That's precisely where you are wrong about the Dead, GasLightStreet. They sounded drastically different in different eras - not unlike the Brian Jones, Mick T, Ron Wood changes in sound. The Dead in 69, 72, 77, 89/90 are totally different. Some swear by 77 while others think back-up singer Donna ruins everything she touches. Others swear by the resurgence in 89/90 but howl at the plink-pl
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I bet that Dirty Work shirt is selling like hot cakes! It probably cost more to design the silk screen than they will make back off of sales of that clunker. T@3
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Was just listening to Brownsville Girl the other day as I revisited that era. Such a great tune, co-written by Sam Shepard. Knocked out Loaded and Empire Burlesque are far more interesting than Down in the Groove or Under the Red Sky. Those latter two feel like he recorded 'em in the 41 minutes it takes to listen to 'em. -- Though I do like Silvio. T@3
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But if you do that, then you can't stare at Mikaela Davis as she plays T@3
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Even if you think you hate the Grateful Dead, you've got to hear the two songs with harp accompaniment -- Bird Song and Ripple. Two incredibly gorgeous pieces of music. T@3
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Quoteexilestones QuoteGasLightStreet In regard to what could've been a better LP opener for GHS, what about Criss Cross? Probably too slow. But it has a great intro. Heartbreaker would've been the superior 'faster' opener. If Jumpin' Jack Flash had been used on BEGGARS it would've definitely opened the album. It should've. Keep in mind that back
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Quoteflairville Steel Wheels Tokyo 1990 From The Vault. I agree. This (I think) was edited for Flashpoint, right? T@3
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The Grateful Dead turn studio "turds" into live gold, and those versions can differ from night to night not just tour to tour. The Dead aren't everyone's cup of tea, but as Bill Graham famously said, "They aren't the best at what they do, they are the only ones who do what they do." I'll second Dylan as well. He changes the arrangements, sometimes the ly
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I find B2B is riskier and thus more interesting. Some might argue that it's trying to sound "contemporary" I like that over the "vintage" sound of VL. Same reason I like Undercover, it also takes some risks -- title track, Too Much Blood. T@3
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Quotejahisnotdead I hated Rock And A Hard Place when it first came out, but now I like it. I can't explain exactly why. The guitars are in your face, and there's a unique roll to it. It's one of the few Stones songs that I've changed my opinion on. I've always really enjoyed the "can you hit me one time...?" bit at the end of Satisfaction on this album. I thi
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Besides, it would be a bit difficult to airbrush out the bass player -- who's not "really' in the band. Tea@3
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Getting WHO has sent me back to the mid-period albums (By Numbers and Who Are You), along with PT's solo albums Empty Glass and Chinese Eyes. I've never been a Who aficionado, but I'm really appreciating the quality of PT's songwriting -- each song seems to have verse, bridge, AND some third section that turns the song on its ear. I will take the maturity and complexity of
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If going by simple number of spins, Undercover wins it by a country mile. I haven't spontaneously reached for Steel Wheels in years. Whereas Undercover has an aggressive streak that sounds more like the Stones. Steel Wheels is also marred by the clean and top-endy production several have already mentioned. Seems to take the balls out of it. T@3
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I like it. Definitely shares a guitar sound and vibe with Black and Blue era Stones. T@3
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Better than the last bunch of Neil albums by a longshot. Unfortunately, nothing has touched the last great records of the late 80s early 90s era Freedom, Ragged Glory, Arc/Weld, Sleeps with Angels, and even Mirror Ball. I keep waiting for the magic of those discs, but every single one after that leaves something to be desired, imho. T@3
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Hugs and kisses to you, babyblue! We almost lost our beloved Tashi last summer to a sudden illness. Thinking of you. T@3
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Just listened to it last night for the first time. Amazingly, complex, multi-faceted tunes. I can see why it didn't chart with the general public, though. Not an obvious single to market. It almost has a Goats Head Soup vibe to it. T@3
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This is an amazing series, like all Ken Burns, deep and thorough. I already love country music/Americana/alt country, and there are folks in here that I'm learning about that I hadn't really known before: Ernest Tubb, Jimmie Rodgers, Wanda Jackson. Hooked. T@3
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100 Years ago Winter If You Can't Rock Me IORR Fingerprint File Through the Lonely Nights Hand of Fate Whip Comes Down Imagination Respectable T@3
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Hank Williams, Honky Tonkin -- been watching Ken Burns T@3
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This record to me screams SUMMER! I first heard the title track blasting out of tape player on Bethany Beach. The whole record has a breezy feel. I pull it out every June when school is out. Not a classic but far from a disappointment. T@3
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Winter Down Home Girl Miss Amanda Jones Fingerprint File T@3
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Ironic innit, that a week ago we had a thread thanking BV for all he does, and now one complaining about one of his picture choices. You are a patient man, BV. Leadership means having to make loads of decisions and choices, some important and some not so much, but, rest assured, someone's got an opinion about every single one! Carry on in whatever way you wish. We are all eternally gra
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Indeed. Thank you BV. Order of operations in the morning: Start coffee pot. Check work emails, address only the most essential. Hold the rest. Check NY Times site for headlines. Check IORR If it's a touring year, IORR has been known to got to #2. If it's vacation, IORR can rise to #1. Many thanks and much love to BV! T@3
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my brother and I showed up to Chicago 1 in matching No Security tongue tees. T@3
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Open stadiums are the bomb - especially if there is good weather. Some of my favorite shows have been outdoors -- Philly, Foxboro, and recently Chicago #1. Saw them at Reliant in Houston, and the sound was atrocious, GA dome not much better. Outdoors, the sound doesn't ping around the concrete and roof as much. Never had the pleasure of a theatre, but No Security Tour DC #2 was best s
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I was like the rest of you and thought, "I really don't want to hear Miss You at Chicago #1," and then they played it, and it COOKED. Daryll has some of the best chops on the stage these days, and his solo was long and awesome. In fact, the two tunes I thought I could most do without were MY and HTW, and when both got cooking it got the crowd going, and it even got cynical me g
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Filstan, I was on that same Chess records tour at the 2:00 hour! Very cool. Agree with the review, the guitar sound was impressive. I felt like I could really hear Ronnie's contributions better than any show I had ever seen -- though my last show was Salt Lake City on the Bigger Bang tour. I do think Keith should hand off the solo on Sympathy or simply drop the song; that solo has bee
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Happy with any of them. Though, YGMR is the least inspiring as a choice.
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I almost pulled this out yesterday. It's been some time, but going from memory, it has a great mid-70s vibe. I think it was recorded around the same time as Black and Blue and has some similar guitar sounds on it. T@3
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