Steve Earle – Hickory, NC (xx/xx/82)

Steve Earle
The Fast Company Bar (now the First Avenue Club?)
Hickory, NC
1982-xx-xx

01 Let me up
02 Bad Moon Rising
03 Lucy D.
04 Who Do You Love
05 Nothing But You
06 I Fought the Law
07 Something Else
08 Honky Tonk Man
09 Call me if you need to
10 My Baby Worships Me
11 Shake, Rattle and Roll
12 Bad Moon Rising
13 Baby Who
14 Squeeze Me In
15 Before it’s too Late
16 Continental Trailways Blues
17 Nothing But You
18 In the Night
19 Call me if you need to
20 The Devil’s Right Hand
21 Cadillac
22 My Baby Worships Me
23 She’s a Rocker
24 I Fought the Law

Two sets recorded live with the Dukes of the time, Zip Gibson on bass (from Pasadena, Texas) and Jack “Bullet” Harris on drums (from Ft. Worth, Texas).

This is the earliest known Steve Earle live set to circulate.

Steve Earle – Mexican Demos (1974-1979)

Steve Earle
Mexican Demos
17 Track Version & 24 Track Version
1974-1979

24 track version

01 Mustang Wine
02 Juanita
03 We’re From Texas
04 Old Friends
05 Songs About Mexico
06 Honey On They Highway
07 The Mercenary Song
08 Darling Commit Me
09 I’ve Never Really Been In Love Before
10 Ben McCulloch
11 Daddy and Me Played Swing
12 A Country Song
13 We Look Back
14 Usual Time
15 If She Only Knew
16 A Far Cry From You
17 Drive Me Crazy
18 Blues Got the best of Me
19 Halfway Home
20 I Can’t Help It
21 I’m a Lover
22 I Love You Too Much
23 Hurtin Me, Hurtin You
24 Angel is The Devil

CD-R (unknown generation) -> EAC -> FLAC Front End (level 8)

Steve Earle
Mexican Demos – 17-track version
1974-76 (some say 1979)

01 The unrepentant *
02 CCKMP *
03 Angel Is The Devil
04 Hurtin’ Me, Hurtin’ You
05 Mustang Wine
06 Juanita
07 We’re From Texas
08 Tom Ames’ Prayer *
09 Old Friends
10 Songs About Mexico
11 Honey On The Highway
12 Mercenary Song
13 Darlin’Commit Me
14 Never Really Been In Love
15 Ben McCulloch
16 Daddy And Me Played Swing
17 A Country Song

  • not on Mexican Demos 24-track version

The “Mexico demos” are songwriter’s demos from 1974-76 (some say 1979), not artist’s demos from Earle’s recording career, which began about a decade later, and have never been officially released.

CD-R (unknown generation) -> EAC -> TLH (level 8)

Soundgarden – Oslo, Norway (03/23/94)

Soundgarden
The Sentrum
Oslo, Norway
March 23, 1994

01 Jesus Christ Pose
02 Spoonman
03 Let Me Drown
04 Mailman
05 The Day I Tried to Love
06 My Wave
07 Room a Thousand Years Wide
08 Black Hole Sun
09 Searching With My Good Eye Closed
10 Superunknown
11 Rusty Cage
12 Mind Riot
13 Fell on Black Days
14 Hands All Over
15 Kickstand
16 Like Suicide

17 Face Pollution
18 Head Down
19 Limo Wreck

Chris Cornell – vocals, guitar
Kim Thayil – guitar
Ben Shepherd – bass
Matt Cameron – drums

The Friday Night Horror Movie: The Entity (1982)

the entity

The Entity is a supernatural horror film that got lousy reviews upon its release and bombed at the box office. It was almost immediately overshadowed by Poltergeist which came out that same year and has now mostly been forgotten. But if you are a fan of things that go bump in the night and gnarly ghost stories then it is well worth checking out.

Carla Moran (Barbara Hershey) is a single mother of three kids who works all day and is taking classes at a secretarial school all night. She’s had a hard life, but she’s doing the best that she can. One night as she lies in bed she’s assaulted. She cannot see her attacker and when she is finally able to scream her teenage son Billy (David Labiosa) rushes in to find nobody in the room, nobody in the house, and all the doors and windows are locked. Perhaps it was just a terrible nightmare.

The next day she’s violently attacked again. This time her eyes are wide open and still she can see no one. The assailant is invisible. When the attack is over she loads the kids up and takes them to her friend’s apartment. She talks her into seeing a psychiatrist.

Dr. Sneiderman (Ron Silver) is incredibly kind. He never sneers at her claims of being raped by a poltergeist. He asks questions and responds. He doesn’t believe these supernatural occurrences really happened, but he never calls her crazy. He understands she believes they did. When she comes to his office covered in bruises, he asks a female nurse to come in while he takes a look at them. When he comes to her house to see the places in which she was attacked he repeatedly asks if it’s okay for him to come in (to the bathroom, her bedroom places of intimacy and privacy).

He believes her issues are deeply rooted in her psyche. Perhaps some childhood trauma. He wants to help. But the more they talk, the more he probes, the more violent the attacks seem to come.

She wants his help, but more than anything she wants him to believe her. When an attack happens at her friend Cindy’s (Margaret Blye) house Cindy’s belief in what is happening greatly moves Carla. At this, she begins pushing away from therapy and seeks the help of some parapsychologists. They take over her house with scientific equipment and eventually try to capture the Entity with specialty equipment.

The Entity is an odd mix of tone and a jumble of themes. Hershey and Silver are terrific as Carla and Dr. Sneiderman. I especially love those character details about Sneiderman. And Hershey portrays Carla with a great deal of empathy. Both go a little off the rails towards the end of the film, but that’s a script problem, not the actors. The best parts of the film are just them talking.

As you can probably see from this review some of the underlying themes of the film are about how women who make claims of assault are treated. The men in the film tend to not believe her, they make negative claims about her sanity. They objectify her or use her for their own purposes.

The worst part of the film is when she’s being attacked. There are a couple of really harsh assaults and even though we can’t see The Entity, his presence is felt. The scenes are meant to be uncomfortable and they are especially so as I was expecting something more along the lines of Poltergeist, not something so heavy.

From an audience perspective, we see that she is being attacked by some invisible force so all of the mystery of whether or not she’s just imagining it is sucked out of the room. The attacks are a blunt force. Almost immediately in the film, we witness her being attacked. Before we even get a picture of who she is, she’s being slung across the room. The film is relentless in that way. It isn’t a ghost story. There is no mystery. Perhaps that’s the point, it ties in better with how men tend to not believe women.

But it also wants to be a thriller, a scary horror film. And those two ideas – women are assaulted all the time and it is horrifying and they are rarely believed – and gee isn’t this an exciting horror film about ghosts and monsters attacking a woman seem to be at odds.

But there is enough here to like. Think of it as the opposite side of the Poltergeist coin and maybe you’ll enjoy what you see.

Awesome ’80s in April: Nighthawks (1981)

nightahwks

I was born in the late 1970s and so while I did grow up in the 1980s I didn’t really come of age until the early 1990s. So, the films that I watched during the 1980s were mostly kid stuff. In the years since I’ve watched most of the more popular and critically acclaimed films from that decade, but there are still tons of films I’ve missed.

I’ve said it many times before but one of the things I love about doing these little monthly movie themes is that I always discover films I’d never heard of before. Nighthawks did okay when it was first released but it seems to have been mostly forgotten, which is too bad because it’s pretty good.

I didn’t intend to watch so many Sylvester Stallone movies when I began the Awesome ’80s in April, but here I am four films deep and looking at some more to watch. Nighthawks was made fairly early in his career. Or I should say fairly soon after he found success with Rocky in 1976 (for he had been playing bit parts since 1969). He’s still clearly hungry and still trying to figure out just what kind of star he’s going to be.

It has some interesting behind-the-scenes production stories. Originally the film was written as the second sequel to The French Connection and it was going to be a buddy cop film with someone like Richard Pryor playing off of Gene Hackman’s Popeye Doyle character. But when Hackman declared he was done with the character they turned it into a stand-alone film.

The original director, Gary Nelson, was fired before he even really got started – just one week into production. When the next director, Bruce Malmoth was delayed for a day, Stallone took on the director’s duties so as to not lose a day of shooting. That caused trouble with the guild and he was fined for it. Later both the studio and Stallone made substantial edits to the film when it did poorly at early screenings. Supposedly Stallone cut out several scenes that focused on Rutger Hauer’s character.

None of this really matters of course, what we wound up with is what we’ve got, and what we’ve got is pretty good.

Stallone stars as Sergeant Deke DaSilva of the New York Police Department. He, and his partner, Sergeant Matthew Fox (Billy Dee Williams) work undercover (the film begins with a wonderful scene in which Stallone dawns a dress and a plastic face mask posing as a little old lady trying to catch some purse snatchers). They are quickly pulled into a new, elite squad designed to catch an international terrorist known only as Wulfgar (Rutger Hauer in his first American role).

Wulfgar has just come to New York City. He’s on the run from his European financiers due to running afoul to their good graces. One of his bombs killed some kids and he shot one of their men whom he believed had led the police to his doorstep.

He’s trailed by English Police Inspector Hartman (Nigel Davenport) who recruits DaSilva and Fox into his elite squad. A long chunk in the middle of the film is all about Hartman training the cops on how to catch Wulfgar which basically amounts to them throwing out all their police training and being willing to break the rules and kill the man if they can. This section is rather tedious.

Eventually, it becomes a cat-and-mouse game between DaSilva and Wulfgar and that’s when the film is at its best. There is a good scene set inside a subway line, and a terrific one on a tramway car high above the ocean, headed towards Roosevelt Island.

It looks gorgeous too with some wonderful cinematography by James A. Cotner. Stallone and Hauer play their parts well. Overall it is a good little 1980s thriller and one worth seeking out. But there is a reason why it slipped into obscurity as it doesn’t do anything particularly special with pretty standard material.

Neil Young & Pearl Jam – The European Concerts, 1995

Neil Young & Pearl Jam
The European Concerts

(3cd) Liberated Boot
Lineage: silver cd’s -> EAC -> FLAC -> Dime -> You

Disc 1

01 Big Green Country
02 Song X
03 Act Of Love
04 Downtown
05 Mr.Soul
06 Scenery
07 Comes A Time
08 The Needle And The Damage Done
09 Don’t Let It Bring You Down
10 Mother Earth
11 Broken Arrow
12 Hey Hey My My (out of the blue)

Disc 2

01 Throw Your Hatred Down
02 Cortez The Killer
03 Intro Of The Band
04 Powderfinger
05 Rocking In The Free World
06 Peace And Love
07 Like A Hurricane

Disc 3

01 I’m The Ocean
02 Rocking In The Free World
03 After The Goldrush
04 Down By The River
05 Fuckin’ Up

Disc 1 tracks 1-10: Pukkelpop Festival, Hasselt Belgium, 25th august 1995
Disc 1 tracks 11&12: Residentzplatz, Salzburg Austria, 18th august 1995
Disc 2 tracks 1-5:Pukkelpop Festival, Hasselt Belgium, 25th august 1995
Disc 2 tracks 6&7: Waldb¸hne Berlin, Germany, 14th august 1995
Disc 3 tracks 1&2: Residentzplatz, Salzburg Austria, 18th august 1995
Disc 3 track 3: Waldb¸hne Berlin, Germany, 14th august 1995
Disc 3 track 4: Sportouni Prague, Czech Republic, 16th august 1995
Disc 3 track 5: Gampel, Switzerland, 19th august 1995

The Cure – Torhout, Belgium (07/01/95)

the Cure
01.07.1995
Belgium, Torhout
Festivalweide

“Rock Torhout”

Setlist :
Mainset :
want
fascination street
a night like this
pictures of you
lullaby
just like heaven
trust
jupiter crash
high
the walk
let’s go to bed
a strange day
push
Friday I’m in love
inbetween days
from the edge of the deep green sea
shiver and shake
disintegration
end

Encore 1 :
a forest

Band :
Robert Smith, Simon Gallup, Jason Cooper, Perry Bamonte, Roger O’Donnell

Pink Floyd – Germersheim, Germany (05/21/72)

Pink Floyd
2nd British Rock Meeting Open Air Festival
Insel Grün
Germersheim, Germany
May 21st 1972

01 [16:07] Atom Heart Mother
02 [11:30] Set The Controls For The Heart Of The Sun
03 [08:31] One Of These Days
04 [11:03] Careful With That Axe, Eugene
05 [23:37] Echoes
06 [13:14] A Saucerful Of Secrets