No problem as my comment wasn't directed at you but at whoever moved the thread.

He may be somebody's "Lord and God" but he sure as hell isn't mine.

This man has some very wise words to add to the discussion, not so much the first half of the clip but the portion where he discusses the use of the word "nigger":

Anyone heard about this? Personally, I believe by removing "nigger" from the book that it's only going to give an already negative word even more power. Regarding the De-Niggering of Huck Finn

It was either that^ or this:

A few thoughts on David Allan Coe from the No Depression website: In the early part of last year, I wrote a few blogs detailing historical artists whom I felt had been overlooked by the worlds of country music and Americana. Among those I highlighted were The Big Bopper and Rick Nelson. I sat down at the computer this morning with hopes of writing a review of one of the best rockabilly records I've heard in some time (I know there's not much competition in that regard, but...). Instead I got a song stuck in my head and realized it was time to talk about yet another important overlooked artist. Before I reveal who it is, I want to remind all of you that if you heard the name Michael Jackson on June 24, 2009 it was probably as the punchline of a joke. The man was totally rejected by the music industry and was thought of as nothing but a washed-up R&B singer turned crazy eccentric. A day later he was being compared to Elvis Presley and the Beatles as the same media outlets who had helped tear him down sung his praises and new generation of fans literally came out of the woodwork. I suspect a similar fate awaits the man who should be a proud member of the Grand Ole Opry and the Country Music Hall of Fame, a man who's average day should consist of fighting away producers hoping to be the next Rick Rubin or T Bone Burnett. I'm talking about a guy who charted six top 20 country hits, penned two of the seminal country songs of the '70s, appeared on stage and on record with numerous legends of country music, and has been blackballed by the industry for years due to a misguided attempt at shock value. To read the rest of the article click here.

Yes, it is but as I previously noted Page isn't credited with writing any of the songs. With the exception of one (which was written by Roy Harper and David Gilmour) they were all penned by Harper. Great album, btw and definitely one of my favorites from Page post-Zep. None of which changes the fact that he's been the least prolific of the surviving members of Led Zeppelin.

I'm not sure if you're familiar with WNYC's program Soundcheck (which also airs on some NPR outlets nationwide) but Dexy's Midnight Runners were recently the center of a couple of segments on there. Definitely worth checking out when you have the extra time: Smackdown: Come on Eileen Too Rye Ay

There may be a lot more to Queen than "stadium rock" but theirs was the kind of music that was tailor-made for just such a setting. Not many artists' live shows translate well once they graduate to stadium/arena status but Queen is one very notable exception.

I remember some interview that surfaced several years ago where Bun E. apparently had some less than favorable things to say about Bonham which got everyone's ire up here. I tried to find it but to no avail.

Thanks for clarifying as I understand what you mean now. I'm not sure if you've ever heard the Drive-By Truckers Southern Rock Opera album but Patterson Hood pretty much expresses the same thoughts in this description of Act I from the liner notes of the opera: It's the summer after high school graduation and our hero hasn't played his guitar in two months. His band was over the night that Bobby died. No more partners in crime. At night he dreams he's fronting his ultimate rock and roll band. All their equipment stacked atop their Anvil cases. (What better way to measure a band's worth to an eighteen-year-old.) The highway's calling, but it sure ain't as romantic as it once seemed. It's 1979. The seventies last rites are being read by the very same assholes who killed them. Disco has driven a fork into rock's heart and within a year, video will dissect every little tissue until it is as meaningless as the rest of the fucking world. "Video Killed the Radio Star". No shit! There's this legend (myth?) (truth?) about Lynyrd Skynyrd that claimed that Ronnie Van Zant was killed by a strike on the head from the on-board VCR mounted in the back of the plane, directly behind his seat. By the early 80's, Skynyrd's crowd was being run out of town, There was no place for big, masculine looking, hairy men with beards and guts and sweat and spit. Not on TV. Sure the hell not on MTV. Our hero grew up in North Alabama. He came of age in the seventies. He remembers the Watergate hearings interrupting his mama's soaps. Standing in line with his daddy at the Shoals Theatre to see Walking Tall, cutting class to go to the state line with Bobby. (Home was a dry county, but have no fear; the Tennessee state line is just fifteen minutes away if you haul ass.) He listened to Lynyrd Skynyrd, Neil Young, Led Zeppelin, The Rolling Stones, The Who, ZZ Top, AC/DC, Aerosmith, Thin Lizzy, Blue Oyster Cult, Black Sabbath, The Sweet, Ted Nugent, Queen, Steely Dan, Todd Rundgren, CCR, The Band, and Lynyrd Skynyrd. Lot's of Lynyrd Skynyrd. Years pass. Our hero moved to the city, then a couple of more cities. He got him a funny haircut or two. He became a punk rocker and tried to disassociate himself from his youthful transgressions. Much like so many well-meaning southern people who try to talk down their southern accents for fear of sounding "too-southern". (As if that was inferior or something.) He starts having re-occurring dreams about arena rock. Perhaps he's being visited by spirits from his past. Now he wants to remember, He wants to re-connect with whom he once was and what he used to dream. When it was OK to be a little barbaric. When it was OK to turn your three guitars up to ten. When it was OK to ROCK!

My experience here has been quite the opposite. I've encountered far more fans that seem to long for some sort of replica of Zeppelin to rise from the ashes in order to "save" us from today's music than those that are still on the path of discovering new music that excites them. I was as huge a fan of Zeppelin as you might have found back in the 70s but my love of music didn't suddenly screech to a halt when they announced they were laying Zeppelin to rest back in 1980. As far as Plant's solo ventures, it's not like everyone that was ever a fan of Zeppelin has to like everything he releases but I've found some of the downright venomous responses to his last couple of solo outings to be completely out of line. It's one thing to express an opinion, it's quite another to outright insult the man. Oftentimes I think this isn't so much in response to their disapproval of his current musical direction but has more to do with their unhappiness in regards to him not wanting to be part of a Zeppelin reunion.

Your link doesn't work so I'm not sure what "statement" you're referring to. However, you won't have to look far around here to find many discussions on this very matter.

Funny this was moved from the News section to here. Last I checked, Buddy Miller was a member of Plant's band....

I think this person just got a little over anxious and feared no one would start a thread and ended up jumping the gun in an effort to be the first one to start the thread. Never really seen the point in them myself, it's not like Page even reads this board.

There aren't any wrong opinions. I just felt music from the 80s was just as experimental and groundbreaking as anything released in the 60s. I've also never used the amount of guitar solos (or lack thereof) as some sort of measuring stick. Seems to me that a lot of folks have a very hard time looking past the artists that MTV helped to popularize. While some of those were certainly noteworthy they were in no way indicative of all the great music that was out there at the time. I had always been into music that was a bit off the beaten path back in the 70s such as songwriters like John Prine but in the 80s, the post-punk movement really helped to open my ears to a lot of great artists I never would have heard otherwise. Then there was the blues revival led by Stevie Ray Vaughan, lots and lots of reggae/ska and more roots-oriented artists such as Los Lobos.

I don't buy into the 80s being a "destructive" time for music. If anything, it was a time when music blossomed in ways it hadn't since the 1960s. AOR stations starting paying attention to college radio which opened the doors for all kinds of diversity whether it be artists like U2, R.E.M. and the Cure or reggae and ska bands. Destructive? Not really, it was quite the opposite.

Everything? To each their own but I found plenty to like in the 80s from Peter Tosh to Stevie Ray Vaughan. There was also the Replacements, the Cure, X, the Blasters, Los Lobos, John Prine, Guy Clark, Del Fuegos, Cheap Trick, Mother's Finest, the BoDeans, R.E.M., the Itals, the Long Ryders and tons and tons of other great bands. Probably one of my favorite decades for music, ever. In addition to Stevie Ray Vaughan reviving American blues there was also the Paisley Pop underground movement and all kinds of wonderful reggae.

The area I lived in didn't have cable so therefore no MTV so my only recourse was to record it off of the radio. I one point I had to run an errand into town so I took my boombox with me and taped while in transit. Meanwhile I left my home stereo in record mode just as a precaution. Still, I was so jumpy and in a hurry to get back that I got involved in a minor fender bender. Thankfully, a friend of mine had taped everything off of MTV. Only thing is, the VJs kept interrupting so it was rare that you ever got to hear a complete song.

Add the new ones from Buddy Miller and Robbie Robertson to the list.

If you tune in for the entire broadcast I highly encourage you to stick around until the last song, "Gonna Raise Hell". You can also watch a full version of the inteview here.

I hope to make it to at least one of those concerts she's doing in Durham with Simone Dinnerstein. The Duke Performance series has really been off the fucking hook recently with shows from Megafaun, Jim Lauderdale and the Carolina Chocolate Drops.

From JamBase.com: NEW ALBUM & BONUS DVD OUT MARCH 1, 2011 VIA NEW WEST RECORDS Buddy Miller Buddy Miller teamed up with esteemed guitarists Marc Ribot, Bill Frisell and Greg Leisz to create The Majestic Silver Strings, a monumental musical experience to be released on CD, with bonus DVD, March 1, 2011 via New West Records. The Majestic Silver Strings, produced by Buddy, is his re-imagination of country songs, loaded with guitars, atmosphere and attitude. Guest vocalists on the album include Emmylou Harris, Patty Griffin, Shawn Colvin, Lee Ann Womack, Chocolate Genius, Ann McCrary and Julie Miller. Rounding out the band are Dennis Crouch on bass and Jay Bellerose on drums. A bonus DVD with concert footage of the first, and only performance to date with Buddy, Marc, Bill and Greg playing the tracks selected for this project, will be included with the CD. THE MAJESTIC SILVER STRINGS TRACK LIST 1. Cattle Call (Buddy Miller sings) 2. No Good Lover (Buddy Miller & Ann McCrary sing) 3. I Want To Be With You Always (Buddy Miller & Patty Griffin sing) 4. Barres De La Prison (Marc Ribot sings) 5. Meds (Lee Ann Womack sings) 6. Dang Me (Chocolate Genius sings) 7. Bury Me Not On The Lone Prairie (Marc Ribot sings) 8. That's The Way Love Goes (Shawn Colvin sings) 9. Freight Train (Instrumental) 10. Why I'm Walkin' (Emmylou Harris sings) 11. Why Baby Why (Buddy Miller & Marc Ribot sing) 12. Return To Me (Lee Ann Womack sings) 13. God's Wing'ed Horse (Buddy & Julie Miller sing)