It’s impossible to overstate the excitement that David Bowie generated in the very early 70s with his albums (The Man Who Sold The World, Hunky Dory, Ziggy Stardust and Aladdin In Sane) and the myriad of singles that tumbled off them. As a  teenager I bought the records and perfected (Mick Ronson) air guitar in the bedroom mirror in between probably using the mirror for squeezing my unsightly black heads. Bowie, a flambuoyant, creative, bisexual trend setter is everything I’m not but the image, sound and excitement was a siren call. This draw led this 18 year old to The Top Rank Suite in Doncaster on 27^th June 1973 to watch Bowie’s creation, Ziggy Stardust, blow through a devastating set. I can still remember the febrile crowd reaction. I was with a school friend (Nick Theakston) and we were on a balcony being pressed toward the rail by excited punters behind us. Two days later I was back! At Leeds’ Rollarena. I stood and took in the matinee performance.

Needless to say I wasn’t one for the orange hair, androgynous clothes and make up but I loved the music and went on to collect all his albums. In fact, accidentally, one of my most valuable vinyl records is The Man Who Sold The World. This album preceded Hunky Dory and came out in 1970. At boarding school I couldn’t get to a record store and so bought it by mail order (Cob Records, Portmadog, Wales). Much to my initial disappointment they sent me an American pressing on the Mercury label rather than the UK’s RCA label. This has added to the scarcity and the median value today is £102: it could be worth more. I have 22 Bowie vinyl records or CDs or 29 if you count those I’ve duplicated by having them on both formats. You could say I am a fan!

So this part of Bowie’s career has fascinated me and I came across some books that I wanted to mention. The first is Me and Mr Jones by Mick Ronson’s widow, Suzi Ronson. Jones was David Bowie actual surname. Suzi originated the Ziggy Stardust hairstyle and toured with the band as dresser and hairdresser. It’s there she met and married Ronson. The second is Spiders From Mars by Bowie’s drummer, Woody Woodmansey. The band behind Bowie was a three piece of Mick Ronson (guitar), Trever Bolder (bass) and the drummer. Londoner Bowie was sophisticated with his study of mime, Japanese fashion and his generally open minded approach. By contrast the band all originated from Hull or Driffield and were originally a million miles away from satin jackets, mascara and blown dried hair. Bowie told an amusing story on the Parkinson TV chat show about how these three ‘manly’ Yorkshiremen after resisting the new appearance instructions were eventually fighting each other for the foundation and blusher when they realised it improved their chances with the female fans! Ronson was recommended to Bowie, by another musician in London, as he started his stellar rise and Ronson brought along the others. The boys had played in bands around Hull and knew each other. Their move to London and Bowie’s world was a shock. However, the band stuck to their music and became a powerful trio to deliver the explosive sound of those four albums.

The two books talk about those heady times with Bowie as he became a major rock icon. Four days after I saw Bowie he abandoned the Ziggy Stardust persona and split the band. Ronson knew the demise was coming and had been promised a solo career managed by Bowie’s manager Tony Defries. Ronson was always an exceptional talent and you could see how Defries wanted to hold on to him. The others were completely unaware although the preceding US tour had seen a distancing of Bowie from the trio: he travelled separately and also never flew but sailed to the USA: Bowie announced it from the stage at Hammersmith Odeon, London. Woodmansey was dropped with no sentiment, as was, Bolder who recorded one further album (Pin Ups) with Bowie (when he couldn’t find another bassist.) None of the three had made serious money out of their playing with Bowie and after their abandonment had to make their way.

Ronson, with Defries, released two albums but commercially they were a flop. He went on to play with Ian Hunter (Mott The Hoople) and more famously joined Bob Dylan as one of the entourage and his band in his Rolling Thunder Review. You can watch this tour on Netflix. Apart from being a talented guitarist he had additional skills as an arranger and producer but was taken by cancer by 1993 at the age of 46. Reading Suzi’s book you’d gain the impression that drink contributed to his health challenges. Bolder got a berth as the bassist in 70s progressive rockers, Uriah Heep and even recorded an album with Wishbone Ash. Sadly in 2013 at the age of 62 cancer also took him. Woodmansey briefly formed a band, U Boat, but eventually made a living as a drummer for hire most notably touring with Art Garfunkel and Edgar Winter. However, it seems he’s gone on to make a solid living in a Bowie tribute band, Holy Holy.

Woodmansey mentions coming across Bowie accidentally in France some years later where some reconciliation took place. He also says, very kindly in my opinion, at the time he was sacked Bowie was living in a fog of cocaine. However, he assiduously maintains the rise of Bowie and his sound owed a lot to the three behind him. I agree. Another book I’ve read on Bowie by Dylan Jones – David Bowie A Life, is quite clear that whilst Bowie wrote the tune and lyrics it was the band who arranged the song from there. This is true of all his releases.

I’ve read that Bob Dylan dropped fellow musicians as he progressed and Bowie did the same. I suspect if we knew how our musical heroes lived their lives and treated people we’d toss our record collections in the bin. For me it was a hell of a band and I’ve the odd disc to remind me!

Joel Hofmann – Loud & Lonesome

Hofmann’s Facebook page tells customers that he and his father have sold their hardware and welding supplies business in San Marcos, TX. Needless to say, in doing my research I was hoping to get to the ‘nuts and bolts’ of his career but never literally! However, there’s a lot of artists in Texas playing traditional country music for love whilst no doubt paying the rent in daylight hours with something less exciting. This may go some way to explaining how Hofmann’s been able to make music since the start of the millennium. His record releases are few and far between as playing live is the way to go and so when he does commit to wax it’s a red letter day: this release is no exception.

Texas has remained true to traditional honky-tonk music. It’s a vibrant scene where there’s often a hardwood floor to pound with your partner in front of the musicians. This collection of 11 songs showcases Hofmann’s resonant baritone and brought to mind Dale Watson. Burning the Midnight Oil starts at a galloping pace with Hofmann telling us he’s also moving at speed in the wee hours as guitars joust, a great opener. The Billy Dee Donahue cover of Blackjack Attack refers to a potent bourbon that helps you with matters of the heart. Frankly, the clip set by the drums sounds like an impending heart attack! It’s not all fast and Sign in the Kitchen puts on show his lovely voice where a slide guitar and some B3 organ gently serenade in the background. He shares Landmark Tavern with Linda Gail Lewis and some fabulous honky-tonk piano. This is all the real thing.

Play Me the Waltz of the Angels is an interesting cover. The band, in the story, strikes up a request from an elderly widower. This was his wife’s favourite song. The lachrymose sentimental saturation here had me scrabbling to research the composer and discover it was Rory Feek. Feek’s 2021 Gentle Man album is full of songs as poignant as this and his duet with Dolly Parton on One Angel can genuinely stop me in my tracks to wipe away a tear.

This selection never misses a beat and this is what you’d hear clutching a beer sat in a dancehall watching the two-steppers. Look no further if you haven’t got to Texas yet but want a taste of the live music scene.

I was tempted to ask if the owner of the Triumph motorbike had a helmet as travelling by two wheels is always my preference, however, duty called and I trooped back on to the bus.

The first stop was the Dedes river Gorge that was magnificent and you can see why the motorcyclists would want to visit.

This was quite a tourist destination especially for walkers. We were headed in the direction of Marrakech and stopped at a restored kasbah at Skoura Ah El Oust. This was built in the 17th Century and was a fortification against other tribes. We saw how the building was divided up for cooking, living and sleeping and where they kept the animals! If you were female then the reality is that due to danger of kidnap you would live your life inside.

Next we drove on to a nice hotel in Ouarzazate where we had some time in its spacious grounds before dinner. The guide introduced some of our dining destinations usually by first advising that we could use a credit card! It really was a step back from what we now experienced as a cashless society in the West. Despite this opportunity the dining itself at a local restaurant in Ouarzazate was disappointing. We both steered around our old friends the tagines and skewers: the staple offer and plumped for a Salad Niçoise. We both knew the fish would be out of a tin but it was something different. Frankly we only got a spoonful of tuna each! On every trip I always pack a packet of McVitie’s Digestive biscuits and so this supplemented our diet on our return to the hotel room.

The next morning meant another kasbah and an important one as it was on the route for the camel caravans between Timbuktu in Mali and Marrakesh. This was Ait Ben Haddou. Climbing up to the top was a good workout not least with all the steps usually of different heights and often with rubble across the path! Again despite looking ancient and obviously the rock having been here forever then a lot of the construction took place in the 17th century.

After taking in the view we descended and were ushered into a rug/carpet shop for the next retail opportunity and, yes folks, people bought stuff! Marrakech next.

Paul Cauthen – The Book Of Paul

After going solo in 2013 Cauthen’s barreled his way through four earlier releases that nestle in the Outlaw slot, lyrically varied but often a little out there with a lot of braggadocio and the sensitivity of a bulldozer. His personal buzz seems to come from playing live and with his gravelly after burner pipes it’s easy to imagine an audience that also loves the energy, sound and vibe of Nathanial Rateliff or Shiny Ribs flocking to pay homage. As Cauthen says his mojo is driven by ‘taking it to the people’. He also adds it’s about being yourself, which might explain the title of his latest release. With many of the songs here, of which he co-wrote 12, it’s easy to see him as the protagonist.

The biographical title track, The Book of Paul, may say it all as regards Cauthen’s journey to this release – “I’ve cussed, I’ve drank, I’ve kicked the lights out / I’ve toked, I’ve coked, I blew the house down” and the sturdy stomping single, Texas Swagger,draws on that feral Lonestar State confidence as he relays what the pending night has planned with his reverberating deep tones over a girly chorus repeating “yee haw”. If Cauthen isn’t prowling then he can be reflective and the duet with Delaney Ramsdell, Chain Smoking, is a lovely tune dwelling on how they cope with a broken heart. Songs such as this highlight what a pleasing voice Cauthen has. It can roar like thunder, sentimentally croon or hold a pop tune with its mellifluous tones and deliver a hook of a chorus. There’s a heap of melodies here that render this album an important release because away from his historical ‘shock and awe’ approach (“Country as Fuck” anyone?) this release drips with earworms such as Bayou By You, Cigarettes & Billy Graham and Tossin’ Back Time (with Jake Worthington.) Throughout there’s a clear impression that you’re in the presence of an independent minded uncompromising bad ass.

This album is a tonic and begs to be played loud. Apart from the important question of when is he coming to the UK the other is whether Nashville is prepared to elevate this release for some award when the annual awards roll around? It should.

Getting here!

Getting to the start of your holiday would never be a blog but getting to New Zealand requires about 23 hours in the air and, in my case, incarceration in a space so small that retrieving anything off the floor would defy the flexibility of a small chimpanzee. It was hard going and glancing at the screen to find that you still had another nine hours to go before reaching Auckland, after leaving Dubai seven hours ago, is not uplifting. I was sat on the second row behind a bulkhead on the second flight. Isn’t that where they seat young children so they can be plonked in a bassinet on a shelf I hear you all ask? Yes. So would a toddler, unaware that he was confined in a ridiculous small space, clamped to his parents for what must feel like most of his childhood not wail and complain? Yes. However, after a crash course in intensive crying and toddler tantrums through our recently becoming grandparents I coped well as I cranked up the volume on the inflight entertainment.

After being denied boarding by Qatar Airways in 2024, due to a worn passport, I obviously avoided them and selected Emirates. Apart from the route, times and cost the other thing to obsess about was the weight allowance. It was 30kg in the hold and a strict 7kg cabin bag. This would be surely enough for any tourist but remember I’m packing a bicycle and enough luggage and kit to sustain a camping trip. For literally weeks I weighed things and moved them around the bags and got to damn near 30kg for the hold. Turning up to Check-In at Manchester airport they asked me the weight, as well as had I deflated my tyres! They didn’t weigh the box or the other bag with 6kg in it. So much for all that anxious planning. On the 7kg cabin bag they never even looked at or weighed my bag as I boarded. At the Gate they’re handling a few hundred people and the last thing they’re thinking about is your hand luggage. Obviously we’re all scarred by Ryanair whose pernicious luggage policy is all about making a few extra €’s.

Last time at Auckland we’d queued for a long time at Security and read the signs that told you about their bio security priorities in NZ. On this basis I’d decided to declare what meagre provisions I’d brought. So when I wheeled through my big bike box I got asked what food I’d brought? I said some gels and packets of porridge. ‘No meat or honey etc.?’ Well, we’ve all seen these TV fly on the wall programmes where someone has their bag opened to find half a horse’s head (only the edible part of course) and pickled chicken entrails accompanied by a weak explanation that they didn’t know there were restrictions on animal body parts as they feigned to have a tenuous understanding of English! Anyway they scanned my bags and I was free to proceed to the car rental.

If you’d ask me what car would I have no plan to buy it’d be an EV: I have range anxiety and never anything Chinese. I won’t be helping the Chinese Communist Party unload subsidised cars on the West as they destroy car makers in their march to global hegemony. So, of course, I discovered I’d hired a Chinese EV. A Geely, this manufacturer own Volvo as well. Anyway as I shuffled along slowly in heavy traffic it repeatedly told me to concentrate on the road and seemed to be watching me (I later found out it was with a camera on the steering column.) I’d like to think I was occupying a person sat in a bunker in Beijing watching an elderly man seemingly juggling a water bottle, peering at his Sat Nav and singing loudly to The Mothers Of Invention whilst he ruminated on how the British ever had an empire if this was a specimen of their talent pool.

Anyway I got to the hotel but couldn’t work out how to switch the car off. So I relied on the well known, fail safe, strategy of opening the car door hoping this would trip something. It did and surprisingly no warning came up on the dashboard telling me that bailing out at speed was injurious to my well being. This all made me think he’d given up on me and gone for lunch.

So for Friday 13th things had gone well and next it was the challenging project of Tony vs. jet lag. I worried this would play out over several days.

The car park was full at the Newbald Village Hall or as the branding would have it, Newbald Live. The venue has had a considerable makeover since I last visited and it now provides a great room for visiting artists to play. There was a full house to see the latest Americana/Country act booked for the delectation of the folk from East Yorkshire. Richey is no stranger to our shores and it’s a treat to find her out in the country at lesser stops to play her selection of songs to new and old audiences. Her catalogue is one of the strongest I know and it has been consistent over nearly 30 years of recording. She played a selection of songs from her 1995 debut Kim Richey through to her 2024 release Every New Beginning.

The voice is still a tour de force that’s a beautiful instrument. To accompany herself she played chords on an acoustic guitar although the ‘pin drop’ numbers were when she put down her guitar and left the playing to her accompanist, Luke Brighty, on a restrained electric guitar. Take The Cake, off her last album, was one such song along with Girl In A Car all the way back from 2002. Between the songs stories came thick and fast, she looked back on her early years with amusing self-deprecation. She was asked by her record label about her ideas for a title for her debut LP? Without missing a beat she volunteered ‘Child Of The Wild Blue Yonder’. They heard her out and then called it Kim Richey! Over her long career she’s mixed with many bright lights in the Americana/Country firmament but she only name dropped Aaron Lee Tasjan, a neighbour in East Nashville who’s worked and toured with her. Joy Rider was one such collaboration where she sings about the childlike curiosity of a young boy who explores the world on his noisy motorbike.

The hits or singles were ticked off as she played Those Words We Said, Come Around and  The Way It Never Was. Then it was time to play her last two songs and quickly promote her merch including tea towels (that she’d spent a lot of time lugging around various gigs with little success!) These songs were the fabulous Chapel Avenue and then a singalong I’m Alright. We all shuffled into the dark chilly Yorkshire night with a glow after a very special evening.

Jay Buchanan – Weapons Of Beauty

Buchanan is the vocalist with, rockers, Rival Sons. This outfit has been Grammy nominated in the rock category and Buchanan’s sonorous yet powerful tones are a key reason. For those unfamiliar with his vocals David Gray has a similar attractive voice in timbre and resonance (but not possessing Buchanan’s 747 roar when he unleashes it.) After Buchanan sojourned in the Mojave Desert to find tranquility and space to pen a solo album he turned to Cobb to produce and craft this debut. Cobb has produced several Rival Sons releases. 

The excellent and poignant ballad, Caroline, opens the album and is an introduction to his powerful story about loss, grief and reflection (about her illness and health.) Buchanan says the emotions could be applied to other scenarios; the video is well worth a look. High and Lonesome, is a co-write with Cobb and this languorous bluesy waltz allows you to wallow in his beautiful achy tones. Sway, written to his wife, is an intimate ballad that has him swoop and soar in expressing his love. With a floaty John McVie type bass line Great Divide comes across as less pensive and earnest albeit about an ending relationship.

Leonard Cohen’s Dance Me to the End of Love gets a soulful rendition sounding like one of Buchanan’s heroes, Van Morrison. Here the vibe and tune overtakes the words as the take away. Cobb has deployed many arrangements throughout including strings and it’s this variety that complements the voice that repeatedly dazzles. Buchanan’s articulate profundity comes to the fore on Weapons of Beauty – “Give me the songs to sing in the fight / these weapons of beauty will destroy the night / it’s been so long. Give me the words / to say what I feel / I could speak this dream, for to make it real…”As an overall sound it’s not a long way from The Red Stray Clays with its pace, lyrical ruminations and sound. The Clays’ Brandon Coleman sings his songs like he’s holding court and Buchanan similarly dominates. On this latter point it can’t be a coincidence that Cobb has produced both. This is a glorious release 

Tylor & The Train Robbers – Live

Tylor Ketchum’s country rock band is based in Boise, Idaho up toward the Canadian border. It’s around here that the band tours bringing their tight and pulsating rhythms to some original lyrics. For those unfamiliar with their sound then The Byrds, The Flying Burrito Brothers and a little Tom Petty comes to mind. If you like your rock guitars then fill your boots. One of my eternal regrets after becoming aware of their catalogue was finding that I was two weeks early to a gig according to a bill poster I saw in Jackson, Wyoming. For all that this live recording compensates as the band work through 23 songs mainly from their four studio long player releases.

The hiring of Adam Odor to produce is a masterstroke. Odor’s been behind the desk on the Silverada and Mike & The Moonpies releases. All those releases ‘sing’ and, not least, because Odor finds the instruments behind the vocalist and promotes them into a palpitating rhythm with pedal steel and lead guitar always doing something interesting. The band have some killer cuts including The Of Ballad Black Jack Ketchum, a seven minute epic about a relative from the 1800s who was hung after a career of robbing banks and trains. This is followed by the title of their 2021 album Non-Typical Find, where a sun’s glint off a rib cage draws, way down in a valley, a walker to find a human skeleton and the tragic story of the woman’s demise after some perilous and then fatal hitchhiking.

The band keep it interesting with changes in pace between songs and I Got You starts with harmonica and some picking by Antonio Vazquez to a rhythm where you could imagine the audience dancing. Sat on a galloping drum beat Ketchum’s nasal tones advise that he and ‘his baby’ are Good At Bad News with sparkling pedal steel from Rider Soran that appears like shards of sunlight appearing between trees as you pass by them at speed. Hum Of The Road, another album title track enjoys harmonies on the chorus as Ketchum’s brothers, Tommy Bushman, on drums and Jason Ketchum on bass propel from the back of the stage. There are a handful of covers and the most attractive is Feel A Whole Lot Better from The Byrds where Soran and Vazquez exchange licks and the brothers lean in to provide harmonies behind Ketchum.

This is a long album with maybe too many tracks but it’s a reward for a loyal following who long wanted the live experience on record; for me it was time well spent.

Courtney Marie Andrews – Valentine

Andrews’ current, considerable, stature has been achieved through consistent quality records since her 2016 breakthrough, Honest Life. Parallels with early Joni Mitchell may seem too easy to conjure up but she has a dream of a voice that draws you in like a siren, a considerable talent on guitar and piano, sophisticated arrangements and the regular mining of her own personal life for lyrics. Inspiration for these songs came from relationships and the stress of seeing someone close struggle with ill health. These experiences took her to a plight, she calls, limerence: a mental state of being madly in love where reciprocity is uncertain and from here all sorts of insecurities, mood swings and emotions kick in. To deal with such turbulence, she says, the last year has been one of a lot of writing, hiking and travel.

With brutal honesty she wades into a selection of intimate lyrics that often reflect an observant and defiant mindset yet with compassion and support – “Close the curtain, say your confession / My lips are sealed at your discretion / It’s a scary world full of cons and clowns / A lot of bad people who will tear you down / Not me, no way”. The haunting Cons & Clowns comes replete with angelic harmonising, muffled snares, chiming piano chords and flute. Outsider with its plucked guitar chords and resonating bass sits on a foundation of sweet extended strings. Here Andrews is on the defensive seeking a place where she won’t be hurt “as it’s too painful looking in”. Little Picture of a Butterfly explores the helplessness of things we can’t control, again with relationships to the fore – “Guess your love is not a cure / Guess I should’ve known better / Guess I’m throwing out that sweater / After all that time went by / All I get is a butterfly”. With her voice to the fore we have fragments of jazz flute before a striding insistent beat grows and Andrews starts to become assertive of where she’s now headed after the heartbreak.

With, her producer and contributing musician, Bernhardt she’s created interesting arrangements and varied instrumentation that give up more on each listen. I find her voice compelling and capable of making me absorb all her heartfelt sentiments. I think this may be my favourite of hers to date.

Nicki Bluhm – Rancho Deluxe

This troubadour has released 10 songs that burst with tunes, sumptuous vocals and a variety of arrangements that defy them being easily placed in a genre. I’d say it’s a singer songwriter dalliance with lots of bright pop sensibilities. Bluhm says the recording “is a reflection of where I am at now in my life, which is contentment, a really fun place to be.” This assessment comes after many wearying years touring but now, she’s less peripatetic; this was recorded live in five days at her ranch just north of Nashville, hence the album title.

The timeless song selection might have graced a Linda Rondstadt album where a melody and a variety of styles were typical. Bay Laurel Leaves sits on shimmering strings with an earworm of a tune and talks of her current settled blissful state in Tennessee after earlier years in California. Long Time To Make Old Friends, a cover, is a modern upbeat blues redolent of Randy Newman, Cumberland Banks is an easy rolling country song with acoustic instruments inspired by her considerable touring with The Infamous Stringdusters. Falling Out Of Dreams is late period Fleetwood Mac in its bright rhythm and Stevie Nicks vocal with harmonies. Taking Chances is personal: an acoustic rhythm has her relating her time on the road and missing her own bed and friends at home. The melody grabs your attention and the chorus with lush harmonies make this a highlight.

Each song is a delight here and the delivery, arrangements are vibrant and energetic. Bluhm has a siren of a warm pleasing voice that draws you in with its personality, occasional sense of fun and range. Most of the song writes are a collaboration as is the playing throughout. She found the whole recording experience a joy and this vibe spills out into the music. A special mention must go to her partner, producer and bass player Noah Wilson who has done a terrific job.

Alison Brown and Steve Martin – Safe, Sensible and Sane

Banjo players, Brown and Martin, were enjoying playing and composing some songs and eventually had enough to make an album. They’d earlier worked together and had success with a couple of singles. The album’s an uplifting and tuneful affair expertly played and bursting with guest artists including Jackson Browne, Vince Gill, The Indigo Girls, Jason Mraz and Tim O’Brien. If the guest list is impressive then the backing musicians are top drawer; Stuart Duncan on fiddle lights up all the tracks as the rhythm thumps along underpinned by Todd Phillips’ bass.

Bluegrass is pure folk in its origins and there’s plenty of that here but Michael is pop with vocals from Aiofe O’Donovan and Sara Jarosz delivering a sweet and weaving duet. A video of the Brown and Martin playing at the famous Los Angeles Troubadour venue with Jackson Browne starts with an exchange that plays on their ages. Martin on entry turns to Browne and says “We have memories here, don’t we Jackson?”, Jackson, nonplussed replies “I don’t remember anything”. Turning to go Martin responds “Neither do I”. Martin, probably more widely known as a comedy actor, is 80 years old and Browne’s 77! Browne takes the vocal and sings of his life and his collection of a ‘box of memories’. A charming tale as Duncan’s wistful fiddle adds melancholy.

The single Bluegrass Radio sets off at a breathless lick and Martin humorously advises the incredulous listener about his improbable chart success in various States. Another single, 5 Days Out, 2 Days Back, with Tim O’Brien tells of life on the road as a musician where a young daughter waits patiently for his return. There’s also some near straight country on Wall Guitar (Since You said Goodbye), here Vince Gill wistfully sings of a departing lover and his solace with a guitar (off the wall.) The fiddle weaves some traditional country patterns if you had any doubts about the genre. Throughout the lyrics are contemporary with an absence the usual bluegrass ingredients; witches, murders and bodies dropped into deep wells. Nonetheless ancient celtic roots are never far away and the sweetest instrumental jam is between the ensemble and our own McGoldrick, McDrever and Doyle captivate with Evening Star.

I just felt an uncomplicated joy listening to this as it’s a consistent and beautiful excursion with bright fireworks of melodies all infused with a generally upbeat and affectionate vibe.