Shug

Re: Fall 79 and Shakedown Street: try New Haven 10-25-79 http://archive.org/details/gd1979-10-25.sbd-set2.goodwin.4627.sbefail.shnf I agree about Fall 79 and the Scarlet>Fire from 11-1-79. I'm not sure the name of that electric keyboard that Brent is going off on, but it sounds SO GREAT!

I skipped Shoreline in June 1990 to see Cal Expo instead. Cal Expo got some really good shows for years, better than Shoreline, IMO, but this is the run where I made the wrong call, should've gone to Shoreline instead.

Yeah, that was my first thought, too. I'll bet the folks who made this watched a lot of Sid and Marty Croft as kids.

Its interesting (but not really surprising) how different folks can have such different perspectives on the same shows. I feel the opposite as you, but I can easily understand why you liked this show. I really liked the Tempe show but I was kinda bored at this one. I think it has to do with me seeing them too many times this tour (two nights at Ryman, two at Red Rocks, LA Theater, San Diego, Tempe) and me finally getting bored hearing the same songs over and over and over. Jeff was talkative, but I didn't think the band were really that into this show compared to others I've seen this tour.

I like when the cat-driven robot who comes out of the fire/sun gives the traditional heavy metal "devil horns" salute. This weird video made listening to Sunloathe more enjoyable for me.

Thanks, man! I'll report back tomorrow...

yeah, I'm getting ready to head down to Tucson in a couple hours and I'd like to know what they played last night. I'm hoping to hear Wishful Thinking tonight.

"...to go back to the bar and drink some Old Crow, I kept on my smoking jacket, she took off my romeos.." Just reminded me of this song. Now back to the Stones thread!

All mine have already been mentioned. Its clear people here love Sticky Fingers, Exile and Let It Bleed and I agree. Nice to see Saint Of Me pop up, I do like Bridges To Bablyon, especially Keef's Thief In The Night and How Can I Stop. My faves: Tumblin' Dice Honky Tonk Women Lovin' Cup Can't You Hear Me Knockin' Brown Sugar Before They Make Me Run Gimme Shelter Sway All Down The Line Moonlight Mile How can I leave out: Dead Flowers Sweet Virginia Rocks Off Salt Of The Earth You Got The Silver Midnight Rambler (live in '69) Wild Horses You Can't Always Get What You Want And if covers

The Mother Hips The Mother Hips - Third Floor Story from HearYa.com on Vimeo.

If you have any inclination towards mainstream mid 70s smooth rock, Fleetwood Mac and Rumours are incredible headphone albums because of the way you can hear the spatial arrangement of the instruments, totally distinct from one another and each in a very specific place. Often the drums sound front and center with the other instruments in a semi circle behind the drums. Those engineers were fucking brilliant. (Keith Olsen and Richard Dashut and Ken Calliat). Even if you think you are burned out on these from too much radio play, a good loud listen on headphones might give you a renewed app

I went to all three. Aside from how they are doing on studio recordings, the second half of 2012 has been incredible for their live show. The Spontaneous Curation series (online voting for openers, twitter for encore requests, and a general approach of fewer repeats and digging deep in the song list for rarities to please the hardcore fans) has resulted in some great great shows, but more than that, they are just on fire performance-wise, playing with tons of passion and energy, which is really what makes them so great live. As for the covers, they did many of the same ones in LA as they d

Not heresey to me. I love Hollywood Town Hall and Tomorrow The Green Grass but the stuff Louris did after Olson left, especially Sound Of Lies, was pretty fantastic to my ears. I think Rainy Day Music is a perfect Jayhawks album, blending all facets of their sound over the years into one cohesive style. And, as sad as I am to feel this way, I think Mark Olson's return has ruined The Jayhawks. I seriously hate that new record and for me, its just unlistenable. I don't know what happened to Olson's music since 1994, but I just cannot stand it. The Louris Olson shows, to my ears, were not

Here's another really good Big Railroad Blues 10-15-83 http://archive.org/details/gd1983-10-15.mtx.seamons.99326.sbeok.flac16 Garcia solos and solos on this one, he doesn't wanna quit!

I love Big Railroad Blues, too. Any short fast Garcia rocker was something I always wished for (Might As Well, etc). Try the really good one from Worcester 4-7-88 http://archive.org/d...63.sbeok.flac16 Garcia kicks into a second go around on the solo and the crowd really responds. A short moment of brilliance from the Dead! "...we could be brilliant...for seconds on end!" Goes into a pretty good Around and Around, even though Bob flubs the ending. He wanted to keep going and the band thought it was the end.

I was just listening to Without A Net and the Branford Marsalis Eyes of The World, so nice! I was thinking about how good it would've sounded if they'd brought back the minor key/major key jam they used to do on that song in '73 and played that with Branford. How about Branford on a Supplication jam? Gotta go back and listen to what he did with Slipknot, too. http://archive.org/details/gd1991-09-10.mtx.amdig.gems.98132.flac16 Nice 'n spacey Slipknot with Branford and I think Bruce Hornsby, too.

Two nights of My Morning Jacket in December there should be excellent. It'd be great to have the Allman Brothers Band in there, too.

I doubt there are any artists around today who will be regarded as highly as Dylan and Neil Young, and few who will still be garnering interest when they are in their 60s if that even happens. I don't think a musical treasure trove time like the 60s and 70s will come around again for a long long time.

Johnny Cash - American Recordings

Bob Dylan - Time Out Of Mind I thought he was all washed up after the run of Empire Burlesque (1985) through World Gone Wrong (1993) [with the exception of the quite good Oh Mercy (1989) in the middle of that run of relatively unispired stuff) and then in 1997 Time Out Of Mind came out and halle-fucking-lujah, Dylan's back!!! with a work that to me rivals the best stuff he ever did.

I agree, that place looks sweet! It looks like it will rival the Fillmore in SF. I'm trying to get a sense of how high the stage is from the GA standing floor up front. In that picture in part one of the interview, it looks pretty low.

My impression is that the arty, obtuse, stream of consciousness, disonant sort of Wilco song is many fans' favorite and some of them don't want to hear any straightforward songs like What Light or Open Mind at all. I like that arty style too, but I also really love a straight forward sincere lyric coupled with a simple yet effective and pretty melody, which is how What Light sounds like to me. I get what you mean, Wilco Me, well said, but What Light sounds to me like Tweedy's version of a simple folk song and I think its great. I love it that Tweedy is adept at a writing (and Wilco is adept

I forgot to mention the Curtis Mayfield cover Move On Up with John Oates sitting in. Didn't know he could play lead guitar, its was out of left field, but kinda cool. Likewise, elephantstone! So much commotion and so many people to hang out with at the tailgate party and the show. Next time I hope we get to sit down and have a bourbon and a chat. Can hardly believe I get to see em three nights in LA next month, too and then one last Wilco show in 2012 in Tucson. Its been a damn good year for live music for me!

Thanks, Vacant! Think I'll pick up a couple of those.

Red Rocks weekend: 2.75 hours the first night 3.5 hours the second night. No repeats, epic long shows, band on fire, friendly forum fans hanging out at hotel and tailgate parties, early entry for fan club folks... I think you could say it was a good time! covers included Isn't It A Pity, It Makes No Difference, Oh Sweet Nuthin', and Rock The Casbah. And they just announced three nights at the (newly reopened?) Capitol Theater in Port Chester, NY for you East Coast folk.