headphones and BBQ

Demand A Plan to End Gun Violence

noreply@blogger.com (Unknown) — Fri, 09 Nov 2018 00:13:00 +0000

#happybirthday dance in the kitchen? Ed Sheeran - Thinking Out Loud [Official Video]

noreply@blogger.com (Unknown) — Thu, 25 Oct 2018 00:40:00 +0000

Eagles - Take It To The Limit Live 2018 ( HD )

noreply@blogger.com (Unknown) — Wed, 24 Oct 2018 17:13:00 +0000

"The Shadow" Watch A Tease Of Our Collaborative Interactive Horror Film

noreply@blogger.com (Unknown) — Tue, 23 Oct 2018 18:30:00 +0000

Peter Amft and The Blues Brothers

noreply@blogger.com (Unknown) — Mon, 22 Oct 2018 01:28:00 +0000

In 2009 I had the pleasure of speaking with Peter Amft, a famous rock and blues photographer, about his experiences and photographs. After several of these calls, I received a large box in the mail. It was filled with original photos, slides, notes, and a first printing of an unreleased Rolling Stones album cover. It was amazing. I never expected anything - i simply enjoyed our many conversations together. I never heard from him again.

Thank you, Peter, for enriching my life with our conversations, I will never forget.

Amazing story that Peter told to me

Sunday Night Blues

noreply@blogger.com (Unknown) — Mon, 22 Oct 2018 00:44:00 +0000

I'm from the Boston area - growing up, the J. Geils Band was a legend, long before MTV. This is a great story and if you are not familiar - a great band.

J Geils Band LIVE

J. Geils Band singer Peter Wolf made worlds collide (and gossip columnists' heads spin) when he married critically acclaimed Hollywood star Faye Dunaway.

The glamorous Dunaway, already Oscar-nominated for her work in 1967's Bonnie and Clyde – and soon to pick up her second nomination, for 1974's Chinatown – may have seemed like an unlikely match for Wolf, a harmonica-toting blues belter whose sweaty antics as the J. Geils Band's one-of-a-kind frontman had helped the group earn an ardent live following even as their record sales struggled. But whether or not anyone in the press thought their relationship made sense, it worked for the newlyweds. For a while, anyway.

"We were there for each other, without an effort," Dunaway wrote in her 1998 memoir, Looking for Gatsby. "We were like two warriors standing shoulder to shoulder. That's how we used to think of ourselves. There was no ego clash between us, though we were always ambitious. If he needed something, I would help him with it. And if I needed something, he would help me with it. ... With Peter, I never had to worry if he loved me. He simply did."

Of course, given the demands of their divergent careers, time for standing side by side came at a premium. While Dunaway's acting career continued to take off, Wolf was in the middle of an exhausting run with the J. Geils Band, who'd release 10 albums in the eight-year span between 1970-78 while honing their renowned live show with a grueling touring schedule. They dated for two years before tying the knot on Aug. 7, 1974, but the wedding happened in a blur. The couple reportedly tied the knot just one day after getting engaged.

"My life now is such that I could get hung up on a lot of diversions if I wanted to, but I don't," Wolf told Sounds in 1976. "The J. Geils Band is the thing I love and wanna do. I could spend by time party-hopping with an impressive list of people, but that list of people has nothin' to offer me, and I probably have nothin' to offer them. I ain't got the time to waste."

For a while, the effort of juggling their professional obligations wasn't too much of a strain. In her autobiography, Dunaway writes of feeling "a sense of the infinite promise of life" during the early days of their marriage, and although the J. Geils Band's annual album releases seemed stuck in the mid-to-lower reaches of the Top 40, their profile certainly wasn't hurt by Wolf's association with Dunaway, who won her first Best Actress Oscar for 1976's Network.

Eventually, however, the strain started to show: as Dunaway wrote in her book, "time, life, and the world kept wearing away at our relationship." They separated in 1978, and their divorce was finalized in 1979 – the year before the J. Geils Band scored its highest chart showing in nearly a decade with the (allegedly) coincidentally titled Love Stinks. The band finally notched a No. 1 record the following year with Freeze Frame, but by 1983, Wolf had to face the reality of another severed union, as he parted ways with his bandmates to pursue a solo career.

"There were dark moments ... valleys and plateaus," Wolf admitted in a NME interview from 1979. "The band was affected by the personal snooping, the trials and tribulations, motions and commotions."

Painful as those splits had to have been, they weren't entirely irrevocable. Wolf and Dunaway have remained on friendly terms over the years, and after more than 15 years apart, the J. Geils Band came together for the first of an ongoing, sporadic series of reunion gigs in 1999 (although Geils was estranged from the others by the time of his 2017 death). During a 2010 interview with No Depression, Wolf stressed equanimity with all of his famous former partners.

"We were in a romance, she worked hard and was very dedicated to her work. I worked hard and was very dedicated to my work," Wolf recalled when asked about his relationship with Dunaway. "We both shared each other’s worlds and we both respected the work. And, I might say, we made it a very assertive attempt not to become a celebrity couple. We turned down all these Barbara Walters-coming-to-the-house kind of things and yak, yak, yak. It was something that we really – I think – wisely avoided."

He offered a similar show of respect for the J. Geils Band, saying, "When we were together making music, it was a deep bond and we worked hard night after night because putting on a J. Geils show required – it wasn’t just standing there and doing the music. You had to do it body and soul. And so we were there, and unfortunately, it dissipated. And every now and then, we get together and celebrate what we accomplished as musicians as far as a body of work."

noreply@blogger.com (Unknown) — Sun, 21 Oct 2018 23:32:00 +0000

Crazy good looking soup in Voldolsta, GA tonight! Cool Ramen restaurant, perfect on a cool southern night! Def not what I expected! Taste is amazing

Socks, I'm in Love - - -- with socks

noreply@blogger.com (Unknown) — Sun, 21 Oct 2018 01:12:00 +0000

https://bombas.com/

Hello, my name is / The Beatles White Album

noreply@blogger.com (Unknown) — Sat, 20 Oct 2018 21:52:00 +0000

It's been a while.

I find myself struggling to express myself and I have returned to the scene of the crime.

I hope SOMEONE will be reading these. Despite my sarcasm, I will continue to force my interests and opinions ( maybe a recipe or two ) on YOU! My unsuspecting readers. Yes, both of you. Cheers

I am fixated on the reissue of The Beatles (White Album).

The Beatles returned from India in 1968 with plans, For their new album, they wanted to play together as a band once again, and to do so required practice. Why they picked Harrison’s home as the site of their rehearsals is up for debate. The vibes at Chez Lennon were understandably tense as divorce loomed, and McCartney’s Regency townhouse in central London was perhaps too close to the hustle and bustle of city life – to say nothing of EMI’s Abbey Road Studios, a five-minute walk away – to inspire calm.

So they hunkered down at Kinfauns with some acoustic guitars, light percussive instruments and an Ampex 4-track tape machine and just let it roll. The result was a joyous, stripped-down, warts-and-all peek inside the band’s creative process. Of the 27 songs known to exist from the day, 19 would wind up on the White Album, two would be held over for Abbey Road and six were never issued by the group as an active unit. Lennon contributed a whopping 15 compositions to the proceedings, McCartney seven and Harrison five. When all was said and done, Harrison made a mono mix of the tape and a presented a copy to each of his bandmates as a reference for the upcoming sessions.

Exactly what happened to the recordings afterwards remains a mystery. Although a handful of these takes saw the light of day nearly three decades later on the Beatles’ Anthology 3 collection, the vast majority remain officially – and tragically – unreleased. Thankfully, audio has leaked in recent years, becoming available to all on YouTube. As a document, the Esher demo tape is both entertaining and historically invaluable, providing a fascinating work-in-progress glimpse of the band’s most varied collection.

It was one of the first Bootlegs I ever purchased.

Blackbird is probably my favorite song - of all the songs recorded for the White Album, “Blackbird” dates back the furthest. The seeds were sewn in the late Fifties when a 16-year-old McCartney learned the introduction of Bach’s “Bourree in E Minor” on guitar in a somewhat misguided effort to impress girls. “You often did things just as party pieces, things to show off, literally, at a party,” McCartney recalled during a seminar at Rollins College in Orlando in 2014. “You know, ‘Hey girls …’ You would do that. Unfortunately, none of them bothered.” The budding musician’s rudimentary classical guitar skills rendered the rest of the movement prohibitively difficult, so he improvised an abbreviated ending – one he never forgot. “Part of its structure is a particular harmonic thing between the melody and the bass line which intrigued me,” he explained to Barry Miles. McCartney expanded on the guitar figure while visiting his Scottish farm shortly after returning from India in the spring of 1968. “I developed the melody on guitar based on the Bach piece and took it somewhere else, took it to another level, then I just fitted words to it,” he told Miles. “I had in mind a black woman, rather than a bird. Those were the days of the civil rights movement, which all of us cared passionately about, so this was really a song from me to a black woman, experiencing these problems in the States.” The words were fully in place by the time he debuted the song at Kinfauns, but the musical structure needed work. The opening line is played only once, rather than repeated, and the wordless mid-song guitar wind-down present on the White Album is absent. But given the stripped down nature of the final recorded version, the demo sounds fairly similar. The demo is primarily a solo venture, but McCartney’s double-tracked vocals and acoustic guitar picking get some help from Lennon, who enthusiastically contributes bird sounds.

https://www.youtube.com/watch?v=tZQ3Zhx0na4

Added BONUS!! The NYT Review of the White Album - classic

https://static01.nyt.com/packages/pdf/arts/nikcohn1968.pdf

noreply@blogger.com (Unknown) — Mon, 30 Jul 2012 23:05:00 +0000

Boca Tampa Ciro's Speakeasy and Supper Club The Samba Room

A Dead Horse

noreply@blogger.com (Unknown) — Tue, 16 Feb 2010 20:40:00 +0000

I truly understand, respect and acknowledge the importance of the critic and their ability to elucidate some of the more minute and overlooked details of the dinner experience, but I’ve also realized that there are a few topics that I just generally have no interest in hearing about any longer. At some point, certain topics can be left to be addressed by the diner and does not warrant a discussion so frequently. There are also a few topics that every critic seems to pick at despite how it sensibly has no technical use or application for their actual job. The writing is fantastic and eloquently argued at times, but increasingly, the topics are becoming self serving. Here are a couple of lists of things that I would like to see the critics and writers to move on from…

The “Let It Die” topics of yesteryear:

-Restaurant noise

-Charging for or not serving bread and water

-Pizza and Burgers

-Anonymity

-Urban Spoon, Yelp, etc.

-Top Chef

-Bacon (soon to be the “Tuna Tartare” of this decade)

-Bourdain comments on Alice Waters and Food Network (it was fun… a year ago)

-NY vs. SF

The “Don’t Cry For Me, Argentina” self-serving topics of restaurant critics:

-The importance/relevance of critics

-The unimportance/importance of bloggers or blogging

-Being a critic today versus critics of the past

-Creating new diner etiquette based on personal opinion/value/digression

-Defending ratings systems

I've joined a MARCHING BAND!

noreply@blogger.com (Unknown) — Wed, 13 Jan 2010 02:33:00 +0000

OK Go

Deleted Star Trek Kirk Scene

noreply@blogger.com (Unknown) — Mon, 23 Nov 2009 22:19:00 +0000

Those of you regular readers know I was on the new Star Trek bandwagon well before the movie came out. The release of the DVD last week only confirmed my pick as the best movie of the summer of 2009.

Now comes CONFIRMATION of this deleted scene that contained Shatner's Kirk, What might have been...

For those who might be interested, this is from the script before shooting began. It's got Shatner in it. I can tell you that I could not imagine Shatner as Kirk anymore. He has kind of turned egg shaped. I guess they could have thinned him via computer imagery (a la the DirectTV/Star Trek VI commercial).
This begins during the scene where Spock Prime meets Quinto's Spock at the end of the film:

SPOCK PRIME
Then I ask that you do yourself a
favor... put away logic, and do what
feels right. The world you've inherited
lives in the shadow of incalculable
devastation... but there's no reason you
must face it alone.
And from around his neck, he removes the PENDANT that until now,
we've only caught glimpses of. Places it on the table beside
his younger self. The feeling in his eyes is profound...
SPOCK PRIME (CONT'D)
This was a gift to me. Representing...
a dream. One we were unable to fulfill.
(softly)
The way you can now.
And moves to the door. Stops. Offers the VULCAN SALUTE:
SPOCK PRIME (CONT'D)
As my customary farewell would appear
oddly self serving, I will simply say...
good luck.
Their eyes hold. Spock turns, disappearing into the corridor.
Young Spock stares at the empty doorway a beat, his mind a
jumble of thoughts. Looks to the pendant... and realizes it's a
HOLO-EMITTER. After considering a beat, he hits an activation
button and a MOVING HOLOGRAPHIC MESSAGE materializes before him:
CAPTAIN JAMES T. KIRK. WILLIAM SHATNER. As always, brash, wry,
confident -- and SINGING:
KIRK/ SHATNER
Happy birthday to you, happy birthday to
you...
(stops, grins)
I know I know, it's illogical to
celebrate something you had nothing to do
with, but I haven't had the chance to
congratulate you on your appointment to
the ambassadorship so I thought I'd seize
the occasion... Bravo, Spock -- they tell
me your first mission may take you away
for awhile, so I'll be the first to wish
you luck... and to say...
(beat, emotional)
I miss you, old friend.
... and we're PUSHING IN on Young Spock, taking in the image of
Kirk's future self, the message, but above all -- the clear,
unquestionable friendship these two men had...
INT. CORRIDOR - CONTINUOUS
As Spock Prime walks off down the corridor, he passes right by a
man conferring with a nurse -- the man pauses, turns... it's
SAREK. Suddenly overcome by a feeling that the stranger who's
just passed him is... oddly familiar.
KIRK/SHATNER (V.O.)
I suppose I'd always imagined us...
outgrowing Starfleet together. Watching
life swing us into our Emeritus years...
INT. STARBASE ONE - HANGAR - ETERNAL NIGHT
MUSIC BUILDING -- glass walls reveal THE ENTERPRISE at dock,
UTILITY CRAFTS floating around it, repairing. Standing at
attention in rows, THE ENTERPRISE CREW -- over four hundred of
them wearing DRESS UNIFORMS -- TRACK DOWN the faces, all proud:
KIRK/SHATNER (V.O.)
I look around at the new cadets now and
can't help thinking... has it really been
so long? Wasn't it only yesterday we
stepped onto the Enterprise as boys?
That I had to prove to the crew I
deserved command... and their respect?
And we STOP ON YOUNG KIRK. Composed, focused, proud. A man.
And to every fan's delight, finally wearing his YELLOW SHIRT.
The FEDERATION COMMANDANT stands at a podium:
COMMANDANT
This assembly calls Captain James
Tiberius Kirk...
Kirk breaks from formation, pivots, marches down the hangar --
past UHURA... SULU... CHEKOV... SCOTTY. All Beaming. Notably
absent, is Spock. Kirk ascends the stairs, snaps to attention:
COMMANDANT (CONT'D)
Your inspirational valor and supreme
dedication to your comrades are in
keeping with the highest traditions of
service and reflect utmost credit to
yourself, your crew, and the Federation.
By Starfleet Order 28455, you are hereby
directed to report to Commanding Officer,
USS Enterprise, for duty as his relief.
Kirk turns. Walks to... PIKE. In a wheelchair now, wearing an
ADMIRAL'S UNIFORM. Overnight, his hair's turned totally grey --
but despite his trauma, his pride's overwhelming. They SALUTE
each other:
KIRK
I relieve you, Sir.
PIKE
... I am relieved.
He opens a BOX in his lap -- glorious in repose, a MEDAL:
PIKE (CONT'D)
And as Fleet Admiral, for your... unique
solution to the Kobayashi Maru, it's my
honor to award you with a commendation
for original thinking.
Pike containing a smirk, pins the medal to Kirk's chest...
PIKE (CONT'D)
(a touch choked)
Congratulations, Captain.
KIRK
Thank you, Sir.
Kirk turns to the crowd. Eyes shining. WILD APPLAUSE. OUR
MUSIC SOARS. Bones leans in to Sulu, rolling his eyes:
BONES
... Same ship, different day.
As Kirk rejoins his crew for hugs and congratulations, we go to
the BACK of the hangar... SPOCK PRIME. Watching. Moved beyond
words. He turns and leaves them to it... as he goes...
KIRK/SHATNER (V.O.)
I know what you'd say -- `It's their turn
now, Jim...' And of course you're
right... but it got me thinking:
INT. STARFLEET HOSPITAL - EARTH - DAY
Our montage comes full circle as we END on Kirk's transmission:
KIRK/SHATNER
Who's to say we can't go one more round?
By the last tally, only twenty five
percent of the galaxy's been chartered...
I'd call that negligent. Criminal even --
an invitation.
(MORE)
KIRK/SHATNER (CONT'D)
You once said being a starship captain
was my first, best destiny... if that's
true, then yours is to be by my side. If
there's any true logic to the universe...
we'll end up on that bridge again
someday.
Stops, grins. Because this is the part he needs to say most...
KIRK
Admit it, Spock. For people like us, the
journey itself... is home.

Young Spock's face. Lost in feelings that flood through him.

Beaujolais Nouveau

noreply@blogger.com (Unknown) — Tue, 17 Nov 2009 01:07:00 +0000

Why should you care about the third Thursday in November? It's the day that Beaujolais Nouveau -- a French wine called BN for short -- arrives in stores all over the world.

This is a light-bodied, fruity, fun red, made from the Gamay grape in the region of Beaujolais. "Regular"

Beaujolais is released the year after the grapes are picked, but BN is released a few weeks after the grapes come in. So the wine you taste was made with grapes picked just a few weeks before. The tradition started when winemakers wanted to use up their Gamay grapes and realized they could make a passable wine quickly with the use of the carbonic maceration method, where the fruity quality is preserved without the bitter tannins of the skins and seeds. What began as a winemaker trick became marketing genius. French law requires that BN be released no earlier than the third Thursday of November - no exceptions.

This is not a serious wine - it's just fun and cheap and can be served chilled or at room temperature, and it pairs with virtually every food on the planet. Just don't keep it too long - it's meant to be drunk within six months of purchase. And in these financially precarious times, you'll be happy to hear that BN is one of the best values out there; most bottles are about $10. A few producers are going green and bottling their BN in plastic bottles rather than glass; it keeps the shipping weight down.

Most wine stores carry three or four types of Beaujolais Nouveau, and here are some of the better producers to look for: Mommessin, Georges Duboueuf, Joseph Drouhin, J. Arthaud, and Michel Picard.

U2 - The Unforgettable Fire Super Deluxe Edition (2009)

noreply@blogger.com (Unknown) — Tue, 17 Nov 2009 00:40:00 +0000

"An appreciable leap forward in almost every fashion from the group's first trio of albums, The Unforgettable Fire is its first with the production team of Brian Eno and Daniel Lanois. And while they take a strong hand in wrestling U2's music out of the mainstream and into a more individualistic area, it's the songs themselves that demand a more subtle approach. Moody gems such as "A Sort of Homecoming" and the entrancing "Bad" set the table for more explosive fare such as "Pride," "Wire," and the title track. This is the album that made U2 a career act, showing that their music could grow by leaps and bounds, even at the hand of another, without sacrificing its soul. "--Daniel Durchholz

My favorite album until The Joshua Tree came out.

Tracklist:
Disc 01:
1. A Sort Of Homecoming 05:282. Pride In The Name Of Love 03:503. Wire 04:204. The Unforgettable Fire 04:555. Promenade 02:356. 4th Of July 02:177. Bad 06:098. Indian Summer Sky 04:209. Elvis Presley And America 06:2310. MLK 02:34

Disc 02:
1. Disappearing Act 04:352. A Sort Of Homecoming Live 04:073. Bad Live 08:004. Love Comes Tumbling 04:525. The Three Sunrises 03:536. Yoshino Blossom 03:397. Wire Kervorkian Remix 05:128. Boomerang I 02:499. Pride In The Name Of Love 04:4310. A Sort Of Homecoming 03:1811. 11 OClock Tick Tock 04:1312. Wire Celtic Dub Mix 04:3613. Basa Trap 05:1514. Boomerang II 04:5015. 4th Of July 02:2616. Sixty Seconds In Kingdom Come 03:15

here

Let It Be (UK Stereo LP - MFSL- Dr. Ebbets)

noreply@blogger.com (Unknown) — Tue, 17 Nov 2009 00:36:00 +0000

HERE

Mac and Cheese with Roasted Chicken, Goat Cheese and Rosemary

noreply@blogger.com (Unknown) — Fri, 13 Nov 2009 23:52:00 +0000

I love this book! - Mac and cheese postponed until tomorrow night but here is the recipe -

Mac and Cheese with Roasted Chicken, Goat Cheese and Rosemary

from Live To Cook: Recipes and Techniques to Rock Your Kitchen

Kosher salt as needed

1 pound dried rigatoni

1 quart cream

2 tablespoons chopped fresh rosemary

8 ounces goat cheese

2 cups shredded roasted chicken

Bring a pot of water to a boil (add enough salt so that it tastes seasoned). While it's heating, pour the cream into a large sauce pan, add the rosemary and a 1/2 teaspoon of salt and bring it to a simmer, careful not to let it boil over. Reduce the cream by about half. Add the goat cheese and chicken and keep cooking it till the cream coats the back of a spoon.

Cook the rigatoni till it's al dente, about ten minutes. Drain the pasta, add it to the sauce. Toss the pasta in the sauce till the sauce resumes a simmer, then serve.

Serves 6 to 8

Back in the Saddle

noreply@blogger.com (Unknown) — Tue, 10 Nov 2009 15:19:00 +0000

I know, it has been a while. I have been struggling lately to find a muse. A couple of things came to my attention in the past week that I did want to share -

I have been reading a lot of Michael Ruhlman and noticed that he was part of a new shopping site called Open Sky.

Here is how he describes it," Here's why I think Open Sky is such a great idea. Earlier this month, my son James was home with the flu (all's well now, thank goodness!). I scoured netflix for thrillers or sci-fi flicks that both a 10-year-old and his father would love. There was no search function for this. But I went to my local video store, VidStar, explained the situation to a guy named Joe behind the counter, who took me to his personal shelf and handed me a dozen movies that fit my requirements. I chose three, they were awesome and I went back for three more a few days later.

This is an increasingly infrequent experience in our WalMart-Amazon world, one that Open Sky hopes to make less so by asking individuals to create small "shops" comprising products they themselves love and use. There are shops for gardeners, for fishermen, for bird watchers. It's an expression of the Long Tail theory.

Just last week, a reader of my books and blog wrote to me saying she had had enough worrying over E coli and wanted to start grinding her own meat. She doesn't have a standing mixer so I sent her to the grinder I recommend on Open Sky.

This is my shop for kitchen tools—and everything in it is something I either own and use or covet myself. Want to make a proper quiche? I've got the ring mold you need. What's coolest about Open Sky, though, is that I tell my colleagues at Open Sky that I want to offer something unusual, something most people don't know about, and they find a way for me to offer it through Open Sky. For instance, I found a great magnetic knife holder to hang my knives on (they're made from gorgeous woods so are not only beautiful, they also won't ding my knives) made by a small company you've probably never heard of. Now you have. The company is Bench Crafted and the knife holder is called Mag-Blok, and if you want a space-efficient way to store your knives, I highly recommend it. It's also a really cool, affordable gift (it's not like you see these things all over the place).

Another example. Every time I returned to the Culinary Institute of America, I brought home with me 4 or 5 of the side towels they sell and which all the students use. They're really heavy duty sturdy towels, not for wiping your board! or dabbing your brow! as Chef Pardus told our class, "They're FOR GRABBING HOT THINGS!" I hate pot holders and oven mitts; I find them ugly and clunky and inconvenient. I love these side towels (5 towels per order, btw). They have many uses and I always have a stack folded and ready nearby. I used to have to wait till I went back to Hyde Park to buy more. Now I can order them from my own store! I love it. "

The prices are also very competitive, and there are other "experts" in many different vocations. Open Sky, a very good idea.

Second, Michael Symon's new book, Live to Cook! is hot. It's a chef's cookbook that doesn't talk down to the home cook but is completely home cook accessible. One of his old cooks said this, I've never forgotten it, and it remains true: "You know what I like about Michael's food? It's the kind of food you can do at home." So true. He got a Best New Chef award, and last year Best Chef Midwest from the Beard Foundation, by serving "do-at-home" food. That's what I love about his style and the food in this book. I'll post his Mac and Cheese recipe soon, I'll be making it Tuesday night.

Last but not least - new JM. Battle Studies. This is very, very good. I'll keep the link as long as it stays active.

01. Heartbreak Warfare
02. All We Ever Do Is Say Goodbye
03. Half Of My Heart
04. Who Says
05. Perfectly Lonely
06. Assassin
07. Crossroads
08. War Of My Life
09. Edge Of Desire
10. Do You Know Me
11. Friends, Lovers Or Nothing

Password=Zinhof

"2009 studio album from the Grammy-winning singer/songwriter. Since the release of his hit album, Room For Squares, in 2001, Mayer has progressed from a sensitive acoustic-based performer into a full-fledged paparazzi-baiting superstar with acclaimed musical detours into Jazz, Blues and Folk. Battle Studies is yet another milestone for Mayer, containing some of his best work to date." here

From dusk till dawn...

noreply@blogger.com (Unknown) — Wed, 21 Oct 2009 01:30:00 +0000

Two of my favorites, Ruhlman and Bourdain...

40 Dogs

noreply@blogger.com (Unknown) — Mon, 19 Oct 2009 01:13:00 +0000

well if I spell it out if i get it out will you hear me when I tell you about what I have to say before it gets to late its not as easy as I said it would be but there’s something right about u and me something right about u and me well you’re the color of a book you’re the color of a sideways look from an undercover cop you’re the color of the book. You’re the color storm in june of the moon you’re the color of the night that’s right color of a fight you move me you’re the color of the color part of the wizard of oz movie were like romeo and Juliet were like 40 dogs cigarettes well good times that haven’t happened yet but will i can tell you where were gonna be when the whole world fall to the sea we’ll be livin’ ever after and happily all the boys taking you for granted tell you what they want with their eyes all slanted. I don’t like the way they look at you . I don’t like the way they talk too. I don’t like the way they talk to you. I wouldn’t let them talk to you like that. put’um up high reach for the ceiling tell them to walk dammit im real’in it aint no crime its just dreams we’re stealing anything to get more of this feeling you take the high and ill take the low well get their before you know we aint got no time to waste we got too much light to taste were like romeo and Juliet and 40 dogs cigarettes with our good times that haven’t happened yet but will i can tell you where were gonna be when the whole world fall to the sea well be livin’ ever after and happily sometimes you remind me of a moonbeam on the ghost of a moonbeam out on the beach down by the coast slip into manila like the most beautiful thing ive ever seen come out tonight come out with me baby well throw the careful into the crazy turn the sky black into a sky blue turn the color shade into a hoo hoo what I say is true make fire gotta burn a few make fire gotta burn a few we can do what we want to do were like romeo and Juliet were like 40 dosgs cigaretts well good times that haven’t happened yet but will i can tell you where were gonna be when the whole world fall to the sea well be livin’ ever after and happily

The Burger - the final recipe

noreply@blogger.com (Unknown) — Mon, 19 Oct 2009 00:55:00 +0000

I admit it: my tastes are not strikingly original. I'm obsessed with the Beatles, Beethoven is my god, and I even think Bono is a pretty neat guy. Nevertheless, I've consciously tried to avoid all things at the intersection of over-hyped and New York, until a couple years ago when I finally forced myself to stand on line for a hamburger in the name of research—a hamburger that changed my life.

Yes, I'm talking about the Shack Burger from Shake Shack, of which more than enough has been written about already. I'm not here to wax poetic about what Josh Ozersky has dubbed "the platonic ideal of a hamburger"—rather, I'm here to talk about a way to skip the line that doesn't involve standing outside at 9 p.m. on a rainy Tuesday night: Just make the Shack Burger at home. Easier said than done.

There's nothing special about the burger—regular squishy bun, a 1/4-pound patty of griddled meat, lettuce, tomato, and sauce—but like all good burger experiences, the sandwich is far more than a sum of its parts. To recreate the experience at home, I had to eat it, dissect it, deconstruct it, research it, eat it some more, rebuild it, break it down again, reconfigure it, taste it, eat it one more time, and finally reconstruct it again. Here are the results of my labor, from the ground up.

The Fake Shack (or the Shack Burger at Home)
- - Posted by J. Kenji Lopez-Alt, October 16, 2009 at 9:30 AM

Note: This is my favorite burger recipe - it's about quality product and technique.

- makes 4 burgers -

Ingredients
8 ounces beef sirloin, trimmed of gristle, and cut into 1-inch cubes
4 ounces well-marbled beef chuck, trimmed of gristle, and cut into 1-inch cubes
4 ounces well-marbled beef brisket, fat cap intact, trimmed of gristle, and cut into 1-inch cubes
2 tablespoons butter, melted
4 Martin's Sandwich Rolls
4 tablespoons Shack Sauce (recipe follows)
4 leaves of green-leaf lettuce, clipped
8 center-cut slices ripe plum tomatoes
1/2 teaspoon vegetable oil
Kosher salt and fresh-ground black pepper
4 slices yellow American cheese

Procedure
1. Place feed shaft, blade, and 1/4-inch die of meat grinder in freezer until well-chilled. Meanwhile, place meat chunks on rimmed baking sheet, leaving space between each piece and place in freezer for 10 minutes until meat is firm, but not frozen.

2. Combine meat in large bowl and toss to combine. Pass meat through grinder twice. Form into four disks, about 2-inches tall, and 2.5-inches wide. Refrigerate until ready for use.

3. Open buns but do not split hinge. Brush lightly with butter, then place under broiler or in toaster oven until golden brown, about 1 minute. Spread 1 tablespoon Shack Sauce on top half of each bun (for true authenticity, squirt out of squeeze bottle into three lines, three passes on each line). Place 1 leaf lettuce and 2 slices tomato on top half of each bun.

4. Using wadded-up paper towel, rub inside of heavy-bottomed 12-inch skillet with vegetable oil, then place over medium-high heat until just beginning to smoke. Season beef pucks on top side with salt and pepper, then place, seasoned side down, in skillet. Using back of heavy, flat spatula, press down on beef pucks firmly to form 4-inch round patties, being careful not to let it stick to bottom of spatula. Season top side with salt and pepper. Cook until crisp brown crust has formed, about 2-minutes.

5. Carefully scrape patties from skillet, and flip. Top each patty with 1 slice American cheese. Cook until cheese is melted, about 1 minute longer. Transfer patties to burger bun bottoms, close sandwiches, and serve.

The Sauce

- makes about 3/4 cup sauce -

Ingredients
1/2 cup mayonnaise
1 tablespoon ketchup
1 tablespoon yellow mustard
4 slices kosher dill pickle
1/4 teaspoon garlic powder
1/4 teaspoon paprika
pinch cayenne pepper

Ingredients
Combine all ingredients in blender until smooth, scraping down sides of blender with rubber spatula as necessary.

The Beatles - Revolver

noreply@blogger.com (Unknown) — Thu, 01 Oct 2009 02:47:00 +0000

TAXMAN
(Harrison)
GEORGE 1980: "'Taxman' was when I first realized that even though we had started earning money, we were actually giving most of it away in taxes. It was and still is typical."

JOHN 1980: "I remember the day he (George) called to ask for help on 'Taxman,' one of his first songs. I threw in a few one-liners to help the song along because that's what he asked for. He came to me because he couldn't go to Paul. Paul wouldn't have helped him at that period. I didn't want to do it. I just sort of bit my tongue and said OK. It had been John and Paul for so long, he'd been left out because he hadn't been a songwriter up until then."

PAUL 1984: "George wrote that and I played guitar on it. He wrote it in anger at finding out what the taxman did. He had never known before then what could happen to your money."

GEORGE 1987: "I was pleased to have Paul play that bit on 'Taxman.' If you notice, he did like a little Indian bit on it for me."

ELEANOR RIGBY
(Lennon/McCartney)
PAUL 1966: "I was sitting at the piano when I thought of it. The first few bars just came to me, and I got this name in my head... Daisy Hawkins picks up the rice in the church. I don't know why. I couldn't think of much more so I put it away for a day. Then the name Father McCartney came to me, and all the lonely people. But I thought that people would think it was supposed to be about my Dad sitting knitting his socks. Dad's a happy lad. So I went through the telephone book and I got the name McKenzie. I was in Bristol when I decided Daisy Hawkins wasn't a good name. I walked 'round looking at the shops, and I saw the name Rigby. Then I took the song down to John's house in Weybridge. We sat around, laughing, got stoned and finished it off."

JOHN 1980: "Paul's baby, and I helped with the education of the child... The violin backing was Paul's idea. Jane Asher had turned him on to Vivaldi, and it was very good."

PAUL 1984: "I got the name Rigby from a shop in Bristol. I was wandering round Bristol one day and saw a shop called Rigby. And I think Eleanor was from Eleanor Bron, the actress we worked with in the film 'Help!' But I just liked the name. I was looking for a name that sounded natural. Eleanor Rigby sounded natural."

I'M ONLY SLEEPING
(Lennon/McCartney)
JOHN 1980: "It's got backwards guitars... that's me dreaming my life away."

PAUL circa-1994: "It was a nice idea-- 'There's nothing wrong with it. I'm not being lazy, I'm only sleeping, I'm yawning, I'm meditating, I'm having a lay-in.' The luxury of all that was what it was all about. The song was co-written but from John's original idea."

LOVE YOU TO
(Harrison)
GEORGE 1966: "I play sitar on another track. I don't care if everybody is using 'em, you know. I just play it 'cuz I like it."

GEORGE 1980: "'Love You To' was one of the first tunes I wrote for sitar. 'Norwegian Wood was an accident as far as the sitar part was concerned, but this was the first song where I consciously tried to use the sitar and tabla on the basic track. I overdubbed the guitars and vocals later."

HERE THERE AND EVERYWHERE
(Lennon/McCartney)
JOHN 1972: "This was a great one of his."

JOHN 1980: "That's Paul's song completely, I believe. And one of my favorite songs of the Beatles."

PAUL 1984: "I wrote that by John's pool one day. When we were working together, sometimes he came in to see me. But mainly, I went out to see him."

PAUL circa-1994: "'Here, There and Everywhere' has a couple of interesting structural points about it... each verse takes a word. 'Here' discusses here, Next verse, 'there' discusses there, then it pulls it all together in the last verse with 'everywhere.' ...John might have helped with a few last words."

YELLOW SUBMARINE
(Lennon/McCartney)
PAUL 1966: "It's a happy place, that's all. You know, it was just... We were trying to write a children's song. That was the basic idea. And there's nothing more to be read into it than there is in the lyrics of any children's song."

JOHN 1972: "Paul wrote the catchy chorus. I helped with the blunderbuss bit."

JOHN 1980: "'Yellow Submarine' is Paul's baby. Donovan helped with the lyrics. I helped with the lyrics too. We virtually made the track come alive in the studio, but based on Paul's inspiration. Paul's idea. Paul's title... written for Ringo."

PAUL 1984: "I wrote that in bed one night. As a kid's story. And then we thought it would be good for Ringo to do."

PAUL circa-1994: "I was laying in bed in the Asher's garret, and there's a nice twilight zone just as you're drifting into sleep and as you wake from it-- I always find it quite a comfortable zone. I remember thinking that a children's song would be quite a good idea... I was thinking of it as a song for Ringo, which it eventually turned out to be, so I wrote it as not too rangey in the vocal. I just made up a little tune in my head, then started making a story-- sort of an ancient mariner, telling the young kids where he'd lived. It was pretty much my song as I recall... I think John helped out. The lyrics got more and more obscure as it goes on, but the chorus, melody and verses are mine."

GEORGE 1999: "Paul came up with the concept of 'Yellow Submarine.' All I know is just that every time we'd all get around the piano with guitars and start listening to it and arranging it into a record, we'd all fool about. As I said, John's doing the voice that sounds like someone talking down a tube or ship's funnel as they do in the merchant marine. (laughs) And on the final track there's actually that very small party happening! As I seem to remember, there's a few screams and what sounds like small crowd noises in the background."

SHE SAID SHE SAID
(Lennon/McCartney)
JOHN 1968: "That was pure. You see, when I wrote that I had the 'She said she said,' but it was just meaning nothing. It was just vaguely to do with someone who had said something like he knew what it was like to be dead, and then it was just a sound. And then I wanted a middle-eight. The beginning had been around for days and days and so I wrote the first thing that came into my head and it was 'When I was a boy,' in a different beat, but it was real because it just happened."

JOHN 1980: "That's mine. It's an interesting track. The guitars are great on it. That was written after an acid trip in L.A. during a break in the Beatles tour where we were having fun with the Byrds and lots of girls. Peter Fonda came in when we were on acid and he kept coming up to me and sitting next to me and whispering, 'I know what it's like to be dead.' He was describing an acid trip he'd been on. We didn't 'want' to hear about that. We were on an acid trip and the sun was shining and the girls were dancing, and the whole thing was beautiful and Sixties, and this guy-- who I really didn't know-- he hadn't made 'Easy Rider' or anything... kept coming over, wearing shades, saying, 'I know what it's like to be dead,' and we kept leaving him because he was so boring! And I used it for the song, but I changed it to 'she' instead of 'he.' It was scary... I don't want to know what it's like to be dead!"

GOOD DAY SUNSHINE
(Lennon/McCartney)
JOHN 1972: "Paul. But I think maybe I helped him with some of the lyric."

JOHN 1980: "'Good Day Sunshine' is Paul's. Maybe I threw in a line or something."

PAUL 1984: "Wrote that out at John's one day... the sun was shining. Influenced by the Lovin' Spoonful."

PAUL circa-1994: "'Good Day Sunshine' was me trying to write something similar to 'Daydream.' John and I wrote it together at Kenwood, but it was basically mine and he helped me with it."

AND YOUR BIRD CAN SING
(Lennon/McCartney)
JOHN 1972: "Another horror."

JOHN 1980: "Another of my throwaways."

GEORGE 1987: "I think it was Paul and me, or maybe John and me, playing (guitar) in harmony-- quite a complicated little line that goes through the middle-eight."

PAUL 1995: "One of my favorites on the Anthology is, 'And Your Bird Can Sing,' which is a nice song, but this take of it was one we couldn't use at the time. John and I got a fit of the giggles while we were doing the double-track. You couldn't have released it at the time. But now you can. Sounds great just hearing us lose it on a take."

FOR NO ONE
(Lennon/McCartney)
JOHN 1972: "Another of his I really liked."

JOHN 1980: "Paul's. One of my favorites of his. A nice piece of work."

PAUL 1984: "I wrote that on a skiing holiday in Switzerland. In a hired chalet amongst the snow."

PAUL circa-1994: "I suspect it was about another argument. I don't have easy relationships with women, I never have. I talk too much truth."

DOCTOR ROBERT
(Lennon/McCartney)
JOHN 1972: "Me. I think Paul helped with the middle."

JOHN 1980: "Another of mine. Mainly about drugs and pills. It was about myself. I was the one that carried all the pills on tour... later on the roadies did it. We just kept them in our pockets, loose, in case of trouble."

PAUL circa-1994: "John and I thought that was a funny idea-- the fantasy doctor who would fix you up by giving you drugs. It was a parody on that idea."

I WANT TO TELL YOU
(Harrison)
GEORGE 1980: "...about the avalanche of thoughts that are so hard to write down or say or transmit."

GOT TO GET YOU INTO MY LIFE
(Lennon/McCartney)
JOHN 1968: "We were doing our Tamla Motown bit. You see, we're influenced by whatever's going. Even if we're not influenced, we're all going that way at a certain time."

JOHN 1972: "I think George and I helped with some of the lyrics. I'm not sure."

JOHN 1980: "Paul. I think that was one of his best songs, too, because the lyrics are good and I didn't write them. You see? When I say that he could write lyrics if he took the effort-- here's an example."

PAUL 1984: "That's mine-- I wrote it. It was the first one we used brass on, I think. One of the first times we used soul trumpets."

PAUL circa-1994: "I'd been a rather straight working class lad, but when we started to get into pot it seemed to me to be quite uplifting. It didn't seem to have too many side effects like alcohol or some of the other stuff, like pills, which I pretty much kept off. I kind of liked marijuana and to me it seemed it was mind-expanding, literally mind-expanding. So 'Got To Get You Into My Life' is really a song about that. It's not to a person, it's actually about pot. It's saying, 'I'm going to do this. This is not a bad idea.' So it's actually an ode to pot, like someone else might write an ode to chocolate or a good claret. I haven't really changed my opinion too much, except if anyone asks me for real advice, it would be stay straight. That is actually the best way, but in a stressful world I still would say that pot was one of the best of the tranquilizing drugs. I have drunk and smoked pot and of the two I think pot is less harmful. People tend to fall asleep on it rather than go out and commit murder, so it's always seemed to me to be a rather benign one."

TOMORROW NEVER KNOWS
(Lennon/McCartney)
JOHN 1968: "'Tomorrow Never Knows' ...I didn't know what I was saying, and you just find out later. I know that when there are some lyrics I dig, I know that somewhere people will be looking at them."

JOHN 1968: "Often the backing I think of early-on never comes off. With 'Tomorrow Never Knows' I'd imagined in my head that in the background you would hear thousands of monks chanting. That was impractical, of course, and we did something different. It was a bit of a drag, and I didn't really like it. I should have tried to get near my original idea, the monks singing. I realize now that was what I wanted."

JOHN 1972 "This was my first psychedelic song."

JOHN 1980 "That's me in my 'Tibetan Book of the Dead' period. I took one of Ringo's malapropisms as the title, to sort of take the edge off the heavy philosophical lyrics."

PAUL 1984: "That was one of Ringo's malapropisms. John wrote the lyrics from Timothy Leary's version of the 'Tibetan Book of the Dead.' It was a kind of Bible for all the psychedelic freaks. that was an LSD song. Probably the only one. People always thought 'Lucy in the Sky with Diamonds' was but it actually 'wasn't' meant to say LSD."

PAPERBACK WRITER
(Lennon/McCartney)
JOHN 1972: "Paul. I think I might have helped with some of the lyrics, Yes, I did. But it was mainly Paul's tune."

JOHN 1980: "'Paperback Writer' is son of 'Day Tripper' ...meaning a rock 'n roll song with a guitar lick on a fuzzy loud guitar."

PAUL circa-1994: "I arrived at Weybridge and told John I had this idea of trying to write off to a publishers to become a paperback writer, and I said, 'I think it should be written like a letter.' I took a bit of paper out and I said it should be something like, 'Dear Sir or Madam, as the case may be...' and I proceeded to write it just like a letter in front of him, occasionally rhyming it... And then we went upstairs and put the melody to it. John and I sat down and finished it all up, but it was tilted towards me-- the original idea was mine. I had no music, but it's just a little bluesy song, not alot of melody. Then I had the idea to do the harmonies, and we arranged that in the studio."

RAIN
(Lennon/McCartney)
JOHN 1966: "After we'd done the session on that particular song-- it ended at about four or five in the morning-- I went home with a tape to see what else you could do with it. And I was sort of very tired, you know, not knowing what I was doing, and I just happened to put it on my own tape recorder and it came out backwards. And I liked it better. So that's how it happened."

JOHN 1980: "That's me again-- with the first backwards tape on record anywhere... I got home from the studio and I was stoned out of my mind on marijuana... and, as I usually do, I listened to what I'd recorded that day. Somehow it got on backwards and I sat there, transfixed, with the earphones on, with a big hash joint. I ran in the next day and said, 'I know what to do with it, I know... listen to this!' So I made them all play it backwards. The fade is me actually singing backwards with the guitars going backwards. (sings) 'Sharethsmnowthsmeanss!' That one was the gift of God... of Ja actually-- the god of marijuana, right? So Ja gave me that one."

RINGO 1984: "My favorite piece of me is what I did on 'Rain.' I think I just played amazing. I was into the snare and hi-hat. I think it was the first time I used the trick of starting a break by hitting the hi-hat first instead of going directly to a drum off the hi-hat. I think it's the best out of all the records I've ever made. 'Rain' blows me away. It's out in left field. I know me and I know my playing... and then there's 'Rain.'"

PAUL circa-1994: "It was nice. I really enjoyed that one."

DISCUSSING THE UNFINISHED ALBUM, MAY 1966
GEORGE: "We spend more time on recording now, because we prefer recording."

JOHN: "And we've done half an LP in the time we'd take to do a whole LP and a couple of singles. So we can't do it all, you know, but we like recording."

BRIAN MATTHEW: "Alright. When is it going to be finished?"

JOHN: "In a week."

GEORGE: "It should be finished in about two or three weeks time... because if it's not, we'll never be able to get another holiday in before we go away again, you see."

PAUL: (joking) "If we don't get it done soon, gov, we'll lose our jobs."

ON SONGWRITING (DURING THE REVOLVER PERIOD)
JOHN 1966: "Sometimes they say, 'Now you must write,' and now we write. But it doesn't come some days. We sit there for days just talking to each other, messing 'round not doing anything."

GEORGE 1966: "John and Paul's standard of writing has bettered over the years, so it's very hard for me to come straight to the top, on par with them. They gave me an awful lot of encouragement. Their reaction has been very good. If it hadn't, I think I would have just crawled away."

PAUL 1966: "I don't know whether poets think they have to experience things to write about them, but I can tell you our songs are nearly all imagination-- ninety percent imagination. I don't think Beethoven was in a really wicked mood all the time."

JOHN 1966: "It's too easy to put it off if we just meet without any plan and say, 'Shall we write something today?' If you do that then you feel as though you're losing a free day. What we're going to do is make dates beforehand and sort of say, 'Right, Wednesday and Friday of this week are for songwriting. And Tuesday, Wednesday and Thursday of next week.' Then we'll know it's something we've to keep to."

ON RECORDING (DURING THE REVOLVER PERIOD)
JOHN 1966: "One thing's for sure-- the next LP is going to be very different."

PAUL 1966: "I don't think we ever try to establish trends. We try to keep moving forward and do something different... and if in the meantime it starts a trend, that's ok. But we never try consciously to start them."

GEORGE 1966: "We all put alot of suggestions in after we've recorded a take. That's why we take so long to record a number. We've always cooperated with one another. Paul might come into the studio and say, 'Do this' if he has worked out the chords beforehand. But they always need changing."

JOHN 1972: "We'd had acid on Revolver. Everybody is under this illusion-- even George Martin was saying, 'Pepper was their first acid album.' But we'd had acid, including Paul, by the time Revolver was finished."

ON RECORDING AT EMI'S ABBEY ROAD STUDIOS
PAUL 1988: "George Martin would be saying, 'Can you turn the (guitar) amps down please? And John would look at George (Harrison) and say, 'How much are you going down? Let's go down to Five, alright?' John would go down to Six-- 'OK, I'm at Five!' 'You bugger! You're not. You're at Six!' There was always this terrible rivalry. You just wanted to be louder. But it's nice to listen to the Beatle records now. There's more guitar than you'll ever hear on a record these days."

CD 1

Apr 6th 1966 - Studio 3, 8:15pm-1:00am
1. Tomorrow Never Knows - take 1 - backing loop
2. Tomorrow Never Knows - SI onto take 1 - drums & vocal
3. Tomorrow Never Knows - take 3 - bass & drums rhythm track

Apr 7th 1966 - Studio 3, 2:30-7:15pm
4. Tomorrow Never Knows - tape loops
5. Tomorrow Never Knows - SI onto take 3 - loop track

Apr 7th 1966 - Studio 3, 8:15pm-1:30am
6. Got To Get You Into My Life - take 5 - rhythm track
7. Got To Get You Into My Life - SI onto take 5 - vocals

Apr 8th 1966 - Studio 2, 2:30-9:00pm
8. Got To Get You Into My Life - take 8

Apr 11th 1966 - Studio 2, 8:00pm-12:45am
9. Love You To - take 6 - guitar & vocal
10. Love You To - SI onto take 6 - sitar & tabla
11. Love You To - SI onto take 6 - 2nd sitar & fuzz bass

Apr 13th 1966 - Studio 3, 2:30-6:30pm
12. Love You To - SI onto take 7
13. Love You To - mono mix

Apr 13th 1966 - Studio 3, 8:00pm-2:30am
14. Paperback Writer - take 1
15. Paperback Writer - take 2 - rhythm
16. Paperback Writer - SI onto take 2 - lead vocal
17. Paperback Writer - SI onto take 2 - 2nd lead vocal

Apr 14th 1966 - Studio 3, 2:30-7:30pm
18. Paperback Writer - SI onto take 2 - bass

Apr 14th 1966 - Studio 3, 7:30-8:00pm
19. Paperback Writer - mono mix

Apr 14th 1966 - Studio 3, 8:30pm-1:30am
20. Rain - take 5 - rhythm
21. Rain - SI onto take 5 - lead vocal

Apr 16th 1966 - Studio 2, 2:30pm-1:30am
22. Rain - SI onto take 5 - bass & tambourine
23. Rain - SI onto take 5 - 2nd vocal (chorus)
24. Rain - backward vocal reversed
25. Rain - SI onto take 7 - backing vocals
26. Rain - mono mix

Apr 17th 1966 - Studio 2, 2:30-10:30pm
27. Doctor Robert - take 7 - rhythm
28. Doctor Robert - SI onto take 7 - harmonium

Apr 19th 1966 - Studio 2, 2:30pm-12:00am
29. Doctor Robert - SI onto take 7 - lead guitar & vocals

1
2

3

CD 3

May 12th 1966 - Studio 3, 1:45pm-3:30pm
1. Doctor Robert - US mono mix
2. I'm Only Sleeping - US mono mix
3. And Your Bird Can Sing - US mono mix

May 16th 1966 - Studio 2, 2:30pm-1:30am
4. For No One - SI onto take 10 - lead vocal
5. For No One - reduction mix take 13

May 18th 1966 - Studio 2, 2:30pm-2:30am
6. Got To Get You Into My Life - SI onto take 8 - stereo brass overdub (partial)
7. Got To Get You Into My Life - SI onto take 8 - brass overdub (complete)
8. Got To Get You Into My Life - vocals, organ, tambourine

May 19th 1966 - Studio 3, 7:00pm-11:00pm
9. For No One - SI onto take 14 - bass
10. For No One - SI onto take 14 - French horn

May 20th 1966 - Studio 1, 11:00am-12:30pm
11. And Your Bird Can Sing - US stereo mix
12. And Your Bird Can Sing - UK stereo mix
13. Doctor Robert - US stereo mix
14. Doctor Robert - UK stereo mix
15. I'm Only Sleeping - US stereo mix
16. I'm Only Sleeping - UK stereo mix

May 26th 1966 - Studio 3, 7:00pm-1:00am
17. Yellow Submarine - take 4 - rhythm
18. Yellow Submarine - SI onto take 4 - lead and backing vocals
19. Yellow Submarine - SI onto take 4 - second vocal

June 1st 1966- Studio 2, 2:30pm-2:30am
20. Yellow Submarine - SI onto take 5 - sound effects
21. Yellow Submarine - intro

June 2nd 1966 - Studio 2, 7:00pm-3:30am
22. I Want To Tell You - rhythm + vocals and piano

June 3rd 1966 - Studio 2, 7:00pm-2:30am
23. I Want To Tell You - bass + vocals
24. I Want To Tell You - RM4
25. Yellow Submarine - RM5

June 6th 1966 - Studio 3, 7:00pm-12:00am
26. And Your Bird Can Sing - UK mono mix
27. I'm Only Sleeping - UK mono mix
28. Tomorrow Never Knows - RM11

June 6th 1966 - Studio 3, 12:00-1:30am
29. Eleanor Rigby - SI onto take 15 - end vocal

June 8th 1966 - Studio 2, 2:30pm-2:30am
30. Good Day Sunshine - take 1 - rhythm
31. Good Day Sunshine - SI onto take 1 - vocals

June 9th 1966 - Studio 2, 2:30-8:00pm
32. Good Day Sunshine - SI onto take 1 - piano, percussion, handclaps, vocals
33. Good Day Sunshine - end vocal overlays

4
5

CD 4

June 16th 1966 - Studio 2, 7:00pm-3:30am
1. Here There and Everywhere - take 7
2. Here There and Everywhere - SI onto take 13 - backing vocals I (partial)
3. Here There and Everywhere - SI onto take 13 - backing vocals II (partial)
4. Here There and Everywhere - SI onto take 14 - lead vocal

June 17th 1966 - Studio 2, 7:00pm-1:30am
5. Here There and Everywhere - SI onto take 14 - 2nd lead vocal & 2nd lead guitar
6. Got To Get You Into My Life - SI onto take 9 - guitars

June 20th 1966 - Studio 1, 6:00pm-8:30pm
7. Got To Get You Into My Life - RM8

June 21st 1966 - Studio 3, 10:00am-1:00pm
8. Love You To - stereo mix, edit of RS1-3
9. I Want To Tell You - RS2
10. Here There and Everywhere - RS2
11. Here There and Everywhere - RM3

June 21st 1966 - Studio 3, 2:30pm-6:30pm
12. For No One - RM8
13. Doctor Robert - RM6
14. Taxman - mono mix, edit of RM5-6
15. For No One - RS1
16. Taxman - stereo mix, edit of RS1-2

June 21st 1966 - Studio 3, 7:00pm-3:45am
17. She Said She Said - take 3 rhythm
18. She Said She Said - SI onto take 3 - lead and backing vocals
19. She Said She Said - SI onto take 3 - organ and lead guitar

June 22nd 1966 - Studio 3, 7:00pm-1:30am
20. Eleanor Rigby - RM5
21. She Said She Said - RM4
22. Good Day Sunshine - RM7
23. Eleanor Rigby - RS1
24. She Said She Said - RS1
25. Good Day Sunshine - RS1
26. Yellow Submarine - RS2
27. Tomorrow Never Knows - RS6
28. Got To Get You Into My Life - RS1

6
7

Grilled Steak Tips

noreply@blogger.com (Unknown) — Wed, 30 Sep 2009 02:27:00 +0000

This is going to be a little quicker and dirtier than most of my other recipes, but it really wasn’t planned – I just bought the steak tips on a whim and made up a recipe the next day, so I’ve made this a grand total of once. Reviews were positive, though.

My friend tells me Publix (at least the ones around my house) currently has sirloin steak tips on sale for $4 a pound, which is a steal for some pretty good quality beef; using a marinade and rub based on stuff you probably have in the house and a simple side or two like a rice pilaf, you’ve got dinner for 3-4 adults for under $10. The store at which I usually shop has them in packages of 1.5-1.75 pounds; this marinade will take care of the lower end of that range but you may want to boost the juice and olive oil for the higher end.

Marinade:
Juice of one small lemon
1 tsp Dijon mustard
2 cloves garlic, pressed or minced
1 small dried chile pepper (e.g., arbol), crumbled
Pinch of salt
Ground black pepper
Roughly 1/4 cup olive or vegetable oil

Combine all ingredients but the oil in a measuring cup, and add enough oil to double the total amount of marinade. Cut the steak into skewerable chunks and place in the marinade in a ziploc bag or other sealed container. Refrigerate at least four hours and up to 24 hours.

Heat your grill and about five minutes before it’s ready for the meat, remove the beef from the marinade and rinse briefly under cool water. Pat with paper towels until thoroughly try. Rub the outside with a mixture of kosher or coarse sea salt (2 parts), ancho chile powder (1 part), and cumin (1 part). Grill over direct heat until the outside is well browned and the inside has reached the desired degree of doneness.

Where the Buffalo Roam

noreply@blogger.com (Unknown) — Thu, 24 Sep 2009 01:28:00 +0000

As I hurtled down the highway, a pair of golden arches crept over the horizon, and the proverbial lightbulb smacked me in the forehead. To gauge the creep of cookie-cutter meals, void of thought or passion, there’s no better barometer than McDonald’s – ubiquitous fast food chain and inaugural megacorporate colonizer of small towns nationwide. My children love it. Damn.

Ok, on the road again, not so bad but the choices of where to eat? They are awful. Please allow the map below to illustrate - good night.

U2 9/20/09 Foxboro Stadium

noreply@blogger.com (Unknown) — Thu, 24 Sep 2009 01:13:00 +0000

01 - Breathe
02 - No Line On The Horizon
03 - Get On Your Boots
04 - Magnificent
05 - Mysterious Ways
06 - Beautiful Day / Blackbird (snippet)
07 - Elevation
08 - I Still Haven't Found What I'm Looking For / Stand By Me (snippet)
09 - Unknown Caller
10 - New Year's Day
11 - Stuck In A Moment You Can't Get Out Of
12 - The Unforgettable Fire
13 - City Of Blinding Lights
14 - Vertigo / She Loves You (snippet)
15 - I'll Go Crazy If I Don't Go Crazy Tonight
16 - Sunday Bloody Sunday / Rock The Casbah (snippet)
17 - MLK
18 - Walk On
19 - One / Amazing Grace (snippet)
20 - Where The Streets Have No Name

encore(s):
21 - Ultra Violet (Light My Way)
22 - With Or Without You
23 - Moment of Surrender

HERE