Hopscotch has added 14 bands to this year's lineup, they've also posted the schedule.

You've completely disqualified yourself with this bit of ignorance.

If it's on cable it will be replayed ad nauseum. I know I've seen it at least once so I'm sure you'll have ample opportunity to see it again.

Maybe she'll chose something appropriately funky like "Custard Pie" or "Trampled Underfoot" and have Page guest star.

It was just brought to my attention that Workingman's Dead was released 41 years ago today. I'll never forget vying for a copy of this at the Tape Deck in Goldsboro, NC more years ago now than I care to remember. I scored this and my friend ended up with a copy of Skeletons From the Closet.

It's been a long while since I saw the first Hulk movie but if my memory serves, this one is a vast improvement on it.

Patterson Hood and Mike Cooley of the Drive-By Truckers praise Hall & Oates at nearly every opportunity. Personally, they were never my cup of tea but I have lots of friends (mainly musicians) who admire them.

Even though I've been a regular Letterman viewer through the years it was Anton's work on Ace Frehley's solo album that really caused him to register on my radar (he was also in Frehley's Comet). Other members of what is now known as "the CBS Orchestra" were also all over those Kiss solo records back then. They're all consumate studio musicians handpicked by Paul Shaffer.

Chuck Berry was being played on Country radio in those days so it was an entirely different musical landscape back then.

I just noticed that Furthur (the latest project featuring Weir and Lesh) will be here on the same night as the New Riders of the Purple Sage in July. It would be cool if some sort of collaboration were to happen between the two.

http://youtu.be/G5HqxpdX5d8

From Time.com: Heavy Metal Under the Sea: Sharks Act Calmer When Listening to AC/DC By: KAI MA © Image Source/Corbis The great white shark—the toothy, aggressive predator known for its “man eater” depiction in Jaws—has long been a source of fascination. But when it comes to musical preferences, great whites are just like the 50 million-plus humans who turned AC/DC's Back in Black into one of the best selling albums of all time. They're fans. According to Australian news outlet ABC, Matt Waller, a tour operator in Neptune Bay, discovered that great white sharks act more calmly when listening to music by AC/DC, the Aussie heavy-metal band that reached its peak during the 1980s. The two songs favored by the sharks: “You Shook Me All Night Long” and “Back in Black.” After Waller played the songs using underwater speakers, the sharks became “more investigative, more inquisitive and a lot less aggressive." “They actually came past in a couple of occasions when we had the speaker in the water and rubbed their face along the speaker which was really bizarre,” he said. To read the entire article click here.

The Baseball Project performing "(Don't Go Back To) Rockville" at the North Star Bar in Philadelphia, Pa. on June 6, 2011 with Mike Mills of R.E.M. on vocals:

According to the Record Store Day site this will be out on vinyl tomorrow at some independent record stores, a week before it's official CD release.

It's been my experience that some Zep fans don't like change. They only want more of the same, especially when it comes to other artists outside of Led Zeppelin. Thank goodness, Zeppelin themselves never adhered to that credo either during Zeppelin's existence or since the untimely death of John Bonham in 1980.

There are some artists that go to outside writers in a concentrated effort for them to have a hit. Since there's no secret formula for a hit song this doesn't always work but there's a huge difference between that and those that interpret the music of other writers. For instance, Emmylou Harris actually writes her own songs but she's also well known as an interpretor of other people's material. She's just the tip of the iceberg, there are many, many more. Jerry Garcia wasn't a lyricist, he wrote the music for the Grateful Dead. For the most part, the songs he sang were all written by Robert Hunter who wasn't even a member of the band. Geddy Lee sings words written by Neil Peart.

From SecretlyCanadian.com: The War on Drugs Deliver ‘Slave Ambient’ Aug. 16 On their debut, the life-affirming Wagonwheel Blues, and the follow-up EP, Future Weather, Philly’s The War on Drugs seemed obsessed with disparate ideas, with building uncompromised rock monuments from pieces that may have seemed like odd pairs. Folk-rock marathons come damaged by drum machines. Electronic and instrumental reprises precede songs they’ve yet to play, and Dr. Seuss becomes lyrical motivation for bold futuristic visions. Now, Granduciel has done it again, better than before: Slave Ambient (Out Aug. 16), their proper second album, is a brilliant 47-minute sprawl of rock ‘n’ roll, conceptualized with a sense of adventure and captured with seasons of bravado. Slave Ambient features a team of Philadelphia’s finest musicians, including multi-instrumentalists Dave Hartley and Robbie Bennett, and drummer Mike Zanghi. Recorded throughout the last four years at Granduciel’s home studio in Philly, Jeff Ziegler’s Uniform Recording and Echo Mountain in Asheville, NC, the album puts the weirdest influences in just the right places. Synthesizers fall where you might expect more electric guitars (and vice versa); country-rock sidles up to the warped extravagance of ’80s pop. Instant classic “Baby Missiles” is part Spingsteen fever dream, part motorik anthem “Original Slave” might sound like a hillbilly power drone, but “City Reprise #12″ suggests Phil Collins un-retiring to back Harmonia. “I Was There” is Harvest rebuilt by some selection of psychedelic all-stars, while the shuffling, sleepy opener “Best Night” offers a band with too many ideas to be in a hurry. During the mid-album centerpiece “Come to the City,” Granduciel howls and moans, “All roads lead to me/I’ve been moving/I’ve been drifting.” Indeed, however unlikely that might seem, all these sounds arrive cohesively in one unmistakable place. Every song on Slave Ambient is instantly identifiable and infinitely intricate, a latticework of ideas and energies building into mile-high rock anthems. It’s a remarkable work for which we have an enormous pride and respect. And for which the story is only just beginning.

From Yep Roc Records: Dave Alvin turns it up. The intensity, the focus, the volume. On Alvin's new album Eleven Eleven, he revisits the burning, guitar-centered blues rock that initially defined his career as part of The Blasters. Fast forward to Eleven Eleven and Dave is ready to raise the stakes again, calling on some Blasters including his brother Phil, with whom he duets for the first time ever on record. The inaugurals continue with Dave writing all the songs while on the road touring, a first for the seasoned performer. The new method clearly sparked new ideas for Alvin, with blistering guitar runs and Bo Diddley beats sidling up alongside gentle finger-picking. Street Date: 6/21/2011

The "No Stairway..." sign didn't have anything to do with copyright infringement. It's a take on the cliche about beginners picking up a guitar in music stores and attempting to play "Stairway To Heaven" but only knowing the introduction to the song. Same goes for several other tunes, the other most infamous one being "Smoke on the Water".

I know of lots of artists that perform material written by others. Depending upon the situation, I don't think that makes a musician any less "real".