Thursday night it was The P-90s and the Temperance League at Tir na nOg followed by The Static Minds at Slim's, both in Raleigh. Last night it was The Gourds w/ Patrick Sweany at the newly renovated Cat's Cradle in Carrboro. Setlist courtesy of The Gourds News: 01. You Must Not Know 02. Peppermint City 03. Marginalized 04. Haunted 05. Web Before You Walk into It 06. Hellhounds 07. Bridgett 08. Two Sparrows 09. Pill Bug Blues 10. Melchert 11. My Name is Jorge 12. Ink and Grief 13. Long Gone Like a Turkey thru the Corn (Lightnin’ Hopkins) 14. Blankets 15. The Tinys Variety Hour (Claude Bernard/Matt Cook/Travis Garaffa) 16. Flamenco Cabaret 17. Drop What I'm Doing 18. I Want it So Bad 19. Shake the Chandelier * 20. I Like Drinking 21. Burn the Honeysuckle 22. Your Benefit 23. All the Labor 24. Lower 48 ** *Original set list had Cracklins **Richmond Ditch version

Actually, they did. At first, they weren't going to but after a few promo shows they decided to tour for it. They played in Raleigh, NC on August 27, 1999 with Wilco doing the opening honors. Wilco opening for R.E.M. at Walnut Creek Amphitheatre in Raleigh, NC on August 27th, 1999. R.E.M. performing at Walnut Creek Amphitheatre in Raleigh, NC on August 27th, 1999. Setlist Lotus Wake-Up Bomb Fall On Me Suspicion Electrolite Everybody Hurts Daysleeper Camera* The Apologist Sweetness Follows The Great Beyond The One I Love E-Bow The Letter At My Most Beautiful Star 69 Losing My Religion Man On The Moon Walk Unafraid Encore Hope Why Not Smile? What's The Frequency, Kenneth? Tongue Stipe's Piggly Wiggly story Find The River It's The End Of The World As We Know It (And I Feel Fine) *Played for the first time since 1985

They actually recorded two, Mermaid Avenue Vols. 1 & 2. Both of them are well worth ordering.

Even though I was a fan as of my first listen to "Laughing" in 1983, I never did get to see them in any clubs. My first two shows were at Cameron Indoor Stadium on the campus of Duke University in 1986 and 1987, respectively. The smallest place I ever saw them in after that was probably the Ryman Auditorium in Nashville during the Around the Sun tour in 2004. If ever they do decide to grace a stage again I would imagine it will be something along the lines of the 40 Watt in Athens. Although I'm content with them not doing a farewell tour or one final show, I will be keeping my ear to the ground for any one-off performances (preferably with Bill Berry) they may do in the future. In the meantime, I'm sure they'll be enjoying some well deserved and long overdue downtime. That is, except for Peter Buck, who's about to hit the road with the Minus Five and John Wesley Harding.

I believe it was Mills that said they first began to mull it over during the Accelerate tour in 2008. They have chosen not to tour behind previous records (Out of Time and Automatic for the People immediately come to mind) so that was nothing out of the ordinary. What struck me as odd was how, in interviews for Collapse Into Now, none of them seemed to know what the future held for R.E.M. beyond the release of that record. For the first time in their history, R.E.M. seemed to have no future plans. This, despite the mention of 2-3 tracks that didn't make the cut for Collapse Into Now. The lack of promotion on the part of the band members, aside from a few interviews, also seemed strange. All of these things, coupled with the prospect of their contract with Warner Brothers finally being up, which Buck addressed (albeit in a roundabout way, during an interview with The Big Takeover), earlier this year seemed to indicate the end was nigh. As for individual projects, that is something R.E.M. have done since the beginning of the band so that didn't seem out of place to me. If anything, Mills mentioning the possibility of a solo album, did. They did perform "Sing For the Submarine" live at least once during the Accelerate tour (see clip below). They also performed it live (although not in front of an audience) for a segment they taped for Vincent Moon's Takeaway show.

28 years ago today, R.E.M. made their national television debut on Late Night with David Letterman on NBC. The second song ("So. Central Rain" [i'm Sorry]) was too new to even be named at the time.

I also like Up but it took me a long time to fully appreciate it. I also agree about the Monster tour. I love that record but on that tour they felt the need to play everything at 11, even the quieter tunes. That just didn't work, at least to me. I also love New Adventures In Hi-Fi and think it's deserving of the praise that is so often heaped on Automatic for the People. Also an outstanding record but not really my favorite of the albums they did with Bill Berry once signing with Warner Brothers. I actually like Around the Sun but can certainly understand why so many (including the band members themselves) have so harshly criticized it. Out of the post-Bill Berry records, Reveal is my least favorite. As for R.E.M. in concert, I never witnessed them put on a less than a stellar performance although there were a couple of times (the aforementioned Monster tour and one date on the tour for Around the Sun) were I didn't feel they were up to snuff. During that show on the Around the Sun tour they were playing a homecoming concert in Atlanta but were met with boos from some members of the audience that weren't exactly thrilled with R.E.M. endorsing John Kerry for President. Not sure what those folks expected, especially considering it was an R.E.M. concert.

Considering the less than warm reception most of the short films for Collapse Into Now received online (at least at the R.E.M. fansite Murmurs), I have to wonder if Stipe decided to abandon the project altogether by not debuting those final three films online as originally planned. While I'm interested in seeing those last three films, I'm much more interested in seeing the Hansa Studio footage (live or not) released on DVD. As I understand it, the decision to release the greatest hits compilation was in the works prior to the band deciding to call it quits. However, while assembling the tracks for inclusion it was Mills who said, "During our last tour, and while making Collapse Into Now and putting together this greatest hits retrospective, we started asking ourselves, 'what next'? Working through our music and memories from over three decades was a hell of a journey. We realized that these songs seemed to draw a natural line under the last 31 years of our working together." Also, as I'm sure you're aware, Part Lies, Part Heart, Part Truth, Part Garbage will fulfill their contractual obligations to Warner Brothers. At least that is my understanding. In other words, it was going to come out anyway, whether they disbanded or not. Lots of people will see it as a cash-in. There's also lots of fans out there clamoring for a "farewell" tour. I can only imagine the backlash if they were to launch one final tour on the heels of a greatest hits release. I think they did the right thing by bowing out without a lot of hoopla. No matter how they handled it, there's always going to be a certain faction of the fanbase out there bitching about it.

Since I already own all of these songs (save for the three new ones) it really doesn't matter to me what songs on are on the compilation as it's geared towards the casual fan anyway. No matter what songs they include, somebody is going to be unhappy with the selection. However, I do wonder what will become of the short films Stipe had commissioned for Collapse Into Now. All of them, except for three ("That Someone Is You", "Me, Marlon Brando, Marlon Brando and I" and "Blue"), were debuted online as promised. There is also the live footage they shot at Hansa Studios in Berlin. Hopefully those clips, along with the Collapse Into Now short films will eventually see the light of day on DVD.

Trailer for Part Lies, Part Heart, Part Truth, Part Garbage:

Nice write up on the release of Led Zeppelin III from the folks at All Things Music Plus: ON THIS DATE (41 YEARS AGO) October 5, 1970 – Led Zeppelin: Led Zeppelin III is released. # ALL THINGS MUSIC PLUS+ 5/5 # Allmusic 5/5 stars # Rolling Stone (see original review below) ALL THINGS MUSIC PLUS+ TWO CENTS WORTH This was my first real listen to Zep and just realized I must have been 10 years old (11 in November). I really don’t care much about how long ago it was and that I am getting older, albeit gracefully (lol – no wiseass comments from those that know me); but I feel so bad for 10 year old kids (who are almost 11) now – they will never be able to listen/experience a Led Zeppelin at this age. The wheely thing/cover – you ain’t gonna get that on no MP3~ Oh, and to THE Lester Bangs (wherever you was or is or will be) – BOLLOCKS! ***** Led Zeppelin III is the third album by Led Zeppelin, released on this date in 1970. It was recorded between January and July 1970 and released by Atlantic Records. Composed largely at a remote cottage in Wales known as Bron-Yr-Aur, this work represented a maturing of the band's music towards a greater emphasis on folk and acoustic sounds. This surprised many fans and critics, and upon its release the album received rather indifferent reviews. Although it is not one of the highest sellers in Zeppelin's catalogue, Led Zeppelin III is now generally praised, and acknowledged as representing an important milestone in the band's history. Although acoustic songs are featured on Led Zeppelin III's predecessors, it is this album which is widely acknowledged for showing that Led Zeppelin was more than just a conventional rock band and that they could branch out in other areas musically. COVER Led Zeppelin III's original vinyl edition was packaged in a gatefold sleeve with an innovative cover, designed by Zacron, a multi-media artist whom Page had met in 1963 whilst Zacron was a student at Kingston College of Art. He had recently resigned a lectureship at Leeds Polytechnic to found Zacron Studios, and in 1970 Page contacted him and asked him to design the third album's cover. The cover and interior gatefold art consisted of a surreal collection of seemingly random images on a white background, many of them connected thematically with flight or aviation (as in "Zeppelin"). Behind the front cover was a rotatable laminated card disc, or volvelles, covered with more images, including photos of the band members, which showed through holes in the cover. Moving an image into place behind one hole would usually bring one or two others into place behind other holes. ORIGINAL ROLLING STONE REVIEW I keep nursing this love-hate attitude toward Led Zeppelin. Partly from genuine interest and mostly indefensible hopes, in part from the conviction that nobody that crass could be all that bad. I turn to each fresh album experiencing -- what? Certainly not subtle echoes of the monolithic Yardbirds, or authentic blues experiments, or even much variety. Maybe it's just that they seem like the ultimate Seventies Calf of Gold. The Zep, of all bands surviving, are today -- their music is as ephemeral as Marvel comix, and as vivid as an old Technicolor cartoon. It doesn't challenge anybody's intelligence or sensibilities, relying instead on a pat visceral impact that will insure absolute stardom for many moons to come. Their albums refine the crude public tools of all dull white blues bands into something awesome in its very insensitive grossness, like a Cecil B. DeMille epic. If I rely so much on visual and filmic metaphors, it's because they apply so exactly. I've never made a Zep show, but friends (most of the type, admittedly, who will listen to anything so long's it's loud and they're destroyed) describe the thunderous, near-undifferentiated tidal wave of sound that doesn't engross but envelops to snuff any possible distraction. Their third album deviates little from the track laid by the first two, even though they go acoustic on several numbers. Most of the acoustic stuff sounds like standard Zep graded down decibelwise, and the heavy blitzes could've been outtakes from Zeppelin II. In fact, when I first heard the album my main impression was the consistent anonymity of most of the songs -- no one could mistake the band, but no gimmicks stand out with any special outrageousness, as did the great, gleefully absurd Orangutang Plant-cum-wheezing guitar freakout that made "Whole Lotta Love" such a pulp classic. "Immigrant Song" comes closest, with its bulldozer rhythms and Bobby Plant's double-tracked wordless vocal croonings echoing behind the main vocal like some cannibal chorus wailing in the infernal light of a savage fertility rite. What's great about it, though, the Zep's special genius, is that the whole effect is so utterly two-dimensional and unreal. you could play it, as I did, while watching a pagan priestess performing the ritual dance of Ka before the flaming sacrificial altar in Fire Maidens of Outer Space with the TV sound turned off. And believe me, the Zep made my blood throb to those jungle rhythms even more frenziedly. Unfortunately, precious little of Z III's remaining hysteria is as useful or as effectively melodramatic. "Friends" has a fine bitter acoustic lead, but gives itself over almost entirely to monotonously shrill Plant breast-beatings. Rob, give a listen to Iggy Stooge. "Celebration Day" and "Out On the Tiles" are production-line Zep churners that no fan could fault and no one else could even hear without an effort, "Since I've Been Loving You" represents the obligatory slow and lethally dull seven-minute blues jam, and "Hats Off to (Roy) Harper" dedicates a bottleneck-&-shimmering echo-chamber vocal salad to a British minstrel who, I am told, leans more towards the music-hall tradition. Much of the rest, after a couple of listenings to distinguish between songs, is not bad at all, because throughout the disc Zeppelin are at least creative enough to apply an occasional pleasing fillip to their uninspiring material, and professional enough to keep all their recorded work relatively clean and clear -- you can hear all the parts, which is more than you can say for many of their peers. Finally I must mention a song called "That's the Way," because it's the first song they've ever done that has truly moved me. Son of a gun, it's beautiful. Above a very simple and appropriately everyday acoustic riff, Plant sings a touching picture of two youngsters who can no longer be playmates because one's parents and peers disapprove of the other because of long hair and being generally from "the dark side of town." The vocal is restrained for once -- in fact, Plant's intonations are as plaintively gentle as some of the Rascals' best ballad work -- and a perfectly modulated electronic drone wails in the background like melancholy harbor scows as the words fall soft as sooty snow: "And yesterday I saw you standing by the river / I read those tears that filled your eyes / And all the fish that lay in dirty water dying / Had they got you hypnotized?" Beautiful, and strangely enough Zep. As sage Berry declared eons ago, it shore goes to show you never can tell. - Lester Bangs, Rolling Stone, 11/26/70. TRACKS: Side One 1. "Immigrant Song" (Jimmy Page/Robert Plant) 2:26 2. "Friends” (Page/Plant) 3:55 3. "Celebration Day” (John Paul Jones/Page/Plant) 3:29 4. "Since I've Been Loving You" (Jones/Page/Plant) 7:25 5. "Out on the Tiles" (John Bonham/Page/Plant) 4:04 Side Two 1. "Gallows Pole" ( Traditional, arr. Page/Plant) 4:58 2. "Tangerine" (Page) 3:12 3. "That's the Way" (Page/Plant) 5:38 4. "Bron-Y-Aur Stomp" (Jones/Page/Plant) 4:20 5. "Hats Off to (Roy) Harper" (Traditional, arr. Charles Obscure) 3:41

David Rawlings Machine covering Ryan Adams. In a way, this isn't really a cover since David and Gillian Welch play on the original. It's just that Ryan isn't on this version.

Presently opening for the likes of the Drive-By Truckers and the North Mississippi All-Stars:

Over the weekend: Chatham County Line at the American Tobacco Campus in Durham. This was the final concert in this year's Back Porch Music on the Lawn Series presented by WUNC. Rusted Root at the Raleigh Ampitheater as part of the Bud Light Concert Series. Tickets were $5. Tonk at King's Barcade in Raleigh. Erica Blinn at Sadlack's Heroes in Raleigh.

I love a good art/indie movie as much as the next person but this one sucks left hind tit, especially if you're looking for a movie with an actual ending.

R.E.M. remembered in the current issue of Flagpole: R.E.M.HQ has also been posting links to a number of articles about R.E.M. since the announcement of their disbandment last week. Those can be read here.

Wilco last night in Raleigh with Nick Lowe doing the opening honors. Here's a review from David Menconi from the Raleigh News & Observer and a link their photo gallery from last night's concert. There's also this review and photo gallery from Music.MyNC.com. Setlist and show poster below. Wilco w/ Nick Lowe at the Raleigh Amphitheatre, 9.27.11. Art of Almost I Might Black Moon Ashes of American Flags Bull Black Nova I Am Trying to Break Your Heart One Wing Dawned on Me Born Alone Impossible Germany Say You Miss Me Whole Love Pot Kettle Black Handshake Drugs War on War Standing O One Sunday Morning Encore: Shot in the Arm Jesus, Etc. 36 Inches High (w/ Nick Lowe) I Love My Label (w/ Nick Lowe) Red Eyed and Blue I Got You Walken I'm the Man Who Loves You ---------- There were also a number of Wilco after parties in town last night, I somehow managed catch portions of all them which included sets from Kenny Roby and the Debonzo Brothers at the Pour House, Jason Kutchma of Red Collar at Tir na nOg and Some Army at Slim's.

Nick Lowe was great. He did a solo acoustic opening set that touched on all phases of his career. It also included a nod to longtime friend Elvis Costello via a cover of "Alison". He came back out later and fronted Wilco for "I Love My Label" and at least one other tune. Very cool of them to have Nick Lowe out on tour with them which will only help bring him to a larger audience and remind those of us that have been around a while of just how wonderful he is.

I highly recommend the brand new Tommy Stinson album to anyone that's a fan of his past solo work as well as his work with the Replacements. Like his last solo effort, Village Gorilla Head, it also includes Dizzy Reed from G n' R but don't let that stop you from buying it.

Wasn't sure what to expect with this one but I was very pleasantly surprised. It's set in the 80s and thus has a bit of an 80's movie feel (thanks largely to the soundtrack) but without the cheese of so many movies that came out back then.

Yes, I do. Thanks. I'm listening to Nels Cline being interviewed right now on WUNC's The State of Things radio program. Wilco are donating a portion of merch sales from tonight's show to a locally based organization called Farmer Foodshare, which is the topic of today's discussion. If anyone would like to listen to the interview, click here.

Isn't the countdown over since tomorrow is the day of release? Not really anything left to "countdown" is there?