I'm sure someone here would be more than happy to show you how to download shows. Sure beats stealing from Page, Plant and Jones. I know in some cases some shows may be hard to find for free but this one is readily available. I imagine if the photos showed up in the packaging they're available elsewhere as well. Not trying to bust your balls, just saying boots rob money from the original performers and that this show is very widely available for free.

Just curious if the Whole Lotta Reunion CD is from Zep's recent reunion show at the 02. If so, just curious as to why one would pay for it when you can get it for free. I dunno about everyone else but when I can avoid putting money in the pockets of bootleggers, I do so at every opportunity.

From CreativeLoafing.com On the road again By Jeff Hahne Kwaku Alston PAST DESIRE: Susan Tedeschi It can't be easy to be the wife of a famous musician. Add to that two kids and a music career of your own and the demands have to add up. Call it cabin fever, but Susan Tedeschi is bursting at the seams. Her last album, the Grammy-nominated Hope and Desire, was released nearly two-and-a-half years ago. To say her creative juices have been flowing may be an understatement. She's put together a new band, built a recording studio in the backyard of her house and has written more than enough songs for a new album. If only she could find the right producer... "We've been waiting to record for about five or six months now," Tedeschi says from her Florida home. "It's been a matter of the record company and me working together to get the material they want me to do and getting the right producer. It's a lot more complicated than it needs to be." It's a standstill until the label approves her next move. While she waits for those details to get ironed out, she's been recording some demos thanks to husband Derek Trucks and practicing with a new lineup -- former Codetalkers Tyler Greenwell and Ted Pecchio and The Peacemakers' Matt Slocum. "It's an all-new band," Tedeschi says. "I needed a change. My keyboard player had basically left, which I think was a blessing in disguise. As busy as I am, I don't like change because that means more work for me. It was just a matter of time and now it feels like such a much better band. It has a better energy. I have this new band and I'm dying to get out there and work and make some money. It's one thing to make a record and it's another thing to sit at home and go broke." She's been using the last few months to get back into a comfort zone with playing, in addition to remembering all of her songs. Tedeschi says she's been so focused on writing new songs that she's had to set aside time to relearn all the old ones. She expects that, when she finally gets to record it, the new record will be a bit funkier than Hope and Desire. While that record was also strictly covers, she plans on the next one to be most, if not all, originals. She has plans for a bit of everything -- soul, rock, ballads. She plans on breaking out some of the new material at her upcoming shows. "I wrote 19 new songs," Tedeschi says with excitement. "There's a lot of great stuff. I'm ready to get on it and make a killer record and tour it. That's where my head is. I don't want to rush it though, either. I want to make it great." Most of the songs have been written since the last album, while some were written before. She says no matter whether she's singing cover songs or originals, her goal is always to make the best album she can, adding that having only covers on Hope and Desire was the right thing to do at the time based on what the label wanted. "They wanted to show off my singing," she says. "It was a great record and a lot of fun, but I came back and said I want to make a record that's all my own stuff and play guitar on everything so that people can see both sides. It doesn't have to be any one way as long as it's coherent and beautiful and works together. That's the main thing." Tedeschi says her guitar style is influenced by a lot of the musicians she listened to at a young age -- Freddy King, Otis Rush, Magic Sam, B.B. King and Albert King -- who believed you should be able to sing everything you play. There's no doubt that her husband must be a regular influence on her playing these days, as well. Tedeschi says that Trucks has helped her to determine her strengths and weaknesses as a player. The duo performs from time to time as the Soul Stew Review and Tedeschi notes that the two hope to record an album together at some point. "We've definitely thought about doing that," she says. "We've been writing a lot at home. Recently, he wrote this beautiful song and Warren Haynes came down and wrote lyrics to it and I sang it -- those kinds of collaborations. Doyle Bramhall came down and wrote with Derek and I can sing that stuff. We've already done 16 new tracks between the two of us that aren't even related to new records." Tedeschi says it's been frustrating to stay at home at times, but is completely understanding of her husband's talent and work schedule. Trucks tours with his own band in addition to The Allman Brothers Band and a long stint on Eric Clapton's last tour. While she admits she'd love to be the one on stage with Clapton, you can hear love and admiration when she speaks about her husband. "This is his calling," she says. "He's supposed to be out there. One of us has to be more stay-at-home. I have a house to take care of, kids to take care of, a husband to take care of and then my career. Sometimes it's hard. He's doing the right thing and doing what he's gotta be doing. If it's gonna be my turn, it'll be when it's meant to be."

From CreativeLoafing.com: Siblings strike coincidental chords By James Kelly Lost Highway ANGEL DUST: Shelby Lynne's new release is inspired by Dusty Springfield. For all the effort that talented siblings Shelby Lynne and Allison Moorer have put into maintaining separate professional careers, both recently released new albums honoring the contributions of women in popular music less than a month apart. Perhaps great minds think alike after all. Or vice versa. "It's truly coincidence, I promise you," proclaims Allison Moorer, the younger of the two, whose album Mockingbird (New Line) covers songs from artists such as Nina Simone and Joni Mitchell, while Shelby Lynne's Just a Little Lovin' (Lost Highway) is a 10-song tribute to Dusty Springfield. "When we realized the release dates were so close, I started saying 'Maybe we should rethink this ... Maybe delay it.'" Lynne was a little less concerned about the timing of the releases. "They were a month apart, so I didn't think it was a problem. We certainly didn't plan it, as we really don't talk much about our work, but just focus on being sisters." It is striking how Moorer and Lynne have struggled to keep their professional lives separate. Yet they are so intertwined that they've still managed to travel a parallel course. The Alabama natives grew up loving music and singing with their family, but lost their parents in a horrific murder/suicide when both were teens. Lynne eventually embarked to Nashville, and after college Moorer joined her as a backup singer. Though the equally talented sisters went their separate ways, both met challenges within the structured and rigid country music industry. Ultimately, they both left Nashville and the industry altogether. Several years later, Lynne's departure came after accepting that she "was not into the Nashville formula," she says. "If you don't conform, you sort of get run out of town. Now I have gotten to a place where I can do what I want." Moorer had a similar experience, but her move was also tempered by personal change. "I quickly figured out I wouldn't last there. Nashville is such a small town, and everybody knows everyone else's business. When I was in the process of splitting up with [first husband] Butch [Primm] and getting with Steve [Earle], lots of things were said by supposed friends, and they got back to me. We still have a home there, but just live somewhere else." Both Lynne and Moorer recently took a break from songwriting and explored the work of other female artists. "I had wanted to do an album of cover songs for a long time, and felt it was time to go back to school," Moorer says. "I did five albums of my own material from 1997 until 2005, and just needed to take a break; I had been in my own head for too long." On Mockingbird, Moorer filtered down a list of more than 40 songs to the dozen that made the cut, all by noted female writers, with the sole original being the title track. Ranging from June Carter Cash's "Ring Of Fire" to Cat Power's "Where Is My Love," Moorer covered a wide spectrum, but admits she just scratched the surface of the important songs written by women over the years. "It was really tough to decide which ones to do; they were all such great songs. Naturally, Joni Mitchell ("Both Sides Now") had to be on it. She's so important and opened doors for women in music." Moorer is also quick to explain the inclusion of the Shelby Lynne song, "She Knows Where She Goes." "She belongs on there, too," Moorer says. "It's a great song, and she has been such a big influence on me my whole life." Lynne is obviously proud to be part of her sister's project, although she is succinct with her praise. "It's great. She made a great album." Lynne also had her own reasons for doing an album of tunes by a female artist, choosing instead to focus on the oeuvre of one singer. But why do an entire album of songs by an artist who passed away in 1999, has little recognition among today's music scene, and whose career was typified by her interpretations of other people's songs? According to Lynne, Dusty Springfield deserves the honor. "She was one of the greatest pop singers of all time, and she was as important as anybody else. Dusty was the pop queen in Britain, was very well-known and respected in the U.S., and she was one of the first real divas." Just A Little Lovin' is a low-key, moody body of work, in sharp contrast to Springfield's trademark big productions with strings and choruses. "I wanted to bring new life to these songs, and to somehow introduce people to Dusty's work," says Lynne, who is often considered one of the best singers in the contemporary music world, and she has managed to put her own unique imprint on Dusty's songs while allowing the original beauty to shine through. As their lives move forward, Lynne and Moorer are forever linked by blood, and obviously by musical ideas. "We are blessed, lucky and grateful," Lynne says. "And we both love to sing." That's a good place to be in life.

From RollingStone.com Fricke’s Picks: UFO In June 1973, the British hard-rock quartet UFO landed in Germany for a tour — as a trio, because their guitarist suddenly quit. UFO had already gone through two other guitarists since forming in 1969. But it was fourth time lucky when singer Phil Mogg, bassist Pete Way and drummer Andy Parker borrowed local teenage dynamo Michael Schenker, then in Scorpions, for the German dates. Schenker soon joined UFO full time, flanking Mogg’s tough-glam bray with meaty, melodic riffing, and charging the band’s boogie locomotion with lethal, articulate soloing on a run of albums — 1974’s Phenomenon, 1975’s Force It and 1976’s No Heavy Petting, all reissued with bonus tracks (Chrysalis/EMI) — that became holy text for the spandex boys just around the bend, including Def Leppard, Iron Maiden and Guns n’ Roses. UFO were, at the start, better jammers than composers (ballads were essentially breathers between cannonballs), and Phenomenon opens tentatively: “Oh My” sounds like it reads. But that album’s heavy-Yardbirds assaults, “Doctor Doctor” and “Rock Bottom,” are two of UFO’s — and Schenker’s — best moments on record. By Force It, the writing was sharper (”Let It Roll,” “Shoot Shoot”) and bolder (”Out in the Street”). No Heavy Petting came with keyboards and a poised mix of crunch and radio-wise pop that paid off in later FM hits like “Lights Out” and “Only You Can Rock Me.” Those two songs are on The Best of UFO (1974-1983) (Capitol), out soon to coincide with a U.S. tour by the current lineup of UFO (which will not include Schenker, who has been in and out of the band a few times since 1979). That set has everything for the novice, but the reissues — with seventeen extra tracks spread over them, including period demos, outtakes and hot, live juice — are the real phenomenon. David Fricke

If you'd pull his dick out of your mouth long enough to pay attention to the thread you'd see where I've done much more than bash Axl. If that's all you want to acknowledge about my contributions to the thread, so be it. Now back to your Axl buttfuck fest...

Heart may well get the nod someday but have they even been nominated? Plus, they may be perceived as some sort of Zep clone.

Both of you are completely off the mark, I'm just a music fan like everyone else. As such, I also have an opinion and my opinion is that Axl is an egotistical asshole. I have just as much right to express that opinion as someone who has their head up Axl's ass and thinks everytime he takes a shit he's laid some kind of golden turd. I, like many, many other music fans around the globe, are watching in anticipation of this album that's been in the works now for well over a decade. I don't have to be some diehard fan to express an interest in it's outcome. None of that has a thing to do with having to get in the last word or any other misconceptions you may have about me.

I haven't spoken to what the new album will sound like or how successful I think it might be, I have mainly spoken about my opinion of Axl. I do know that the reaction to what's leaked from the new album so far has been mediocre to fair at best except for the diehards that will automatically heap praise on anything Axl does whether they've actually heard it or not. As for the record and tour (no matter who's in G n' R), I'm sure both will be successful. I just don't believe the album (when and if it ever comes out) is somehow going to change music history and cause the world to stop in it's tracks.

I'm not saying the enforcement of the supposed banishment of "pay to play" worked but it was brought to everyone's attention. I also have to disagree that labels determine what songs will be hits. Again, if that were so, every artist that releases a single would have a hit. That simply isn't the case. What gets played all depends who the latest flavor of the month is. If a new release resembles what is currently popular then it is pretty much assured airplay. Anything that's different or deviates from the norm won't see the light of day in today's musical climate.

I don't know where you get this "last word" bullshit from but if someone makes false statements concerning me I'm not going to sit idly by and let it go. I suggest you butt the fuck out and mind your own business.

A few years back the "pay for play" thing was done away with which was basically legal payola. The record companies would supply radio stations with all kinds of artist merch to give away on the air in exchange for airplay. Still, it's not any sort of level playing field. Just look at the difference in playlists on terrestrial radio and what gets played on satellite and progressive stations. I agree with how the industry refuses to embrace the new technology and the infrastructure is collapsing all around them. It's a very interesting time to be a music fan.

Can't say I agree with this. If it was that easy then everyone that released an album would have hit songs. It's more like the cookie cutter mold Clear Channel has created for airplay that determines what gets played and what doesn't, it doesn't have anything to do with the labels choosing which songs will be hits.

Someone doesn't have to be a fan or a musician to be qualified to express an opinion. Like I've said, I do like some of their stuff but I don't want to buttfuck Axl as you do so my opinion is not nearly as biased. You know it will be good? So you've already heard the entire thing? I think not. Get Axl's dick out of your mouth and try forming an honest opinion once the album is actually released, not ahead of time before you've even heard it.

These purchases are "lame"?

Yes, I have. In the business those are known as "natural" causes. Skynyrd's story has been especially tragic as at least two members (Allen Collins and Leon Wilkeson) have passed away since the plane crash.

From the Raleigh, NC News & Observer: BY DAVID MENCONI, Staff Writer While it's not as noble as protesting war or racism, artists have fought the music industry's powers that be for as long as there has been a music industry -- on-record as well as in real life. So when Spoon blasted its former label representative on "Laffitte Don't Fail Me Now," (see page 18) the band merely followed a rock-era tradition. But with the old-school music business in free fall, songs about record companies are fast becoming a quaint anachronism -- which can only mean that it's time for a hall of fame: The Byrds, "So You Want To Be a Rock 'N' Roll Star" (1967) -- In a shade over two minutes, this traces one's path from zero to stardom, after you "sell your soul to the company/who are waiting there to sell plastic ware." Lynyrd Skynyrd, "Workin' for MCA" (1974) -- Apparently, Skynyrd's Ronnie Van Zant paid attention to that Byrds song. This one concludes, "I want you people to know/That every penny I make/I'm gonna see where my money goes." Sex Pistols, "EMI" (1977) -- After taking EMI's money and running, the Pistols put this kiss-off on their debut album, which was released on another label: "Blind acceptance is a sign/Of stupid fools who stand in line/Like EMIIIII!" Graham Parker, "Mercury Poisoning" (1979) -- In which Mercury recording artist Parker laments his status as "the best-kept secret in the west." John Fogerty, "Zanz Kant Danz" (1985) -- The title refers to Saul Zaentz, Fogerty's old label boss, who "can't dance but he'll steal your money." Legal unpleasantness ensued, and the title was changed to "Vanz Kant Danz." Another song on the same album is called "Mr. Greed," and there's little doubt as to its subject. The Smiths, "Paint a Vulgar Picture" (1987) -- Describes a record-company meeting where the agenda is how to sell a pop star, recently deceased. Tom Petty, "Into the Great Wide Open" (1991) -- This traces the same trajectory as the Byrds song above, but it also foreshadows the stardom arc's downward side after the subject's "A&R man said, 'I don't hear a single.' " A Tribe Called Quest, "Show Business" (1991) -- "You're a million-dollar man that ain't got no dough" pretty much sums it up. Alanis Morissette, "Right Through You" (1995) -- Revenge is sweet indeed when delivered from the perch of an album that wound up selling 16 million copies: "Now that I'm Miss Thing... You scan the credits for your name and wonder why it's not there." Chuck D, "Untitled" (1996) -- On this unlisted bonus track from the Public Enemy rapper's solo album, he unleashes fury at the record industry: "Can you imagine if the airline industry was run like the music business? You would have daily multiple disasters." Prince, "Jukebox With a Heartbeat" (2001) -- No matter how successful you are, you're only as good as your latest chart placement. Just ask Prince: "Who said I don't fit the format no matter how many I sold?"

From Billboard.com: Liz Phair Reclaims Her 'Independence' Liz Phair Susan Visakowitz, N.Y. Fifteen years after Liz Phair's classic Matador debut, "Exile in Guyville," established her as an indie rock icon, the artist says she's ready to "bring that moment back to life." In her first interview about the imminent re-release of "Guyville," due June 24 on ATO, Phair tells Billboard it "was actually ATO's idea initially, but I did realize that we'd never done the 10th anniversary edition, and it seemed like a good thing to do. I jumped on the idea." As previously reported, the new edition of "Guyville" includes four previously unreleased audio tracks and a DVD with a documentary about the album's genesis, which Phair says she was particularly excited to work on. "I wanted to ... revisit the scene that happened around 'Guyville' in 1993," she says. "It was also a good way for me to establish my independence." Phair, who started at Matador and then made three unevenly received albums for Capitol, says she decided on ATO for the re-release of "Guyville" because she "missed being on an indie. I never wanted to go to a major in the first place, but Matador basically sold me to Capitol, and when they divested, I was left there. It has been a long time since I could do what I wanted ... I can honestly say, for the first time in 15 years, I feel creative." With that, Phair is in the midst of recording a new album for ATO, tentatively set for a fall release. "I have a strong vision that I can't quite articulate yet," she says of the new material, "but I'm hoping it'll be clear on the album." For an extensive Q&A with Phair, please click here. Reporting by Cortney Harding, N.Y.

From Billboard.com: AC/DC Recording With Brendan O'Brien AC/DC Jonathan Cohen, N.Y. AC/DC is recording its first studio album in eight years with producer Brendan O'Brien. No release date has yet been announced for the Columbia project. The news came via a Web post from Supersuckers frontman Eddie Spaghetti, who said his own band's album is being delayed due to O'Brien engineer Billy Bowers' work with AC/DC. Bowers is producing the Supersuckers' as-yet-untitled disc. "[bowers] wants to make some last-minute tweaks and, well, he can't right now," Spaghetti wrote. "He's been detained by a little Australian band called, uh, AC/DC." AC/DC is expected to tour in support of the album, with dates to be announced.

Mine wouldn't change one iota. Regrouping the original G n' R wouldn't suddenly erase how Axl has mistreated his fans, women or the fact that he's taken so fucking long just to release one album. However, it would free up Tommy Stinson to get back to the business of making some music that is actually worthwhile.

I wouldn't really call myself a fan but I do feel that something like Appetite was much needed at the time. For one to be "critical" I don't have to have sold millions of records or have accomplished anything. I have formed an extremely low opinion of Axl because that's the image he's created for himself over the years. Anyone that's taken as long as he has to record one single album isn't a genius, they're more like a joke.

True but I'm well aware of who Tommy Stinson is. I'll take the Replacements over G n' R any day of the fucking week. Axl Rose a "genius"? How about a washed up, woman-beating, riot inciting, overweight, botoxed loser that can't sing worth a fuck and has taken in excess of ten years just to release one album (and it still hasn't come out yet). Genius? Far from it.

I love the newer records but the first two remain my favorites.