Who has threatened to throw someone off the forum? Perhaps I've misunderstood but it's certainly not me. And for the record, I'm honestly not trying to be picky with these suggestions, I've made them as kindly as I know how yet they're constantly misinterprated. I'm merely asking that folks extend what is normally considered a common courtesy towards fellow posters; nothing more, nothing less.

When everyone here signed up for this site they agreed to abide by the forum guidelines, the No. 1 of which just so happens to read: Please SEARCH the board before posting and use existing thread for similar topics. By the way, I'm not the only one to have pointed this out. Several of us have. If new members don't know how to use the Search function that's what the Help section is for. Myself and other members have also offered to help. I don't have a problem with folks quoting previous posts but why the entire post? If there's something to be addressed within a post, just quote the appropriate passage not the entire thing. Another misunderstanding. If someone thinks so and so artist is the "greatest", I have no problem with that. It's when it's stated as an unshakable fact that a certain artist is the greatest and there can be no other that bothers me. I stated time and time again in that particular thread that such things are only a matter of opinion, not fact. I'm not sure what's so hard to understand about that.

I used the Search option to look under "Other Bands / Music", entered "Doors" as the keyword and found the original thread right away. It's really not that difficult.

Not at all. Just showing eagle87 that it's not alll that hard to find threads for previously existing topics. It's more than obvious that he's not even making the effort. On some boards I frequent they would have already kicked his ass off by now for starting so many duplicate threads.

Here's the Doors thread, took me all of two minutes to find it: http://forums.ledzeppelin.com//index.php?s...ic=1281&hl=

A bit off topic but the Grateful Dead used to allow Deadheads to buy tickets ahead of time but you had to follow their instructions to the t or you wouldn't recieve your tix. If one thing was off, no tix. Well, we sent our money in but my now ex-sister-in-law wrote the check for a few cents too much. You guessed it, no tix.

Yes it is, I see plenty of 5 star type reviews for albums all of the time.

Is there any need to quote the entire post just to make that comment? I don't hate Hotel California but I could also go the rest of my life without hearing it ever again and be perfectly happy.

From The Sunday Times: http://entertainment.timesonline.co.uk/tol...icle3492137.ece Critics love albums that the public hates – and vice versa. It's a bout between Trouts and Bats Mark Edwards All right, it probably won't ever happen, but in the unlikely event that someone, one day, bets you a large amount of money that you won't be able to identify which person in a crowd of strangers is a music journalist - without asking them directly what they do for a living - here's how you win the bet. Go up to each person in turn and ask them to name their favourite Beatles track. The music journalist is the one who chooses Tomorrow Never Knows. You can be sure of two things. First, nobody who doesn't listen to music for a living will choose the final track on Revolver. An early pop gem such as I Wanna Hold Your Hand, perhaps, or a psychedelic masterpiece such as Strawberry Fields Forever, or a late-period sing- along such as Hey Jude, but not Tomorrow Never Knows. Second, the music critic has to say Tomorrow Never Knows. It's the law. If they choose Penny Lane or Let It Be, they'll be drummed out of the union. Like the rich, music journalists are different. Crucially, we hear music differently. Obviously, we shouldn't. In an ideal world, music critics would be a simple conduit between great music and the wider public. "Here you go," we should say, "you'll love this" - and you would love it. The truth is a little different. While there is a large amount of music that is loved by critics and embraced by the record-buying/downloading public, and a similar amount that is shunned by both, there are albums that are adored by critics, but firmly resisted by almost everyone else, and albums that sell shedloads despite being ravaged by every critic in the land. The former group is epitomised by Captain Beefheart's Trout Mask Replica, the latter by Bat out of Hell - so let's call them Trouts and Bats. There are different kinds of Trouts. Some are surely just about music critics showing off. Even if you admire the artistic intent behind Metal Machine Music, would you really want to listen to it? Then there are Trouts that are genuinely wonderful works, and critics shake their heads in sorrow that more people don't appreciate them, although we kind of understand why. Robert Wyatt typifies this group. Critics love him, but realise that his voice will strike most listeners as a bit odd on first hearing. In fact, "Wyatting" has gained currency as a term describing the act of playing a song on a pub jukebox that you know will unsettle and annoy other customers. Fortunately, as well as being a brilliant songwriter and singer, Wyatt is also a thoroughly nice chap, with a great sense of humour, and professes himself "honoured" by the association. You might think that music critics would give up on these Trouts as lost causes, but no. We dig in our heels because we know we're right. Van Morrison's Astral Weeks is one of the best albums ever made; nobody much bought it, but critics never shut up about it. Eventually, 33 years later, it finally went gold. Okay, a lot of those sales will have been to music journalists replacing yet another worn-out copy, but still. If Wyatt's voice or Morrison's masterpiece are far enough away from the musical mainstream to make their commercial limitations understandable, another batch of Trouts - wonderful pop music by Aimee Mann, Brendan Benson and one-non-hit-wonders Cardinal, masterful songwriting by John Hiatt or Randy Newman - seems to have all the necessary ingredients for commercial success, but never broke through beyond the "critically acclaimed" level. In part, this is explained by the importance of image in commercial success. Even in their younger days, Hiatt and Newman didn't carry themselves like pop stars, and while Mann gave it a go, she always looked uncomfortable in the role. Mainly, though, the discrepancy between Trouts and Bats is due to the fact that music critics are assessing music using different criteria than the rest of the world. Or, perhaps more accurately, we're using roughly the same criteria, but giving greater weight to some of them. Critics are particularly keen on authenticity, innovation, great lyrics and - most of all - a direct and identifiable connection between the emotions of the songwriter and the finished work. We're looking for the musical equivalent of a Jackson Pollock - it doesn't have to be pretty, but it must be genuine. If you take a look at the list of Bats, you'll note the almost complete absence of these qualities, in favour of attributes that critics often downweight – melody, entertainment value, immediacy, escapism, image. Of course, these lists are merely the extremes. There is an awful lot of shared ground. If you think of some of the biggest hits of the past few years - the songs that were "everywhere", such as Hey Ya, Crazy, Umbrella, Rehab - they tick all the boxes. Critics adored them as much as the millions who bought them. We don't just like the "difficult" stuff - although, saying that, you really ought to find room for a little Wyatt in your life. CRITICS' FAVOURITES THAT THE PUBLIC HATES 1 Captain Beefheart, Trout Mask Replica 2 The Fall, Hex Enduction Hour 3 Nick Cave and the Bad Seeds, Tender Prey 4 The Flying Burrito Brothers, The Gilded Palace of Sin 5 Robert Wyatt, Dondestan 6 Ron Sexsmith, Other Songs 7 Lou Reed, Metal Machine Music 8 Dexy's Midnight Runners, Don't Stand Me Down 9 Palace Music, Viva Last Blues 10 Scott Walker, Tilt 11 Guided by Voices, Bee Thousand 12 Slint, Spiderland 13 Aimee Mann, Whatever 14 Randy Newman, Sail Away 15 Brendan Benson, Alternative to Love 16 Cardinal, Cardinal 17 Van Morrison, Astral Weeks 18 Love, Forever Changes 19 Big Star, Radio City 20 Vic Chesnutt, Is the Actor Happy? PUBLIC FAVOURITES THAT THE CRITICS HATE 1 Meat Loaf, Bat out of Hell 2 Eagles, Hotel California 3 Norah Jones, Come Away with Me 4 James Blunt, Back to Bedlam 5 Céline Dion, Falling into You 6 Mariah Carey, Music Box 7 Shania Twain, Come on Over 8 Bon Jovi, Slippery When Wet 9 Billy Joel, Greatest Hits 10 Cher, Believe 11 Dido, No Angel 12 Lionel Richie, Can't Slow Down 13 Ricky Martin, Ricky Martin 14 Cranberries, No Need to Argue 15 Genesis, We Can't Dance 16 Pearl Jam, Vs 17 Supertramp, Breakfast in America 18 Simply Red, Stars 19 Robbie Williams, Swing When You're Winning 20 Jeff Wayne, War of the Worlds

Who is "Iran Maiden"? What a cool fuckin' band name.

Having been weaned on Aqualung that was one of my favorite Then Again..Live's I've ever heard (the Allmans' Eat A Peach would be another).

If you like Long Way To the Top be sure to check out the Nantucket album of the same name. They toured for quite sometime with both incarnations of AC/DC, the title track was done as a tribute to Bon Scott. Guitarist Tommy Redd contributes some very compelling stories about Nantucket's AC/DC touring days to the new book Let There Be Rock: The Story of AC/DC. Nantucket on tour with AC/DC

I just bought Warpaint over the weekend, it's good but if you're doubtful you should be able to sample it online somewhere prior to purchasing.

I've never been a huge fan but if I want to put on something that I know is going to rock my ass off one of the first things I reach for is AC/DC. Not too fond of the Brian Johnson years but I do like Back In Black. I saw them back in the late 70s just before Bon Scott died when they shared a bill with Cheap Trick and Nantucket, Cheap Trick did the opening honors. Oh and I'd take the Trick or AC/DC over Journey any fucking day of the week. Dropped acid, Blue Oyster Cult concert, fourteen years old, And I thought them lasers were a spider chasing me. On my way home, got pulled over in Rogersville Alabama, with a half-ounce of weed and a case of Sterling Big Mouth. My buddy Gene was driving, he just barely turned sixteen. And I'd like to say, "I'm sorry", but we lived to tell about it And we lived to do a whole lot more crazy, stupid, shit. And I never saw Lynyrd Skynyrd but I sure saw Molly Hatchet With .38 Special and the Johnny Van Zant Band. One night when I was seventeen, I drank a fifth of vodka, on an empty stomach, then drove over to a friend's house. And I backed my car between his parent's Cadillac's without a scratch. Then crawled to the back door and slithered threw the mail hole, and sneaked up the stairs And puked in the toilet. I passed out and nearly drowned but his sister, Dee Dee, pulled me out. And I never saw Lynyrd Skynyrd but I sure saw Molly Hatchet And the band that I was in played "The Boy's are Back in Town". Skynyrd was set to play Huntsville, Alabama, in the spring of '77, I had a ticket but it got cancelled. So, the show, it was rescheduled for the "Street Survivors Tour". And the rest, as they say, is history. So I never saw Lynyrd Skynyrd but I sure saw Ozzy Osbourne with Randy Rhoads in '82 Right before that plane crash. And I never saw Lynyrd Skynyrd but I sure saw AC/DC With Bon Scott singing, "Let There Be Rock Tour". With Bon Scott singing, LET THERE BE ROCK! Let There Be Rock by Drive-By Truckers Words by Patterson Hood, music by Drive-By Truckers From the album Southern Rock Opera "A pretty damned autobiographical account of my teenaged years, and how partying and going to arena rock shows kept me from going off the deep end in high school. -Patterson Hood

Dylan: My Hat's Off to You, Lady SAO PAULO, Brazil (AP) — If at first you don't succeed at stealing Bob Dylan's hat, try a kiss instead. A young Brazilian woman rushed onstage during Dylan's encore in Sao Paulo on Thursday night, hugging and kissing him and trying to swipe his Cordoba hat before three bouncers whisked her away. When he finished the encore, the normally untalkative Dylan thanked the audience and said he wanted to meet the woman so he could give her his hat. It was not clear whether they met. Local media later reported that the woman was seen after the show with a group of friends singing: "I kissed Bob Dylan, la, la, la." Currently on a Latin American tour, Dylan is scheduled to perform in Rio de Janeiro on Saturday.

To each their own. My main point through all of this has been that I don't hear the rap you seem to hear in the Rolling Stones song from A Bigger Bang nor do I share your belief that anyone that incorporates an element of rap into their music is automatically going have a million seller on their hands. If there was some secret formula to success like that everyone would be doing it. Using rap in one's music is no way any guarantee of that sort of success. Not now or ever.

Every single one of them are outstanding but I probably like that one the most. Primo live Dylan.

I think you're going to love this one, probably my favorite of the Bootleg Series releases so far.

I hestiated to use that term and maybe I shouldn't have but I couldn't think of any other reason why this person seems to be so put off by rap and hip hop. A few years ago Jimmy Buffett threw a rap-like chorus into one of his songs. By this person's estimation it should have been flying off the shelves with the rap/hip-hop crowd. The same thing he's saying is true of the Stones song from A Bigger Bang. The truth of the matter is, the "rap/hip hop crowd" (whoever they are) have most likely never heard either song.

The Grateful Dead also do a very kick ass version of the song.

I don't hear it either and I didn't grow up hearing rap and hip hop. Sounds more like you're paranoid to me. I don't think it implies any sort of political correctness at all. By the same token should it be out of place to rip on Led Zeppelin (and rock n' roll in general) on a site devoted to rap? Like I've said, I'm not a fan but just because I'm into rock n' roll it doesn't make rap fair game. It sounds more like racism to me. You make it sound like anyone off the street can add rap to their music and it's automatically going to be some kind of million seller. When Springsteen declared rap "the new rock n' roll" he wasn't far off the mark at all. The very fact that you seem so threatened by it is prime evidence of that.

I'm not sure what music you're listening to but I find nothing "stagnant and unexciting" about today's music. If you don't like the music that uses rap as an element, don't listen to it. Same for rap itself. Like I said, I'm not even a fan of rap myself, therefore I don't listen to it. I just don't see as some kind of instant moneymaker if someone uses rap in their music like you do. Sounds a bit paranoid to me. My mention of hippies had to do with fashion, not rap itself. As for the comparion of rap and the early days of rock n' roll there's lots of comparisons, very valid ones. Just look at how rock n' roll was initially received by the establishment. People wanted it banned, burned records, refused to allow Elvis shown from the waist up on TV, swore it was a detriment to society, people said it was only a passing fad, etc. Lots of the same criticisms have been leveled at rap and they're no more valid than the ones surrounding rock n' roll. How is rap about "following the crowd"? It is indeed an innovation rather you chose to acknowledge it or not. Lots of artists have incorporated rap into the sound of their music, some more successfully than others but it's been embraced by nearly every facet of the music community. Even Jimmy Page has collaborated with at least one rap artist. So have R.E.M. Rush have used rap in their music. There's tons of others, that's just the tip of the iceberg.

I agree but we see examples of just the opposite of that on this site (and others) each and every day. Their loss.