière et attachante de Robert Wyatt.
••• On writing the authorised biography of one of the UK’s most respected musicians.
••• LIMITED EDITION OF 100
••• Artwork by Alfreda Benge
••• Signed and numbered in pencil by Alfreda Benge
••• Countersigned by Robert Wyatt
••• Giclée in pigment inks on acid free art paper
Image size: 19.00” x 17.00”
Paper size: 24.00” x 24.00”
All details here: http://www.hypergallery.com/people/Alfreda%20Benge // INTERVIEW, Ryan Dombal, November 14, 2014: http://pitchfork.com/features/interviews/9544-robert-wyatt/
••• Wyatt’s mother was Honor Wyatt, a journalist with the BBC; his father, George Ellidge, was an industrial psychologist who joined the family only when Wyatt was about six. This extended family also included his half~brother, actor Julian Glover, Honor Wyatt’s son. Wyatt attended the Simon Langton Grammar School for Boys, Canterbury and as a teenager lived with his parents in Lydden near Dover, where he was taught drums by visiting American jazz drummer George Neidorf.
••• In 1962, Wyatt and Neidorf moved to Majorca, living near the poet Robert Graves. The following year, Wyatt returned to England and joined the Daevid Allen Trio with Daevid Allen and Hugh Hopper. Allen subsequently left for France, and Wyatt and Hopper formed the Wilde Flowers, with Kevin Ayers, Richard Sinclair and Brian Hopper. Wyatt was initially the drummer in the Wilde Flowers, but following the departure of Ayers, he also became lead singer.
ANDY BATTAGLIA | November 09, 2014, 11:03 PM ET |
••• Has there ever been a move more prog~rock in spirit than opening an anthology geared toward new initiates with an 18~minute opus? Signs of progginess flash red throughout the many movements of “Moon In June,” a song that Robert Wyatt recorded with his early band Soft Machine in 1970. (See: circuitous organ jams, orgiastic drum fills, “movements,” et al.)
••• As the opener of the double~length collection Different Every Time, however, it serves as a playful feint, since Wyatt at his best couldn’t be less bloated or more humble and humane. After Soft Machine, Wyatt directed his energies to a solo career in which dreamy, wispy rock communes with the heady delicacies of jazz. “Signed Curtain” and “God Song” draw from a pair of 1972 albums credited to Matching Mole, with Wyatt’s wondrously elfin voice floating over finesse~inflected piano and acoustic guitar. Both cuts draw on Wyatt’s impish sense of humor, with the first including a real~time recitation of what happens in the midst of the song (“This is the first verse ... this is the chorus, or perhaps it’s a bridge”) and the second opening with the wry line, “What on earth are you doing, God?”
••• “Last Straw,” from Wyatt’s 1974 masterpiece Rock Bottom, showcases his ability to waver and wander through the space of songs that welcome states of lost~in~the~clouds daydreaming. It’s a curious selection, though, in a live incarnation that plays differently (rawer, more raucous) than the album version. Elsewhere, Different Every Time — a compilation accompanying a new Wyatt biography with the same title by Marcus O’Dair — opts for less~than~obvious choices. More than an obscurantist gesture, however, it goes to show how malleable Wyatt is when he drifts dexterously across styles and moods.
••• The second part of the anthology gathers collaborations old and new under the typically sporting subtitle “Benign Dictatorships.” At the start, “The River” finds Wyatt singing over mellow organ and mildly psychedelic flights of fancy by Swedish artist Jeanette Lindstrom. Better~known co~conspirators include U.K. electronic act Hot Chip (“We’re Looking For A Lot Of Love”), Roxy Music’s Phil Manzanera (“Frontera”) and Björk, whose “Submarine” (from Medulla) enlists extra otherworldliness from Wyatt’s singular voice.
••• It’s eclectic company, to be sure, and Wyatt warms to it all. In the best~known song here, a stirring cover of Elvis Costello’s “Shipbuilding,” Wyatt does justice to a great song as an interpreter while still making it his own — at least for a spell that could stand to go on much, much longer. :: http://www.npr.org/
Leonard Nevarez | November 14, 2014 |
••• Robert Wyatt belongs to the celebrated cohort of British musical savants from the late 60s and 70s, like Brian Eno and Kate Bush, who restlessly pursue a highly personal expression. In Wyatt’s case, jazz is central to that pursuit, less as genre than as license to explore a fusion of sophisticated harmonic frameworks, global musical sources, and lyrics in service of philosophical thought and political protest. In 1967, this fell under the umbrella of British progressive rock. However, Wyatt’s stubborn persistence through changing musical fashions and a 1973 accident that left him a paraplegic would see him inspire artists from world music, post~punk, and high~art electronica.
••• Wyatt’s career is anthologized on a new two~CD compilation, Different Every Time, that shares the name of a new authorized biography by Marcus O’Dair. Disc 1, titled “Ex Machina,” draws from Wyatt’s own recordings, which began with the prog groups Soft Machine and Matching Mole before transitioning quite seamlessly to a lengthy solo catalogue. The 13 tracks reveal continuities across four decades of music — a plaintive organ melody, a swinging meter on a ride cymbal, Wyatt’s gentle, high-pitched voice — but are necessarily selective and subject to debate. If you were looking for his offbeat 1974 cover of the Monkees’ “I’m a Believer” (#29 in the UK singles chart), it’s not here, although deep cuts like his heartbreaking interpretation of Chic’s gospel ballad “At Last I Am Free” are. This is cerebral, often challenging yet moving music.
••• Disc 2, “Benign Dictatorships,” expands the album’s range of styles and moods by collecting Wyatt’s contributions to other people’s recordings. Wyatt has been a gregarious muse to many musicians since the pre~punk 70s (solo albums by Roxy Music’s Phil Manzanera and Pink Floyd’s Nick Mason are represented here) and into the new millenium (Björk, Hot Chip). A highlight is his early 80s work with new wave musicians broadening their horizons: singing with Everything But The Girl’s Tracey Thorn for socialist jazzbos Working Week; taking the vocal on a solo single by Epic Soundtrack (from first~gen DIY punks Swell Maps); and delivering the definitive version of Elvis Costello’s “Shipbuilding,” backed by the Attractions. If you’ve read this far, it’s probably because you already know about Robert Wyatt. Certainly there’s a lot on Different Every Time to excite Wyatt initiates, but this is also an album to introduce newcomers to his remarkable catalogue. Dive in. ••• http://sounditout.com/
By J. RODRIGUEZ, 6 on Sep 12 2014
Written by: Stewart Smith | Date: 10 November 2014 | Score: *****
••• Robert Wyatt started out as the drummer and singer for Soft Machine, who shared a residency at Middle Earth with Pink Floyd and toured America with Jimi Hendrix. He brought a Bohemian and jazz outlook to the 60s rock scene, having honed his drumming skills in a shed at the end of Robert Graves’ garden in Mallorca.
••• His life took an abrupt turn after he fell from a fourth~floor window at a party and was paralysed from the waist down. He reinvented himself as a singer and composer with the extraordinary album Rock Bottom that has brought him a loyal following not just in Britain but in France, Italy and Germany. For about a decade he was a member of the Communist party, and in the early eighties his solo work was increasingly political.
••• Today, Wyatt remains perennially hip, guesting with artists such as Bjork, Brian Eno, Scritti Politti, David Gilmour and Hot Chip. Marcus O’Dair has talked to all of them, indeed to just about everyone who has shaped, or been shaped by, Wyatt over five decades of music history.
## Marcus O’Dair is a writer, lecturer and musician. He writes on music for the Guardian, Independent and FT. He is also a frequent contributor to BBC Radio 3 and BBC 6 Music. He is also one half of the Ninja Tune act Grasscut, who have performed at the Pompidou Centre and across Europe.
By Marcus O’Dair; Tuesday, 07 October 2014
Robert Wyatt: Different Every Time
On writing the authorised biography of one of the UK’s most respected musicians
Marcus O’Dair and Robert Wyatt: author and subject
••• As the presenter of a regular music podcast for a national newspaper, I used to be in the happy position of interviewing one or two artists of my choice per month, provided they were signed to an independent label. So when Domino released a Robert Wyatt box set in 2008, I spent a glorious afternoon with Robert and his wife and creative partner Alfie, in their Lincolnshire garden. I enjoyed myself so much, in fact, that I set out to find an excuse to do it again.
••• Different Every Time, my authorised biography of Robert Wyatt, didn’t take me all those six years to write, although it has certainly taken a while longer than I, or my publisher, expected. (I recently showed up 15 minutes late to a meeting at the Serpent’s Tail office. “Don’t worry,” said my editor, “the manuscript was three years late.”) But the first copies have, now, arrived. And Domino are releasing an accompanying compilation album: one disc of “greatest misses”, largely dating from after Soft Machine and entitled ex machina, and one of Robert’s finest guest appearances, called “benign dictatorships”.
••• He had met both the poet Robert Graves and the artist George Braque by the time he turned 18.
••• Who, for those who need an intro, is Robert Wyatt? It’s taken me well over 400 pages to answer that question. Briefly, though, he first came to prominence in the 1960s as the drummer and singer with Soft Machine, who shared a residency at Middle Earth with Pink Floyd and toured America with the Jimi Hendrix Experience. Robert left — “was kicked out” would be more accurate, his crimes being too much drinking and a continued interest in song while the band moved ever further into instrumental jazz~rock — in 1971. He formed a new band, Matching Mole, the name deriving from machine molle: French for Soft Machine.
••• Just as the Mole were about to begin work on a third album, Robert fell from a fourth~floor window and found himself paralysed from the waist down at the age of 28. But he reinvented himself as a singer and composer with 1974’s classic Rock Bottom. Since then, he has made the top 40 twice — once with his cover of “I’m A Believer”, and once, in the aftermath of the Falklands War, with “Shipbuilding”, written for him by Elvis Costello and the producer Clive Langer. Robert is happier, though, far from the mainstream, working with jazz musicians such as Evan Parker and the late Charlie Haden or singing revolutionary songs of the international left (see video for “Wind Of Change”, below). Unlike so many of his contemporaries, he hasn’t got worse as he’s got older — or even, to my ear, had a dodgy period in the middle. No Christian rock cul~de~sacs here. Now nearing 70, Robert finds himself perhaps more recognised than ever: in recent years, he’s been shortlisted for the Mercury Prize, guest–edited Radio 4’s Today programme, and curated the Southbank Centre’s prestigious Meltdown festival.
••• That the book took me four years from contract to completion was in part because I was doing too many other things (among them making music as one half of Grasscut — including a track with Robert on our second album, Unearth) and in part because Robert has made a hell of a lot of music in the half~century since he first sat at a drumstool with beatnik jazz ensemble the Daevid Allen Trio. There are hundreds of releases as a sideman as well as a considerable number in his own right, both as a solo artist and band member — particularly given the stream of live and radio recordings from his days, in his own words, as a “drummer biped”.
••• As well as listening to a lot of music, of course, I spoke to everyone I could. I didn’t get all the Softs: I couldn’t get an interview with keyboard virtuoso Mike Ratledge, while both Kevin Ayers and his successor Hugh Hopper have died since my first meeting with Robert. Likewise Mike Zwerin, David Bedford, Lol Coxhill, Richard Coughlan, Harry Beckett, Charlie Haden, Ian Knight and Robert’s half–brother, the photographer Mark Ellidge. That Robert himself is still with us is, frankly, against the odds. Back in 1973, the doctors apparently told him that paraplegia would knock 10 years off his life, 20 if he smoked (which he does, like damp kindling on a bonfire). And there has been booze too, until he sobered up in 2007, although — perhaps surprisingly for a former member of a band rivalled only by Barrett~era Pink Floyd as icons of the “summer of love” underground scene — no illegal drugs.
••• One musician, who shall remain nameless, politely declined to speak to me on the grounds that the interview was flawed as a means of eliciting information. On the whole, however, the esteem in which Robert is held by fellow musicians meant that most were willing to speak to me. In total, I managed to speak to over 70 collaborators, among them David Gilmour, Geoff Travis, Brian Eno, Jerry Dammers, Paul Weller, Björk and Hot Chip. (One musician — again I’d better not name him — demanded mid~interview that I list all his albums in my possession. Another, when we came to a point of chronological uncertainty, broke off for a good~natured Google; luckily, Wikipedia agreed with me.) Beyond music, I spoke to Alfie’s mate Julie Christie; artist and activist Caroline Coon, the ex~girlfriend who inspired the lyrics to the Matching Mole song “O Caroline” (see video below); Robert’s first wife, Pam; his son, Sam; and to his other half~brother, the actor Julian Glover.
••• Most valuably, I spoke at length to Robert and Alfie themselves, who opened up on everything from Robert’s alcoholism (or, as he prefers, “dipsomania”) to the suicide attempts he made as a much younger man. I am grateful to them for allowing me to rake through their past. I am also grateful to Alfie, in particular, for not only having maintained a meticulous cuttings library over the years but also for lending me her shopping trolley in which to take home the bundles of Melody Maker and NME back issues. I confess I took a hopelessly long time to give it back.
••• I then went away and — at home in east and then south London, in cafés, on public transport, in the British Library — attempted to turn the interviews into a vaguely coherent narrative. It was a ruthlessly selective process, of course, entire interviews in some cases reduced to just a couple of lines. At first I didn’t want to make the book strictly chronological, on the grounds that the first few chapters of many biographies can be safely skipped. But it didn’t work for Robert: this is a man who not only knew many of his subsequent bandmates as a teenager but had met both the poet Robert Graves and the artist George Braque by the time he turned 18. And he nearly killed himself near the start of sixth form — hard to resist as a conclusion for chapter one.
••• I bounced chapters backwards and forwards with Peter Culshaw of theartsdesk, then working on his biography of Manu Chao, until the narrative started to coalesce. At this stage, Robert and Alfie had yet to see a word. But it was important to me that this was an authorised biography, and it was also important when requesting interviews: many checked with Robert before agreeing. So, earlier this year, I finally posted Robert the result — no doubt a bizarre “this is your life” moment. He read it all, several times I think, which he described as an odd experience, friends and colleagues having made a number of (very largely positive) comments that they would never have said to his face. And then he sent me one of his trademark DIY postcards, giving the thumbs up.
••• “How old are you?” asked Alfie during one of our early meetings. “Twenty~eight,” I replied. “It’s a dangerous age,” grinned Robert. “Don’t go near any high windows at a party.” That was in 2010. Since then I’ve got married, had a baby, and moved from freelance journalism into a position in a university music department. (Less has changed for Robert, still trying and failing to give up cigarettes, still trying and failing to retire from music.) I’ve also learnt a huge amount, not only about Robert himself — or Robert and Alfie, for the book, at least after the first third or so, is really about them both — but also about everything from Marxism to Pataphysics, the surreal pseudo~science invented by the Frenchman Alfred Jarry. And I’ve spoken to some superb, and enormously diverse, musicians: who else could comfortably fit Brian Eno, Paul Weller and Evan Parker on the same album? Best of all, I pulled it off: I got to spend many more afternoons drinking tea in Robert and Alfie’s garden. I’ll miss them.
••• Different Every Time: The Authorised Biography of Robert Wyatt is published by Serpent’s Tail on 30 October.
••• A compilation album, also entitled Different Every Time, is released by Domino Records on 17 November.
••• Robert Wyatt is in conversation with the author at the Queen Elizabeth Hall on 23 November as part of the London Jazz Festival.
ς Terry Adams Clarinet, Harmonica, Piano
ς Adriano Adewale Percussion
ς Manuel Agnelli Composer, Guitar (Acoustic), Hammond B3, Piano Strings, Vocal Percussion
ς Laurie Allan Drums
ς Sarah Allen Flute
ς Chris Andrews Composer
ς Vicki Aspinall Violin
ς Alfreda Benge Composer, Speech/Speaker/Speaking Part
ς Dave Bitelli Clarinet, Saxophone
ς Björk Composer, Primary Artist
ς Carla Bley Clavinet, Composer, Keyboards, Piano, Producer, Synthesizer
ς Simon Booth Composer, Guitar
ς Georgie Born Cello
ς John Bradbury Strings
ς Jack Bruce Vocals
ς Kim Burton Piano
ς John Cage Composer, Primary Artist
ς Albert Caulder Speech/Speaker/Speaking Part
ς Matthew Cooper Design
ς Timothy Cumming Producer
ς e.e. cummings Composer, Poetry
ς Bosco D’Oliveira Contribution
ς The Danish Concert Radio Orchestra Featured Artist
ς Jack DeJohnette Drums, Percussion
ς Fulton Dingley Assistant
ς Martin Ditcham Percussion
ς Cristina Donà Choir/Chorus, Composer, Primary Artist, Vocals
ς Robert Ellidge Vocals
ς Brian Eno Producer, Vocals (Background)
ς Marianne Faithfull Vocals
ς Rick Fenn Guitar
ς Marco Ferrara Bass
ς Mongezi Feza Trumpet
ς Claudia Figueroa Vocals
ς Matt Fox Composer
ς Robert Fripp Producer
ς Anja Garbarek Composer, Percussion, Primary Artist
ς Bill Gill Gillonis Engineer
ς Joe Goddard Mixing, Producer
ς Edward Gorey Composer
ς Grasscut Primary Artist
ς John Greaves Guitar (Bass)
ς Happy End Primary Artist
ς Tony Hinnegan Strings
ς Mark Hollis Producer
ς Hugh Hopper Guitar (Bass)
ς Hot Chip Composer, Mixing, Primary Artist, Producer
ς Howard Johnson Tuba
ς Jamie Johnson Mixing, Producer
ς Matt Kemp Engineer
ς Nisar Ahmad “George” Khan Sax (Tenor)
ς Skipper Kidron Engineer
ς Karen Kraft Vocals
ς Peder Kragerup Conductor
ς Chris Lawrence Bass
ς Tony Lewis Strings
ς Jeanette Lindström Composer, Fender Rhodes, Primary Artist
ς Steve Lodder Composer, Harmonium, Keyboards, Piano, Producer
ς Bill MacCormick Bass, Guitar (Bass)
ς Karen Mantler Composer, Harmonica, Keyboards, Vocals
ς Michael Mantler Composer, Orchestration, Primary Artist, Producer, Trumpet
ς Phil Manzanera Composer, Guitar, Primary Artist, Producer
ς Nick Mason Drums, Percussion, Primary Artist, Producer, Speech/Speaker/Speaking Part
ς Matching Mole Arranger, Primary Artist, Producer
ς Melinda Maxwell Oboe
ς John McGowan Engineer
ς Dave McRae Piano (Electric)
ς Chucho Mercham Bass
ς Robin Millar Producer
ς Dawson Miller Percussion
ς Phil Miller Guitar
ς Philip Miller Composer
ς Renaud Monfourny Cover Photo
ς Francis Monkman Piano, Piano (Electric), Synthesizer, Vocals (Background)
ς Mogotsi Mothle Double Bass
ς Steve Nieve Composer, Primary Artist
ς Marcus O’Dair Double Bass, Liner Notes, Photography
ς Magnus Öström Electronics, Glockenspiel, Gong, Guitar, Wind Chimes
ς Mike Pela Engineer
ς Laurence Pendrous Piano
ς Andrew Philips Composer, Producer
ς Dudley Philips Bass (Electric), Double Bass
ς Frank Roberts Keyboards
ς Terje Rypdal Guitar
ς Valgeir Sigurdsson Programming
ς David Sinclair Organ, Piano
ς Vincent Sipprell Remixing
ς Emma Smith Remixing
ς Soft Machine Primary Artist, Producer
ς Epic Soundtracks Composer, Primary Artist
ς Rab Spall Violin
ς Chris Spedding Vocals
ς Yaron Stavi Violin (Bass)
ς Steele Primary Artist
ς Dave Stewart Keyboards
ς Steve Swallow Bass, Guitar (Bass)
ς Mark Taylor Drums
ς Muriel Teodori Composer, Primary Artist
ς Paul Thompson Drums
ς Tracey Thorn Vocals
ς Gary Valente Trombone
ς Mônica Vasconcelos Guitar, Vocals
ς Paul Weller Guitar, Vocal Harmony
ς Ivo Jan van der Werff Strings
ς John Wetton Bass
ς Gary Windo Clarinet, Clarinet (Bass), Flute, Sax (Tenor)
ς Working Week Primary Artist
ς Robert Wyatt Cabasa, Composer, Cornet, Drums, Effects, Guitar (Bass), Instrumentation, Keyboards, Mellotron, Percussion, Piano, Piano (Electric), Primary Artist, Producer, Timbales, Trumpet, Vocals, Vocals (Background)
|Different Every Time [2cd´s]|