Ask that of someone on the Carolina coast and it actually translates to a kind of dancing.

Don't forget Marin County either...

Jimmy Buffett remembers time he hung with Chicago’s folk heroes BY DAVE HOEKSTRA Staff Reporter / dhoekstra@suntimes.com Jimmy Buffett put the picture below — assembled from three photos taken at Steve Goodman’s Chicago apartment — on the wall of his new Margaritaville club at Navy Pier. | Rick Diamond~Getty Images View Gallery Like fireflies in a jar, the characters on the cover of Steve Goodman’s “Somebody Else’s Troubles” record were captured in the summer of 1972. It was always summer when Jimmy Buffett and Goodman got together. Buffett popularized the Goodman ballads “Banana Republics” and “California Promises,” and the late Chicago singer-songwriter and Buffett co-wrote the Pensacola, Fla.-based “Frank and Lola” and the Key West ballad “Woman Going Crazy on Caroline Street” among others. On Aug. 7, 1972, Goodman put out a casting call for a cover shoot for his second album. A group of raconteurs and songwriters were instructed to meet at Goodman’s huge apartment at 3759 N. Wayne, not far from Wrigley Field. There would be no last call. The crew included Buffett (identified as Marvin Gardens on the album cover); Earl Pionke, the larger-than-life owner of the Earl of Old Town folk music club; Goodman’s best friend, John Prine; Fred Holstein, and his brother Ed. The photographer was P. Michael O’Sullivan. To read the rest of the article, click here.

Poor Howard.

Dreamland is also largely covers, would you also not consider it part of Plant's solo oeuvre? I could see where Raising Sand could be considered a "collaboration" because it is but I wouldn't put the Band of Joy or Honeydrippers albums into that category. The Band of Joy is his backing band, no different than The Strange Sensation or any other group of musicians he's worked with in the past. Same for the Honeydrippers.

For those that may have never heard of them, Box of Frogs were Chris Dreja, Paul Samwell-Smith, and Jim McCarty (formerly of The Yardbirds), plus John Fiddler on lead vocals. At least that was the line up for their debut record.

Furthur will be in town the same night (July 28th) the New Riders of the Purple Sage are playing the Lincoln in Raleigh. What a pleasant surprise it would be if Lesh and Weir showed up at the New Riders show after they finish their concert at Walnut Creek.

I found it in the photo gallery at Imgur.com. A lot of my desktop wallpaper images come from the National Geographic site. Lots of high quality work there.

Just scored tix this morning for their upcoming show in Raleigh this September so it's looking like a Wilco kinda day.

From RollingStone.com: Lady Gaga Egged Over Wheelchair Stunt Singer rolled out on stage dressed as a mermaid in Sydney By MATTHEW PERPETUA Lady Gaga performs from a wheelchair in Sydney, Australia. The Sydney Morning Herald/Fairfax Media via Getty Images A group of angry fans threw eggs at Lady Gaga in response to her recent appearance on stage in Sydney, Australia rolling around in a wheelchair. Though the throwers missed Gaga herself, a few eggs hit members of her entourage. It is unclear why audience members had the eggs in the first place, however. The wheelchair incident occurred at Gaga's concert at the Sydney Town Hall on Wednesday. The singer came out to perform the rock ballad "Yoü and I" while dressed up as her new mermaid alter ego Yuyi. Since her legs were bound in the costume, she was able to move on stage with a wheelchair. The pop queen has previously used wheelchair imagery in her music video for "Paparazzi" and her performance of that song on the 2009 MTV Video Music Awards. The egg-tossing fans in Sydney weren't the only ones angered by Gaga's wheelchair-bound performance. Jesse Billauer, the founder of the quadriplegic advocacy group Life Rolls On told Radar, "I invite [Gaga] to learn more about the 5.6 million Americans who live with paralysis. They, like me, unfortunately, don't use a wheelchair for shock value."

Thanks for the update. I'd read some info on the Turner character just recently that sounded less than favorable. In lieu of a relaunching of the magazine I still think it would be cool to have a complete archiving of all of the old issues online. Of course, that would probably come at a price.

Reposted from Tower Records' Facebook page: ON THIS DATE (38 YEARS AGO) July 15, 1973: Grand Funk Railroad: We're An American Band is released. # Allmusic 4.5/5 stars # Robert Christgau (B−) # Sputnikmusic 3.5/5 stars # Rolling Stone 4/5 stars We're An American Band is Grand Funk Railroad's seventh studio album, and was released in July 1973 by Capitol Records. It was produced by Todd Rundgren. This is the first album to feature Craig Frost as a full-fledged band member. The original issue was on a translucent yellow disk. The label, above the side numbers, instructed listeners to play "at full volume." It included four stickers (two blue, and two red) with the Grand Funk "Pointing Finger" logo. Emphasizing the shortening of the group's name, largely for legal reasons, the word "Railroad" does not appear anywhere on the album sleeve, liner, or vinyl record. The album itself spawned two singles; the #1 title cut, and "Walk Like a Man", which peaked at #19 in 1974. The album is #200 of the National Association of Recording Merchandisers (NARM) [Definitive 200] albums of all time. REVIEW Sitting in a Baton Rouge bar late one night in 1973, the three guys in Grand Funk Railroad, at the time America's most popular and despised (by nonfans and critics) group, were lapping up the suds with the boys from Humble Pie, a voguish blues-boogie group featuring Steve Marriott (Peter Frampton had already departed). Neither group's career had long to run but they were young and full of themselves, and the future undoubtedly seemed a long way off. The belligerence began with an argument over the relative merits of British versus American rock. Drummer Don Brewer, Grand Funk's champion, roared out of his chair and in a style of classic argumentation familiar to anyone with experience around the Michigan auto factories from which his band sprung, declaimed the virtues of Jerry Lee Lewis, Fats Domino, Little Richard, and -- clinching it pretty well for a guy who couldn't play a simple shuffle to save his ass -- ELVIS PRESLEY! Then he gave the assembled Brits a bleary gimlet glare and proudly announced, "We're an American band!" In the cold light of dawn, the statement seemed truer yet, and Brewer had soon written a song quite unlike any of the heavy metal hatchet jobs in which Grand Funk had previously specialized. The group shortly got together with producer Todd Rundgren (who was working with them for two reasons -- Capitol had begun selling Grand Funk records more slowly than the one every four seconds of their peak and they needed his artistic credibility). Showing he was worth his royalties, Rundgren quickly grasped the concept that Brewer had written a hit. So eager was Capitol, in the wake of the Beatles' breakup, for some Top 40 action that the label issued a press release about "We're An American Band" before the song was even recorded, and released it before the mix was even finished. Maybe they were wise to do so, because further polishing could only have detracted from a band that produced what Rod Stewart called "the all-time loud white noise." "We're An American Band" thundered onto the chart at Number 83 on July 28, 1973 and by the end of September it topped the lists, more than pretty good for a group whose previous best-selling single was "Closer to Home," which peaked at Number 22 three years earlier. Actually, the biggest difference in the music probably wasn't Rundgren's production, though he certainly lent them an unaccustomed sense of song shape, or even the fact that Brewer had, for once, given them a lyric that defined their boys'-night-out sensibility, with its references to playing poker til dawn with Freddy King, living it up with a Little Rock groupie, and hotel destruction. No, the biggest change was the addition of piano player Craig Frost, who plays an insanely repetitious treble riff that runs through the chorus like the Morse code designation for Motor City high energy. It's this added coloration that hooks you by lending an undercurrent of excitement to Farner's prototypically cheesy garage rock guitar breaks and Brewer's powerful, if unfunky, drumming. - Dave Marsh, The Heart of Rock & Soul, Plume, 1989. TRACKS: 1. "We're an American Band" (Brewer) – 3:27 2. "Stop Lookin' Back" (Brewer/Farner) – 4:52 3. "Creepin'" (Farner) – 7:02 4. "Black Licorice" (Brewer/Farner) – 4:45 5. "The Railroad" (Farner) – 6:12 6. "Ain't Got Nobody" (Brewer/Farner) – 4:26 7. "Walk Like a Man" (Brewer/Farner) – 4:05 8. "Loneliest Rider" (Farner) – 5:17 2002 reissue bonus tracks: 1. "Hooray" (Brewer/Farner) – 4:05 2. "The End" (Brewer/Farner) – 4:11 3. "Stop Lookin' Back (Acoustic Mix)" (Brewer/Farner) – 3:04 4. "We're an American Band [2002 Remix]" (Brewer) – 3:32

Nor was I implying that you were...

I'm guessing you're using "equipment" as a euphemism. Nice.

$1.70 iPhone case anti-theft device.

I'll reserve judgement until I actually read the first new issue.

Planking is so two weeks ago, it's now all about the owling.

Like a lot of bands that followed in their wake, Creed always struck me as a poor man's version of Pearl Jam. Then, there was that whole Creed Behind the Music episode (see below). If that wasn't enough there was the incident where some of their fans sued them for putting on such a shitty concert. http://youtu.be/x4-6OPjh3Dk