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It was all overdubbing and headphones. The musicians were all recording at once, and I wanted to do it that way. Our job is to play and your job is to record it.

So after cutting it at Rockfield came the task of mixing it. There was so little on this tape, so how do you mix it? You can put bass on one side and guitar on the other So what we ended up with was a mono mix.

As far as I could see then, it was the best way of doing it. Vic Maile, God bless him, he was kind of stunned.

But you slam a door, throw a plate against a wall, and then you get things mixed the way you want.

It was lots of fun, though there was this thing going on, and it was to characterise a lot of Dr Feelgood recording - me belly-aching.

A very vivid, intense guy. I always felt he was the leader, and I based everything I did for Dr Feelgood around him. When I wrote a song, I was hearing his voice in my mind.

On the second album I deliberately took a step back, because I was such a control freak about the first one. This time I let other people do it.

Vic Maile started producing it, then the label blew him out. The recording on Malpractice was pretty similar [to Down On The Jetty], but there might have even been a couple of overdubs Vic Maile was back, and there was another mother-and-father of a row going on.

The record company wanted to really do a job on it, to take it into the studio and overdub it to death. They wanted Figure to overdub every single snare beat on that recording.

They wanted it all cleaned up. It ended up with an eyeball-to -eyeball confrontation with the label. That was that, for me.

I was pretty much intolerable. I admit it, I was messed up. I was worried about songwriting, you know? I was worried about it, coming up with material that was good enough.

And, of course, I was the only songwriter, so I was left worrying about that, while they were getting drunk and cursing me, I think.

I used to get very homesick, I missed my wife and kids. I was too miserable a so-and-so to actually turn to guys who were really my great friends.

It builds up and up, so by the time we got to do that album, I think they were pretty fed up with me. They threw me out the band. I had to try and put things back together from there.

It was just some people that were playing. It was almost doomed to failure. The recording of this was much more conventional as this group had a keyboard player, it was a four-piece [instrumentally] rather than a three-piece, so you have a different approach anyway.

We had a producer and I did what the producer said. Some of the material [was strong] I was in a right old mess. Was I over- indulging?

I had trouble with women, I had trouble with I had trouble with this record. I had a good time recording Laughter with them. The Blockheads stuff was often very complicated for a poor dimwit like me!

We did a tour of Australia, huge auditoriums. Ian could be a so-and-so but he was a great person. Very, very funny, though he could be a bit wicked, with good cause, probably.

He had a hard life. Sometimes it came out in difficult ways, but however offensive he got, everyone cared about him. I remember getting into an argument with Ian when we were recording Laughter and he was using this bloody tick-tock rhythm machine.

Ian would take increasingly longer time off the road, sometimes to do with his health and because he was getting into other trips. He was acting, and the Blockheads were left twiddling their thumbs.

Easy to do, one chord. Then the tape ran out, so we had to be pretty skilful with the fade-out to get the last millimetre out of the multitrack tape.

It depends on what the engineer has sent back to you, in the sound, and that changes the feel. I like to be able to stand in the middle of the studio and hear everybody acoustically and do it like that.

We wanted at this point to try and get a gig on the back of Van Morrison, and we got in the studio and, blam, we did this one absolutely live. No screens or whatever, and certainly no headphones - just to show that we could play live.

I do so little recording that every occasion has been a completely different circumstance, with probably different people and a different point of view.

But it all comes out the bloody same! I was pretty pleased with this album, for lots of reasons. I thought while we were recording it that I would never see it released, I was already overdue to go.

Then of course they saved my life! I ended up with a gold record! We recorded this album in eight days. The doctors saved my life, and my health is returning to me, [but] also returning to me is my bloody misery, which is something I live with.

Those 15 months where I thought I was [dying], it was But God, that year Could I have walked around thinking like that? These ten tracks otter a sublime and even listen, a reminder of just how damn good this cool cat is as an artist " hayescarll.

Also to be discussed: It was the centre of Fifty-two years on, however, and his circumstances have changed considerably.

Barren landscape, no ideas, anxiety about no ideas, lethargy spreading to increased caffeine consumption. At one point, he mugs shamelessly, recalling the kind of put-up schlub played by Larry David in Curb Your Enthusiasm.

Paul Simon swings into London, - 1 y 1! Are you happy to let it go, or do you struggle to stop tinkering? If you want them to get better.

How do you write these days? Do you have a favourite? Maybe the Cloud Bowls. You can play them and hear what it is.

But the Cloud Bowls are so beautiful, the overtones and how they ring against each other. They are also physically beautiful to look at.

You collect unusual percussive instruments, right? I divide the rhythm instruments into skin, wood and metal. So I have a lot of different shakers.

The same with the metal. I particularly like West African instruments. They have a nice rawness. Is the cottage full up, then? With racks and racks of guitars, yeah.

There are two of them. I still use it sometimes, yes. What kind of man was he? He just passed away, at age He was my old friend.

A great guy, a really great guy. He started managing us right at the beginning. What do you think he saw in you? He was a jazz guy, he was managing Dave Brubeck.

He was a funny guy, honest. Many years passed and we stayed friends. He loved to tell jokes. He was one of my main source of jokes.

Tell us a joke, then. Tell you a joke? Next morning, the first thing he does is call his brother. What kind of way is that to tell somebody news like that?

He seems to be settled. The police are coming to get him. But we got the best vet we could. He says no problem, he can set the leg. Lenny Bruce and jazz, The Kingston Trio and folk.

My father was a musician, so there was always this musician humour going around. We had the same absurd sense of humour.

That, and we were the only two guys in the neighbourhood that wanted to sing. So there was a connection at the time. Did you see Inside Llewyn Davis?

No, I skipped it. I heard it was terrible. It was based on Dave Van Ronk, who I knew. Yeah, Phil [Ramone] did a bunch of the first one and so did Roy.

How do you view that run of albums now? It was done with the Muscle Shoals rhythm section. That was great, to go down to Muscle Shoals and work with those guys.

You were in Annie Hall Yeah, Woody Allen asked me. King and I used to do demos for other people. So if I could do three demos a week, that was all the money I needed.

I could buy gas, go out on a date, buy whatever clothes I wanted. Meanwhile, I learned how to use a microphone, overdub.

That was almost 50 years ago. They came in and played what ended up being the Wednesday Morning, 3 AM, album. There were couple of mics and they just went through the audition.

Tom Wilson was the producer at the time. Very classical, yet pop. Catchy, hooky, but a beautiful, classical sound. I loved his writing. He's fun to be around.

I worked with a lot of different artists there. It was a huge list. I was involved with them at the time.

I worked with Dylan, too. Columbia was basically Tony Bennett and legit people. We went into the studio with [keyboardist] Larry Knechtel and we overdubbed on top of that.

Paul would bake the cake and everybody else, including me, put the icing on the cake. But it all started with Paul Simon for sure.

I remember when we first went in there, it was a strange feeling. But it warmed up with guys having a good time and cutting tracks.

Paul did a great job with the lyrics. The sound of the vocals is good, considering that they were done in a living room in his cottage studio.

He really is a beautiful guitar player. Do you remember the first time you worked together? I remember just how nervous we were, hoping that we would be signed.

We were quite proficient by that point. We did a couple of solo records. I used to do demos for lots of people. It was done by an English producer.

The melody is pre-Bach, but Bach took it but made the glorious, famous piece I learned it from. I had enough nerve to go and write a bridge for that I find it pretty amazing.

He won the Iowa caucus. I was glad to give it to him, he was a real stand-up, tell-the-truth guy. What I found interesting and pleasing, even flattering, was that a song that old would still have that emotional effect 40 years later.

I was 21 when I wrote it. You came to Britain in What were the stand- out qualities of the English folk scene? Yeah, the English folk scene was as good as the American folk scene.

Some of those players were really good and charismatic. We were on the same circuit, and we all lived around the same place.

I knew Sandy Denny, Jackson Frank. What was the circuit like at that time? Mostly you played in some room above a pub, where they set up some chairs.

Or there were clubs. There was a club in Soho they called Les Cousins. That was my home club. I played there more than other places. You slept on a couch.

Whoever ran the club let you sleep on their couch. What did you spend it on? Taxis instead of taking the Tube. I moved out of Belsize Park into a flat that had a bathroom in it.

But I never was as happy as when I was at Belsize Park. I used to turn the lights off and leave the water running. It was like white noise, you know?

It was step up. But I was too young to know that those things happened. Do you get sentimental about anniversaries? I was best friends with Artie.

We were signed together. I really thought of us as a duo, and as a group, and that was fine. The Beatles were a group. The U Iwas ambitious.

Certainly not about my own stuff. I remember who I was. I was just coming out of the phase where I was playing baseball for the schools that I was in.

I was an English literature major in college, which I chose as my major because I had a crush on a girl who was an English major.

I just liked playing music, I wanted to do that. Were you ambitious at all? I was also competitive. I was competitive as an athlete.

As a said, when I lived here I had tons of money for what I needed. So he went his way and sang the songs he wanted to sing and I began doing what I like to do.

Then a couple of times when we came back together, some of it was lousy and some of it was nice. Which were the nice ones? When The Everly Brothers were there, we had a great time.

I think it was We did another, after that. As it turns out, I had a lot on my mind, musically. Albums would take leaps. It was a really good ballad with a really good title.

I loved recording with the gospel quartets. I like going to Jamaica. I like travelling and meeting other musicians.

Talking of Graceland, how do you view the controversy surrounding the album now? You were accused of breaking a cultural boycott.

Look, first of all, that existed in Britain to a far greater degree than elsewhere, with the exception of South Africa.

So who are you? There was no boycott to recording with South African musicians. It applied to performing in front of segregated audiences or sporting or political events.

So they were happy to come and play. So the whole experience of making the record was very exciting and pleasurable for everybody.

Nothing bad happened until it was a hit. What did you ever do for South Africa? You mentioned accomplishment a moment ago. Is there anything left for you to accomplish?

Is there anything left to learn? Which is part of the great pleasure of it. Paris, San Francisco and Kingston, Jamaica. Just up the street, a garden seems to have spread out across verge and sidewalk to the kerb, where a two-foot-high toy horse awaits its tether: Just do it, no regrets.

Apart from CSNY, just about the only significant multi-songwriter hook-up has been The Traveling Wilburys, who drolly described themselves as five rhythm guitarists.

Of the three, Lang is the most high-profile, with a well- established career that tacks easily between country and cabaret croon.

Key to the project was collaboration, right from the off. The songs on albums such as Carbon Glacier , July Flame and her most recent, Warp And Weft, are suffused with a keen appreciation of the elemental and meteorological, and in Buddhist manner, at times ascribe sentience to inanimate things like snow and ships.

With lang spending much of her time in Calgary, and Case based in Vermont, the sheer distances involved militated against any social interaction.

I was on tour all the time, and dealing with a stalker, and releasing a boxset, so I was really up in the air. But with her visa expiring when her course was completed, she moved back south of the 49th Parallel and embarked on her solo career, initially backed by Her Boyfriends.

The turbulent follow-up Middle Cyclone, secured her a US Top 3 chart placing; her elemental imagery in some songs echoed that of Laura Veirs.

Initially, her busy tour schedule prevented Case from joining the other two on the new project; but when she did, she swiftly left her mark.

But some of her changes were so brilliant, I was delighted. NekoCase then she messed around with it, changed the guitar part a bit, added a hook, and cut the lyric - which was hard to accept at first, but her lyrics were so brilliant.

Is that A minor? You have to really listen and catch it. Laura would bring a kind of structure, kd would have a lot of melodies, and they of course contributed those things I thought I contributed as well.

But for me, I was surprised that these were the kinds of things I did. The words that she chose are very different to those I would choose. It was really difficult.

It should taste like cumin! Is it different for you? Strings, guitar, organ, synth and accordion combine in one of Tucker Martine's most atmospheric productions.

It was definitely a therapeutic and cathartic process for all of us. But the music was like the carrot in front of the horse, it was just obvious there was some spark there.

So we all had our microscopes out, combing for any lice, if you know what I mean. We made sure there were no lice! And then sometimes we realised we had to stop scrutinising, it was fine the first time.

There was just enough tension to make something meaningful. I usually only get to see him work once every three years, which is about how often I make a record.

The rest of the time, other people have got their claws sunk in him. I love his patience, and his ability to talk an artist through a dark moment.

I would never have the patience for it. Tucker will let an artist ruminate and try things times We only had five days, and musicians can sit around and talk about guitar strings for three hours.

I kind of got that trick from [ photographer ] Herb Ritts, who used to do that at the end of a photo-shoot. It sort of sifted itself out, how we shared the vocal thing, and the tunes: But my songs were probably the hardest to complete.

We wanted to call our band The Atomic Numbers, but that was already taken. When I heard Laura track it, all of a sudden I heard the song.

When that one came down in the studio, Laura nailed it. From the first lyric to the last tour or interview, whatever it is, will improve and enrich us all: Instead, Dylan has continued to restrict his choice to those songs which conform loosely to a mood of weary resignation, extending the engaging crepuscular mood of Shadows In The Night: Jack Frost Recorded at: Bob Dylan vocals , Stu Kimball rhythm guitar , Donnie Herron pedal-steel, lap-steel, electric mandolin, banjo, violin , Charlie Sexton lead guitar , Tony Gamier bass guitar , George Receli drums, percussion restores a sense of caution to the oldest song here , one which has, through its appearance in countless movies including Casablanca, Annie Hall and When Harry Met Sally, become disinfected of this more circumspect interpretation, and recast as the evocation of inevitable attraction.

Which shows what he knew: But its coherence was damaged by having each song arranged by different arrangers. Lingering Beatle momentum gave it a Top IQ placing.

Stewart's voice had a singular enough character to breathe new life into the material, with a pleasing smokiness and sly, worldly quality to the delivery.

Here, though, the problem was understatement: Still went Top 5, though. Carmichael, certainly, inserts the kind of uncertainty into the song which might have rendered it more congruent with the general mood of Fallen Angels.

For once, Dylan sounds almost excited in his professed rapture. Though not excessively so: The song apparently took him and Arlen a mere three hours to complete.

Hoagy Carmichael was a one-off, perhaps the most uniquely talented figure of his era in US music. Within its exquisite art-goth packaging sat four CDs: But as soon as her first album for Tompkins Square begins, Power seems to be instinctually channelling that heritage.

Power, it transpires, has been making music of comparably rarefied beauty for a few years now. On Bandcamp, you can find a wealth of her early efforts, often recorded in churches and underground car parks, the sessions underscored by ambient noise leaking in from the world outside.

In fact, they were the products of expediency, of recording on a non-existent budget, in pursuit of architectural reverb to give the songs an unostentatious grandeur.

Brigid Mae Power brings this talent into focus, taking her from the empty spaces of Waterford to an actual recording studio, The Sparkle in Portland, Oregon, that belongs to the artist and producer Peter Broderick.

The Sparkle, Portland, Oregon Personnel: Brigid Mae Power guitar, accordion, baritone ukulele, piano, harmonium , Peter Broderick drums, violin these songs are enriched by the process, and neither overburdened nor over-finessed.

At the climax of this hugely satisfying album, Power even gives us that rarity: Before her words dissolve again into a minute or so of post-lingual harmonies, the last line is one of blissful reassurance: Do you come from a folk background?

Yeah, I grew up playing traditional music from quite a young age, I played the accordion and was exposed to a lot of different types of music.

I was always trying to find my own way of singing, but when I heard Tim Buckley it was like a light went off. It allowed me to sing how I wanted to.

A second disc of more textured soundscapes suggests their horizons are as expansive as the game is claimed to be.

It was a high- concept work, which established Fry as a post-punk Burt Bacharach in a gold lame jacket.

Deep cuts, overdubs and a strong eco message. Earth documents the American leg of the tour; though it comes with caveats.

There are overdubs, Auto-Tune and, most conspicuously of all, songs have been overlaid with animal sounds. Critically, the Rebel Content tour found Young so invigorated by the flexibility of his new charges that he dusted down a number of significant rarities from the cupboard: Promise Of The Real are respectful of the source but not excessively deferential.

They bring agility and a lithe muscularity to the songs. Young, clearly, is having a ball. Neil Young Recorded at: Various locations, Personnel includes: It feels like the aural equivalent of the onstage theatrics he used for the Alchemy tour - the scurrying scientists, the crumpled balls of paper blown across the stage like tumbleweed.

You might wonder why Young would mess around with some of his best-loved songs in this way. But then you might also wonder why he decided to release an album recorded in an antique Voice-O-Graph booth at the same time as he was promoting a high-end bit i92khz audio player.

Props to drummer Anthony Logerfo and bassist Corey McCormick for holding it together over such distance.

This younger, sprightlier outfit may not have the iconic heft, but they offer Young the chance to cover more ground.

The results are sometimes almost unlistenable, which is why the most compelling songs on her third LP ally these avant-garde instincts to a belting tune.

Never short on vocal confidence, here, she trades divadom for arresting, unconventional shapes: The music is similarly diverse: Even the staunchest agnostic could find something to love here.

A sturdy sense of fun and purpose carries the day. He got back to me the next day, saying he really loved them. I figured he would bring a unique viewto the table and come up with a lot of ideas that I wouldn't have necessarily thought of myself.

Ubiquitous swirly keyboards, meanwhile, are a reminder that the leather-lunged Bramah was once in the frame to front the Inspiral Carpets.

Quibbles aside though, this appears to be a partnership with plenty of mileage left. Hollywood actor Kiefer Sutherland has been busy too.

Carlene Carter is also doing the rounds that month. Find out more at www. His latest fizzes with energy and smarts, and sees him letting his imagination off the leash to irresistible effect.

Elsewhere, early Pink Floyd is another influence, but nostalgic homage never overwhelms the heady sense of sonically rich, exploratory weirdness.

Sometimes the results are enchanting: The result, unsurprisingly, is her darkest effort yet, a harrowing chronicle of a woman barely keeping herself together.

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After a lot of gesticulations, a plastic bottle was produced and filled. I made my way back to Keith and saw him surrounded by two policemen.

I held my breath as I approached. Thankfully, the police were of the friendly and curious variety and after a couple of pictures we were on our way.

We were completely exhausted and frazzled when we reached our first stop, the small town of Alibag. Alibag was less than km from the starting line, yet.

Day eight was a very well-needed day of rest in Panaji, Goa, known for its famed beaches. The racers joined with the Goa Round Table later that afternoon.

Round Table India is a philanthropic organization. Local chapters throughout the country have combined to build over 5, classrooms and benefit over five million children through their Freedom Through Education mantra.

Keith and I channeled our inner Muppet. These costumes were part of our provisions we had brought from home. On our way to the home, we received some funny reactions wearing a costume while driving a rickshaw in India in 35 degree Celsius weather.

A dirt clearing sat in front of the home where a dozen spirited kids kicked a football around the pitch. Upon seeing us, the children quickly congregated around and started grabbing, tugging and jumping on us.

Then the picture taking began: Names were shared, and quickly forgotten. We were escorted into a darkened, grand room in the house and the kids were put through their songs and dancing.

The entertainment pulled at our heart strings. After a rewarding afternoon, we all departed and headed back to the hotel.

We had one more night of rest before we hit the road for the second half of our adventure. After another week of amazing highs and some brutal lows, we limped to the finish line in Chennai.

I exhaustedly vowed never to drive a rickshaw again. The closing ceremony was hosted by another Round Table India school. Keith and I were the proud winners of the Bonkers Award.

In this global league of nations, India stands alone as a unique outlier and we experienced it all at the ground level. To capture the magic and the madness of the adventure, the team created a fulllength documentary Hit The Road: The Travel Scientists www.

One of these rallies is the Mumbai Xpress www. Costs begin at 1, Euro per team. This year the event starts on August 8, so start planning!

He is on a quest to travel to every county in the world. He enjoys off-the-beaten path locations, unique experiences and must-see places. He is the producer of Hit The Road: Red Brick starter; Red Brick salad; Northern style fish filets; and Crab hot pot with beef shank and baby ribs.

The ambience of unforgiving modernity bordering on the realm of contemporary art purveys. The restaurant is a perfect spot to bring your significant other on that anniversary celebration or perhaps the ideal location to work up your courage and finally invite out your crush.

Sharing a platter of spring rolls amongst. Red Bricks is spread over three tastefully decorated floors, complemented by wonderful Old School black and white checkerboard floors.

The service is nothing short of exemplary, the smiling wait staff always within reach for my constant barrage of questions concerning the ingredients and origins of the dishes, or perhaps a refill on my red wine, an all-around true embodiment of warmth and hospitality the Vietnamese are known for.

The four kinds of dipping sauces - sweet chili, fish sauce, chili mayonnaise, and chili - complement the rolls deliciously.

And crispy fried shrimp wafers added texture and complexity to the salad. The fish was spiced, battered and perfectly fried.

It was comfort fried food that made me want to order a bucket and happily spend the rest of the evening indulging on these wonderful fried chunks of joy.

After a slight rest period, they brought out a steaming large Northern-style freshwater crab hot pot with beef shank and baby ribs VND, The smell of pungent fish sauce assaulted my nose as I removed the cover, while I eyed the floating cubes of fried tofu swimming in the red broth.

Hot pots are one of those Vietnamese dishes that can somehow bring contrasting ingredients together into a hot boil and make it taste delicious. The sweet taste of crab meat, the buttery thin slices of the beef shank along with a heap of tossed in greens in the spicy tomato-based soup was an explosion of flavors.

That withstanding the fresh beef shank cuts, obviously selected by a meat connoisseur, were perfectly suited for the hearty broth of fried tofu, tomatoes and ribs.

While the flan was typical of what you expect around Vietnam — bouncy, sweet custard — the latter served as a spectacular finish: The walls are covered in paintings of trading ships from the golden age of the Dutch Empire, when, in the 17th century, the control of spice from modern-day Indonesia made little Holland the superpower of its time.

And like all empires, they became culinary magpies, collecting influences into their food from across Europe and Asia, from the sate of Jakarta to the smoked sausages of their Germanic neighbours.

The Dutch brought the spice back, and food from Belgium, France and Germany. Dutch food has a reputation for being a simple, hearty and rich cuisine, most notable for heavy stews, potato covered hotpots and thick soups.

It may lack the sophistication of French cooking, but at its heart is the same dedication to high quality products.

From the mayonnaise to the smoked sausages, in order to make sure that they are just right. The Spanish occupied Holland during the 15th century, and it is easy to spot their influence all over this dish.

The croquettes are delicious, warm and crispy but yielding to reveal a light and very meaty filling of beef ragu. Washed down with a cold beer in my case a Leffe, a classic Belgian wheat beer they are dangerously moorish.

They are running a promotion for the next two months — a portion of bitterballen and a bottle of Stella Artois for VND, This is a thick, unctuous and wholesome dish, more akin to a stew than a soup, and could stand as a main course in its own right.

The soup is made with the simple flavous of vegetables, rightly led by the dominant flavor of pea, flecked with strands of succulent pork and topped off with a few slices of the house smoked sausage.

This is gorgeous comfort food at its best, a kind of Dutch soul food. The meatballs are tender and packed with flavor. These Indonesian dishes were brought back to Holland by the early travelers and adapted to the Dutch palate, so the sate sauce is creamier, the heat of chilli not as present and the sweet and sour pork noticeably sweeter.

There is a growing wine list, but we chose to wash down our main courses with a chilled carafe of the Spanish house red VND, , which was both refreshing and good value for a bottle.

We also tried the homemade mulled wine VND70, , which was mellow and light, unlike the typical British Christmas drink, with a more subtle flavor of cloves and spices.

In a Dutch restaurant there was only really one way to finish our meal — the famous Appelflap or apple turnover VND, Sweet and cinnamon flavored apple wrapped in a delicate pastry and eased down with vanilla ice cream.

And it is this simplicity that is the hallmark of Dutch food - simple but very hearty. The Bourgondier has set its stall out to produce filling, homemade dishes straight from a family kitchen in Rotterdam — the true taste of Holland.

Good food and good living. Opened in April of this year, Lau Dam Bong is the first foray into the world of restaurants for owner Nguyen Thanh Binh, setting out to recreate the dishes of the North.

Born in Hai Phong, Binh took an interest in cooking when working as parttime kitchen help while earning a degree in Finance in Sydney.

The restaurant is narrow, with just twenty or so seats on the ground We start off light with Ca ro dong VND79, , a colorful salad of banana blossom, bean sprouts, julienned carrots and mint with a sweet and sour fish sauce dressing, topped with crispy fried perch.

Sliced very thin, the fish is almost like a crackling, providing a wonderfully crunchy texture to the dish.

You can still see the kernels of green rice in the sausage, providing moist, spongy bursts of flavor. These fried spring rolls take on the square shape peculiar to Hai Phong, and are stuffed with minced pork, vermicelli noodles, bean sprouts, tree ear mushrooms, shrimp and crab.

The excellent Nem Cua Be illustrates his point, bursting with chunks of crab and shrimp. In a generous moment, Binh lets it slip that the rice paper is wetted with beer instead of water, which makes them turn a golden brown when frying without getting burnt.

The dish is meant to be eaten as a handroll, filling a lettuce leaf with the spring roll, noodles and herbs before being dipped into tangy fish sauce.

Having never had dog meat before, I had to rely on my dining companions who were coincidentally from Hanoi and Hai Phong for their assessment.

One bite and their eyes lit up, speaking. To the uninitiated, the duck was meaty, moist and well-seasoned with a hint of umami tartness from fermented rice a seasoning distinctive to dog meat dishes , designed to complement the condiments: Our night ended with Lau ga dam bong VND, , the chicken hot pot dish after which the restaurant was named.

Even for those without food memories of Northern cuisine, the restaurant offers some very unique flavors not found in typical Saigon fare, using authentic Northern ingredients carefully prepared in a bright, upbeat setting.

Goi ca ro dong; Cha com; Nem cua be, Vit nuong gia chon and Lau ga dam bong. Although most of the major grape varieties are planted in New Zealand, the two star ones, those whose wines people find more astonishing, are sauvignon blanc and pinot noir.

Alfredo de la Casa has been organizing wine tastings for over 20 years, published three wine books, including the Gourmand award winner for best wine education book.

You can reach him at www. Ocean, the oldest existing wine region in the country, and producing some of the best pinots and chardonnays.

The South Island has four wine regions with Marlborough the most well-known, famous for its fresh and delicious sauvignon blanc.

In fact, around 76 percent of all grapes grown in Marlborough are sauvignon blanc. Wineries like Villa Maria, Allan Scott, Yealands and Craggy Range have really put New Zealand wines at the top of the international market, delivering complex, delicious wines, many of which can be found and enjoyed in Vietnam.

Craggy Range is producing wines of great complexity. One particular characteristic of the label is that every wine they make is a single-vineyard wine.

The aroma of red fruits and black cherry, lavender and violets in the mouth is very well balanced,. And if you are after something different and still elegant, try Sophie.

Allan Scott wines, established by Allan and Catherine Scott in , are fresh, delicious and inexpensive. Allan, who loves Vietnam and usually visits the country every year, is down-to-earth and proud of the popularity that his wines have gained globally.

In New Zealand, each region has its own individuality and originality and although great pinot noir and sauvignon blanc wines are being produced, try some of the alternatives.

A fabulous modern style Rioja, with great nose of leather and dark cherries. The palate is smooth and delicate with more red and dark fruits, a touch of leather and long lasting.

Nicely paired with steak, charcuterie and medium-hard cheeses. Vietnamese chef Jack Lee www. Traveling as a chef gives you a different perspective on the places you visit.

While most people are checking out the sights and experiences each city has to offer, chefs are always keeping their eyes on the cuisine — and we tend to spend a lot of time in the local markets on the lookout for new ingredients.

My recent trip to Barcelona in Spain gave me the experience of a lifetime. Mediterranean Bouillabaisse Fish Stock: Coast version of this traditional old Spanish mainstay inspired me so much that I became interested in experimenting with applying similar techniques to my favorite French cuisine.

If the stock boils, these impurities will be incorporated into the liquid. Simmer for 30 minutes, turn off heat and let steep for 15 minutes.

Pass the fumet through a china cap strainer. Then add the tomatoes, orange zest and fish stock and bring the soup to a boil. Season with salt and pepper to taste.

Then add the splash of Pernod and remove soup from the heat and cover. Broil the bell pepper, turning to blacken all sides.

Remove from the bag, peel the skin and discard the seeds and stem. In a food processor, puree the potato, roasted pepper, mayonnaise, fumet, garlic, sambal chili, saffron and cayenne.

Season with salt and pepper. Cover and refrigerate until needed. A small bunch of thyme, parsley, dill and fresh bay leaves with 8 black peppercorns, secured in a cheesecloth and tied together.

In a large stockpot over a low to medium flame, heat the oil. Saute the leek, onion, and celery for five minutes until tender. Deglaze with Chardonnay, cooking for 5 minutes to allow the alcohol to evaporate.

Place the bouquet garni in the stockpot tied to the handle for easy removal. Simmer gently for 10 minutes, stirring to mingle flavors. Allow the stock to slowly simmer.

Skim and discard the fish foam that. Preheat the oven to degrees F. Lightly brush the baguette slices with olive oil and bake on a cookie sheet until crisp.

To serve, ladle the hot soup, making sure that everyone gets some prawns, scallops, mussels, clams, fish and crab legs.

Spoon the rouille over the baguette and place on top of the soup and garnish with some parsley. Known for its cool house music, live DJs at weekends and innovative range of cocktails.

Downstairs is a trendy bar where the glitterazi like to be seen; rooftop an open bar with more chilled style music.

In between a new Vietnamese dining concept. Saigon's king of cool, Last Call is renowned for the finest cocktails in the mellowest of settings.

Slink your way back to the Seventies in the velvety interior or watch over the passing crowds from the laid-back terrace. Funky and even sexy to the core, this classy establishment is fittingly close to the Sheraton.

Stylish venue in one of the classier inner-city locales, Cavern entertains locals and expats alike with a live band every night, sports channels on a large TV screen, and a great atmosphere.

Happy hour is from 6pm to 9: Live music is from 9. Offers the most stunning panoramic views of Saigon and a wide range of wines and cocktails personally prepared by Vietnam mixologist Le Thanh Tung.

Donkey Bar A new open air, but well cooled bar in the heart of Bui Vien on the site of the once popular. It has a full cocktail menu as well as a short menu of snacks and sandwiches.

Two-storey Irish-themed bar and restaurant that offers a relaxed, comfortable atmosphere. Known for its excellent food menu, this is a fun place to socialize while shooting pool or playing darts.

They occasionally have live music. A cut above the regular backpacker haunts in style and offer. Downstairs is a modern bar with flat screen TVs showing sports, a huge circular bar and tables, and outdoor seating for people watching.

Upstairs are air conditioned rooms, pool table and outdoor deck. Serves a wide variety of liquors, including wines by the glass or bot.

The bar also has an extensive drinks menu including coffees, juices, beers, wines, vodkas, and more.

Game On also boasts a function room for corporate meetings or private parties. Along with good selection of 70s, 80s and 90s hits with attentive staff and pub grub.

The largest sports bar in Saigon, with all the live sports available on 12 large HD screens, an exciting place to watch your team win!

We also have a enclosed relaxing garden for the family. Saigon Center, onTop Bar provides views over Saigon from an expansive outdoor terrace. The venue offers a menu with over 20 cheeses, cured meats and both Vietnamese and international-inspired tapas.

Purple Jade Lively and cosmopolitan, Purple Jade is a must on any nightlife agenda. The lounge offers an innovative menu of tasty snacks and signature cocktails in a sleek and chic aesthetic to complement the chilled-out vibe.

This multi-level bar has a non-smoking floor and a function room along with a top quality pool table and soft-tip dart machines. A menu of Eastern and Western dishes includes wood-fired pizzas.

Saigon Saigon Bar This iconic bar is a great place to watch the sun go down over the lights of the city and relax with friends.

Rooftop, 9th floor, Lam Son Square, D1 11am till late caravellehotel. They have two locations directly across from each other serving juices, smoothies, shakes, beer and ice cream, with air conditioning on the upper levels.

The Library recaptures the romance of a bygone era while offering an all-day snack menu as well as the finest tea, coffee, wine and spirits in an elegant setting.

Ground floor — InterContinental Asiana Saigon dine icasianasaigon. No disappointments from this earnest local cafe consistently serving exceptional international standard coffee.

Beautifully-styled and focussed on an attention to quality, Cafe RuNam is now embarking on the road to becoming a successful franchise.

The venue's first floor is particularly enchanting in the late evening. The cafe is located on the top floor and resembles an inner city warehouse.

The best seats are by the windows where you can watch the traffic zoom by. If you prefer your coffee brewed a particular way, there there are a number of brewing techniques to ask for, from Siphon to Aeropress and Chemex.

Sorry, no Vietnamese ca phe sua da served here. A brand new cafe in the heart of District 1, marking the debut of a Korean coffee and dessert concept in Vietnam.

When it opened queues stretched out the door with locals and expats alike eager to try the unique offer of European style coffee, blended drinks and sweet, creamy dessert and cakes.

Modern, industrial designed interior spanning two floors, and with a corner site street frontage which cannot be missed!

It stands up well. The cafe offers signature coffee beans imported from Italy. Customers can also enjoy homemade cakes along with tiramisu, muffins and sandwiches.

All cakes 50 percent off from 7pm10pm. Its retail space is dedicated to Vietnamese designers and more established brands from abroad as well as stocking a wide range of stationery and homeware items.

Chat A quaint cafe with a red brick wall on one side and a mural of everyday life in Saigon on the opposite. A friendly staff serves smoothies, juices, and a good array of Italian-style coffee such as cappuccinos and lattes for cheap, prices start from VND15, It has outdoor and indoor airconditioned seating.

The well-heeled Chinese certainly go for luxury and this venue has it in spades. Situated in a classy location just opposite the Opera House, Dragon Court features a broad selection of dishes from across the spectrum of mainland cuisines, making this an ideal a-la-carte venue as well as the perfect spot for Dim Sum.

New World's own slice of Canton with a particularly fine Dim Sum selection, Dynasty is a traditional lavishlystyled Chinese venue with flawless design.

Authenticity and a sense of old-world China make this one of Saigon's more refined options for the cuisine.

A number of private rooms are available. Thoroughly traditional Chinese venue at the Sheraton Hotel and Towers offering choice oriental delicacies against a backdrop of fine Chinese art.

Level 2, 88 Dong Khoi, D1 www. The best in Chinese cuisine with a unique Taiwanese focus in a Japanese hotel, Ming Court is classy in its precision and graceful without compromise.

Ming Dynasty serves authentic Chinese food in a setting reminiscent of an old Chinese palace. Specialties include dim sum, abalone and dishes from Guangdong.

An old mainstay on the Chinese cuisine trail with well over a decade in operation, Hung Ky Mi Gia is known for its classic mainland dishes with a focus on delicious roasts.

Safe and tasty Chinese food. A place for those who love Chinese food. The large dining room on the ground floor can accommodate up to diners.

Up on the first floor are six private rooms and a big ballroom that can host guests. Renowned as one of the finest restaurants in the city, Shang Palace boasts mouth-watering Cantonese and Hong Kong cuisine served in a warm and elegant atmosphere.

Whether it be an intimate dinner for two or a larger group event, Shang Palace can cater for three-hundred guests including private VIP rooms.

With more than fifty Dim-Sum items and over two-hundred delectable dishes to choose from, Shang Palace is an ideal rendezvous for any dining occasion.

The cuisine is just as eclectic with representative dishes from several major Chinese traditions. Watching the chefs prepare signature dishes such as hand-pulled noodle, Dim Sum and Peking Duck right in the kitchen is a prominent, popular feature.

Cuban venue with fine Spanish cuisine, Cuban cigars and German beer. A wide range of tapas and cocktails. Great bar atmosphere and late night entertainment.

Family-run venue with a passion for great food and good service without undue fuss. Tasty tapas at Vietnamese prices not far from the center of District 1.

Fresh ingredients, broad menu with food prepared by a Spanish chef. Best washed down with authentic house sangria. Spread over four floors, it offers a casual bar, two floors of dining one which becomes a destination for live Spanish music late at night and a rooftop terrace.

Features an extensive menu of tapas, main courses, sangria and wines. The first authentic Breton French restaurant in the country, serving savory galettes, sweet crepes with tasty seafood and some of the best apple cider in Saigon.

Small and cozy, La Fourchette is a favorite among the French expat community. Augustin is a romantic and charming French restaurant located just steps away from the Rex Hotel.

Serves lunches and dinners and offers 10 percent discount on a la carte menu items. Le Bacoulos is a French restaurant, bar and lounge that serves French cuisine, bar food like burgers, fish and chips alongside vegetarian options like spinach soup and Greek salad.

The restaurant is on two levels with a small terrace in the ground floor. The food is fresh, traditional French, and the wine list is carefully collated.

A cosy restaurant just outside the main eating strip on Le Thanh Ton, La Cuisine offers quality French food in an upmarket but not overly expensive setting.

Suitable for special occasions or business dinners to impress. Regular diners recommend the filet of beef. Most popular for its steak dishes, the restaurant has an extensive menu which belies its compact size.

Housed in a stunning white French villa that was originally built as a private house, La Villa features outdoor tables dotted around a swimming pool and a more formal dining room inside.

Superb cuisine, with staff trained as they would be in France. Bookings are advised, especially on Friday and Saturday evenings.

Delightful, welcoming French bistro that really puts on a show of fine quality and service. With its small-village atmosphere and exotic cuisine, this is one of the more atmospheric and highaiming venues of the genre.

Opened in and regarded as one of the finest French restaurants in town. Owner Gils, a French native, makes his own cheeses as well.

This unassuming restaurant is located down an alley and up three flights of stairs. An accompanying wine list includes a wide range of choices.

A small chain of slightly more upscale Indian restaurants serving both Northern and Southern Indian cuisine including curries, naan and tandooris.

Ganesh serves authentic northern Indian tandooris and rotis along with the hottest curries, dovas and vada from the southern region.

Free delivery in Phu My Hung. Complete menu on Facebook. Authentic Indian cuisine at affordable prices; functions a specialty. With its nice, central location and a very relaxed dining area and home-style atmosphere, Bombay is a superbly casual venue well-reputed for its authentic Indian cuisine and Halal cooking.

A new restaurant in District 7, specializing in southern and northern Indian cuisine, which grew from the now closed Indus of D1.

Fish, meat and vegetable dishes are cooked fresh in tandoor ovens with a commitment to authenticity. Boasts 20 different breads baked daily and six home made chutneys.

Best known for its excellent tandoori cooking executed in a specialized, custom-built oven, Punjabi serves the best of genuine North Indian cuisine in a venue well within the backpacker enclave, ensuring forgiving menu prices.

Hearty homestyle Italian food served with flair and excellent service. An extensive menu is complemented with daily specials. Arriving guests are greeted with a free glass of Prosecco.

Diners sit in a cozy setting upstairs or on the ground floor for people-watching. Big groups should book in advance.

Enjoy top-end dining featuring the best of Italian cuisine and a wide selection of imported seafood, prepared from the freshest ingredients, in a relaxed, rustic atmosphere with a wood-fired pizza oven at its heart.

Food amongst friends is exciting yet sincere. At Inter Nos, their dishes represent the appreciation they have towards guests, who they consider as family.

Many of the ingredients are handmade, from the cheese to the pasta, even the milk is taken directly from the farm.

The emphasis is on handcrafting special ingredients so that guests can taste the honesty in the food. Expect creative dishes such as rucola e Gamberi as well as La Bettola that includes shaved porchetta, focaccia and homemade mozzarella.

Designed with an intimate atmosphere invoking something like an Italian town, this venue focuses on traditional ethnic Italian cuisine rather than the ubiquitous pizza and pasta , creations of the skillful executive chef — straight out of Venice.

The place lights up on romantic Thursday evenings with candlelight and light music. Mediterranean food meets the Italian flair at LovEat.

Filling, hearty Italian fare served with a smile in the heart of District 1. Authentic pizza and a comprehensive range of pasta, pork, chicken and beef dishes offers something for everyone.

One of the original Italian eateries in Ho Chi Minh City, Pendolasco recently reinvented itself with a new chef and menu, and spurned a sister eatery in District 2.

Set off the street in a peaceful garden with indoor and outdoor eating areas, separate bar and function area, it offers a wide-ranging Italian menu and monthly movie nights.

The luxury Park Hyatt Saigon is home to Opera, an authentic Italian dining experience open for breakfast, lunch and dinner.

Try their famous lasagna and tiramisu. Head chef Marco Torre learned his craft in a number of Michelin-star restaurants throughout different regions of Italy during a 14 year career.

Dine on the deck alfresco or inside in air conditioned comfort. Wander up to the end of its little hem off Le Thanh Ton for the most unique pizza experience in the entire country — sublime Italian pizza pies with a Japanese twist.

Often unfairly mistaken as a purely tourist dining destination, Pomodoro offers an extensive range of Italian fare, especially seafood and beef dishes.

Achaya Cafe has two floors providing a nice atmosphere for meetings, relaxation or parties. The menu is extensive with drinks and Western, Japanese, and Vietnamese food — from sandwiches, spaghetties, pizzas, steak and special Japanese sweet desserts.

Featuring one of the most eclectic Japanese menus in the city. A Japanese whisky bar and grill serving some of the best Kobe beef in the city.

The menu is Japanese with a European twist. Gyumaru is a quintessentially minimalist Japanese dining experience rotating around the style of meat meal Westerners would be quick to link to a gourmet burger, but without the bread.

Fresh, healthy, innovative cuisine in a relaxed, cozy environment and regular specials including quality steaks.

The restaurant has a downstairs bar and a second floor with private rooms that have sunken tables, sliding fusuma doors and tabletop barbecues.

Popular with the Japanese expats, the menu serves up healthy appetizers, rolls, sashimi and An specialty dishes like deep fried chicken with garlic salt sauce An style.

Great sake and wine selection. Serves authentic Japanese cuisine including sashimi, sushi, tempura, sukiyaki and shabu shabu. One of the larger Japanese restaurants in the city, this exemplary sushi venue is an ideal choice for business and friendly gatherings.

This sleek, open-kitchen contemporary eatery serves up Japanese noodles starting from VND78, There are also set menus, individual dishes and a range of smaller, appetizing sides.

Sushi Dining Aoi is one such restaurant, where the whole atmosphere of the place evokes the best of the culture.

With its typical Japanese-style decor — the smooth earthen tones of the wooden furniture and surrounds, the warmth and privacy of the VIP rooms — it's possible to believe you're in a more elegant realm.

The decor is straight out of the set of Shogun, with black wood, tatami mats, stencilled cherry blossoms and all the trappings of Japanese exoticism — tastefully done.

While Ho Chi Minh City is certainly not short of fine Japanese eateries, this one is particularly impressive. An exceptionally refined style of Korean BBQ fit out with high-tech smokeless racks, Kang Nam Ga is fast becoming the Korean go-to venue for a wide-ranging and clean introduction to the cuisine.

Delicious beef sets and the infamous and eminently popular ginseng chicken soup — all Kangnam style. Specializes mainly in Korean hotpot and grills.

The venue may be upscale, but the service and feel of this local-style Korean restaurant is very much downto-earth.

Enjoy the pleasure of casual outdoor streetstyle Korean dining without worrying about the proper decorum for an international venue.

Great Korean dishes at good rates. Stylish modern restaurant with a superb bar, Baan Thai serves authentic Thai cuisine with additional local and European twists.

Friendly venue with large screen TVs for casual entertainment. Supremely chic Thai venue with all the authentic burn you need — or without if you prefer.

An opulent, fashionable decor with the cuisine to match — often reported to serve dishes comparable with those of Thailand itself.

Hidden away down a narrow alley in the heart of downtown this unique Thai restaurant boasts authentic flavours and surprising character.

Eat downstairs at tables in a cosy, themed environment - or be brave and climb the narrow. Kitch and authentic, Tuk Tuk brings the pleasure of street-style Thai food into an elegant but friendly setting.

Long Live the King! High end steakhouse with fine American and Wagyu beef steaks along with traditional Argentinian specialties.

Outlets in Hanoi and Bangkok too. Expect to pay for the quality. A stylish restaurant featuring Italian cuisine and Western steaks with a wide selection of imported steaks from Australian and the US.

Nossa brings food and decor together to create a cozy ambiance. With an attention to bringing authentic flavors, we provide good food, good prices and good taste.

Special promotion for first year anniversary: Not a traditional steakhouse per se, but Pho 99 is known for its excellent filet mignon steaks made out of Cu Chi beef.

Also serves great pho. New York Steakhouse is definitely in the upmarket category and serves exclusive American imported beef dishes, with a whole range of steaks from rib eye, New York strip steak and tenderloin being popular options.

Serving the popular Brazilian buffet style, where enormous skewers of meat are circulated around the tables for diners to enjoy as much of as they can.

Frangipani Hoa Su offers Vietnamese cuisine with a variety of dishes from different parts of Vietnam ranging from pho, bun bo Hue to mi quang.

It serves breakfast, lunch and dinner. It also has an open space and a VIP air-conditioned room together which can hold a maximum capacity of people, making it an ideal venue for different types of events and functions.

Leafy green roof garden, upmarket restaurant with reasonable prices and a wide menu of choices. Open style kitchen advertises its cleanliness.

Designer interior with spotlighted artwork and beautiful cushions give an oriental luxurious feeling — augmented by dishes served on earthenware crockery.

The venue has a traditional, rustic theme with old-style furniture and a quaint Vietnamese decor, making this a nicely atmospheric restaurant and a great place to dine with international friends new to the cuisine.

The menu features a number of local favorites. Fun Vietnamese-style creperie popular with locals and expats alike for its tasty, healthy prawn pancakes, along with a number of other traditional dishes.

If you do only one thing, you'd better do it well — and this venue does precisely that, serving only traditional Hanoian Cha Ca salads stir-fried with fish and spring onion.

Every bowl of rice is served in a terracotta bowl that is unceremoniously shattered upon serving.

He was playing the bongos really pretty badly and crying while he was playing. It made you cringe, but it was also really hilarious.

So then I was his plant for a while. I would go to clubs with him and he would go into character as this guy Tony Clifton. He would really fight, and I would try to punch him.

He kind of let me win, but not really. I had a great time with Andy. Vol 1 also available on CD. Eschewing more traditional pop structures, Vanilla is aggressive, extroverted and raw.

Zamrock came to embody the economic despair that followed the oil crisis, which flung Zambia into recession and exacerbated a wide range of social tensions.

UK - LA, January At 28, she is struggling to transition from being one half of the peerless husband-and-wife writing team Goffin 8t King to becoming a solo artist.

She has already made two albums, neither of which have made much impact. Nobody really expects her third attempt to buck the trend.

Of course, not long after that, it all blew up. All the forces came together. To date, King has written or co-written songs that have appeared on the Billboard charts.

By the spring of , however, both the marriage and creative alliance was over. Built into the hillside, the house had pale peach adobe walls, tiled floors, and a sense of light and space.

She was part of a widespread exodus to the west. Among the many musicians heading for the sun were two men King knew well from New York studios and Greenwich Village coffee houses: Kortchmar and bassist Charles Larkey.

So open and sunny, and friendlier. Everyone lived in rented houses rather than apartments, so it was easier to have band rehearsals.

That made it easier to play. When he learned that King had moved west, he immediately set about signing her to Ode.

She insisted that she would only sign as part of a band, and on condition that she would not be asked to undertake any promotion. So she put herself in the middle of this group.

That was her cover, so to speak. That was her entree into being an artist. The City were supposed to do a gig at the Troubadour and she cancelled it, she had such stage fright.

We never did any gigs. He introduced her to his audience. It was the record that helped explain the baby boomer generation to itself, as their need for personal freedom and self-expression rushed headlong into the responsibilities of marriage, parenthood and citizenship.

It continues to cast a powerful spell. In America, it has accumulated a total of weeks in the Billboard Hot In Britain it spent 42 consecutive weeks in the chart immediately following its release, and has since spent a further two years in the top Even in the exhilarating days of January , Lou Adler sensed it was a work that would cut deep.

It was different from a so-called hit. It was more than that. That was my feeling right away, that it was very, very special.

I still feel that. King and Taylor had begun their lives and careers poles apart, but slowly spun towards one another.

She was an earthy, diminutive Jewish girl. He was the long, cool product of wealth and education. It very quickly fell into place.

She and James shared a harmonic consciousness. It was a time in her life when she was reinventing herself, and James was very encouraging to her to do her own thing.

In May she released her first solo album, the pointedly named Writer. Her breakthrough came in the last week of November , when King was persuaded to open for Taylor during a week- long residency at the Troubadour.

The club made careers. That was the beginning of it. Her songs, her presentation! The difference was one of emphasis.

That was the basis of the feel I was after, which was the way that her demos sounded. I wanted it to be as if somebody listening to the LP felt that Carole was sitting at the piano singing the song for them.

I think it put things in perspective! She did a great show. It was a lark! The whole audience would leave the club and stand in the grass island on Santa Monica Blvd.

It served to chill out the start of the evening, as the performers and the audience had spent time together before the show out on the grass. Carole always did great.

She was very enthusiastic. The selected songs were a blend of three established Goffin-King classics, seven new compositions, and two collaborations with a new lyrical partner.

Attuned to the changes in her own life and an evolving cultural shift from communal exuberance to confessional intimacy, the songs on Tapestry speak directly to the needs, wants and fears of a modern mother and divorcee who is both independent and a traditionalist.

She was developing into a singer- songwriter, but her primary responsibility was still as a mother. Watching her sound- check from the balcony on the opening night, Taylor and Peter Asher heard the song for the first time.

Then I had the nerve to ask Carole how she would feel about us recording it. And she said, great. To her credit, with incredible generosity, she basically gave away what was clearly a hit song.

It was joined by several more powerful new songs. The sentiment resonated not only for King personally, but within the group of travelling musicians she was working with, and for a generation yearning for its roots.

Stern wrote the lyric - allegedly about James Taylor - and King quickly came up with the music and melody. It was the voice of a lover on the pillow, a mother at the kitchen table, a friend on the sidewalk.

She was seeking not technical perfection, but emotional truth. The musicians all bought into what we were doing. He saw her amazing talent and he wanted to bring her into her own.

A scene had developed. Based around the Troubadour bar, there was a sense of cohesion and something happening. We all felt there was room for everyone.

Taylor transposes King's song of assurance from piano to acoustic guitar, smooths out every crease, and turns it into a fireside benediction. The shuffling Old West storytelling of the bluesy original is transformed into taut, funky street soul, propelled by a monster bass groove.

A killer lO-minute reading. The slow, heavy, almost indecently funky verse yields to a tender chorus, with fluting falsetto and cascading piano.

The backing track tends towards the schmaltzy, but the melody and sentiment of Tapestry s most achingly lovely song prove a perfect fit for Stewart's astute interpretative skills.

The core band was King on vocals, piano and keyboards, Kortchmar on guitar, Charles Larkey on bass and Russ Kunkel on drums.

David Campbell, who had played the November shows at the Troubadour, was one of several string players. A handful of other exemplary musicians added further, subtle textural touches.

The easy, organic feel that still pervades the album today was not a construct. They were happy sessions.

The band recorded live, forming a semi- circle around King and her piano, enabling everyone to see each other and the musicians to respond to her head movements and facial gestures.

The studio was low-lit, the atmosphere thick with candles and incense. I played a couple of solos off the floor, live. But I just went for it.

She was very friendly, open and sweet, very New York - but she was all business in the studio. She knew what she wanted.

She was never overbearing, but like all great musicians she knows what she wants and how to describe it to musicians she works with.

She was in complete control of the arrangements. The lyrical mix of sexual daring and emotional desperation is tailor made for Amy, and her vocal strikes to the heart.

I recall looking through the studio window, seeing all these young people, so focused and concentrated. It was a beautiful tableau. She would then slide effortlessly into writing and arranging string parts.

David Campbell recalls the violin and cello overdubs being recorded in a single afternoon. Everything is there before you even recorded, ready to show you.

She was lovely, but absolutely certain about what she wanted. She gave it to me with a thank you, and it disappeared somewhere.

In mid- June it finally displaced Sticky Fingers at the top of the charts, remaining there for a record-breaking 15 consecutive weeks.

Suddenly, Tapestry was everywhere. In every shop and clothing store, from cars and windows - everywhere. You could not get through a day without hearing two or three tracks of it wherever you went.

Exactly how that happened is hard to say. Though at heart it is a gentle reckoning of all that King had lived through as a woman, and a recognition of the challenges to come, it also spoke for a generation.

The arrangements and music matched the lyrics so well. It was intimate and uncluttered, you could get close to it. Nothing interfered with the emotion.

Any listener could imagine themselves singing those songs. It kicked off the singer-songwriter thing. Tapestry opened a lot of doors that are still open today.

Did she enjoy it? She was not thrilled at being famous. When the follow- up, Music, went to number one in January , Tapestry was still in the top ten.

Its songs dominated her set when she played a free concert to , people in Central Park in She has continued to make and release music, with decreasing frequency, as well as tour, act and write film scores, all in the certain knowledge that nothing she does will ever have the cultural or commercial impact of Tapestry, which has now sold north of 15 million copies.

As if to prove the point, she is performing the album in full for the first time in July. Now, as then, Danny Kortchmar will be playing guitar.

He understands what people want. Those songs, that voice, the piano. I The sense that, no matter what tribulations life may through at us, things will work out all right.

I always like playing those songs. Every time I play them I get a good feeling. King was the first solo female artist to win a Grammy for the last two categories.

A proper professional studio. From then on, anything went so long as it excited its creators. We wanted to do something different.

It would be the first of a trio of chart-topping hits for the band across the decade, each one primarily sung by a different member of the group: We were never precious about who did what.

There was no ego involved. It was about getting an extraordinary finished result. The Stones recorded many of their great albums on it.

So I bought about eight modules from Dick Swettenham and put them in a desk that some local electricians had knocked up for us. The sound was great.

We were learning all the time with everything we did. Eric was an engineer, so the fact that we were a completely self-contained unit was quite unusual.

No-one else would be in the studio, no other engineers were necessary. It quickly became obvious that these faders, these knobs, these little boxes, are capable of providing any noise that you can think of.

All you have to do is think of them. But looking back, you know, it was another pastiche. It was a brilliant idea. Our way of writing, Lol and me, was just to accept what came out when we sat down and played and sang.

We knew what the feeling of this thing was, which is kind of weird because the lyric is essentially about a fictitious prison riot, taken from a fictitious black and white movie from the era of James Cagney.

We were big movie buffs in those days, me and Lol, so it was one of those kind of films It was caricaturing those movies.

But it just worked. The lyrics are great. Godley and Creme could come up with anything. No-one could come up with stuff like that.

I used to look forward to going down to the studio each morning just wondering what crazy things we would get into.

I seem to remember it was, in general, but naturally when you start recording something it changes shape a little bit along the way, because better ideas actually come out when it exists on tape Kev and Lol were wonderful songwriters, but sometimes they could go on a bit.

Or they had a habit of writing one part of a song, that would only occur once, that was actually a work of genius.

Lol Creme guitar, vocals, piano , Kevin Godley drums, vocals , Graham Gouldman bass, vocals, guitar , Eric Stewart lead guitar, vocals Produced by iocc banned, but it probably had the them, and dancing around and giving them V-signs, taunting them.

Basically, the soldiers responded in kind when a brick almost downed one of them. So they started firing rubber bullets at these kids. And there was a lot of scrambling after them, as they were quite prized, apparently.

They used to sell them to visiting journalists or put them on the mantelpiece at home. Strawberry Studios, Stockport, adverse effect, as banned things often do.

Live, we extended it. It can jump around, it can change mood. It can go into a quiet room or a louder room or go up onto the roof, if you like, and change musical structure.

So I imagine Graham took it to where it needed to go, because again, like Lol, he had a very intense knowledge of how chords work and where they should go and how lyrics work.

Eric always managed to get a good sound out of the kit, but I found out quickly when they were mixing the kit and they soloed in on the hi-hat mic you could hear me mumbling gibberish while I played - very embarrassing.

Eric had an extraordinary pair of ears that managed to capture the essence of everything we were doing in that particular space. I used to use Neumann U67 valve mics, which cost more than a bloody E-Type Jag, about 12 hundred quid apiece.

Those sounded so good. We built an echo chamber in the stone- staircase going down to the basement. We put a speaker at the bottom and a microphone at the top, and it actually did work.

It probably only took a few days to record. There was no-one coming in to check on how we were doing. And there were no mobile phones ringing.

So, it was like we were in there, virtually with the door locked just playing and overdubbing until it was done. We were going on to an eight-track machine.

The next thing we put on was a piano, which had a sort of slightly strange sound on it, slightly chorused or phased. We used to do that quite a lot, put an unusual sound on, and that would influence all the other things that we put on after.

Yeah, very McCartney, and I understand why. He does it for the same reason. You know the sound you get then is pretty much gonna be as it is when it gets mixed, so you might EQ the bass differently at that later stage.

Eric played the lead part on his Les Paul. One playing an octave higher and one playing the actual lead solo normal speed. I played straight through the Helios module.

The first modules, if you turned up the mic amp to full it would go into the most beautiful distortion - a pure, smooth sound. I think that guitar is actually the signature sound of the record.

It was the sort of the thing we would do, just to not be the same as everybody else [laughs] And it got banned, initially, by the BBC.

They banned it because they thought it was about Northern Ireland. You just kept it going and made it as wild as possible. And that song seemed to lend itself to that approach.

It was fun to do. A bit knackering, though, because it was quite a long song anyway, and it was very fast - thank goodness we had two drummers onstage [Paul Burgess joined the band live from ].

It gave me a chance to have a little blast on the solos. Of course, I had to use effects pedals live. That, for me, is my favourite iocc album.

We were already freed-up to do anything, we were free from the beginning. And so, we continued to be a band that sounded different on every record we ever made.

I remember when we finished it, it felt special. It was just kind of different to whatever else was out there. The Kinks, past masters of the art of biz snap and crackle, and now you you YOU can go right along with them.

Eat your heart out. But the startling thing about For You, even more impressive than the opening chorale of harmonised voices that all turned out to be the work of one person, was the amount of instruments he played.

There were 27 of them. Nobody else so much as rattled a tambourine. And even then, the rock-educated, new- wave -loving Prince Rogers Nelson might have found the comparison restrictive.

Why not target a white audience? Why not target the world? Within three years, he was the toast of rock critics. Within five, a crossover star on MTV.

Within six-and-a-half, a screen idol and cultural phenomenon. Miles Davis believed him to be a synthesis of three of the greatest entertainers in history: I think when Prince makes love, he hears drums instead of Ravel.

Others described him as a perfectionist, a control freak, a narcissist, an inexhaustible workaholic, a consummate self-mythologist and a severe introvert with an impish sense of humour.

The skies had started raining on a white building on the outskirts of Minneapolis. A team of paramedics, summoned to Paisley Park by a call, had found a body slumped in an elevator.

He played long live sets of hard funk, ignoring all but a few hits. He was mocked for a bizarre speech at the Brits. The rules were simple: A bodyguard frisked me as I entered the dressing- room.

Cool air wafted from an overhead fan. All they know is marketing. He began impersonating the guys he was talking about, sounding like Richard Pryor in his routine about white people returning after the intermission to find black people sitting in their seats.

Looks at imaginary watch, hails taxi Listen, I gotta go. I can't deal with that. He hinted he might vandalise Warners' HQ in Burbank.

They go in, destroy the office. He seemed keen to remunerate me for publicising his cause. I was sane when I did that. The bodyguard escorted me out.

There were times when he made even Madonna look slow, and not many people did that. With their colourful Christian names, the two icons dominated the yuppie decade, but there were crucial differences in their manifestos.

While Madonna patented the wannabe, Prince embodied the maestro, the grand illusionist. The champion had defended his title one-handed.

Then, as if shedding another layer, he told a New York audience in March that he was writing his autobiography. Had he sensed in that last breath that he had one more illusion up his sleeve?

Most people in this world are born dead, but I was born alive. MTV and Google turned their logos purple for the day. NASA tweeted a purple nebula in honour.

First Avenue, the Minneapolis nightclub where parts of Purple Rain were filmed, joined many venues across America in holding impromptu all-night parties so that grief, disbelief and non-stop music could intermingle.

His free gift to three million UK readers, viewed by some analysts at the time as an act of marketing suicide, is now widely regarded as revolutionary.

I thought I'd be perfect for him. He liked working with women. I knew all his material and had been a fan since the start.

He was taking delivery of some new studio equipment at his house in Chanhassen, Minnesota. I'd flown out from LA to help with the installation of this console and I asked to use the facilities.

He was coming from the shower upstairs. The studio was downstairs across the hallway from his master bedroom. He kept a turntable in there and would play records a lot.

Right above me was the living room where his piano was. I could hear him rehearsing with Vanity Six. He was eager for me to hurry up and finish so he could come down and resume recording.

He got this amused look on his face. We recorded that basic track with the whole band at rehearsal, then they went home and he and I stayed to finish the song.

He had an incredible aptitude for auditory imagery, for imagining what worked with what. He was easy in that he had a sense of direction and a lot of work got done.

There was money, so anything we needed we could get. We had the best equipment. The difficult part was we had to stay up long, long, long hours.

A typical day might be 20, 24 hours. A hour day would be like a day off. There were no real days off - even Christmas, New Year and birthdays. I was happy to do that as I had my dream job.

But it was physically challenging, and there were many days when I was up for 48 hours. There was one - only one! Yeah, that was a long day. Sometimes the band would play and he would invite friends and people who lived locally, people he knew from the clubs.

He'd sometimes rent a movie theatre and we could all go to the movies or roller-skating or ice-skating. Sometimes he just liked having the band over to his house.

Most of the socialising he did, as you might imagine, was dating. That was quite common. He was doing the Purple Rain movie.

There was going be the night shoot in South Minneapolis. For some ridiculous reason, I decided he needed pie. He had a real sweet tooth.

So I baked this pie and took it to the movie set. Hang on a second. I put my hand out and he tapped a few Tic Tacs into my palm.

Our relationship changed after that. I think he realised I wanted to be of service. Chocolate chip cookies, hot chocolate or cake? He was an expert at reading people and understanding howto bring out the best in them.

I think that pie incident went a long way. It helped our relationship. The high number of celebrity deaths since January has jolted many a baby-boomer into fearing an apocalyptic end to the established order of their lives, yet the death toll is far from unprecedented.

The pre-war and post-war generations must have thought their childhoods were evaporating before their eyes. Just as they would 40 years later, those deaths in arrived in clusters and clumps with no pattern and no symmetry, their sequence chosen as if by random from a directory of the famous.

As it happened, thousands of Britons on April 21 were still mourning the death of Victoria Wood a day earlier when the breaking news bulletins on BBC and Sky suddenly cut to a development in Minneapolis.

Everyone is a fan of something in childhood, and even the editors of gutter tabloids began life as children.

Now we steel ourselves for the sight of them, their lyrics reshaped into banner headlines, their obituaries written as rave reviews.

I never meant to cause you any sorrow. The stars look very different today. For You was a typically bold statement from the then 19 -year-old artist.

But beyond the hunt for hits, Prince is still a more diverse record than its predecessor: The doe-eyed romantic of the first two albums is replaced by a sexually voracious upstart.

There are collaborators, too, with Lisa Coleman and Doctor Fink joining the party. His lawyers were notorious for stamping down on transgressors.

Shelves were quickly stripped bare. A catalogue that ordinarily sold 1, units a week sold , in the space of three days.

Extreme artist he certainly was. Nobody had been quite so extreme before. Permeating his songs from almost day one were bodies soaked in sweat, moistening, grinding and writhing.

Revelling in outrage and scandal, he set a new indoor record for X-rated lyricism with the full-blown hardcore porn movie that was Dirty Mind We set up the entire sound system in a day.

At the end of the day, when we thought we were going to go home, guess who arrived? He walked out to front of house, put in a cassette tape - this was - and listened to the sound system.

Eventually, he made his way up to the stage and asked if he could play the drums. He sat down at the LinnDrum machine and programmed a beat.

He moved to a keyboard rig, playing bass lines with his left hand and horn punches with his right. Then he put on the bass guitar and then he put on a guitar and he makes the rounds, playing different guitars, his included.

Sets everything back down, gets back up on the drum machine, hits stop. I look at my watch: Orchestrating everything, every dance step, right down to the shoelaces.

Everything was well organised. The band would stop. We'd play long enough so whichever team he was on would win by at least 20 points.

You had to be ready. If you made a habit of being late by a few minutes, at some point he'd stop during the day and say. He was well respected by everybody as he worked so hard.

Not trying to be a perfectionist, but just to show the right demeanour. I learned so much from him. Not just about music and engineering, but how to treat other people.

I never knew who was taking it until one day I looked up and he was standing there eating my candy bar. The management team he had. The purple dove was in the cage, the coffee pot was on, The FedEx guy was coming and going.

It was a special time. Or failing that, in a restaurant of her choice. When he performed live with his band the Revolution, one could have been forgiven for thinking his dazzling skills had arrived on a plate, needing no tuition.

In fact, meticulous work had gone into making him look and sound sensational. After a physically demanding concert lasting several hours, he would invariably materialise onstage in a nearby club and perform an after-show gig with the energy of a teenager.

Even in his fifties, his stamina was so strong that 3rdeyegirl - the trio who played on his album Plectrumelectrum - told stories of multiple hour jam sessions at Paisley Park.

Was that what happened on the night of his death? Had he been alone in the studio recording? To put it another way, did he ever stop recording? He sat a course in music business studies at Central High School, learning about contracts, copyright and control.

And then one day he made his move. But one career was never going to be enough for such a productive writer and thinker. The semi-autobiographical Purple Rain turned this coterie into one of the coolest gangs in s cinema, but the precise relationships between Prince and his players were not as they sometimes seemed in the movie.

For one thing, in real life, Prince never allowed himself to be viewed as a loser. Prince told the likes of Morris Day what to do, not the other way round.

Purple Rain continued his creative streak. Consequently, LoveSexy was written, recorded and released at speed. While not quite in the same league as its predecessors, LoveSexy is a typically ambitious set, finding Prince sharing his love of God and sex in equal measure.

Prince and the New Power Generation pose backstage on his Act 1 1 tour, Den Bosch, Netherlands, August 9, ethereal movie stars glided past in whispering limousines on their way to mysterious assignations in the Hills.

A coquettish flirtation began between the star of Purple Rain and a thousand magazines to whom he declined to speak. More than one writer compared him to Bambi, bashfully batting his eyelids, or Greta Garbo, a luminous screen goddess who slammed the shutters down on the outside world.

Prince was well aware of the effect he was creating. Getting ready for her close-up? He had expanded his funky little scene at First Avenue into a universe in which he was the potentate and puppet master.

It was a universe in which the small man had power, the downtrodden man had freedom and the introvert had all the social confidence he could ever need.

The media became besotted with him. I am just like anyone else. The album introduced his latest backing band The New Power Generation - who upped the funk quotient considerably - and contained several Prince classics: The opening salvo in his dispute with Warners, this found Prince eschewing a conventional LP title - though he wouldn't change his name for a year.

Conversely, though, he's keen to remind us of his nomenclature. It also marks the arrival of singer Mayte, later Mrs Squiggle.

Nevertheless, the music is strong, if surprisingly retro in sound and attitude. Understandably Emancipation is all over the shop.

But there are jewels, if you dig deep enough. Two years on, he released another multiple set: Can I have some? Spielberg wondered if his secret lay in his fascination with the sky.

Others look straight ahead. The irresolvable conflict in his work - and one suspects in his personality - was that he was as sexually voracious as he was spiritually compulsive.

Add one to the other and there was Prince reclining naked on Lovesexy, his twin obsessions offering no protection, the very picture of artistry and vulnerability.

Dickerson later reflected on the conflicts and contradictions that drove his former boss in the biography I Would Die 4 U, written by the American critic Toure.

And those are the three guys who, over the years, have vied for the microphone. I think people want order again. He had four or five tracks ready he wanted me to play on.

He asked if I wanted to have a cassette of them to listen to for a couple of days, to get familiar with them.

If you want to start recording, I'm cool. He asked me if I knew any good trumpet players. I did, a close friend of mine, Matt Blistan. Prince immediately started referring to him as Atlanta Bliss.

We worked with Prince a lot. He recorded all the rhythm instruments himself, but when he wanted horns, he had to come to us.

I did close to sessions with him through the '80s and early '90s, well over pieces of music - close to 90 per cent of what we recorded is still in the vault.

We did a track for Miles, for possible inclusion on Tutu. But Prince decided otherwise and asked Miles not to include it on the LP.

Miles was a guest and came onstage with us and played with us on one of the songs. I think that is the only time Miles and Prince were in a space together performing.

Prince wanted his music and lyrics to be more of a spiritual and positive perspective. The Black Album was a bit dark.

He came to us once in early ' We were getting ready to go out on the road that year and he said he had an idea of doing a musical.

We worked on four or five songs. A lot of the excitement he might have on Monday might not have much relation to what he was interested in doing on Tuesday.

You had to roll with it. It was like going down the rabbit hole in Alice In Wonderland. King, accustomed to productive discussions with statesmen, was unable even to introduce his guest by name.

Six years into a dispute with Warner Bros that burrowed to the very essence of what music is and who it belongs to, the man on the other side of the desk was familiar to US households as The Artist Formerly Known As Prince.

His actual name - at least until he reverted to his given one when his contact with Warners expired in - was an unpronounceable hieroglyphic that combined the gender symbols for man and woman.

The album also finds Prince exploring alternative release strategies: His next two albums would be download- only; while three years later, he released Planet Earth free with The Mail On Sunday.

K M iTi-JB fj. Phase Two is the better piece, not least because it holds the grim distinction of being the final studio release in Prince's lifetime.

I finally straightened it out. Never mind his religious beliefs - in a charming sort of way Prince was becoming middle-aged.

The chemtrail conspiracy, which Prince learned about from the comedian and civil rights activist Dick Gregory, claims that these trails are deliberately caused by sinister forces - not necessarily the government - in order to poison citizens in poor communities and keep the population down.

The New World Order? Prince had to walk past me every morning to go to the rehearsal studio. His creativity was astounding. Here is how it will work, this is what it will cost, that sort of thing.

He was constantly working: I never was a party person but there were a lot of parties. He would give me zero notice.

It's gonna be a masquerade ball. It's Prince calling from Paris and he needs a number. Then, five minutes later the phone rings again: It blew out the window.

Even though sometimes we all wanted to wring his neck, we all loved him in our own way. Prince was so special and so gifted.

Waldorf Astoria Hotel, New York. That sound of the people to voice our concerns in those types of areas is gone now. Or are they the sentiments of someone who everyone agrees never fully made his peace with hip-hop?

Artists who are magically gifted can seem incredibly remote, especially if, like Prince, they spent years trying to be. But notice how he brings it all back to music every time.

He wants a particular sound. He wants to voice his concerns. Prince becomes more of a sympathetic figure the more he looks around the world beyond his experience and tries to comprehend.

We know that he suffered in silence. We know about the damage he did to his hips with those high-intensity performances onstage, leaping off drum risers while wearing high heels.

Yet the realisation is dawning on us that he was as mortal as any man, and that strict vegetarianism was no help in his darkest times.

All the poor little genius wanted to do was to dance, to dazzle and to be a few inches taller. Look at what they make you give, as a dying man once said.

When he walked offstage, I looked at my watch and it was The whole show had been choreographed to the instant.

They needed details of the address. Was he a first-time visitor? What had he expected to find? But he knew the name of the man lying in the elevator.

Everybody knew his name. Even when he changed it for a symbol, everybody knew his name. Man down, not breathing. It can go around the world in a day.

It can make a rainbow. He performed with his band and made a speech that struck a blow for artistic independence.

Freedom to produce, freedom to play all the instruments on my records, freedom to say anything I wanted to. About two minutes into the song, a camera picked up a slim figure in a red cowboy hat strumming a Telecaster on the far right of the stage.

What happened next, beginning at 3: Prince played like Hendrix, sobbing, rejoicing, bringing the guitar to his teeth, sinking to his knees, going on and on for minute after minute.

Lynne and Petty remained impassive, but Dhani Harrison could be seen laughing in amazement. At the end, having utterly stolen the show, he launched his Telecaster into the air.

Nobody saw it land. I used to love whenever he would come on MTV, because you knew you were going to get a great tune.

Terms and Conditions apply. The way people made records then was you put down the rhythm track, then dubbed on however many guitars and all sorts.

It was all overdubbing and headphones. The musicians were all recording at once, and I wanted to do it that way.

Our job is to play and your job is to record it. So after cutting it at Rockfield came the task of mixing it. There was so little on this tape, so how do you mix it?

You can put bass on one side and guitar on the other So what we ended up with was a mono mix. As far as I could see then, it was the best way of doing it.

Vic Maile, God bless him, he was kind of stunned. But you slam a door, throw a plate against a wall, and then you get things mixed the way you want.

It was lots of fun, though there was this thing going on, and it was to characterise a lot of Dr Feelgood recording - me belly-aching.

A very vivid, intense guy. I always felt he was the leader, and I based everything I did for Dr Feelgood around him. When I wrote a song, I was hearing his voice in my mind.

On the second album I deliberately took a step back, because I was such a control freak about the first one.

This time I let other people do it. Vic Maile started producing it, then the label blew him out. The recording on Malpractice was pretty similar [to Down On The Jetty], but there might have even been a couple of overdubs Vic Maile was back, and there was another mother-and-father of a row going on.

The record company wanted to really do a job on it, to take it into the studio and overdub it to death. They wanted Figure to overdub every single snare beat on that recording.

They wanted it all cleaned up. It ended up with an eyeball-to -eyeball confrontation with the label. That was that, for me. I was pretty much intolerable.

I admit it, I was messed up. I was worried about songwriting, you know? I was worried about it, coming up with material that was good enough.

And, of course, I was the only songwriter, so I was left worrying about that, while they were getting drunk and cursing me, I think.

I used to get very homesick, I missed my wife and kids. I was too miserable a so-and-so to actually turn to guys who were really my great friends. It builds up and up, so by the time we got to do that album, I think they were pretty fed up with me.

They threw me out the band. I had to try and put things back together from there. It was just some people that were playing. It was almost doomed to failure.

The recording of this was much more conventional as this group had a keyboard player, it was a four-piece [instrumentally] rather than a three-piece, so you have a different approach anyway.

We had a producer and I did what the producer said. Some of the material [was strong] I was in a right old mess. Was I over- indulging? I had trouble with women, I had trouble with I had trouble with this record.

I had a good time recording Laughter with them. The Blockheads stuff was often very complicated for a poor dimwit like me!

We did a tour of Australia, huge auditoriums. Ian could be a so-and-so but he was a great person. Very, very funny, though he could be a bit wicked, with good cause, probably.

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