Rachel and Bruce

Dinner tonight was inspired by Rachael Ray. I'm really tired of her as she seems to be everywhere, but her Everyday with Rachael Ray magazine is pretty good. I really like the way it's laid out with recipes and shopping lists to get you through the week. I should be so organized.

February issue of Everyday with Rachael Ray had a recipe for Nacho Spuds that looked interesting. Basically it was taking nacho toppings and putting them on roasted potato slices. That looked good, but I decided to take the same ingredients and turn it into Tex-Mex inspired Shepherd's Pie.

I took 2 1/2 lbs of potatoes, peeled them and boiled them in salted water with 2 cloves of minced garlic until soft. I mashed the potatoes with butter, a little milk and added some shredded cheddar cheese.

As the potatoes were cooking I browned one pound of ground beef, drained it and added a pack of taco seasoning, some additional cumin, pepper and "Mexican" seasoning, a drained can of diced tomatoes, a drained can of black beans and about a cup of water. I let that boil then simmer to the consistency I wanted as the potatoes cooked.

Once the potatoes were all mashed up, I put the meat into the bottom of a casserole, topped it with the potatoes and more shredded cheese and baked it at 350 degrees until the cheese was melted and golden brown.

Damn. No leftovers. The photograph above really is Rachael and I think it originally appeared in FHM, but I got it from The Hollywood Gossip.




A little music to go with dinner:

Unsatisfied Heart
Remastered Born In The U.S.A. Outtakes

Date: 1982 - April 1984

Location: The Hit Factory / The Power Station, New York City, NY

Disc 1:
01 Born In The U.S.A.
02 Murder Incorporated
03 Downbound Train
04 Glory Days
05 This Hard Land
06 My Love Will Not Let You Down
07 Johnny Bye Bye
08 Frankie
09 I'm Goin' Down
10 Working On The Highway
11 I'm On Fire

b-sides:
12 Sugarland
13 Follow That Dream
14 Dont Back Down
15 One Love
16 Little Girl

Track descriptions:
01 Contains a different Springsteen vocal overdub and a very long, extended jam ending.
02 This track has the original Van Zandt background vocals.
03 Slighly different version / mix.
04 Unedited, contains an entire extra verse (about Bruce’s dad) that was cut from the officially released version.
05 One of his finest studio performances. For some bizarre reason Springsteen & The E Street Band re-recorded the
song in 1995 and released that re-recording on 'Greatest Hits' – but it pales in comparison to this original.
06 Different mix than on the one released on 'Tracks'.
07 Bruce borrowed the first two lines from Chuck Berry’s song “Bye Bye Johnny” (as well as the play on the title),
which is why it’s registered as a Springsteen-Berry composition.
08 Originally recorded for "Darkness", and recorded again here, this was considered for the 'Greatest Hits' collection but was finally dropped.
09 Full, unedited version that includes lyric changes and the complete raucous ending. This track runs nearly a full 1:30 longer than the released version.
10 Slighly different version / mix.
11 A bit longer version.
12 Beautiful keyboards by Danny and Roy augment some fine acoustic guitar playing by Bruce.
13 Presented in best-ever quality, this unreleased gem far eclipses any current circulated versions.
14 Unreleased studio outtake.
15 Wonderful tune with a killer chorus - note the bass line similar to the Human Touch B-side '30 Days Out'
16 Short but energetic rocker.

Disc 2:
01 None But The Brave
02 Murder Incorporated #2
03 (Drop On Down And) Cover Me
04 Janey Don't You Lose Heart
05 My Love Will Not Let You Down #2
06 Cynthia
07 Darlington County
08 Protection
09 TV Movie
10 County Fair

Solo:
11 Shut Out The Light
12 Richfield Whistle
13 Fugitives Dream
14 Delivery Man
15 The Klansman
16 Unsatisfied Heart

01 The original mix without the new (90's) vocal track or the overdubbed second guitar on 'The Essential BS'. One of my favourite tracks, too bad the sound quality is what it is.
02 Different mix permutation of the same core recording as #1.
03 Completely different recording than the released 'Cover Me' done in a dramatically different arrangement.
This may actually date from a later period in the sessions than the original 'Cover Me'.
04 Same core recording as on 'Tracks', but has a much longer fade out (very nice) and features Steve Van Zandt on background vocals and guitar.
05 Different mix permutation of the same core recording as #1.
06 Different mix than on the one released on 'Tracks'.
07 Includes slightly different lyrics and an alternate beginning and ending.
08 This song was given to Donna Summer, who was recording an album at the time at the same studio.
Summer’s cover version (with Springsteen on guitar) was recorded in March 1982 (released Aug 82).
Bruce and Donna also recorded a duet vocal version at her sessions – it remains uncirculating.
09 Original mix with the saxophone track (deleted on 'Tracks').
10 Features Ruth Jackson on background vocals. Possibly recorded at the same session as 'My Hometown' (which also features Jackson).
11 By far the definitive version of this song – contains an additional, important lyric verse that has been cut from all the other versions.
12 Brilliant song that developed from a 1981-82 work-in-progress composition called 'James Lincoln Dear'
13 Unreleased studio outtake.
14 Unreleased studio outtake.
15 Compelling song. Features a dark, brooding beat that mirrors the disturbing nature of the lyrics. A nice vocal performance here and we're left wondering what possessed him to write this one.
16 Add this to the ever expanding list of Bruce's greatest unreleased songs. A man surveys his life and wonders if he can ever escape the demons of his past.


download links:
part 01: http://rapidshare.com/files/89722288/1982-1983_-_Born_In_The_U.S.A._Outtakes_-_part01-02.rar
Part 02: http://rapidshare.com/files/89725924/1982-1983_-_Born_In_The_U.S.A._Outtakes_-_part02-02.rar

The Harri Spector Show

With the Harri-Spector Show, Strawberry Records is proud to present a well-balanced cd of rarities by ex-Beatle George Harrison. The Quiet One, as he's often referred to by Beatle-scholars. The Fab Four's lead-guitarist from whom we, unfortunately, rarely see new cds being released. It is therefore that we at Strawberry treasure 50 much what we have found searching his rich musical archive. All tracks presented here are heard for the very first time. So know, before you've even heard a note, that what you're holding in your hands now is an extreme rarity.
The first half hour of this new Strawberry disc is taken up by a unique, only recently surfaced Apple Studios-acetate. The disc, with handwritten labels that read 'The Harri-Spector Show', contained a never before heard jam-session of George and his American producer-pal Phil Spector. The exact date of recording remains unclear, but judging from the songs the two are picking we can freely suggest this jam should be dated somewhere late 1970, early 1971. Two of the songs briefly 'touched' are John Lennon's 'Remember' and 'God', tracks from his Plastic Ono Band album; released on December 11, 1970. One of the other songs is an acoustic run-through of George's let It Down', one of the tracks from 'All Things Must Pass'. Sessions for this Phil Spector produced triple longplay took place from May to late August 1970. Expecting you to know literally all about the life and times of George, how he became a Quarry Man, a Beatle and an ex-Beatle, we thought it'd be nice instead to give you some details on Spector's whereabouts before he met Harri (and the other three Fabs). Phil Spector was born Philip Harvey Spector in the city of New York on November 26, 1940. He became interested in popular music after hearing Lonnie Donegan's hit 'Rock Island Line' (yes, the very same song that inspired John to form his Quarry Men). Young Phil bought himself a guitar and performed Donegan's hit in a talent contest in 1957. That same year he formed his first group, The Sleepwalkers. It split the next year, when Spector simply founded his next group, the Teddybears. It was with them that he had his first No.1: To Know Him Is To Love Him', a song he'd penned himself. In 1960 Spector started working as a record-producer and launched his own record-iabei called Philie. Amongst the stars he produced were The Crystals. In 1963 he released his famous Christmas Album, the one that would later be re-released by Apple. The four Beatles first met Phil Spector on their first visit to New York in February 1964 when he offered himself as their new producer. By then he had made himself famous with his 'Wall Of Sound', a distinctive system of multiple recording creating a denser, voluminous sound. Wisely enough The Beatles chose to rather continue working with sir George Martin. Later that same year Spector produced the recording of a Beatles-novelty single by Bonnie Jo Mason: 'I Love Ringo' backed with 'Beatle Blues'. Not a very big hit for Bonnie, who would later acquire more success under the name of Cher. In the mid-sixties Phil moved on to produce artists such as The Righteous Brothers ('You've Lost That Loving Feeling') and The Ronettes, a trio including Ronnie and Estelle Bennett. Phil married Ronnie, who sought her own career as Ronnie Spector.
The Beatles met Spector again in 1969, following their ill-fated sessions for their new film and longplay, to be called Get Back. Having taped some hundred hours of rehearsals and run-throughs of covers and newly penned songs at the January-cold Twickenham Film Studios and their newly built Apple studios mostly The Beatles themselves were tired of it all. By then the group was already desintegrating, showing more interest in their solo careers than in playing together as a group.
After Stones-manager Allen Klein took over The Beatles' business one of the problems was this pile of Get Back tapes. Producers George Martin and the young Glynn Johns had each given it their attempt, but couldn't really satisfy The Beatles' expectations. Klein thought of 'old friend' Phil Spector and asked him for a helping hand.
We all know how that ended. Spector's work on 'Get Back' resulted in the let It Be' longplay and a very disappointed Paul McCartney. Without priorly notifying him, mister 'Wall Of Sound' had overloaded 'The Long And Winding Road' with orchestral backing and celestial choirs whereas Paul had intended it to be a simple-production. He complained, but no one listened. It was only a matter of weeks before he announced he'd left The Beatles and the group was history. Spector went on to produce records for George and John Lennon (the Plastic Ono Band, Imagine and Sometime In New York City longplays and the singles Instant Karma, Power To The People and Happy X-Mas). Harri and Phil soon became close friends. Spector produced the triple of George's Bangladesh concert and was also asked to sit in on sessions for 'All Things Must Pass', Harrison's most successful solo album ever.
However, it wasn't always sunshine with Phil Spector as a producer in the studio. In his book The Quiet One', a fine biography of Beatle George, British writer Alan Clayson portraits Spector as a man who didn't always know when to finish drinking. Often he was late arriving at the studio, not rarely inebriated upon arrival. He was also a moody man, who didn't like to be disagreed with. Alan Clayson quotes George remembering Phil as follows: "He was a bit outrageous, but very sweet. He was like a giant person inside this frail, little body". In 1987, being interviewed for Musician-magazine, George looked back upon the recording-sessions for 'All Things Must Pass', also remembering the producer: "In bad shape he used to have eighteen cherry brandies before he could get himself down to the studio. I got so tired of that because I needed someone to help. I was ending up with more work than if I'd just been doing it on my own."
Still, George must have liked the job Spector did. 'cause the two worked together for years to come. Whether they're still the closest friends these days, we wouldn't dare to say. But in the colourful booklet that came with the cd-re-release of 'All Things Must Pass' earlier this year, the producer is given all the personal credits he could ever wish for: "It's been thirty years since 'All Things Must Pass' was recorded. All these years later I would like to liberate some of the songs from the big production that seemed appropriate at the time, but now seem a bit over the top with the reverb in the wall of sound... Last but certainly not least, thanks to the amazing Mr. Phil Spector, who produced so many fantastic records in the sixties. He helped me so much to get this record made. In his company I came to realize the true value of the Hare Krishna Mantra. God bless you Phil, George Harrison."
Going back now to the Harri-Spector acetate, back to 1971, we can hear George and Phil clearly enjoying themselves going impromptu through a wide range of popclassics and rock 'n roll-standards. Spanning from the more obvious choices like Buddy Holly's That'll Be The Day (one Harri will have remembered as the very first Beatles-record), Bluebird Over The Mountain and Down In The Valley; there's also some surprising choices like Ike and Tina Turner's big hit 'River Deep Mountain High'.
The selection of songs reveals quite a lot about Harri and Specter's state of musical mind and taste at the time. Covering his friend Dylan's 'I'll Be Your Baby Tonight' must have been Harrison's choice, whilst songs like The Great Pretender' and 'You Better Move On' were almost certainly more amongst Phil's favourites.
Noteworthy as well is the relatively large number of tunes, - remembering late 1970 or early 1971 as most possible date of recording -, The Beatles and George had only recently gone through rehearsing their new film and longplay Get Back. Songs that Spector, having listened to all of these 'most miserable sessions on earth' [to quote the late Mr. Winston O'Boogie) must have also remembered the words to.
Some mixed memories of The Beatles' split will certainly come back to you listening to Harri and Spector going through songs like The Drifters' 'Save The Last Dance For Me', The Animals' 'Bring It On Home To Me' and the old little tune of 'Leaning On A Lamppost'. As a special treat George and Phil also please us with their own version of one Beatles-tune. Here's a unique opportunity to hear George take the lead in McCartney's Obladi-Oblada. But there's more. Like we said before, for close listeners, hidden away between the various run-throughs at the start of track 2) there's a short version (a line or two) of John Lennon's song 'God', again with fellow ex-Beatle George taking the lead.
All of this Harri-Spector session is acoustic. It's just George and Phil plugging their guitars, singing to it. In most of the songs it's mister Wall Of Sound taking the lead, with George joining in on the chorus. George takes the lead in 'Down In The Valley', 'Obladi-Oblada', 'Leaning On A Lamppost' and two alternate versions of 'Let It Down' (hidden away between the fragments in tracks 4 and 5). Most of the songs are only fragments in George and Phil's medley down memory-lane. Whenever they feel like they change to the next song. It's nice to notice, throughout the session, that both of them know the words to so many unexpected songs. Although to be frank sometimes one has to ask the other what this or that song went like and whether he remembered the right words to it.
Tracks 6 and 7 are two previously unreieased instrumental tracks for one of George's finest-ever love-songs: You. Again taken from a recently surfaced original Apple-acetate the song was written for Phil Specter's wife Ronnie (Bennett). In his autobiography I Me Mine George remembers how the song, first rehearsed in the summer of 1970 during sessions for 'All Things Must Pass', actually came about. "I wrote it and laid the track down with Leon Russell. I tried to write a Ronette sort of song. We never got to make a whole album because we only did four or five tracks before Phil fell over, and then he decided to release 'Try Some Buy Some' as a single."
'Try Some Buy Some' was released on Apple 33 on April 16, 1971. Backed with 'Tandoori Chicken', co-written by George, it didn't do much in the US-charts, topping at no.77. George would later use Try Some Buy Some on his 'Living In The Material World' longplay.
The acetate-recordings preserved here were probably made at London's Abbey Road Studios on February 9, 1971. Playing on track are, besides George, Leon Russell (piano), Jim Gordon (drums), Carl Radle (bass) and Gary Wright (electric piano). In the years that followed George, again quoting him from his I Me Mine, more or less 'forgot about' the wonderful song. Until May 1975 when he dug out this old instrumental track and re-worked it for his new album Extra Texture, released in September that year. "I overdubbed the original instrumental track, put my own vocals to it, even though it was recorded in Ronnie Spector's register, a bit high for me".
Tracks 8 to 19 of this Strawberry-tribute to the musical legend of George Harrison, are taken from another unique find. A tape of rough mixes and alternate takes previously unheard by the big crowd. Saved here is George Harrison's job as a producer for Splinter, the best known group from the stables of his own Dark Horse label. One of Splinter's most successful albums was The Place I Love', released on September 20, 1974. Strawberry somehow managed to lay their hands on a collection of five rough mixes for that album, recorded and produced months before its initial release.
On the very tracks (10, 12, 13, 15 and 16) we can also hear the producer in all his wide musical variety. George plays guitar, bass, dobro, mandolin, harmonica, synthesizer and percussion. And if that's not enough mister Dark Horse himself also takes care of most of the backing-vocals. George loved Splinter, he was convinced of their potential hit-success. Sorry for him it didn't work quite the way he hoped it would, the group never made it big. Tracks 17 and 18, still the same previously unheard tape, are rough mixes of finished versions that were later released on the Ravi Shankar longplay 'Shankar family And Friends' (released September 20, 1974). This album as well was produced by George. Tracks 9 and 19 are to be treasured rarities, previously unheard rough mixes of two songs that eventually turned up on George's own 'Dark Horse' longplay, released December 20, 1974. The album's title song and Harrison's song for Christmas, 'Ding Dong, Ding Dong' sound quite different without the many backing vocals and Phil Spector-alike orchestration that would later be added to them. A unique glance at two Harrison-classics in the making, alternates from an album we'd previously not heard any embroynic versions of.
In a personal spoken message, to 'David', producer Harrison adds some personal info to the tracks collected on this unique tape. "Hello David, this is the tape that I made for you. I made it very quickly, cause I'm in a rush to get packed and go away. All of them are rough mixes, nothing on the tape should be considered finished other than whatever Ravi is concerned. Everything else from Splinter is unfinished. Some of the songs don't even have finished vocals, they're just guide vocals or rough vocals. In some cases the vocals are okay, but they don't have harmonies or overdubs or solos. (...) The ones that are mine are in the same condition. They're just the basic tracks in a quick mix, not even in a smart mix. Also I wanna add that on this one called 'Ding Dong, Ding Dong' I did the guide-vocals on the night Some of it is okay and I'll use it. (...) Also I'd appreciate it if you don't let anybody steal it, cause I want the hit myself. So don't let David Geffen get it! Okay, have fun and see you in March. God bless you all..."
Finishing this Strawberry collection of Harrison-rarities is track 19, a song by Phil Spector's wife Ronnie Bennett, hitting the road of pop via Spector. Under contract of The Beatles' Apple-label it's this nothing-going-on little love-tune was found on yet another original Apple-acetate. From the first note you will no doubt recognize the producer's hand of this singalong. Very Ronettes-like, very wall of Sound-like, ail Phil's. The song, previously unheard, was most probably recorded at Abbey Road Studios in February 1971. Apart from Ronnie on lead vocals we have George on lead-guitar, Jim Gordon (drums), Leon Russell and Phil Spector (keyboards), Klaus Voormann and Carl Radle (bass) and (possibly) Ringo Starr on drums.

rapidshare.com:
http://lix.in/3e8f50c1
http://lix.in/c47a8c66
http://lix.in/d988aa93
http://lix.in/dc2706f4

I am IRON MAN

I think we're close enough now for me to admit this trailer makes me excited. It's got fighting robots and flying robots and guns and explosions. All it needs is some hot girls with big boobs in bikinis and it will be like they filmed the cover of my 5th grade notebook

BBQ Shrimp and Mac

Gulf shrimp, 10-15 count, head and tail intact, body peeled and deveined - 20
Creole seafood seasoning, purchased or your own recipe 2 Tbsp.
Olive oil 2 Tbsp.
Garlic cloves, minced 15
Fresh rosemary, chopped 1 Tbsp.
Hot sauce 3 Tbsp.
Lemons, juiced 3
Worcestershire sauce 3 Tbsp.
Amber beer, such as Abita ½ cup
Butter, room temperature 4 oz.
Kosher salt to taste
Black pepper, freshly ground to taste
French bread, sliced ½-in. thick 12 slices

1. Toss shrimp with 1 Tbsp. Creole seasoning in large bowl to coat.
2. Heat oil in heavy, large skillet over medium heat. Add garlic and rosemary and sauté until garlic is golden brown. Add seasoned shrimp; toss gently to coat.
3. Stir in hot sauce, lemon juice and Worcestershire sauce. Add beer and deglaze skillet, shaking gently. Simmer until beer is reduced by about half and shrimp are cooked through, about 2 min.
4. Stir in remaining Creole seasoning. Reduce heat to low. Gradually stir in butter to form a sauce consistency. Season shrimp mixture to taste with salt and pepper.
5. Divide shrimp mixture among four soup plates. Serve with French bread.


This is one of the best live recordings I have ever heard, the best of Fleetwood Mac live from Nashville in 1977 - Enjoy!

Fleetwood Mac
Live in Nashville May 21, 1977
Nashville Municipal Auditorium

(Soundboard)


Cd 1
01. Welcome
02. Say You Love Me
03. Monday Morning
04. Dreams
05. Oh Well
06. Rhiannon
07. Oh Daddy
08. Never Going Back Again
09. Landslide
10. Over My Head
11. Gold Dust Woman

Cd 2
01. You Make Loving Fun
02. I'm So Afraid
03. Go Your Own Way
04. World Turning
05. Blue Letter
06. Second Hand News
07. The Chain
08. Songbird

download links:
Part 01: http://rapidshare.com/files/81128171/Fleetwood_Mac_-_1977-05-21_-_Nashville__Tennessee-part01.rar
Part 02: http://rapidshare.com/files/81129935/Fleetwood_Mac_-_1977-05-21_-_Nashville__Tennessee-part02.rar
Part 03: http://rapidshare.com/files/81131645/Fleetwood_Mac_-_1977-05-21_-_Nashville__Tennessee-part03.rar

Superhero Update -

Justice League Movie Set For 2009
Miller's superhero mash-up back on track
Source: Variety

--------------------------------------------------------------------------------

Now that the Writers’ Strike is over, and the dust has settled, it looks like Warner Bros. pet project for 2009, the Justice League Of America movie, is back on track.

The George Miller-directed project, which will unite the likes of Superman, Batman, Wonder Woman, The Flash, Green Lantern, Aquaman and Martian Manhunter in a superhero mash-up like no other, had been put on hold back in January, because of the strike.

But Warners announced today that the film’s writers, Kieran and Michele Mulroney, are back at work on the script, with a final draft due to be handed to Miller, who’s currently prepping in Australia, in a couple of weeks.

The lapse in production meant that the movie’s options on its cast had apparently expired, but it would seem that there have been no problems in getting the likes of Adam Brody (The Flash), Armie Hammer (Batman), Common (Green Lantern) and Megan Gale (Wonder Woman) back on board. They’ve been told to continue their training.

As yet, nobody has been confirmed as the new Superman. D.J. Cotrona has been heavily linked with the role, but we should get an announcement in the coming weeks, and possibly even days. (Empire has said this before, but we still can’t see why Miller and WB don’t just cast Brandon Routh and be done with it. The poor guy was great in Superman Returns and, with a sequel to that movie looking less and less likely, he deserves another shot.)

As yet, Justice League doesn’t have a date in 2009, but expect it to be one of the few films that will feel confident enough to get within a mile of James Cameron’s Avatar. It also gives Warners a more confident feel for next year, joining Watchmen and Terminator Salvation: The Future Begins on their domestic slate.

So, what do you think, readers? Are you glad that the JLA movie is finally going ahead? Or were you hopeful that the strike delay might have torpedoed the project altogether? Are Warners and DC going about this the right way, using JLA as a platform to launch spin-off movies, or should they use the Marvel model of introducing characters first, before building up to a big team-up movie, as with The Avengers?



In honor of the great Hollywood tradition of borrowing from the anals of great comic books, I give you - CHEAP TRICK !!!

Cheap Trick - Sex America
Cd 1
1. Hello There
2. Elo Kiddies (Single Version)
3. Hot Love
4. Oh, Candy (Single Version)
5. Mandocello
6. Lovin' Money (Previously Unreleased)
7. I Want You To Want To Want Me (Alternate, Previously Unreleased Version)
8. Southern Girls (Single Version)
9. So Good To See You
10. Down On The Bay (Live) (Previously Unreleased)
11. Mrs. Henry (Live) (Previously Unreleased)
12. Violins (Live) (Previously Unreleased)
13. Ballad Of TV Violence (Live) (Alternate Version)
14. You're All Talk (Live) (Alternate Version)
15. Fan Club (Demo) (Previously Unreleased)

Cd 2
1. Surrender
2. High Roller (Alternate Version)
3. On Top Of The World
4. Auf Wiedersehen
5. I Want You To Want Me (Live)
6. Clock Strikes Ten (Live)
7. Dream Police
8. Way Of The World
9. Gonna Raise Hell
10. Voices
11. Stop This Game
12. Just Got Back
13. Baby Loves To Rock
14. Everything Works If You Let It (Alternate Version)
15. World's Greatest Lover (Demo)
16. Waitin' For The Man/ Heroin' (Live)

Cd 3
1. Day Tripper (Live) (Unedited, Alternate Version)
2. World's Greatest Lover
3. I Need Love (Demo) (Previously Unreleased)
4. I'm The Man (Previously Unreleased)
5. Born To Raise Hell (Previously Unreleased)
6. Ohm Sweet Ohm (Previously Unreleased)
7. She's Tight
8. Love's Got A Hold On Me
9. If You Want My Love (Alternate, Extra Bridge Version)
10. Lookin' Out For Number One
11. Don't Make Our Love A Crime (Demo) (Previously Unreleased)
12. All I Really Want (Non LP B-Side)
13. I Can't Take It
14. Twisted Heart (Previously Unreleased)
15. Invaders Of The Heart
16. Y O Y O Y

Cd 4
1. Tonight It's You
2. Cover Girl Listen
3. This Time Around
4. A Place In France (Previously Unreleased)
5. Funk #9 (The Doctor Demo) (Previously Unreleased)
6. Take Me To The Top
7. Money Is The Route Of All Fun (Previously Unreleased)
8. Fortune Cookie (Demo) (Previously Unreleased)
9. You Want It
10. The Flame
11. Through The Night (Non LP B-Side)
12. Stop That Thief (Previously Unreleased In The U.S.)
13. I Know What I Want (Live) (Non LP B-Side)
14. Had To Make You Mine
15. I Can't Understand It
16. Can't Stop Falling Into Love
17. Come On Christmas

http://rapidshare.com/files/39766482/ChpTrck.part1.rar
http://rapidshare.com/files/39769659/ChpTrck.part2.rar
http://rapidshare.com/files/39772728/ChpTrck.part3.rar
http://rapidshare.com/files/39776111/ChpTrck.part4.rar
http://rapidshare.com/files/39780130/ChpTrck.part5.rar
http://rapidshare.com/files/39782996/ChpTrck.part6.rar

B.B. King and Jimi Hendrix 4/9/68

The King's Jam 1968
With the Paul Butterfield Blues Band feat. Al Kooper and Elvin Bishop
NOT officially released, brief release on Klondyke [sic] Records

1. Like A Rolling Stone - Jimi loves those Dylan covers.
2. Blues Jam #1 (Part 1)
3. Blues Jam #1 (Part 2)
4. Band Introduction by B.B. King
5. Blues Jam #2 (Part 1)
6. Blues Jam #2 (Part 2)
7. Blues Jam #3
8. It's My Own Fault

HERE

Welcome to 2008!

Happy New Year! I am in Atlanta visiting Alli's family - home tomorrow. I thought I would forward a real find - one early Springsteen recording from 1970.

Enjoy! and here's to a great 2008! -

Post # 1

ONE show, with STEEL MILL the sole act on the bill. This was a replacement concert for a cancellation of the musical 'Hair'. The above-mentioned setlist is taken from a circulating soundboard of very good to excellent quality, although end-user quality tends to vary widely due to the fact the material has been in circulation for over 20 years and some circulating copies are many generations downstream. This 6-song, 78-minute segment of audio, long referred to in collector circles as the West End gig, would have to rank as the most misidentified, misdated and cannibalized of all Springsteen recordings. To make matters even messier though, the show's epic 30-minute finale, Garden State Parkway Blues, is sometimes edited into separate segments and assigned fictitious titles such as Mountain Child, I Got A Woman or Sunlight Soldiers. Many LP and CD bootlegs (such as TORN AND FRAYED, THE BRUCE SPRINGSTEEN STORY VOL and DEEP DOWN IN THE VAULTS) contain one, two or several of these tracks assigned to a wide variety of incorrect dates/venues. However SUNLIGHT SOLDIERS AT THE WEST END (Rattlesnake) includes the complete audio and merely messes up the correct date/venue. This soundboard tape is very deceptive in that drummer Vinnie Lopez's voice microphone is abnormally dominant in the mix, so much so that it sounds like a co-lead singer (i.e., Robbin Thompson) is interacting with Springsteen throughout the show. However under an extremely close comparison it can be determined that the co-lead vocalist is actually drummer and background vocalist Lopez, with his microphone turned way up in the audio mix. Robbin Thompsons voice is definitely not present. There are three critical clues during the performance that, when combined, powerfully point to the true location and date of this show. Firstly, Bruce's dedication to the West End Fire Department - this signifies a Long Branch or close proximity location. Secondly, the distinct sound of wooden side bleachers being stomped during the final song this signifies its indoors and its a gymnasium (not a theatre or concert hall). Thirdly, Bruce recites the opening line of James Taylors song Sweet Baby James during Garden State Parkway Blues that places the show no sooner than late March, 1970. Consequently this audio can, to a high degree of probability, be identified as coming from this April 24, 1970 show.


04/24/1970 - Monmouth College, Long Branch, NJ

01. Soul freakout / He's guilty
02. Goin' back to Georgia
03. The wind and the rain
04. Resurrection
05. I got a woman
06. Garden state parkway blues
07. Sunlight soldiers

download link:
http://rapidshare.com/files/80483395/Bruce_Springsteen_-_1970-04-24_-_Long_Branch__New_Jersey.rar

Happy New Year !

We away with Allison's family in Atlanta so I thought I would post one of my favorite Beatle tapes.

After digesting the ways of the M.M. Yogi and returning to England they had enough oral ammunition to start laying down tracks for a new album. So they all gathered at “Kinfauns”, George’s mansion in Esher. It was there that the earliest, bare bones recordings of The Beatles (White Album) rose from the grounds. The Esher Demos is a rare collection of 23 acoustic demos, most of which ended up on the White Album. Think of it as the Bealtes unplugged.

Let these songs take you away when you're sitting cross-legged practicing yer Surat Shabd Yoga...


The Esher Demos

1 The Beatles-Cry Baby Cry (Acoustic Demo)
2 The Beatles-Child Of Nature (Acoustic Demo)
3 The Beatles-Bungalow Bill (Acoustic Demo)
4 The Beatles-I’m So Tired (Acoustic Demo)
5 The Beatles-Yer Blues (Acoustic Demo)
6 The Beatles-Everybody’s Got Something To Hide Except For Me and My Monkey (Acoustic Demo)
7 The Beatles-What’s The New Mary Jane (Acoustic Demo)
8 The Beatles-Revolution (Acoustic Demo)
9 The Beatles-While My Guitar Gently Weeps (Acoustic Demo)
10 The Beatles-Circles (Acoustic Demo)
11 The Beatles-Sour Milk Sea (Acoustic Demo)
12 The Beatles-Not Guilty (Acoustic Demo)
13 The Beatles-Piggies (Acoustic Demo)
14 The Beatles-Julia (Acoustic Demo)
15 The Beatles-Black Bird (Acoustic Demo)
16 The Beatles-Rocky Raccoon (Acoustic Demo)
17 The Beatles-Back In The USSR (Acoustic Demo)
18 The Beatles-Honey Pie (Acoustic Demo)
19 The Beatles-Mother Natures Son (Acoustic Demo)
20 The Beatles-Ob-La-Di-Ob-La-Da (Acoustic Demo)
21 The Beatles-Junk (Acoustic Demo)
22 The Beatles-Dear Prudence (Acoustic Demo)
23 The Beatles-Sexy Sadie (Acoustic Demo)

Happy Christmas

I have had to make some tough choices here considering I am no where near set for Christmas. The Blog will have to wait until after the holiday.

Merry Christmas to all (if there is anyone out there) and lets hope for a great 2008. It will be a big year - Iran, Iraq, the economy, the election, and many changes for my family personally. I leave you with this - 'nite all

Orson Welles reads A Christmas Carol


http://rapidshare.com/files/74586456/01_Charles_Dickens__A_Christmas_Carol.mp3

Food Network notes from Sunday's NY Times

You can find chef Emeril Lagasse’s name and face all over a dozen cookbooks, 10 restaurants, lines of pots and pans, knives, Wedgwood dishes, spices, salad dressings and pasta sauces, and even a deep fryer.


But as of last week, it will no longer be found on new episodes of his signature “Emeril Live” show on the Food Network. The program taped its last installments and laid off a half-dozen staff members, bringing an end to an impressive 11-year, every-weeknight run.


Viewers will not see a difference for at least a year as the new episodes that have already been taped are shown. But industry executives are scratching their heads over why the network canceled “Emeril Live” — which they speculate became too expensive for its softening ratings — without having a new deal in place, given the role that his program played in the network’s success.


Food Network executives assert that Mr. Lagasse, who declined to comment, remains a valued member of the family. “All good things come to an end, and it was time to do something new,” said Brooke Johnson, the network’s president. “Right now, we’re figuring out what that something new is,” she said, noting that Mr. Lagasse’s “Essence of Emeril” on the network remains in production.


The cancellation of “Emeril Live” comes at a time when the Food Network is undergoing a transformation. Having taken food and chefs from what was once the domain of low-key public television to new celebrity heights, the network finds itself trying to retain the considerable revenue generated by what has become big business, even as it faces competition from all sides.


Executives at the Food Network and its parent, E. W. Scripps, paint a rosy picture of the network’s prime-time ratings. They say its average 2007 prime-time audience of 778,000 viewers is its highest ever and it has had success attracting the younger audiences that advertisers find especially attractive.


But the network’s total day ratings have dipped to an average of 544,000 people from 580,000 a year ago. More significant, its signature weekend block of instructional programs, known collectively as “In the Kitchen,” has lost 15 percent of its audience in the last year, to 830,000 viewers on average. This has left the network owing refunds, known as “make goods,” to advertisers, Ms. Johnson confirmed.
Bob Tuschman, Food Network’s senior vice president for programming and production, said the weekend ratings drop was “nothing we haven’t anticipated.” He said the network’s ratings in that time period grew by double digits in each of the last four years, growth that could not be sustained.


But the slowdown comes at an awkward time for Scripps: in October, the company announced that it would split in two, with the Food Network and HGTV anchoring the planned Scripps Networks Interactive. Scripps’s shares closed at $43.66 on Friday, down more than 18 percent from their 52-week high in January.


Slumping ratings are not the only obstacle facing the network. While the Food Network has been good at creating stars like Mr. Lagasse, Rachael Ray and Paula Deen and giving national exposure to chefs like Bobby Flay and Mario Batali, until recently it has not shared in their success beyond the network. A spokeswoman for the network said it had no stake in Mr. Lagasse’s considerable outside merchandising, for example.


About a year ago, the Food Network began aggressively trying to change that with new deals that were “way more onerous” from the stars’ point of view, said a person who has been affected by the changing strategy, by insisting on a stake in book deals and licensing ventures, and control over outside activities.


Ms. Johnson, the Food Network president, declined to discuss contracts, but noted that as the network has changed in its own mind from a television network to a brand, it has decided that “we like to be in partnership with our talent in a variety of venues.” She added, “To my knowledge, the talent is happy with the deals we have with them.”


Indeed, in the spring, Food Network plans to introduce its first celebrity chef branded product line, from Bobby Flay at the retailer Kohl’s, which in September introduced a line of several hundred Food Network branded products.
And last week, one of its biggest stars, Ms. Ray, renewed her Food Network contract, which was to expire at the end of the year. Ms. Ray got her start on the network in 2001, with “30 Minute Meals.” Last year, she went on to a daytime syndicated talk show, which Scripps partly owns.


The new Food Network deal, to be announced Monday, calls for her to make 13 episodes of a new prime-time travel show, called “Rachael’s Vacation.” But she will cut back on “30 Minute Meals,” to 60 new episodes a year from 80.


Jon Rosen, senior vice president at the William Morris Agency, who represents Ms. Ray, said the cutback will “make her happier and well-rested and enable her to take a breath and concentrate on her total brand a little more.” He said that because Ms. Ray got her start at the Food Network, “we very much wanted to continue that relationship.”


Food Network’s new interest in taking a broader stake in stars’ outside activities, Mr. Rosen said, “is somewhat understandable,” and it can be beneficial to some stars, but “in other cases, it might not work.”


The Rachael Ray deal is vital to the Food Network, which faces increasing competition from many directions. “There’s all sorts of instructional cooking video on the Web,” noted Erica Gruen, a cable consultant, who, when she was chief executive at the Food Network, created “Emeril Live.”


Elsewhere on television, Fox Broadcasting has the reality shows “Hell’s Kitchen” and “Kitchen Nightmares” with the foul-mouthed British chef Gordon Ramsay. Chef Daniel Boulud appears on the Mojo network. Anthony Bourdain, who started his TV career at the Food Network, is a star on the Travel Channel.


“It’s not surprising that people move on,” said Derek Baine, senior analyst at the media research firm SNL Kagan, “They pay almost nothing for the people as they are building their careers,” he said. “That’s been their strategy all along.”
Food Network does not even have the bragging rights these days to the top-rated food-related show on cable. That would be Bravo, whose “Top Chef” competition drew an average 2.6 million viewers an episode in its recent third outing, compared with the 2.4 million who tuned in to the third round of a similar cook-off show, “The Next Food Network Star.” (Those ratings are for original broadcasts and digital video recorder playbacks within seven days. Food Network executives said their show, which is the network’s highest-rated program ever, wins when only original broadcasts are included.)


Ms. Johnson called “Top Chef” a copy of “The Next Food Network Star,” but “without the care about the food content, which we bring to everything we do.”
Frances Berwick, Bravo’s executive vice president of programming and production, said the point of “Top Chef” was to help contestants open restaurants, as two have done, "not to become television personalities."


The network’s programming strategy, meanwhile, has also undergone changes, often broadening from its emphasis on the food itself. Mr. Batali‘s Italian cooking show “Molto Mario” was once a constant presence in the daytime lineup, but new episodes ended in 2004. His new series — a food tour of Spain with Gwyneth Paltrow, Mark Bittman, a food columnist for The New York Times, and the Spanish actress Claudia Bassols — will instead appear in the fall in prime time on public television.


Mr. Tuschman of the Food Network said it had passed on that series. “It was not the right fit for us.”


Mr. Batali, who still participates in the Food Network’s “Iron Chef America” competition, said the show had not been offered to the Food Network.
He said the network recently proposed a couple of new projects for him, including one where he would be host of a reality show, and that he would discuss them with the executives in January. “I’m not averse to working with them,” he said.
Still, Mr. Batali said, “They don’t need me. They have decided they are mass market and they are going after the Wal-Mart crowd,” which he said was “a smart business decision. So they don’t need someone who uses polysyllabic words from other languages.”


Ms. Johnson disputed that assertion, but Food Network executives said the network has successfully broadened its programming in recent years, with shows like the extreme cake-building reality series “Ace of Cakes” and “Dinner: Impossible,” featuring a chef, Robert Irvine, in extreme cooking challenges.


In February, the network will introduce “Ultimate Recipe Showdown,” a competition for home cooks, Mr. Tuschman said. The network’s sagging weekend lineup will get three new programs early next year, featuring the British chefs Jamie Oliver and Danny Boome, and the Memphis barbecue restaurateurs Gina and Pat Neely.
Mr. Baine, the cable analyst, said he expects the Food Network, like other cable networks, “to have a really good year” if the Writers Guild of America strike continues and broadcast networks have no original scripted programming. He said any ups and downs in ratings were unlikely to affect Scripps’s plan to split its company into two separately traded stocks.


“I think it’s a great move; there are very few stand-alone cable network stocks rights now,” he said. “It’s pretty solid, despite some ups and downs in the ratings.”