Kanada Kev

Some more info on that http://www.snopes.com/food/prepare/msm.asp http://greginthedesert.net/2010/10/fake-picture-of-mechanically-separated-chicken/ Still f'in gross

Guess what THIS is?! A) Strawberry ice cream Chicken C) Plastic foam D) None of the above Answer below What you need to know: Folks, this is mechanically separated chicken, an invention of the late 20th century. Someone figured out in the 1960’s that meat processors can eek out a few more percent of profit from chickens, turkeys, pigs, and cows by scraping the bones 100% clean of meat. This is done by machines, not humans, by passing bones leftover after the initial cutting through a high pressure sieve. The paste you see in the picture above is the result. This paste goes on to become the main ingredient in many a hot dog, bologna, chicken nuggets, pepperoni, salami, jerky etc… The industry calls this method AMR – Advanced Meat Recovery. In 2004, as a result of mad cow disease (Bovine Spongiform Encephalopathy), the USDA’s Food Safety and Inspection Service (FSIS) ruled that beef could no longer be processed this way, because testing showed that parts of the bovine central nervous system ended up in the meat. As for products using mechanically separated chicken and pork, FSIS ruled that they are safe to eat, but required them to be labeled as such. Despite them being safe, FSIS states that no more than 20% of the meat in a hot dog come from mechanically separated pork. What to do at the supermarket: It’s always a better to choice to see a real cut of meat at the butcher counter in the supermarket and then decide what you want done with it. Buying something prepared in a factory, such as chicken nuggets, or hot dogs, you’ll always get the worst meat, and it will always be combined with additives and other sources of fat. http://www.fooducate.com/blog/2009/08/03/guess-whats-in-the-picture-foodlike-substance/

i LOVE this soundtrack mmmmmmmmmmmmmmmmmmmmmmmmmmgoooood http://bit.ly/9Mb0Jl TREME: MUSIC FROM THE HBO ORIGINAL SERIES, SEASON 1 The HBO series Treme, named for the historic neighborhood where jazz was born, chronicles the rebuilding of a unique American culture where music plays an integral role in the city’s way of life. The show and soundtrack capture the sounds of many of New Orleans’ extraordinary musicians and other artists. The soundtrack album includes 19 tracks featuring music heard throughout the groundbreaking series over the course of its first season, offering a cross-section of New Orleans-bred music including rhythm and blues, soul, jazz, rock and roll, funk, folk and country that reflects the diversity of the city’s musical tradition. Artists heard on the soundtrack — and seen in the series — include John Boutté whose “Treme Song†is the series’ theme. The Rebirth Brass Band’s “Feel Like Funkin’ It Up†reflects the melding of the city’s brass band tradition with a contemporary funk cadence that exemplifies the musical melting post that is New Orleans. Steve Zahn who plays DJ/musician Davis McAlary in the series is heard performing “Shame, Shame, Shame†The album includes Dr. John’s “Indian Red,†as well as “Time Is On My Side†by Irma Thomas and Allen Toussaint plus Steve Earle’s “This City†and much more music that evokes the tenor of the series and the spirit of New Orleans. David Simon, Treme co-creator and executive producer, noted, “In the course of filming Treme, we were treated to some remarkable performances – only a portion of which we could highlight in the series.†He added, “Some great music ended up on the cutting room floor, so to speak.†Among these are performances and music from Elvis Costello, Kermit Ruffins & The Barbecue Swingers, John Boutté, Glen David Andrews, Paul Sanchez & New Birth Brass Band, Pine Leaf Boys with Lucia Micarelli, John Mooney & Soul Rebels Brass Band and Irma Thomas, Dave Bartholomew, Allen Toussaint & Friends. Eric Overmyer, who co-created the series, provides introductory notes about filming the series on location in New Orleans. Jazz journalist Larry Blumenfeld’s essay “Treme and the Abstract Truth†provides atmospheric liner notes that further underscore the relationship between the city and its music creators and practitioners. From David Simon and Eric Overmyer (both of The Wire®), Treme follows musicians, chefs, Mardi Gras Indians and ordinary New Orleanians as they try to rebuild their lives, their homes and their unique culture in the aftermath of Hurricane Katrina. The acclaimed show has been renewed for a second season which will air in 2011. The album was produced by Treme music supervisor Blake Leyh and Tony Seyler, Universal Music’s Vice President for Film and Television Marketing; executive producers are David Simon, Eric Overmyer and Nina K. Noble, who along with the late David Mills produced the series for HBO. The Treme Live Video Performances were produced by Karen L. Thorson and the lead director is Anthony Hemingway. Complete, annotated audio track-listing follows: Link mp3@256CBR Track List 01. Treme Song – John Boutte 02. Feel Like Funkin’ It Up – Rebirth Brass Band 03. I Hope Your Comin’ Back To New Orleans – The New Orleans Jazz Vipers 04. Skokiaan – Kermit Ruffins & The Barbecue Swingers 05. Ooh Poo Pah Doo – Trombone Shorty 06. Drinka Little Poison (4 U Die) – Soul Rebels Brass Band 07. We Made It Through That Water – Free Agents Brass Band 08. Shame Shame Shame – Steve Zahn And Friends 09. My Indian Red – Dr. John 10. At The Foot Of Canal Street – John Boutte 11. Buona Sera – Louis Prima 12. New Orleans Blues – Tom McDermott 13. I Don’t Stand A Ghost Of A Chance With You – Michiel Huisman 14. Indian Red (Wild Man Memorial) – Mardi Gras Indians 15. Indian Red – Donald Harrison 16. Time Is On My Side – Irma Thomas 17. This City – Steve Earle 18. Just A Closer Walk With Thee – Treme Brass Band 19. My Dawlin’ New Orleans – Lil’ Queenie & The Percolators http://bit.ly/9Mb0Jl

http://bit.ly/bC2Hqe Rick Danko – Times Like These Times Like These was Band bassist Rick Danko’s final album, a posthumous release featuring tracks from a variety of sources dating from an aborted solo project in 1993 to Danko’s final live performance in Ann Arbor, Michigan just days before his death. Those tracks recorded specifically for the project were the title track (a song Danko had written in the 1970s but had yet to find a place for), “Ripple†(suggested by the President of Breeze Hill Records, who issued the album), “All Our Past Times†(in keeping with Danko’s revisiting of a song from his younger days), “This Wheel’s on Fire†(a second, unfinished, revisit, it features an entirely redone arrangement by The Crowmatix and Garth Hudson), “You Can Go Home†and “People of Conscience†(both written by Tom Pacheco, the former co-written by Danko, and focusing on human rights). Of the remaining four, “Book Faded Brown†and “Let the Four Winds Blowâ€- the latter sung by Danko cohort Aaron Hurwitz- date from Danko’s last live show on December 6, 1999, both featuring posthumous overdubbing by Hurwitz and others. “Chain Gang†dated from the sessions for The Band’s High On The Hog album and featured all of the late-period members of The Band except Levon Helm and “Change is Good†featuring Joe Walsh dated from an aborted 1993 solo project for Elektra Records. mp3@320CBR Track List 1. “All Our Past Times†(Rick Danko and Eric Clapton) – 3:46 2. “Ripple†(Jerry Garcia and Robert Hunter) – 5:41 3. “Times Like These†(Rick Danko) – 4:19 4. “Book Faded Brown†(Paul Jost) – 3:12 5. “Chain Gang†(Sam Cooke) – 4:10 6. “Change is Good†(Rick Danko, Jim Tullio and Ed Kaercher) – 4:10 7. “Sip the wine†(Rick Danko, Tim Drummond) – 5:19 8. “This Wheel’s on Fire†(Rick Danko and Bob Dylan) – 5:06 9. “You Can Go Home†(Rick Danko and Tom Pacheco) – 5:34 10. “Let the Four Winds Blow†(Dave Bartholomew and Antoine “Fats†Domino) – 3:22 11. “People of Conscience†(Tom Pacheco) – 4:10 http://bit.ly/bC2Hqe

This is some sweet live stuff from the trio but with the great Steve Gadd on the kit instead of blade. http://bit.ly/a6tQnr Chick Corea/Christian McBride/Steve Gadd – Super Trio He may be in his mid-sixties, but pianist Chick Corea hasn’t slowed down in the least. In the past five years there’s been a monumental three-week run at New York’s Blue Note, focusing a bright light on acoustic ensembles past and present and beautifully documented on the ten-DVD set Rendezvous in New York (Image Entertainment, 2005). Corea re-formed his powerhouse Elektric Band for an album—To the Stars (Stretch, 2004)—and tour. He reunited with members of Paco de Lucia’s band for a tour documented on the double live CD Rhumba Flamenco (Chick Corea Productions, 2005), available only at shows and on Corea’s website. The Ultimate Adventure (Stretch, 2006) hearkened back to the days of high concept albums like My Spanish Heart (Polydor, 1976) without sounding the least bit retro. Why Super Trio is only being released in Japan is a mystery. This live set revisits material from Now He Sings, Now He Sobs (Solid State, 1968), Light as a Feather (Polydor, 1972), The Mad Hatter (Polydor, 1978), Friends (Polydor, 1978) and Three Quartets (Warner Brothers, 1981), focusing as much on Corea the composer as Corea the pianist. In the same way that recent trios led by guitarist Pat Metheny have drawn from a broad cross-section of writing from his entire repertoire, Super Trio is a reminder of how many memorable tunes Corea has written—many still becoming part of the collective musical unconscious. Still, it’s not as if the trio doesn’t exercise broad liberty with the material. Take the open-ended version of “Matrix,†one of Corea’s earliest compositions, for example. Bassist Christian McBride’s opening solo, free though it may be, insidiously alludes to the familiar theme without giving away the store. Corea and drummer Steve Gadd join in on the free play; while Corea may have for the most part left the more obfuscated cerebralism of his pre-Return to Forever group Circle behind, it’s still part of his vernacular. The trio takes its time, stretching the source material every which way, never completely coalescing for the melody—instead, dancing around it for nearly fourteen minutes and proving just how malleable Corea’s writing can be. Elsewhere the trio’s approach is more straightforward, but a playful exuberance makes the hard-swinging “Humpty Dumpty†and the more relaxed “The One Step†and “Windows†proof that the traditional format of head-solos-head need not be inherently confining. As vividly interactive as Keith Jarrett in his standards trio, but with an original songbook and more attention to form, Corea has always been a responsive player, but this trio may be the most informal-feeling group he’s had in years. Risk-taking may be a given, but the players are so finely attuned to one another that it never feels that way. “Sicily†and “Spain†round out the set, referencing Corea’s strong Latin roots. There are plenty of sparks and moments of intensity, but Super Trio is ultimately an extremely approachable album that never sacrifices its sense of adventure and complete commitment. – John Kelman mp3@320CBR Track List 1. Humpty Dumpty 10:07 2. The One Step 11:27 3. Windows 10:44 4. Matrix 13:49 5. Quartet #2 Pt. 1 9:54 6. Sicily 12:28 7. Spain 9:54 http://bit.ly/a6tQnr

Told ya Blade is the shit!! Getting ready for front row at Massey Hall tomorrow

^^^^^^ What do you think of that release?? I have listened a couple of times and find there's a fair bit of sub-par performances of many tracks. However, some of the more stretched-out stuff with the transitional sound is pretty damn cool A little Zappa on a rainy afternoon http://bit.ly/cfxchm Frank Zappa – Roxy & Elsewhere After his affair with jazz fusion (Waka/Jawaka and The Grand Wazoo, both released in 1972), Frank Zappa came back in late 1973 with an album of simple rock songs, Over-Nite Sensation. But the temptation for more challenging material was not long to resurface and, after a transitional LP (Apostrophe, early 1974), he unleashed a double LP (reissued on one CD) of his most complex music, creating a bridge between his comedy rock stylings and Canterbury-style progressive rock. Three-quarters of the album was recorded live at the Roxy in Hollywood and extensively overdubbed in the studio later. Only three tracks (“Dummy Up,†“Son of Orange County,†and “More Trouble Every Dayâ€), taken from other concerts, are 100 percent live. The band is comprised of George Duke (keyboards), Tom Fowler (bass), Ruth Underwood (percussion), Bruce Fowler (trombone), Walt Fowler (trumpet), Napoleon Murphy Brock (vocals), and Chester Thompson (drums) — drummer Ralph Humphrey, keyboardist Don Preston, and guitarist Jeff Simmons appear on the non-Roxy material. The sequence “Echidna’s Arf (Of You)â€/â€Don’t You Ever Wash That Thing?†stands as Zappa’s most difficult rock music and provides quite a showcase for Underwood. Other highlights include “Penguin in Bondage†and “Cheepnis,†a horror movie tribute. All the pieces were premiere recordings, except for “More Trouble Every Day†and “Son of Orange County,†a revamped, slowed down “Orange County Lumber Truckâ€/â€Oh No.†Compared to the man’s previous live recordings (Fillmore East, June 1971, Just Another Band From L.A.), this one sounds fantastic, finally providing an accurate image of the musicians’ virtuosity. For fans of Zappa’s intricate material like “RDNZL,†“The Black Page,†or “Inca Roads,†this album is a must-have. – allmusic.com mp3@320CBR Track List 1. Penguin in Bondage (6:48) 2. Pygmy Twylyte (2:13) 3. Dummy Up (6:02) 4. Village of the Sun (4:17) 5. Echidna’s Arf (Of You) (3:52) 6. Don’t You Ever Wash That Thing? (9:40) 7. Cheepnis (6:33) 8. Son of Orange County (5:53) 9. More Trouble Every Day (6:00) 10. Be-Bop Tango (Of the Old Jazzmen’s Church) (16:41) http://bit.ly/cfxchm

Nobody here is threatening others with eternal pain, damnation, fear, etc. if they do not follow their beliefs. Big difference. I guess you find the parody of others in every situation deplorable then? You never laugh at stand-up comedy either do you? Moral superiority? How can one be morally superior to another when that other person fully believes that THEY are morally superior to the first one? Ha! Sounds more like YOU are exerting your moral superiority by stating that all those that participate in this thread (posting/viewing) are beneath your high moral levels. [color:purple]Birdy = Devil In Disguise!!! So say we all ...

http://www.newegg.ca/Product/Product.aspx?Item=N82E16822136505&nm_mc=EMC-IGNEFL100210CA&cm_mmc=EMC-IGNEFL100210CA-_-EMC-100210-Index-_-ExternalHardDrives-_-22136505-L011D

Love that guy. Amazing to listen to. Frequent guest of Jon Stewart's

http://bit.ly/bYWmoN Anoushka Shankar – Rise Rise, Anoushka Shankar’s fourth album for Angel Records, marks a defining moment in the career of the young woman whose surname is synonymous with Indian music. Having previously recorded strictly in the classical tradition of her father, the legendary Ravi Shankar, Anoushka truly emerges as a potent creative force with her newest release. “It’s very much my own music and my journey and who I am right now,†says Anoushka, who turns 24 in June. “I felt like I was rising into that. On a personal level, Riseâ€â€”which was composed, produced and arranged by Anoushka— “signifies growth. It was a step up for me. Not even up, just more into my own.†For Rise, Anoushka collaborated with a select crew of virtuoso Eastern and Western musicians wielding a variety of both acoustic and electronic instruments, often engaging in unexpected ways to create tantalizing new sounds. And while Anoushka’s own sitar playing has evolved measurably—she learned at the feet of the master, after all—there are a couple of tracks on Rise on which she eschews the sitar all together in favor of her first love, the piano. The result is a stunning and evocative work that will surely catapult Anoushka Shankar into the vanguard of the world music scene. Anoushka was born in London and lived there until age 11, then split her time between southern California and India. She showed interest as a young girl in learning her father’s craft, but it was her mother, Sukanya, who most strongly encouraged her to pursue her musical dreams. “My dad was reluctant at first,†says Anoushka. “My mom was the one who said, ‘You may as well teach her and if it doesn’t work, it doesn’t work.’†It worked. By her early teens, Anoushka had joined her father on the international touring circuit, and she recorded her first album for Angel, simply titled Anoushka, in 1998. Anourag followed in 2000, the same year that she recorded the acclaimed Live At Carnegie Hall, released the following year. Having toured almost non-stop throughout her adolescence, in addition to attending school, Anoushka felt that she needed a break and elected to take 2004 off. But her vacation swiftly became a working one as concepts were planted for the album that ultimately became Rise. “I was going to go disappear for a while but wouldn’t you know it, I made an album,†she says. “The sabbatical gave me the space to take risks. It was really an organic, natural experience. I was traveling from India to the States and meeting friends and adding people along the way. It was really beautiful.†From the first notes of “Prayer In Passing,†which opens Rise, it becomes instantly clear that Anoushka is on to something inspiring and uncommon here. The track features Vishwa Mohan Bhatt, a renowned Indian slide guitarist, providing melodic direction alongside the flamenco-style piano of Ricardo Miño, Pedro Eustache’s bansuri flute and duduk (a Middle Eastern wind instrument) and Anoushka’s sitar. “This one’s very languid,†says Anoushka. “It’s just nice and dreamy—it’s set in a morning raga that’s very moody and simple. It was lovely to have so many different things that shouldn’t go together but seemed to flow really nicely.†“Red Sun,†the second track, features Anoushka on keyboards and is highlighted by the percussive Indian “bol†vocalizing of Bikram Ghosh and Tanmoy Bose, her longtime tabla players. “We’ve always incorporated that into my shows when they play with me, and I definitely wanted to feature that—they’re improvising on that,†says Anoushka. “Mahadeva†is based on a melody by Ravi Shankar, but the composition was re-composed and arranged by Anoushka. “He never developed it into a piece of music,†Anoushka explains. “It was just something that I sang as a kid and it came into my head while we were in Calcutta recording. It started developing into a really strong rhythmic, dark-feeling track, which I was really excited about. Mahadeva is another name for Shiva, and one aspect of Shiva is that he’s the destroyer. This sort of brings out that feeling of anger and insanity.†“Naked†turns the mood around completely—Anoushka, all alone, on sitar and keyboards. “It was a very conscious decision to add a little pretty track with sitar being the focus,†she says. “We’d gone very mysterious and heavy and it seemed nice to have something light.†“Solea†was co-written by Anoushka and pianist Ricardo Miño. The luminous background sounds, Anoushka explains, were all created on keyboards. “I’m holding the piano strings muted while he’s playing one of the other background synth sounds. It was really creative and fun for me, and very physical, too, because of the rhythm, the flamenco approach.†The album’s other sitar-less track, “’Beloved,’†says Anoushka, “was my first experience writing lyrics from scratch and fitting it to a melody. It was flute-focused and I thought it would be nice to have it be about Krishna because he’s always with the flute. The lyrics are from the point of Radha, who’s his eternal lover. She’s searching for him everywhere and then she understands that the reason she hasn’t been able to find him is because she’s not looking within herself.†The intriguingly titled “Sinister Grains†was “just a funky little mysterious track,†Anoushka says. “The song is in a Sufi mood where he’s talking about the pain of living, so happy lyrics didn’t really seem appropriate.†Anoushka compares “Voice Of The Moon,†which matches the Western cello and violin to the Eastern sitar, tabla and santoor, to her father’s collaborations with the late violinist Yehudi Menuhin. “It’s very much composed within an Indian raga yet the fact that the cello is there gives it a smoothness,†she says. The Indian percussion is amended with an electronic HandSonic drum pad as well, “to give it a little more depth,†Anoushka explains. Finally, “Ancient Love,†the longest track on Rise, is “my favorite one by far,†says Anoushka. “This is the one closest to my heart. It was also the easiest track because it constantly flowed. Every time someone added to this track, it would get more beautiful. We ended up taking out a lot, too, to retain a bit of simplicity. It’s got a nice mix of the electronics and several flavors.†The sequencing of the tracks on Rise, adds Anoushka, is hardly random. “Each one is in a certain raga, and it flows from morning to evening through the course of the album, which is a pretty unique feature. It’s not something that happens very often or that can be made to work, but if you do believe that ragas have moods and have significance it does enhance the overall flow.†Although Rise is a bold departure for Anoushka and she is cognizant of her expanding horizons as an artist since embarking on the project, she ensures that, like her previous work, it is a “very Indian album. Coming into my own in this way musically has made me a better sitar player, but Rise is something that can connect to a lot more people.†Ravi Shankar once commented to an interviewer, “I’m waiting for the day when people call me ‘Anoushka’s father.’†Anoushka blushes humbly at the thought. “You can’t compare me to a master of any kind,†she says. “I’m not my father by any means. But this album does feel much closer to me than anything I’ve done before.†– Jeff Tamarkin mp3@320CBR Track List 01.Prayer in Passing 02.Red Sun 03.Mahadeva 04.Naked 05.Solea 06.Beloved 07.Sinister Grains 08.Voice of the Moon 09.Ancient Love Bonus Tracks: 10.Beloved(Remix) 11.Naked (Remix) http://bit.ly/bYWmoN

Good ol' JD Roberts (now John Roberts ) living his dream and jamming with Rush onstage the other day http://amfix.blogs.cnn.com/2010/09/30/cnns-roberts-jams-with-rush/

Bob! Happy Bday man Still working on hookin' you up with Rick Mercer (he's playing hard-to-get ).

http://antwrp.gsfc.nasa.gov/apod/astropix.html Explanation: If you look closely at the Moon, you will see a large airplane in front of it. Well, not always. OK, hardly ever. But if you wait for days with your camera attached to a Moon tracker in a place where airplanes are known to pass, you might catch a good photograph of it. Well, if you're lucky. OK, extremely lucky. The above image was taken two weeks ago over South East Queensland, Australia using an exposure time of 1/250th of a second and, in the words of the photographer, "a nerve of steel".

H B D

http://bit.ly/cEyb8Q Wille Nelson – Willie and the Wheel At the grand old milestone of 77, Willie Nelson should be moseying around on some Austin homestead, kicking back those old dusty spurred cowboy boots and taking life easy. But oh no, not Nelson, he’d rather continue travelling the parries on tour and recording albums like they’re going out of fashion. For a man who’s had more comebacks then it seems humanly plausible – from the rhythm and blues faze of the early 60s to the outlaw country of the 70s – it seems fitting that even today he can still manage to captivate Glastonbury. There ‘ain’t a damn’ sub-genre or theme that Nelson hasn’t invented or ripped his way through, from the more staunch tradition of Nashville to the counter culture rebellion, he’s rubbed shoulders or sung with every iconic figure in country music, including Merle Haggard and Kris Kristofferson. Nelson is in fact an American institution, who could easily fill up at least ten of my review spaces with his achievements, but I have to instead talk about his latest album Willie And The Wheel, which sees him take a fond look back towards the roots of country music, to the rediscovery of classic western swing. Originally a project conceived by the late Jerry Wexler more then thirty years ago, when Nelson was signed to his Atlantic label, this catalogue of old tunes was never recorded until recently – Nelson moved to CBS records and didn’t get the chance. Grammy award winning country musician and producer Ray Benson, a close friend of Wexler, took up the challenge to finally make this album, with the help of his much-lauded posse of accomplished players Asleep At The Wheel. Most of these standard western and Texas swing tunes have been subtly re-arranged by Benson with, until his untimely death, the helpful assistance of Wexler, who insisted that they included a horn section alongside the more traditional fiddles and lap steel guitar, favoured by this music. This catalogue of twelve songs is made up of good ol’ tales of heartbreak and broken promises, set to the well greased elbow work of the enthusiastic fiddles, the gentle pleasing twangs of the lap steel and the shuffling rolling brushed accompanying drums. Nelson sings these do-si-do songs like he’s putting on a comfortable pair of faithful slippers, all cosy and warm, emitting a deep sense of satisfaction, face beaming. There are plenty of waxed lyrical laments to certain tumultuous head-turners in ‘Sweet Jennie Lee’, lyrics about falling for a dirty stop-out in ‘Corrine Corrina’, and double-entendre metaphors relating to mammas finest baked cake on ‘I Ain’t Gonna Give Nobody None Of This Jellyroll’. A large proportion of these tunes follow a more quick-fire response joviality, which bounces along, but there are one or two exceptions, one of these is the slower paced bawdry comedy balled of ‘I’m Sitting On Top Of The World’, which has Nelson duet with Elizabeth McQueen in a sardonic fuelled exchanged back and forth series of put-downs and bravado. Each of our protagonists pretends to not give a damn about the other, but its obvious they’re made for one another. Allusions to the old radio city music hall of yesteryear are made apparent on the opener ‘Hesitation Blues’, a up-tempo joint of descriptive honky tonk piano and breezy waning guitar with a chorus of blushing antiquated voices straight from a Bakelite radio set. A most gratifying and pleasurable experience, this collection of 20s and 30s classics will warm even the most callous of souls and cold hearts, prompting uncontrollable bouts of foot tapping and slapping of the thigh. – Dominic Valvona mp3@VBR Track List 01 – Hesitation Blues 02 – Sweet Jennie Lee 03 – Fan It 04 – I Ain’t Gonna Give Nobody None O’ This Jelly Roll 05 – Oh! You Pretty Woman 06 – Bring It On Down To My House 07 – Right Or Wrong 08 – Corrine Corrina 09 – I’m Sittin’ On Top Of The World 10 – Shame On You 11 – South (Ft. Paul Shaffer And Vince Gill) 12 – Won’t You Ride In My Little Red Wagon http://bit.ly/cEyb8Q

Treme: Music from the HBO Original Series, Season 1 by Interscope Records

http://blogstoned.blogspot.com/2010/09/roger-waters-wall-canada-2010.html http://lix.in/-927a00 Roger Waters - The Wall Canada 2010 Air Canada Centre Toronto - Ontario Canada 09/15/2010 Mp3 VBR~320kbps - Very Good Audience CD1 In the Flesh The Thin Ice Another Brick in the Wall Part 1 The Happiest Days of our Lives Another Brick in the Wall Part 2 Mother Goodbye Blue Sky Empty Spaces Young Lust One of My Turns Don't Leave Me Now Another Brick in the Wall Part 3 Goodbye Cruel World CD2: Hey You Is There Anybody Out There? Nobody Home Vera, Bring the Boys Back Home Comfortably Numb The Show Must Go On In The Flesh Run Like Hell Waiting for the Worms Stop The Trial Outside the Wall http://lix.in/-927a00

The Orb EPK from Columbia Records on Vimeo.

Bridges back working with the brothers for the first time since Lebowski. Sweet!