OCT 10, 2021 One of the most influential instruments of the past century – the first approved prototype of Les Paul's Gibson Goldtop, dubbed #1 – is going on the auction block later this week
"We Gotta Get out of This Place", occasionally written "We've Gotta Get out of This Place", is a rock song written by Barry Mann and Cynthia Weil and recorded as a 1965 hit single by The Animals. It has become an iconic song of its type and was immensely popular with United States Armed Forces GIs during the Vietnam War. In 2004 it was ranked number 233 on Rolling Stone's The 500 Greatest Songs of All Time list; it is also in The Rock and Roll Hall of Fame's 500 Songs that Shaped Rock and Roll list.
Barry Mann and Cynthia Weil were husband and wife (and future Hall of Fame) songwriters associated with the 1960s Brill Building scene in New York City. Mann and Weil wrote and recorded "We Gotta Get out of This Place" as a demo, with Mann singing and playing piano. It was intended for The Righteous Brothers, for whom they had written the number one hit "You've Lost That Lovin' Feelin'" but then Mann gained a recording contract for himself, and his label Redbird Records wanted him to release it instead. Meanwhile, record executive Allen Klein had heard it and gave the demo to Mickie Most, The Animals' producer. Most already had a call out to Brill Building songwriters for material for the group's next recording session (The Animals hits "It's My Life" and "Don't Bring Me Down" came from the same call), and The Animals recorded it before Mann could.
In The Animals' rendition, the lyrics were slightly reordered and reworded from the demo and opened with a locational allusion – although different from that in the songwriters' minds – that was often taken as fitting the group's industrial, working class Newcastle-upon-Tyne origins:
In this dirty old part of the city
Where the sun refused to shine
People tell me, there ain't no use in tryin'
Next came a verse about the singer's father in his deathbed after a lifetime of working his life away, followed by a call-and-response buildup, leading to the start of the chorus:
We gotta get out of this place!
If it's the last thing we ever do…
The arrangement featured a distinctive bass lead by group member Chas Chandler. This was the first single not to be recorded by the original line-up, following as it did the departure of keyboard player Alan Price and his replacement by Dave Rowberry. It featured one of singer Eric Burdon's typically raw, fierce vocals. Rolling Stone described the overall effect as a "harsh white-blues treatment from The Animals. As [Burdon] put it, 'Whatever suited our attitude, we just bent to our own shape.'"
At the time, the title and simple emotional appeal of "We Gotta Get out of This Place" lent itself to some obvious self-identifications—for instance, it was a very popular number to be played at high school senior proms and graduation parties. In music writer Dave Marsh's view, it was one of a wave of songs in 1965, by artists such as The Beatles, The Rolling Stones, and Bob Dylan, that ushered in a new role for rock music as a vehicle for common perception and as a force for social consciousness. Writer Craig Werner sees the song as reflecting the desire of people to take a hard look at their own lives and the community they come from. Burdon later said, "The song became an anthem for different people – everybody at some time wants to get out of the situation they're in."
The song was very popular with United States Armed Forces members stationed in South Vietnam during the Vietnam War. It was frequently requested of, and played by, American Forces Vietnam Network disc jockeys. During 2006 two University of Wisconsin–Madison employees, one a Vietnam veteran, began an in-depth survey of hundreds of Vietnam veterans, and found that "We Gotta Get out of This Place" had resonated the strongest among all the music popular then: "We had absolute unanimity is this song being the touchstone. This was the Vietnam anthem. Every bad band that ever played in an armed forces club had to play this song."
"Dead Man's Curve" is a 1964 hit song by Jan and Dean whose lyrics detail a teen street race gone awry.
The singer goes out for a leisurely drive one night in his Corvette StingRay, when a guy pulls up alongside in his Jaguar XKE and challenges him to a drag race. According to the song, the race starts at Sunset and Vine, traveling westbound on West Sunset Blvd., passing North La Brea Ave., North Crescent Heights Blvd., and North Doheny Dr. The original Schwab's Drug Store was located just east of Crescent Heights on Sunset. The North Whittier Drive curve, a nearly 90° right turn traveling west on Sunset Boulevard just past North Whittier Drive, may have been the "dead man's curve" in the song, but there is debate on the actual location of the curve. The song ends with the singer relating his last memories of the ill-fated race to a doctor. Sound effects of screeching tires and crashing are also heard in the song.
Ironically; Jan Berry, of Jan and Dean, would himself later be involved in a near-fatal incident in 1966, when he crashed his own StingRay into a parked truck on North Whittier Drive near (but not on) Dead Man's Curve. Years later he would die from residual complications of this wreck.
This was written by Allan Clarke, Roger Cook, and Roger Greenaway. The Distant Light album was out for a year before this song was released as a single. Before the single was released, lead singer Allan Clarke left the group, replaced by Swedish singer Michael Rickfors. After "Long Cool Woman" became a hit in the US, Clarke rethought his solo career and came back.
This is the only Hollies single without any backing vocals. The reason why Clarke is the only singer on this record is that he didn't intended the song to be released on a Hollies album, but as a record of his own. When the band learned that he intended to do a solo recording, Clarke was issued an ultimatum - he could either remain with The Hollies or pursue a solo career, but not both. Clarke told Rolling Stone in 1973: "I think with me the band feared that if I got a hit I'd leave. How can you stop destiny? Now, if they originally agreed, I might not even have left. 'Long Cool Woman' would have been released a year earlier, and we'd have done a few tours of the States and maybe would have been really big."
From an interview with Roger Cook:
?: Was there ever a bigger hit in history where people don't understand the words?
[Yes, as a matter of fact, how about "Louie, Louie"?]
RC: That is wild, isn't it? Allan loved all that slapback echo on his voice.
?: This is the Hollies.
RC: Yeah. And that's the reason you can hardly understand the words. And, of course, the words are a kind of a little English-y. We wrote it in England about the bootlegging days in the '30s in America. … We’d just gone out and had a skinful ourselves, you know? We came back to the office and thought it was fun to write a song about — What did they call it when they banned drinking?
?: Prohibition.
RC: Prohibition! So, we wrote a song about Prohibition and all the bad people surrounding it. The FBI raiding and this (woman) singing at the bar. (The narrator) doesn't want her to get in trouble. So he kind of saves her.
"Born on the Bayou" (1969) is the first track on Creedence Clearwater Revival's second album, Bayou Country, released in 1969.
Songwriter John Fogerty set the song in the South, despite neither having lived nor widely traveled there. He commented:
"Born on the Bayou" was vaguely like "Porterville," about a mythical childhood and a heat-filled time, the Fourth of July. I put it in the swamp where, of course, I had never lived. It was late as I was writing. I was trying to be a pure writer, no guitar in hand, visualizing and looking at the bare walls of my apartment. Tiny apartments have wonderful bare walls, especially when you can't afford to put anything on them. "Chasing down a hoodoo." Hoodoo is a magical, mystical, spiritual, non-defined apparition, like a ghost or a shadow, not necessarily evil, but certainly other-worldly. I was getting some of that imagery from Howlin' Wolf and Muddy Waters."
John Fogerty's unreleased 1976 solo album, Hoodoo, was possibly named after the line in the song.
"Born on the Bayou" is an example of 'swamp rock', a genre associated with John Fogerty, Little Feat/Lowell George, The Band, Canned Heat, J.J. Cale, The Doobie Brothers and Tony Joe White. The guitar setting for the intro is over-driven with amp tremolo on a slow setting; Fogerty uses a Gibson ES-175 (which was stolen from his car soon after recording this track). The E7 chord gives the song a strong Southern blues feel. To many, the vocal performance on this track represents a pinnacle in John Fogerty's singing, the performance as a whole is regarded as one of Creedence Clearwater Revival's finest hours. "Born on the Bayou" opened most of CCR's concerts, and was known as the band's signature song.
As said, I'll love to hear it. As I'm not one that can really give you a technical perspective, the guys (especially TheBuddha) over at FNGT can. I'll let you know what I hear as a well-versed listener and if you don't want to post it on Friday, allow me to and either you can see what's said or I'll relay it.
This is why we do the Thread, to encourage people to pick up an instrument and play. Music is such an important part of life that adds so much value, both for the player and listener. Looking forward to it.
To paraphrase "It takes a lot of work if you want to RocknRoll". I'm sure you rewarded yourself when you finally got it down. Any chance you have a recording of it, I'd love to hear it. Even if you don't we'd love to have you visit the FNGT some Friday and let us hear what you're doing now.
"Lookin' Out My Back Door" was a direct tribute to the Bakersfield Sound, a form of music that influenced Fogerty and the CCR sound. Buck Owens, one of the architects of the Bakersfield Sound, is even mentioned in the song's lyrics.
The song's lyrics, filled with colorful, dream-like imagery, led some to believe that the song was about drugs. According to the drug theory, the "flying spoon" in the song was a reference to a cocaine or heroin spoon, and the crazy animal images were an acid trip. Fogerty, however, has stated in interviews that the song was actually written for his then three-year-old son, Josh. Fogerty has also said that the reference to a parade passing by was inspired by the Dr. Seuss book And to Think That I Saw It on Mulberry Street.
That's a tough one. He recorded so much in so many styles with so many great artists it's impossible to pick just one. I don't think there's any album there aren't at least 2 songs I really enjoy. Do you have one?
Lol, of course I got your intent. These sites can get so serious and depressing, so I can see how you might have got that idea, it's all good. My full screenname used to be cynicaloldfart, so I can see the humor in yours.
Very nice, glad you sent me a link. Nice web layout, sleek and no useless clicks to listen. Good to see you're actively promoting yourself, your talent needs to be heard.
I'd also like to invite you to join us in the Friday Night Guitar Thread starting at 8pm et every Friday night over at https://poal.co/s/Guitar. We've been doing this for over 4 years now and it's a lot of fun. We welcome all musicians at all skill levels. It's just a nice relaxing time for professionals and amateurs to hang out for a few hours, share their music, and just chat. We stay away from current events and concentrate solely on listening to each other. We had quite a bit of participation when we were on Voat but since "the great dispersal" that has been waning, but we're committed to providing a place for people like us to get together. We'd love to see you there sometime.
I agree. While progressive/jazz does produce some beautiful and complex melodies, it does require a certain taste to fully enjoy it. After Fripp left I lost most interest in KC.
We've been doing that for 4 years now, **every** Friday night starting at 8pm et, on the Friday Night Guitar Thread (open to all instruments, any skill level). It's currently over at https://poal.co/s/Guitar but we have seen quite a decrease in participation lately and would encourage any musician who would like to share their work to join us. Music is always better when shared.
>This song is about the freedom of one-night-stands: "Just the thought of those sweet ladies sends a shiver through my veins." The subject matter and pop sound of the song was a huge departure from Supertramp's previous work; their previous three albums, Crime Of The Century, Crisis? What Crisis? and Even In The Quietest Moments, were pretty heavy. With this track and others on the Breakfast In America album, they showed a lighter side of the band and found more commercial success.
There is a good chance some of the lyrics refer to marijuana. This is indicated by the lines, "Goodbye Mary, Goodbye Jane," as marijuana is often called "Mary Jane." In this context, the singer is giving up pot.
COF 3 points 2.6 years ago
Just a mean bitch, gave it to a boyfriend.
/v/whatever viewpost?postid=61671f2932606
COF 1 point 2.6 years ago
I did have a Gibson B-25 12 string but ex stole it. I'm a retired drummer but I know how important this guitar is.
/v/whatever viewpost?postid=61671f2932606
COF 2 points 2.6 years ago
OCT 10, 2021 One of the most influential instruments of the past century – the first approved prototype of Les Paul's Gibson Goldtop, dubbed #1 – is going on the auction block later this week
/v/whatever viewpost?postid=61671f2932606
COF 0 points 2.6 years ago
"We Gotta Get out of This Place", occasionally written "We've Gotta Get out of This Place", is a rock song written by Barry Mann and Cynthia Weil and recorded as a 1965 hit single by The Animals. It has become an iconic song of its type and was immensely popular with United States Armed Forces GIs during the Vietnam War. In 2004 it was ranked number 233 on Rolling Stone's The 500 Greatest Songs of All Time list; it is also in The Rock and Roll Hall of Fame's 500 Songs that Shaped Rock and Roll list.
Barry Mann and Cynthia Weil were husband and wife (and future Hall of Fame) songwriters associated with the 1960s Brill Building scene in New York City. Mann and Weil wrote and recorded "We Gotta Get out of This Place" as a demo, with Mann singing and playing piano. It was intended for The Righteous Brothers, for whom they had written the number one hit "You've Lost That Lovin' Feelin'" but then Mann gained a recording contract for himself, and his label Redbird Records wanted him to release it instead. Meanwhile, record executive Allen Klein had heard it and gave the demo to Mickie Most, The Animals' producer. Most already had a call out to Brill Building songwriters for material for the group's next recording session (The Animals hits "It's My Life" and "Don't Bring Me Down" came from the same call), and The Animals recorded it before Mann could.
In The Animals' rendition, the lyrics were slightly reordered and reworded from the demo and opened with a locational allusion – although different from that in the songwriters' minds – that was often taken as fitting the group's industrial, working class Newcastle-upon-Tyne origins:
In this dirty old part of the city
Where the sun refused to shine
People tell me, there ain't no use in tryin'
Next came a verse about the singer's father in his deathbed after a lifetime of working his life away, followed by a call-and-response buildup, leading to the start of the chorus:
We gotta get out of this place!
If it's the last thing we ever do…
The arrangement featured a distinctive bass lead by group member Chas Chandler. This was the first single not to be recorded by the original line-up, following as it did the departure of keyboard player Alan Price and his replacement by Dave Rowberry. It featured one of singer Eric Burdon's typically raw, fierce vocals. Rolling Stone described the overall effect as a "harsh white-blues treatment from The Animals. As [Burdon] put it, 'Whatever suited our attitude, we just bent to our own shape.'"
At the time, the title and simple emotional appeal of "We Gotta Get out of This Place" lent itself to some obvious self-identifications—for instance, it was a very popular number to be played at high school senior proms and graduation parties. In music writer Dave Marsh's view, it was one of a wave of songs in 1965, by artists such as The Beatles, The Rolling Stones, and Bob Dylan, that ushered in a new role for rock music as a vehicle for common perception and as a force for social consciousness. Writer Craig Werner sees the song as reflecting the desire of people to take a hard look at their own lives and the community they come from. Burdon later said, "The song became an anthem for different people – everybody at some time wants to get out of the situation they're in."
The song was very popular with United States Armed Forces members stationed in South Vietnam during the Vietnam War. It was frequently requested of, and played by, American Forces Vietnam Network disc jockeys. During 2006 two University of Wisconsin–Madison employees, one a Vietnam veteran, began an in-depth survey of hundreds of Vietnam veterans, and found that "We Gotta Get out of This Place" had resonated the strongest among all the music popular then: "We had absolute unanimity is this song being the touchstone. This was the Vietnam anthem. Every bad band that ever played in an armed forces club had to play this song."
/v/music viewpost?postid=6166bb41dae23
COF 0 points 2.6 years ago
I don't downvote stuff, that wasn't me. At most I just ignore stuff.
/v/PaddysPub viewpost?postid=6165a25fe711f
COF 0 points 2.6 years ago
I'd like to hear it.
/v/PaddysPub viewpost?postid=6165a25fe711f
COF 0 points 2.6 years ago
"Dead Man's Curve" is a 1964 hit song by Jan and Dean whose lyrics detail a teen street race gone awry.
The singer goes out for a leisurely drive one night in his Corvette StingRay, when a guy pulls up alongside in his Jaguar XKE and challenges him to a drag race. According to the song, the race starts at Sunset and Vine, traveling westbound on West Sunset Blvd., passing North La Brea Ave., North Crescent Heights Blvd., and North Doheny Dr. The original Schwab's Drug Store was located just east of Crescent Heights on Sunset. The North Whittier Drive curve, a nearly 90° right turn traveling west on Sunset Boulevard just past North Whittier Drive, may have been the "dead man's curve" in the song, but there is debate on the actual location of the curve. The song ends with the singer relating his last memories of the ill-fated race to a doctor. Sound effects of screeching tires and crashing are also heard in the song.
Ironically; Jan Berry, of Jan and Dean, would himself later be involved in a near-fatal incident in 1966, when he crashed his own StingRay into a parked truck on North Whittier Drive near (but not on) Dead Man's Curve. Years later he would die from residual complications of this wreck.
/v/music viewpost?postid=615e902dae36d
COF 1 point 2.6 years ago
This was written by Allan Clarke, Roger Cook, and Roger Greenaway. The Distant Light album was out for a year before this song was released as a single. Before the single was released, lead singer Allan Clarke left the group, replaced by Swedish singer Michael Rickfors. After "Long Cool Woman" became a hit in the US, Clarke rethought his solo career and came back.
This is the only Hollies single without any backing vocals. The reason why Clarke is the only singer on this record is that he didn't intended the song to be released on a Hollies album, but as a record of his own. When the band learned that he intended to do a solo recording, Clarke was issued an ultimatum - he could either remain with The Hollies or pursue a solo career, but not both. Clarke told Rolling Stone in 1973: "I think with me the band feared that if I got a hit I'd leave. How can you stop destiny? Now, if they originally agreed, I might not even have left. 'Long Cool Woman' would have been released a year earlier, and we'd have done a few tours of the States and maybe would have been really big."
From an interview with Roger Cook:
?: Was there ever a bigger hit in history where people don't understand the words?
[Yes, as a matter of fact, how about "Louie, Louie"?]
RC: That is wild, isn't it? Allan loved all that slapback echo on his voice.
?: This is the Hollies.
RC: Yeah. And that's the reason you can hardly understand the words. And, of course, the words are a kind of a little English-y. We wrote it in England about the bootlegging days in the '30s in America. … We’d just gone out and had a skinful ourselves, you know? We came back to the office and thought it was fun to write a song about — What did they call it when they banned drinking?
?: Prohibition.
RC: Prohibition! So, we wrote a song about Prohibition and all the bad people surrounding it. The FBI raiding and this (woman) singing at the bar. (The narrator) doesn't want her to get in trouble. So he kind of saves her.
/v/music viewpost?postid=615defe2b21c8
COF 1 point 2.6 years ago
"Born on the Bayou" (1969) is the first track on Creedence Clearwater Revival's second album, Bayou Country, released in 1969.
Songwriter John Fogerty set the song in the South, despite neither having lived nor widely traveled there. He commented:
"Born on the Bayou" was vaguely like "Porterville," about a mythical childhood and a heat-filled time, the Fourth of July. I put it in the swamp where, of course, I had never lived. It was late as I was writing. I was trying to be a pure writer, no guitar in hand, visualizing and looking at the bare walls of my apartment. Tiny apartments have wonderful bare walls, especially when you can't afford to put anything on them. "Chasing down a hoodoo." Hoodoo is a magical, mystical, spiritual, non-defined apparition, like a ghost or a shadow, not necessarily evil, but certainly other-worldly. I was getting some of that imagery from Howlin' Wolf and Muddy Waters."
John Fogerty's unreleased 1976 solo album, Hoodoo, was possibly named after the line in the song.
"Born on the Bayou" is an example of 'swamp rock', a genre associated with John Fogerty, Little Feat/Lowell George, The Band, Canned Heat, J.J. Cale, The Doobie Brothers and Tony Joe White. The guitar setting for the intro is over-driven with amp tremolo on a slow setting; Fogerty uses a Gibson ES-175 (which was stolen from his car soon after recording this track). The E7 chord gives the song a strong Southern blues feel. To many, the vocal performance on this track represents a pinnacle in John Fogerty's singing, the performance as a whole is regarded as one of Creedence Clearwater Revival's finest hours. "Born on the Bayou" opened most of CCR's concerts, and was known as the band's signature song.
/v/music viewpost?postid=615df16b81230
COF 0 points 2.6 years ago
As said, I'll love to hear it. As I'm not one that can really give you a technical perspective, the guys (especially TheBuddha) over at FNGT can. I'll let you know what I hear as a well-versed listener and if you don't want to post it on Friday, allow me to and either you can see what's said or I'll relay it.
This is why we do the Thread, to encourage people to pick up an instrument and play. Music is such an important part of life that adds so much value, both for the player and listener. Looking forward to it.
/v/PaddysPub viewpost?postid=6157910a860ec
COF 0 points 2.6 years ago
To paraphrase "It takes a lot of work if you want to RocknRoll". I'm sure you rewarded yourself when you finally got it down. Any chance you have a recording of it, I'd love to hear it. Even if you don't we'd love to have you visit the FNGT some Friday and let us hear what you're doing now.
/v/PaddysPub viewpost?postid=6157910a860ec
COF 2 points 2.6 years ago
Here's a little background on the song:
"Lookin' Out My Back Door" was a direct tribute to the Bakersfield Sound, a form of music that influenced Fogerty and the CCR sound. Buck Owens, one of the architects of the Bakersfield Sound, is even mentioned in the song's lyrics.
The song's lyrics, filled with colorful, dream-like imagery, led some to believe that the song was about drugs. According to the drug theory, the "flying spoon" in the song was a reference to a cocaine or heroin spoon, and the crazy animal images were an acid trip. Fogerty, however, has stated in interviews that the song was actually written for his then three-year-old son, Josh. Fogerty has also said that the reference to a parade passing by was inspired by the Dr. Seuss book And to Think That I Saw It on Mulberry Street.
/v/music viewpost?postid=6157d2afcde4a
COF 1 point 2.6 years ago
Sweet, good luck and I hope you gather a large following.
/v/whatever viewpost?postid=6157dba827d00
COF 1 point 2.6 years ago
That's a tough one. He recorded so much in so many styles with so many great artists it's impossible to pick just one. I don't think there's any album there aren't at least 2 songs I really enjoy. Do you have one?
/v/PaddysPub viewpost?postid=6157910a860ec
COF 0 points 2.6 years ago
Good answer. Janis sang from the depths of her life and you could feel it.
/v/whatever viewpost?postid=615618094f948
COF 2 points 2.6 years ago
Great pic.
/v/Nature viewpost?postid=6155f3b4239af
COF 0 points 2.6 years ago
Thanks, I'll check it out.
/v/PaddysPub viewpost?postid=6154acd132229
COF 0 points 2.6 years ago
Is that right. As I said I haven't followed them much lately. Thanks.
/v/PaddysPub viewpost?postid=6154acd132229
COF 2 points 2.6 years ago
Lol, of course I got your intent. These sites can get so serious and depressing, so I can see how you might have got that idea, it's all good. My full screenname used to be cynicaloldfart, so I can see the humor in yours.
/v/PaddysPub viewpost?postid=61548ec923f10
COF 0 points 2.6 years ago
Very nice, glad you sent me a link. Nice web layout, sleek and no useless clicks to listen. Good to see you're actively promoting yourself, your talent needs to be heard.
I'd also like to invite you to join us in the Friday Night Guitar Thread starting at 8pm et every Friday night over at https://poal.co/s/Guitar. We've been doing this for over 4 years now and it's a lot of fun. We welcome all musicians at all skill levels. It's just a nice relaxing time for professionals and amateurs to hang out for a few hours, share their music, and just chat. We stay away from current events and concentrate solely on listening to each other. We had quite a bit of participation when we were on Voat but since "the great dispersal" that has been waning, but we're committed to providing a place for people like us to get together. We'd love to see you there sometime.
/v/PaddysPub viewpost?postid=6154acd132229
COF 2 points 2.6 years ago
I agree. While progressive/jazz does produce some beautiful and complex melodies, it does require a certain taste to fully enjoy it. After Fripp left I lost most interest in KC.
/v/PaddysPub viewpost?postid=6154acd132229
COF 1 point 2.6 years ago
Program Managers, that's who. The music doesn't pay, the ads do.
/v/PaddysPub viewpost?postid=61548ec923f10
COF 1 point 2.6 years ago
>Let's enrich each other goats
We've been doing that for 4 years now, **every** Friday night starting at 8pm et, on the Friday Night Guitar Thread (open to all instruments, any skill level). It's currently over at https://poal.co/s/Guitar but we have seen quite a decrease in participation lately and would encourage any musician who would like to share their work to join us. Music is always better when shared.
/v/music viewpost?postid=61549115b8dc4
COF 1 point 2.6 years ago
According to Songfacts:
>This song is about the freedom of one-night-stands: "Just the thought of those sweet ladies sends a shiver through my veins." The subject matter and pop sound of the song was a huge departure from Supertramp's previous work; their previous three albums, Crime Of The Century, Crisis? What Crisis? and Even In The Quietest Moments, were pretty heavy. With this track and others on the Breakfast In America album, they showed a lighter side of the band and found more commercial success.
There is a good chance some of the lyrics refer to marijuana. This is indicated by the lines, "Goodbye Mary, Goodbye Jane," as marijuana is often called "Mary Jane." In this context, the singer is giving up pot.
/v/PaddysPub viewpost?postid=61548ec923f10
COF 3 points 2.6 years ago
Thanks.
/v/Nature viewpost?postid=615478e72f0b8