Monday, October 27, 2008

Oasis 10-26-08


The BBC Electric Proms, The Roundhouse

01 - Rock 'N' Roll Star
02 - Lyla
03 - The Shock Of The Lightning
04 - Cigarettes & Alcohol
05 - The Meaning Of Soul
06 - To Be Where There's Life
07 - Waiting For The Rapture
08 - The Masterplan (With the Crouch End Festival Chorus)
09 - Songbird
10 - Slide Away
11 - Morning Glory
12 - Ain't Got Nothin'
13 - The Importance Of Being Idle
14 - I'm Outta Time (With the Crouch End Festival Chorus)
15 - Wonderwall (With the Crouch End Festival Chorus)
16 - Supersonic
17 - Don't Look Back In Anger (With the Crouch End Festival Chorus)
18 - Falling Down
19 - Champagne Supernova (With the Crouch End Festival Chorus)
20 - I Am The Walrus (With the Crouch End Festival Chorus

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Saturday, October 25, 2008

Led Zeppelin - 1978 - Stockholm, Sweden


Polar Studios demos

01. Carouselambra
02. Untitled
03. Wearing And Tearing
04. Fool In The Rain
05. Hot Dog
06. In The Evening
07. South Bound Saurez
08. Darlene
09. Fool In The Rain
10. Carouselambra
11. All My Love

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Friday, October 24, 2008

Disappointed

For those of you that missed last night's premiere of Anthony Bourdain's new talk show, At the Table, don't worry--not only did you not miss anything of importance, but you are perhaps better off for having not sat through one of the worst hours of television in recent memory. At his best, Anthony Bourdain is the celebration of what all cooks could and perhaps should dream of one day becoming--a semi-distinguished, retired chef traipsing the world over for a great meal, all the while sharing the ambience of a great meal with friends both new and old. In the Spain and Japan episodes of No Reservations, it felt like he had finally let go of his sordid past, the need for shots of him and his obligatory beer and iconic cigarette. We saw a man that had done his time as a cook, who had studied and learned a great deal of what makes a good cook a great chef, someone who had taken this knowledge and moved on to something more promising and less exhausting. In these episodes, it really seemed like there is life after cooking. Apparently, that wasn't good enough.

Whether or not Bourdain himself or the Travel Channel is responsible for this new (or perhaps simply more intimate) look at the life of a retired chef and one-time bad boy is uncertain, but regardless, someone seriously needs to stand up and reconsider this course of action that's been taken. I should clarify that I wasn't at all surprised to see a new evolution in Travel Channel's love for Anthony Bourdain, simply disappointed. That he could open the show with a question of whether or not supposedly spending $1800 on dinner for two was shameful, while sitting with Ted Allen and Bill Bryson at WD-50 over a multi-course, high-ticket dinner, was just plain tacky. It's not as if people watch his other shows and think him anything less than a celebrity--who else would spend $2000 on a Hawaiian shirt before going to eat papaya-filled hot dogs? So, why the act?

Given that he has been treated to chef's table meals at Morimoto in Japan, Arzak in Spain, Bouchon in Las Vegas and so on, I find stories of the most disgusting things someone has done in a restaurant (discussed on the talk show last night) to be rather inappropriate. Why? Because it makes the rest of us, restaurant corporate jockeys, cooks, chefs, restaurant professionals, those of us who go to work everyday, sober, focused and ready for action, seem like the bad guys. Would he do those things today, in any of the restaurants to which the doors are so kindly opened? Then why bring it up in the first place. It's not like he promoted the fact that people don't already feel threatened by making a special request for fear that one of the cooks will spit in their food, so don't perpetuate the myth even further. Don't create a subculture of restaurant-goers that revel in making a mockery of a restaurant or other establishment's reputation simply for the sake of shock value. You're 50 years old Tony—please let it go! That is not what made you so interesting. IT WAS THE HONESTY from where you spoke that reached out to us originally.

Perhaps I'm being a bit overzealous, but the show frustrated me. As someone who relies on this industry - at this point, I can barely afford to provide for my family the way I would like, let alone a private tasting menu at WD-50 with four of my close friends. At a time when restaurants and their owners, chefs, farmers, purveyors and television alike are doing everything possible to make food a legitimate, sustainable, desirable medium for expression, highlighting the negative just seems pointless.

In his most recent post, blogger line cook 415 waxes on the question of why cooks do what they do day after day while enduring harsh working conditions, exhaustion and an overall lack of praise. Amongst his list of answers that cannot be simplified to just one, he says that we cook to make others happy, that we're hospitable--and this is coming from a line cook! Even crazier is that it's true. We work in this industry because we're good at it, because we love it, because it's our job. What we don't need is a retired celebrity drunk who's upset that the good old days of the Ramones and blowing lines in the kitchen are over making our job any harder.

It's already hard enough. Tony, say goodbye to Hollywood and come home. I REALLY wanted to like this show.

Tuesday, October 21, 2008

Long Day...

Excuses, excuses...

to show my commitment...

Maxine Nightingale - Right Back Where We Started From

This pull from her 1975 album of the same name has become ridiculously popular as of late, thanks in no small part to it's inclusion in "The Family Stone" when Sarah Jessica Parker wobbled around drunkenly to the tune. I've always thought it was pretty good R&B, even if it does teeter on cheesy (I think it's the violin and horn parts, frankly), but it's a good example of Motown emulation after Motown's heyday that actually works. To this day, people are trying to emulate that sound, and it seldom works.

Friday, October 17, 2008

NEW Star Trek update with SPOILERS


Earlier this week we got our first good look at J.J. Abrams' STAR TREK movie via images that were to accompany a cover article in Entertainment Weekly.

That article, by Jeff Jensen, is now online, including a few images we haven't seen yet.

The article also reveals many details of the film's storyline and production, a few of which are shared below.

** No longer are their signature Trek weapons boxy plastic toys, but sleek silver gizmos with spring-triggered barrels that revolve and glow in the transition from ''stun'' to ''kill.''

** ''In a world where a movie as incredibly produced as The Dark Knight is raking in gazillions of dollars, Star Trek stands in stark contrast,'' Abrams says. ''It was important to me that optimism be cool again.''

** Star Trek's time-travel plot is set in motion when a Federation starship, the USS Kelvin, is attacked by a vicious Romulan (Eric Bana) desperately seeking one of the film's heroes. From there, the film then brings Kirk and Spock center stage and tracks the origins of their friendship and how they became officers aboard the Enterprise.

** The storytelling is newbie-friendly, but it slyly assimilates a wide range of Trek arcana, from doomed Captain Pike (Bruce Greenwood) to Sulu's swordsmanship to classic lines like, ''I have been, and always shall be, your friend.''

** The opening sequence, for example, is an emotionally wrenching passage that culminates with a mythic climax sure to leave zealots howling ''Heresy!'' But revisionism anxiety is the point. ''The movie,'' Lindelof says, ''is about the act of changing what you know.''

** ...One other essential element in Team Abrams' conception of the new Trek: getting the old Spock. Abrams felt Nimoy's Obi-Wan-ish presence was so crucial, he told the studio he wouldn't move forward without him.

** Kirk spends much of Star Trek dressed in respectable black — space-cadet colors in Abrams' Trekverse

** Moviegoers will get a sneak peek when the first full trailer is released with the new James Bond flick on Nov. 14

Tuesday, October 14, 2008

Downey Jr. As Guy Ritchie's SHERLOCK HOLMES


These pics started hitting the Nets late Friday afternoon...an easy time to fall through the cracks...but I thought I'd call your attention to it regardless.

Behind-the-scenes images revealing Robert Downey Jr. as the title character in Guy Ritchie's SHERLOCK HOLMES.

Monday, October 13, 2008

The Beatles - January 3, 1969 Abbey Road



Disc 1
1: The Long And Winding Road (:31)
2: Oh! Darling (:55)
3: Oh! Darling (:06)
4: Unknown (:06)
5: Maxwell's Silver Hammer (3:08)
6: Adagio For Strings (3:20)
7: Adagio For Strings (:47)
8: Tea For Two Cha-Cha (1:23)
9: Tea For Two Cha-Cha (:43)
10: Chopsticks (:29)
11: Unknown (:40)
12: Torchy, The Battery Boy (1:13)
13: Whole Lotta Shakin' Goin' On (:48)
14: Unknown (:35)
15: Let It Be (1:09)
16: Unknown (2:30)
17: Taking A Trip To Carolina (:44)
18: Unknown (1:22)
19: Dialogue (2:09)
20: Please, Mrs. Henry (1:35)
21: "Ramblin' Woman" (1:43)
22: "Is It Discovered?" (1:33)
23: Improvisation (2:20)
24: Picasso (1:22)
25: Taking A Trip To Carolina (1:12)
26: Hey Jude (2:08)
27: All Things Must Pass (1:43)
28: Don't Let Me Down (2:35)
29: "Your Name Is Ted" (3:00)
30: Crackin' Up (2:11)
31: Improvisation (2:53)
32: Crackin' Up (:32)
33: All Shook Up (1:05)
34: You True Love (1:44)
35: Blue Suede Shoes (1:32)
36: Three Cool Cats (2:47)
37: Blowin' In The Wind (:33)
38: Lucille (2:28)
39: I'm So Tired (2:32)
40: Ob-La-Di, Ob-La-Da (1:46)
41: "Get On The Phone" (:57)
42: Ob-La-Di, Ob-La-Da (:14)
43: Don't Let Me Down (:33)
44: The Thrid Man Theme (1:51)
45: Improvisation (:30)
46: "My Words Are In My Heart" (:10)
47: "Negro In Reserve" (:43)
48: Don't Let Me Down (3:39)
49: Don't Let Me Down (:10)
50: Don't Let Me Down (3:16)
51: Don't Let Me Down (:05)
52: Ob-La-Di, Ob-La-Da (:16)
53: Don't Let Me Down (:08)
54: Don't Let Me Down (:34)
55: Don't Let Me Down (2:44)
56: Sun King (:18)

Disc 2
1: I've Got A Feeling (4:38)
2: I've Got A Feeling (4:49)
3: I've Got A Feeling (:25)
4: I've Got A Feeling (3:29)
5: I've Got A Feeling (2:48)
6: I've Got A Feeling (2:33)
7: Unknown (:29)
8: Going Up The Country (:51)
9: On The Road Again (:17)
10: One After 909 (4:2)
11: "Because I Know You Love Me So" (2:29)
12: Roll Announcement (:04)
13: One After 909 (4:06)
14: "I'll Wait Till Tomorrow" (1:05)
15: A Pretty Girl Is Like A Melody (:11)
16: Thinking Of Linking (:25)
17: "Won't You Please Say Goodbye" (:52)
18: Bring It On Home To Me (2:01)
19: Hitch Hike (1:57)
20: You Can't Do That (2:15)
21: The Hippy Hippy Shake (4:16)
22: Two Of Us (2:20)
23: Two Of Us (1:46)
24: Two Of Us (2:37)
25: Two Of Us (3:33)
26: Two Of Us (3:28)
27: Two Of Us (2:37)
28: All Along The Watchtower (1:01)
29: Dialogue (1:39)
30: Sun King (:47)
31: Sun King (:25)
32: Sun King (:34)
33: Short Fat Fanny (2:58)
34: Midnight Special (2:09)
35: When You're Drunk You Think Of Me (:12)
36: What's The Use Of Getting Sober (When You're Gonna Get Drunk Again) (:09)
37: What Do You Wanna Make Those Eyes At Me For (1:34)
38: Money (That's What I Want) (1:34)
39: Give Me Some Truth (1:39)
40: All Things Must Pass (1:57)
41: All Things Must Pass (2:16)

Disc 3
1: All Things Must Pass (3:13)
2: All Things Must Pass (3:41)
3: The Weight (:25)
4: I'm A Tiger (:21)
5: All Things Must Pass (3:19)
6: Improvisation (:31)
7: All Things Must Pass (1:59)
8: All Things Must Pass (6:36)
9: All Things Must Pass (:05)
10: All Things Must Pass (3:26)
11: All Things Must Pass (3:13)
12: All Things Must Pass (4:16)
13: All Things Must Pass (3:48)
14: All Things Must Pass (1:21)
15: Slate Announcement (:07)
16: All Things Must Pass (5:28)
17: All Things Must Pass (5:36)
18: All Things Must Pass (4:24)
19: All Things Must Pass (2:36)
20: All Things Must Pass (2:32)
21: All Things Must Pass (6:21)
22: All Things Must Pass (2:22)
23: All Things Must Pass (:33)
24: Improvisation (1:04)
25: All Things Must Pass (1:59)
26: All Things Must Pass (:40)
27: All Things Must Pass (1:52)
28: All Things Must Pass (1:12)
29: Slate Announcement (:04)
30: All Things Must Pass (:37)
31: All Things Must Pass (1:12)
32: All Things Must Pass (3:32)

Disc 4
1: All Things Must Pass (1:42)
2: Unknown (:07)
3: Back In The U.S.S.R. (:54)
4: Every Little Thing (:37)
5: Piece Of My Heart (2:11)
6: Saber Dance (1:29)
7: Piece Of My Heart (1:28)
8: "Over And Over Again"(2:52)
9: One After 909 (:25)
10: Slate Announcement (:08)
11: Dialogue (4:33)
12: I've Been Good To You (1:59)
13: All Things Must Pass (:23)
14: All Things Must Pass (:50)
15: All Things Must Pass (3:44)
16: All Things Must Pass (3:54)
17: All Things Must Pass (5:30)
18: All Things Must Pass (:19)
19: All Things Must Pass (2:09)
20: Maxwell's Silver Hammer (:51)
21: Maxwell's Silver Hammer (15:07)
22: Maxwell's Silver Hammer (1:04)
23: Maxwell's Silver Hammer (7:59)
24: Maxwell's Silver Hammer (1:05)
25: Maxwell's Silver Hammer (1:42)
26: Maxwell's Silver Hammer (2:46)
27: Maxwell's Silver Hammer (1:16)
28: Maxwell's Silver Hammer (:25)
29: Maxwell's Silver Hammer (9:03)

All artwork included.

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NY Times Sunday Mag


For those who aren't regular Times readers, you may want to check out yesterday's Magazine, a special issues devoted to food. This great image, one of three the editors are using, is by German photographer Martin Klimas, who fires projectiles through the food and manages to capture the action.

Friday, October 10, 2008

The Beatles - January 2, 1969 Abbey Road


Disc 1
1: Dialogue & Slates (:04)
2: Dialogue & Slates (:05)
3: Dialogue & Slates (:27)
4: Dialogue & Slates (:08)
5: Dialogue & Slates (:05)
6: Dialogue & Slates (:10)
7: Dialogue & Slates (:05)
8: Don't Let Me Down (:33)
9: Tuning (:04)
10: Tuning (:19)
11: Tuning (:04
12: Don't Let Me Down (:27)
13: Tuning (:27)
14: Don't Let Me Down (4:16)
15: Dig A Pony (3:05)
16: "Everybody Got Song" (:45)
17: Don't Let Me Down (3:09)
18: Let It Down (2:14)
19: Let It Down (:53)
20: Improvisation (:57)
21: Brown-Eyed Handsome Man (1:43)
22: I've Got A Feeling (1:19)
23: A Case Of The Blues (1:09)
24: Improvisation (:24)
25: Improvisation (:51)
26: On The Road To Marrakesh (2:08)
27: Revolution (:08)
28: I Shall Be Released (1:53)
29: Sun King (2:20)
30: Sun King / Don't Let Me Down (4:59)
31: Don't Let Me Down (3:34)
32: "The Teacher Was A-Lookin'" (1:00)
33: Don't Let Me Down (:20)
34: Don't Let Me Down (:26)
35: Sun King (:28)
36: Mailman, Bring Me No More Blues (:21)
37: I've Got A Feeling -(3:40)
38: Unknown (:09)
39: I've Got A Feeling (1:15)
40: I've Got A Feeling (:04)
41: I've Got A Feeling (:05)
42: I've Got A Feeling (11:00)
43: I've Got A Feeling (1:23)
44: Unknown (3:46)
45: Speak To Me (1:58)
46: I've Got A Feeling (:32)
47: I've Got A Feeling (5:00)
48: I've Got A Feeling (:11)
49: Mighty Quinn (Quinn The Eskimo) (1:05)
50: I've Got A Feeling (4:03)
51: I've Got A Feeling (2:00)
52: I've Got A Feeling (1:22)
53: Dialogue (:45)

Disc 2
1: Dialogue and Slates (1:42)
2: Dialogue and Slates (:06)
3: Dialogue and Slates (:05)
4: Dialogue and Slates (3:20)
5: Dialogue and Slates (:07)
6: Dialogue and Slates (1:52)
7: Dialogue and Slates (1:12)
8: I've Got A Feeling (1:29)
9: Tuning (:30)
10: Slate (:06)
11: I've Got A Feeling (:38)
12: I've Got A Feeling (:27)
13: I've Got A Feeling (:09)
14: I've Got A Feeling (1:24)
15: I've Got A Feeling (2:17)
16: I've Got A Feeling (5:36)
17: I've Got A Feeling (:37)
18: I've Got A Feeling (4:00)
19: Sun King / Don't Let Me Down (2:07)
20: Don't Let Me Down (3:54)
21: Don't Let Me Down (2:14)
22: Sun King / Don't Let Me Down (1:55)
23: Don't Let Me Down (6:44)
24: Don't Let Me Down (:31)
25: Improvisation (1:24)
26: Unknown (:19)
27: Don't Let Me Down (3:10)
28: Don't Let Me Down (:05)
29: Well...All Right (1:12)
30: Well...All Right (1:07)
31: Unknown (:25)
32: All Things Must Pass (1:24)
33: Two Of Us (7:21)
34: "We're Goin' Home" (:22)
35: Two Of Us (4:17)
36: Two Of Us (:39)
37: Two Of Us (3:36)
38: Two Of Us (:33)
39: Two Of Us (:05)
40: Two Of Us (:54)
41: Two Of Us (4:35)
42: "It's Good To See The Folks Back Home" (:22)
43: Two Of Us (4:45)

All artwork included.

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Tuesday, October 7, 2008

Honey-Cinnamon Vinaigrette



Prep: 10 min. Shelf magic at its best, this quick-and-easy dressing adds a sweet note to some of our favorite fall salads. It's especially good with the peppery bite of fresh arugula topped with sliced apples and pears or warm roasted root vegetables.
Yield
Makes about 1 cup
Ingredients
1/3 cup cider vinegar
1/3 cup honey
1 teaspoon ground cinnamon
1 teaspoon dry mustard
1/2 teaspoon salt
1/4 cup canola oil
Preparation
1. Whisk together first 5 ingredients in a small bowl. Add oil in a slow, steady stream, whisking constantly until smooth. Serve immediately, or cover and chill until ready to serve. Store in an airtight container in refrigerator up to 2 weeks.

Black Ice



"Black Ice" features 15 new tracks from brothers Angus and Malcolm Young, along with Brian Johnson, Cliff Williams, and Phil Rudd. The album was produced by Brendan O’Brien and mixed by Mike Fraser at the Warehouse Studio in Vancouver, BC.

TRACKS: 01.Rock 'n Roll Train 02.Skies On Fire 03.Big Jack 04.Anything Goes 05.War Machine 06.Smash 'n Grab 07.Spoilin' For A Fight 08.Wheels 09.Decibel 10.Stormy May Day 11.She Likes Rock 'N Roll 12.Money Made 13.Rock 'n Roll Dream 14.Rocking All The Way 15. Black Ice

HERE

Pass=zinhof

Monday, October 6, 2008

"I Met the Walrus"



In 1969, a 14-year-old Beatle fan named Jerry Levitan, armed with a reel-to-reel tape deck, snuck into John Lennon's hotel room in Toronto and convinced John to do an interview about peace. 38 years later, Jerry has produced a film about it. Using the original interview recording as the soundtrack, director Josh Raskin has woven a visual narrative in which Raskin marries the terrifyingly genius pen work of James Braithwaite with masterful digital illustration by Alex Kurina, resulting in a spell-binding vehicle for Lennon's message.

Here is the story:

I HAD BEEN A BEATLES fan since the age of nine and when the White Album came out in ‘68 it immediately became my favourite record – it still is to this day. There was just such a wealth of information, images and sound. It was a real treasure trove. In fact, I was obsessed with those songs. I listened to them incessantly. I didn’t have headphones, so I’d lie in bed with the stereo speakers pressed to my ears.

If I had to pick a favourite Beatle, it would have been John. As a 14-year old, I looked to him for leadership. He was outspoken and exuded confidence in the way he talked and in his ideas. You got the sense that he was the guy in charge. I remember writing a letter to him at Apple. I’d drawn a picture of Canada with an arrow pointing towards Toronto saying “I live here” adding something like “I’m your greatest fan, please come and visit Toronto!” Then one day I was listening to the local FM station and somebody called in to say they thought they’d seen John and Yoko at Toronto airport. That was all I needed to hear. I ran to my room and started calling all the hotels in the city. Most thought I was mad, but when I called the King Edward and asked “is John Lennon there?” they hung up. I knew he was there and quickly made a plan to go and find him. It was Sunday, May 25th 1969. John Lennon had come to my hometown. I had to do something.

The next day I woke up at 6am and tried to dress as I thought a news reporter might dress. I crept into my brother’s bedroom and stuffed his Super 8 camera into my bag. I’d managed to get a copy of John and Yoko’s Two Virgins album before the Mounties confiscated all the stock. I took the record with me in the hope of getting an autograph. Of course, I didn’t share my plans with anyone. I didn’t tell my friends, I didn’t tell my siblings and I certainly didn’t tell my school or my parents. I hit downtown Toronto at about 7am.

I got to the top level of the King Edward Hotel and started knocking on every door, waking up all the guests in the process. I must have covered three floors before I bumped into a cleaning lady with an Irish accent who asked me whether I was “looking for the Beatle”. She mentioned the number of a room on the floor below; “He’s in that one,” she whispered, “but don’t tell anyone I told you!” I went down the fire escape, turned the corner, looked down the corridor and saw Kyoko [Yoko’s daughter] lying on the floor in front of a door with a colouring book and crayons. I knew I’d found them. It was an electric feeling. My heart was beating fast. I remember gulping. This was it.

I hadn’t planned to do anything. I just had to see John. Talking to him never came into the equation. I stood in front of the door with my heart racing. A CBC cameraman and reporter suddenly appeared, knocked on the door and went in. After about 10 or 15 minutes I did the same. The door opened up and, in what must have been a very lame deep voice, I introduced myself as a Canadian newsman. I barged my way in, shuffling through the suite just staring at my shoes. Then I looked up and four feet from me sat John and Yoko. They were in the middle filming an interview. John saw me and laughed.

I took out my brother’s Super 8 camera, got the thing rolling and pointed it at John and Yoko who were still talking on the bed. When the CBS interview finished I took out my Two Virgins vinyl for him to sign. He was really surprised I had it. He wrote “To Jerry, love and peace, John Lennon” and Yoko signed her name. Derek Taylor [The Beatles’ Press Officer] then came in and informed everybody it was time to leave. So, the press left, John and Yoko disappeared, but I really took my time. Eventually I took the wrong turn out of the room and ended up in another part of the suite where John was trying to push a large tea chest onto the bed. “You wanna give me a hand with this?” he asked. I thought to myself, “You gotta do something”. So I asked him whether I could “come back later with a tape recorder and do an interview about peace”. He got so excited and said, “Great, yeah, Yoko! Derek! Great idea, let’s do an interview with him, talk about peace and he can take it to the kids!” I looked at Derek Taylor, who turned to me and said, “Why don’t you come back at 6pm?”

It was great. I was shown such respect. I arrived home, fell on my bed and crashed out utterly exhausted, waking up in a pool of sweat around 4pm with a feeling of abject horror - I didn’t have a tape recorder. I called up radio station CHUM and said I had an interview with John lined up for 6pm and I needed a recording device. They obviously didn’t believe me, but after speaking to Derek Taylor at the hotel, they all became my best friends. The radio producer said there’d be someone at the hotel bar at 5:30pm. I should meet him there. I got the bus back to the King Edward and it was pandemonium. Police, crazy people, protesters, hundreds of kids – everybody was trying to get a glimpse of John. I somehow got through the crowds and headed for the bar, where I met the guy from CHUM. We got to the correct floor and saw a row of reporters – mostly American press – sitting in single file against the wall of the corridor. As I turned the corner, one of the American reporters grabbed my arm and asked where I was going. I told him I had an interview at 6pm and he said, “Yeah, right, like the rest of us!” Then the door opened up – it was Derek Taylor. He asked, “Where’s the lad?” I raised my hand, and to the amazement of all those journalists, I walked in. Then it dawned on me – I hadn’t prepared a single question. John and Yoko appeared from around the corner. The mood was very tranquil. They both seemed very happy and at ease. I started telling them how I much I loved Two Virgins and he said, “Well we’ve just recorded another one called Life With the Lions. I have a copy here” Then Yoko offered me the record. At the end of the interview, you can hear John remind me not to forget the album.

He loved the fact that I wanted to talk about the White Album. I told him my theories about the songs and he just kept batting them back in a brotherly way saying, “No no, you know, there’s messages everywhere, but we’re just four guys. We wake up in the morning, have a cup of tea and a smoke – we’re just normal guys!” Throughout the interview he was constantly trying to take the shimmer off The Beatles, saying things like “I’m just writing about myself”. I mentioned how I was obsessed with Revolution 9 and how I thought I could hear him telling George to fuck off at the beginning and he said, “I may have told George to do whatever but I don’t remember saying it on the album!” There was a lot of talk in the press about The Beatles being on the verge of splitting up. He didn’t show any signs that a break-up was on the cards but I did get the sense that John And Yoko was a far more important entity than The Beatles.

It’s worth noting that I stopped the interview. I thought, “I can’t take any more of this man’s time. He’s an important guy!” So that’s why you hear the stumbling at the end of the tape. Derek Taylor then entered the room and told John that Mary Hopkin [Apple’s latest signing] had just arrived in town to play a show and she sends her love. John simply replied: “Send it back!”

He asked me if I wanted to go to the gig using his ticket. I said yes and he immediately called up Capitol Records and told them to give me the VIP treatment for the entire evening. John flashed a peace sign at me and closed the door. I left that room on cloud nine. Not only that, I left transformed forever. I knew it from the moment I lifted up my head and looked at the two of them on the couch. I knew it was a life-altering experience, I could feel it.

Over the years I’ve been approached by various people, all wanting to do something with the material. Up until recently I’ve never been happy with any of the approaches. I never wanted to do something cheesy or exploitive. It was always such a personal experience. So about thee years ago I thought I’d bring all this to an end. I’ll find some young Toronto artists and have them interpret my story in whichever way they see fit. I met Josh Raskin and he came up with the idea to do a five minute animated short. He introduced me to James Braithwaite, an illustrator who had a style very similar to John’s own drawings. It was a perfect fit.

I did see John again at the Rock‘N’Roll Revival Concert in Toronto in September ‘69. The guy at the record label made sure I got a seat in the front row and I got backstage where John held an impromptu press conference. He looked terrible – almost green. He looked up, whispered something to Yoko, caught my eye and waved. I couldn’t get to him after that. The last time I saw him was when he came to town to announce another concert for peace, which was later scrapped. But the memories I really cherish are all from the day of the interview.

He was part of everybody’s life, but I often felt I had the edge. I was shown such respect that day. He didn’t ask me who I was; he didn’t ask me any questions at all. I left that room and floated out of the hotel. In the rush to see him, I never questioned whether he was going to be cool or not. It never dawned on me that John Lennon would not be cool.

Bruce Springsteen, Gothenburg, Sweden July 5, 2008 FLAC



Crystal Cat Records 909-911
Silver discs - wav - Flac
Includes jpeg scans of front and back

cd1
Intro
Night
No Surrender
Lonesome Day
Hungry Heart
Summertime Blues
The Promised Land
Backstreets
Roulette
Darkness on the Edge of Town
Janey, Don't You Lose Heart
Waitin' on a Sunny Day
Working on the Highway
Because the Night
She's the One

cd2
Livin' in the Future
Mary's Place
I'm on Fire
Drive All Night
The Rising
Last to Die
Long Walk Home
Badlands
Girls in Their Summer Clothes

cd3
Thunder Road
Born to Run
Bobby Jean
American Land
Twist and Shout
Tunnel of love (8/2 2008 Foxboro, MA, Gillette Stadium)
Little latin lupe lu (8/2 2008 Foxboro, MA, Gillette Stadium)
Who´ll stop the rain (8/2 2008 Foxboro, MA, Gillette Stadium)
Youngstown (8/2 2008 Foxboro, MA, Gillette Stadium)
Murder Incorporated (8/2 2008 Foxboro, MA, Gillette Stadium)
I´m going down (8/2 2008 Foxboro, MA, Gillette Stadium)
Souls of the departed (4/27 2008 Charlotte, NC, Charlotte Bobcat Arena)
Wild Billy´s circus story (7/27 2008 E. Rutherford, NJ, Giants Stadium)

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Restaurant Rant

What do you think is the most important thing for a restaurant to have? Great food? A passionate staff? A great wine list? Caring but discreet service? Clean bathrooms? Nice Building?

The answer is yes. And no. Of course you need all these components to make things work. But what a restaurant needs is great communication--on all levels.

The thing that makes communication so important (and difficult) is that rarely is one piece of information more important than the other. How much produce you ordered--the AM shift needs to know about that. The nozzle on the hose in the dish pit is leaking--the kitchen manager / sous chef needs to know about that. There are only 9 chicken left--the front of house needs to know about that. But wait! That fish special has been coming back to the dish pit with plates almost full all night--the whole kitchen needs to know about that. Add to this the constant chatter between stations during service, the manager’s critiques on the plates coming out, or the GM letting you know that a food critic just sat upstairs, and you've got a lot of information flying around.

It’s all about communication.

HOMEWORK.

I used to give new managers homework. Culinary terms to look up. Articles to read. Places to eat.

It's interesting, how many cooks think the job ends when they leave the kitchen. Sure, cooks like to look at (not read) cookbooks, and sure, they like to eat out...but how much information is being absorbed there?

How many managers know what is happening at the restaurant across the street?

There is no way to grow if you're only focused on what’s going on where you work. Having said that, there is really no way to grow if you're only focused on the type of cuisine you cook. Get together with your fellow managers, cooks, servers, - trade books and articles, and eat out as much as you can. Just don’t drink too much.

notes:
•I’m trying to write, but the stock market is making me want to stab myself in my eyeballs. My parents will soon be living in my garage. I could be forced to sell our youngest child.
•Heard at the airport last weekend - "she looks like a cross between Maggie Gyllenhall and John Goodman." "She looks like she's spent a lot of time in tents."
•My wife sings bad hip hop music when she drives
•Tina Fey is still my pick for VP.

Wednesday, October 1, 2008

Meet Glenn Campbell


OK, I know what you are thinking. I downloaded this from a blind posting and put my headphones on. I hope you do the same

HERE

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