Why is that? I'm not sure if it is the case here but if so it wouldn't be the first someone did a co-headlining tour. I know in recent years I've seen Dylan tour with Paul Simon and Santana on separate tours where each performer got equal stage time. In the case of the Simon/Dylan show Paul Simon went on first (I think they flipped a coin each night). With Santana Dylan played first. I love me some Pearl Jam and would much rather see them than Petty. Unfortunately their current tour isn't bringing them to NC. I think they're waiting for Jesse Helms to die off first.

One from my personal collection from when R.E.M. played the Ryman in Nashville during their last U.S. tour in 2004: More Hatch Show Prints from the Ryman here.

Images From Pearl Jam vs. Ames Bros: Thirteen Years of Tour Posters: Pearl Jam in Posters: A Gallery of Illustrated Tour Art

Giving this thread a bump in honor of it being Record Store Day today. I'm not going to be able to visit one but one of the nearest ones to me is holding a copy of R.E.M.'s Supernatural Superserious/Airliner for me on 7' vinyl.

Good bit of Zep content in this piece penned by Shelby Lynne: From HuffingtonPost.com: SHELBY LYNNE Vinyl vs. iPod A Studer 2-inch tape machine is a huge cumbersome beast that takes up a lot of space and might need pampering and attention when you make records. It requires that you use big, heavy rolls of 2-inch tape that need changing when you record two or three songs on them. And hardly anyone produces or manufactures vinyl records anymore. And nobody has a turntable. But it's making a trendy comeback. Just because something is easier doesn't make it better. It certainly doesn't make it sound better. I had a digital recording rig in my home studio for a month or two and got so depressed. I quit writing songs, my guitar collected dust and I thought my creative life had ended. So I jerked it all out of the wall and threw it in the garage and that's where it will stay. Click here to read the rest of the article.

They stole the idea from Journey who auditioned for their latest Steve Perry clone via YouTube.

Love, love, love, love, love, love, love, love, love. There's nothing you can do that can't be done. Nothing you can sing that can't be sung. Nothing you can say but you can learn how to play the game It's easy. There's nothing you can make that can't be made. No one you can save that can't be saved. Nothing you can do but you can learn how to be in time It's easy. All you need is love, all you need is love, All you need is love, love, love is all you need. Love, love, love, love, love, love, love, love, love. All you need is love, all you need is love, All you need is love, love, love is all you need. There's nothing you can know that isn't known. Nothing you can see that isn't shown. Nowhere you can be that isn't where you're meant to be. It's easy. All you need is love, all you need is love, All you need is love, love, love is all you need. All you need is love (all together now) All you need is love (everybody) All you need is love, love, love is all you need.

Agreed. I first saw him at MerleFest in North Wilkesboro, NC (which is next weekend, by the way) in Emmylou's band Spyboy. I also like what I've heard of his solo work (and the Crossroads special) but have yet to pick up any of his records. I'm quite anxious to see Plant, Krauss, Buddy and band when they hit the RBC Center in Raleigh this summer. Emmylou Harris & Spyboy "Wrecking Ball"

From NoDepression.net: Sean Costello, RIP Bluesman Sean Costello passed away in Atlanta, Georgia, on Tuesday, April 15, one day before his 29th birthday (coincidentally, the birthday of an ND co-editor). No cause of death has been released. Costello was born in Philadelphia, Pennsylvania. His family moved to Atlanta when he was 9, and he was a touring musician by 17. He recorded for the Atlanta-based Landslide label (receiving a W.C. Handy "best new artist" nomination for 2000's Cuttin' In), for Artemis, and most recently for Delta Groove, which released We Can Get Together in February. That album included contributions from Levon Helm and Ollabelle.

An Update on the Future of No Depression Magazine NoDepression.net

Thanks for posting the article, much appreciated.

It's quite alright and thanks so much for not throwing a hissy fit as so many others do here when all I'm trying to do is help. Believe me, it is very much appreciated as I mean no harm. Maybe there is another Winwood tour down the road but since this one with Petty lasts most of the summer I'm guessing this is it. I'm not sure why Winwood is opening instead of the other way around but keep in mind Petty also toured with Pearl Jam not so long ago and they also got the opening slot. Considering the state of the music business today pairing two big name artists together is just a way of trying to put asses in seats. In that regard I can't blame either one of them for that. Another possibility is that Winwood and Petty may get equal stage time as co-headliners. I have no idea about that though.

***Unfortunately the link provided within the body of the article doesn't work. Hopefully the folks at Rolling Stone.com will fix that soon. From RollingStone.com: Jason Bonham recently talked to Rolling Stone’s David Fricke to discuss how he prepared for the Led Zeppelin reunion show and how he’s dealt with the legacy of his legendary father John.

Hello friends, We have some very unfortunate news to report. Neko had a really bad fall in Washington DC, which resulted in a fractured ankle, and will be leaving our tour today. She was really trying to be a trooper and stayed on as long as was possible through Richmond and Athens, but it has gotten to the point where she must return home and have her ankle taken care of and to recuperate. She's very upset about having to leave, it's been super fun having her on stage and around the bus. We hope that you understand Nashville, St. Louis, Chicago, Madison, and Cleveland. The rest of us will just have to play that much harder to put on the best show possible. Aside from Neko's fall, this has been a SUPER great tour for us, and thank you thank you thank you for everyone who has come out so far and bought tickets for the remaining shows. best TNP TOUR DATES: Apr 18: Nashville, TN @ The Cannery * Apr 19: St. Louis, MO @ The Pageant SOLD OUT Apr 20: Chicago, IL @ Riviera SOLD OUT Apr 21: Madison, WI @ Orpheum * Apr 22: Cleveland, OH @ Beachland Ballroom * SOLD OUT May 24: Gorge, WA @ Sasquatch Music Festival May 25: Chillicothe, IL @ Summer Camp Festival June 21: Minneapolis, MN @ Walker Arts Center w/ Andrew Bird June 22: Calgary, AB @ V Fest July 18: Bennicassim Spain @ Festival Internacional de Benicàssim Aug 07: Northampton, MA @ Calvin Theater w/Grizzly Bear Aug 08: Jersey City, NJ @ Liberty State Park

Panic in the Streets Honoring the 10th anniversary of Athens' Infamously Massive Spreadhead Invasion Jeff Montgomery The 1998 Panic in the Streets crowd fills West Washington Street and beyond. Hearing that the city of Athens has a vibrant and integral music scene is not the same as seeing it, hearing it and being overwhelmed by it. That’s what happened to me on Saturday, April 18, 1998. I was 18 years old and in my first year at the University of Georgia. Having lived in town for only about half a year, I had not yet navigated downtown Athens and its art and live music scene which was known to me more by reputation than through experience. I’d been to a few shows once I’d turned 18, sure, and had spent several nights trying to convince dorm friends to go to the Morton for the fledgling film festival I’d read about in a strange and scrappy paper called Flagpole that I’d found discarded on campus, but for the most part if something was going on somewhere, like many students I had no idea how accessible it was. Widespread Panic collapsed those misconceptions on that Saturday with what came to be known as Panic in the Streets, a record-shattering outdoor concert held in celebration of the release of the band’s first official live album Light Fuse Get Away. You can read the rest of the article here.

From the Rocky Mount, NC Telegram: E Street Band’s Danny Federici — Rest In Peace By Jeff Herrin My wife and I scored tickets in 2001 to one of Bruce Springsteen’s famed Holiday Shows at the Asbury Park Convention Hall in Asbury Park, N.J.. At the last minute, I noticed on a Web site somewhere that Danny Federici (longtime organist and keyboard player for the E Street Band) was going to be at Jack’s Music Shoppe in Red Bank on the afternoon of the show to sign records and CDs. We drove like mad to get to Jack’s in time, figuring that even if we had to stand in line for an hour or so, it would be worth it. Amazingly, there might have been three people in the entire store when we got there. Danny stood smiling behind a counter and thanked me when I bought a copy of his new solo jazz album, then asked him to sign it. I couldn’t believe we were the only people in the store with him. He talked to us for a good 15-20 minutes … as if he had all the time in the world for two complete strangers from North Carolina. I asked him about rumors of a new Springsteen album (the first with the E Streeters in almost 15 years), and he told me Bruce and the band had been recording some stuff just before 9/11. After that, he said, everything had changed … schedules, flights and most of all … the subject matter of Bruce’s music. It was the first time I heard any kind of hint about what was to become “The Rising” — Springsteen’s 2002 album that deals in large part with the 9/11 tragedies. Danny asked Susan and me how long we had been married, then kidded about some of the … um … less-than-lifelong relationships he had been in. He joked about a lot of things, actually. And even though Susan and I were pinching ourselves to be talking to someone who had been a key part of the E Street Band since its inception, he acted like he was the one honored by our company. Danny died of melanoma Thursday. You meet so many jerks day in, day out. But on that afternoon, in December 2001, Danny Federici was the nicest guy in the world. We had driven from North Carolina to Red Bank, N.J., to meet a guy whose talent we’d long admired. We left feeling like we’d been in the house of a friend. God bless him. Some of the greatest music this life has ever offered will never sound the same again.

Thought this article might be some interest to Ryan fans here since Brad used to play in Whiskeytown and some of Ryan's solo bands. As you'll also see from the article he was also pretty much a fixture on the Triangle (Raleigh, Durham, Chapel Hill) music scene for many years. From the Raleigh, NC News & Observer: He's a long way from the Brewery Ace guitarist Brad Rice, who has played with many Triangle bands, will perform in Keith Urban's show. BY DAVID MENCONI, Staff Writer Whenever you hear someone drop the phrase "living the dream," there's almost always a sarcastic undercurrent. But for old Raleigh hand Brad Rice, it applies with no undercurrents whatsoever. An ace guitarist and longtime sideman, Rice will be back in his former hometown Saturday night, playing in country superstar Keith Urban's band. Rice is part of a huge stage production that will play the RBC Center as part of Urban's co-headlining tour with Carrie Underwood. "There are around 70 people in this entourage," Rice says, calling from home in Austin, Texas. "There's the band, tour manager, backline people, video people for this 40-by-60-foot HD screen. There's 11 buses and 14 tractor-trailers. We took this picture of everyone and everything at the end of last year, and it's just crazy." If Rice is living large nowadays, few people deserve it more. The last time he played in Raleigh was a bit more than two years ago at Disco Rodeo, playing both halves of a twin bill -- opening with Tift Merritt, then closing with Son Volt. Before that, he played with a long list of Triangle bands including Backsliders, Finger, Ryan Adams and Whiskeytown. There were some pretty flush times, especially playing "Saturday Night Live" and opening for the Rolling Stones with Adams. But for most of Rice's career, he has logged a lot more miles than money. Playing with Urban has put him in a whole other league, on stages including Al Gore's "Live Earth" concert, the CMA Awards and "The Today Show." "I'll do these TV gigs, and friends from way back when will send text messages," Rice says. " 'Man, this is a long way from the concrete floor beer joints.' Yeah, it's a long way from the Brewery. But it's all important. "The good thing about this band is that all these guys have been in the van. Nobody takes anything for granted. We're all lucky to be able to do this for a living. And the pay is like a real job. "I've never been in a better situation. If you can't have fun with this, there's something wrong with you." Along with his abilities, Rice has personal connections to thank for his gig with Urban. A friend recommended him to Urban's musical director, which led to a series of auditions. He didn't clinch the job until he aced a one-song performance with Urban on television in Germany. Urban's tour has since taken Rice back to Europe, as well as Urban's native Australia. About the only downside is that Rice hasn't had much time to work on his own songwriting, which he hopes to get back to this summer. By then, Urban will just be playing stadium shows a few weekends a month with Kenny Chesney. That will give Rice time to get reacquainted with his house, wife and life off the road. "I'm also looking forward to being back in Raleigh," he says. "This will be the first time I've ever been inside the RBC Center. "It's been a fun year. My dad came out to see us play in Greenville, S.C., so it was fun to take him around. He'd come out when I was 18 playing in little bars, and now I'm up to arenas. "This is good."

From The L.A. Times: Chris Gaffney, 57; witty songwriter, Southern California bar musician Chris Gaffney By Mike Boehm, Los Angeles Times Staff Writer Chris Gaffney, a roots-music omnivore whose earthy aplomb and offhand mastery of many styles made him a quintessential Southern California bar musician -- but who also earned international regard for his heartfelt and witty songwriting -- has died. He was 57. Gaffney had been getting treatment for liver cancer that was diagnosed in February. His brother Greg said he died Thursday morning at Hoag Memorial Hospital Presbyterian in Newport Beach, where family members rushed him after a fall in his Costa Mesa home. Gaffney toured extensively over the last nine years as a member of Dave Alvin's backing band, the Guilty Men, playing accordion and guitar and adding vocals, and as lead singer of the Hacienda Brothers, in which he teamed with veteran San Diego guitarist Dave Gonzalez. But Gaffney had been a presence on the regional bar scene since the 1970s, playing multiple sets each night in small clubs such as the Upbeat in Garden Grove and the Swallows Inn in San Juan Capistrano. It was a hard-won musician's existence that he and Alvin captured in their easygoing honky-tonk number "Six Nights a Week." "One of the things that may have hindered him commercially was that he couldn't turn it on; he was a hundred percent honest," recalled Alvin, who considered Gaffney his best friend. "If Chris is in a good mood, you get an amazing show; if he was in a bad mood, he wouldn't hide it." As a songwriter, Gaffney was a peer of Alvin, Los Lobos, X and the Red Hot Chili Peppers in chronicling the life of Southern California. In "Artesia," from the 1990 "Chris Gaffney and the Cold Hard Facts" album, he evoked memories of his teenage years cruising through the San Gabriel Valley -- remembrances stirred by the scent of cow manure carried on the wind from inland dairy farms. "The Gardens," from the same album, and later recorded by Freddy Fender with the Texas Tornados, was an aching assessment of the void that gang violence leaves in a community's heart -- in this case, Hawaiian Gardens. But many Gaffney songs reflect the dry, sometimes absurdist, sense of humor that stayed with him in his day-to-day life: "They made a mistake and they called it me," he sang in one jaunty tune; in another lyrical self-description he pegs himself as "a dancing cretin with faraway eyes." Gaffney sang in a tuneful yet conversational voice that was both sandpapery and sweet. He had no pretentiousness about his music. In a 1992 Times interview, he described taking part in a songwriters panel at a folk festival: "The kids were asking, 'How do you write songs?' I said, 'I'm sitting in front of the TV, having a beer, and something comes to my mind, and I go 'what the hell' and write it down." Born in 1950 in Vienna, Austria, he grew up mainly in Cypress, the son of a telephone company executive. Tall and solidly built, Gaffney excelled at track and cross country at Western High School in Anaheim and took his licks as a Golden Gloves boxer. "I always ascribed his cockeyed view of the world to being beat around the head a few too many times," Alvin said. As he built a critically acclaimed recorded repertoire during the 1990s with three studio albums, including "Mi Vida Loca" and "Loser's Paradise" for Hightone Records, Gaffney was unable to capitalize on it with touring -- tied instead to his bar hero regimen on top of days spent scraping hulls at a Newport Beach boatyard. Gaffney accepted the bar-musician's lot with equanimity: "I was a working guy before becoming an unheralded roots-music recording eminence, and I continue to do that. If they don't want to put out an album, I'll go and do my day job," he told The Times in 1999. What sustained him, he said, was "the music, and I love the people. You surround yourself with good friends, and you're good to go." Starting in 1999, though, Gaffney got to live the life of a musical road warrior, with Alvin and then the Hacienda Brothers, touring extensively through the United States and Europe. Alvin said he soon learned not to give Gaffney a weekly advance on his meal money: "He'd give it to some homeless guy or a guy standing at a rest stop begging for change." With the Hacienda Brothers, who blended classic country and rhythm and blues styles, Gaffney recorded two studio albums and a live release. In December, he and Alvin recorded the song "Two Lucky Bums," a mellow duet to friendship: Let's make a toast to the times we've had The good, the crazy, the rough and the bad. We've survived every one, a couple of losers who won, And when it's all said and done, we're two lucky bums. "He might have gone out early, but he did everything he wanted to do," said Greg Gaffney, who played bass beside his brother through many of the bar years. "He loved being on the road, happy in a van with a bunch of buffoons." In addition to his brother Greg of Costa Mesa, survivors include his wife, Julie, of Costa Mesa; daughter Erika of Houston; sister Helen of Oakland; and brother Robert of Vancouver, Canada. Services are pending. ------------------------------------ From NoDepression.net: Chris Gaffney, RIP Liver cancer claimed vocalist, guitarist and accordion player Chris Gaffney the morning of April 17 at an Orange County, California hospital. Gaffney and Dave Gonzalez (best known from his long stint with the Paladins) led the Hacienda Brothers through three well-regarded albums: a self-titled debut (2005, on Koch, produced by Dan Penn), What's Wrong With Right (2006, on Proper American), and 2007's self-released Music For Ranch And Town. Gaffney also led the Cold Hard Facts, and was among Dave Alvin's Guilty Men. His fourth solo album, 1995's Loser's Paradise (HighTone), included contributions from Lucinda Williams (he had played accordion on her self-titled album) and Jim Lauderdale. His last solo outing, Live & Then Some, was released in 1999 by Tres Pescadores. His credits include appearances on albums by Rick Shea, Christy McWilson, Amy Farris, James Cotton, Billy Bacon & the Forbidden Pigs, Bill Kirchen, and Tom Russell. A series of benefits has been ongoing to defray his medical expenses.

Cool to see someone around here besides Swede and myself that's even heard of them. Far too many write the 80s off when all they're aware of from that time period is the synth-heavy New Wave bands that were popularized by MTV. There were also many artists back then that were heavily influenced by American roots music such at the Long Ryders, Lone Justice, Los Lobos, The Radiators, the Blasters, X, Del Fuegos, Rank n' File and many, many more. And that's without even mentioning such other outstanding 80s artists as U2, R.E.M., the Cure, the Replacements, the Alarm, etc.

By all means get it. Even though it was mostly favorable I wouldn't let that review deter you one little bit. I greatly admire No Depression magazine and will miss it dearly (the last issue arrived in my mailbox yesterday) but they have a way of frowning upon "Southern Rock" and some other very deserving pioneers of the alt.country genre (or "subgenre") such as the Grateful Dead and their off-shoot country band The New Riders of the Purple Sage who were just as important as Gram Parsons to the development of "country rock" (as it was called then) during it's formative years. I can also attest to the greatness of the reissue myself. Yes, the original recording of Street Survivors may only be a curio at best and the quality of the live tracks may leave a lot to be desired but at least they put them out there. Some of the arrangements of a few of the Street Survivors songs are a bit different and the live versions of some of those songs are hard to come by so that's worth the investment right there, not to mention the improved sound quality of the finished album itself. What I don't like is how they keep putting previously unreleased songs on Skynyrd compilations just to get you to buy the same shit most of us already have just for those one or two songs we may not own. In a new low, they're even using the same tactic on the upcoming new Skynryd album by including the previously unreleased Cottonmouth Country just to get folks to buy it. I'd much rather they gathered all of those songs up and put them on one album or a new box set, not making them available scattershot across a bunch of compilation albums. In case you missed it, here's a thread with some more info on the new record: Vintage Tune May Grace New Skynyrd Album

I'm honestly not trying to be a smartass but if you knew he was touring how come you said, "I hope he tours, I'm dying to see him"? Again, I'm not trying to me short with you but have you read any of the posts in this thread thus far or ever bother to click on the links to the previous threads I posted?

I haven't seen Widespread in recent years but still, I agree. No offense to Jack Johnson fans but from what I saw of his set at ACL Fest a few years back I'd need an endless supply of No Doz just to make it through one of his shows.

Traffic played at Woodstock '94 during their reunion tour but things had gotten so muddy by that point I simply wasn't up to traveling from my camping spot over to the main stage to hear them (or Dylan or the Allman Brothers) but I could hear them all pretty good from where I was at.

He is touring, with Tom Petty. You can find the dates along with more info on the tour and Winwood's new record in these threads: Tom Petty/Steve Winwood Tourdates Winwood 'Lives' Again On Columbia