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The Diet Plate Complete System

“This is all you’ll ever need to help you lose weight, use it religiously every night and unwanted pounds will fall away, I have now lost over 41 kilograms in nine months,” - say’s testimonial Susan Kopiwoda from Michigan.

This is the complete weight management system, packed into just one box. Choose any combination of a Diet Plate and a kilojoule Controlled Breakfast Bowl.

See individual product descriptions for further information on particular items.

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Friday, 21 October 2016

Four Malaysians will play at the Asian Seniors Championships

The 7th Asian Seniors Championships will take place in Mandalay, Myanmar from 26 October to 5 November 2016,

Participants will stay at Hotel Hazel ( and play, respectively in the 50 and above and the 65 and above categories, both men (open) and women... for direct International Master titles and Grandmaster norms,

Malaysia has the usual suspects and a new face in Ismail Ahmad, Lim Kian Hwa and Anthony Tan in 50 and above and Abang Draup Zamahari in 65 and above.

A FIDE Arbiter's Seminar will be held concurrently and many participants are also expected to take part given the 7th Asian Seniors Championships is being played with just one round a day... both lecturers are involved, one is the top seed in 65 and above and the other, the Chief Arbiter!

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Margelia B. Potter, 94: Cumberland native, active in local church

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CUMBERLAND — Margelia Loring Blanchard Potter, 94, died March 5.

She was born at Sunnyside Farm on Blanchard Road on Oct. 21, 1921, the third daughter of Anna and Howard Blanchard.

She graduated from a 15-person class at Greely Institute in 1939 and attended Becker College in Worcester, Massachusetts, graduating in 1941.

After college, Potter stayed in Worcester and worked at Leland-Gifford, where she met her late husband, Bruce Potter. They were married on Sept. 3, 1944, and, when her husband was called overseas in 1945, Potter moved from Virginia back to the farm in Cumberland. She lived in the house where she was born, taking care of her mother and father, then stayed in the family home, in the place where she was a well-known fixture, until she was 88. She then moved to Ledgeview Assisted Home in Cumberland, where she spent the last six years of her life.

Potter was a lifelong member and deacon of the Cumberland Congregational Church. She volunteered for many years in the Special Care Unit at Maine Medical Center, and was also a teacher’s aide at Maine Stream in the Cumberland-North Yarmouth school system. She and her sister, Barbara, spent many mornings grading carnations at Sunnyside Greenhouse. She belonged to the Cumberland Garden Club, We Neighbor’s, and was a den mother and Brownie leader.

Three mornings a week at 5:30 a.m., Potter would swim a mile at the Greely Pool. She joined a runner’s group and took up jogging when she was in her 60s, and would ski with her friends on Ladies Tuesday at Mt. Abram. She loved sharing experiences and memories with her special group of friends, The Travel Club.

She was predeceased by her husband and two sisters, Estelle Blanchard Heraptha and Barbara Blanchard Garsoe.

Potter is survived by her children, David Potter, Mark Potter and Judy Potter;  nieces and nephews Peter Garsoe, Susan Garsoe Kathy Poirier and Bruce Moore and great-nieces and great-nephews Michelle Garsoe VanVliet, Nichole Garsoe Fien, Monique Garsoe Dever, Carrie Poirier Greenaway, Molly Poirier and Harper Rouse-Garsoe.

The family would like to thank the staff at Ledgeview and VNA Hospice for their care and support.

There will be a celebration of life at Cumberland Congregational Church on Saturday, May 7, at 1 p.m., with the Rev. Diane Bennekamper officiating.


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The Full Wiki

More info on Mega-D botnet

Mega-D botnet: Wikis

Note: Many of our articles have direct quotes from sources you can cite, within the Wikipedia article! This article doesn't yet, but we're working on it! See more info or our list of citable articles.

From Wikipedia, the free encyclopedia

The Mega-D, also known by its alias of Ozdok, is a botnet which at its peak was responsible for sending between 30% and 35% of spam worldwide.[1][2][3]

On October 14, 2008, the U.S Federal Trade Commission, in cooperation with Marshal Software, tracked down the owners of the botnet and froze their assets.[4]

On November 6, 2009, security company FireEye, Inc. claimed to have temporarily disabled the Mega-D botnet by disabling its command and control structure.[5][6] This was akin to the Srizbi botnet takedown in late 2008. However, the Mega-D/Ozdok takedown involved coordination of dozens of Internet service providers, domain name registrars, and non-profit organizations like Shadowserver. M86 Security researchers estimated the take down had an immediate effect on the spam from the botnet. On November 9, 2009, the spam had stopped altogether, although there was a very small trickle over the weekend, directed to a couple of small UK-based domains that they monitored.[7]

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Hinsdale Golf Club

  • 140 Chicago Ave, Clarendon Hills, IL 60514
  • (630) 986-5339

18 total holes at facility
Green fees - $113 (estimate)
Designed by Donald J. Ross
Built in 1898
Bent Grass
Driving Range: Yes
Private golf course

Hinsdale Golf Club is an 18-hole regulation length golf course in Clarendon Hills, Illinois. This medium-length layout features 4 sets of teeboxes for the enjoyment of golfers of all skill levels. Online tee times may be available at Hinsdale Golf Club or at nearby golf courses, usually offered at a discount from the normal rate.

Back Tees
Course Rating

Golf Pro: Phil Campoli
Course Superintendent: Robert J. Maibusch
Manager: Jim Kravcik

Although our information in our database is mostly right, occasionally there may be inaccuracies. If you come upon any issues with any courses, please let us know.

Beneath this text, aerial imagery should load of Hinsdale Golf Club at 140 Chicago Ave, Clarendon Hills, IL 60514. If you can't find the course, try panning around and looking at the surrounding area.

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2012 Gnarly Head Pinot Noir

2012 Gnarly Head Pinot Noir

Varietal: Pinot Noir
Region: Californica
Cost: $14 (SRP)

Winemaker’s Notes: Gnarly Head 2012 Pinot Noir takes “the heartbreak grape” for a walk on the wild side. This powerful pinot touts voluptuous aromas of red cherry, vanilla, earth, and spice, followed by a rush of black cherry and plum with hints of toasted hazelnut, tobacco, and cigar box on the palate. Supple, sleek tannins and lush fruit make this wine a perfect pair for salami and arugula pizza, slow roasted pork loin, or dry brined chicken stuffed with sausage and peppers.

My Review: It should by this point be no surprise that I’m a big fan of Pinot Noir, especially budget wines that I can enjoy regularly without having to worry about the hit to my wallet. Gnarly Head is one of those wines that I see on the shelf regularly, thank to the wide range of wines that they make, but admittedly don’t often reach for, not because I don’t think they make good wines, but because I know they’re always going to be there and making consistently good wines, which means I always have time to circle back.

This time, at least, I didn’t have to circle back since the wines were sent to me.

In the glass the 2012 Gnarly Head Pinot Nor was a bit darker than I expected, but still not opaque, with a light red color slashed with darker shades. On the nose I picked up red cherry and spice with a bit of vanilla as the wine opened up.

In the mouth the wine was light and tart, with cherry notes carrying over from the nose. Paired with a dinner that included corn, green beans, and breaded and fried chicken, the wine tartness was a nice counter to the food, while the lighter nature of the wine helped keep it from overwhelming the food. That being said, this with some pizza that featured arugula (rocket for my English friends) would be pretty amesome.

By no means was this the greatest Pinot Noir made, but for $14 it’s a good budget wine that you can open on a weekday or at a casual party without having to worry. It’s versatile anough to pair with different foods, but enjoyable enough on its own that you won’t always have to. Definitely worth a pick up.

Editor’s Note: This wine was sent to me as a free sample for review

About George Perry 760 Articles
A wine lover for as long as I can remember, I hope that my thoughts on wine can help others to make decisions on what they should drink as well.


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Google is upgrading its search reporting tools to help webmasters drill deeper into the data around how users land on their websites. For the uninitiated, Webmaster Tools is Google’s free service. impact on mobile traffic after the change.

Lafayette bus customers can now use Google Maps to navigate the transit system and will soon have access to free Wi-Fi as they travel — two. about the route,” said Warren Abadie, a traffic engineer with city-parish government.

How much traffic is Google News currently driving to publishers? Data on 80 major news sites, including news search visits and the percentage of total search visits coming from Google.

British startup Altitude Angel has, in conjunction with air traffic control service NATS. Drone Assist will be available to download free on Android and iOS from Saturday 3 December. The Civil Aviation Authority reckons that only 40 per.

Powerful lead generation system since 2008. Find out what makes it work!

The soft-spoken 38-year-old, who was hired earlier this month to be the new.

Getting Listed & Ranked in Google, Yahoo and Bing. Home >> Get Traffic >> Getting Listed in Google, Bing and Yahoo. Getting listed in Google and the other popular search engines is one of the most effective ways of directing free, targeted traffic to.

Getting off the beaten track and navigating a rugged off-roader through sand, mud.

When you use mapping software for directions, the app typically gives you two trip times: how long it would take to reach your destination driving the speed limit or a couple of miles per hour faster (a traffic-free utopia. on Google Maps, the.

When Google first announced these measures, it claimed that its actions were aimed at “improving” its search system and “helping people find what they are looking for.” It told a New York Times reporter that its actions were free of “political.

Waze (/ w eɪ z /; formerly FreeMap Israel) is GPS navigation software that works on smartphones and tablets with GPS support. It provides turn-by-turn navigation information and user-submitted travel times and route details, while downloading location-dependent information over a mobile telephone network.

Take advantage of online advertising to improve your internet marketing efforts. Learn how Google AdWords can meet your marketing goals today.

Cloaking can also be applicable to: Websites that show content to Google but restrict it to viewers in accordance with Google’s First Click Free policy (not.

Ohio Driver’s License Point System For Traffic Violations: If you are an Ohio driver who accumulates 12 or more points for convictions of the traffic offenses listed below, your license will be suspended for 6 months.

Take advantage of online advertising to improve your internet marketing efforts. Learn how Google AdWords can meet your marketing goals today.

Google began in January 1996 as a research project by Larry Page and Sergey Brin when they were both PhD students at Stanford University in Stanford, California. While conventional search engines ranked results by counting how many times the search terms appeared on the page, the two theorized about a better system that analyzed.

Do your best work with Google’s suite of intelligent apps (formerly Google Apps). Get business email, video conferencing, online storage and file sharing.

Feb 28, 2007  · Google Maps shows real-time information about traffic for many US cities (like Kansas City, New York).To see this, switch to the map or hybrid mode and click on the new traffic tab.

Find local businesses, view maps and get driving directions in Google Maps.

Search the world’s information, including webpages, images, videos and more. Google has many special features to help you find exactly what you’re looking for.

Starting in September, Google will stop marking plain-vanilla HTTP sites – those not secured with a digital certificate, and which don’t encrypt traffic. Systems Professional with this comprehensive online course from PluralSight. Now.

The feature uses a five-star rating system that taps into Zagat’s review database, and users can enter their own rating and review in-app. Google Offers is also supported. Google Maps is a free 11.6MB download from the App Store.

“This work with UPenn, the way I look at it, in the end it’s a free. time traffic information service, is providing a stream of traffic data to any motorist who.

Fast facts about this amazing NEW SECRET!. This is an incredible system developed by none other than Dr Jon Cohen, MD (retired) who found a little-known “twist” in how to use the pay-per-click (PPC) and paid-for targeted advertising programs at Google™ and the other search engines.

Viber Server Down Error retrieving information from server RH-01 in Google Play Store: 4 ways to fix this problem. What if you simply want to block all of Windows Internet access from Internet Explorer, but you still want to allow any other browser or Internet

Waze is the world’s largest community based traffic and navigation app. Join other drivers in your area who share real-time traffic and road info, saving everyone time and gas money on their daily commute.

Before you leave the house in the morning, a quick glance at Google Maps can tell you which routes should be avoided at all costs and which ones might get you to work a few minutes early. Google Maps can even tell you how long you can expect to be delayed should you take a route that’s more.

Google Analytics Solutions offer free and enterprise analytics tools to measure website, app, digital and offline data to gain customer insights.

Google is a bit behind when it comes to that, but when the app is free, who could complain. best route given the current traffic conditions. Sounds like a total winner to us, and we hope it spreads to more navigation systems soon.

Under its proposed system, Google has limited the number of technical vendors.

The ultimate goal of marketing is to make it 100% free of charge. Step 1: Pick one source of paid traffic to start with. The most popular places are Facebook and.

Affiliates Marketing Anyone who can use a computer and the Internet can make money from home using affiliate marketing. Affiliate marketers make money by sending traffic to a merchant’s website, usually to make a sale. The affiliate uses websites, blogs, CJ Affiliate by Conversant

The project is a unique challenge for autonomous-driving technology, which is.

Us Mineplex Server The Bedrock shift also means that console players will have access to Minecraft Realms. The service provides monthly subscribers with an always-online server to host their worlds. This works both ways, too; if you’re already a Realms. The Bedrock shift also means

SEO: Learn Step-by-Step How to Create a Winning SEO (Search Engine Optimisation) Strategy to get more SEO Traffic!

Why Is Website Traffic Exchange Important? Google, Yahoo, Bing and other search engines take in the account number of unique visits made every day.

Winnipeg is poised to sign a deal with Google to allow the the tech giant to access real-time traffic information and disseminate it through its Waze app. City transportation managers are seeking council approval to allow the 311.

Even though the General Data Protection Regulation (GDPR) privacy law has just.

News Reporter


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The Great American Mural

The Great American Mural is a celebration of and dedication to the sacrifice of America’s every day heroes.  Our goal through this tribute is to inspire those who visit the mural to serve and appreciate their fellow man.

Commissioned by Bill Ledger and created by the renowned panoramic artist Chris Opp in the Spring of 2017, the mural takes its place in mural creations in cities across America. It is a stunning piece of Americana – patriotic eye-candy for locals, visitors and tourists alike. It features local Waskom heroes, along with those first responders and military personnel who sacrifice each day to support the welfare of our people and communities.

Enjoy this video that tells more of the story...


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Various Jobs in Birla Industrial & Technological Museum at Kolkata. Last Date: 15.02.2016

Birla Industrial & Technological Museum
(National Council of Science Museums)
Ministry of Culture, Govt. of India
19A, Gurusaday Road, Kolkata - 700 019.

Last Date: 15.02.2016

Vacancy Details

Name of the Post:

  1. Education Assistant - 01
  2. Technician in Electronics - 02
  3. Technician in Fitter - 01
Total Number of Post: 04

Scale of Pay: Rs.5200-20200 + Grade Pay Rs.1900/-

Qualification: Refer Notification

For more details you may refer Official Website: Click Here

For Download Notification: Click Here


text:
Colorado River Users Meet in San Diego

Byline: Associated Press

SAN DIEGO (AP) — Discussion about the future of the drought-struck Colorado River was on the agenda in San Diego for officials from seven Western states, American Indian tribes and conservation groups, in a meeting hosted by federal water managers.

The May 28 meeting came amid predictions of looming shortages on the river serving some 40 million city dwellers, farmers, boaters and businesses in California, Arizona, Colorado, Nevada, Utah, New Mexico and Wyoming.

Mexico also has a stake.

The work meeting follows a declaration in December from former U.S. Interior Secretary Ken Salazar that the Colorado River might not be able to meet demands of a growing regional population over the next 50 years.

Bureau of Reclamation administrators said 2013 could be the fourth-driest year in the basin in the past 100 years. Last year was fifth-driest.

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TMR - Books Archives,2011-04-13://1 2018-04-11T17:27:26Z Where Popular Culture Meets Swanky Living Melody 1.0.1 Book Review: Wallis in Love: The Untold Live of the Duchess of Windsor, the Woman Who Changed the Monarchy by Andrew Morton,2018://1.11128 2018-04-11T13:25:00Z 2018-04-11T17:27:26Z Unless other unofficial sources are found, Morton’s biography could remain the definitive account of Wallis’ loves and marriages. Margaret Holder Wallis in Love: The Untold Live of the Duchess of Windsor, the Woman Who Changed the Monarchy would do well to first watch the clip and observe the strange bird-like movements of the brittle Duchess, her flapping hand gestures, her defensive answers, and to note the slavish adoration of the besotted Duke.

Morton’s new book gives the inside story of that fabled relationship. Backed by recently discovered letters and first -hand accounts, he reveals that Wallis’s heart was taken not by the King who gave up his throne for the woman he loved, but by a suave, handsome American called Herman Rogers.

Herman and his first wife Katherine have long been acknowledged as central to the dramatic events of the abdication in December 1936: while Edward VIII left his country, responsibility and family behind for an uncertain future, Wallis was cossetted at Lou Viei, the Riviera villa of the Rogers. They were her hosts and protectors while the King, now Duke of Windsor, went to Austria and waited out the then legally required time apart before Wallis’s divorce from her second husband, Ernest Simpson, became absolute.

During that period Wallis and Herman grew uncomfortably close - he slept in a room next to hers with a pistol to ward off intruders. His wife slept downstairs.

Wallis and Edward were reunited and about to be married at the Chateau Conde, the Loire Valley home of American entrepreneur Charles Bedaux. Morton has uncovered evidence that Wallis propositioned Herman, suggesting that a baby conceived so near to the wedding would be assumed to be the Duke’s.

It seems that Herman was ever the gentleman, and declined her offer. Widowed some years later, he remarried. Wallis warned his second bride, Lucy: “I’ll hold you responsible if anything ever happens to Herman. He’s the only man I’ve ever loved.”

The book is littered with examples of Wallis’ ferocious temper: she slashed the trousers of an earlier love. The poor doting Duke, however, got the brunt of her fury with numerous put-downs.

To modern eyes she looks a hard-face harridan, yet her intense gaze and her clever ploy of showing interest as men talked about themselves won her three husbands and several lovers.

As Morton concedes, the definition of the latter is questionable; she spoke to friends as not 'allowing men south of the Mason/ Dixon line’. Some doubt that her marriages were ever consummated. Having read this book and several others about Wallis, I think that a highly unlikely theory.  Morton does not subscribe to the strange rumour that Wallis was a man, confirming that she had ovarian cancer and a consequent hysterectomy.

A social climber par excellence, Wallis had little time for ordinary people, and true to the conventions of her narrow world, was also racist. Recording the days when Wallis' obedient husband, was Governor of the Bahamas during World War Two, Morton notes: " When a black resident entered Government House, he came through the back door. Wallis' military canteen was also segregated. Indeed at one charity event, after she found herself shaking hands with a multitude of well-wishers including Arthur, their black chauffeur, Wallis, who had black servants in her childhood, remarked to local historian Mary Moseley: 'It's the first time in my life I have ever shaken the hand of a coloured person.' "

Some official documents relating to the 1936 Abdication are withheld from the public under the 100 year rule, so it may be January 2037 before they are released. Unless other unofficial sources are found, Morton’s biography could remain the definitive account of Wallis’ loves and marriages.

Wallis could never be described as attractive, nice, kind or caring. There is one inescapable conclusion from Wallis in Love: that Wallis really had one great love—herself.

Book Review: Conversations with McCartney by Paul Du Noyer,2018://1.11118 2018-03-21T20:20:00Z 2018-03-22T00:18:47Z Culled from interviews conducted over many years, Paul Du Noyer paints an intimate portrait of Paul McCartney as he looks back on the span of his career. Chaz Lipp MOJO magazine founding editor Paul Du Noyer first spoke with Paul McCartney at a press conference in 1979. At the time, McCartney was about to take what would be the final configuration of Wings on a 19-date UK tour. Du Noyer managed to get a question in, though he was just one face among many in a swarm of journalists. Little did he know at the time, it was the first moment in an association that has continued for nearly 40 years.

Du Noyer's book Conversations with McCartney provides a outline of McCartney's entire career largely via the artist's own words. Over the course of many hours of interview time throughout the decades, Du Noyer has amassed enough material straight from the artist's mouth to put together a "biography" of sorts. He's added his own text to give context to the interviews and lend some shape and structure to the story. But the title is about as accurate as it gets. A certain level of intimacy and apparent trust between Du Noyer and his subject allowed for a conversational tone.

The career-spanning aspect of Conversations is a large part of its appeal. Pick up the average, traditional McCartney bio and flip through it until you find the first chapter charting his post-Beatles years. Odds are you'll be at the halfway point, at least. In some cases two-thirds or three-quarters of the way through. Even McCartney's own authorized biography, Barry Miles' Many Years From Now, spends the majority of its pages chronicling the Fabs. And maybe that's what the market, in general, demands.

But for fans who truly desire more stories about the Wings era and far beyond, Conversations with McCartney belongs on their shelf, placed prominently for quick and easy reference. This book includes generous sections with McCartney reflecting back on the '70s, '80s, and beyond. It's limited in scope in the sense that, when compared directly to standard biographies, you're only going to hear about the specific things Du Noyer spoke with McCartney about. Gaps are filled in, but again these editorial sections are brief. What we're here for—and what Du Noyer knows we're here for—are McCartney's own, unique reflections.

Avid fans will have read some of the interviews from which this material has been culled. They may have some of the various original issues in which they first appeared (Du Noyer's additional writing and editorial credits include NME and Q). But while many of the stories—and even direct quotes—may be familiar to the devoted, Du Noyer has done a terrific job of arranging the material in loose but sensible narrative form. Entire chapters are dedicated to McCartney reminiscing about his first wife Linda and working with John Lennon.

The extensive blocks of text transcribed directly from McCartney's own words paint, taken as a whole over the course of some 384 pages, paint a more complex portrait of McCartney than we typically see in smaller doses. It might've been even more helpful if each interview segment had been assigned a date, so we'd know if it came from 1989 or 2010 or whenever. Sometimes the time frame is stated by Du Noyer, but given McCartney's tendency to revise history now and again it would be instructive to always know when any given chunk of dialogue was spoken.

The hardcover edition of Conversations with McCartney was released by The Overlook Press in late-2016. The more economical paperback edition is more recent, having been made available near the end of 2017.]]>
Album Reviews: The Ramones - Leave Home and Rocket to Russia (40th Anniversary Deluxe Editions), plus a Jimi Hendrix book,2017://1.11073 2017-11-27T10:10:00Z 2017-11-27T14:09:18Z Greatly expanded editions of the Ramones' second and third LPs pay tribute to one of the most influential bands of the 1970s. Plus, a new book focuses on Jimi Hendrix. Jeff Burger Billboard charts listed syrupy pop like Diana Ross’s “Theme from Mahogany (Do You Know Where You’re Going To?)” and the Bellamy Brothers’ fluffy “Let Your Love Flow.” The top albums that year included Earth, Wind & Fire’s Gratitude, the Eagles’ Greatest Hits, Peter Frampton’s Frampton Comes Alive, and Stevie Wonder’s Songs in the Key of Life.

At least a few of these LPs contain excellent music, but all are a far cry from the elemental, rhythm-driven, rebellious sounds that characterize rock’s earliest tracks. By 1976, the music had evolved into everything from vapid pop to lyrically dense folk/rock to hard-rock with endless guitar solos. The Ramones wanted to get back to basics.

That they did on their debut album, which launched the punk movement and which reappeared in a 40th anniversary deluxe edition last year. Now come two more 40th anniversary editions, this time of their second and third LPs, both of which originally surfaced in 1977. Like the debut, those albums feature hard-driving music that is sufficiently fast-paced to suggest a heavy dose of amphetamines. No song is as long as three minutes, and some don’t even make it to the two-minute mark. Over and over, the Ramones deliver quick bursts of fuzz guitar, a heavy and predominant beat, and powerful hooks and harmonies—and then they bow out, almost before you know what hit you.

The group mixes in covers of a few oldies that make clear what turf they admire: Bobby Freeman’s 1958 hit “Do You Wanna Dance,” the Trashmen’s “Surfin’ Bird” from 1963, and the Searchers’ “Needles and Pins,” from 1964. (Last year’s reissue of the first Ramones LP incorporates the Rivieras’ 1964 smash, “California Sun,” and Chris Montez’s 1962 hit, “Let’s Dance”; later, on a 1993 album, they would cover such 1960s punk progenitors as the Troggs and the Seeds.)

As for their lyrics, the Ramones have quoted Herman’s Hermits’ “second verse, same as the first” (from “I’m Henry VIII, I Am”), which could have been their motto. All the lyrics for Leave Home barely fill a single page in the accompanying booklet, and those on Rocket to Russia aren’t exactly verbose, either. At least one song there contains a mere 10 words.

But the Ramones’ use of language is often as funny, clever, or sardonic as it is concise: In one song on Rocket to Russia, they rhyme “tell ’em” with “cerebellum” and, in Leave Home’s “Oh, Oh, I Love Her So,” they sum up a romance with “I met her at the Burger King / We fell in love by the soda machine.” Then there’s that album’s relatively wordy “Carbona Not Glue,” which begins, “Wondering what I’m doing tonight / I’ve been in the closet and I feel all right / Ran out of Carbona / Mom threw out the glue / Ran of paint and roach spray, too / It’s TV’s fault why I am this way / Mom and Pop wanna put me away.” Indeed.

Like the 40th anniversary edition of the Ramones debut, the new sets come fully loaded. Each features three CDs: the first offers two versions of the 1977 album (one remastered, one also remixed); the second delivers dozens of demos, rare mixes, and oddities, including everything from a "doo-wop mix" of “You’re Gonna Kill That Girl” on Leave Home to a Rocket to Russia radio ad featuring Joey Ramone; and the third presents a rowdy 1977 concert recording. (Leave Home serves up a CBGBs gig; Rocket to Russia taps a show from Glasgow, Scotland). For those who crave the full 1970s experience, all the 40th anniversary editions also include the remastered version of the original album on vinyl. In addition, the packages come with booklets that feature lyrics, credits, photos, and extensive liner notes.

As Leave Home and Rocket to Russia demonstrate, the Ramones remained true to their mission over time; unlike most groups, they clearly felt no need to grow, experiment, or become more sophisticated. Thus, their sophomore and junior efforts basically offer just more of what they delivered on their debut. But that doesn’t mean these records are dispensable; on the contrary, they include some of the group’s best-hooked and most irresistible rockers, such as “Gimme Gimme Shock Treatment” on Leave Home and “Rockaway Beach” and” “Sheena Is a Punk Rocker” on Rocket to Russia.

When the Ramones’ albums first came out, a lot of people didn’t know what to make of them, and they sold poorly: though Rocket to Russia did reach number 49 on the charts, the first two didn’t even make the top 100; and a hit single—a format they clearly admired—remained elusive. But the group persevered for 22 years, thousands of concerts, and more than a dozen LPs without ever losing their vision, delivering a single long guitar or drum solo, or to my knowledge laying hands on a mellotron. Eventually, they earned a Grammy Lifetime Achievement Award, a place in the Rock and Roll Hall of Fame, and a position on many lists of the great rock groups of all time. The Ramones opened the door to outfits like the Sex Pistols—and then inspired such artists as the Pretenders, Talking Heads, Elvis Costello, Blondie, and U2 (who acknowledged the debt in 2014’s “The Miracle (of Joey Ramone).”

Listening to Leave Home and Rocket to Russia, it’s not difficult to see why the band ultimately garnered such acclaim and proved so influential. Sure, it was all an act—Johnny, Dee Dee, Joey, and Tommy Ramone weren’t their real names, and they weren’t brothers—but what an act. No, the Ramones weren’t nearly as important as Elvis or the Beatles; but like those artists, they came along at just the right time, when music needed a shot in the arm. They delivered the medicine, and it helped to wake up a genre that was getting a bit too sleepy.

Hendrix: The Illustrated Story, by Gillian G. Gaar. Longtime rock writer Gillian G. Gaar walks us through Jimi Hendrix’s life and career in this handsome coffee-table book, which begins with a detailed look at the guitarist’s parents and childhood and ends with information about his gravesite and the Seattle museum that memorializes much of his work. Also included are essays by Gaar and several other writers about Hendrix’s guitars and the albums he issued during his lifetime. Throughout, there are lots of photos—everything from a three-year-old Hendrix with his father to performance shots and images of concert posters. Supplements include lists of live appearances and an extensive discography. There’s also a bibliography of books and articles for those who want to read more, but I suspect this volume will suffice for many fans.

Book Review: Maximum Volume: The Life of Beatles Producer George Martin, The Early Years 1926-1966 by Kenneth Womack,2017://1.11048 2017-10-09T11:20:00Z 2017-10-09T15:23:41Z Kenneth Womack re-tells the Beatles early-to-mid period story with a focus on the man behind the board, groundbreaking producer George Martin. Never previously the focus of such a work, Womack also fills in many details of Martin's formative years. Chaz Lipp The Beatles Encyclopedia: Everything Fab Four and Long and Winding Roads: The Evolving Artistry of the Beatles), Womack has most recently tackled a subject surprisingly shortchanged over the years. While always covered as part of the Beatles' overall story arc, record producer extraordinaire George Martin has never been the focus of a an entire biography (excepting his own memoirs). With Maximum Volume that oversight has been corrected.

In fact, as the "Early Years 1926-1966" subtitle suggests, Womack's new Martin biography is the first of a planned two-volume series. Maximum Volume covers the first 40 years of the music legend's life, from his inauspicious working-class beginnings clear through to the release of The Beatles' Rubber Soul, ending in early 1966 as the Beatles are about to embark on the creation of their monumental 1966 landmark Revolver. Much of the book details areas that will be familiar to any serious Beatle fan, but what makes even the more well-worn anecdotes compelling is the greater focus on the technical side.

In fact, it actually takes a bit of getting to seeing the name "George" so often in a Beatle-oriented book and remembering who is being referenced (as opposed to Harrison, of course). Womack's writing style is economical—the book is laced with clear detail (and is also well annotated), but flows album conversationally. The early chapters covering Sir George's poverty-wracked upbringing are among the most enlightening. Womack paints an astute portrait of a young man with an overwhelming work ethic and an all-possessing drive to overcome his working class status.

In many ways, as he raised the stakes for EMI's niche label Parlophone, Martin broke new ground by rewriting the template for the role of the record producer. Maximum Volume functions as a guide to how he achieved that, from his career beginnings in a era where the producer was known primarily as an "A&R" (artists and repertoire) man. Readers who are not extremely well-versed in Beatles lore will find the accounts of Martin's contributions to their music particularly revelatory.

Hopefully Maximum Volume sells well enough to ensure the eventual release of the second volume. Fascinating as the early-to-mid Beatles years are, it would be a shame if Womack doesn't get to trace the boldest of Martin's experiments with the band. There's also plenty of great work beyond the Beatles that Martin accomplished in the studio that will hopefully be detailed in the second volume (including his recordings with America, Jeff Beck, and a number of Paul McCartney solo albums to name but a few prominent examples). According to Womack's own bio (on Amazon), the second volume is titled Sound Pictures: The Life of Beatles Producer George Martin (The Later Years 1966-2016) and is due for a 2018 release. But for now, we finally have an in-depth account of Martin as a full-bodied individual—not just as a mentor-figure to the world's most famous band.

Book Review: Led Zeppelin: All the Albums, All the Songs - By Martin Popoff,2017://1.11031 2017-09-12T08:15:00Z 2017-09-12T12:14:24Z A new book offers extraordinarily thorough descriptions and analysis of every track on Led Zeppelin's nine original LPs. Jeff Burger As Martin Popoff notes in his introduction to Led Zeppelin: All the Albums, All the Songs, there were already not one but two track-by-track books about the group’s music when he began work on this one. Still, he decided that “I wanted to write all my thoughts about every last Led Zeppelin song: every recording detail I could hear, my theories on the lyrics—basically album review-length pieces on every song.”

As that quote might suggest, Popoff—the author of more than 50 music books, most about heavy-metal—is a major fan of the group. He writes that he “couldn’t give a damn about the Beatles,” but considers Physical Graffiti “the greatest album of all time.” Still, he manages some degree of objectivity, and doesn’t praise everything Led Zeppelin produced. He calls “Achilles Last Stand” "10 minutes of uncomfortably striving heavy metal,” for example, and notes that “the lyrics were kind of an afterthought” on “The Song Remains the Same.”

Popoff’s book provides song authors and track times, plus information on album producers and engineers, recording studios, release dates, sales, and chart positions. Curiously, he offers no detailed discussion of the previously unreleased material on the recent deluxe reissues that he says inspired him to undertake this project; and he includes no chapters on concert releases. He does, however, serve up extraordinarily thorough descriptions and analysis of every track on Led Zeppelin’s nine original studio LPs.

Discussing the famous “Stairway to Heaven,” for example, he notes that its beauty “is in its purposeful arrangement introduced with Jones playing four or five tracks on wooden recorders as Jimmy’s mournful and simple acoustic picking (in A minor, on his trusty Harmony, his main writing guitar through three albums and the only acoustic he used throughout III) frames the song quietly at first. Over it Robert offers a solemn vocal. At the 2:12 mark, a deft increase of activity is registered when a well-behaved electric is added. Jones is not playing bass, but rather a very low-def bass part with his left hand on a Hohner ElectraPiano direct into the console, with Andy Johns adding a lot of bottom end to emphasize the effect."

And that’s just one paragraph of an 11-paragraph description of the song—which is followed by another eight paragraphs of discussion about it by engineer Andy Johns.

You have to be a pretty serious fan to wade through all this text, which sometimes conveys an academic tone that belies the raunchy rock it describes. But Popoff’s well-illustrated book is pretty well written (though some of his sentences run on too long); and it’d be difficult to imagine a more knowledgeable Zeppelin observer. He says his goal was “to turn you on to something you might not know well, or if you do know it, point out myriad subtleties deep inside, many of which will have you digging out those headphones you have stashed away somewhere and listening intently for squeaky bass drum pedals and ringing telephones.”

I suspect the book will have that effect, at least on the ultra-devoted fans who clearly represent its target audience.

Book Review: Dig If You Will the Picture: Funk, Sex, God, and Genius in the Music of Prince - By Ben Greenman,2017://1.10967 2017-06-06T11:35:00Z 2017-06-06T15:37:03Z Lots of fans were dumbstruck by the passing of music icon Prince. Most of them are not professional writers. That's where veteran journalist, biographer, and novelist Ben Greenman comes in. Chaz Lipp Dig If You Will the Picture: Funk, Sex, God, and Genius in the Music of Prince, written in the wake of the icon's passing. Sharing his thoughts and opinions of Prince's music was clearly a therapeutic endeavor for Greenman. Reading the book will hopefully serve that same basic purpose for those who maybe haven't quite figured out how to put their feelings into words.

Dig If You Will the Picture isn't, strictly speaking, a biography. Throughout four sections, Greenman jumps around Prince's chronology. As he examines the meaning in the music, and the influence it had on other artists, Greenman inserts personal reflection. This sort of thing can be irritating when overused, but here it works well enough that I wish it there had been more of it. For instance, early on Greenman discusses the place religion holds in Prince's music. He reflects on how it felt more and more exclusionary to less-than-devout fans as Prince grew more rigid in his beliefs. This kind of personal content sets Dig If You Will... apart from bios that stick to chronicling hard facts.

But it won't be for everyone. The straightforward biographical material can be found in other, more exhaustive tomes. Some readers exclusively want the 'just the facts' approach. That's understandable, to a point. As important as those accounts are, there's also value in more personal takes. Dig If You Will... is Prince's story as remembered by a longtime fan who cares deeply about his subject. Greenman is a few years older than me, so his point of discovery and subsequent fan-timeline vary somewhat from my own experience. Yet my journey as a Prince aficionado parallels his enough that it often felt like I was reading something I might've written (if I'd had the discipline to sit down and actually chronicle my own feelings).

It took me a while to read, which has nothing to do with the quality of Greenman's writing. The unexpected death of Prince knocked the wind out of me. Though I'd never met the man, he'd had a palpable impact of my life from the age of ten onward. As of April 21, 2016 I'd lived long enough to experience the loss of family members, friends, pets, jobs, and more. But however foolish it seems in retrospect, Prince seemed like constant. There would always be another Prince album, always another concert tour. Not so. After the 21st left me, like so many others around the world, reeling in disbelief, I bought the tribute magazines and some of the new books. Couldn't bring myself to look at most of it. I did review Matt Thorne's updated Prince: The Man and His Music last year. And this year I've been slowly making my way through Mayte Garcia's memoir (which is really beautifully written).

Which brings me back to Ben Greenman's book. I'm glad I read it and I recommend it to other fans. Especially those who grew up in the '80s, during the height of Prince's commercial and critical success, but also continued to follow him through thick and thin. Greenman has captured the special feeling of being a true blue Prince loyalist. It was tough at times, giving Prince the benefit of the doubt as he managed to derail his career numerous times. Many jumped ship at various points along the way. Greenman doesn't shy away from the weirdness and the puzzling aspects of Prince's career. The lawsuits brought against fan sites (and even fans). The name change. The swearing off of profanity and explicit sexual lyrics. The fan base of any artist with significant career longevity could probably claim the same, but being a Prince devotee was a one-of-a-kind roller coaster ride. Greenman brings back memories as he charts that ride, all while maintaining an undercurrent of consolation.

Dig if You Will Ben Greenman cover.jpg
Book Review: Bob Dylan: The Lyrics 1961-2012,2016://1.10863 2016-12-01T10:05:00Z 2016-12-01T14:02:27Z A new book that collects Bob Dylan's lyrics offers reminders about why he deserved a Nobel Prize. Jeff Burger

Arranged chronologically, the volume devotes chapters to each of 31 Dylan albums, from his eponymous 1962 debut to 2012’s Tempest. In addition to songs from the LPs, the chapters include numbers that he wrote around the same time that did not make it onto the discs. Dylan’s first album, for example, featured only two original tracks, “Talkin’ New York” and “Song to Woody,” his tribute to Guthrie. But the chapter on that album includes lyrics for more than two dozen additional numbers from the period, among them the now-classic “Tomorrow Is a Long Time” and such early signs of a humorous bent as “Talking Bear Mountain Picnic Massacre Blues” and “Talkin’ John Birch Paranoid Blues,” neither of which officially surfaced on disc until Columbia began issuing Dylan’s Bootleg Series. Each chapter opens with the composer’s handwritten or typed and hand-edited lyrics for one song.

Inevitably, in a catalog of well over 300 compositions, some are much better than others. A handful—such as “Lenny Bruce,” a heartfelt but weakly worded tribute to the comic—seem far from profound, and even some of the great ones don’t work nearly as well on paper as they do in song. But genius permeates many of this book’s nearly 700 pages. Look particularly at the period that extended from the artist’s 1963 second album, The Freewheelin’ Bob Dylan, through 1967’s John Wesley Harding; the stretch that began with 1974’s moving, highly personal Blood on the Tracks and continued through 1978’s underrated Street Legal; and the five-album burst of brilliance that began with 1997’s Time Out of Mind. I’m tempted to start quoting favorite lines, but if I did, we’d probably wind up with a book review that was itself book-length.

Reading through the volume, you’re reminded that throughout his career, Dylan has been just as adventurous as he has been brilliant. He’s been fearless about trying new songwriting styles, then abandoning them to try something else. So in this book, we get everything from political diatribes (“Masters of War”) to deftly written fantasies (“Lily, Rosemary and the Jack of Hearts”) to straightforward romantic ballads (“Make You Feel My Love”) to a country moon-spoon lyric that actually includes that rhyme (“I’ll Be Your Baby Tonight”). Then there are the many poetic numbers, such as those dominating Blonde on Blonde, that paint vivid pictures but are difficult or impossible to explain. It’s no wonder that when asked what his songs are about, Dylan once famously answered, “Oh, some are about four minutes; some are about five, and some believe it or not, are about 11 or 12.”

I can offer at least two reasons to buy this volume aside from the excellence of its lyrics. If you’re a serious fan, you’ll be interested to know that Dylan—who has a reputation for changing the words to his songs in concert—has done the same thing here. Unfortunately, the book doesn’t indicate which lyrics have been altered, but a press release notes that “Dylan has edited dozens of songs for this volume.” It will be interesting to discover which ones, and how he has changed them.

Like many rock songs, also, Dylan’s sometimes make it difficult to hear every word correctly, so this book might clear up some confusion. In Blood on the Tracks’ superb “Tangled Up in Blue,” for example, I’ve always thought Dylan was singing, “split up on the docks that night,” but it turns out the line is “split up on a dark, sad night.”

This is going to require a period of adjustment on my part.

Book Review: The Rolling Stones: All the Songs - The Story Behind Every Track,2016://1.10855 2016-11-22T10:25:00Z 2016-11-22T14:26:13Z An ambitious new book surveys the Rolling Stones' recording career. Jeff Burger Philippe Margotin and Jean-Michel Guesdon, the authors of the mind-bogglingly comprehensive All the Songs: The Story Behind Every Beatles Release (2013) and Bob Dylan: All the Songs (2015), are back. This time around, they offer an equally exhaustive look at the Rolling Stones’ work. Three of these volumes in four years? You have to wonder when or even whether Margotin and Guesdon ever sleep.

The impressively researched 704-page Stones book, which features more than 500 illustrations, is organized just like its predecessors. As its title promises, it includes a detailed, chronologically arranged examination of virtually every single and album track recorded by the group, starting with Chuck Berry’s “Come On,” which appeared in the UK in June 1963, and ending with “One More Shot,” which the Stones recorded in August 2012.

For every one of 340 tracks, the volume lists composer, time, personnel, recording location, producer, and other technical credits; it also discusses how the song came to be, its significance, and its production process. The essays include a fair amount of speculation (a certain lyric might mean or be influenced by such-and-such) but also a ton of facts about instruments played, recording techniques employed, references cited, and more. Also here are essays about the birth of the band, each album, and such Stones-related people as “blond muse” Anita Pallenberg, “sixth Stone” Ian Stewart, and manager Allen Klein. Sprinkled throughout are hundreds of small boxes, all labeled “For Stones Addicts,” that report often-fascinating trivia.

While few people will probably be inclined to read this book cover to cover, it’s a browser’s paradise that Stones fans are bound to love. On the off chance that you don’t, you can always use the six-pound volume for a doorstop or maybe even weight training.

Book and Album Review: Bruce Springsteen - Born to Run and Chapter & Verse,2016://1.10846 2016-11-07T10:25:00Z 2016-11-07T14:26:41Z Bruce Springsteen's autobiography is intimate and powerful. So is the music on the companion CD, but its release seems less necessary. Jeff Burger Bruce Springsteen has said that he penned all of his moving new autobiography himself—no co-writer or ghostwriter—and anyone who has heard his between-song concert monologues or his 2012 SXSW speech will believe him. This is the same storytelling, exclamation-point-using, self-deprecating, and sometimes funny voice we know from the stage patter.

You can hear echoes of some of his songs here, too. For example, when Springsteen recalls his Freehold High School years and says, “There were harsh words spoken between two cars at a South Street light and a gun was fired into a car full of black kids,” fans will immediately conjure up the lyrics to “My Hometown."

But this book doesn’t simply give us more of the Springsteen we’ve already met. As you know if you read my collection of his interviews, he has been unusually forthright over the years about his personal life and career, but Born to Run adds a wealth of intimate detail about both—and some major surprises. Springsteen talks candidly about his relationship with his supportive mother, his marriages, and his career struggles. Most notably, we learn that his father was not simply difficult but mentally ill, and that Bruce himself has struggled with intense depression, including one bout in recent years that apparently left him contemplating suicide.

This sad news serves as a reminder, if anyone needs it, that mental illness has nothing to do with logic. Here’s a guy who has achieved incredible heights in his career, has great wealth and a loving family, and has brought happiness to millions. Yet sometimes he is miserable. Even he doesn’t really know why, but he certainly knows how to describe the feeling.

He also does a good job of limning his classic rags-to-riches story. In early chapters, he talks of cold-water flats, unheated bedrooms, a house without a phone, and a life that was pretty much bounded by the borders of his hometown. For a long time, he couldn’t afford much of anything; at one point, he had trouble scraping together the dollar toll needed to drive into Manhattan. In later years, of course, Springsteen found himself in another universe, meeting with accountants, flying on private jets, and buying assorted real estate, including a horse farm.

One of the book’s many strengths is the honesty that permeates it. Though he has nothing but lavish praise for his wife and a few others, Springsteen often balances positive comments with criticism when he talks about assorted friends, associates, and bandmates, and he’s the same way about himself. He has justifiably high regard for his own musical talents, but he doesn’t hesitate to spell out his shortcomings. In fact, he’s sometimes harder on himself here than anyone else, his father included.

One thing we never quite learn is where that immense talent came from. How did a kid who played so-so garage rock to audiences of a few dozen in the Castilles wind up as arguably the best live performer in the history of rock and roll? And how did he manage to write such masterpieces as “The River,” “Badlands,” and “The Ghost of Tom Joad,” to name a few? The best the book can come up with are a lot of tales that ultimately just reminded me of an old joke: Q. "How do you get to Carnegie Hall?" A. "Practice." Springsteen did practice as hard as anyone—but of course his accomplishments required something more. They required some kind of magic.

So did the writing of this book. I’ve encountered some excellent musician memoirs over the years—Keith Richards’s Life and Bob Dylan’s Chronicles come to mind—but Born to Run is in a class of its own. Whether you’re interested in reading about rock and roll or about the inner life of one of its best practitioners, you won’t be disappointed. As Springsteen says near the end, “in a project like this, the writer has made one promise: to show the reader his mind.” He delivers on that promise with a book that is as impressive in its own way as the album of the same name.

I can’t speak quite as glowingly about the deftly titled Chapter & Verse CD, which is billed as an “audio companion” to the book. Containing 18 selections from throughout Springsteen’s career, it includes five previously unreleased early numbers, plus the demo recording of “Growin’ Up” that first surfaced on the Tracks box set and such later landmarks as “4th of July, Asbury Park (Sandy),” “Badlands,” “The River,” “The Rising,” and, of course, “Born to Run.”

Serious fans will want the early stuff, if only because it shows just how far Springsteen has come. “Baby I” and Bo Diddley’s “You Can’t Judge a Book by Its Cover,” by the Castilles, are energetic but ultimately run-of-the-mill period garage rock—the sort of material that would have appeared on one of the Nuggets collections if it were a little more distinctive. Bruce’s guitar and Danny Federici’s organ enliven Springsteen’s “He’s Guilty (The Judge Song)” but we’re still in amateur-hour territory, with little hint of how far the group’s leader would travel. The country-rock-tinged “Ballad of Jesse James,” by an early version of the E Street Band, is better constructed and more compelling—a step closer to the sound that would emerge on Springsteen's first two albums. “Henry Boy,” which features only Bruce’s vocal and guitar, sounds like an outtake from his debut LP.

If you’re interested enough in Springsteen to read his autobiography, I suspect you don’t need me to tell you that the rest of the music on Chapter & Verse is great; indeed, you probably already own most or all of it. And that’s the problem with this package: though you can buy MP3s of the five early tracks, you’ll likely have to purchase songs you already own in order to get CD-quality copies of those numbers. (This is the same situation fans faced with Springsteen’s Greatest Hits and 18 Tracks, both of which coupled a few new selections to material many fans had already purchased.) I’m glad to have the five rare old recordings here, but I wish they’d been offered separately on an EP, perhaps bundled with the autobiography. Like many fans, I already had a shelf-full of “audio companions” to the book before Chapter & Verse came along.

Book Review: Boss: Bruce Springsteen and the E Street Band - The Illustrated History by Gillian G. Gaar,2016://1.10791 2016-09-12T09:55:00Z 2016-09-12T13:53:38Z A new Springsteen book combines a concise, well-written biography with album reviews and a wealth of photos. Jeff Burger Springsteen fans who want to read about the man and his music have long been able to opt for everything from biographies to books about the albums to coffee-table photo collections. Now comes Gillian Gaar’s Boss, which attempts with considerable success to be all this and more. Think of it as a sort of one-stop print shop for Bruce aficionados.

In the volume, which spans 208 oversized pages, the veteran Seattle-based rock writer offers the basics of Springsteen’s story, starting with the birth of his difficult father and ending with the 2014 induction of his E Street Band into the Rock and Roll Hall of Fame. Gaar also delivers thoughtful reviews of Springsteen’s albums; includes an impressively thorough selected discography of singles, EPs, albums, and box sets that lists release dates, recording info, producers, musicians, and more; and features a generous assortment of color and black-and-white photos from throughout the artist’s career. Sidebars cover such topics as Springsteen’s pivotal 1975 Bottom Line gigs, his London debut, his wives, his key singles, and the life and death of E Street sax player Clarence Clemons.

Gaar offers a fair amount of detail throughout but, obviously, you don’t cover all this turf in 208 pages without cutting some corners. Those who want to dig deeper can pick up my own Springsteen on Springsteen: Interviews, Speeches, and Encounters, Peter Ames Carlin’s Bruce, or Ryan White’s Springsteen: Album by Album, all of which Gaar lists in a bibliography, along with a variety of other books, magazines, websites, and articles. (Fans can also order Bruce’s autobiography, Born to Run, which will be released on September 27.)

If you’ve already read much of this other material, you’re not likely to find many revelations in Gaar’s book. But if you’re just starting to fill your Bruce bookshelf, this would be a sensible first purchase. Boss is well-written and carefully researched, and it packs considerable insight and information into most every page.

Book Review: Prince: The Man and His Music - by Matt Thorne,2016://1.10790 2016-09-09T10:30:00Z 2016-09-09T14:31:23Z Thanks to author Matt Thorne's comprehensive knowledge of (and obvious respect for) his subject, this is an essential book for all Prince fans. Chaz Lipp Prince in the U.K. in 2012. The U.S. version (updated with post-2012 events), Prince: The Man and His Music, was issued in February 9, 2016. At the time, of course, the future was still rife with possibilities in terms of new directions for Prince. He was in the midst of his one-man Piano & a Microphone tour as well as penning his memoirs. On April 21, 2016 all of that came to a sudden, permanent end with the tragic passing of Prince at age 57.

Full disclosure: as a Prince-obsessive since Purple Rain in 1984, the news of his passing hit me very hard on a personal level. For many music fans, Prince had largely faded from the pop culture radar many years ago. Whether it was the controversial name change in the mid-'90s, the lack of genuine hit singles over the last 20 years or so, or his often-confounding alternative means of releasing new music, Prince had become a nostalgic figure at best and a has-been at worst in the eyes of millions. But for the many hardcore fans who continued to jump through hoops to get everything the artist ever released, the loss was felt at a profoundly deep level. Being a Prince fan was a bit like being part of a secret club—most casual fans had little idea of the internet-only releases over the years, or of an album like 20Ten which wasn't released in any format in the U.S. during Prince's lifetime—but not an elite or closed club.

"Admission is easy, just say you believe" is what Prince sang in his largely-unheralded 1985 anthem "Paisley Park," and that's an apt description of being a member of the unofficial Prince "club." This club was (still is, come to think of it) open to everyone. Just listen to his music. Get caught up on releases you may have missed. As obvious as that may seem, the amount of people who "used to" like Prince but hadn't bought any new music (if they were even aware he was releasing it regularly) in the last couple decades is staggering. Maybe more so than any other true global superstar, there are vast numbers of people who say that they just didn't "get" Prince. If that's you, Thorne's book will help remedy that. And if you do "get" Prince, the book will help you get into him even more.

Through the years all Prince's bizarre (often contradictory) proclamations, intermittent religious sermonizing, and a puzzling career-long neglect of his own legacy do nothing to detract from his one-in-a-million genius as a songwriter, musician, vocalist, and live performer. Thorne's Prince: The Man and His Music is a celebration of all that greatness. Unlike some other books on the same subject, Thorne's book is not an attempted character assassination, not gossipy yellow journalism, not negative revisionism. I think it's important to make all of this very clear. Though he is balanced in his critical analysis of Prince's vast body of work, Thorne never, ever comes across like anything less than a mega-fan of his subject. His comprehensive knowledge of Prince's work (not to mention the impressive roster of concerts attended) makes the book essential for Prince fans old and new.

Because this updated, 2016 edition was published prior to Prince's death, Thorne never even had the option of rose-tinting any of his appraisals of the many album, tours, video releases, or side projects covered. That's not to suggest he consciously would, but at least one Prince biographer (Alex Hahn, Possessed: The Rise and Fall of Prince) has already announced plans to issue an updated tome with "a dramatically different perspective and approach." Not meaning to slam Hahn here. His upcoming Make the House Shake may very well turn out excellent (I don't believe a publication date has been established at the time of this writing). But the point is now that Prince is gone, the temptation for re-evaluating opinions is understandably great. The need to celebrate "the man and his music" is arguably greater than ever before.

So regardless of what any other writers do from now on, let it be known that Thorne has already achieved the formidable accomplishment of celebrating the entire arc of Prince's career before any post-death second-guessing was even possible. Reading The Man and His Music in the wake of Prince's death wasn't always comfortable. For me, personally, it was slow going—not because of Thorne's writing, which is always direct, articulate, and thoughtful. The downside here is that, of course, Thorne writes with an unspoken expectancy of what further greatness might yet arrive. For anyone moved, inspired, or otherwise affected by Prince's music, this adds a resounding note of sadness as we continually remind ourselves to change the tense from present to past as we read.

The book itself is fantastically researched, with Thorne having done plenty of direct interviews with Prince associates such as Wendy Melvoin and Lisa Coleman. The focus is absolutely on the music and other work Prince issued throughout his life. That means anyone looking for dirt about relationships and other personal matters should look elsewhere. Only when it's germane to the actual music does Thorne let Prince's personal life come into play—and even then, he always maintains a professional, unbiased tone. The book functions as a guide from album to album. At times I was reminded of the late Ian MacDonald's Beatles' critique Revolution in the Head and wished Thorne had also taken a song-by-song approach (which, admittedly, would've been exhausting for both author and reader).
Prince The Man and His Music cover.jpg You may not always agree with Thorne's assessment of certain albums or individual songs (I, personally, found myself agreeing for more often than not—though I'd love to debate him about the merits of a specific track or two), which is all part of the journey. The book will undoubtedly send you back to to the albums for further study (or inspire you to seek out material you might not have heard before). Whether you're a new fan (or one returning after a hiatus) OR a longtime fan looking for a virtual "friend" to help get you accustomed to the much less-funky world in which we now exist, turn to Matt Thorne's Prince: The Man and His Music.
Book Review: All the Songs: The Story Behind Every Beatles Release by Philippe Margolin, Jean-Michel Guesdon & Scott Freiman,2016://1.10683 2016-03-21T11:25:00Z 2016-03-21T15:24:08Z The verdict is "yeah, yeah, yeah!" on a book that includes exhaustive information on every Beatles studio album track and single. Jeff Burger Last month, I reviewed the exhaustive Bob Dylan: All the Songs—The Story Behind Every Track, by Philippe Margotin and Jean-Michel Guesdon. I’ve now had the opportunity to look over the similarly conceived All the Songs—The Story Behind Every Beatles Release, which Margotin and Guesdon wrote in collaboration with Scott Freiman, a composer and producer who has taught a course on the Fab Four at Yale.

Note that I say I’ve looked over the Beatles book rather than read it. That’s because, like the Dylan volume, it is gargantuan and, at nearly 700 oversized pages, more suited to browsing than to cover-to-cover perusal. That said, the book—which includes 600 or so black-and-white and color photos—is quite a browse.

Along with a preface by Patti Smith, a brief foreword, several essays on the Beatles’ formative years, and commentary on each LP, you’ll find sections on each of 213 songs, including every one of the group’s singles and studio album tracks. These write-ups detail the songs’ genesis and production; where and when they were recorded and mixed; how many takes were performed; who actually wrote the numbers (as opposed to who’s credited on the record label); and who played on them.

You’ll also find a ton of trivia, the vast majority of which is not included in the original albums’ notes, You’ll learn, for example, that the Beatles recorded 26 takes of “Strawberry Fields Forever”; that 13 musicians played along with the group on “Penny Lane” (including George Martin on piano); that Ringo didn’t perform on “The Inner Light” because he was off guesting on Cilla Black’s BBC show; that backup singers on “Yellow Submarine” included Marianne Faithfull and Mick Jagger; and that Paul used the same fuzzbox on his bass for both “Think for Yourself” and “Mean Mr. Mustard.” You’ll also read that Ringo walked out on the group during the recording of “Back in the U.S.S.R.,” leaving Paul to play drums, and that “I Want to Hold Your Hand”—which John and Paul recorded the day after they wrote it—sold 10,000 copies an hour in New York alone after the Beatles performed it on the Ed Sullivan Show.

For some people, the response to all of this will undoubtedly be “Who cares?” And if that’s what you’re thinking, this is obviously not the book for you. But if you’re among the countless fans who soaked up every note of Beatles music as it was being released and who have subsequently played it over and over for approximately another half century, you’re bound to find this volume endlessly fascinating.

Book Reviews: Dylan: Disc by Disc - and Bob Dylan: All the Songs,2016://1.10651 2016-02-23T09:15:00Z 2016-02-23T13:44:59Z Approximately one zillion books have been written about Bob Dylan but few of them focus mostly on his music. A pair of ambitious new books do just that, however. Jeff Burger Approximately one zillion books have been written about Bob Dylan but surprisingly few of them focus mostly on his music rather than his life and career. A pair of recently published tomes do just that, however.

One of these is the well-illustrated Dylan: Disc by Disc, edited by Minneapolis Star Tribune music critic Jon Bream. As the title suggests, the volume includes a look at each of the artist’s albums. Well, almost: it omits coverage of Dylan’s many live recordings and compilations, as well as the extensive Bootleg Series. Still, it covers 36 studio LPs—from the 1962 debut all the way to 2015’s Shadows in the Night. For each album, Bream offers a track list, songwriting and musician credits, and recording information. Then critic Richie Unterberger puts the release in context and discusses its critical and commercial reception before we get to the meat: a Bream-moderated discussion about the album with a pair of commentators.

Those commentators, 55 in all, include professors; DJs; critics like Rolling Stone’s Anthony DeCurtis and No Depression’s Kim Ruehl; and musicians and songwriters such as Eric Andersen, Rodney Crowell, Ric Ocasek, and Wesley Stace (aka John Wesley Harding). Most of the commentator choices are good and some are inspired, though I’d question inclusion of a few: It’s difficult to see singer-songwriter Nicole Atkins as a Dylan critic, for example, given that she says she “grew up hating Bob Dylan,” “thought his songwriting was dumb,” and still likes none of his albums aside from Desire. Then there’s Robert Christgau, the self-proclaimed “dean of American rock critics,” whose opening remarks here include “I’m really not a Dylan person. I don’t really care what he has to say about the world.”

But these are exceptions in a book dominated by insightful commentary from passionate Dylan fans (which is not to say they like every track). I found myself agreeing with many of their opinions and disagreeing with some, but I never felt bored. Having followed Dylan from Day One, I found these discussions fascinating. Like all good music books, they sent me back to the music itself.

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I can say the same about the other new Dylan opus, the even more ambitious Bob Dylan: All the Songs—The Story Behind Every Track, by a pair of Frenchmen, journalist Philippe Margotin and musician/producer Jean-Michel Guesdon. Reviewers often jokingly refer to fat coffee-table books and CD box sets as doorstops, but this volume—which contains more than 700 oversized pages and weighs in at about six pounds—really could fill that function.

Like Dylan: Disc by Disc, the book doesn’t completely deliver on its title: the authors don’t cover live tracks, and they only partially address the material in the Bootleg Series. Still, this is an impressively massive undertaking. For each of 492 songs, the book offers musician and recording credits, an in-depth discussion of the lyrics and production, and a ton of trivia for Dylanologists. We learn, for example, what William Zantzinger, the villain in “The Lonesome Death of Hattie Carroll,” thought of the song, and that “Political World” borrows a phrase from a 1970 Leonard Cohen composition.) Also here are essays about each album and more than 500 black-and-white and color photos.

The book is at its weakest when Margotin and Guesdon attempt to interpret Dylan’s lyrics; sometimes they offer less than helpful total speculation, saying a song “could be about” such-and-such; other times, they appear to throw up their hands and say things like “another mystery!” or “Dylan seems to be amusing himself, leaving clues here and there to help the listener understand his secret thoughts.”

What makes the book valuable, though, is that it brings together all the important facts about each song, plus Dylan’s own comments in various interviews about what they mean. True, he has been famously elusive at times in discussing his music. (Asked what his songs are about, he has been known to say that “some are about four minutes; some are about five; and some, believe it or not, are about 11 or 12.”) But he has also made more than a few interesting and straightforward comments about his various compositions and recordings, and you’ll find many of them collected here.

If you’re a Dylan devotee, both of these books are a must.

Bentley's Bandstand: January 2016,2016://1.10604 2016-01-05T11:40:00Z 2016-01-06T14:19:03Z Music industry veteran Bill Bentley reviews ten great music books released over the course of 2015. Bill Bentley
Elvis Costello, Unfaithful Music & Disappearing Ink. This book is such a vivid and vivacious memoir of someone's life, it is like finding a new friend in the most surprising of places. Elvis Costello weaves a life meant to be spent in music in a totally original and always compelling way, sharing intimate early family history that makes his songs and survival instincts all the more understandable. His father was a professional singer in England, and in a way makes his son's fate as one of modern music's most memorable singer-songwriters a foregone conclusion. But the getting there for Elvis Costello is a tale not to miss, and his memory is so endless that it's slightly mind-boggling to think of all he is able to recall. There are only a handful of artists capable of living this life and then being driven enough to write it all down. At the very, very top of that list lives Costello, and once the book ends there is one immediate thought that rises to the fore: please let there be a Volume II titled, possibly, “Faithful Music and Reappearing Ink.” Inquiring minds gots to know.

Book John Fogerty (226x346).jpgJohn Fogerty with Jimmy McDonough, Fortunate Son. No one has written better rock songs than John Fogerty, and very few have continued their careers against greater odds than this Northern California son. Finally, 50 years after beginning to take the reins of the rock & roll band that would soon become Creedence Clearwater Revival, Fogerty is able to tell his full story. Disaster lurks around several corners, and with horrific business agreements that would someday send him into silence, it's a small miracle that he was able to emerge in the mid-'80s with both guns blazing. At the core of this book is a story of redemption fueled by the power of love, and Fogerty's memory is unerring with what brought about that turnaround: wife Julie Fogerty. Some artists cannot be stopped, and that's one of the prime lessons of this book. No matter how many times the end seemed eminent, a melody or a lyric or maybe just a memory of what is possible came through the ether to save the day. Rockin' all over the world, indeed.

Book Sam Phillips.jpgPeter Guralnick, Sam Phillips: The Man Who Invented Rock 'N' Roll. The mothership has arrived in honored scribe Peter Guralnick's biography of Sun Records founder and Elvis Presley discoverer Sam Phillips. This is a book that Guralnick was born to write, coming off his two-volume history of Presley as well as a handful of some of the best music books ever written, on everyone from Robert Johnson to Sam Cooke to a history of soul music. There really isn't a better author out there right now. And fortunately Peter Guralnick allows himself to really get inside Sam Phillips, put aside journalistic separation and go for the gold. The two were friends, which allows this book to become a big breathing thing. Those that first turned musicians loose in the '50s and let them have their way with the music are American heroes, and no one did this better than Phillips. Besides Presley, there were bluesmen like Howlin' Wolf and Ike Turner along with a roomful of names that today aren't even remembered. No matter. They were allowed to dream and create a new sound. Today, Guralnick turns those long ago dreams into words and feelings, letting history become alive and live forever. Thank you.

Book ray wylie hubbard (223x346).jpgRay Wylie Hubbard with Thom Jurek, A Life...Well Lived. After finding himself stuck smack dab in the middle of the Cosmic Cowpie crowd in mid-'70s Austin, Ray Wylie Hubbard proceeded to sprint down the road to self-destruction faster and more devout than anyone else in his crowd. They weren't giving out awards for that ability, but rather the first to get to an early grave would most likely get the notoriety. Luckily for listeners and readers, Ray Wylie Hubbard saw the wall he was about to blast into right before he got there and pulled up hard. Going sober at 41 not only saved his life, it gave him the courage and clarity to start making the best music of his career. Not only that, he somehow got herded into writing a book, not quite an autobiography and most assuredly a travelogue of what Hubbard had been and, hopefully, where he might be going. Naturally, it's full of the barbed-wire sensibility of his psyche, and includes just enough historical heehaw to allow fans to fill in the blanks of Texas music of the past 40 years. There most likely will never be another book quite like this one, just as there won't be many other lives like Ray Wylie Hubbard's. Though the old saying "too much is never enough" may have applied to him in the past, now this one life is more than enough to make for an intriguing book. Turn the pages loud.

Book Lou Reed (230x346).jpgAidan Levy, Dirty Blvd.: The Life and Music of Lou Reed. It's pretty much a given that considering Lou Reed's long career and careening changes, no single book is ever going to capture the total magic of all he accomplished. There were just too many Lou Reeds for that. There have already been a half-dozen attempts over the years, and 2016 will likely see at least that many more in the coming months. That said, Aldan Levy's new tome fills in a lot of the factual pieces and often gets close to painting a feel for a portion of Reed's world. Musically, it's an endless revelation of all the different roads this man traveled, sometimes with success and others with unrelenting dedication that didn't get quite so noticed. The point Levy and the other writers all make is just how much drive Lou Reed demonstrated in making the music he wanted to make, and everything else be damned. Going back to the mid-'60s when the Velvet Underground began, there have been very, very few bands that did so much to define the possibilities of what rock & roll could be. Reed himself said it best: "Some people they like to go out dancing/and other peoples they have to work (just watch me now)..." The music never had a more inspired and hard-working friend than this man, and any book that opens up a few of the doors he went through is a welcome arrival, and fills a corner of the portrait that will someday be a full-on view.

Book Way Down Louisiana (237x346).jpgTodd Mouton, Way Down in Louisiana. Perhaps this book's subtitle, "Clifton Chenier, Cajun, Zydeco and Swamp Pop Music," is more clarifying to what is exactly up between the covers. But when author Todd Mouton calls it "Way Down in Lousiana," he means Way Down. Following the path of zydeco king Clifton Chenier isn't far from taking on an archeological expedition, as the road leads from endless dance halls and barrooms in southern Louisiana on through to some of the biggest and most prestigious stages in the world. No one could play accordion like Chenier, before or since. The way he could drive a band into five-hour sets made the Grateful Dead seem like the Monkees, as the Creole and Cajun dancers would do their best to keep up with the big man behind the squeezebox. Just as fascinating to Clifton Chenier's story are all the tributaries of Louisiana music that take off from him. There is an entire state-centered record industry based on all these artists, and the level of subterfuge behind some of those labels is enough to make Huey P. Meaux blush. These people erased the rules quicker than anyone could make new ones, and in the end created a musical culture that still thrives today. Maybe not like it once did, but Mouton makes the case that this sound is alive and well. No one is better suited than the other to hold a light on this incredible style, and with a book full of staggering photographs it can be said that this story, at least right up until 2015, has been told once and for all. Miss it at extreme peril to the spirit's well-being.

Book Lloyd Price (226x346).jpgLloyd Price, Sumdumhonky. Better put on the seatbelt and a dash of Old Spice before reading this one. It zigs and zags from New Orleans to New York to Africa and back, and—before the end—addresses everything about racial injustice and rock & roll that needs to be addressed. Lloyd Price was one of the early creators of the music in New Orleans during the early '50s ("Lawdy Miss Clawdy" anyone?), and realized he needed to take over his own business or could easily end up in the welfare line with so many other early singing stars. This book details all the ins and outs of how he tried to revolutionize America's often shady music business, and once Price heads off for the Motherland, things get really thick, including his co-producing with entrepreneur Don King the Ali-Foreman "Rumble in the Jungle" fight and concert there. Along the way there were Bronx housing construction, manufacturing sports equipment, and a successful food company. Not surprisingly, Lloyd Price is still alive and ticking, a Louisiana man made good. Fortunately for readers, he's not shy about sharing his incredible life story and continues even now into the challenging future.

Book Boy in the Tree (232x346).jpgCarly Simon, Boys in the Trees: A Memoir. Not many singer-songwriters first approached music quite like Carly Simon. Her father had founded publishing titan Simon & Schuster Books, but that didn't prepare his daughter for a public life. In fact, it gave her the preference in the opposite direction, away from the spotlight and right into seclusion. Still, when the songs came a calling and there was no way not to write them, Carly Simon went head-on into the maelstrom. Then, of course, there was the marriage to James Taylor and the unending whirlwind that all of that entailed. Throw in Mick Jagger, Warren Beatty, and all kinds of other suitors, and this is one woman who has been there and done that. Fortunately she never went over the line and lost her way. To eavesdrop on what really happened in the '60s, ‘70s, and beyond in American musical shenanigans, start right here. It's a high class walk on the semi-wild side, and be assured there's rarely a dull moment, psychiatrists and all.

Book Patti Smith (242x346).jpgPatti Smith, M Train. Some artists get to go for the ozone from the start. Patti Smith has surely earned that honor, since from the very beginning she broke all the rules and lived to flourish. For this book, she sets aside her musical accomplishments (for the most part) and journeys deep into the soul of an artist's wanderings. Her language is poetic prose, each sentence feeling like a communication from somewhere deep in the soul. Considering the book's first words are "It's not so easy writing about nothing," everything feels revealed in the end. As she moves around the world, Patti Smith's take on what she does and finds is truly unique, halfway haunted but always hopeful. This passage says it all: "I believe in movement. I believe in that lighthearted balloon, the world. I believe in midnight and the hour of noon. But what else do I believe in? Sometimes everything. Sometimes nothing. It fluctuates like light flitting over a pond. I believe in life, which one day each of us will lose." Those are words to point us to the light without ignoring the darkness. Long may she write.

Book Tom Petty (230x346).jpgWarren Zanes, Petty: The Biography. When it comes to American rock & roll icons who have walked the walk from day one, put Tom Petty in that class. He came to Los Angeles from Florida ready to take the West Coast by storm, and almost got sent home to learn his lessons better. Except for one true fact: Petty was as good as anyone in music at that time, and though it may have taken a few turns before he got his shot, once he did he never let go. Since those early days going by the Heartbreakers at the Whisky a Go Go, the music man has stayed steady and true to the voice within that says never back down and never let go. Writer Warren Zanes, once known for his guitarist skills in the proud Boston band the Del Fuegos, has dug deep to tell the real live story. What makes it so unrelentingly compelling is just how dedicated Petty has always been to writing and recording what he hears in his head and heart. Stubbornness never sounded so good.]]>
Book Review: Ryan White's Springsteen Album by Album,2015://1.10176 2015-01-30T02:50:00Z 2015-01-30T03:50:13Z To some fans, this book's well-written text may offer little news, but the 250-plus photos here are themselves worth the price of admission. Jeff Burger I know a thing or two about tracking down and licensing rock photography and, trust me, it’s often neither easy nor inexpensive. So my hat’s off to the folks at Palazzo Editions, the same people who produced Harvey Kubernik’s recent coffee-table book on Leonard Cohen. They have somehow managed to garner rights to more than 250 of the best Bruce Springsteen photos, including many iconic images from such leading rock photographers as Danny Clinch, Neal Preston, Frank Stefanko and the late David Gahr; and they’ve reproduced them on heavy stock in a hardcover book while keeping the list price tag below $30.

If you’re a Springsteen fan, you’ll probably find the photos alone to be worth the price of admission. In addition to shots of the artist at every stage of his long career, the book includes photos of such memorabilia as the postcard that inspired the cover of his first album and signs and handbills announcing some of his earliest gigs.

Ryan White, who spent nearly 16 years covering music and other subjects for The Oregonian, provides accompanying text, which while well written, is somewhat less of a must-have than the photos. Given the book’s title and the plethora of books about Springsteen’s career and personal life, I had assumed that White would confine himself to a critique of each of Bruce’s albums. He does talk in some detail about each record, but he also covers everything from the artist’s early influences to his mammoth tours to the time paparazzi caught him on a hotel balcony in Rome with future wife and bandmate Patti Scialfa while he was still married to actress Julianne Phillips. By supplementing the photos with not only album commentary but a bit of a bio, plus a timeline and a detailed discography, White seems to be trying to pull together everything a fan might want to read.

The problem is that if you’ve made your way through a few of the key Bruce books already out there, you’ve heard most of these details and stories, and probably in greater detail. In fact, White appears to have compiled them not by talking to Springsteen associates or the man himself but by perusing a variety of previously published books, articles and other materials. (He cites all of them, including my own book, in a source list at the end.) If you haven’t read much about Springsteen’s story, be advised that White’s somewhat truncated version does hit all the high points and may suffice. If you have, however, a lot of this is going to sound like old news.

Two quibbles: the book’s timeline says a July 31, 2012 Stockholm show was Springsteen’s longest, at four hours and six minutes. I’m not so sure. I myself attended one in Phoenix on Nov. 5, 1980 that began by 8:20 p.m., included one intermission of about ten minutes and continued till 1 a.m. Also: especially given that the book incorporates the timeline, discography and source list, it’s hard to understand why the publisher didn’t also include a basic index; particularly in a book of this sort, it would have been helpful to be able to easily locate, for example, all references to a particular song or musician.

Nevertheless, this is a beautifully assembled volume that’s loaded with eye-catching images. Even if you don’t need the career and album summary, you may well want the book.


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On this 15th, Krazy Front Productions organised the “SUMMER JAM 2008″. The punch line for that concert was "This ain’t nothing but a summer jam
We’re gonna party as much as we can."

I got this news from buddy Hassan (Vocalistand Guitarist of the band GUNAAH) but as i was busy in my exams , so i was not able to make a post about it. That is why i am making the post about Summer Jam now and hope that soon i will get the video and audiso of that performnace of AKASH THE BAND, MIZRAAB (Special performance), MIRAGE, SOUTH TOUCH, GUNAAH and TALAB ( i love this name ).

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8 top money-saving Mother's Day deals from Wowcher

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Monday, October 17, 2011

Tropical Fruits Day 1

Hope everyone's weekend was fantastic... mine was pretty nice as I enjoyed of the amazing tropical fruits you can find in Costa Rica. I'm sure most of you know the typical fruits found in other markets like papayas, pineapples and mangoes but today I want to introduce you to one of my favorites called Jocote (ho-ko-teh).

This fruit grows on a tree and can be eaten green or ripe sprinkled with lemon, salt or by itself {I love it green and by itself}. It grows typically in Central America but over the past few year the plant has been found in parts of Asia that have similar tropical weather.
In Costa Rica, jocote is also the name of a peace treaty in 1842 when the president/dictator of that time was overthrown... it's called "Pacto del Jocote" because it was signed under one of these trees.

Have a great day and enjoy of some fresh fruits!


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