BOB MARLEY @ THE WAILERS - Live At The Roxy (2003)

Live at the Roxy is a two-disc live album by Bob Marley & The Wailers, released in 2003. The album contains a complete concert, recorded on May 26, 1976 at The Roxy in West Hollywood California, during the Rastaman Vibration tour. This concert was originally broadcast live on the KMET radio station in Los Angeles. Because of the radio simulcast, this concert became widely bootlegged until this official release came out in 2003.

A legendary live performance from Bob Marley and the Wailin' Wailers. Great sound quality, small club atmosphere, double CD - if you're looking for Bob Marley, this is a much better choice than the many hits albums you'll find floating around.

DISC 1:
01. Introduction
02. Trenchtown Rock
03. Burnin' and Lootin'
04. Them Belly Full (But We Hungry)
05. Rebel Music (3 O'Clock Roadblock)
06. I Shot the Sheriff
07. Want More
08. No Woman, No Cry
09. Lively Up Yourself
10. Roots, Rock, Reggae
11. Rat Race
DISC 2:
01. Positive Vibration
02. Get Up, Stand Up" / "No More Trouble" / "War

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pw = zinhof

I'm on the road again working through the static that business brings - and looking for balance. The weather has gotten much warmer in the north but it's still a different vibe. I'm looking for balance.

So here's one from Noel and one from Liam. And I've got to say that I much prefer Liam's voice on this version of 'Up In The Sky'. Back before it went all nasally, growly and gravelly. Back when his singing had a lightness of touch. It's so weird to compare his voice then to his voice now. Listening to this early take, he sounds kind of innocent. Kind of vulnerable. And it all seems so effortless. And I guess that's the difference between confidence and arrogance.

The Noel track is from a few years later. And it sounds so good. Like an old Oasis b-side. Just Noel and his acoustic. The transitional period where the balance began to tip from confidence over towards arrogance. By this point they'd become tabloid fodder and were getting lazy. Believing their hype rather than justifying it. They'd moved beyond living the rock and roll dream and begun to sink into it's cliches. From the celebrity weddings to the shedding of original band members to the ridiculously Spinal Tap-esque stage props of the 'Be Here Now' tour. Everything got bigger and bolder. Including the production. Aside from the fact that it sounds remarkably similar to 'Wonderwall, listening to this acoustic version of 'D'Ya Know What I Mean' always make me think that more recent Oasis songs would sound so much better if they weren't so over produced. This version sounds so much better when Noel plays it like this. So much lighter and defter. So much fresher than the lumpy leaden sound the band produce these days. There are some goods songs on all of their recent albums but I reckon if someone could stripped Oasis back a bit, they'd sound so much better.



Up in the Sky
You know what I Mean

Quotables

Friend: I want to get a taco truck, do dumplings out of it, soup...
Me: You could call it dump truck.

Me: You might say Sonny is the Ray Charles of BBQ.
Friend: Why, because it looks like a blind dude made it?

GNR - Rumbo Tapes

W. Axl Rose on Lead Vocals
Slash on Lead Guitar [West Arkeen on Crash Diet]
Izzy Stradlin on Rythm Guitar and Background Vocals
Duff McKagan on Bass and Background Vocals
Steven Adler on Drums [Drum machine used as Drums on Sentimental Movie,
Bring It Back Home,Crash Diet, Just Another Sunday, Too Much Too Soon]

covers here

01 - The Garden (5:05)
02 - Don't Cry (4:40)
03 - Yesterdays (3:40)
04 - Sentimental Movie (4:43)
05 - Bad Obsession (5:07)
06 - Crash Diet (4:50)
07 - Anything Goes (5:09)
08 - Bring It Back Home (5:41)
09 - Back Off Bitch (4:50)
10 - Heartbreaker Hotel (3:25)
11 - Move To The City (3:46)
12 - Too Much Too Soon (6:29)
13 - Just Another Sunday (4:34)
14 - Welcome To The Jungle (4:58)

NOTES: Very interesting demo bootleg. It does not contain any
live song or any official material, just demos and unreleased tracks.
Check out Crash Diet and Just Another Sunday, very interesting
tracks. Early demos of Don't Cry and Welcome To The Jungle.
Anything Goes sounds completely different, so does The Garden
or Yesterdays. Check it out if you don't have it.
The sound quality is very good. Cover art is included.

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Vanilla Sauce in Black and White

I absolutely love these photos done by Michael Ruhlman's wife, Donna. The first is vanilla sauce and then a simple cut through on a puff pastry. It's much more difficult to photograph food in B/W but the texture of the food that comes out is amazing.

I like these things. I also included the recipe for the Vanilla Sauce.





One recipe, four preparations. And yes I do have a ratio for it, 4:1:1:

Vanilla Sauce: 4 parts milk/cream : 1 part yolk : 1 part sugar

or:

8 ounces milk

8 ounces cream

1 vanilla bean split down the middle

4 ounces sugar (about half a cup)

4 ounces yolk (about 7 large yolks)


Combine milk, cream, and vanilla bean in a sauce pan and bring up the heat till just before it simmers; remove from heat and allow the bean to steep while you prepare an ice bath (a large bowl of ice, with a small bowl set in the ice, with a strainer set in the bowl—you'll be straining the hot sauce into the cold bowl to halt its cooking).

Combine the eggs and sugar and whisk to combine (some people add the sugar to the cream which is fine, too).

Scrape the vanilla beans out of the pod and into the cream (put the pod in some sugar for vanilla sugar).

Bring the cream just to a simmer, whisk some of it into the yolks to temper them, then add the remaining cream while whisking. Pour it all back into the pot, strirring with a heatproof rubber spatula over medium heat until it's thick, a minute or 2 or more depending on your heat. Don't boil it our you'll harden the egg. Immediately strain the coats-the-back-of-a-spoon-thick sauce into the ice cold bowl and stir with the spatula till it's chilled.

The sauce can be used as is (over berries, a tart, a slice of chocolate cake), or it can be be frozen in your ice cream machine. Same ingredients, but a little different preps, will give you creme patissiere and creme brulee.

Does it sound complicated? It's not. If you're, organized the whole process takes about 12 minutes.

Sunday Morning View

Medium, Rare (2009)

"Medium, Rare & Remastered" is a limited edition collection of rare tracks and lost early cuts spanning three decades in the studio with U2. Featuring "Rare" tracks from the sessions that led to "The Joshua Tree", "Rattle and Hum", "All That You Can't Leave Behind" and "How To Dismantle an Atomic Bomb". Plus digitally "Remastered" tracks from the band's early albums, along with hard to get b-sides from 2000 to 2005. This double-CD is customized in a U2.com sleeve and will not become commercially available.

DISC 1 (from the digital box set, "The Complete U2"):
01. Levitate - from All That You Can't Leave Behind sessions
02. Love You Like Mad - from All That You Can't Leave Behind sessions
03. Smile - from How To Dismantle An Atomic Bomb sessions
04. Flower Child - from All That You Can't Leave Behind sessions
05. Beautiful Ghost/Introduction To Songs Of Experience - from The Joshua Tree sessions
06. Jesus Christ - from The Sun Studio sessions for Rattle And Hum
07. Xanax And Wine - from How To Dismantle An Atomic Bomb sessions
08. All Because Of You (alternative version)
09. Native Son - from How To Dismantle An Atomic Bomb sessions
10. Yahweh (alternative version)
11. Sometimes You Can't Make It On Your Own (alternative version)

DISC 2 (from recent remastered albums and b-sides):
01. Saturday Night - from the remastered Boy album
02. Trash, Trampoline And The Party Girl - from the remastered October album
03. Angels Too Tied To The Ground - from the remastered War album
04. Wave Of Sorrow (Birdland)- from the remastered The Joshua Tree album
05. Always - B-side to Beautiful Day
06. Summer Rain - B-side to Beautiful Day
07. Big Girls Are Best - B-side to Stuck In A Moment You Can't Get Out Of
08. Fast Cars - B-side to Sometimes You Can't Make It On Your Own
09. Neon Lights - B-side to Vertigo

FlameUpload

PW = zinhof

Cristina Ferrare’s Roasted Chicken

It turns out that Oprah goes to Cristina’s for Thanksgiving and Christmas dinner every year, and when you think that Oprah can pretty much have dinner anywhere or with anyone, that says an awful lot about Cristina’s cooking.

The recipe is for making two chickens, one to eat now, and one to make into something else for another night. So for five minutes worth of work, you can get two flavorful main courses for under $15.

Roasted Chicken
Recipe courtesy of Cristina Ferrare
2 chickens , 4-1/2 to 5 pounds each
6 lemons
1 onion, sliced into wedges
A poultry mix of fresh herbs: Rosemary, sage, thyme, parsley and oregano work well
Marinade for one chicken:

1 cup Dijon mustard
1/2 cup soy sauce
1/2 cup juice from fresh lemon (don’t discard lemon rinds)
To make marinade: Place all ingredients in a nonreactive bowl. Whisk with a wire whisk until ingredients are incorporated well—the marinade should have a smooth and creamy consistency.

To make roasted chicken: Preheat oven to 425°.

Clean chickens well and pat dry. Place each chicken in its own baking dish.

Stuff cavities with lemon rinds (and onion) and fresh herbs. A poultry mix is fine, usually consisting of rosemary, sage, thyme, parsley and oregano.

Pour marinade over chicken. Add cracked pepper and remaining herbs to the top of each chicken.

Place an oven thermometer in each chicken and cover with aluminum foil. Place on the lower rack of the oven. Bake for 1-1/2 hours, then remove the aluminum foil. Baste with a basting bulb. Keep basting often, ever 15 minutes until the thermometer reads 180°.

The Beatles - The Last Year

HERE

Looking forward to heading home

Yeah X 3

1. "Zero" 4:25
2. "Heads Will Roll" 3:41
3. "Soft Shock" 3:53
4. "Skeletons" 5:02
5. "Dull Life" 4:08
6. "Shame and Fortune" 3:31
7. "Runaway" 5:13
8. "Dragon Queen" 4:02
9. "Hysteric" 3:50
10. "Little Shadow" 3:57
11. "Soft Shock" (acoustic) 3:25
12. "Skeletons" (acoustic) 3:29
13. "Hysteric" (acoustic) 3:51
14. "Little Shadow" (acoustic) 2:53
15. "Faces" (iTunes exclusive) 3:33

Here

One Pot / Chicken and Brown Rice with Chorizo

In this dish, meaty chicken thighs and smoky chorizo combine with brown rice to make a hearty one-pot dish similar to arroz con pollo, the classic Spanish and Latin American specialty.


2 1⁄2 lbs. bone-in skin-on chicken thighs
Kosher salt and freshly ground black pepper,
to taste
2 tbsp. extra-virgin olive oil
3⁄4 lb. smoked, dried chorizo, cut into
1"-thick slices
2 tbsp. roughly chopped fresh oregano
1⁄2 tsp. crushed red pepper flakes
4 cloves garlic, crushed
1 large yellow onion, thinly sliced
1 bay leaf
1 1⁄2 cups long-grain brown rice, rinsed
1⁄2 cup white wine
3 roasted red peppers, peeled, seeded,
and cut into thick strips
3 cups chicken broth
1 cup frozen peas


1. Heat oven to 400°. Season the chicken lightly with salt and pepper. Heat the olive oil in a 4-quart dutch oven over medium-high heat. Working in batches, add the chicken, skin side down, and cook, without turning, until the skin is a deep golden brown, about 8 minutes. Transfer the chicken to a plate and set aside. (Pour off and discard any accumulated fat and juices.) Add the chorizo and cook, stirring frequently, until lightly browned, about 5 minutes. Using a slotted spoon, transfer chorizo to a plate, leaving the fat behind in the dutch oven. Set chorizo aside.


2. Add oregano, red pepper, garlic, onion, and bay leaf to the dutch oven and cook, stirring occasionally, until onion is lightly browned and somewhat soft, about 8 minutes. Add rice and cook, stirring frequently, until surface is glossy, about 2 minutes. Add wine, bring to a boil while stirring often, and reduce by half, about 1 minute. Nestle chicken, chorizo, and peppers into rice mixture. Pour in broth and season liquid to taste with salt and pepper. Cover the dutch oven and bring to a boil over high heat. Transfer to the oven and bake until rice is tender and chicken is cooked through, about 1 hour and 10 minutes.


3. Remove the dish from oven, uncover, and gently stir in the peas with a fork. Let sit for 10 minutes, covered, to allow the flavors to meld.


This recipe was first published in Saveur in Issue #111

You Know My Name

"You Know My Name (Look Up the Number)" is one of the strangest, and almost definitely one of the more interesting songs in The Beatles' catalog. In fact, it sounds more like a Monty Python record than anything having to do with rock & roll.

The song has an interesting history, and it's proof that The Beatles were so talented, they could literally sing the phone book and make it interesting.

According to a 1980 interview with John Lennon: "That was a piece of unfinished music that I turned into a comedy record with Paul. I was waiting for him in his house, and I saw the phone book was on the piano with 'You know the name, look up the number.' That was like a logo, and I just changed it."

The Beatles use the phone-book phrase as a launching pad to lampoon various British music hall styles. And as the uneditied version released in 1996 on the Anthology 2 CD shows, they even threw in a little ska.

The track was recorded in four sessions in May and June of 1967, with doomed Rolling Stones multi-instrumentalist Brian Jones on saxophone. It was left unfinished and unreleased until 1969, when John and Paul put some final sound effects on the song. But it then sat idle for another year, when it was released in as the B-side to "Let it Be" in March of 1970, giving that 45 some serious yin & yang between the sublime and the ridiculous.


Paul McCartney, for his part, names "You Know My Name (Look Up the Number)" as "probably my favorite Beatles track." High praise indeed.

The Beatles, "You Know My Name (Look Up the Number)" from Anthology 2

Sunday Morning View

Rolling Stone Reviews Abby Road

The Beatles
Abbey Road

Simply, side two does more for me than the whole of Sgt. Pepper, and I'll trade you The Beatles and Magical Mystery Tour and a Keith Moon drumstick for side one.
So much for the prelims. "Come Together" is John Lennon very nearly at the peak of his form; twisted, freely-associative, punful lyrically, pinched and somehow a little smug vocally. Breathtakingly recorded (as is the whole album), with a perfect little high-hat-tom-tom run by Ringo providing a clever semi-colon to those eerie shooo-ta's, Timothy Leary's campaign song opens up things in grand fashion indeed.
George's vocal, containing less adenoids and more grainy Paul tunefulness than ever before, is one of many highlights on his "Something," some of the others being more excellent drum work, a dead catchy guitar line, perfectly subdued strings, and an unusually nice melody. Both his and Joe Cocker's version will suffice nicely until Ray Charles gets around to it.
Paul McCartney and Ray Davies are the only two writers in rock and roll who could have written "Maxwell's Silver Hammer," a jaunty vaudevillian/music-hallish celebration wherein Paul, in a rare naughty mood, celebrates the joys of being able to bash in the heads of anyone threatening to bring you down. Paul puts it across perfectly with the coyest imaginable choir-boy innocence.

Someday, just for fun, Capitol/Apple's going to have to compile a Paul McCartney Sings Rock And Roll album, with "Long Tall Sally," "I'm Down," "Helter Skelter," and, most definitely, "Oh! Darling," in which, fronting a great "ouch!"-yelling guitar and wonderful background harmonies, he delivers an induplicably strong, throat-ripping vocal of sufficient power to knock out even those skeptics who would otherwise have complained about yet another Beatle tribute to the golden groovies' era.
That the Beatles can unify seemingly countless musical fragments and lyrical doodlings into a uniformly wonderful suite, as they've done on side two, seems potent testimony that no, they've far from lost it, and no, they haven't stopped trying.
No, on the contrary, they've achieved here the closest thing yet to Beatles freeform, fusing more diverse intriguing musical and lyrical ideas into a piece that amounts to far more than the sum of those ideas.

"Here Comes the Sun," for example, would come off as quite mediocre on its own, but just watch how John and especially Paul build on its mood of perky childlike wonder. Like here, in "Because," is this child, or someone with a child's innocence, having his mind blown by the most obvious natural phenomena, like the blueness of the sky. Amidst, mind you, beautiful and intricate harmonies, the like of which the Beatles have not attempted since "Dr. Robert."
Then, just for a moment, we're into Paul's "You Never Give Me Your Money," which seems more a daydream than an actual address to the girl he's thinking about. Allowed to remain pensive only for an instant, we're next transported, via Paul's "Lady Madonna" voice and boogie-woogie piano in the bridge, to this happy thought: "Oh, that magic feelin'/Nowhere to go." Crickets' chirping and a kid's nursery rhyme ("1-2-3-4-5-6-7/All good children go to heaven") lead us from there into a dreamy John number, "Sun King," in which we find him singing for the Italian market, words like amore and felice giving us some clue as to the feel of this reminiscent-of-"In My Room" ballad.

And then, before we know what's happened, we're out in John Lennon's England meeting these two human oddities, Mean Mr. Mustard and Polythene Pam. From there it's off to watch a surreal afternoon telly programme, Paul's "She Came In Through the Bathroom Window." Pensive and a touch melancholy again a moment later, we're into "Golden Slumbers," from which we wake to the resounding thousands of voices on "Carry That Weight," a rollicking little commentary of life's labours if ever there was one, and hence to a reprise of the "Money" theme (the most addicting melody and unforgettable words on the album). Finally, a perfect epitaph for our visit to the world of Beatle daydreams: "The love you take is equal to the love you make ..." And, just for the record, Paul's gonna make Her Majesty his.

I'd hesitate to say anything's impossible for him after listening to Abbey Road the first thousand times, and the others aren't far behind. To my mind, they're equatable, but still unsurpassed.

JOHN MENDELSOHN, Nov 15, 1969

this is a BBQ Joint

I have read the blog from the owner of this restaurant for a long time. This is from the Southern Living website -

"Barbecue is the closest thing we have to cheese in France. It’s our food. There’s no getting around it.”

These words spoken by Patrick Martin of Martin's Barbecue Joint in Nolensville, TN (about 20 miles outside of Nashville), tell of his love for the Que. We're talking God and country love---first kiss love---favorite football team love---the kind of love a man feels when he's found the "one." But his adoration for pulled pork goes far beyond succulent slices of meat layered on greasy buns. With smoke in his hair, fire in his eyes, and barbecue sauce in his veins, this Que connoisseur specializes in the fine art of whole hog cooking--an old-school culinary art form that has him winning recognition by respected pit masters from Memphis to Manhattan.

With one visit to his restaurant---a wooden structure with a large front porch---I knew why.

"We cook ours low, slow and fresh every night, " says Patrick. The 22 hour process is enough to make anyone quit. "You can't just go make another one right quick if something goes wrong. So it takes a degree of guts to replicate something that takes-up most of your day."

Though he learned to cook whole hog much later in life, Patrick was taught the virtue of doing things "properly" at an early age. As a kid his parents never owned a gas grille and never bought lighter fluid. "A charcoal chimney starts a fire just as fast," he says.

With whole hog so good "it'll make a puppy pull a freight train", Patrick isn't one to waste his bounty.

Meat that's left over goes into the green beans and Brunswick stew. His flavor rich meals aren't the only things I liked about Martin's barbecue joint. It's the spirit of the place. The spirit of the man behind the really good food. "Barbecue," he says, " It's the one time when people's social, racial, and financial differences disappear. That's the beauty of it--the beauty of good barbecue."


What to order: The Red Neck taco (sorry my camera wigged out before I could take a picture). It's a humongous, and unbelievably tasty meal. Patrick starts with a plate sized ho cake, round with the taste of cornbread but the texture and look of a flap jack. Then he tops it off with pork, sauce, and cole slaw. Some roll it up like a burrito. I ate mine lady-style with a knife and fork.


What to take home: Homemade cracklin. Only real southerners know what this is. (for those who don't, they're like pork rinds but a lot tougher and crunchier) Patrick sells it in white bags so the grease soaks through. "If you can't see through the bag," he says, "something's wrong."


What's for dessert: Mama Martin's (Patrick's mom) fresh coconut cake which she drives down from Memphis every week. It's soppingly moist.

Here it is..

HERE

NEW Dylan!

BOB DYLAN - Together Through Life (2009)

"Together Through Life" is singer-songwriter Bob Dylan's 33rd studio album. Rumors of the album, reported in Rolling Stone magazine came as a surprise, with no official press release until March 16, 2009 — less than two months before the album's release date. Dylan produced the record under his pseudonym of "Jack Frost", which he used for his previous two studio albums, "Love and Theft" and Modern Times. The album is rumored to contain "struggling love songs" and have little similarity to Modern Times. In a conversation with music journalist Bill Flanagan, published on Bob Dylan's official website, Flanagan suggested a similarity of the new record to the sound of Chess Records and Sun Records, which Dylan acknowledged as an effect of "the way the instruments were played." He said that the genesis of the record was when French film director Olivier Dahan asked him to supply a song for his new road movie, My Own Love Song, and "then the record sort of took its own direction." The song written for the movie is "Life is Hard." Dylan is backed on the album by his regular touring band, plus David Hidalgo of Los Lobos and Mike Campbell of Tom Petty and the Heartbreakers.

01. Beyond Here Lies Nothin'
02. Life is Hard
03. My Wife's Home Town
04. If You Ever Go To Houston
05. Forgetful Heart
06. Jolene
07. This Dream of You
08. Shake Shake Mama
09. I Feel A Change Comin' On
10. It's All Good

HERE