Phnom Penh Garage Notes

Spotify, What Are You Doing Here?? Meet MOG.

2011-08-25T06:02:00.007+07:00

It seems while Spotify was using its energy to defend its service for free business model while gaining entry to the U.S., the folks at MOG were in important ways building a superior only by subscription product.

Chris Connaker of Computer Audiophile in his extensive comparison of the two services notes two differences of import to me. First, though Spotify claims to have a larger library, MOG seems to do better in finding the stuff we want. Want the Dylan library? Pink Floyd? Big Star Live? MOG's got it, Spotify doesn't. (Neither have the Beatles). There are surprising gaps in Spotify, and some amazing finds in MOG. Want Phil Och's Canada-only release of Live at Carnegie Hall. MOG's got it. Go figure. Secondly, everything on MOG can stream at 320kps, i.e. near CD quality. Spotify is making progress, but, well, still working on it. Spotify has a glitzier interface, MOG works well enough even if it doesn't look as good.

But...there had to be a but...MOG is currently U.S. only and they mean it. Unlike Spotify you can't sign up and take your subscription with you. What about using a U.S. proxy server? Dunno, perhaps those of you now outside the U.S. will want to give that a try.

MOG is not perfect by any means but the seemingly more relevant library makes all the difference in the world to me and it's what I'm playing with in California. I'd say give it a try (at mog.com )and see what you think.

The Computer Audiophile comparison pieces are at:

http://www.computeraudiophile.com/content/MOG-v-Spotify-Part-II

and

http://www.computeraudiophile.com/content/MOG-v-Spotify-Part-II

Cochinita Pibil

2011-08-01T17:20:00.003+07:00

This Yucatecan pork-in-banana-leaf recipe might be the best argument for the other white meat ever invented. We've had two batches of it at Garage and I must say it has gone over well. Served with rice, black beans and fried bananas. If we have it when you come in, order it, you'll become a believer.

Give the People What I Want

2011-06-13T16:59:00.000+07:00

A Beautiful Thing

2011-06-07T20:40:00.003+07:00

And finally...the first corn tortilla comes to Garage. Annit, my highly skilled pizza maker, has made the transition to tortilla maker. Had a taco using the Garage chili and it was darn good. Just the beginning. Stay tuned.

Kia Confessions

2011-05-28T12:41:00.013+07:00

Hello my name is Jeff and I drive a Kia.

If you had told me 15 years ago that I'd be running a bar in Cambodia and driving a Kia I might have believed the former (I always knew I was crazy enough) but never the latter. Not a chance. I'm a car guy. A Kia?

Well sir I've had my UNTAC vintage '94 Sportage (5-sp, 4WD) for a few weeks now and I am digging it more than I would ever have thought. Ride, handling, visibility, really just about everything works (well the electric windows don't but hey it's old). The road in front of my daughter's school is filled with potholes that could (and may) hide small hippos in the rainy season but the Sportage manages it fine, much better than the Camry did in its day.

Being a irredeemable hacker and one committed to never leaving well enough alone, what I find particularly intriguing about this car is not what it is, but what it could be. What few people would know is that this car has a magical engine, from a tuner's perspective one of the best ever -- up there with the Studebaker V8. I'm not kidding. The Sportage -- a product of a Kia-Mazda/Ford collboration -- is the only vehicle imported to the US utilizing Mazda's 2.0L 16v DOHC FE3 engine which first appeared in the European 626GT. Although never offered commercially with a turbocharger it was in fact designed with turbocharging in mind, and a number of turbocharged rally cars were built by Mazda.

According to WikiWhichNeverLies "the FE-DOHC is already built for turbo with large forged connecting rods, large journal dimensions, oil cooler, piston oilers, web-stiffened block with main girdles (and braceplate where equipped). This robust engine design is a favourite of tuners who are aware of its capability because it already has a high-power capacity perfect for custom turbo jobs. As much as 600 whp (insert HOLY CRAP emoticon here) has been seen on a stock engine. The common FE-DOHC crankshaft is cast while the forged crankshaft is fitted to the aluminum sump engines with both the main bearing braces and the main bearing girdle plate".

Now of course there is nobody in Cambodia capable of doing a turbo retrofit, but if I were in Bangkok I'd do it in a heartbeat. The stuff of dreams. Meanwhile, having the little 140hp machine to fling around is a blast as is. Bring on the rainy season.

Happy 70 Bob

2011-05-23T17:52:00.002+07:00

May 24. An evening of Dylan favorites, rarities, covers, videos. And Bob's Mint Julep. Happy 70 Bob

Welcome to the End of the World

2011-05-18T16:53:00.002+07:00

If you think last year's low season was rough just wait.

Saturday the 21st is -- and you might have missed this amongst all the sex scandals -- Judgement Day. The Rapture. For the billions of us left behind, there will then be five months of serious torment, with 150 billion dead people quaked from their graves, snakes, scorpions, and, needless to say, some serious weeping and gnashing of teeth before the world is destroyed on October 21.

Seems like reason to celebrate, and so we will at Garage with some rapturous drink/food specials. And music from the Scorpions. Anyone expecting to be in the air with the Lord is requested to take care of your outstanding tab. And among the Saved who haven't figured out what to do with that plasma tv, Beatle's butcher cover or your other cool stuff, we may be able to work something out.

A Note From Bob

2011-05-15T16:33:00.001+07:00

To my fans and followers

Allow me to clarify a couple of things about this so-called China controversy which has been going on for over a year. First of all, we were never denied permission to play in China. This was all drummed up by a Chinese promoter who was trying to get me to come there after playing Japan and Korea. My guess is that the guy printed up tickets and made promises to certain groups without any agreements being made. We had no intention of playing China at that time, and when it didn't happen most likely the promoter had to save face by issuing statements that the Chinese Ministry had refused permission for me to play there to get himself off the hook. If anybody had bothered to check with the Chinese authorities, it would have been clear that the Chinese authorities were unaware of the whole thing.

We did go there this year under a different promoter. According to Mojo magazine the concerts were attended mostly by ex-pats and there were a lot of empty seats. Not true. If anybody wants to check with any of the concert-goers they will see that it was mostly Chinese young people that came. Very few ex-pats if any. The ex-pats were mostly in Hong Kong not Beijing. Out of 13,000 seats we sold about 12,000 of them, and the rest of the tickets were given away to orphanages. The Chinese press did tout me as a sixties icon, however, and posted my picture all over the place with Joan Baez, Che Guevara, Jack Kerouac and Allen Ginsberg. The concert attendees probably wouldn't have known about any of those people. Regardless, they responded enthusiastically to the songs on my last 4 or 5 records. Ask anyone who was there. They were young and my feeling was that they wouldn't have known my early songs anyway.

As far as censorship goes, the Chinese government had asked for the names of the songs that I would be playing. There's no logical answer to that, so we sent them the set lists from the previous 3 months. If there were any songs, verses or lines censored, nobody ever told me about it and we played all the songs that we intended to play.

Everybody knows by now that there's a gazillion books on me either out or coming out in the near future. So I'm encouraging anybody who's ever met me, heard me or even seen me, to get in on the action and scribble their own book. You never know, somebody might have a great book in them.

Posted at bobdylan.com yesterday.

Dylan in Vietnam - Part III: The Press and The "Idiot Wind"

2011-04-13T09:06:00.007+07:00

In Part I of this series I pointed out the extent to which the press has portrayed Dylan's history, and particularly his political history just so damn wrong. Well, it's only gotten worse, much worse.

The mainstream press continues to play up Dylan's non-existent connection to the anti-war movement in the U.S. Thus Margie Mason writes for the Associated Press:

"After nearly five decades of singing about a war that continues to haunt a generation of Americans Dylan is finally getting his chance to see Vietnam at peace"

as if Dylan ever wrote any of those overt protest songs about Vietnam, which of course he did not, all those songs having pre-dated the war, and Dylan giving up singing them before US troops arriving on Vietnam's shores.

If that weren't bad enough, having reaffirmed Dylan's non-existent role as anti-Vietnam war spokesman, the press now accuses Dylan of having sold out for letting the Chinese and Vietnamese governments censor his playlists, and, more particularly, for caving in to commie pressure by not playing songs like The Times They Are A-Changin, Blowin' in the Wind, Masters of War, and Hurricane.

Referring specifically to the above mentioned songs, Maureen Dowd wrote in the New York Times

"The idea that the raspy troubadour of ’60s freedom anthems would go to a dictatorship and not sing those anthems is a whole new kind of sellout — even worse than Beyoncé, Mariah and Usher collecting millions to croon to Qaddafi’s family, or Elton John raking in a fortune to serenade gay-bashers at Rush Limbaugh’s fourth wedding."

Jumping on the bandwagon, U.S.-based Human Rights Watch issued a statement saying, "Dylan should be ashamed of himself."

"The young Dylan wouldn't have let a government tell him what to sing," said Brad Adams, executive director of the organization's Asia division. "He has a historic chance to communicate a message of freedom and hope, but instead he is allowing censors to choose his playlist."

In the first instance, Bob Dylan is a performer and a song writer, not a political activist and quite long ago, perhaps before these so-called journalists were born, made clear his lack of interest in being spokesman for any cause. Bob Dylan is not Bono or Jackson Browne, he never has been, never will be and to suggest that's what he should be is absurd.

Second, there is nothing to suggest that Dylan allowed himself to be censored. While it was reported that Dylan was asked to submit songs for review, it is not known how many songs Dylan may have submitted, or what kind of review they may have been subject to. Dylan's repertoire includes hundreds of songs. He may have submitted his whole catalog for all we know. One reporter indicated a friend in the Chinese government told him that that Dylan lyrics were being reviewed for "bad words" and laughed at the suggestion that Dylan might be subject to political censorship (Dylan never having written a "Free Tibet" anthem).

Dylan's playlists in Vietnam and China certainly do not in any way suggest either self-censorship or censorship by either of the two governments. Dylan didn't play hundreds of his songs. What those playlists suggest is that Dylan played what he wanted to play. Let's look at some of the particulars. Dylan is indicted for not playing "The Times They Are A-Changin", "Masters of War", "Blowin in the Wind" and "Hurricane".

Well, Dylan almost never plays "The Times". He hasn't played it in his last 150 shows (since 2009) and over the course of his entire career has played this 47 year old song about has many times as he's played High Water (For Charlie Patton) from the ten year old Love and Theft album. It's simply not one of his better songs, it's extremely dated, and its "come Senators and Congressmen please heed the call" lyrics would hardly have resonated with Chinese or Vietnamese audiences.

"Masters of War" Dylan does play with some frequency. But he hasn't played it since a New York concert last year and why this particular song should be singled out for the Chinese (or Vietnamese) is certainly not obvious to me (it was written well before Vietnam) when it's the US that seems to have its finger in a lot more war-pies these days than the Chinese.

"Blowin' in the Wind" is a song that Dylan performs semi-regularly, about half as often say as "All Along the Watchtower". But the fact that the Bard chose not to play it is in no way indicative of Chinese censorship. Indeed, it is clear from the record that Dylan could have played it if I wanted to but it simply wasn't on the playlist. How do we know this? Because "Blowin' in the Wind" was actually played on Chinese State Television in a story on Dylan's upcoming appearance in China. There's a video on YouTube for anyone interested.

"Hurricane", Ms. Dowd says, Dylan should have played to speak out against political prisoners in China. Why, one has to ask? First, Dylan didn't keep this treasure of song out of the playlist to please anybody. He never plays it. He's played it 33 times in his life, and hasn't played it once since 1976. Second, as noted endlessly, this has never been Dylan's role. Perhaps Ms. Dowd should do this, that's about as likely as Dylan doing so. Or Perhaps she can offer a few tunes for Bradley Manning, a little closer to home. Mr. Adams of Human Rights Watch can sing harmony.

You know what? Bob also didn't play "Dear Landlord". That would have been such a great way of highlighting the failures of Chinese housing policies. But, hey they got to him. Bob obviously caved.

The utter cluelessness of these criticism is amplified when one looks at what Dylan did play at the three shows. What was the first song out of the box:

Gonna change my way of thinking, make myself a different set of rules

Gonna change my way of thinking, make myself a different set of rules

Gonna put my good foot forward, and stop being influenced by fools.

So much oppression, can’t keep track of it no more

So much oppression, can’t keep track of it no more

Sons becoming husbands to their mothers, and old men turning young daughters into whores.

Stripes on your shoulders, stripes on your back and on your hands

Stripes on your shoulders, stripes on your back and on your hands

Swords piercing your side, blood and water flowing through the land.

Reference to Jesus elsewhere in this pro-Christian anthem from Slow Train could only be sticks in the eye of Chinese censors if they were paying attention.

Dylan also played "Hard Rain" of course

"where pellets of poison are flooding our waters"

"I heard ten thousand whisperin’ and nobody listenin"

and "Ballad of a Thin Man"

"something's happening and you don't know what it is"

but these are obviously just moon, June, spoon types of songs that Dylan had to fall back upon to please his censors.

Somehow, I think that Dylan plays what Dylan wants to play the way he wants to play it. If any of these journalists or the clueless Mr. Adams actually cared to know anything about Dylan's history they would have come to a similar conclusion, to be sure.

Dylan in Vietnam - Part II: The Concert

2011-04-12T07:49:00.009+07:00

If one were looking for symbolism in Dylan's first concert in Vietnam, one wouldn't have to look any further than the venue itself. RMIT University, located 20 minutes from downtown Saigon in Ho Chi Minh City's District 7, is a spanking clean campus of hip modern architecture and well manicured lawns surrounded by the coffee shops and housing that would typify any small university community in the developed world. I know it's an international, English speaking university, but, sadly, I couldn't but help reflect just how poorly the Royal University of Phnom Penh campus -- or any other -- in my town would fare in a side by side comparison. For me, experiencing this Vietnam was a a kick in the head, reinforcing just how long ago America's War in Vietnam, how much this country has changed, and how far Cambodia has yet to go.

Being billed as a part of a tribute commemorating the 10 year anniversary of the death of Trinh Cong Son, the concert began with one hour of Trinh Cong Son songs performed by an array of young Vietnamese singers. At the start of the set around dusk the venue appeared perhaps half full, with a 70/30 mix of foreigners and locals among the 4,000 or so present. Being a fan of Trinh Cong Son, I had high hopes that the pre-Dylan set would be a meaningful affair, which unfortunately it was not. A competent jazz-pop band backed the parade of singers, all talented, but, considering the material, ranging in stylistic approach from reasonably suitable -- My Linh and Hong Nhung for example -- to excruciating, as were Quang Dung and especially Duc Tuan whose primary influence seemed to be Wayne Newton and the Rat Pack. I don't know who he was blowing kisses at exactly. This was certainly not Trinh Cong Son's Trinh Cong Son, not even Khanh Ly's, this was just another version of Paris By Night, the ever-present face of bland Vietnamese pop on local televsion and DVD. The set, mercifully, was shorter than I expected but for me its end could not come too soon.

Dylan's appearance came shortly thereafter as darkness fell, and soon the crowd which had been seated and in a relaxed picnic kind of mood on the field, surged forward to get a closer look. Dylan came out quickly following his band, wearing a Western white hat, black jacket and pink shirt, his band favoring fedoras. Gonna Change My Way of Thinking, an overtly Christian song from the Slow Train album,started the show, as it had in China, and within a verse or two, it was quite obvious that Dylan was on the mark and engaged. "We live by the Golden Rule, whoever got the gold rules" Dylan sang with his familiar snarl, his 69 year old voice no longer able to generate much volume, instead moving up and down effectively within his limited range with the occasional staccatto attack to reinforce a lyric or musical moment.

Fans waiting for the hits didn't have to wait long, Dylan trading his keyboard for a guitar on a reworked version of 1964's It Ain't Me Babe, one which started with Bob rather quietly reciting the verses. Once the crowd recognized what it was he was singing, they responded warmly but it was not a particularly successful re-working of the song judging from the crowd's reaction or my own, needing a bit more energy. In contrast, Tangled Up and Blue, following a good rendition of Beyond Here Lies Nothin', was tremendous, with Dylan still holding the guitar position but now with harmonica, just as radically reworked as the earlier chestnut but far more successfully so. Bob's harmonica work gave the audience additional reason to enjoy this one, and as is always true of a Dylan show, Bob brief solos on the mouth harp garnered much more appreciation than did his guitar or keyboard work. Bob's guitar set ended with a fine, and more straight ahead version of Simple Twist of Fate. On this and many of the more familiar tunes, Dylan's opening verses were delivered a bit hesitatingly, as if he wasn't quite sure where he was taking the song vocally. Yet, in most every case, Dylan seemed to quickly find his way and any lack of confidence or focus was replaced with an authoritative delivery.

For many Dylan fans, "newer numbers" would refer to anything written after 1966, and most of these Dylan worked his way through engagingly, with a keyboard solo here and there, during which time he rocked his body up and down, looking with some frequency either at his band members with an occasional nod, or briefly at the audience. Bob's keyboard work isn't particularly noteworthy, but if Dylan has been criticized for just going through the motions in his shows, I did not all come away with that impression. Indeed on one short keyboard solo late in the program Dylan bopped around enough to almost become airborne (but not quite). We're not talking Bruce Springsteen territory here, but Dylan was clearly in the moment, and the audience responded in kind.

Dylan's band rocked on The Levee's Gonna Break but perhaps the audience felt the blues-rock number went on a bit too long as its end was met with polite applause. Fortunately for most of the crowd, the-songs-with "Gonna"- in-the-title medly continued with a superb rock reworking of A Hard Rain's Gonna Fall with Bob back on keyboards. Dylan looked straight at the audience and sang with assurance. Highway 61 followed sounding not terribly different from its more familiar incarnations, with three more of Bob's newer songs -- Spirit on the Water, My Wife's Home Town, and Jolene providing a bridge to a quite straight forward rendition of Ballad of a Thin Man the final song of the regular set with Bob at center stage. This was not Manchester 1966 and Dylan is not the angry twenty-something who then spat out the familiar lyrics with such venom, but Dylan something extra into his vocal, and with drums pounding and Charlie Sexton's excellent guitar work, it was an effective closer.

Bob has not bothered with song intros or chit chat since 1966 and this concert was true to modern form, with a band introduction providing the only occasion for formal acknowledgement that Dylan was playing to a crowd of fans.

Knowing Dylan would return for an encore, the audience which remained close to the stage -- now 90% white faces -- waited and offered up only polite applause and hand-claps. As it always does, Like a Rolling Stone took its place as the first encore, the audience singing along on the chorus. Not one of the best versions of the song I've heard, but hardly disappointing. All Along the Watchtower I thought worked better, Dylan now back at center stage with his harp. Leaving the stage, now the crowd wasn't so sure if Dylan would return and the handclaps had considerably more vigor. The concert closed with an excellent version of Forever Young, Dylan first on keyboard then taking center with his harmonica. Not one of my favorite tunes but an audience favorite, I thought this was among Dylan's finest performances of the evening. The crowd was ready for more, clapping along for some minutes before the recorded music came on to signal that Bob was off for good two hours after the show began.

Much of the audience which remained lingered on the grass for some time, enjoying another beer or two or some decent kababs or pizza on the sports field grass. One could see more Vietnamese now had remained in the back of the crowd rather than endure the crush at the front. I couldn't tell what had happened to the VIP crowd who had paid $120 for the privelege of sitting at chairs and tables in a fenced area off to the side of the stage, thus enjoying a considerably poorer view of the show than did the $50 General Admission ticket holders.

Getting back to town proved to be a bit of chore as taxis don't typically patrol the RMIT campus at late hours, but we managed to get back to the Phan Ngu Lao area, carrying on until morning having enjoyed a terrific evening of music and comradery.

For me it will be the most memorable Dylan show I've seen since his 1974 return to the stage with The Band, and that's saying quite something.

Thanks Bob.

Next: Part III - The Media Controversy

Dylan in Vietnam - Part 1: Dylan and the Vietnam Mythology

2011-03-23T14:19:00.013+07:00

Bob Dylan is set to play a concert at RMIT University in Saigon on April 10. In the early press for the concert it was billed as part of a tribute to Trinh Cong Son, "Vietnam's Bob Dylan", who died ten years ago.

The announcement of Dylan's concert has made headlines, which, it is hoped. will help sell out the 8,000 seat venue in Ho Chi Minh City's District 7. Interestingly, most every article which has appeared attempts to connect Dylan in some fashion to the movement against the war in Vietnam, screaming headlines such as "Anti-War Bard to Perform in Vietnam", many even making specific connections between Dylan songs, such as "Masters of War" and "Blowin' in the Wind" to the Vietnam era anti-war movement.

Perhaps it's simply the passage of time and the reporters simply weren't there, or perhaps it makes good copy and fact checking is not so important, but as anyone who was a part of the movement would know, Dylan wasn't a part of it any form or fashion, much to the dismay of many. Dylan would be the first to acknowledge this, as he's worked quite hard to distance himself from the "spokesman for a generation" role that he was awarded. Songs like "Like a Rolling Stone" and Hendrix's version of "All Along the Watchtower" may be part of the soundtrack of America's war in Vietnam, but making any further connections between Dylan and the anti-war movement is hard to do.

Let's recall the chronology.

Dylan wrote "Blowin' in the Wind" in March 1962, and "Masters of War" approximately nine months later. At this point in time the U.S. had several hundred Green Beret advisors in Vietnam. SDS had just been founded (the Port Huron Statement dates to March 1962) but there was no anti-war movement focused on Vietnam. The cold war with the Soviet Union was at it's peak and the civil rights movement gaining momentum and it was these issues which Dylan's work increasingly spoke to in 1962 and 1963.

The last of Dylan's topical "protest songs" were written by November 1963 for inclusion in the Times They Are A-Changin' LP which was released in January 1964. None of these songs had any connection to the developing war in Indochina. He continued to perform his pre-1964 topical material -- songs about civil rights and the cold war - through 1964 and early 1965 when the first U.S. combat troops arrived in Vietnam, but by the time of the '65 summer and fall tours Dylan, age 24, had moved on as an artist (and ended his relationship with Joan Baez) and the protest songs were gone entirely from the concert repertoire, never to reappear until long after the war was over. Songs like "Restless Farewell" and "My Back Pages" made it quite clear that Dylan was not interested in being a spokesman for anybody's movement.

With Dylan leaving the protest song behind it was left to Phil Ochs ("Talking Vietnam", "Draft Dodger Rag", "I Ain't Marching Anymore") and other folk associates of the "Anti-War Bard" to actually contribute songs related to the Vietnam conflict. By this time Dylan wasn't impressed with the efforts of his friends who continued in the tradition he once embraced, famously once throwing Ochs out of a taxi and shouting "you're not a folksinger Ochs, you're a journalist."

Dylan's absence was more than artistic. Dylan never appeared at an anti-war rally or concert, and, as far as I have been able to discern, never made an anti-Vietnam war public comment. He was pressed to do so in 1966 in an interview with Nat Hentoff for Playboy, and again in an interview conducted by his friend Happy Traum for Sing-Out magazine, and on both occasions he chose not to show support for the anti-war cause.

Dylan wrote just one more topical song before the last Americans soldiers left Vietnam, a 1971 tribute to George Jackson, the Black Panther leader killed weeks before the record's release. During the almost seven years between the end of his 1966 British tour and the end of American involvement in Vietnam, Dylan lived almost completely outside of the public eye, raising a family, and released just three albums of original material (John Wesley Harding, Nashville Skyline and New Morning).

In 1984, Dylan finally did record a song referencing the American experience in Vietnam, "Clean Cut Kid" appearing on Dylan's Empire Burlesque album:

They said, "Listen boy, you're just a pup"
They sent him to a napalm health spa to shape up
They gave him dope to smoke, drinks and pills
A jeep to drive, blood to spill

They said "Congratulations
You got what it takes"
They sent him back
Into the rat race without any brakes

He was a clean-cut kid
But they made a killer out of him
That's what they did

Dylan's early work in topical song is brilliant. But it had nothing to do with Vietnam.

All that being said, I will be in Saigon on April 10. Dylan himself may not have been a part of the movement against the war in Vietnam but his influence was immeasurable.

It should be a good show.

DAC Madness

2011-02-26T18:07:00.008+07:00

"A game changing DAC at its pricepoint".

It seems every month there's another review of a digital to analog converter which is said to blow away its comparably priced competition. All of these listed below for example. After some gnashing of teeth and wringing of hands I've chosen for the home system the Audio-GD Reference 5 (pictured), recently discontinued, a used one of course, to replace my trusty but aging Citypulse DAC. It's a DAC which uses the PCM1704UK chip, a very old audiophile oriented chip now becoming unobtanium. Interstingly a large remainder of the remaining stock has been bought up to ensure continuing production of the just released Phasure DAC, which just may be the finest DAC in the world (of which only ten have thus far been produced).

Any excellent discussion of the Audio-GD DAC can be found here.

It's a great time to go to computer audio if you haven't yet. Just pick your price point. Recommended (and by whom):

Beresford Caiman (with Gator board) - $330 (Art of Sound favorite)
HRT Streamer II+ - $349 (Stereophile)
Yulong D100 - $440 (Head-Fi)
Musical Fidelity M1 - $699 (Stereophile)
Rega - $995 (Tone Audio)
Wyred for Sound DAC1 $999 (6 Moons)
Audio-GD Reference 5 $1090 (Head-Fi)
Burson 160D - $1095 (6 Moons)
Phasure NOS1 - $3500 (Computer Audiophile)

Now at Garage: The Cubans

2011-02-26T17:22:00.002+07:00

From the Wiki:

A Cuban sandwich is a variation of a ham and cheese originally created in cafes catering to Cuban workers either in Cuba or in the Cuban immigrant communities of Florida, most likely Ybor City in Tampa, Florida. Later on, Cuban immigrants and expatriates brought it to Miami where it is also still very popular. The sandwich is made with ham, roasted pork, Swiss cheese, pickles, mustard, and sometimes salami on Cuban bread.

As with Cuban bread, the origin of the Cuban sandwich (sometimes called a "Cuban mix", "mixto sandwich", or "Cuban Pressed Sandwich") is somewhat murky. The sandwich became a common lunch food for workers in both the cigar factories and sugar mills of Cuba and the cigar factories of Ybor City around 1900.

At that time, travel between Cuba and Florida was easy, and Cubans frequently sailed back and forth for employment, pleasure, and family visits. Because of this constant and largely undocumented movement of people and culture and ideas, it's impossible to say exactly when and where the Cuban sandwich first became a common worker's meal. By around 1910, however, workers' cafés in Cuba, Ybor City, and the older Cuban enclave of Key West were serving many such sandwiches daily.

In Cuba (where it is more commonly known as a mixto), the sandwich was served in kiosks, coffee bars and casual restaurants, especially in the big cities such as Havana or Santiago de Cuba. In Tampa's bustling Latin enclaves of Ybor City and West Tampa, it was served in mainly in cafes catering to workers in the cigar industry. By the 1960s, Cuban sandwiches were also common on Miami cafeteria and restaurant menus, as the city had gained a large influx of Cuban residents after Fidel Castro's 1959 rise to power in their native land.

The Communist Revolution caused a wave of Cuban expatriates to settle in other locations as well, and they brought their culture and cuisine with them. Cuban sandwiches are now served in various Cuban exile communities in places such as New York, New Jersey, Chicago, and Puerto Rico, among others.

In 2010, MSN Local named the Cuban as one of the "15 essential sandwiches."

While there is some debate as to the contents of a "true" Cuban sandwich, most are generally agreed upon. The traditional Cuban sandwich starts with Cuban bread. The loaf is sliced into lengths of 8-12 inches (20–30 cm), lightly buttered, or brushed with olive oil, on the crust, and cut in half horizontally. A coat of yellow mustard is spread on the bread. Then roast pork, glazed ham, Swiss cheese, and thinly-sliced dill pickles are added in layers. Sometimes the pork is marinated in mojo and slow roasted.

The main regional disagreement about the sandwich’s recipe is whether or not to include salami. In Tampa, Genoa salami is traditionally layered in with the other meats, probably due to influence of Italian immigrants who lived side-by-side with Cubans and Spaniards in Ybor City. In Miami, salami is left out.

Sometimes, mayonnaise, lettuce, and/or tomato are also added. These additions are often available in restaurants in Miami and Tampa, but are frowned upon by traditionalists there.

When assembled, the sandwich is lightly toasted in a sandwich press called a plancha, which is similar to a panini press but without grooved surfaces. The plancha both heats and compresses the sandwich, which remains in the press until the bread is crispy and the cheese is melted. It is usually cut into diagonal halves before serving.

Now featured at Garage.

GUILLERMO: Jerry Seinfeld please.

JERRY: Ah, you must be Kramer's guys. (indicating) Come on in. You got the
cigars?

...The guys enter.

GUILLERMO: What cigars?

JERRY: Kramer said I was supposed to bring him back some Cubans.

GUILLERMO: (indicating the threesome) We are the Cubans.

I Think They've Got It Now Rabbie

2011-01-22T16:50:00.005+07:00

What better way to celebrate Scottish bard Robert Burns' birthday than with fine single malts and an evening of Scottish tunes. And so we shall, January 25. Specials on all our good whiskys and a mix of trad and modern music from the land o' the Scots, from Jean Redpath to Blue Nile and everything in between.

Freedom and Whisky gang thegither!

(and apologies to Neil Young)

Happy Holidays

2010-12-25T07:39:00.003+07:00

Nothing But a Child - Steve Earle

Once upon a time in a far off land
Wise men saw a sign and set out aross the sand
Songs of praise to sing, they travelled day and night
Precious gifts to bring, guided by the light
They chased a brand new star, ever towards the west
Across the mountains far, but when it came to rest
They scarce believed their eyes, they'd come so many miles
And the miracle they prized was nothing but a child

Nothing but a child could wash these tears away
Or guide a weary world into the light of day
And nothing but a child could help erase these miles
So once again we all can be children for awhile

Now all around the world, in every iittle town
Everyday is heard a precious little sound
And every mother kind and every father proud
Looks down in awe to find another chance allowed

The Rebel Jesus

2010-12-24T18:34:00.001+07:00

The Rebel Jesus
lyrics and music by Jackson Browne

All the streets are filled with laughter and light
And the music of the season
And the merchants' windows are all bright
With the faces of the children
And the families hurrying to their homes
While the sky darkens and freezes
Will be gathering around the hearths and tables
Giving thanks for God's graces
And the birth of the rebel Jesus

Well they call him by 'the Prince of Peace'
And they call him by 'the Savior'
And they pray to him upon the seas
And in every bold endeavor
And they fill his churches with their pride and gold
As their faith in him increases
But they've turned the nature that I worship in
From a temple to a robber's den
In the words of the rebel Jesus

Well we guard our world with locks and guns
And we guard our fine possessions
And once a year when Christmas comes
We give to our relations
And perhaps we give a little to the poor
If the generosity should seize us
But if any one of us should interfere
In the business of why there are poor
They get the same as the rebel Jesus

Now pardon me if I have seemed
To take the tone of judgement
For I've no wish to come between
This day and your enjoyment
In a life of hardship and of earthly toil
There's a need for anything that frees us
So I bid you pleasure
And I bid you cheer
From a heathen and a pagan
On the side of the rebel Jesus

Random Notes for December

2010-12-06T16:49:00.003+07:00

Although our new menu is still in process, we do have pizza on a regular basis now so please indulge.

A number of you have been asking for a good chili sauce, so ask for Tapatio sauce, we'll continue to stock it.

In addition to the usual suspects note we're stocking Beer Lao Dark and Miller High Life in the beer section, and Gentleman Jack and 1800 in the liquor department.

Look for an announcement here about our daytime operation. We're hoping to be open daytime beginning around the first of the year.

More music is being added to the collection of course, this week new collections from Joe Strummer's BBC radio show, Zombies, Box Tops and more.

Moving to J. River Media Center

2010-12-02T08:42:00.005+07:00

I've been using Winamp as my home media player for many, many years. It has given me good service but with the new release of J. River Media Center 15 it's time to move on.

J. River has the elegant interface that Winamp has always lacked. It seems to contain all of the useful features of Winamp with a few more that are important to me. To wit:

I can stream music through wireless from the listening room to the living room with J. River using PlugPlay and MyWi for the iPhone without an intermediate device (such an AirPort Express ).

J. River can be configured as a memory player, i.e. playing back from RAM rather than directly from the hard disc.

J. River can be controlled from the iPhone using RiverMote, a far more elegant application than has ever been designed for Winamp.

I can finally use WASAPI in exclusive mode to send bit perfect data from the laptop to my DAC via my HiFace transport, something that I could never get working in Winamp. Not only that, J. River has a special mode for WASAPI called WASAPI-Event Style which which shuts down various extraneous processes for better playback. J. River describes thus:

WASAPI - Event Style
The output mode lets a sound device pull data from Media Center. This method is not supported by all hardware, but is recommended when supported.
WASAPI - Event Style has several advantages:

It lets the audio subsystem pull data (when events are set) instead of pushing data to the system. This allows lower latency buffer sizes, and removes an unreliable Microsoft layer documented below.

It creates, uses, and destroys all WASAPI interfaces from a single thread.

The hardware (or WASAPI interface) never sees any pause or flush calls. Instead, on pause or flush, silence is delivered in the pull loop. This removes the need for hacks for cards that circle their buffers on pause, flush, etc. (ATI HDMI, etc.).

It allows for a more direct data path to the driver / hardware.

The main 'pull loop' uses a lock-free circle buffer (a system that J. River built for ASIO), so that fullfilling a pull request is as fast as possible.

Ok I don't know what that means either but I can hear the difference. One playback of "Kind of Blue" and the bass I remember as indistinct now has body and character. That's really all I need to know.

For Garage, which is not an audiophile set up, none of this is terribly important but I may make the switch in time there as well for the superior interface.

Thank you to the Computer Audiophile blog for getting me to check out J. River. Here's their explanation of how to send your music to your iPhone or iTouch via wireless:

As a bonus I thought I'd just tack this little piece of information on to the article. The PlugPlayer app now allows UPnP control points to control it as a UPnP renderer. In layman's terms this means J River users can send audio wirelessly straight to an iPhone. It's also possible to use the PlugPlayer interface to pull audio from a UPnP server, but I've yet to use an iPhone dock that allows easy navigation of an iPhone touch screen. All the docks seem to present the iPhone at an awkward angle and the dock connection always seems far too touchy. Just my preference. I really like using J River to send audio to my iPhone. This method could also be used as a poor mans's Linn Majik digital streamer. The Majik DS-I and PlugPlayer on the iPhone support UPnP as renderers and can be controlled by UPnP control points. I'll stop this comparison right here as the two units are much further away from each other than apples and oranges. Anyway, here are the pieces to this J River-to-iPhone puzzle.

Requirements:
1. iPhone, or iPad, or iPod Touch
2. J River Media Center running on Windows Music Server
3. PlugPlayer application, available from Apple App Store, running iPhone or similar
Additional Configuration:
As mentioned earlier in the J River configuration section, under Tools > Options > Media Network make sure to enable the DLNA Server. I could not get this setup to function without the DLNA Controller and Server enabled within J River. The only other option I elect to change within the Media Network configuration page is to Never Convert the audio streamed to the rendering device (iPhone in this case).

Once the PlugPlayer app is installed on an iPhone, iPad, or iPod Touch it must be configured to use J River Media Center as its Media Server and PlugPlayer must be selected as the Renderer and UPnP control enabled. Playback of wireless audio directly to an iPhone is accomplished the exact same way as the zones mentioned above. The iPhone will appear as a zone in J River Media Center (see screen shot). Selecting the zone followed by the music is all that's required.

For a more graphic explanation, see Computer Audiophile here.

The Night of the Red Needles

2010-11-27T15:11:00.004+07:00

No concert in town tonite, but we can still celebrate a successful tour, a new album on its way, and it seems more touring in 2011. And, we can surely welcome our friends who have come to Phnom Penh to see Leonard and show them a good time.

Tonite at Garage, an evening with Leonard Cohen and friends, and Red Needles on special (2 shots for price of one). Your choice of Patron, 1800 or, well, the cheap stuff.

National Day of Mourning Thursday

2010-11-24T22:38:00.002+07:00

I received this message from CLA today:

We would like to mourn for the victims of the stampede on the 22 November 2010 and to express my deepest grief the unfortunate event. There will be a mourning ceremony tomorrow, Thursday 25th November 2010 at 9:00am at the National Museum of Cambodia. Everybody can join. Thanks. Please pass this message on.

Yes. Please join. All of us at Garage are safe. We are so lucky, so many were not.

Frequently Asked Questions

2010-11-15T17:11:00.006+07:00

Aquarium Drunkard at Garage

2010-11-13T13:30:00.002+07:00

We're streaming the Aquarium Drunkard show at Garage every Saturday night at 11pm. Here's the playlist for tonight. Come 'round.

SIRIUS 167: Jean Michel Bernard – Generique Stephane ++ Sgt. Dunbar & The Hobo Band – Everything Is, Pt. III ++ Harlem – Come Back Jonee (Devo cover) ++ Atlas Sound – Doctor (Five Discs cover) ++ The Girls At Dawn – I’m Not Sad ++ Deerhunter – Desire Lines ++ Surf City – Autumn ++ The Sandwitches – Back To The Sea ++ Dirt Dress – An Introduction ++ The Growlers – Something Someone Jr. ++ Canarios – Trying So Hard ++ The Zombies – This Will Be Our Year ++ The Raincoats – No Side To Fall In ++ Grass Widow – To Where (demo)++ Sunset – Gold Dissolves To Gray ++ Sic Alps – L Mansion ++ Besnard Lakes – Albatross ++ Yo La Tengo – Here To Fall ++ Robert Pollard – Subspace Biograpies ++ The Glands – Mayflower ++ The Smith Westerns – Be My Girl ++ The Strange Boys – Baby Please Don’t Go ++ Scott Walker – 30 Century Man ++ The Kinks – Johnny Thunder ++ Les Surfs – Tu Seras Mi Baby ++ Jacques Dutronc – L’augmentation ++ The Brummels – Bof! ++ L’idole Des Jaunes – Stella ++ Shankar Jaikishan – Bombay Talkie ++ The Equals – Green Light ++ Caetano Veloso – Lost in the Paradise ++ Ruby Suns – Blue Penguin ++ Devo – Come Back Jonee ++ Talking Heads – Born Under Punches (The Heat Goes On) ++ The B-52′s – 6060-842 ++ R.E.M. – Stumble ++ Yo La Tengo – Autumn Sweater ++ Destroyer – It’s Gonna Take An Airplane ++ The National – Mistaken For Strangers ++ The Walkmen – We’ve Been Had

Happy Veteran's Day

2010-11-11T10:45:00.003+07:00

I got your letter today
And I miss you all so much, here
I can't wait to see you all
And I'm counting the days, dear
I still believe that there's gold
At the end of the world
And I'll come home
To Illinois
On the day after tomorrow

It is so hard
And it's cold here
And I'm tired of taking orders
And I miss old Rockford town
Up by the Wisconsin border
But I miss you won't believe
Shoveling snow and raking leaves
And my plane will touch tomorrow
On the day after tomorrow

I close my eyes
Every night
And I dream that I can hold you
They fill us full of lies
Everyone buys
About what it means to be a soldier
I still don't know how I'm supposed to feel
About all the blood that's been spilled
Look out on the street
Get me back home
On the day after tomorrow

You can't deny
The other side
Don't want to die
Any more than we do
What I'm trying to say,
Is don't they pray
To the same God that we do?
Tell me, how does God choose?
Whose prayers does he refuse?
Who turns the wheel?
And who throws the dice
On the day after tomorrow?

Mmmmmmm...
I'm not fighting
For justice
I am not fighting
For freedom
I am fighting
For my life
And another day
In the world here
I just do what I've been told
You're just the gravel on the road
And the one's that are lucky
One's come home
On the day after tomorrow

And the summer
It too will fade
And with it comes the winter's frost, dear
And I know we too are made
Of all the things that we have lost here
I'll be twenty-one today
I've been saving all my pay
And my plane will touch down
On the day after tomorrow
And my plane it will touch down
On the day after tomorrow

Let them in, Peter,
They are very tired
Give them couches where the angels sleep
And light those fires

Let them wake whole again
To brand new dawns
Fired with the sun
Not wartime's bloody guns

May their peace be deep
Remember where the broken bodies lie
God knows how young they were
To have to die
God knows how young they were to have to die

Give them things they like
Let them make some noise
Give roadhouse bands, not golden harps
To these our boys

And let them love, Peter
'Cause they've had no time
They should have trees and bird songs
And hills to climb

The taste of summer in a ripened pear
And girls sweet as meadow winds
With flowing hair

Tell them how they are missed
And say not to fear
It's gonna be alright
With us down here

Let them in, Peter...

November News

2010-11-07T17:54:00.007+07:00

We're happy now to be stocking Beer Lao Dark and San Miguel Light. So there you are.

Spotify is going over great in the bar, so if you haven't had an opportunity to play "Stump the Music System" I hope you will soon. 10.2 million tracks.

You'll notice a couple of changes to this blog's format. I've started listing some favorite music blogs. I'm always interested in finding new ones in keeping with our Garage-ness. Secondly, you'll see on the blog a list of the most recent songs played at Garage. It's not updated in real time but is taken off the Last FM server which tracks our playlist (it's called "scrobbling"). Click on the chart and you'll get to our LastFM page which has more detail and history. It's semi-accurate as the scrobbling engine can't track both Winamp and Spotify at the same time.

Oh yeah, I forgot. And Leonard Cohen's not coming.

FLAC for the iPhone

2010-10-31T12:00:00.004+07:00

Happy camper. Now there's no need to convert my 20,000 or so FLAC files for playback on the iPhone as there's a new FLAC player for the iPhone, cleverly called FLAC player for iPhone. I've got it and it works. Here's a review:

Review: FLAC Player for iPhone
by Federico Viticci, Macstories.net

If you care about your digital music library and you care about quality, I guess you know what the FLAC format is all about. The Free Lossless Audio Codec (FLAC) is an advanced (free and open source) audio compression codec that allows decompression into a perfect copy of the original audio data. Basically, it’s a high-quality compression method that generates state-of-the-art rips and (here’s the downside) huge data files. If you lose a CD you care about but have a FLAC digital copy, you have an exact duplicate.

To give you an example, a standard 13-tracks album can go up to 450MB in size. Now think about encoding that Beatles collection you have in FLAC and you get the idea.

FLAC is great, but isn’t as supported by hardware makers as other standards such as MP3 are. Luckily enough for iPhone owners, there’s an for that (sorry Apple, I know it’s a trademark now). FLAC Player for iPhone (and iPad, it’s a universal app) is a simple way to import your lossless albums and songs on your iDevice and listen to them.

The interface is minimal and all you have to do is drag the FLAC files in the iTunes “Apps” file manager. Depending on the size of the files, it might take a few minutes for sync to finish. The app supports album cover arts and text documents, background playback with iOS 4 and bookmarking for any song.

Going technical, FLAC Player decodes files up to 24-bit, 96kHz with hardware output up to 16-bit, 48kHz. Put simply, I plugged in my Bose headphones and what I got was an amazing sound quality. I appreciated the possibility to split collections and bookmark songs: if you have many FLAC albums to carry around, that feature really comes in handy.

At $9.99 in the App Store, FLAC Player doesn’t exactly come cheap though. It’s a pricey niche app for a very niche audience of music aficionados and experts, so I suggest you really think about it before buying this. But all things considered, it does what it has to do and it’s elegant enough to not bother your eyes. If you’re into FLAC collections, this one’s recommended.

Bob Dylan wants you to embrace mono

2010-10-24T17:49:00.002+07:00

Garage is Spotified

2010-10-20T07:51:00.003+07:00

In playing with Spotify at home I found the application simply too good to give up. Getting it to work here was indeed a bit of a production but with the help of UK friends we're up and running. So in addition to the 200,000 tracks on the Garage system you've now got access to the 8 million and counting that Spotify offers. The Premium subscription means no ads, unlimited streaming anywhere, and the ability to stream at 320kps, essentially CD quality. It's pretty freakin' awesome. Icing on the cake is I can control it remotely from the iPhone using an application called Remoteless, available from Apple's store.

Now while Spotify is primarily a you choose the music app, LastFM remains a great option when you want to hear great radio. So I"ll be using LastFM at the bar as well. Choose an artists -- say Ducks Deluxe, and in an instant you've got a pub-rock radio station.

The music at Garage, good as it was, is now way better. Way.

Radio Paradise Part II (Outlaw Version)

2010-10-14T17:53:00.006+07:00

The three big guns in internet radio these days are for copyright and licensing reasons, each region-restricted: Last FM to the U.S. and UK, Pandora to the U.S. only, and Spotify to the U.K. and a handful of European countries. These are not radio stations but highly intelligent applications which figure out the music you like and deliver it to you in spades. We're talking of millions of songs at the ready.

Funny, Cambodia, whose existing copyright law protects only Cambodian content, somehow got left out. Despair not, those of you willing to cut a few corners. By doing so I imagine you'll be in violation of the user agreements with these sites, which I would never do, but simply for your information here's the lowdown.

To get Last FM and Pandora on your computer the workaround is fairly simple, one simply has to fool your computer that you're in the US by using any US proxy server to download the software and stream music.

To get the iPhone apps for each running on your non-U.S. based device is more complicated but straightforward. Rather than use a proxy server to run the apps, one must install a VPN (virtual private network) which routes data through a U.S. server. Hotspotshield is one such free VPN. The instructions for installation of Hotspotshield on the iPhone are on their website, which you'll be taken to once you run the setup application. From there you'll obtain your VPN account ID:

Settings -> General -> Network -> VPN -> Add VPN Configuration:

Select the IPSec tab/pane
Description: HotspotShield
Server: 68.68.107.101
Account: [Click "Get Account ID" button]
Password: [Click "Get Account ID" button]
Use Certificate: OFF
Group Name: hss
Secret: hss

Once you've instructed the iPhone which VPN to use, you simply activate the VPN when you want to run either Last FM or Pandora. Your download speed will be reduced somewhat by using the VPN to route your data but not much. With a decent 3G or EDGE connection certainly you wouldn't have a problem. The SB Settings application on the iPhone (available on Cydia) allows you to easily toggle the VPN on or off.

Spotify is a different story unfortunately. Using a UK based proxy server such as Dave Proxy one can easily download and use the free version of Spotify on your non-UK computer (and it's a great application). You can download the mobile version from Apples' store easily by setting up a UK iTunes account (using perhaps the address of your summer home in St. John's Wood).

That's as far as you'll get in all likelihood. Unfortunately, the mobile version for iPhone and Android requires a Premium Subscription and as far as I know there's no way to pay for this unless you have a UK or Swiss bank account (or have a friend who has). If you can somehow figure out the payment (about the same as US Satellite Radio subscription) you'll have access to a bazillion songs in a beautifully put together app. Streaming at 160kps, response is near instantaneous, and the music database is said to dwarf Last FM and Pandora by a wide margin. One hopes it will make to the US soon.

Cambodia, well that's another story.

Phnom Penh as Radio Paradise

2010-10-13T09:31:00.008+07:00

With all due respect to those who toil at Phnom Penh's LOVE FM station, it's not a radio station I or many of my friends care to listen to for the music, Anglo males in their mid-fifties clearly not being their primary target market.

Fortunately download speeds have increased in Cambodia enough to make internet radio a viable option for the music lover of any age. And the radio apps available for the iPhone have made me an absolute convert to internet radio. The multitasking capability of IOS 4.0 means I can listen to internet radio AND use the iPhone for other time-wasting activities simultaneously. While a 3G connection does a great job, I can still stream at 128k with the 3G connection off to save battery life. In the bedroom the iPhone gets plugged into my little Sonic Impact amp and Gallo Micro speakers. Perfect.

Pandora, which a lot of people in the U.S. seem to like, is not available in Cambodia, but my search for good radio applications for the iPhone ultimately led me to choose two I'm very happy with. First, TuneInRadio, available at Apple's App store. It's got an easy to use interface, a good search function, the capability to record live streams for later playback, and the flexibility to go to a station using it's URL if the your choice is not already in it's impressive database of 40,000 stations.

Second, AccuRadio's own application is quite useful, presenting an easy way to sort through and find artists you like amongst the 500 or so stations available on AccuRadio. Like Gaslight Anthem (as well you should)? A quick search shows you the stations on which you'll hear the band (there are four on Accuradio playing Gaslight Anthem).

Here are some of the stations I'm digging at the moment:

1. Beyond the Beat Generation - a 24/7 stream of obscure garage/psychedelic music from '64-68. This is stuff after my own heart. This is not Nuggets material, when I say obscure I mean obscure, all presented with crackly vinyl sound and information about release dates and record label. 132 versions of "Hey Joe". Need I say more? This is why internet radio exists.

2. Radio Paradise - a varied playlist programmed by two actual human beings, featuring music from the 50's to the present. If there is one station I could listen to all the time, as of this writing this is the one.

3. KCRW - an obvious one perhaps, but having Santa Monica's NPR station with me all the time is a pleasure.

4. Springsteen Radio, Dylan Radio, Presley Radio - You get the point.

5. TwangCity Radio - as an old girlfriend used to say it's guys with guitars, folk, alt-country stuff from a site based in Oakland. See also Accuradio Twang.

6. GotRadio Americana - another good alt-country, blues, folk option. On the playlist this morning John Hiatt, Guy Clark, Neko Case...see also AccuRadio Twang: Y'alternative.

7. Psychedelic Jukebox - featuring more of the not so obscure garage, surf, punkie stuff from the 60's.

8. The Vinyl Resting Place (U.K.) - "playing a variety mix of classic favourites, as well as music you don’t hear anymore on your radio dial. We feature RARE and ALTERNATE VERSIONS, B’SIDES, EXTENDED VERSIONS that AM radio would not play back in it's heyday."

9. Soma FM Indie Pop - there are a boatload of sites featuring so called Indie rock and pop. This is the one I'm listening to often now.

10. AccuRadio Alternative Now! - "alternative rock" from the last ten years. See also Adult Alternative: Just New Music for, well that one you can figure out.

If you're wondering about satellite radio, XM and Sirius, yes there is an iPhone app that will let you stream XM and Sirius radio. That will cost you roughly $17 per month for the two subscriptions (one for the satellite service subscription, another for use of the iPhone app). Though I'd love to hear Tom Petty's XM show, at this point I'm feeling spoiled for choice with all the free stations out there so I'm giving XM and Sirius a pass, at least for now.

Dylan Coming to Cambodia

2010-10-03T19:50:00.002+07:00

That's the word according to Chris Minko, director of The Mekong Sessions, as quoted in this month's AsiaLife magazine. Chris suggested to me this was in the works when he came by Garage a while back but now plans seemed to have been firmed up -- at least enough to make an announcement in print. So start saving your sheckels for a show in the first part of 2011. Good work Mr. Minko.

Avoiding the Hacking Headache: iPhone 3g to 4.1

2010-09-26T12:26:00.002+07:00

I spent two aggravating days trying to figure out how to update my iPhone firmware to the new and much improved 4.1, jailbreak, activate and unlock it, suffering numerous errors and getting stuck in recovery mode repeatedly until I found the way out. Now that I know how it should be done I could get the whole thing done in 15 minutes. Based on my experience this what should be done (only for iPhone 3G):

1. Update iTunes to version 10.0
2. Sync your apps and other information as the update will wipe everything you've got.
3. Download but don't install iOS 4.1 from Apple
4. Download Snowbreeze 2.02 AND iReb from iH8sn0w.com
5. Run Snowbreeze to patch stock 4.1 firmware, making sure to check the activate option
6. Run iReb with phone connected in DFU mode (critical step!) to bypass iTunes errors
7. Update using custom firmware option in iTunes. You should now be jailbroken and activated.
8. Go to Cydia and install and run ultraSnow to unlock.
9. ta da.

Now where it went sideways for me was not knowing how to get past the errors I got every time I tried to upgrade the custom firmware in iTunes. The answer is running iREB first while in DFU (i.e. blackscreen) mode.

The update is very worthwhile, honestly it's like having a new phone. Not all Cydia applications are 4.1 compatible but that's just a matter of time. For now the phone runs at twice the speed of 4.02 and that's main reason for anyone with a 3G iPhone to upgrade.

Phew. Hope this of help to someone out there.

An Evening with Leonard Cohen

2010-09-20T07:33:00.006+07:00

The amazing Mr. Cohen celebrates his 76th birthday on Tuesday in the midst of a world tour which will bring him to Phnom Penh on November 27. There is enough in this catalog to enjoy several evenings with the man's music but we'll do our first in a series in recognition of his birthday. But we'll do Saturday in deference to our working stiff customers. We'll show the "I'm Your Fan" film at 8pm. Drink special: Cohen's "Red Needle".

Happy birthday Leonard.

2010-09-18T10:14:00.000+07:00

Jimi Plays Garage...Get the Man a Pizza

2010-09-16T00:28:00.005+07:00

On Saturday we celebrate our first anniversary at Garage, but I would be remiss in observing that September 18 is also the 40th anniversary of Jimi Hendrix' exit from the stage at age 27. It is therefore only fitting and proper that we celebrate Jimi's music and performances which we shall with great vigor It will be an evening with Hendrix including a screening of "Live at Monterey", Jimi's complete performance at the Monterey Pop Festival in June 1967. The audio track on this Blu-Ray disc is phenomenal. We'll screen the film at 8pm. One more reason to join us.

Want another?? Did someone say flame-grilled pizza?? Have one on me Jimi.

First Anniversary Party Saturday

2010-09-13T18:38:00.004+07:00

Wha happened?? Yes somehow an entire year has passed since Brunt and I started Garage. Please come celebrate with us. Our second year will see the introduction of our pizza menu. If you haven't had a flame grilled pizza you're in for a real treat. Hope we'll see you Saturday!

Home Theater PC Blues

2010-09-08T10:19:00.003+07:00

It has been a real struggle to get the fancy HTPC box working at Garage up to it's full potential. For all practical purposes it's now been sorted, and Blu-Ray and HD-DVD playback is working. Ultimately I had to bag both Win-DVD and Power DVD as neither would properly play back my Blu-Rays unless they were ripped to the hard drive (not a practical solution). Arcsoft's Total Media Theater software works like a charm, and although I still have high CPU usage despite a new video card, it works. If you're having problems with your high-def video playback I recommend you give TMT a shot.

High def music videos on hand include Jimi Hendrix Live at Monterey, Led Zepellin's Song Remains the Same, Roy Orbison's Black and White Night, Springsteen Live in Hyde Park and the Last Waltz (to be screened Thanksgiving). There's another 100 standard music DVD's on hand, happy to put one on by request.

Music DVD List (Standard DVD)

P.S. - High CPU issue resolved now that hardware acceleration and high definition audio driver are being properly utilized by the software.

There Is A River - Remembering David Ackles

2010-09-06T12:25:00.008+07:00

Coming back from the States it's always a struggle to decide which LP's to throw into the luggage. At half a pound each the baggage allowance gets used up real fast. This trip I manged to bring another couple dozen, among them David Ackles' 1972 release "American Gothic", and I've had David Ackles on my mind a lot since.

David Ackles' work remains almost completely unknown. He put out three albums for Elektra, and a final one for Columbia before giving up the singer-songwriter business after his last effort "Five and Dime" failed to sell. He got some terrific reviews (Rolling Stone) -- and some terrible ones (Robert Christgau) -- at the time, and to some extent the positive reviews, including a famous one in the LA Free Press which called "American Gothic" the greatest album of all time -- made him an easy target for his critics. If you know Richard Hawley and Scott Walker you'll have some sense of David Ackles' Weillian style, and you may love it or hate it. I for one have always been moved by his songs and over the last thirty something years have found solace in his work often, turning to songs like "Love's Enough" as much as I've turned to Joni Mitchell's Blue when my mood gets melancholy.

Ackles had some famous fans, Elton John, Phil Collins and Elvis Costello the most well known, who argued the injustice of his lack of exposure and ultimately his back catalog was released on CD in 1994.

David died from lung cancer in 1999. In 2007 Elektra announced a 2-CD set of his Elektra recordings, including 10 bonus tracks, Bernie Taupin and Elvis Costello wrote the liner notes, copies were sent out for review, and then at the last minute Rhino pulled the release. And nothing has been heard of There Is A River since. You'll still find a link to this non-existent release on Amazon and elsewhere.

Elvis Costello closed the premier episode of his Spectacle program with Ackles' "Down River" in a duet with Elton John which I hope you'll enjoy as much as I do.

Links:

David Ackles' Theater of Meloncholy by Michael Baker
American Gothic - The Road to David Ackles
Uncut Magazine Wild Mercury Sound - David Ackles

I'm Not an Apple Guy...Really...

2010-08-30T10:20:00.007+07:00

And yet, here I am enjoying my new-old iPhone, a 3G model. I needed a new phone and was presented with a deal I couldn't pass up at $225 for one in very good condition, with case, unlocked, jailbroken and updated to OS 4.02. Now there are problems with that release, but none so serious I can't easily live them (problems with heat and slowness of apps opening are reported).

I'm ecstatic how easy the thing has been to get running to my liking. I configured it myself to work with my Cellard 3.5G service, figured out how to get it tethered to the laptop (tethering and multitasking being features of the 4.x firmware), and have loads of applications (all free). Most important, as it IS a phone after all, Skype works beautifully, though to utilize 3G rather than wifi one must use it along with software that fools the OS to thinking it's wifi connected.

There's more quirky stuff to be sure. In Apple's idea of multi-tasking closing applications doesn't really close applications, they stay in memory unless you go through several inconvenient steps. Third party software fortunately fixes this reasonably well. And copying your contacts is accomplished only through iTunes. Say what??

Internet is fast, I'm consistently able to lock in Mobitel's 3G signal whereas my two previous phones were not able to. Download speeds have been in the 800k - 1.7mb/s range. I still hate iTunes but hey having to install that is a small price to pay. Whoo hoo is all I can say.

Don't steal it. Oh, yes another non-fat latte please.

Mojo and mo'

2010-08-25T08:06:00.002+07:00

Tom Petty, John Mellencamp, T-Bone Burnett and Neil Young continue to lead the charge to keep good sound alive in rock. Since I last posted about Neil Young's Blu-Ray release and John Mellencamp's DVD-Audio album, Tom Petty has put out two more interesting releases, a Blu-Ray release of the Live Anthology series, included only in the deluxe Box Set, and a Blu-Ray release of his new "Mojo" album. The former is 24/96, the latter 24/48. I'll eventually get my hands on both. Mellencamp has released a fascinating CD recorded live in mono on a 55 year old Ampex tape machine using a single microphone. To my ears it sounds terrific.

Here's an interview with Petty and his engineer talking about the Blu-Ray release of the Live Anthology.

Interview: Tom Petty On The Live Anthology Box Set

The music legend talks about the surround mix on the Blu-ray Disc in the box set

By Story By Mike Mettler

March 2010 Sound & Vision Magazine

To disregard the hi-fi end of what we do is wrong," says Tom Petty of his decision to include a Blu-ray Disc with 62 live tracks mixed in 5.1 as part of the Deluxe Edition of his career-spanning boxed set with the Heartbreakers, The Live Anthology (Reprise). That edition, is impressive indeed. Besides the Blu-ray, it comprises five live CDs, two DVDs with two previously unreleased shows, one vinyl LP, a book, lithographs, and other goodies. We, of course, are most excited about the 96-kHz/24-bit material - and so is Tom: "I'm a big fan of listening to music, and I like to listen to it in as good quality as I can." Here, Tom goes ahead and give us the Blu-ray 5.1 breakdown.

Why did you choose to include a Blu-ray Disc in The Live Anthology?

Clearly, right now, it's the closest you can get to sitting in the control room. I don't know how many people it will immediately appeal to, but more and more people are going to come this way.

After seeing the Anthology track listing online, somebody said to me, "This is going to get me to buy a Blu-ray player."

Well, that's fantastic to hear.

What was the first track you heard in 96/24 playback?

"Nightwatchman." I thought that the bass response on that song was very close to what I feel when I'm standing onstage. The bass was very clear, and there was a nice crunch to the guitars when the chords come in. And the drumming is solid. I just thought it was a great track. It far exceeds the studio version.

One song that stood out for me right from the beginning was your cover of Fleetwood Mac's "Oh Well." Steve Ferrone's drumming on that one is so powerful. He gets some good, crisp hi-hat work in before Mike Campbell's guitar solo starts.

Yeah, he's pretty fierce on that one. If you're not careful, hi-hats and cymbals can really run right over you during mixing. We were fortunate that we were able to keep a nice top end on things. Any time there's a lot of highend guitar soloing or cymbal crashing, you can hear that we did a pretty good job of it.

How did 30-plus years of playing live influence how this material was mixed?

Onstage, we're having a constant struggle to get the best sound possible. There's an art to playing to the sound of the room. What I'm hearing on the stage is all factored into what's coming off of the walls of the room and the ceiling. Outdoor shows are simpler because you don't have the acoustics of a room to deal with. It's an interesting spot to stand in, you know.

I have a great deal of respect for [bassist] Ron Blair, because the bass doesn't necessarily come from behind you. A lot of bass comes from above, where the PA is hung. So your attack is really important, because you're gonna hear that bass come from behind you and above you - and then it'll whack off the back wall if you're indoors. So it's a little bit delicate figuring out how hard to play or how to set your tones. Over the years, we've developed a pretty good stage sound by figuring out where to put our equipment and where we get the best separation. It's never simple, but we keep working at it.

And you have to use the space that you're getting from the PA and the instruments. You might play a lot less, say, when you get to the gig than what you played in rehearsal because you have this huge reverberation, and sometimes a note can ride a lot longer on that reverberation than you would think. It's a challenge.

What were your goals for what you wanted to hear in the surround channels?

I left it largely up to Ryan [Ulyate, the band's engineer], but we did have a discussion about how far we should break away from the stereo sound. I said to him, "I want it to feel like you're there. I don't want an electric guitar solo to come from behind my head. I want it to feel like you're in the audience." I think he was successful in doing that.

What about doing a 5.1 mix of new Tom Petty studio material?

Yeah, I would do that. In fact, I'm thinking very strongly about doing a 5.1 mix for the studio album I'm working on now. Why not? We have the capability to do it. It's one more interesting reason to pick up an album. It's another dimension to the sound you might not have experienced before, and it opens up a lot of ways to be creative with our mix.

How about revisiting older studio material in 5.1, like, say, Damn the Torpedoes?

I think it's possible. Damn the Torpedoes would be a great album to do it with. Obviously, my vision at the time we recorded it [in 1979] was just stereo. We recently did one of those Classic Albums documentaries for Torpedoes, where we got out the 2-inch tapes and explored them. It's a very interesting album sonically, very well recorded. I think we'd all like to see a nice 5.1 happen for that album. I'd also like to have it available on Blu-ray. I don't see why not.

The irony, of course, is that you, Tom, have never really "seen" or "heard" a Tom Petty & the Heartbreakers show yourself. But you now know what the best possible sound is by listening to The Live Anthology on Blu-ray.

Sure, yeah. It's a great feeling to finally have a seat in the audience! [laughs]

Interview With Engineer Ryan Ulyate's Master 5.1 Plan

Why did you push for doing Tom Petty & the Heartbreakers' The Live Anthology in 5.1 on Blu-ray?

I don't like the way 5.1 sounds on DVD - crappy compression. On Blu-ray, it's lossless, and it's exactly what we were listening to as we mixed it. This is the first time I can say to the consumer that you're going to hear the same thing Tom, Mike [Campbell], and I heard as we mixed this. And that's really exciting. My thing is, I want to be the champion of Blu-ray. I want this format to take off.

Basically, we were able to make up our own rules with these mixes. It's kinda like the good ol' days, when it was more about how good the music is going to sound and not how loud we should make it. No! The way we did it here is the solution to the loudness wars: no sample-rate conversion, no slamming it to try and make it loud - none of that. We backed things off. In the early days of the CD, when you hit that red line, it was too loud. The way to think of it is: CD is the 45, your radio mix, and Blu-ray is the LP, the thing that really sounds good.

Sometimes I felt like I was either right in front of the band or onstage with them as I was listening to the Blu-ray mix.

That's great to hear. That's kinda what we wanted - for you to be really close and have you in the first couple of rows. A lot of thought went into how "live" it should be. Live shows, after all, have dynamics and punch.

Will you push for revisiting older material in surround, like Damn the Torpedoes?

Let's put it this way - and I'm just speaking for myself here, not the band, the management, or the label - I would love to do that. What we should do with Damn the Torpedoes first is the original stereo mix - which has its own vibe - beautifully transferred to Blu-ray. Then we do the "new" stereo mix that feels more like today, and finally, we do a surround mix.

Have you had much discussion with Tom and Mike about doing the band's next studio project in surround?

Yeah, I'm pushing for it. I just told them, "I want to do it." And they looked at me like, "Okay, Ryan, whatever. . . ." I want to put everything we do from now on out on Blu-ray, both in a stereo mix and in a surround mix. And I'd like the surround mix to be whatever they want it to be. See, I've got these ATC monitors in my studio. And I just bought three more, so I need something to do with them. [chuckles]

Friday with the Boss

2010-08-11T20:02:00.002+07:00

I'm leaving for California Saturday afternoon so to leave on an up note we'll be showing on the special big screen Springsteen's Live in Hyde Park on Blu-Ray. It's a blast and you should come. 7pm - 10pm.

By the way, that's Brian Fallon of Gaslight Anthem pictured with Springsteen who duet on "No Surrender".

Here's a taste.

Dion: The Tom Wilson Sessions

2010-08-09T17:48:00.003+07:00

A month after the release of Bob Dylan's Highway 61 Revisited, Dion recorded twelve tracks with Dylan's producer Tom Wilson, bringing Al Kooper into Dion's band the Wanderers. While only five tracks were included on the "Wonder Where I'm Bound" LP all the Wilson tracks seem to be available. Andrew Sandoval provides the chronology of the recordings, and the Whistletaste Blog a little history. Thanks to both.

September 20, 1965 Columbia Studio A, NYC prd:Tom Wilson

Knowing I Won't Go Back There
My Love
Tomorrow Won't Bring The Rain
Time In My Heart For You
Two Ton Feather [version one]
Baby I'm In The Mood For You
You Move Me Babe [single version]
Now
Bright Lights

October 4, 1965 Columbia Studio A, NYC prd:Tom Wilson

All I Want To Do Is Live My Life [version two]
I Can't Help But Wonder Where I'm Bound [version two - without overdubs]
Wake Up Baby
Farewell
Blues

From the Whistle Taste:

THE COMPLETE DION AND THE WANDERERS

Dion DiMucci is one of the few enduring stars of the doo-wop era. A hitmaker with THE BELMONTS in the late 50s, he remained a hitmaker as a solo act in the early 60s. He then became the first rock'n roll singer to sign with Columbia Records, and the hits kept coming.

And then, out of the blue, he changed direction and started cutting some gritty blues covers. Columbia didn't follow him down that road, and they only released a handfull of sides, when they had more than enough material for a whole album.

He changed direction again and decided to play folk-pop. He wrote some songs, chose some good covers, his friend BOB DYLAN gave him a couple of tunes, and he put together a band, which he named THE WANDERERS.

They went into the studio with genius producer TOM WILSON. Wilson had worked with Coltrane, Sun Ra, Dylan... and would later produce The Velvet Underground, The Mothers of Invention, Soft Machine... In my book, if he's not the best record producer ever, he's second only to PHIL SPECTOR (incidentally, Dion worked with both).

There were exactly two sessions, on September 20th and October 4th of 1965.

The twelve songs they recorded all showcase superior, unique genius. Dion is at the top of his game both on vocals and on guitar, his songwriting is diamond perfect, his band is loose just the way I like it, that Tom Wilson sound is unmistakable, this is better than perfection, this is heaven.

Yet, for some mysterious reason I cannot and will never understand, Columbia shelved the whole thing. They released a couple of 7" and left everything else in the vaults.

Dion at this time was addicted to heroin, too weak to fight back. Instead, he bought himself out of his contract, cut a remarkable reunion album with The Belmonts for ABC Records, and then went back to his old label, Laurie Records. For Laurie, he went full-fledged folk, and his first folk single, ABRAHAM, MARTIN AND JOHN went top five. Dion was back. So Columbia decided to release an LP with some of the songs they'd been sitting on.

Released in 1968, WONDER WHERE I'M BOUND contains five songs from these sessions, four from his previous blues period, and one doowop from 1963. Although it's a great collection of songs, it's also an incoherent mess. Plus, in 1968, folk-pop was smelling funny, and the album flopped.

Here's what they should have released:

THE COMPLETE DION & THE WANDERERS
1- I Can't Help But Wonder Where I'm Bound
2- Now
3- Knowing I Won't Go Back There
4- Tomorrow Won't Bring The Rain
5- You Move Me Babe
6- Farewell
7- All I Want To Do Is Live My Life
8- My Love
9- Two Ton Feather
10- Time In My Heart For You
11- Baby I'm In The Mood For You
12- Wake Up Baby

I'm convinced that, had this set been released as an album in 1965, it would be considered a classic.

WHO ARE THE WANDERERS?

If you are as obsessed as I am, you might wanna know who plays on these tracks. You can see them on this picture.

CARLO MASTRANGELO plays the drums. He was already in The Belmonts.
PETE FALCIGLIA plays the bass. Also an Italian-American from the Bronx, he cut a couple of sides as a lead singer with The Belmonts for Sabina Records, after they'd split with Dion.
JOHNNY FALBO is a session man, a great guitar player.

Not on the picture, AL KOOPER needs no introduction, he's an extraordinaire session man and a great singer-songwriter in his own right. He plays the piano and the organ on these tracks, as anyone with ears could tell.

So there you have it, an album that never was, a missing link in the history of American music. I hope you enjoy it as much as I constantly have for many months.

You can download Dion's Tom Wilson recordings here, and of course you can here them at Garage where we're giving Dion his due this week.

The Great Lost Dion Album Finally on CD

2010-08-08T18:21:00.005+07:00

I've posted before about Dion's great "Wonder Where I'm Bound" LP. For three decades I've be telling anyone who will listen to find this LP. Well it's now available on CD (a UK release) and Uncut Magazine rightly gives it 5 stars and calls it perhaps the greatest of the lost albums of the 60's. Check out the review, buy the CD. It's available at Amazon.UK and a few US retailers.

*****
ALBUM REVIEW: DION 1969 - WONDER WHERE I'M BOUND Dion
NOW SOUNDS
Just down from Highway 61: Dion’s phantom folk-rock masterpiece rediscovered...

Much as it did for Keith Richards, when Dion DiMucci heard Robert Johnson’s King Of The Delta Blues Singers, it blew the singer’s head off. Handed the record by John Hammond – a Bob Dylan patron and a guiding light at Columbia Records – it radically altered the onetime doo-wop singer’s perspective. Soon enough, lightweight vanities like “Flim Flam” and “Donna The Prima Donna” were out, and Dion was raiding the songbooks of Willie Dixon, Sleepy John Estes, and Sonny Boy Williamson.

It wasn’t a popular move. Columbia, unsure of the emerging pop market, were loath to discard Dion’s trademark sound: doo-wop, harmony pop, and street-corner R’n’B, that had created smashes like “Runaround Sue” and “The Wanderer”– and that had made Dion a star. Commercially unsound or not, with his dark, rangy tenor and visceral delivery, Dion made for a shockingly good blues singer, and a slinky, sexy cover of “Don’t You Start Me Talkin’” recorded in early ’64 signalled the change taking place in his music. It was a clarion call for the coming blues/rock explosion – even if hardly anyone heard it.

Wonder Where I’m Bound – selected only three issues back as one of Uncut’s Great Lost Albums, and available now for the first time on CD – is a collection of material centred on that Damascene conversion. All round, it’s a big 1960s what-if. Columbia recorded dozens of blues and folk/rock Dion cuts circa 1964-66, (some with hotshot Dylan producer Tom Wilson), but, save for a few flop singles, the company mothballed the results for years. Wonder Where I’m Bound, which Columbia did issue in 1969, was pure cash-in, an attempt to piggyback Dion’s return to the charts with “Abraham, Martin & John”.

Inadvertently, however, it may be the great lost ’60s album. But it’s such a hodge-podge, it’s difficult to tell for sure. Acoustic recordings, orchestral folk-rock, hard electric blues – it’s a mash up. This edition picks up never-before-released tracks, but remains a replication of that cash-in – short playing-time and all – to the extent of including one throwback croon, “A Sunday Kind Of Love” that sticks out like a sore thumb. A thorough accounting of all Dion’s 1964-66 material remains imperative.

Nonetheless, what is here is mindbending: sundry blues interpretations, including a rambling Brownie McGhee workout called “Southern Train” and an especially glorious, atmospheric rendering of Woody Guthrie’s “900 Miles” are mesmerising, authoritative; a slow-burning 1963 piano arrangement of “Baby Please Don’t Go” flashes bits of Ray Charles élan; “Seventh Son,” borrowed from Mose Allison’s arrangement, sounds like the apocalypse, withering guitar wreckage pushing a doomsday vocal.

Yet as convincing as these performances are, it’s the experimental, finger-on-the-pulse-of-1965 folk/rock material that’s most fascinating. “It’s All Over Now, Baby Blue”, taking a page from The Byrds’ “Feel A Whole Lot Better” is – improbably – a candidate for definitive version of this great song. Dion pours it all out here, with an impassioned, beautifully melodic vocal, infusing the lyric with an eloquent, measured desperation Amazingly, Columbia weren’t completely enthused, but heard enough promise to match the singer up with Wilson, fresh off groundbreaking Dylan sessions and on his way to a Velvet Underground rendezvous.

Wilson, along with keyboardist Al Kooper, renewed and refracted their innovative Highway 61 sound – chiming guitars, crashing drums, ghostly organ, world-weary harmonies, the singer leaning hard into the lyric. DiMucci, for his part, responded by forming a tough new band – The Wanderers – and writing impeccable, introspective new material that, with benefit of hindsight, provides a link from Dylan to Greenwich Village brethren like Fred Neil, Tim Buckley, and Tim Hardin.

The key artefact is a slice of transcendent folk/rock glory: “Now”. Riding a gentle, carnival melody and existential lyric (which subtly answers “Like A Rolling Stone” in its dramatic chorus: “No-one knows better than I how you feel”), “Now” is a live-for-the-moment tour de force, a masterpiece of tone, verve, sustain-and-release, and breathless pop immediacy.

“Wake Up Baby” and “Knowing I Won’t Go Back There” two further Dion originals, nearly scale the heights, while an obscure Dylan composition, “Farewell”, receives a gorgeous reading. The title track, meanwhile, is a fitting metaphor for the whole album: an expansive cover of Tom Paxton’s ode to an uncertain future, Dion’s soaring vocal is tucked into a cascade of strings, keyboards, and those melancholy harmonies. Whatever the uncertain circumstances of its conception, it’s nothing short of immaculate.
Luke Torn

Biting the Blu-Ray Bullet

2010-08-06T10:57:00.002+07:00

I could only hold out so long, so yes, we're now Blu-Ray equipped at Garage. We'll be doing a screening of Springsteen Live in Hyde Park next week. I get asked a lot about that thing I use to play music -- is that a computer or what? Yes it is. I had bought an Antec Fusion Home Theater PC case some time ago and finally decided to put it to use. Yes, it's just a fancy looking computer with a combo HD-DvD-Blu-Ray drive. I'm still working on the proper configuration of the thing but at least I've got it set to where the Springsteen disc plays well (ripped to a hard drive) using Windvd. It looks and sounds spectacular.

Media Release 15.07.10: The Mekong Sessions Responds

2010-07-16T11:47:00.002+07:00

The promotor has begun screenings of Live in London to Khmer audience which I think is terrific. I hope ticket sales are going as well as Mr. Minko hoped.

Media Release 15.07.10: The Mekong Sessions Responds

As local promoters of the Leonard Cohen Live in Phnom Penh benefit concert at the Olympic Stadium on 27 November 2010, the Mekong Sessions is issuing the following singular statement:

1. Leonard Cohen Live in Phnom Penh is, thanks to the exceptional generosity of Leonard Cohen and AEG Live, a benefit concert with proceeds going to Cambodian Red Cross, the athletes with a disability of Cambodia and a full renovation of the indoor court of the Olympic Stadium. This has been made absolutely clear from the outset including the official media release of June 17 2010, on the Mekong Sessions website and associated media. Those purchasing tickets can be assured not only of experiencing one of the greatest musical and cultural events anywhere but also that they will be positively contributing to assisting some of the most vulnerable in Cambodian society through two of the most reputable organisations in the nation.

2. Given the pioneering nature of the concert, significant production costs are involved given the lack of resources necessary for a concert of this calibre at the present time in Cambodia - hence the lack of artists to date of the stature of Leonard Cohen playing here.

3. The Olympic Stadium is a relatively very small venue with just 3600 seats available. This has obvious impacts on the ticket prices as does its present dilapidated condition. Purchasers are guaranteed the most intimate concert on the World Tour in an international standard venue.

4. Sadly, while the Mekong Sessions has been embracing the enormous privilege of hosting Leonard Cohen in Cambodia, a vocal minority of expatriates in Phnom Penh have been using digital forums to post highly inflammatory critiques.

5. The nub of the issue is not the concert; rather it stems from a small segment of expatriate community bloggers in Phnom Penh who enjoy Cambodia for lifestyle opportunities impossible in their own countries and now complain when something is perceived to be beyond their reach despite the clear benefits for Cambodia and Cambodians. Those who criticise the motives behind the concert not only display an astonishing lack of knowledge or true long term commitment to the development process in Cambodia but denigrate the dignity of Leonard Cohen and his decision to honour us with his performance.

"I am deeply honoured, as is every Cambodian I’ve spoken to, that Leonard Cohen has chosen to perform a benefit concert in Phnom Penh," Mekong Sessions CEO Chris Minko said today ahead of a Cambodian media conference on Friday 16 July,

"This is the culmination of 15yrs work on behalf of the disadvantaged in Cambodia. After watching Live in London with Khmers for the last three nights running and witnessing their reactions to the elegance and humanity of his performance, I hold no reservations as to the welcome Leonard Cohen will enjoy here. The Mekong Sessions is focusing its entire energies on ensuring a seamless event regarded as a highlight of Leonard Cohen’s acclaimed world tour."

"In a world where humanity is lauded but often measurably limited in those that grasp the chance to make a difference, who better to cast light than one of the greatest statesmen and poets of the human condition?"

Chris Minko
CEO
Mekong Sessions

Cohen Tix On Sale Tomorrow July 10

2010-07-09T20:24:00.000+07:00

Thanks to the huge interest in the Phnom Penh concert, Leonard Cohen and AEG Live together with the Mekong Sessions are pleased to announce that tickets for the concert will now be available for sale earlier than previously announced.

Leonard Cohen Live in Phnom Penh tickets are available for purchase as follows:

All ticket sales are only available online. No telephone bookings will be accepted. The following links will go live at the times below:
600 tickets have been reserved for Cambodian residents and will be available for purchase online via a special ticketing link 24 hours before the general release of tickets. Cash sales are also available at the Mekong Sessions office. Resident’s online presales will be disabled at 08.00 GMT July 11 and tickets must be collected from the Mekong Sessions office, No. 27, St.294, Phnom Penh by the end of July.

09.00 GMT July 10: Cambodian Residents pre-sales:
http://www.seetickets.com/aeglive/leona ... n-cambodia

09.00 GMT July 11: General sales:
http://www.seetickets.com/aeglive/?a=le ... r2=general

http://www.themekongsessions.com

http://leonardcohen.aeglive.com/

Gnashing of Teeth Part II: On the Other Hand Rabbi....

2010-07-07T11:59:00.004+07:00

Of course with all this teeth gnashing there had to be an other hand. And this came through to me quite forcefully last evening following a conversation with the concert promoter who happened to be in Phnom Penh and stopped by Garage for a couple of cold beverages and to talk about the Cohen show.

So yes, on the other hand rabbi, what about the beneficiaries?? Is it really important who does the giving and what their motivations might be? Or put more directly in terms of the Cohen concert: If the primary goal of this concert series is to raise money for two worthwhile local charities, and if the maximum fundraising can be achieved by filling this venue at these ticket prices, is there any obligation to cater to fans by offering lower ticket prices and thus reducing the charitable benefits? Can one morally justify writing off, let's say $30,000 (that might go to the Red Cross (300 tickets x $100) so that 300 fans can attend the show who might otherwise not?

From a moral perspective I think it's a tough argument to make. Leonard and his promoter have considered this carefully I'm told and have come down clearly on the side of maximizing the proceeds available to the charities. Whether the promoters are correct in their calculus is a separate issue but they certainly know more about maximizing concert revenue than I do. Of course the moral high ground is lost if the monies don't get spent by the charities as they should. I will presume that Leonard's people have done their homework here regarding the charities.

Mr. Cohen has a history here to consider: 100% of the proceeds of his September Tel Aviv concert, a very pricey ticket, went to the Fund For Reconciliation, Tolerance and Peace he established to aid organizations doing good work in Israel and Palestine. And that includes 100% of the promoter's earnings as well (I looked it up).

What about from an artistic point of view? Will it be the same show, as good a show as if Cohen were playing to an arena of primarily fans? Well I am assured that Leonard will play the same quality show he does around the world regardless of who is filling seats, and with Leonard being known as an artist of extraordinary integrity, I don't doubt this. Ok, there may be less foot stomping and hooting, but that might be the same in say Tokyo.

Does the elitist nature of the concert limit the extent to which this is meaningful event for the larger Cambodian community (which of course is another main goal of the concert series)? From a cultural point of view, yes I think it would if Leonard and his peeps simply fly in and fly out. But it seems that this event means a great deal to Leonard so I'm expecting more from the man. I know a lot of local fans are hugely disappointed at the high ticket prices but I for one am anxious to see how this plays out.

Gnashing of Teen among the Coheneem?

2010-07-05T09:44:00.005+07:00

Ticket prices for the Leonard Cohen concert have been announced and tickets gone up for sale through Leonard's fan club site, and they range in cost after processing fees, from $281 - over $600 per ticket. That is a rather expensive night out in one of the poorest countries on the planet. I know of one person who has bought a ticket. Apparently that's not a problem as the vast majority of seats are not up for public sale anyway. The fact that some portion of the proceeds benefit the Prime Minister's two favorite charities does not lessen the feeling of discomfort that many of Cohen's fans here feel about this.

Ads for the Cohen concert portray this as some kind of kickoff in the regeneration of Phnom Penh as a center of culture. Just how a Canadian Jew singing often impenetrable poetry to an arena chock full of Cambodian VIP's -- and a flurry of overpaid NGO workers and corporate sponsors -- currying favor with HE and Mrs. HE signals anything of the sort quite goes beyond my understanding.

At this time I'd like to turn your attention to the different spins charitable giving has in the Jewish and Buddhist Khmer traditions. The Jewish thinking was outlined quite cleary nine-hundred years ago by Maimonides, to wit:

Rambam organized the different levels of tzedakah (charity) into a list from the least to the most honorable.

8. When donations are given grudgingly.

7. When one gives less than he should, but does so cheerfully.

6. When one gives directly to the poor upon being asked.

5. When one gives directly to the poor without being asked.

4. When the recipient is aware of the donor's identity, but the donor does not know the identity of the recipient.

3. When the donor is aware of the recipient's identity, but the recipient is unaware of the source.

2. When the donor and recipient are unknown to each other.

1. The highest form of charity is to help sustain a person before they become impoverished by offering a substantial gift in a dignified manner, or by extending a suitable loan, or by helping them find employment or establish themselves in business so as to make it unnecessary for them to become dependent on others.

In the Khmer Buddhist tradition, one's status in life, including one's financial status, is a reflection of one's accumulated karma in past lives, thus those who are rich and powerful, however they may act in the present life to lose karma points, are at least in some strong sense deserving of their position. Acts of charity are valued based upon how much is given, whether one is rich or poor, a view which enables those with large fortunes to rack up even more karma points even if the amounts given are a pittance of what they may be capable of giving.

Now I have not discussed this matter with my rabbi or any of the local monks, but upon continuing reflection it's pretty clear to me the kind of charitable and cultural event this concert represents and in spite of Mr. Cohen's probably fine intentions, I don't think much of it.

Cohen Tickets for Cambodia

2010-06-25T17:42:00.000+07:00

Release issued today:

"Hundreds of tickets for Leonard Cohen’s concert at the Olympic Stadium on Nov. 27 are to be reserved for Cambodian residents, organisers The Mekong Sessions announced on Jun. 24.

Chris Minko of the Mekong Sessions said there had been an “exceptional level of interest in the concert” with high pre-sales anticipated through fan clubs. Recognising the number of people living in Cambodia who want to go to the concert, the organisers have decided to hold back 600 tickets for residents of the country.

“The tickets will go online via a special ticketing link 12 hours before the public release of tickets on Jul. 15,” Minko told AsiaLIFE. Further details about how to obtain tickets and available seating will be posted prior to that date on the Mekong Sessions website: www.themekongsessions.com.

Minko advises fans to book their tickets quickly due to the very high demand. News about ticket prices will be released shortly, he adds."

Cohen in Phnom Penh (Official Release)

2010-06-17T17:14:00.001+07:00

LEONARD COHEN TO PLAY PHNOM PENH ON NOV. 27, 2010
A LEGENDARY ARTIST – A LEGENDARY CITY

(For Immediate Release – June 17, 2010) – To celebrate and contribute to the restoration of the majestic city of Phnom Penh, Cambodia, Leonard Cohen will perform at the Olympic Stadium on November 27, 2010. To aid victims of Cambodia’s recent tragic past, proceeds from this concert will benefit the Cambodian Red Cross and Cambodian persons with a disability. Tickets available online on July 15, 2010.

Leonard Cohen’s November 27th concert will be held under the patronage of His Excellency Samdech Hun Sen, Prime Minister of Cambodia and Lok Chumtuev Bun Rany Hun Sen, President of the Cambodian Red Cross. The performance is produced by The Mekong Sessions in conjunction with Robert Kory Management and AEG Live and is exclusive to the South-East Asian region.

Cohen’s legendary artistry and his performance, referred to by many as a “spiritual experience,” at the architecturally significant Stadium in one of the world’s most intriguing and reemerging cities is intended to be more than just a unique evening of music. As an ordained Buddhist monk, Cohen is known for his affinity for the culture and his commitments to assist those who have suffered from conflict.

“Leonard is deeply honored by this invitation, and we hope that in our small way, we can both assist in cultural restoration and personal healing,” said Robert Kory, Manager to Leonard Cohen. “The world is aware that Phnom Penh, once a cultural Mecca, and its people, suffered a brutal genocide thirty five years ago which ended lives and altered that magnificent city. We are hopeful that the concert may become a first step in celebration of the city’s rebirth as a vibrant cultural centre and serve to aid those who have suffered.”

“This is a landmark event for AEG Live as well as a significant international milestone where Phnom Penh announces its objective to become a premiere performance destination,” said Rob Hallett, President, AEG Live.

Chris Minko, Founder of the Mekong Sessions Concert Series stated, “We wish to convey our gratitude to Mr. Cohen for this epic event that demonstrates that Cambodia has emerged from tragic civil conflict and its tradition of cultural excellence is reborn.”

Phnom Penh’s Olympic Stadium is a rare example of the work of famous Khmer architect Vann Molyvan, whose designs are the current subject of international interest. His distinctive designs combine High Modernism with elements of classical Khmer design and are a reminder of the days of Phnom Penh’s former cultural stature.

ABOUT LEONARD COHEN: Leonard Cohen is a master songwriter, musician and poet whose stunning body of original work has touched the lives of millions with a career spanning five decades. He was inducted into the Canadian Songwriters Hall of Fame (2006) and the Rock and Roll Hall of Fame (2008) for outstanding work. Cohen’s world tour, which inaugurated in May 2008, is still playing to sold-out crowds.

MEDIA CONTACT:
For Leonard Cohen:
Sunshine, Sachs & Associates
Ken Sunshine / Tiffany Shipp
212-691-2800 begin_of_the_skype_highlighting 212-691-2800 end_of_the_skype_highlighting / shipp@sunshinesachs.com This e-mail address is being protected from spambots. You need JavaScript enabled to view it

For AEG Live:
Rob Hallett: rob@aeglive.co.uk This e-mail address is being protected from spambots. You need JavaScript enabled to view it

For Mekong Sessions Concerts Series:
Christopher Minko
cminko@themekongsessions.com This e-mail address is being protected from spambots. You need JavaScript enabled to view it
www.themekongsessions.com
855-(0)12-932642

Sockcucker Bluez

2010-06-12T17:05:00.003+07:00

Mick Jagger snorting coke amidst nude roadies and Keith Richards pre-Pirates of the Caribbean III?? That’s not hedonism, no, that’s the C**ksucker Blues. For Rolling Stones fans and those curious what rock stars were once like, the band’s banned 1972 documentary, C**ksucker Blues, has made its way on to the internet. Commissioned by the band to cover their 1972 North American tour, noted photographer Robert Frank directed this piece of cinema verite, which was eventually banned from an official release. Due to the aforementioned rock star antics, the Stones fought to prevent the film from reaching the television/silver screen. As Richards once famously explained, “if anyone in America saw it, we’d never be let in the country again.”

Garage. Thursday. Shhhhhhh..

Congratulations CLA

2010-06-11T20:31:00.000+07:00

LOS ANGELES, CA. & PHNOM PENH, CAMBODIA (WEDNESDAY JUNE 9, 2010) – Cambodian Living Arts (www.cambodianlivingarts.org), an NGO based in Phnom Penh, announced today that the Los Angeles-based band Dengue Fever (www.myspace.com/denguefevermusic), featuring Cambodian lead singer, Chhom Nimol, raised more than $7,500.00 (U.S.) for the organization during a sold-out concert at the Parkway Studios in the Cambodian capital last month.

The benefit concert was organized by Cambodian Living Arts (CLA), which is focused on reviving traditional Cambodian performing arts and supporting contemporary artistic expressions by providing teaching and performing opportunities to Master artists and nearly 300 students. Dengue Fever and CLA have had close ties since 2005 when the band performed in Cambodia, the first western band to perform Khmer rock in Cambodia since the fall of the Khmer Rouge.

“It is great to be working along side Cambodian Living Arts (CLA) again and raise money for such a fantastic NGO,” said Dengue Fever Bassist Senon Williams. “Dickon Verey, CLA’s President, has been a huge help to us and it just feels right to be involved with an organization that helps keep Khmer music and dance alive. We hope to come back to Cambodia and help CLA raise even more money in the not-too-distant future.”

The May 11, 2010 concert at Parkway Studios was a 700 capacity sell-out, which opened with Klap Ya Handz, a Khmer hip-hop group, followed by Cambodian Chapei Dang Weng master artist, Kong Nay and headliner Dengue Fever. The band opened their set with Kong Nay and included solo and duet performances with the Children of Bassac, Cambodian Living Arts’ emerging dance troupe. The benefit was also a success due to the support of Rubies Wine Bar, Studio 182, and Garage Bar who all generously donated time and services.

Dengue Fever is currently writing and recording new material for their next release.
ABOUT DENGUE FEVER
Dengue Fever is Cambodian songstress Chhom Nimol, Zac Holtzman (guitar/vocals), Ethan Holtzman (keyboards), Senon Williams (bass), Paul Smith (drums) and David Ralicke (horns). The band’s music has been featured in a number of film and television shows including City of Ghosts, Must Love Dogs, Broken Flowers, True Blood and twice on Showtime’s hit series, Weeds. They have released three albums, Dengue Fever, Escape From Dragon House Venus On Earth and the DVD/CD soundtrack to the band’s documentary Sleepwalking Through The Mekong, in addition to a collection of lost Cambodian classics, Dengue Fever Presents: Electric Cambodia. They are based in Los Angeles.

For More Information, please contact:

Cambodia Living Arts
Phany Tum
Phany@CambodianLivingArts.org
012 852 625/023 986 032
www.CambodianLivingArts.org
&
Dengue Fever / It’s Alive! Media
Joshua Mills
323-464-6314
josh@itsalivemedia.com
www.itsalivemedia.com

Mensches Step Up

2010-06-10T16:53:00.003+07:00

With the Holtzman brothers and Dengue Fever having just wrapped their visit to Our Fair City and Leonard Cohen on his way (unofficially), rumours abound about who's next in the concert queue though Dylan's name has been mentioned. I can see where this is going and look forward to year of great shows in the "Mensches Step Up" tour. All unofficial of course. You heard it hear first.

The Lenny Chronicles

2010-06-07T17:04:00.006+07:00

Leonard Cohen is PROBABLY coming to Phnom Penh. This month's Asia Life features a cover story on the man, and two full page ads from the promoter for a concert on November 27. Curiously Cohen's management is still holding back any confirmation of the concert pending I really have no idea what. The "concert" is to be held at the indoor hall at Olympic Stadium, which Wiki tells us holds 8,000 souls. Are there that many Leonard Cohen fans in Cambodia? Certainly not, put the promoter expects to attract well-heeled expats from throughout the region for this first in a series of benefit concerts. As the proceeds are to benefit Mrs. Big Man's Cambodia Red Cross charity, one would expect there'd be a few generals and their spouses to fill some seats too.

I sure hope it comes off I'll be there, perhaps not with bells on, more likely a fedora. I'll be in L.A. just in time to pick one up at Hollywood Hatters where Leonard buys his.

Cohen's most recent "Live in London" cd is terrific. Ask for it at Garage.

New Burgers and menu stuff

2010-06-07T16:55:00.003+07:00

I'll be putting out a new menu in the next few days. You'll find two new burger options a "lite" burger (3.5oz) for those who find the standard Garage burger a bit too much (as I do). I think this will work particularly nice with the chili (the last two batches of which I think have been particularly happy with). There will also be a "double-double" option, i.e. two of the small patties with double cheese.

There will be some minor price adjustments. Our burger has been crazy cheap (the patties alone cost us $1.60) so we're going to bump up the base cost of the burger $.50. Still terrific value if you compare our $4.00 cheeseburger to other good burgers around town. Chili too has been a almost no margin item, and, for an air-conditioned bar our draft and cans way at the low end of things. Hey if we were selling lady-drinks we could manage that way but it's a music bar and I'd like to keep things in the black (crazy talk I know), so you'll see a $.25 increase in our draft and the low end cans. I think you all can manage that.

Bob's Birthday

2010-05-23T17:25:00.002+07:00

Yeah like I need an excuse to play Dylan (actually I think I play less o'Bob than I did at Jungle). But yes it's Bob's birthday tomorrow (69) so I'll put together what I think will be an interesting playlist of Dylan and Dylan covers. No Christmas album, promise. And as always, we take requests.

Go Figure

2010-05-23T17:09:00.003+07:00

I've blogged before about Lee Clayton, a terrific if little known singer-songwriter who did a series of fine albums in the mid and late seventies. His first album, cleverly titled "Lee Clayton", came out in 1973. I've never seen it. I believe it sold 43 copies. Well guess what shows up at The Greatest CD Shop in the World in Saigon yesterday. How did that get there?? Who made that stocking decision (this is a jazz and classical shop after all). Got it now ($1.75). Go Figure.

L.A. band Dengue Fever brings Cambodian rock back to Phnom Penh - latimes.com

2010-05-22T11:52:00.001+07:00

L.A. band Dengue Fever brings Cambodian rock back to Phnom Penh - latimes.com

Posted using ShareThis

2010-05-14T16:20:00.003+07:00

What a great week this was, with two Dengue Fever shows that both came off splendidly. A packed house at Parkway and a wonderful outdoor show in the park near Wat Botum, as well as an after-concert party with the band at Garage after the Parkway gig. You'll find some pics of the park concert on my Facebook page. Thanks to all who bought tickets from us at Garage -- all 100 sold out, thanks to Brian for designing the great tour t-shirt (hoping to get some more at Garage), and thanks to all the members of Dengue Fever for making this such a great week.

A reminder we're still selling the Sothea-Sisamouth Collection to benefit CLA -- 14 sold so far.

Dengue Fever Tickets

2010-05-02T10:44:00.005+07:00

Tickets for Dengue Fever's May 11 show at Parkway will be on sale at Garage for $10 ($12 at the door). I expect we'll have our block of tickets for sale on Tuesday. It's not a huge venue so don't delay in picking up your tickets!

Brian has also finished design of a dynamite tour t-shirt which will be available at the show and later at Garage.

Insert Smiley Here.

T-Shirts, CLA., Dengue News

2010-04-27T09:06:00.003+07:00

We finally have a new stock of Sisamouth-Sothea t-shirts, S-M-L-XL all available until they're not. Still a steal at $7.

Thank you to all the customers picking up their Sisamouth-Sothea DVD collections, we're up to $100 for CLA as of this writing.

Dengue Fever is still trying to finalize the benefit concert for CLA. Tickets for that will be available at Garage and a couple other outlets in town. You won't want to miss it!! And we're working on a tour t-shirt as we speak.

Meanwhile, here's an interview with Dengue Fever bass player Senon Williams just posted on rockmymonkey.com. Linky

2010-04-06T09:41:00.003+07:00

Garage will make a $50 donation to Cambodian Living Arts on behalf of customers this week who got a copy of my Sin Sisamouth - Ros Serey Sothea collection. You too can support CLA and enjoy this good music. Come by Garage with your flash drive (with 3gb+ available) or purchase a DVD. Please make a donation of at least $10, 100% of which will be passed on to CLA.

Dengue Fever: The Return Tour

2010-04-03T15:14:00.002+07:00

After almost five years, Dengue Fever will indeed be returning to Cambodia. The band will be here in Phnom Penh May 10-13. Details of their gigs are still being finalized. I've asked the band to host a reception for them one evening as I did their first time 'round. Will keep you posted!

Dengue Fever: Hanoi, May 8

2010-03-27T16:40:00.004+07:00

Taking place on Saturday 8 May 2010, the CAMA Festival will include a spectacular line up of artists from Vietnam, the USA, Australia, New Zealand, Japan, the Philippines and China. In addition, there will be a non-stop DJ tent, a wide variety of international food and drinks, and entertainment and games throughout the day for adults and children alike.

The Festival will be produced in partnership with World Population Foundation (“WPF”) and, specifically, its dance4life program. dance4life is a dynamic international initiative, that uses dance, music and youth icons to attract young people and talk to them in their own language, encouraging them to learn more about HIV and AIDS and sexual and reproductive health and rights.

Advance tickets available April 25th 2010

Advance tickets:: 200,000 VND
At the door:: 300,000 VND
Students with valid ID:: 100,000 VND at the door

Ticket outlets
Boo Skate Shops: 38 Lê Đại Hạnh / 84 Hàng Điếu
Al Fresco's: 23L Hai Bà Trưng • 108K1 Lang Hạ / 98 Xuân Diệu • A37 Phố Hoàng Ngân •
19 Nhà Thơ
Highway4: 3 Hàng Tre • 54 Mai Hắc Đế • 575 Kim Mã
House of Sơn Tinh: 31 Xuân Diệu
Puku: 60 Hàng Trong

Linky

Where the Action Is

2010-03-15T17:55:00.002+07:00

Now playing at Garage, Rhino's great new 4-cd set:

In Los Angeles during the mid-'60s, music was everywhere - from the garages of Orange County, to the dingbat apartments of the San Fernando Valley, to the bungalows of Laurel Canyon. But without a doubt, the epicenter of the music scene was the Sunset Strip, where “freaks” filled the rock clubs lining the famed Hollywood thoroughfare. Rhino continues the storied Nuggets tradition with a four-disc boxed set that mines the city's rich musical history for unsung gems...

Andrew Sandoval, one of the collection's producers, explains the set's concept in its liner notes: “...the Nuggets series is something of the alternative musical history of the 1960's. Not so much a survey of what happened, but more what could have happened had music charted on merit alone.”

WHERE THE ACTION IS! compiles 101 tracks that mix many of the city's brightest stars (The Byrds, Love, The Doors, The Beach Boys, Buffalo Springfield, Captain Beefheart, The Mama & The Papas, Lowell George, Iron Butterfly, The Monkees) with talented artists whose stellar songcraft sadly flew under the radar (The Seeds, Jameson, The Electric Prunes, Modern Folk Quintet, The Peanut Butter Conspiracy, Spirit, The Everpresent Fullness, Kaleidoscope, The Standells, The Bobby Fuller Four).

WHERE THE ACTION IS! encompasses four discs arranged thematically to cover different aspects of the pop, rock, club and Top 40 sounds of the era. The first covers some of the most notable bands that performed in the clubs of Hollywood's Sunset Strip. Disc two features a sampling of the musicians who began life in South L.A., East L.A. and such far-flung suburbs as Riverside and Bakersfield. The third delves into the artistry of L.A.'s producers, arrangers and Wrecking Crew of studio players. The final disc takes us from the nascent seeds of folk rock to the first blooms of canyon rock, country rock and full-blown psychedelia in the region. It also shows how rock pioneers such as Del Shannon and Rick Nelson took their own stabs at fitting in with “the kids.”

Among the many highlights are: an alternate take of The Beach Boys' “Heroes And Villains,” Warren Zevon and producer Bones Howe performing “(You Used To) Ride So High” as The Motorcycle Abeline, “Take A Giant Step” by The Rising Sons, “Acid Head” by The Velvet Illusions,” local scenester Kim Fowley's “Underground Lady,” Jan & Dean's “Fan Tan,” The Monkees' “Daily Nightly,” Jesse Lee Kincaid's “She Sang Hymns Out Of Tune,” “Come To The Sunshine” by Van Dyke Parks, “Sister Marie” by Nilsson and “Hippy Elevator Operator” by The W.C. Fields Memorial Electric String Band.

The set also offers a trio of previously unreleased tracks: a recently discovered demo version of “Sit Down I Think I Love You” recorded by Stephen Stills and Richie Furay shortly before they formed Buffalo Springfield; a demo of “Words” by Tommy Boyce and Bobby Hart, one of the West Coast's most successful songwriting teams; and “Once Upon A Time” a collaboration between Tim Buckley and lyricist Larry Beckett.

6 Moons review of Hiface Thingy

2010-03-13T18:17:00.002+07:00

and yes they love it as much as I do. Blow up your cd player.

While I found my CEC TL51 CD player (ed: a $3,000 player) a tad more musical with 16/44 audio, the laptop/hiFace combo was damn close. Then it went to a completely new level at 24/192. Hard-drive based audio is still in its infancy and so fluid, I see little sense to invest in ridiculously priced $20,000 music servers. You can get there at a fraction of the price with a laptop or desktop, a decent 24/192 capable DAC, perhaps an external hard drive and M2Tech’s hiFace. I am surprised that so few dealers have computer-based audio in their showrooms. They are missing a great opportunity. Customers could bring in their favorite tunes on a USB memory stick, play them back on a hiFace-equipped laptop with any DAC. With the laptop’s portability, it would be a snap to audition any component or system configuration. What better way to show off a set of loudspeakers or amplifier to a customer than demonstrating them with 24/192 tracks?

In the few years since I started reviewing, I cannot think of another product that offered so much for so little. If you have a DAC regardless of input options and contemplate getting into computer-based audio, a hiFace would be a terrific place to start.

Full review here.

Sparks Fly on 110 Street

2010-03-07T17:08:00.002+07:00

Things have been fairly hopping at Garage, a lot great nights the last few weeks. At home I lost my phone and thus my internet connection thus haven't been posting here for a bit. The phone will be replaced soon.

I've been spending most all my time at home re-listening to old favorites on the new sound system (it sounds new with the latest improvements). This morning I was listening to Springsteen's second album, always one of my favorites, in the exalted top something for sure. Anyway, on vinyl I always thought that despite the great music that it was an awful sounding album, flat and dull. Listening to the CD at home (not sure which mastering it is) I was gobstruck with how much better it sounds now than the original LP, something I rarely find. Springsteen's voice sounds like it should, guitars ring, bass thunders when it should. There's still not much depth but there's a lot more than I heard on the LP, and though it still doesn't sound like a band (compared for example with Neil Young's recordings from the period), it is so much more listenable. It won't sound as great at Garage as it does at home but I'm still gonna play it all the way through tonite if you don't mind.

Kernel Streaming at Your Service

2010-02-15T12:36:00.002+07:00

I posted a while back about a little usb device which allows for playback of high definition audio on even a modest little netbook. I brought my M2Tech HiFace thingy back from California, plugged it in, connected it to my DAC via a $20 Belden 1694A cable and it works you betcha as advertised. And it sounds friggin' fantastic (Ok the new preamp helps as well). It bypasses Windows K-mixer either in ASIO or Kernel Streaming mode. I've found the latter to operate flawlessly in Winamp so that's how I'm listening now. The only problem I've noted, and it may not be a HiFace issue at all, is that 24-bit FLAC files won't play properly so I've needed to convert the few I have to .wav format. Easily done. The CD player is soooooo dead. RIP.

Garage Poster/Shirts

2010-02-12T14:36:00.004+07:00

A little late in coming but Brian's great Garage poster is available now for purchase. You'll see it up at Garage your next visit. It's a big ass poster, but if you've got the room it's a beauty. $40 at Garage.

The Sisamouth-Sothea shirts are all gone in men's style except XL, women's cut still available. We'll do another run of the men's shirts soon.

Good Works

2010-01-24T07:09:00.003+07:00

Remember, proceeds from the sale of "Electric Cambodia" are donated to Cambodia Living Arts. Amazon delivers.

If you're in Los Angeles, Dengue Fever will play a benefit for Haitian relief at the El Rey Theater February 6:

KCRW presents Haiti Relief Concert at El Rey Theatre
n response to the recent devastating earthquakes to hit Port-au-Prince and its surrounding areas, KCRW presents and the historic El Rey Theatre hosts a Haiti Relief Concert on Saturday, February 6th. Ticket proceeds from this night will be donated to Operation USA's Haiti relief efforts.

The worldly line-up on what would have been Bob Marley's 65th birthday includes ska/rocksteady revivalists Hepcat; Cambodian-American indie-rock band Dengue Fever; a very special set by veteran bassist Joey Altruda’s Crucial Riddims & Reggae Greats Revue featuring Wailing Souls, Elan, Eljai and special guests; cumbia band Very Be Careful; all-star reggae group The Lions; experimental rock outfit The Tuffingtons; Echodelic Soundsystem; and DJ Miles Perlich. The evening will be hosted by veteran radio DJ Junor Francis and Alexis de la Rocha of Live Daily.

Operation USA is an international relief agency that helps communities at home and abroad overcome the effects of disasters, disease and endemic poverty by providing privately-funded relief, reconstruction and development aid. OpUSA is appealing for donations of funds to purchase health care materials, water purification supplies and food supplements which they will ship to Port-au-Prince, Haiti and its surrounding areas from its base in the Port of Los Angeles.

OpUSA’s slogan is “Give and it gets there”. And it does, with 98% of every dollar donated going to on the ground relief. That’s why The Rockery, organizers of this event, chose OpUSA to receive the funds generated on February 6th. Every year millions of charitable donations never make it to their destination. “When you donate to Operation USA, you immediately start to make a difference in the lives of those who need it most.”

Tickets are $25 and will be available starting Saturday, January 23rd at 10am at www.Ticketmaster.com, 1-800-745-3000, select Macy’s, all Ritmo Latino stores, and the El Rey’s restaurant Cowboys & Turbans. Cowboys & Turbans is open Monday thru Friday from Noon to 9pm and on show nights (cash only). If tickets remain, walk up sales will be available at the El Rey box office, opening at the door time on the night of the event. El Rey Theatre is located at 5515 Wilshire Blvd., Los Angeles, CA 90036.

It’s an all ages, general admission, standing room only venue. www.theelrey.com

It's Request Time

2010-01-22T03:11:00.004+07:00

Hey. Send me any requests you have for music and I'll do my best to fill those requests. I know I've a serious 80's metal gap in the Garage library so that's a gap I'll try to fill best as time allows. Got some great stuff when I come back!

Ghost Voices Come to Life on 'Dengue Fever Presents Electric Cambodia' - Spinner

2010-01-21T01:02:00.002+07:00

Chhom Nimol remembers hearing a song on the radio in the '80s when she was a child in Cambodia.

"It was very sad, slow romantic," she says. "Sounded like a ghost voice."

She's not sure, but it may have been the insinuating 'Flowers in the Pond,' by singer Ros Sereysothea, or perhaps something else by the Cambodian star.

Senon Williams, Nimol's bandmate in Dengue Fever -- a Los Angeles group that began doing versions of Cambodian pop and rock tunes in the early 2000s and which was chronicled in a 2008 Around the World column -- explains that "ghost voice" is an actual technical term in Cambodian singing as heard in this track.

"It's where you break from one octave to the next and the voice cracks," he says.

"The high key," Nimol explains.

"Ros Sereysothea was the master of that," Williams adds.

But in this case it has a double meaning: The singer on the radio, whoever it was, had almost certainly been killed during the brutal late-'70s reign of Pol Pot's totalitarian Khmer Rouge. Estimates of the total deaths attributable to the Khmer Rouge range as high as 2 or 3 million from execution, starvation and disease, most of them buried in mass graves. Musicians and artists -- pretty much anyone seen as educated or connected to the cultural identity of the earlier Cambodia -- were among those targeted for elimination.

"It is very sad," Nimol says, in halting English, sometimes with help from friend Soche Meas. "Our musicians, they are gone."

"The only people who did survive were musicians, not singers," Williams says. "John Pirozzi, who directed our film 'Sleepwalking Through the Mekong,' has done insane research for his own film he's doing about this but only found a few surviving band members, guitar players. But no one in the limelight survived."

Those ghost voices are being honored on 'Dengue Fever Presents Electric Cambodia.' Subtitled '14 Rare Gems From Cambodia's Past,' the CD is just that -- samples of a lost era of Cambodian pop music. Much of the music exists today only via cassettes that made their ways around the Cambodian exile communities of California. A couple of previous compilations have made their way via the cultural curiosity seekers networks, notably the door-opening 1996 compilation 'Cambodian Rocks,' from the Parallel World label; and 2004's 'Cambodian Cassette Archives,' drawn from deteriorating tapes in the archives of the Oakland [Calif.] Public Library by global ephemera-centric Sublime Frequencies. These all show a culture enamored by Western pop -- the songs are redolent of quasi-psychedelia, with reverb guitars and cheesy organ -- without any sacrifice of Cambodian-ness.

'Electric Cambodia,' with proceeds being donated to the Cambodian Living Arts program promoting traditional performance in the Southeast Asian nation, digs even deeper to the point that none of the tracks had any identification -- neither titles nor artist information. They might have stayed that way but for the memory of Nimol's older sister, Chhom Chevin, herself a pop star in Cambodia in the '80s and '90s.

"We wanted to keep ours more obscure, things that hadn't been released to Westerners -- all our bizarre tastes," Williams says. "And Nimol's older sister enabled us to give names to all the songs. She was the No. 1 singer there through the '80s and she remembers all the voices."

As somber and heavy as that all might sound, the music is anything but. Rather, this album portrays a "golden age," even more striking for the horror that was to follow.

"What I think is interesting about the music is it doesn't depict a time of woe and sadness, but of prosperity and joy and parties," Williams says. "It's like a time when all of us think we can't be touched, living the high life. And the next you know we're mixing concrete in the streets to make a bunker. How quickly things can go from this flowering state of beauty to complete destruction -- horrific and humbling."

Of course, for Nimol it's a little more complicated and personal.

"This is like a new awakening for me," she says of hearing these songs and of her role with Dengue Fever bringing the spirit of that era back to life. "Was a sad time for my parents. Everything was forgotten."

Asked her pick of the bunch, Nimol says, "My favorite is the song that talks about a young girl waiting for the handsome guy."

"That's all the songs, Nimol!" Williams interjects.

"Some talk about bands and flowers and teenagers," she responds. "A lot talk about broken hears and break-ups. But I think my favorite song is 'Sneaha.'"

Yes, that's a version of the Cher hit 'Bang Bang,' sung here in Khmer by Pan Ron. You wonder if perhaps Quentin Tarantino had heard this one it might have made it into 'Kill Bill' rather than the Nancy Sinatra recording.

"I really like that one," Williams agrees. "It's just a cover of 'Bang Bang' but not even a cover. The lyrics are different. The melody's a little different. It's kind of what we've done with Dengue Fever in reverse. The song is beautiful, for one. Amazing production. But there, this way, they take this American music and just completely make it Cambodian. There's the melody and energy and all the psychedelics, but nothing remaining of the American familiarity."

And he stresses that neither 'Electric Cambodia' nor Dengue Fever's forays into the Cambodian pop catalog are meant to be taken as novelty or ironic offerings.

"For me, it's the other way around," he says. "We're trying to give respect back to the folks that influenced us. When the idea for the compilation came up, it was appealing, a way to show fans what influenced us and maybe open their eyes to dig deeper and find out more. And it allowed us to raise money for Cambodian Living Arts, which we've worked with in the past. So it's a way to shine light back on Cambodia."

Nimol says that it's a continuation of what she's seen happen since Dengue Fever plucked her out of regular club gigs singing standard pop music shortly after she emigrated in 2001 to the Long Beach, Calif., neighborhood known as Little Phnom Penh.

"I think a lot of people from Cambodia forgot -- the young teenagers don't know much of this music," she says. "I remember last year when we were on tour in New York and Washington, D.C. and Philadelphia, a lot of Cambodian people came to our show and enjoyed the music."

Williams adds, "There have been young people coming up to me of Cambodian heritage telling me, 'Wow, this is the first time I've listened to Cambodian music and I really loved it.' They'd be more into rock and hip-hop and R&B and say, 'My parents turned me on to you guys, but I'd never liked what my parents liked before.' Some of the kids and parents both are finding pride in music that comes from their own culture."

A particularly moving experience in shining the light came unexpectedly in late 2009 when Dengue Fever were invited to participate in, of all things, a Hanukkah celebration in Los Angeles.

"They did a lighting of the candles on the stage between bands," Williams says. "And Nimol went up and spoke about the Khmer Rouge and said she was lighting a candle for her ancestor people who perished under Pol Pot."

"That was a terrible time," Nimol says.

"Nimol cried," Williams continues. "And it took me by surprise. Later I got an e-mail from the organizer, a Jewish guy, who had never heard that there had been a genocide in Cambodia. That something so horrific and huge can be overlooked is remarkable."

Electric Cambodia is available now on Amazon. They ship to Cambodia.

Coming Soon...

2010-01-16T05:30:00.007+07:00

Great new music (all FLAC) is on the way to Garage. Here's a start:

California

2010-01-15T01:15:00.002+07:00

I'm back in California now, returning to Cambodia on the 28th. Brunt will be minding the lift at the Garage. I'll be up to the usual shenanigans in L.A., making half-hearted efforts to sell the Studebaker, acquiring new music and stereo gear, consuming colon-endangering amounts of In-N-Out burgers and burritos al pastor. See you the 28th.

....and Some Days the Bear Eats You...

2010-01-05T15:28:00.004+07:00

Well in three months we have been rapidly gaining a reputation for having the best burgers in town....but as a young operation still getting on its feet it doesn't always work out that way. Thus two weeks ago one customer on his way out brought to my attention that his burger had been pressed clean of all juices and cooked into oblivion despite his entreaties not to do so. While I apologized and sighed in exasperation at such entrepreneurial spirit on the part of cooking staff, the customer made his way out before I had collected my thoughts about how to make it right with him. And of course as fate would have it that customer happened to be writing a burger review for the the Bayon Pearnik "magazine" (yes the same folks who placed us on the wrong street the first time they visited). DOH! Needless to say we didn't rate a positive mention despite our hard won reputation preceding the burger smashing incident.

Being truly committed to delivering a quality product on a consistent basis I investigated this curious cooking practice, and found that one of our regular customers of the burgers-should-be well-done persuasion had explained to staff that this burgers were not quite well done enough and staff took this directive to heart and decided that NO burger would be delivered with any signs of life. Immediately I explained to staff the error of their ways and now I believe we're back on track. I'm not sure how many lifeless burgers were delivered, my hope and belief is that is wasn't many.

In any event, I do appreciate customer feedback, be it positive or negative, so please do make sure your burger arrives the way you want it, and if you're not happy with it be assured we'll make it right on the house.

2010-01-02T23:13:00.004+07:00

Colman's Mustard recruits carnivores with Lord Kitchener made out of meat

LONDON - Unilever has launched a press campaign for its Colman's Mustard brand featuring a sculpture of historic war secretary Lord Kitchener made entirely out of meat.

The campaign, by Karmarama, uses 16 types of meat (listed below), including Unilever's Peperami, to recreate the iconic 1914 army recruitment poster. It will run in men's mags with the strapline, ‘Your meat needs Colman's'.

The figure was constructed by food stylist Peta O'Brian, who also worked on Fallon's Skoda Cake ad, and took 18 hours of cooking.

The ad features the following:

* Breaded Ham
* Chorizo
* Beef Carpaccio
* Bresola
* Ginger Pig Bacon
* Beef Skirt
* Roast Duck
* Chicken Breast
* Brisket
* Peperami
* Fillet Steak
* Sausages
* Beef Steak
* Bacon Joint
* Leg of Lamb
* Duck wings (for the ears).

Colman's mustard now available at Garage, by request.

Building a PC Music Server: Xonar Essence

2010-01-02T09:48:00.001+07:00

At least as of this writing, the best sound you can expect to get out your pc-based music server will be to output your lossless digital music stream to a good quality external DAC (like my Citypulse 7.2x). With the right usb-spif transport/converter such as the M2Tech HiFace (one is waiting for me in California) one can even playback bit-perfect high definition audio.

But let's say you're looking to avoid the hassle and expense of an outboard transport and dac but still want good sound. Well this month's Stereophile highlights how far we've come in reasonably priced soundcards for your pc desktop. The pictured Asus Xonar Essence XT (PC only) is one Stereophile reviewer's product of the year. Available online it can be had for as little as $185 delivered (here), and has everything you need to send bit perfect high definition audio to your receiver/integrated amp/preamplifier. Incorporating a good quality DAC and generally well put together this is a great option for those seeking a one-(big)-box approach to computer audio.

Ain't that good lookin' too? One may be coming to the Garage soon.

2009-12-22T17:48:00.005+07:00

The Festivus holiday is almost upon us and we're hoping you'll make Garage your home away from Xmas.

DEC. 25 There will be NO CHRISTMAS MUSIC OF ANY KIND, no silly lights, no tacky tree, no Santa outfits or any other related mishigas at Garage on Christmas day. No Elvis, No Dylan, No Phil Spector, not even Bing Crosby. Athiests, Druids, pagans, Buddhists, Jews, lapsed Catholics, ex-communicated priests rejoice. Christians of course welcome but no on-duty missionaries please.

DEC. 24 The girls will be wearing funny red hats on Xmas Eve if you must experience a bit of the Yuletide nonsense. Dylan and Darlene Love MAY make an appearance. Ya takes your chances.

DEC. 23 The traditional Festivus holiday, including Airing of Grievances and Feats of Strength. Aluminum pole if we can find one.

SUNDAY SUNDAY SUNDAY

2009-12-18T08:41:00.001+07:00

Garage presents its first music quiz night this Sunday, 20 December 7pm. Hosted by Stephen-From-The-Isle-Of-Man. HINT: Stephen is the world's biggest Clash fan. Whopping bar tab for the winners.

Come by and enjoy a flame-grilled Oz or Chiliburger. Beers $.75 with food purchase.

Hope to see you.

Garage Chili - A Users Guide

2009-12-17T15:58:00.003+07:00

The Garage chili is now officially out of beta and release 1.0 is ready tonite. It's been a huge success thus far. You only need to know a few things about this chili. First, as I've mentioned before it not your typical bowl chili with beans. No beans, no tomatoes just meat and spices. Second, it's hot. We called the Jungle chili a two-alarm chili, this would definitely be a three-alarmer. Not painfully so but it will give you a nice buzz. Third, the chili is most properly accompanied by mustard, whether on a burger or dog. I know, a burger usually has ketchup but trust me on this, mustard and onions with the chili (with fresh tomato on the burger) and you'll be quite happy. Enjoy.

Rhino Goes Lossless

2009-12-07T19:25:00.003+07:00

Bless their corporate hearts, Rhino is now offering digital downloads in lossless and near lossless formats for a good chunk of their great catalog. Not cheap particularly -- $9.99 for most albums in 320kps MP3 or $14.99 in FLAC/Apple Lossless, but it's nice to have the option for those hard to find albums. Rhino is well known for the care that's gone into their remasters and they deserve props for making the lossless option available if not for the pricing structure which seems a bit out of wack what with the lossless downloads being $4 more expensive than the physical CD. One hopes they rethink that one. Meanwhile the 320kps downloads seem a reasonable deal.

You'll find the digital catalog here.

Phoning Home with Nimbuzz

2009-11-29T12:28:00.004+07:00

Google Voice and Skype Mobile are unfortunately not available to users in Cambodia. At least not directly. Since my new Nokia E71 has an internet telephony feature set I've set out to discover the best way to make calls to the States using VOIP from my mobile. I used Gizmo5 without a hitch on my old Sony Ericsson, the only problem being that as a call-back service one is billed for a call to Cambodia as well as the cost of the call to the states. So convenient but not terribly cost effective.

It is not difficult to set up a connection to a SIP provider on the E71, and I've done that using localphone.com. Once set up it works and it's cheap. But call quality has been just so so.

Last night I installed the latest incarnation of Nimbuzz for Symbian (also available for iPhone) which has the advantage of being able to connect via Skype, a nice end-run for us in Cambodia. It works too. And call quality has been much better than that I've gotten the localphone.com SIP connection.

So if you're looking for a way to call your IM and/or Skype contacts on your mobile, or make internet calls overseas for pennies, try Nimbuzz. It's here.

From the Nimbuzz site:

About Nimbuzz Mobile

Nimbuzz Mobile lets you call, chat, message, and send files on the go, for free. It combines all your buddies from Skype, MSN, Yahoo, ICQ, AIM, Google Talk and more. One login, one contact list, all accounts.

See who´s online and where, call/group-call, chat/chatrooms, offline messaging, send photos/music/video, voice messaging.

Nimbuzz Mobile free to download and use. Nimbuzz will not charge or bill you for anything. However, since Nimbuzz uses your internet connection, incremental data charges from your provider will apply. We therefore strongly recommend to use the mobile client only with a flat-rate data plan or free Wifi connection.

Save Money: Instead of calling minutes, Nimbuzz uses the internet to let you make free international calls to your buddies. You can also register your VoIP account to call your friends on landlines and mobile phones.

Locate your Friends: Share your location and retrieve the location of your buddies on a map. Great for arranging face to face meetings.

Make yourself heard: If your buddies are offline, let them know you’re trying to get in touch by sending them a "Buzz". It will start Nimbuzz Mobile on their mobile phone.

Never lose your Contacts: Use the Phonebook to back up and restore your contacts. Contacts will be backed up online. Comes in handy when you have lost your mobile phone.

Garage Chili Beta 1.001a

2009-11-23T15:06:00.002+07:00

My first crack at the new chili recipe for Garage has come out reasonably well, enough so that we'll have chili on offer tomorrow. It will get better but this is closer to the Original Tommy's recipe than I thought I'd get at first go. I think you'll enjoy it. Don't mention anything to your cardioligist.

Gadget Envy, November Edition

2009-11-20T14:18:00.008+07:00

Computer based audio was touted as an affordable route to audiophile paradise. Get yourself a USB DAC, rip your CD's to FLAC and bliss out for a relatively tiny investment. Ah but then we were told about jitter. Jitter bad. Enter mega-thousand dollar reclockers and $500 USB cables (not kidding). And those cool 24 bit DVD-Audio files available for download? Well you can't actually PLAY them via USB in their 24 bit glory without investing in an expensive USB transport like the Bel Canto USB Link ($500) or the new Sonicweld Diverter ($1300), not including cables of course.

Times change fast. Enter the M2Tech hiFace:

M2Tech HiFace USB Interface

* High quality digital audio up to 192kHz/24bit,
* Output SPDIF or BNC Audio signal,
* works with PC or MAC
* Extremely low jitter oscillators and proprietary drivers

The hiFace USB interface was designed to relay the highest quality digital audio signal using an ordinary PC or MAC, and transmit it to your DAC with the least amount of jitter possible. Experience resolution up to 192kHz/24bit directly from a PC or MAC USB port. You have the choice of a very high quality S/PDIF stereo audio output, or an equally high quality BNC output. The HiFace looks like a small USB thumb drive, but features very compact, very low jitter oscillators and proprietary drivers that allow for sending 192kHz/24bit audio files with exceptional quality to an audiophile DAC.

HiFace USB Interface Features

Low Jitter, Low Phase Noise, High Stability Oscillators
Most audio interfaces and USB DACs synch the data stream clock to the same USB interface clock, that often suffers from very heavy jitter distortion. Thanks to two quartz precision oscillators used inside the M2Tech hiFace, the clock source for the output data stream features extremely low jitter. A more stable clock is recovered by the DAC S/PDIF receiver; the low jitter produces a very low soundstage/ image distortion and degradation. Phase noise (the main component of jitter) is also very low: This ensures short and long range clock stability, also reinforced by circuit board supply voltage regulation (e.g. jitter at environmental temperature stability is 2-5ppm approximately, compared to 50-100ppm performed by oscillators normally used on commercial CD players).

Proprietary Drivers

The standard audio drivers available on the market (e.g. Microsoft Windows operating system) had severe limitatiions that can now be overcome thanks to the hiFace proprietary drivers. They allow for transferring audio data, and maintaining the original file quality without any loss of resolution. Ssampling frequency constraints are also overcome, while Microsoft and ASIO drivers will operate at no more than 96kHz. When the hiFace USB Interface is used together with a usic file player program such as FooBar, you can stream S/PDIF music files to a D/A converter at 192kHz/24bits maximum frequency/resolution, while avoiding the undesired PC or MAC audio mixer data processing during the data transfer from hard disk to interface. Windows XP, Vista and 7 Windows drivers are currently available. Mac and Linux drivers soon to be available.

Compact Size and Ease of Use

The M2Tech hiFace is compact in size and can be directly (or using an accessory USB A-A adapter, not supplied) connected to a High Speed USB 2.0 port of any computer. A very high electric and mechanical performance RCA gold connector provides the output signal, ready to be connected to a Hi-End audio DAC. No external power supply is required, as the hiFace draws its power from the USB bus itself and regulates it with its internal regulators. The hiFace USB interface connected to a mini PC with a High Speed USB port makes for a complete music transport system at a very low price. Such a system allows for listening any density and resolution music files, or playing one's own CD’s using a CD ROM drive, or listening to streaming web radio, Pandora, etc.

That's right, no $500 USB cable necessary, and playback of 24/192 sources via a tiny little device inserted in your USB port. $150. Available from Tweekgeek.com

Can you dig it? Yes I can.

This Is Chili

2009-11-12T16:49:00.003+07:00

Tommy's chiliburgers in southern California were not my favorite, that honor goes to the Jayburger, may it rest in peace. But Tommy's is certainly more than respectible, it's a friggin' institution, and I think we can do a reasonable facsmile in tribute to the original. So I've pretty much finished with the shopping for the fixin's and will spend this next week experimenting with it. We'll go chili fries too.

By the way for those who enjoyed the chili dogs/bugers/fries at Jungle, the difference, as can be see from the above photo, is that this will be a beanless and tomato-less chili, which per the Tommy's forumla, works supremely well like this. We'll keep you posted.

Veterans Day

2009-11-11T18:53:00.002+07:00

Another Veteran's Day and we seem no closer to ending the latest debacle in Afghanistan.

As I always do this time of year I offer the most thoughtful and moving tribute I know of to our veterans, John Gorka's "Let Me In". Unfortnately, it never gets old.

Let them in, Peter
For they are very tired
Give them couches where the angels sleep
And light those fires
Let them wake whole again
To brand new dawns
Fired by the sun
Not war-times bloody guns
May their peace be deep
Remember where the broken bodies lie
God knows how young they were
To have to die

You know God knows how young they were
To have to die

Give them things they like
Let them make some noise
Give dance hall bands not golden harps
To these our boys
Let them love Peter
For they've had no time
They should have bird songs and trees
And hills to climb
The taste of summer
And a ripened pear
And girls as sweet as meadow wind
And flowing hair
And tell them how they are missed
But say not to fear
It's gonna be all right
With us down here

Let them in, Peter
For they are very tired
Give them couches where the angels sleep
And light those fires
Let them wake whole again
To brand new dawns
Fired by the sun
Not war-times bloody guns
May their peace be deep
Remember where the broken bodies lie
God knows how young they were
To have to die

You know God knows how young they were
To have to die

And tell them how they are missed
But say not to fear
It's gonna be all right
With us down here

It's gonna be all right
With us down here

Music by John Gorka
Adapted from a poem found in an army hospital in the Phillipines during WWII

Listen here.

New from Nelson Pass

2009-10-29T15:04:00.003+07:00

In the audiophile world a new amplifier design from Nelson Pass is akin to a new novel from J.D. Salinger. He's just introduced his 7th amplifier in the First Watt series, the J2. I can't afford one (they're $4,000) but I enjoy the thoughtful insights from Mr. Pass which always accompany such a release. You'll find a review of the new J2 in this month's 6 Moons.

"For over 10 years—the corporation was formed in 1999—FirstWatt has been pushing the design envelope with simple high-performance class A amplifier circuits. When a better transistor like this comes along, it can mean getting the same distortion performance with a lot less feedback; or lower distortion with the same amount of feedback. The J2 amplifier does both and that helps make it a better sounding amplifier than the best of its predecessors. With a device that behaves a little like a tube, it is natural to consider popular tube amplifier design topologies. Single-ended class A tube amplifiers are not very powerful and their measurement numbers are not exceptional but there is no arguing that they have strong musical appeal to much of the audiophile population. The J2 achieves a sound which is warm and relaxed, combining precision and detail without sterility. With a pair of sensibly efficient loudspeakers, it will give you a toe-tapping experience that other solid-state amplifiers do not."

6 Moons audio reviews: First Watt J2

Service Announcement

2009-10-29T10:41:00.003+07:00

Garage is now an authorized Harley Davidson service facility. Free beer with every oil change.

Garage Art

2009-10-19T16:25:00.004+07:00

Pick out a spot on your walls -- Brian has reworked his Sisamouth-Sothea graphic into a great new poster which we'll have on offer in the next week or so. Ain't it grand? Details to follow.

Promotion Time!

2009-10-16T16:06:00.002+07:00

Errata

2009-10-14T15:51:00.007+07:00

Garage scores a couple paragraphs in this month's Bayon Pearnik pub page, though from reading it you'd guess the writer didn't actually visit the bar or did so as his last stop when thoroughly soused. So, to correct a few things:

1. Garage is located on street 110, not street 118. That's kind of important.
2. Garage's interior is not "bedecked" in Andy Warhol prints. There is one Sisamouth-Sothea poster, done in a Warholian style, but that's it (until The Big Banana does arrive). There are 11 other graphics on the walls, none of them Warhol.
3. I'm not striving for an "old school" design. I inherited a built-out bar which works just fine. I didn't see any reason to throw money at a bar that didn't need it.
4. I have no plans to offer Tex-Mex cuisine. Maybe some Cuban down the line. Chiliburgers are not Tex-Mex cuisine.
5. Andy Warhol may or may not have been a "pretentious git", but the intended association with the Warhol banana is to the Velvet Underground not to Warhol himself. Garage is not a gallery it's a music bar. I find it hard to label the VU's music but you could call them pioneers of "garage" rock. I would have thought the author could have asked me about the connection rather than speculating for a full paragraph about it.

The article does say "it promises a warm and friendly drinking atmosphere". Ok, got that one right.

Just thought I'd clear that up. Thanks.

Garage Eats

2009-10-10T12:12:00.003+07:00

Just so you know...Garage is proud to offer the finest wood-flame grilled hamburgers and hot dogs available in Phnom Penh. 200g (7oz) hamburger only $3.00, cheeseburger $3.50. All-beef hot dogs just $2.50. Chili coming soon. If you like In-N-Out burgers and Tommy's chili you'll be a happy camper, promise.

New Additions

2009-10-09T16:56:00.005+07:00

In addition to our great new grill (burgers and dogs are definitely on), I've replaced the speakers at Garage with a pair of Danish System Audio SA520's. The speakers I inherited, some old Kenwoods, were really not bad, some of the best I've heard in bars around town. Well these are better. With the neat little Nuforce Icon amp the sound is getting there.

As for the grill, please come and try what's on offer. Our 200g (7 oz.) burger for $3.00 and our $2.50 hot dog are the best deals in town. And chili is a-comin' soon.

Unremastered: Beatles at Hollywood Bowl

2009-10-04T22:09:00.005+07:00

Ok, sonically this is not the best live album out there. But it is without question a deliriously enjoyable recording (or series of recordings). Apparently the masters were not of sufficient quality to justify inclusion in the Remasters series (or even a CD release) but I love this stuff. I remember the first time I heard these recordings blasted through the loudspeakers on the quad at high school, at that time (c.1973) the bootlegged recordings. Ultimately released on vinyl in 1977 taking bits from '64 and '65 concerts, the resulting LP was remarkable, far better than anyone would have imagined given the recording circumstances. Guaranteed to make you smile. At Garage we have both a rip of the vinyl LP, as well as the bootleg Yellow Dog release of the Complete Hollywood Bowl Concerts. Give a listen.

Beatles Remasters

2009-10-03T16:15:00.003+07:00

Both the mono and stereo versions of the new Beatles Remasters collections grace the Garage music library. I haven't listened to all of it or compared it to the better earlier masterings (e.g. the Japanese Abbey Road), but what I've heard sounds quite fine. MIA is the Live at Hollywood Bowl album -- still no CD release at all much to my dismay.

Tone Audio gives an audiophile perspective:

The Beatles Stereo and mono box sets
EMI/Capitol , CD
Beatles’ box in stereo and mono…

Please Please Me: The Beatles Remasters

TONEAudio Exclusive by: Bob Gendron

The cost of owning a good-sounding Beatles record just got significantly cheaper. Arriving 22 years after the band’s catalog was originally issued on compact disc, Capitol’s long-awaited remasters of the Fab Four’s 12 studio albums, Magical Mystery Tour, and the Past Masters collections—as well as the label’s limited-edition Beatles in Mono box set, comprising 10 studio records in their original mono mixes plus the Past Masters set—sound, as a whole, uniformly fantastic. It’s clear that the team of engineers responsible for the four-year project ensured that the world’s most important and famous pop catalog finally received the care it’s always deserved no matter what mix is heard. While hardcore fans will want both the mono and stereo editions, the general populace is almost guaranteed to be content with the widely available stereo versions. Not that everyone will be happy. All accomplishments aside, it’s a foregone conclusion that no matter what the results indicate, certain parties will complain, criticize, and nitpick. Those curmudgeonly detractors and obsessive freaks are better off waiting for the second coming of Christ; rumor is that the payoff will be a lot better.

For the majority of listeners, however, any temptation to spend hundreds of dollars on rare vinyl pressings should erode as they become acclimated to what often resembles hearing familiar records for the very first time. Such are the near-miraculous improvements in the key areas of information retrieval, hidden details, palpable physicality, expanded midrange, transient presence, and frequency response. As expected, the mono and stereo editions have their share of positives and negatives. Yet the benefits of the mono mixes reign supreme through Revolver, no surprise given that original producer George Martin intended for the Beatles’ records to be enjoyed in mono. With Sgt. Pepper’s Lonely Hearts Club Band, the tide begins to turn, yet efforts like The Beatles (a.k.a. The White Album) remain toss-ups for myriad reasons.

There will be little debate surrounding what box set received the superior packaging. Collecting a total of 13 discs in a plain and compact white box, The Beatles in Mono presents each album in replica mini-LP jackets that feature faithful reproductions of the original artwork, labels, and inserts. Protective plastic sleeves shroud the discs, and a re-sealable plastic cover slips over the glossy mini-vinyl CD holders. A booklet containing rare photos and copious notes by Kevin Howlett rounds out the rather economical and practical bundle. By contrast, The Beatles In Stereo set is housed in a shoebox-sized box that opens up to reveal two stacks of digipak CDs. (Unlike their mono counterparts, the stereo discs are available individually.) Enthusiasts should note that the discs slide in and out of the digipaks without any extra padding or protection. Still, the classy packages conform to the original vinyl artwork and contain archival photos, recording notes, and historical notes—but lack inserts and faithful gatefold replication. Each disc also comes embedded with a QuickTime mini-documentary about the respective album. Curiously, the set lacks an accompanying booklet. Not that it matters much.

What does matter, of course, is the sound. And it’s largely excellent, improving in accordance with time, parallel to advances in recording technology and the band’s groundbreaking studio techniques. As previously mentioned, every Beatles album through The White Album was mixed with the purpose of being heard in mono. Capitol’s remasters mark the initial occasion of Please Please Me, With the Beatles, A Hard Day’s Night, and Beatles for Sale being available on disc in a stereo mix; the converse is true for Help!, Rubber Soul, Revolver, Sgt. Pepper’s Lonely Hearts Club Band, Magical Mystery Tour, and The Beatles. Finally, the mono editions of Help! and Rubber Soul also include the original stereo mix, which makes comparison listening that much easier.

Continued here.

Now Playing at the Garage

2009-09-20T16:04:00.006+07:00

While the band is back in the studio, there comes this release from Britain featuring some new mixes and live material. The live material really shines -- the new material rocks much harder than in the studio release -- and makes one wish for a whole live cd from the band.

Also new in the Garage music library, a whole bunch of 60's garage rock from the Pebbles and Back From the Grave sets. Now at the Garage!

Tonight's the Night

2009-09-18T08:23:00.002+07:00

After a "preview" opening for friends whose mobile numbers I could find last night -- which was packed and great fun -- we open for real tonight. Hope to see you all!

Garage Door Opening Soon

2009-09-09T22:47:00.004+07:00

We are just a few days or a week away from opening the new bar "Garage". After lazing about for 21 months, it's quite a shock to the system to be up at 6am to work with the finest construction team Phnom Penh has to offer (ahem). But despite the predictable frustrations it's all coming together fine. I'm thrilled with the staff we've recruited, the space looks good and friends have been excited by the prospect of the new hangout. Ezecom's internet connection seems quite fast. You know the music will be great and we have so simple but appealing ways in the works to satisfy your hunger (and keep you drinking). In a couple words, I'm stoked. Hope to see you all soon.

Jek's Back: Coming in September

2009-08-25T09:47:00.003+07:00

I've waited, you've waited -- several of you anyway -- and finally I will have the bar I wanted to do in Phnom Penh. It's been 21 months since I let go of Jungle but as of September 1 my friend Brunt and I will be leasing the space heretofore occupied by Cloud Nine on Street 110, three doors from the river (where Riverhouse Lounge is), directly across the street from Reggae Bar.

It will, surprise surprise, be a music focused bar. There is space for a kitchen upstairs but that, if we decide to implement the food option, will wait on Brunt's return from the states in a couple months. For the bar, it shouldn't take too long to get it into shape, I'm guessing mid-September.

Name TBD. But you'll know it by the banana. Congratulations to me.

From the Post: Bargirls 15 Barang Suitors 1

2009-08-23T16:28:00.002+07:00

Undercover expat plies the Penh's underworld
Wednesday, 19 August 2009 15:00 Christopher Shay

PHNOM Penh's private eye points to a bar girl and then to a man in white button-up shirt a few seats away and tells me he's sleeping with her. He's certain.

The man has been hunched over his drink since we arrived at the bar, hardly acknowledging the woman. How does he know? "I've looked into it," he said, declining to elaborate further.

Moments later, the bar girl comes up to the detective and playfully hits him on the shoulder. With a little sweet talk and a friendly smile, it doesn't take long for the private investigator (PI) to make her spill the beans.

She tells him the man in the white shirt is a "special friend" - confirming the PI's story - but the woman denies she'll sleep with him again tonight. The girly bar gumshoe doesn't believe her.

At the end of the night, we watch the man walks upstairs - the same floor as the woman's bedroom. The Khmer Private Eye was right, again. Felipe Ylan Cordell, one of three names the detective goes by, started private detective work only about four months ago and says he has finished 16 cases. But he says he has yet to be surprised.

"The core of my business is from old, unmarried foreign men who have fallen in love with a Khmer girl who may be living a double life," he said. Of the sixteen cases, Cordell has only found one case of a target remaining faithful.
"Bad odds for foreigners," he said.

To help with his investigation, Cordell has an array of Bond-film gadgets, including a pen with a tiny camera that can record sounds and video from 15 metres away. He can even monitor and control someone else's mobile phone.

He makes his client give the target a mobile phone with special software that allows an outside user to read texts and listen to a person's calls. "When their phones ring, my phone rings," he said. "The cell phone is the most amazing weapon for surveillance."

So long as the phone's on, he says, he can turn it into a listening device, transforming his mark's phone into a bug.

The detective also employs a motodop and two tuk-tuk drivers to follow people, helping him discreetly follow a target. "The surveillance isn't always me. I have eyes everywhere," he said.

But the best source, he says, doesn't involve fancy technology or motodops waiting in the shadows. Often, the targets themselves tell him they're cheating.

"As soon as they know I'm not a potential client, they boast about it. They laugh about it," he said. Cordell doesn't limit himself to investigating women, though. Sometimes the bar girls hire him.

One woman - a bar girl before her boyfriend told her stop working - rang up Cordell and asked for help. Her Australian boyfriend told her they had to stop seeing each other for a month because his wife was visiting.

"She knew about the wife and was fine with it, but she suspected the boyfriend was just using it as an excuse to visit other bar girls," he said.

But the woman did not have the money to pay for Cordell's detective work, so she somehow extracted the money from her boyfriend, he said. "It's my favourite case because the man paid for his own investigation," Cordell said. "It was especially satisfying because he was guilty."

Thinking about the case brings a smile to his face. Though he has never been in physical danger in his job, he says there's an adrenaline rush.

"I'm getting a buzz from the business," he said.

He says that he has never felt particularly guilty about snooping on people's private lives, though he refuses to investigate a case if the couple have children because he doesn't want to break up families.

"But if I decide to take a case on," he said, "then I've decided to do objectively," adding "I don't judge who's in the right or who's in the wrong."The bar girl comes back to our table with another round of beers and pokes Cordell in the back, challenging him to a game of pool. Professional distance?

He tells me he normally doesn't get involved with the target. When he's working, he makes it clear that he's not interested in any of the girls. Except once, when he took a target home.

"The sponsor wanted to know, would she cheat? Would she go home with a customer?" he said. "Apparently she makes a lot of money - even more than a detective," he added.

Cordell charges US$300 plus expenses - which usually just consists of a few drinks - for a three-day investigation. He says he's expanding his business to include more serious investigative work, and that he's even training another full-time PI to help.

"I see my company as one day being outside help for those companies that have the contacts and need someone to take an investigation further," he said.

But he added that he doesn't see a shortage of work from the bars anytime soon "so long as 50- or 60-year-old obese foreign men are bedding gorgeous 20-year-olds".

Trịnh Công Sơn : Người con gái Việt Nam

2009-07-24T14:47:00.008+07:00

At times I am amazed what's on the internet, at times just the opposite. Occasionally one has to take things into one's own hands. Just as no one had posted Dominic Behan's original version of "The Patriot Game", which I then did, similarly Trịnh Công Sơn's wonderful "Người con gái Việt Nam" is all over the internet as sung (beautifully) by Khanh Ly (1969), but not by the composer himself. So here it is. Thanks to Jason Gibbs for giving me this long ago. Lots of tape hiss but hey, this is rare stuff. From "The Basement Tapes" of the Bob Dylan of Vietnam:

Người con gái Việt Nam
Trịnh Công Sơn, 1965

Người con gái Việt Nam da vàng
Yêu quê hương như yêu đồng lúa chín
Người con gái Việt Nam da vàng
Yêu quê hương nước mắt lưng giòng

Người con gái Việt Nam da vàng
Yêu quê hương nên yêu người yếu kém
Người con gái ngồi mơ thanh bình
Yêu quê hương như đã yêu mình

Em chưa biết quê hương thanh bình
Em chưa thấy xưa kia Việt Nam
Em chưa hát ca dao một lần
Em chỉ có con tim căm hờn

Người con gái một hôm qua làng
Đi trong đêm đêm vang ầm tiếng súng
Người con gái chợt ôm tim mình
Trên da thơm, vết máu loang dần

Người con gái Việt Nam da vàng
Mang giấc mơ quê hương lìa kiếp sống
Người con gái Việt Nam da vàng
Yêu quê hương nay đã không còn

Ôi cái chết đau thương vô tình
Ôi đất nước u mê ngàn năm
Em đã đến quê hương một mình
Riêng tôi vẫn âu lo đi tìm.

American Richard Fuller sings the song as:

Girl, so young, with skin like gold,
Home you love like fields of grain,
Girl, so young, with skin like gold,
On your face fall tears like rain.

Girl, so young, with skin like gold,
Home you love, so do love the weak.
Seated there in dreams of peace,
Proud of home as of your womanhood.

You've never known our land in peace.
You've never known Olden Viet Nam.
You've never sung our village songs.
All you have is an angry heart.

Passing by the village gate,
In the night with guns booming low,
Girl so young, you clutch your heart.
On soft skin a bleeding wound grows.

Girl, so young, with skin like gold,
Home you love like fields of grain,
Girl, so young, with skin like gold,
You love home which is no more.

O! Unfeeling and heartless death.
Dark our land a thousand years.
Home, my sister, you've come alone.
And I, alone, still search for you.

Girl, so young, with skin like gold

Jason Gibbs talks about the current state of Vietnamese music in an interview here.