Right of Reckoning

Mostly because I won't be finished with 'Camera' until next week, I thought I'd post some thoughts so far.  I am increasingly aware that many details of my tabs and lyrics are hazy.  In the excitement of posting new knowledge I feel that sometimes I am glossing over other things.  For instance, when a song is difficult lyrically, I tend to spend less time on the guitar and vice versa.  In looking at other lyric and guitar sites, my blog is definitely the most comprehensive and accurate R.E.M. knowledge site on the internet, but I have this goal of perfection.  That said, there can never be perfection as the band has admittedly changed lyrics and music since these recordings.  However, the albums are the documents (pardon the pun/ reference) of the songs.  It is the songs in this state that is important to the groups fans. 
  Again, it is not my goal to interpret any of these songs, although I have done a little of that, the songs are mysterious for a reason and there is no greater knowledge to be gained simply personal knowledge.  I think every member of R.E.M. would be proud if any of their songs means something special to a fan, but they are not going to postulate theorems about anything.  The songs are what they are, in their deconstructed state and patchwork meanings, they are more than the sum of their parts. 
  I have been reading a number of books about the early days of the band and there is a concerted effort to create some mystery and to avoid mainstream traps.  They skirted early record deals claiming they were not ready, which points out that they had certain career goals in mind.  Whenever they got close to a deal, something seemed to pull them away and perhaps it was mostly Berry's knowledge of the business that informed the group most.  Berry worked with one of the Copeland brothers before R.E.M. signed with IRS which gave him and the band an amazing entrance door, but also serious connections when it came to touring and college promotion.  However, by the time of Reckoning, the band was tired.
  The seeds of larger things were perhaps sewn during this time period.  The band was okay financially, but they were rally full time men.  By the end of Fables, they had toured for 5 1/2 years straight.  They are at the 4 year point here during Reckoning and are clearly tired.  "Voice of Harold" is a case in point here, being Mitch Easter's way for Stipe to drop in for "7 Chinese Bros."  One thing that occurred to me reading their biographies is that the end of IRS is already on the wall.  If you notice on Document, their last in a 5 album deal, the number 5 is very prominent and there is obviously a reason for that.  The release of 'Dead Letter Office' before Document is on purpose so that they can have more control.  Lifes Rich Pageant is a full pop album in a very easy manner and extremely accessible to contrast the dark and difficult stress of Fables.
  There will be more on Fables later, but an example can be made by noting that they went into the studio with far fewer songs than either Murmur or Reckoning.  They had to write and perform an entire album in a matter of weeks, something they had never done.  Only a couple of the songs had been written as they usually wrote songs--during soundchecks from the road.    
  In the end, Reckoning is the final comfortable pairing with Mitch Easter and Don Dixon and while most people see the end of Fables as a departure from one era to another, I feel that Reckoning is the end of the early group that was almost known as 'Cans of Piss.'  After this, success and realization set in.  This is their career, their job, their life's work.  Is it any wonder so much doubt creeps into the next album?
  So onto Camera, Rockville, and Little America ...

-BW

RECKONING: LETTER NEVER SENT

I've had many people say to me that this is one of their favorite R.E.M. songs of all time.  And why not?  It contains all of their hallmarks: tough to decipher lyrics, Mills and Berry in the background, some nice riffs, a good beat and a slamming chorus.  The thing I like most about this song is the overlapping chorus.  It probably best epitomizes the R.E.M. overlap technique.  Because of how the album was recorded, the consonant sounds of Bill, Mike, and Michael are difficult to track and in many cases make it sound as if Michael is using the 's' sound when it is in fact Mike.  The band uses this to great effect throughout their career, but no song more than this and perhaps Pretty Persuasion.     A note on the last line of the verse ... I have no idea, but what Michael reads of the internet in Dublin makes him laugh, so I'm going phonetic on this one.  Maybe he knows what he said.  Which brings me to what I thought at the beginning of this process would be a good touchstone.  Mike's vocals.  I figured if nothing else, I could figure out what he's saying and match it up to Stipe.  However, when watching early live shows it is pretty clear that Mike doesn't adhere to the album lyrics either.  Geez, why bother recording a song ... it's the lyrical equivalent of a Grateful Dead show.


LETTER NEVER SENT
It’s been pretty simple so far
Vacation in Athens is calming you
The knock, knock, knock on wood
I thought I’d left you behind

(Heaven is yours)
Heaven is yours
Heaven is yours where I live

I thought of the catacombs
Left my cereal at home
This letter never sent
Aha-ha-ha-aha-ha-ha-ha-ha-oh-oh-oh-oh

(And it’s so far and it’s all gone and it’s all lost)

(I think it’s scary)
(Heaven’s yours)
(It’s only scary for a while)
Heaven’s yours
(It’s always scary)
Heaven’s yours where I live

When I’m moving too fast
(When I’m so slow)
Here’s my new address
(Hello)

The water is evening now
The catacombs are filling in
If my soul was made of stone
No knock, knock so bar, dark and it oh

(And it’s so far and it’s all gone and it’s all lies)
(And it’s so long and it’s so far and it’s all lost)

(I know it’s scary)
(Heaven’s yours)
Heaven is yours
(It’s only scary for a while)
Heaven is yours
(It’s always scary)
Heaven is yours where I live

(I know it’s scary)
(Heaven’s yours)
Heaven is yours
(It’s only scary for a while)
Heaven is yours
(It’s always scary)
Heaven is yours where I live


This is a very fun guitar riff and in practice is actually very similar to Talk about the passion.  Starting on the D chord and working our way to the C9 (which is the C with the finger on the 3rd note of the B string instead of the 1st).  I also love the chorus riff which is just a fun walk from A to G.  Also, we're tuning down again ...


LETTER NEVER SENT

Tune down a 1/2 step

Intro/ Verse

d#|-------------------------------|

A#|-------------------------3-----|

F#|-2-2-2-2-0-0-0-0-0-0-0-----0---|

C#|-0-0-0-0-4-4-4-4-2-2-2--2------|

G#|----------------------3--------|

D#|-------------------------------|

Bridge to Chorus

d#|-2-2-2-2-3-3-3-3---------------|

A#|-3-3-3-3-3-3-3-3---------------|

F#|-2-2-2-2-0-0-0-0---------------|

C#|-0-0-0-0-0-0-0-0---------------|

G#|---------2-2-2-2---------------|

D#|---------3-3-3-3---------------|

Chorus

d#|-0---------3---------------------|

A#|-2---------3---------------------|

F#|-2--2-0----0---------------------|

C#|-2-----2-0-0---------------------|

G#|-0---------2---------------------|

D#|-0---------3---------------------|

Middle Bridge

d#|-0--0----2-2-2-3-2--0--0--3-----|

A#|-7--2--3-3-3-3-3-3--7--2--3-----|

F#|-9--2--2-2-2-2-2-2--9--2--0-----|

C#|-9--2---------------9--2--0-----|

G#|----0---------------------2-----|

D#|--------------------------3-----|

Last Verse:

d#|--------------------------------------|

A#|-3-------------------3----------------|

F#|-2--------------0----2----------------|

C#|-0-0-0-2-4-2-0-2-2-0-0-0-0-2-4-2------|

G#|--------------------------------------|

D#|--------------------------------------|

End on A.

-BW

RECKONING: SECOND GUESSING

Introducing this song in Dublin, Michael says that he was inspired by country songs that were very first person and wrote themselves into the song.  Then he points out that he decided to write the rest of the band into the song which really informs the last line of the verse. 
  This is another early R.E.M. song that was resurrected for Reckoning, and why not?  It's short, fun, and easy to play and sing.  In the early versions of this song, Mike had a lot to say in the background vocals and those all but went away except for live shows, particularly in more recent performances.  It seems that lately the band has done less distancing from early material and more embracing.  I think the turning point was recording 'All The Right Friends' and taking requests on the Up tour.  In any case it's always good to hear the old stuff!


SECOND GUESSING
(Rolling … 1,2,3,4)
Why are you trying to second guess me?
I am tired of second guessing
What will be your look this season?
Who will be your book this season?

Oh, oh, oh

Are you trying to second guess me?
I am tired of second guessing
What will be your look this season?
Who will be your book this season?

Oh, oh, oh

Here we are
Here we are
(Here we are)
Here we are

Why are you trying to second guess me?
I am tired of second guessing
What will be your look this season?
Peter, Mike, Bill buy a book this season?

Oh, oh, oh

Here we are
Here we are
(Here we are)
Here we are
Here we are
Here we are
(Here we are)
Here we are


The intro and transition and beging verse are all the same one note switch.  Really hit the low E string as you jam through this.  As you might also be aware, the last bridge to the chorus doubles the A-G chord change. Also, hit the 5th note on the B string in the chorus just before nailing the G chord.  Adds a little something ... ya heard?

SECOND GUESSING

Intro and Verse Transition

e|-0-0-0-0-0-0------|

B|-0-0-0-0-0-0------|

G|-9-9-9-9-9-9------|

D|-9-9-9-9-9-9------|

A|-7-7-7-7-7-7------|

E|-0-0-0-9-9-9------|

Verse

e|-0-0-0-0-0-0-----0---|

B|-0-0-0-0-0-0-----0---|

G|-9-9-9-9-9-9-----8---|

D|-9-9-9-9-9-9-x3--9---|

A|-7-7-7-7-7-7-----9---|

E|-0-0-0-9-9-9-----7---|

Bridge to chorus

e|-0-0-0----------------------------|

B|-0-0-0----------------------------|

G|-6-4-2----------------------------|

D|-7-5-4----------------------------|

A|-7-5-0----------------------------|

E|-5-3-0----------------------------|

Chorus

e|-0---3-----0------|

B|-3-5-3-----0------|

G|-2---4—x3--2------|

D|-0---5-----4------|

A|-----5-----0------|

E|-----3-----0------|

-BW

RECKONING: TIME AFTER TIME (ANNELISE)

I don't know who AnnElise is, but I take it she likes clock towers.  I'm not sure what the song is about, but it is another triumph in my mind for the reason that I am writing this blog.  All over the internet, the last verse line says that Michael croons "We will fight if you want."  He is not saying this and it's not easy to hear what he is saying, but the internet is wrong ... and it is wrong everywhere.  The correct line is "We'll invite who you want."  There are little inconsistencies everywhere and I'm just here to fill the gaps ... half way through the album and it's cake from here ...

Time After Time (annElise)
Ask the girl of the hour by the water tower’s watch
If your friends take a fall are you obligated to follow?

Time after, time after time

When he pulls on his hose will you gather friends by the tower?
If you try to refuse will they judge your worth by the hour?

Time after, time after time
Time after, time after time

If you’re tired of your try, you can find me in my room.
And stay if you want, the third time you can lose.

Time after, time after time
Time after, time after

Ask the girl of the hour by the water tower’s watch
We’ll invite who you want, but who will turn out the lights?

Time after, time after time
Time after, time after time
Time after, time after time
Time after, time after

There is a capo on this one and online I've seen reports of 3 guitars, 2 of which are tuned differently.  But you can play it on two with the capo.  Guitar 2 shows up pretty much through the whole song.

Time After Time (annElise)

Capo 1

Verse

Guitar 1:

f |-0-0-0-3-3-3-3>5-0----------|

C |-3-3-3-3-3-3----------------|

G#|-2-2-2-2-2-2----------------|

D#|----------------------------|

A#|----------------------------|

F |----------------------------|

Verse

Guitar 2 (after 1^st verse)

Also ringing chord at the top of the song and throughout verses:

f |-------------------------------|

C |-3-3-3-3-3-3-3-3-3-3-3---------|

G#|-7-7-7-7-7-7-7-7-7-7-7---------|

D#|-------------------------------|

A#|-------------------------------|

F |-------------------------------|

Chorus:

f |----0-0----0-0--0------------|

C |--0--0----0-3-3-3-VERSE RIFF-|

G#|---0-----2------2------------|

D#|-2------0--------------------|

A#|-----------------------------|

F |-----------------------------|

Lead:

f |-2-2-3-2-3-2-0-0-2-0--5-5-3-7-5-3-3-------------|

C |-3-3-3-3-3-3--3-----3-3-3-3-3-3-3-3-------------|

G#|------------------------------------------------|

D#|------------------------------------------------|

A#|------------------------------------------------|

F |------------------------------------------------|

f |-5-5-3-2-3-2-0-0-2-0--5-5-3-7-5---------------|

C |-3-3-3-3-3-3--3-----3-3-3-3-3-3---------------|

G#|----------------------------------------------|

D#|----------------------------------------------|

A#|----------------------------------------------|

F |----------------------------------------------|

-BW

RECKONING: PRETTY PERSUASION

This track was recorded at the urging of Mitch Easter and Don Dixon while recording Reckoning.  A rough version was culled up for Murmur, but discarded as an "old" song.  It was one of their original club songs with a good beat and an indecipherable lyric.  In fact listening to those early recordings verifies that the song, by the time of the Reckoning sessions, was pretty much intact.  Mike and Michael singing over each other in the verse and hitting the chorus.  After recording the song for Reckoning, the band had to admit it was good and the opening riff is still one of the most recognizable in Peter Buck's catalogue.
  According to Michael, the song is loosely based on a dream he had about a photo shoot for the band Rolling Stones which in the dream, they sit on a dock with their feet in the water.  How anyone could get anything like that out of this song is beyond me.  In my mind this is easily the most difficult R.E.M. song lyrically.  As you look at the lyrics and play through the song, you'll understand why. 
 


PRETTY PERSUASION
Fit’s my want
(Here's one of yours)

Hurry it in
(A reading write)

All has been tried
(Boy has)

Hurry and burn bright
(Follow easily)


Cannot shuffle in this heat, it’s all wrong
Try to put that on your sleeve, it’s all wrong, all wrong

It’s got pretty persuasion
She’s got pretty persuasion
Goddamn your confusion
She’s got pretty persuasion


It’s my want
(Here's one of yours)

Hurry it in
(A reading write)

All has been tried
(Boy has)

Hurry it in
(Father ease their pain)


When I put that in this heat, it’s all wrong
Try to wear that on my sleeve, it’s all wrong, all wrong


It’s got pretty persuasion
She’s got pretty persuasion
Goddamn your confusion
He’s got pretty persuasion


In the light of our home
I’ll be seeing you in


It’s got my want
(Here's one of yours)

Hurry in run bright
(A reading write)

All has been dry
(Boy has)

Hollow … bright
(Father ease their prayer)


Try to put that in this heat, it’s all wrong
Cannot wear that on your sleeve, it’s all wrong, all wrong


It’s got pretty persuasion
She’s got pretty persuasion
Goddamn your confusion
He’s got pretty persuay …


Again, this riff is very Peter Buck and kind of defines a style.  I usually play the 5th note on the B string as an open high E string, but you can hear Buck slide up to the 5th note during the song.

PRETTY PERSUASION

Intro/Bridge (x2)

e|------------------0---0---0--0----0---0--0---0------------|

B|-5-4-2-0-2-4-2-0---0---0------0-----------0---0----3-2>5--|

G|----------------2---2---2---4---2---4---2---4--4----------|

D|----------------------------------------------------------|

A|----------------------------------------------------------|

E|----------------------------------------------------------|

Verse:

e|-3-2-3-2--0-0-0-0-0-0-0-------------------|

B|-3-3-3-3--0-0-0-2-0-2-0-------------------|

G|-2-2-2-2--2-2-2-2-2-2-2-------------------|

D|----------2-2-2-2-2-2-2-------------------|

A|------------------------------------------|

E|------------------------------------------|

Bridge to Chorus: (x2)

Guitar 1, emphasize low end like a power chord

e|-2--2-0-2--0-2-----------------------|

B|-2--4-0-2--0-2-----------------------|

G|-3--4-2-3--1-3-----------------------|

D|-4--4-2-4--2-4-----------------------|

A|-4--2-0-4--2-4-----------------------|

E|-2--2-0-2--0-2-----------------------|

Guitar 2:

Let F# ring

e|-2------2--0--0--2-----------------|

B|-0------0------0-0-----------------|

G|-3------3---1----3-----------------|

D|-4------4--------4-----------------|

A|-----------------------------------|

E|-----------------------------------|

Chorus:

Pick D and E, strum F#

e|-2--0-2---------------------------|

B|-3--0-2---------------------------|

G|-2--1-3---------------------------|

D|----2-4---------------------------|

A|----2-4---------------------------|

E|----0-2---------------------------|

Middle Bridge:

"In the light ..."

e|-0-2--2--0-0-2-3-2---------------------|

B|-0-2--2--0-0-3-3-3---------------------|

G|-1-3--3--2-1-2-2-2---------------------|

D|-2-4--4--2-2---------------------------|

A|-2-2--2--0-2---------------------------|

E|-0-2--2--0-0---------------------------|

e|--2--0-0-2-0-2-0-2-0-2-0------|

B|--2--0-0-3-0-3-0-3-0-3-0------|

G|--3--2-1-2-2-2-2-2-2-2-2------|

D|--4--2-2---2---2---2---2------|

A|--2--0-2---0---0---0---0------|

E|--2--0-0---0---0---0---0------|

-BW

RECKONING: SO. CENTRAL RAIN (I'M SORRY)

I have to point out that as I am moving forward through R.E.M.'s catalogue, I am also posting on the guitar website ultimateguitar.com.  So not only am I blogging, I am officially posting to a wider web reach than here.  I am not including lyrics to the songs there however and at this point I don't see how the lyrical inaccuracies of the internet can be corrected.  As of now, there have been 10 times more hits on ultimate guitar than here and the day after I posted the entire Murmur album, it became the most popular dig with over a hundred hits. 
  That said, this is where I post everything first and with lyrics to boot.  So. Central Rain was first introduced to the world on David Letterman before the song had a title.  There's a wonderful clip on YouTube where Dave interviews Peter and Mike and ... where is Michael?  He pops up at the end.  Oh, he was there the whole time.  Playing the shy one, eh?
  I had many initial differences in this version, but listening to some live stuff and Grant Lee Phillips' version from a couple years back really helped.   A heart breaking song.  If you don't know the song you're missing the heart wrenching howls at the end.  Give it a listen while you track the lyrics ...  

SO. CENTRAL RAIN (I’M SORRY)
Did you never call?
I waited for your call, those rivers of suggestion are driving me away.
The trees will bend, the cities wash away
The city on the river there’s a girl without a dream.

I’m sorry.
I’m sorry.
I’m sorry.
I’m sorry.

Eastern to mountain third party call
The lines are down
The wise man built his words upon the rocks, but I’m not bound to follow suit.
The trees will blend, the conversation’s dim
Go build yourself another home, this choice isn’t mine.

I’m sorry.
I’m sorry.

Did you never call?
I waited for your call, those rivers of suggestion are driving me away.
The ocean sang, the conversation’s dim
Go build yourself another dream, this choice isn’t mine.

I’m sorry.
I’m sorry.
I’m sorry.
I’m sorry.


There are a couple of interesting versions online of this tab.  If you put them both together, you have the correct way to play the song, but only what follows tracks what I like to call the "Dark Bridges" in A minor.  According to live footage, Peter doesn't bar the Gm or Cm all the way, but it sounds cleaner if you do.  However, you lose the Bb sound to the Gm chord which is rather nice. 

SO. CENTRAL RAIN (I’M SORRY)

Intro/ Chorus:

e|-------------0----------------0---0---0--|

B|----------3---3-0----------3---3---3---0-|

G|---------2-2---2----------2-2---2---2----|

D|----2-3-0---0--------2-3-0---0-----------|

A|-3-3--------------3-3--------------------|

E|-----------------------------------------|

Verse:

C-Em-Gm-F-C-Cm-Bb-C

e|-0--0--3--1--0--3-1-0------------------|

B|-1--0--3--1--1--4-2-1------------------|

G|-0--0--3--2--0--5-2-0------------------|

D|-2--2--5--3--2--5-2-2------------------|

A|-3--2--5--3--3--3-1-3------------------|

E|-0--0--3--1--0--3-1-0------------------|

Basic Bridge to all verses:

C

e|-0---|

B|-1---|

G|-0---|

D|-2---|

A|-3---|

E|-0---|

Second Bridge to Verse:

e|-0---0-0-3-0--0---0-0-3-0--0---0-0-3-0-3-------|

B|-1----3-------1----3-------1----3------3-------|

G|-2------------2------------2-----------0-------|

D|-2------------2------------2-----------0-------|

A|-0------------0------------0-----------2-------|

E|-0------------0------------0-----------3-------|

End (Repeat under howling:)

e|-0---0-0-3-0--0-----|

B|-1----3-------1-----|

G|-2------------2-----|

D|-2------------2-----|

A|-0------------0-----|

E|-0------------0-----|

-BW

RECKONING: 7 CHINESE BROS.

The story of the 5 Chinese Bros is a bit infamous.  A lovely book that I remember reading to my daughter, but controversial for its rather ... um, yellow depiction of its Chinese participants.  The story relates that the brothers had certain physical abilities.  The one who could hold the ocean in his mouth decided to help someone who needed to find a fish in the ocean.  When the brother let the ocean go too early and killed the fisherman, he was sentenced to death.  However, he looks just like his brothers and one has an iron neck, etc ... until they thought that the man could not be killed and sent him on his way.  The book was banned for its racial depiction in many places.  It's a good story.  And little of it is here in R.E.M.'s song and the Chinese mother has been busy with two more sons thanks to Mr. Stipe.  As far as speculating on the meaning of the song again I will not, but as with Murmur Stipe has a penchant for referencing stories and fairy tales to boost his narrative. 
  I'm not sure if the word "Bottom" at the end of the piece is Shakespeare's fairy or just part of Bottom waded ... as in the bottom of the ocean.  If it's Robin Goodfellow, well there are many conotations we can make in the song.  It would be an interesting seasonal twist from Autumn to Mid-summer and the "She will return" line could be waiting for her (Hippolyta?) to return from trying to discover who her husband will be.  A traditional midsummer fancy among young women.  Alas, this is Stipe world where these kind of tangents can be drawn over and over ... it's fun to speculate though ...

7 CHINESE BROS.

This mellow sweet short haired boy woman offers pull up a seat
Take in one symphony now that we've just begun the battle
Wrap your heel in bones of steel turn of leg a twist of color
Autumn waited hold me to you when the color become another

Seven Chinese brothers swallowing the ocean
Seven thousand years to sleep away the pain
She will return, she will return

This mellow sweet short haired boy woman offers pull up a seat
Take in one symphony now that we've just begun to battle
Wrap your heel in bones of steel turn of leg a twist of color
Autumn waded seven seas when the color become another

Seven Chinese brothers swallowing the ocean
Seven thousand years to sleep away the pain
She will return, she will return (She will return)

(She will return, she will return)

This mellow sweet short haired boy woman offers pull up a chair
Take in one symphony mound, guess you lost that battle
Wrap your heel in bones of steel turn of leg a twist of color
Bottom waded seven seas when the color become another

Seven Chinese brothers swallowing the ocean
Seven thousand years to calm you and I did reign
She will return, she will return

She will return.


I literally just made a change on this one 10 minutes ago.  Thank you again to YouTube because I couldn't make the C chord at the beginning of the chorus fit until I saw the hands of Buck.  Also, Buck on the recording uses two guitars in order to get the distortion on the 5 note riff that bridges the entire chorus.  And live he plays it as noted, but I've included the option of playing it on the E string because it's easier and you don't have to go up and down the fretboard.

7 CHINESE BROS.

Verse:

e|--------------------------------------------------------------|

B|--------------------------------------------------------------|

G|-11-11-11-12-14-16-16-16-16-16-14-11-11-11-11-12-11-9-7-7-7-7-|

D|-0-0-0-0-0-0-0-0-0-0-0-0-0-0-0-0-0-0-0-0-0-0-0-0-0-0-0-0-0-0--|

A|--------------------------------------------------------------|

E|--------------------------------------------------------------|

Before vocal hit:

e|--10-10-10--|

B|------------|

G|---7--7--7--|

D|------------|

A|------------|

E|------------|

Riff and Bridge to Chorus:         Or:

e|---------------------------------2-3-2-0-------|

B|----------------------------------------3------|

G|-11-12-11-9-7----------------------------------|

D|-----------------------------------------------|

A|-----------------------------------------------|

E|-----------------------------------------------|

Chorus

e|--0--0--0-0--0--0----0--0-2-3-2-0--|

B|---3--3----3--3---3---3----------3-|

G|-5--5--5----5--5--2-2--2-----------|

D|-----------------------------------|

A|-----------------------------------|

E|-----------------------------------|

Bridge:

e|-0--0-0---------------0--0-0-2-2-2-0-0-0-2-0-0-0-0-0-0-0-0-0-|

B|-0--0-0---------------0--0-0-3-3-3-3-3-3-3-3-2-2-2-0-0-0-2-0-|

G|-4--4-4-----0-----0---4--4-4---------------------------------|

D|-4--4-4----4-4---4-4--4--4-4---------------------------------|

A|-2--2-2-2-2---2-2-----2--2-2---------------------------------|

E|-------------------------------------------------------------|