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http://laist.com/2009/06/19/laist_interview_wilco_guitartist_ne_1.php >Now that you're a part of the band, has anything changed in terms of your personal music or your approach to music? Do you see yourself changing the way you play? Well, let's see. Wow. Tough question to answer succinctly. I'll have to say yeah, there's a lot of things I'm working on musically that are apropos to Wilco's palate that I'd like to get better at. One of those things is a more country influenced style. But also, in terms of playing my own music, it's always difficult to [find a balance]. I don't work as mu

>I had no idea they were broken up..... Were these the guys who announced at the Grammies that they were reuniting, as if George and Ringo were going to record and tour together again?

Guy starts a dance party at the Sasquatch Festival. Let it play out. The third guy deserves some credit.

>I'm not sure why he played since Max was there. They generally have been sharing time at shows when Max is available. During the US leg of the tour, the band had been preparing for Jay taking over behind the drums when Max would have take time off for his gig with Conan. They split time at most of those shows. Jay played all the shows himself in Europe. I guess with Max available at Bonnaroo he could have played it himself, but they split it, maybe figuring Jay will return full time over the next few weeks.

That Louisville Eyes might be my favorite piece of recorded Grateful Dead music. It was one of my earliest tapes and one I listened to a million times. I love those percussive breaks from the '74 Eyes. I wonder when and why they stopped them.

>Of course, if they really wanted to make me pee my pants, John could drop a Phil-bomb into The Other One coming out of the "noise" at the end of Handshake Drugs. That would be pretty rad. But I'm not sure Wilco has that in them. Yes. Some of their noise outros would make for a perfect segue into another song.

You make too much sense for this thread, Mr. John Smith. Well said.

>Just to nitpick: The GD did not play "St. Stephen" at those Warlocks shows in '89. Sorry to douche up the thread even more.... My bad. Make that MSG '83. I deserve that one. Not that this setlist sub-issue has gained any traction in this thread.

>Anyone ever been at a show where there are a bunch of fuckheads talking about setlists? Don't get me wrong, I check setlists from time to time, and I'm glad people take the time to write them down, but I'm talking about people that have past setlists memorized and say shit like "man, they haven't played this since 9/17/06". Like it's cool that you took the time to memorize that. It always seems to me like they specifically remembered the last time a band played a certain song and then went to every show waiting for them to play it just so they could say that. fuckheads. I completely disa

>Tough crowd. Tell me about it. You'd think we're talking about Spin here, the People magazine of music. Paste is not that bad of a mag. It might not be the music version of the New Yorker, but it usually has a handful of decent articles and covered up-and-coming bands. Maybe it will have better luck being online only.

>It is a good album, but not great by any stretch of the imagination. As always, your average musician would kill to put out an album this good, but Dylan ain't an average musician. That's very well said and could probably (though won't) be the last word.

X5 Free Jazz Sampler: 1. Boplicity - Miles Davis 2. Mama. Come Home - Ella Fitzgerald 3. Mad About The Boy - Dinah Washington 4. It Might As Well Be Spring - Charles Mingus 5. Georgia On My Mind - Gene Krupa http://www.amazon.com/X5-Free-Sampler-Jazz...RGSP0MQBV748QCT Clapton-Winwood "Forever Man/Little Wing" live from MSG: http://www.amazon.com/gp/product/B00261EW9..._rd_i=307026011

The reviewer at allaboutjazz.com raves about the new record: http://www.allaboutjazz.com/php/article.php?id=32788 >Let's put it out here right up front and not pussyfoot around: Together Through Life is one of the finest discs in singer/guitarist Bob Dylan's 40-plus album discography. It's up there with other benchmark Columbia releases like the groundbreaking Highway 61 Revisited (1965), Blonde On Blonde (1966), John Wesley Harding(1967), the underrated New Morning (1970), Blood On The Tracks (1975)

Steve Earle's new record of Townes Van Zandt covers is $2.99 today: http://www.amazon.com/Townes/dp/B0028EYE1M..._rd_i=163856011 The NY Times also has an article on Steve and the new record: http://www.nytimes.com/2009/05/10/arts/mus...ml?_r=2&hpw

Wolfgang's Vault now has the Ash Grove Tapes available for streaming and downloading: http://theashgrove.wordpress.com/ Here's how the founder of Ash Grove describes it: From Ed Pearl, Founder of the Ash Grove, July 11, 1958 through November 11, 1973 The Ash Grove Tapes During the 15+ year span of the original Ash Grove we not often enough taped performances, mostly of great traditional artists brought from whence the music was born and bred. Hundreds, from Bill Monroe and Lightning Hopkins to Johnny Cash and Muddy Waters. The

British Steel was a big album for me in grade school and junior high. I may have had Krokus Headhunter on the other side of the tape (Maxell XLII-S, if I remember correcty). I was good with Priest through Screaming For Vengenace, tolerated Defenders of the Faith, and jumped off the bandwagon with Turbo.

I'm glad someone else liked this show. I seem to have had the exact opposite thoughts of this show than many VCers, most of whom have the same comments as remphish1. I thought the venue and the sound were outstanding. I liked that the place was wide rather than deep, so you could be close to the stage from nearly anywhere you stood. There were multiple bars and multiple levels that allowed for many great viewing points. It may have been crowded, but I had no problem walking around and found a great spot at a back bar near where the horns played. What I also liked about it was how small

He was great. Hot Stuff is a great movie from my childhood.

The misstep of Outlaw Pete as the opening track will be discussed for decades. At best it should be buried in the 6 to 8 slot, without the expectations of the opening track. It says a lot that he is not opening the show with a new tune (like The Rising or Radio Nowhere) and only playing 3 or 4 new songs a night. He'd jam 6 or 7 Magic songs at us, whether they worked or not. Remember Devil's Arcade or Gypsy Biker?

It's still the best-selling debut album of all time. At least it was at one time. I can't hear two notes of any of their songs without reaching for the radio knob.

>wienberg's kid is the shit. his drum fills are total rock and roll! >i also sat behind the stage by the new keyboard dude. some one needs to tell that dude to focus on the keys and not trying to get the crowd to stand up. he just acted like a cheesy cheerleader the whole time and hardly played an notes on the keys. if bruce only knew! >fyi-my opinion of working on a dream as changed a bit. it's about half good. listening to magic, one can see that bruce was really scraping the bottom for some of the dream tunes. I absolutely agree with all of that. Funny you say that about th

I was there last night. Very nice show. I forgot how intimate the Spectrum is for a show. That place is tiny. There is only 4 rows in the upper deck. It has an old Boston Garden feel to it. I was behind the stage behind the new keyboard player and was about 20 feet from the stage with no obstructions. Great vantagepoint to see the crowd looking at the stage. The band sounded great. Yes, I would have liked to hear a few more new tunes (and not have heard Outlaw Pete), because Working and Kingdom of Days sounded terrific. And Max's son Jay filled in nicely on the drums. The kid is 18 a

>We ended up late night at The Maple Leaf Bar, where the Dirty Dozen Brass Band had us sweatin' out the funk, the Abita was cold, and there was a crawfish boil outside. Where else can you have cold beer and crawfish at 4AM on the sidewalk?! Very nice.

Has anyone heard the DVD that accompanies the cd in the Deluxe Edition? That's some shout-out to Carole King. http://www.amazon.com/exec/obidos/ASIN/B00...argeheartedb-20

>Anyone have a favorite piece of space? Almost all of the spaces from the September 1990 MSG run are exceptional. They were not the typical spaces, but a means to "explore" in a variety of combos with Vince Welnick and Bruce Hornsby, who had just began playing with the band. It all led up to a stellar Dark Star on 9/20/90.