Thanks for the tip, I've often wondered what the difference was between this one and the Deluxe Edition other than a slightly different tracklist.

Every Saturday night at 11 o'clock XM's Deep Tracks breaks out In-A-Gadda-Da-Vida just for those that want to get their fix.

I definitely spent a lot of hours listening to that one back in the day and will probably pick it up on CD at some point just for ol' times sake.

Ground already well covered but you admitted yourself that you actually hadn't listened to much music from the 90s. Kinda hard to form an opinion when you won't even give it a chance. As for the Goo Goo Dolls, don't be so quick to judge. No, I'm not a huge fan of them but overall, they're not too bad. I much prefer the Replacements who they largely styled themselves after. I believe they were first formed in the 80s by the way (both the Goos and the Mats).

I love both those records (especially Empty Baseball Park which is one of the bonus cuts on Faithless Street) but probably prefer Strangers Almanac because it was my first Whiskeytown album. I've always been a fan of the local (NC) scene but what got me re-interested were a couple of compilations on Yep Roc Records called Revival Vol. 1: Brunswick Stew and Pig Pickin' and Revival Vol. 2: Kudzu n' Hollerin' Contest. I had been reading about the alt.country scene (both local and otherwise) for a while but it was those two records that led me to search out Whiskeytown, the Backsliders, Drive-By Truckers, Trailer Bride, Six String Drag, Lou Ford and many, many more.

http://www.billboard.com/bbcom/news/articl...t_id=1003697074 Miami Indie Lays Claim To Early Beatles Tracks The Beatles Ayala Ben-Yehuda, L.A. An independent Miami label says it plans to release never-before-heard Beatles live recordings made in 1962 at the Star Club in Hamburg, Germany. Fuego Entertainment, which distributes music through Koch, has entered into a joint venture, Echo-Fuego, with British producer/promoter Jeffrey Collins to put out his catalog holdings. They say those include a live Beatles performance of 15 songs at the club. No release date has been set for the recordings, which the label claims are the first to feature drummer Ringo Starr as part of the group. Other Beatles recordings from the Star Club have been released, but Fuego says its collection includes previously unheard tracks, such as covers of Hank Williams' "Lovesick Blues" and Maurice Williams' "Do You Believe." Other live Beatles tracks the label says it holds (a claim Billboard was unable to verify) also include "Twist and Shout," "I Saw Her Standing There," "Hippy Hippy Shake," "A Taste of Honey," "Money," and "Ask Me Why," which can be heard in other recorded Beatles performances at the Star Club. Collins, who now lives in Florida, says he got the original tapes at the time from a DJ he'd booked for the club the night of the Beatles' performance. When he got the tapes, which the label says were recorded with the club's permission, "they were in terrible condition," says Collins. Decades later, he was able to digitally remaster them "to make them sound coherent," but says Apple Corps rebuffed his 1996 overture to release the tracks. The lack of a release date illustrates the obstacles involved in releasing Beatles-related product. "Through legal channels, we will be making these albums available for release," says Collins. "The Beatles know these tapes exist and their lawyers know these tapes exist. It's a matter of certain legalities." "We don't have a comment as such but not surprisingly are looking into the claim," says a spokesperson from Apple Corps., which maintains the Beatles' business affairs. Fuego Entertainment president/CEO Hugo Cancio says for $4.95, fuegoentertainment.net is offering a full-track stream of the live "I Saw Her Standing There," plus clips of other live Beatles songs in its collection; downloads of a track each by Ahmir and rapper KRS-One; and early download access to its recording of Jimi Hendrix's "Rainbow Bridge" concert. Astute Beatles fan are already calling foul. According to Steve Marinucci, who runs Abbeyrd's Beatles Page, of the four tracks on the Fuego site, only "A Taste of Honey" is unheard, and the "Lovesick Blues" cover isn't even by the Beatles at all. As for the sound quality, Marinucci says they are no better than earlier "Star Club" releases, which are decidedly lo-fi. Meanwhile, the company's rights to the Hendrix material have already been disavowed by the late guitarist's estate and its subsidiary enterprise, Experience Hendrix. "Experience Hendrix serves notice that it will take all legal action necessary to remove this bootleg material from the market and recover damages against Fuego Entertainment and associated parties for infringement as authorized under applicable law," the company said in a statement.

Reknown session musician and Jackson Browne sideman David Lindley also has a unique outlook on the topic of bootlegging. Several of his posts are rather lengthy but well worth reading, just scroll down to the News From the Road segment of this webpage: http://davidlindley.com/news.html

I have only a few unofficial live recordings I paid cash for but that was before I knew any better and well before the advent of the internet. In this day and age of the B & P and the ability to download for free there is no reason to pay for live recordings (except in very rare cases). Even then I try to avoid it at all costs because any way you look at it, it is stealing money from the artists in question and putting it in the pocket of bootlegers. No. As I said, I simply didn't know any better back then and consider it water under the bridge by now and a very valuable lesson learned. If others want to rob from their favorite artists by supporting bootleggers they can continue to do so but it's a stance I personally do not support. If the sale of illegal bootlegs wasn't a problem you wouldn't see things like the Grateful Dead's Dick's Picks series, Instant Live and similar approachs being taken by everyone from Jimmy Buffett to Pearl Jam, all as a deterrent to put the bootleggers out of business. During our discussion of the Beatles catalog being remastered I merely mentioned the digital aspect of it as I'm aware that's part of the deal but don't know all of the details, that's why I said I hope they will also be re-released in the compact disc format. If you're trying to drag me into another of your "mp3s are inferior arguments" you're preaching to the choir as I totally agree with you. As for the trading community, every taper/trader I know goes to great lengths to ensure their recordings stay in the original, uncompressed format. What people do with them after that is completely up to them, just so long as they are not circulated as mp3s among other traders.

http://www.billboard.com/bbcom/news/articl...t_id=1003698406 Elvis Costello Katie Hasty, N.Y. Continuing in Hip-O/UMe's Elvis Costello reissue series, the labels will on March 4 release "This Year's Model" bolstered with previously unreleased material and a bonus live disc. Originally released in 1978, the Nick Lowe-produced effort will include 11 B-sides and alternate takes of the set's songs; highlights include live versions of "Neat Neat Neat," demo versions of three songs and an unreleased studio version of "This Year's Girl." The bonus disc contains Costello and the Attractions' Feb. 28, 1978, concert at the Warner Theater in Washington, D.C., a 17-song set that includes songs from his 1977 debut, "My Aim Is True," as well as from "This Year's Model." "This Year's Model" was previously reissued with different tracks by Rykodisc in 1993. Here is the track list for "This Year's Model": DISC ONE: "No Action" "This Year's Girl" "The Beat" "Pump It Up" "Little Triggers" "You Belong to Me" "Hand In Hand" "(I Don't Want To Go To) Chelsea" "Lip Service" "Living In Paradise" "Lipstick Vogue" "Night Rally" "Radio, Radio" "Big Tears" "Crawling to the USA" "Tiny Steps" "Running Out Of Angels" (demo version) "Greenshirt" (demo version) "Big Boys" (demo version) "Neat Neat Neat" (live) "Roadette Song" (live) "This Year's Girl" (alternate Eden Studios version) "(I Don't Want to Go to) Chelsea" (alternate Basing Street Studios version) DISC TWO: "Pump It Up" "Waiting For the End of the World" "No Action" "Less Than Zero" "The Beat" "(The Angels Wanna Wear My) Red Shoes" "(I Don't Want to Go to) Chelsea" "Hand In Hand" "Little Triggers" "Radio, Radio" "You Belong to Me" "Lipstick Vogue" "Watching the Detectives" "Mystery Dance" "Miracle Man" "Blame It on Cain" "Chemistry Class"

Perhaps but it wasn't a big radio hit like the other songs Melanie mentioned, nor was it ever a single. At least not to my knowledge. Yes, I did. Thank you.

http://www.rollingstone.com/rockdaily/inde...emi-likely-over Rolling Stones “Shine a Light” on Universal, Tenure With EMI Likely Over The Rolling Stones have signed a one-album deal with Universal Music Group for the release of their next album, the live soundtrack to Martin Scorsese’s concert film Shine a Light. The Universal deal likely spells the end of the Stones’ sixteen-year partnership with EMI, as the band’s record contract with that label expires next month. If they do sign a long-term deal with another label, the Stones would join Paul McCartney and Radiohead as the latest big-name artist to exit EMI in the wake of their tumultuous takeover by private equity firm Terra Firma. Earlier this week, EMI head Guy Hands announced that the label would allow for the corporating sponsoring of bands, as well as cut 1,500-2,000 jobs in order to free up $400 million. Still-contracted EMI artists like Robbie Williams, the Verve and Coldplay hinted at withholding new albums until EMI proved they were capable of appropriately promoting and distributing those releases. Scorsese filmed Shine A Light during two Stones gigs at New York City’s relatively intimate Beacon Theatre in 2006. Among the special guests who joined the band on stage were Jack White and Christina Aguilera. The film will debut at the Berlin Film Festival next month before hitting American cinemas on April 4th.

It doesn't mean shit, just one person's opinion of their own favorite live albums. It in no way implies that no good live albums have been made since 1990. Here's five, I'd have no problem naming many more:

I don't know all the ins and outs but apparently he has a long and storied history with drug abuse, one can only guess but that's most likely what lead to his most recent falling out with the Robinson brothers and him being ousted from the band (again).

Hard to believe but he's now part of the Dixie Chicks' touring band. I hold nothing against him for it though, a struggling musician has to get by. In that same regard former Tift, Ryan Adams, Backsliders and Whiskeytown guitarist Brad Rice now plays in Keith Urban's band.

What song is "Time"?

I had a friend in college that had the Butcher Cover, except it was one of the pasted over versions. Still worth something I'm sure.

These were religious zealots of a different sort that definitely weren't brandishing shot glasses.

By Paul Farhi Washington Post Staff Writer If we can tell anything about the candidates from their campaign theme music, it may be this: They (or perhaps their aides) aren't paying much attention to the lyrics. If they were, they might change their tune. Hillary Clinton, for example, whips up supporters at rallies with ear- blasting recordings of Tom Petty's "American Girl" and Bachman-Turner Overdrive's "Takin' Care of Business," among others. The title of the first song suggests a kind of patriotic autobiography. The second is supposed to say something about Clinton's can-do style. Except that "Takin' Care of Business" is actually about not taking care of business. The '70s-era rock number (which George W. Bush also used in a 2004 campaign video) is from the point of view of a slacker: "People see you having fun/Just a-lying in the sun/Tell them that you like it this way." The lyrics go on to add, "It's the work that we avoid/And we're all self-employed/We love to work at nothing all day." "American Girl" is about an American girl, all right. But it's not about her patriotism. It's about the shattering of her romantic dreams: "And for one desperate moment there/He crept back in her memory/God, it's so painful/Something that's so close/And still so far out of reach." Clinton held a much-publicized campaign song contest online last year, but the winner -- Celine Dion's "You and I" -- is now little used by the campaign. Instead, Clinton's rallies have sometimes featured Dolly Parton's peppy "9 to 5," which contains the line, "I swear sometimes that man is out to get me." Now what could that refer to in Clinton's biography? Some of Clinton's rivals aren't much more attentive about their selections. Barack Obama prefers feel-good, Motown-era, baby boomer- friendly pop ("Higher and Higher," "Signed, Sealed, Delivered I'm Yours," etc.). But his musical messages can be mixed, too. Obama's campaign often plays Aretha Franklin's "Think," which superficially makes sense, especially with its rousing refrain ("Oh, freedom . . . yeah, freedom!"). But "Think" isn't really about freedom. It's a defiant warning to a straying lover: "You better think -- think! -- about what you're trying to do me." Mitt Romney has strayed deeper into romantic territory than he might have wanted to go, too. Romney has used Elvis Presley's "A Little Less Conversation" as his entrance music to convey his can-do style -- in other words, less talk, more action. But Romney's supporters might just want to ignore the part of the song where Elvis tells his paramour to "close your mouth and . . . satisfy me, baby." And what to make of John Edwards's use of "Pride (In the Name of Love)," the U2 song that references Jesus Christ ("One man betrayed with a kiss") and Martin Luther King Jr. ("Early morning, April 4/Shot rings out in the Memphis sky . . ."). Are Edwards's people making a presumptuous comparison? As a general rule, campaign songs aren't what they used to be. For one thing, they used to be original, or at least semi-original (among the current field of candidates, supporters of Republican Ron Paul seem to be the most active in producing original songs about their man, including such rockers as "Critical to Get Political"). Not so very long ago, campaigns commissioned their own jingles, though sometimes this simply meant retrofitting new lyrics to familiar music. The songs weren't just something bouncy and uplifting for entrances and exits, either. They often tweaked the candidate's opponent, or played up the campaign's themes. A verse in Abraham Lincoln's song in 1860, "For Lincoln and Liberty," went, "Our David's good sling is unerring/The Slavocrat's giant he slew/Then shout for the freedom preferring/For Lincoln and liberty, too." Clinton and Obama's selections reflect the more recent trend of employing tunes that are already well-known -- and generally are as inoffensive and broadly acceptable as possible. Edgy they aren't. Several Republicans this year have played Lee Greenwood's stirring and patriotic "God Bless the U.S.A.," which has practically become the official theme song of the Republican Party; it was a big hit in the campaigns of both Ronald Reagan (1984) and George H.W. Bush (1988), too. This year, however, it may have new resonance for Republicans, with its "proud-to-be-an-American" refrain echoing the party's immigration-reform sentiment. Democrats, meanwhile, seem to be countering with John Mellencamp's equally stirring and patriotic "This Is Our Country," a song made inescapable by commercials for Chevy trucks. But even seemingly "safe" choices can cause trouble. The most famously misread song may have been Bruce Springsteen's "Born in the U.S.A." During his 1984 reelection campaign, President Reagan praised Springsteen's "message of hope" during a stop in New Jersey. It wasn't clear which song, or songs, Reagan meant (and there's no record of Reagan's campaign actually playing the song), but many assumed he was referring to "Born," the title track of Springsteen's best-selling album at the time. The song, of course, is about the opposite of hope; it's the anguished cry of a Vietnam veteran, returning home to bleak prospects ("I'm ten years burning down the road/Nowhere to run ain't got nowhere to go"). Springsteen later expressed irritation at being made an implicit part of Reagan's morning-in-America reelection rhetoric. For sheer musical lameness, the prize may go to Sen. Robert Dole's campaign, which adapted the classic Sam & Dave tune, "Soul Man," during his 1996 presidential run. It became "Dole Man." Then it disappeared, after the song's writers took issue with the alteration. Although campaigns don't need permission to use a pop song, artists have objected to the unauthorized use of their work on political grounds. George W. Bush may have set the record for upsetting the most singers and songwriters: His campaigns have had to pull at least four songs over two election cycles amid complaints. During the 2000 campaign, Petty, Mellencamp and Sting complained about Bush's playing of, respectively, "I Won't Back Down," "R.O.C.K. in the USA" and "Brand New Day" (which was used by Al Gore's campaign without objection). Before Bush yanked the songs, Mellencamp told Rolling Stone magazine, "I don't think that anybody that knows me would think I have the same position as [bush]." Then, in 2004, Bush's reelection campaign had to stop playing "Still the One," the 1970s hit by the group Orleans, after co-writer and singer John Hall objected. Hall, a Democrat from New York, won his own race for Congress in 2006 after singing a duet of "Still" with Stephen Colbert on "The Colbert Report." Another dust-up arose during Rudy Giuliani's aborted Senate campaign in 2000. Giuliani criticized his opponent -- one Hillary Clinton -- after one of her aides played Billy Joel's "Captain Jack" at a rally. Giuliani got some media mileage by calling a news conference and reading the song's lyrics, which mention drug use and masturbation. But Clinton's people pleaded innocent. They said the selection was an accident -- the intended song was "New York State of Mind" but someone mistakenly left Joel's "Greatest Hits" album on too long. Giuliani himself has shown up at public events, including at least once last year, accompanied by "Rudie Can't Fail," a song about shiftless young people by legendary British rockers the Clash. Its chorus refers to "drinking brew for breakfast." Lately, Giuliani has retreated to safer musical territory -- a little Alan Jackson, a little Rascal Flatts . . . and even some opera.

No, I haven't. I'm not opposed to boots just so long as money never changes hands.

My apologies. I thought you were referring to the songs on Hey Jude (aka The Beatles Again) vs. the songs on Past Masters Vol. II. Yes, it's the song selection I like (which I'm pretty sure I stated in a previous post), I don't recall ever having said anything about them being alternate versions.

Unless it's an "official" release, boots released on CD are still boots and rob money from the artists. Now, if they're officially sanctioned recordings approved by the artists themselves, that's another matter entirely.

It's a nice little invention called Google Image search. Just plug in the keywords "Stevie Ray Vaughan statue" and there it is, almost as if by magic.

Can't say I've noticed that here. It seems like Circuit City and Best Buy usually have older titles (usually referred to as "midline" CDs) priced at around $10 or less. The most frustrating thing about big box stores is they rarely stock anything other than greatest hits packages from a lot of artists. That's where indies and online outlets tend to get much more of my business.

Great songs that I love myself but there's so much more to the the Allmans than their well worn hits.

I haven't much of the Crowes output outside of the band but what little I heard from Chris' second solo album I liked.