BolivarBaLues

Yeah, that's funny. I have no affiliation with anyone you mentioned, and I am receiving no perks whatsoever. My only bias and/or motivation is that a) I'm from Knoxville and Jeff is a friend of mine and c) I wanted to turn some people on to some good music. Believe it or not, some people are genuinely enthusiastic about music and want to share it with others, no strings attached. I don't know why I wasted so much time on this post when people like you just want to be pricks about it.

My hometown, Knoxville, Tennessee, I think is one of the best-kept secrets in music. We have a thriving and vibrant rock scene, and it's been that way for much longer than I can remember, which dates back to my first club gig in 1985 at age 15. We've had our share of successes, such as power pop rockers Superdrag, former Supperdragger & V-Roy Mic Harrison, alt. country heroes The V-Roys, former V-Roy Scott Miller and his band The Commonwealth, metal dudes Ten Years and country rocker Robinella. For a city with a metro population of around 600,000, there's much more here than you would exp

Disc one. I think the superior version of "Outtasite Site" gives the edge to an otherwise even draw.

One of the many wonderful things about music is the way the listener individualizes the song. I've heard Tweedy comment on the role the listener plays in the process of making music, in that the cycle is not completed until the listener takes in the song and finds meaning in it for themselves. I've always imagined a "cherry ghost" as being a friendly ghost. Yeah, that's goofy as hell, but my head's stuck with that interpretation. Here's a lyric question: is the lyric in "Hummingbird" "loudest Manhattans," as I've seen on the web? I've always heard "lattice Manhattan," which makes even less

Excellent information! Thank you!

Fables Murmur Chronic Town (not really an album, but...)

I think these are the same people that as kids loved to declare "game's locked" during neighborhood whiffle ball games.

I know of the guy that wrote that article. Jesse Fox Mayshark is from my town and used to write for a local alternative weekly. He also participates regularly on a local message board. So reguarly that I wonder how he has any time to do his job or live a life outside of that stupid board. Anyway, my point is that I wouldn't take anything this guy has to say about music seriously. He's a good writer, but he's not a musician and admittely doesn't know shit about music. He has the musical taste of a 12-year-old girl. I'm serious. He regularly posts in a thread that lists what you've been listen

I agree with much of what Mr. Adams has to say in those posts (if this is indeed him, which it seems to be). Artists are typically very sensitive people, and it's obvious that he takes the criticism to heart. And I think he is unfairly criticized, and I tend to be suspect of the reason behind some of the hating. It seems that it has to be something deeper within the hater, something beyond the music that sets them off, which is just plain stupid. But here we have a talented, creative and prolific artist who seems to care what people think of his records, who wants his records to be out ther

Oh, I'm not looking for a new one right now, but I'm just curious in general about the necks of the newer Pauls. I wouldn't buy any of the newer Pauls I've played because of the skinny little frets. I'm sure there are exceptions amonst the numerous models, but you can't really tell unless you can get your hands on them. I don't know if this picture adequately illustrates what I'm talking about, but see how the frets on my Paul are wide and low? The newer Pauls I've played have frets that aren't as wide and are crowned, rather than flat. I guess different people like different frets, but I c

I agree that it does sound somewhat like "Love and Theft Pt. II," but that's not a bad thing. I don't think at this point that anyone's expecting Dylan to do anything groundbreaking, but his recent run of albums (dating back to Time Out Of Mind) may be his most consistent stretch since the 60s. And that's quite a feat. This promises to be a very good record.

That's a very good descriptor of this record. That's what I meant when said that A.M. has a recognizable mood, with ebbs and flows. To me, the best records manage to do this; they're more than just a collection of songs. Great records achieve as a whole something greater than the sum of its parts. I'd love to see a thread dedicated to favorite "3 A.M." records. I know that I have a few.

Thanks for the tunes! I'm beginning to have high hopes for this new record. Could you please post the date and location of the songs you put in that .zip file? Not all of the tunes have that info in the ID3 tags.

I'm with you. I got into Wilco shortly after this record was released. In terms of Wilco's output since, it's not their best record, but in terms of everything else at the time, it's a very good record. Not a "great" record, but a very good one. There's a definite mood to this record, with ebbs and flows, so it's very effective on that level. Maybe it's easy to downplay how good it really is because we now have the benefit of hearing what a great songwriter Tweedy would later become, but songs like "Dash 7" and "Blue-Eyed Soul" would have to rate as classic Wilco moments. And of course "Box Fu

Only four votes shy of overturning the veto. Let's here: the majority of the house, the majority of the senate and 60% of Americans (according to a poll on the news last night) in favor of passing this bill, yet it's rejected because King George says so? His whole presidency has been one big power grab in terms of executive powers. I just hope that someone with a little sense will step in next time and try to reel in some of these changes, but I fear that we'll be still smarting from the Bush adminstration's doings several terms down the road. What these neo-cons are calling "democracy" loo

Coltrane's Classic Quartet could swing like no others in 6/8. You can hear their influence in rock on things like the verse of the Allman's "Whipping Post." It seems like 3/4 is more common in rock and country, and 6/8 is more common in jazz, though there certainly are exceptions.

I saw him in Atlanta on the Tunnel of Love tour. Great show, but my only dissapointment was the fact that he did an acoustic version of "Born To Run." For fans of early Bruce (or anyone that loves good live rock), pick up the 30th Anniversary Born To Run set. It's worth it alone for the DVD of the 1975 Hammersmith Odeon performance. Words fail to describe the level of intensity at this show, but this stuff is just flat out transcendant. The "making of" Born To Run DVD is a real treat also, worth alone for the isolated Boom Carter drum track on the bridge of "Born To Run." The audio of the

I liked Syd Barrett's stone-faced and half-hearted attempt at miming the words to "Apples and Oranges" on American Banstand. Also, The Band's take on "Georgia On My Mind" on SNL was pretty remarkable. One of my favorite Richard Manuel moments.

Anyone own a recent model Les Paul? I've played several, and the neck to me just doesn't feel right. I have a '76 Deluxe, and the neck is just sweet. I like the wide, low frets, and these newer models that I've played all have smaller, higher frets. I just got a Musician's Friend catalog in the mail today, and there's just so many Les Paul models these days that I wouldn't know where to start if I wanted a new one. Does anyone know if any of the newer models more closely resemble the 70s-style necks?

Probably a gimme for your Chicagoans, but what is the building on the cover of YHF?

You can talk about anything you want to, pal. You're welcome to start your own thread anytime that you'd like.

"Jim Morrison is a drunken buffoon posing as a poet. Give me the Guess Who. They have the courage to BE drunken buffoons, which MAKES them poetic." - "Lester Bangs" in Almost Famous.

"Genius" is a term that I suspect is grossly overused, especially when it comes to musicians. But after purchasing and listening to The Pet Sounds Sessions box set, I was convinced that Brian Wilson is deserving of that label. Hearing Wilson conduct the band during the tracking sessions is a glimpse into the mind of a genius and visionary.

I was just reading the user reviews on Harmony Central and found one user's comment that I thought appropriate: My biggest complaint, however, was the volume. As someone who plays in the house rather than on the stage, I found that the amp was too loud to be really useful. I frequently ran it with just one output tube, which helped quite a bit. Even with one output tube pulled out however, the Pro Jr. was louder than my friend's vintage Vibrolux. So depending on your playing situation, this might be a 10, or it might be a 6. I think that a Vibrolux is about 40 watts (tube, of course).