dmait

>I was instantly transported back to 5th grade when I first got the "Gold & Platinum" album. I still dig it. That was a big album at our high school parties. I'm pretty sure I still have the LP (actually a double LP if I remember correctly).

**The new Willie and the Wheel for $3: http://www.amazon.com/Willie-And-The-Wheel...24&sr=103-1 **Free four-song Stax sampler: 1. The Walkin' Blues - Lightnin' Hopkins 2. Wonderful - Isaac Hayes 3. Driving Wheel - Albert King 4. Buns O' Plenty - Isaac Hayes http://www.amazon.com/Stax-Sampler-for-Ama..._rd_i=163856011

Free Chess Records sampler: 1. You Shook Me - Muddy Waters 2. I'd Rather Go Blind - Etta James 3. Sitting On Top Of The World - Howlin' Wolf http://www.amazon.com/Chess-Records-Black-..._19690_11418270

>the 52 reissue is the greatest guitar ever. Any links to the '52 reissue? A friend just bought one.

>It is also believed that not all the musicians on the new release are from Dylan

Grateful Dead's Wake of the Flood is $1.99: http://www.amazon.com/Wake-Of-The-Flood/dp..._rd_i=163856011

The Nashville City Paper has an article on the band: http://www.nashvillecitypaper.com/news.php?viewStory=66099

>I really can't get enough 1973 Grateful Dead music. I'll second that.

>i actually hope nels really plays a big role in arrangement this time. he is an untapped treasure in wilco and not just a sideman. given his new release, the new album could be utterly amazing if they let nels go off on tweedy's basic songs. Agreed.

Current list of free mp3s on Amazon: http://www.amazon.com/Free-Songs-Music/b?i...;node=334897011

Free track of Seven-Mile Island on Amazon: http://www.amazon.com/Seven-Mile-Island/dp...3BPWEH6XK96YKNC

>but Robertson would be in no shape to perform anywhere. Didn't he play at Clapton's Crossroads concert last year, I think in Chicago?

>My 14-year old son is a prime example. He is exploring my cd/record collection We're not too far away from a time when our kids will click through our mp3 collections, without LPs, cds, etc.

>I loved Dylan's writings in Chronicles about the experience of recording that album. That whole section on New Orleans is my favorite part of the book.

>Time Out of Mind is quickly rising high on my list these days. I always had a little trouble getting into it just purely because of his age, or I should say, the age of his voice, but now that i've grown to love his singing as an old man, this album is getting a ton of play. I love Trying To Get To Heaven. Among my favorite of his tunes. period. Yes, Trying to Get to Heaven is incredible and ranks among anything he has written. I'd add Standing in the Doorway, as well. I've seen some incredible live versions of it.

>It was with a shrug that they broke into The Weight that night. It was amazing because all the people who worked there, it caught totally by surprise. They dropped what they were doing and rushed to watch. A few of the musicians afterwards said that it had been about 15 years since he had played the song life. That must have been something. Though it will never happen, it would be great if he and Robbie would bury the hatchet and have Robbie perform at a ramble.

>do they play instruments live? I read a Rolling Stone article on them this summer, just to find out what the big hubbub was about them. They had just sold out two nights at MSG (which bothered the hell out of me - bands spend their entire careers with aspirations of playing MSG, and these 14 year olds sell out 2 nights?) and my brother had just spent a few hundred dollars on tickets for his daughters. One of the brothers writes all of the music and lyrics. The music might be horribly trite, but I give anyone credit for writing and performing their own songs in these days of American I

I heard "The Man In Me" on the radio on the way to work today. Great song. If you want to dig deeper than BOTT, try New Morning (1970), Planet Waves (1974), and Desire (1976) to see what else he was doing in the '70s. >i've never liked Ballad of a thin man Try the version on Live 1966: http://www.bobdylan.com/#/music/live-1966 >It's very common for zealot music fans (I mean that in a good way) to like the non obvious albums. Like Pearl Jam fans liking No Code the best or how many Zep fans like "Presence" the best. It's because they have put the time in and found the nuance. T

>That's a pretty good interview. At least for Pitchfork. I thought that was one of the most revealing interviews Malkmus has given in some time. I must have read thirty of his interviews when he was pushing the release of the last Jicks album, and each one was just about the same. You could sense he was weary of yet another interview. He was growing tired of Pavement reunion questions.

I used to buy boots at Generation Records in the Village in NYC for $20 a cd. I think it's still around, selling boots for $25-30 a cd. You'd be surprised how many music fans who are well versed in the internet yet don't know about the torrent sites.

After years of missing Levon's rambles in Woodstock, I was lucky enough to see Levon about 15 minutes from my house. The Wellmont Theatre was recently reopened after a multi-million dollar restoration. It was built in the 1920s as a vaudeville theater, if I'm correct, but in the 1980s was turned into a movie triplex, with the screen in front of the stage and most of the period details covered over. It had been vacant for the last few years, before the new owners restored it to its original look. They did a tremendous job. It now looks like a mini-Beacon Theater, seating maybe 1500 people.

>I like crappy little bars with Evan Dando strumming an acoustic guitar. I haven't been able to take him seriously since he went on stage with the Smashing Pumpkins at Madison Square Garden during the Mellon Collie tour and did nothing but dance on a speaker during "1979" - no singing, no instrument, just dancing.

http://pitchfork.com/article/feature/14788...stephen-malkmus Pitchfork: So aside from maybe "Fillmore Jive" on Crooked Rain, Brighten the Corners is sort of the first place where you're stretching out in the songs, and playing longer solos. You've become more associated with that now, but what initially took you to that place, with a song like "Type Slowly"? SM: We were touring with Silkworm, and they were having some jam breakdowns, and I remember being like "Yeah, there's a place for that." It was already in the song structures as far back as Crooked Rain, and before that it was more of

Why does Coldplay dress like a modern-day version of Sgt. Peppers? That's a strange look.

That's an interesting take on '77-78, Mountain. I'd never thought of post-Egypt in those terms. My favorite period is '73-74 (which you could likely dissect into microperiods) because of the jazziness that Keith brought to the band, so I'll have to pay closer attention to the post-Egypt '78.