http://www.youtube.com/watch?v=MgIC6KOFySk

A lot of cliche prison scenes, and too long at 2 hrs 40 minutes.....but still watchable. Made me chuckle several times, and I hadn't seen Garcia in anything in quite a while.

http://www.macombdaily.com/articles/2011/04/15/entertainment/srv0000011410005.txt Time Machine Published: Friday, April 15, 2011 Making a new album is what inspired Rush to hit the road in 2010 and continue into this year. "We've never come off tour and then gone straight into the studio when we're in top playing form," explained guitarist Alex Lifeson, noting that the Canadian trio had already started working on the forthcoming "Clockwork Angels" with producer Nick Raskulinecz before it added the live dates to the mix. "We usually finish a tour and then we take some time off and we slowly get back into writing and then into the studio, recording. So rather than being attached to this whole big project at once, to do it piecemeal is actually a lot of fun." But while Rush has a couple of new songs, "Caravan" and "BU2B," to play for its fans, the real lure of the Time Machine Tour is that the group is playing its 1981 album "Moving Pictures" in its entirety, celebrating the 30th anniversary of its top-selling release and its enduring hit single, "Tom Sawyer." Lifeson, who co-founded Rush 43 years ago in Toronto with singer-bassist-keyboardist Geddy Lee, credits Neil Peart, Rush's drummer and lyricist since 1974, with the "Moving Pictures" idea. "He'd been hearing about some bands, specifically Steely Dan, who were doing different albums on different nights," the guitarist notes. "He thought that was a great idea. " Though Rush has had various moments in the commercial rock spotlight during its career, "Moving Pictures" does represent the pinnacle. The album hit No. 1 in Rush's homeland and No. 3 on the Billboard 200 chart, and it's certified quadruple platinum in both the U.S. and Canada. "Tom Sawyer" — which was famously "covered" on the cartoon "South Park" — and "Limelight" both appeared in the Billboard Hot 100, while the instrumental track "YYZ" was nominated for a Grammy Award. A special anniversary edition of the album, with video bonus material, was recently released. "That (album) took us up to the next level," says Lifeson (née Zivojinovich), 57. "After the release of that album, we were headlining everywhere we were going, and our audiences increased by a large percentage. It just gave us that much of a push forward." Amidst the trips through its past, however — which included a star on the Hollywood Walk of Fame and lifetime achievement awards from Billboard and Classic Rock magazines in 2010 — Rush is also focused on the future and "Clockwork Angels." He says "Caravan" and "BU2B" are "pretty heavy indications of where the record's going," but he adds that "there are a lot of different tonalities and soundscapes in the material we've written so far" that will be showcased on the album, Rush's first of new material since 2007's "Snakes & Arrows." Rush performs at 7:30 p.m. April 17 at The Palace, Lapeer Road at Interstate 75, Auburn Hills. Tickets are $50.50-$126. Call (248) 377-0100 or visit www.palacenet.com.

http://www.macombdaily.com/articles/2011/03/27/entertainment/doc4d8f5907cec71352633820.txt REVIEW: Seger kicks off tour by rocking the house in Toledo Published: Sunday, March 27, 2011 By Gary Graff For The Macomb Daily TOLEDO, Ohio -- As he and his Silver Bullet Band tour into a show-closing rendition of "Rock and Roll Never Forgets" on Saturday (March 26), Bob Seger inserted the line "sweet 16 turns 65" -- as if marveling that he was still on stage playing his particular brand of Midwestern rock at an age many others are collecting Social Security. But as the Detroit rocker opened his highly anticipated spring tour at Toledo's Huntington Center, it was clear Seger remembers how to put on the kind of long and lusty show on which he's staked his Rock and Roll Hall of Fame expectation. The salt-to-pepper ratio, of course, has increased a bit since Seger finished his last tour nearly four years to the day. And there were some concessions to age as he sat down on a stool for his acoustic guitar numbers such as "Main Street," "Against the Wind" and "Night Moves" -- not to mention some expected opening-night miscues and even a bona fide senior moment when Seger introduced "Her Strut" as coming from the "Stranger in Town" album (it's actually on "Against the Wind"). But at two hours and 15 minutes and 25 songs this was no retiring kind of rock show. Rather, it was full-tilt and fired up, an exhaustive exposition whose flaws only made the set seem that much more reckless and youthful -- to the delight of the sold-out crowd of 8,200 that seemed almost equally divided between Michiganders and Ohioans. Seger and company came out strong -- perhaps a bit TOO strong -- with "Roll Me Away," Otis Clay's "Tryin' to Live My Life Without You," "Her Strut," "Main Street" and "Old Time Rock and Roll," with the 13-piece Silver Bullets in fine form, bolstered by the four-piece Motor City Horns and solos by saxophonist Alto Reed, keyboardist Craig Frost and guitarist Mark Chatfield. But by the time the group hit "Downtown Train," the Tom Waits cover that's the first release from Seger's upcoming (but incomplete) new album, the singer -- who was sporting a Toledo Mud Hens baseball jersey and a headband -- seemed a bit gassed and working to maintain an equilibrium. He managed to find it, however, and even got stronger as the show went on -- and particularly after an eight-minute break that followed the pleasing-as-ever coupling of "Travelin' Man" and "Beautiful Loser." The show did follow a model similar to the 2006-07 run -- after all, it's not like Seger can get away without playing staples such as "Ramblin' Gamblin' Man," "We've Got Tonight," "Turn the Page," "Horizontal Bop," "Katmandu" and "Hollywood Nights." But he did insert some gems and surprises, including the "Against the Wind" ballad "Good For Me," "Gets Ya Pumpin' " from 2010's "Early Seger Vol. 1" collection and the return of Ike & Tina Turner's "Nutbush City Limits" and "Come to Poppa." The only flat selection was a cover of the Isley Brothers' "It's Your Thing" performed by the three Silver Bullet backup singers -- Shaun Murphy, Laura Creamer and Barbara Payton -- a speed bump that, coming shortly after the break, didn't make much sense. But if tradition holds, the ever-exacting Seger will go over the opening night show in detail and continue to tweak it probably until the tour wraps in May at the Palace of Auburn Hills. But on Saturday, the trek certainly began on good footing. Tickets, priced at $69, are on sale for Bob Seger & the Silver Bullet Band shows May 17, 19 and 21 at the Palace of Auburn Hills. Call 248-377-0100 or visit www.palacenet.com.

Some Beatles covers.... Melvin !!

http://www.macombdaily.com/articles/2011/03/13/entertainment/doc4d7cf1bf2a44e968489327.txt Alice Cooper joins Rock Hall ranks; leaves electric chair at home Published: Sunday, March 13, 2011 For The Macomb Daily Alice Cooper is set to join the Rock and Roll Hall of Fame. Alice Cooper will be leaving the guillotine, gallows, electric chair and snake at home when he attends the Rock and Roll Hall of Fame induction ceremony Monday, March 14, in New York City. But the Detroit-born shock rocker promises that he and his band will be dressed appropriately for the occasion. “We’ll do tuxedos,” Cooper says. “We’re actually getting tuxedos made — special Alice Cooper tuxedos. It’ll definitely be our style. It’ll be within our sense of humor.” And, he promises, there will be much smiling as the quintet takes its place alongside its peers and predecessors in the Rock Hall’s ranks. “It’s terrific,” says Cooper, 63, who was born Vincent Furnier in Allen Park. “The whole idea of finally being in that club ... once you get voted in, you realize it’s your peers that voted you in, the guys that you actually watched on ‘Shindig’ and ‘Hullabaloo’ and all that, they’re the guys voting on you. “So it’s a nice feeling, that thing that you’re in the same club as them.” Cooper and company — guitarists Michael Bruce and the late Glen Buxton, bassist Dennis Dunaway and drummer Neal Smith — certainly waited for this moment. Artists are eligible for the Rock Hall 25 years after the release of their first album which meant the Cooper band — which debuted with the self-produced “Pretties For You” in 1969 — has been on the clock since 1994. Year after year went by without the quintet, which pioneered a school of highly theatrical rock performance, even being on the nominating ballot, however. And when acknowledged disciple Kiss was nominated for the class of 2010, though it didn’t ultimately make the final cut, it was considered an affront. Nevertheless, Cooper — who’s “defensive mechanism” was slamming the Rock Hall through the years of being slighted — says he always felt confident his band would have its time. “It’s almost like Lady Gaga now; you take the theatrics away from Gaga and she’s a really good singer, she writes pretty good, she’s a good piano player, she can hold her own with anybody. But right now not too many people are talking about how good her voice is. They’d rather talk about her coming out of an egg. “So with us, when you had other musicians going, ‘You know, these guys make great albums,’ that’s when we started getting people’s approval. That made a big difference.” The Cooper band is the 28th Rock Hall inductee from Detroit or with Detroit or Michigan connections. The group was formed in Phoenix, where Cooper’s family moved when he was an adolescent. A high school letterman in cross country, he had formed a group called the Earwigs that won a talent contest for miming Beatles songs — and then learned to play instruments. The Beatles and Rolling Stones were certainly influences, but Cooper adds that, “if there was any blueprint for us, it was The Yardbirds,” the British band in which Eric Clapton, Jeff Beck and Led Zeppelin’s Jimmy Page became famous. “We always wanted to be America’s version of The Yardbirds. That’s who we really listened to on every level.” But there was another aspect to the band, which renamed itself The Spiders and then The Nazz, that would ultimately separate it from the rest of the rock ‘n’ roll pack. “We were a garage band with a lot of really creepy ideas,” says Cooper, who initially claimed to have received his stage name from a 17th century witch during an Ouija board session. “The theatricality was always there. We didn’t mind throwing a little ‘West Side Story’ in there, a little ‘Diamonds Are Forever,’ TV themes. “That’s what made us who we were — horror movies and detective shows and all that stuff. We grew up on TV and movies, so you had to expect to see that stuff fall into our music somewhere. We couldn’t deny who we were.” The music took the Alice Cooper band to Los Angeles, where the quintet met manager Shep Gordon and was signed by Frank Zappa to his Straight Records label for “Pretties For You” and “Easy Action.” Neither sold well; the band’s notoriety at that point came from an incident at the 1969 Toronto Rock and Roll Revival where someone threw a chicken on stage and Cooper threw it into the crowd, where it was reportedly torn apart. But no one sought to correct the resulting story, that he’d actually bitten the chicken’s head off and drank his blood, that surfaced afterward. “(Zappa) called me and asked me if that was true,” Cooper recalls with a laugh. “I told him no, but he said, ‘Don’t let anybody know that. This is great publicity!’ ” Looking to refocus its music, however, the band decided to move to Detroit in 1970. “In L.A., we were notorious but we weren’t popular,” Cooper recalls. “So we were fumbling around, and we said that the first place that gives us a standing ovation, we’re moving there. It happened to be Detroit, my hometown.” Continued...The group, which took up residence in a farmhouse on Brown Road in Pontiac, quickly became part of a burgeoning scene that included the Bob Seger System, The Amboy Dukes, The Stooges, The MC5 and others. “We had never heard of any of these guys,” Cooper says, “but when people found out I was from Detroit, I was suddenly taken in as one of these bands. So we felt right at home there.” Cooper recalls “a very creative period in our lives” while back in the metro area, working with producer Bob Ezrin on the breakthrough “Love It to Death” album during the week, then playing concerts on the weekend “to make money to live on.” It wasn’t all work, of course. “Every band had their own house,” he notes, “and there was always a party. We’d have 150 or 200 people show up in Pontiac on a Saturday night after everybody played, and during the night we’d be, ‘OK, who’s having the party next week?’ It was the closest thing to a fraternity there was. “And everybody was pulling for everybody. I was pulling for The Stooges and The 5, Frijid Pink, SRC. Everybody pushed each other, too; in our case it was always, ‘Who’s weirder, Iggy (Pop) or Alice?’ It was the biggest compliment to be mentioned in the same sentence as him.” Cooper says WABX-FM, the area’s hot rock radio station at the time, was also “sort of a second clubhouse” for the community. “Everybody ended up at ABX 3 or 4 in the morning,” he remembers. “If you ran out of anything, you’d go there and pick it up. It was like an all-purpose shopping place.” The scene, meanwhile, also stoked everybody’s creativity. “We were writing every day,” Cooper notes. “There were no limits. Nobody was saying, ‘You can’t write that. You can’t go there. You can’t do this.’ We’d take those raw ideas and feed them to Bob Ezrin, and he’d come back and filter them through his crazy brain and then you’d have ‘Love It to Death’ or ‘Killer.’ ” Cooper says Ezrin’s ideas mostly were to streamline the band’s ideas. “He kept going, ‘Dumb it down.’ We’d go ‘What does that mean?’ ‘You’re playing too many things.’ But it was hard for us to do that; we wanted to be The Yardbirds.” With the 1970 hit “I’m Eighteen,” however, Ezrin’s admonitions finally took hold. “We had this song that was powerful because it was dumb and three chords,” Cooper notes. “It ended up being an anthem, ’cause the music was saying what the lyrics were saying. After that, we were like, ‘Oh, now we get it.’ ” “I’m Eighteen,” in fact, put the Cooper band on the map, hitting No. 21 on the Billboard chart and driving the “Love It to Death” album to platinum status — the first of four consecutive million-sellers. More hits such as “School’s Out” and “No More Mr. Nice Guy,” kept the group on radio, wThe band broke up somewhat acrimoniously in 1975, but Cooper — who’s recorded under the name ever since and has chronicled his life, including his battles with alcoholism, in the memoirs “Me Alice” (1976) and “Alice Cooper, Golf Monster” (2007) — says there was no question it should be inducted into the Rock Hall as a group rather than him as a solo artist. “The original band was the one that broke all the ice,” notes Cooper, who resides in Arizona with his wife, Sheryl, with whom he has three children — daughters Calico, 29, and Sonora Rose, 17, and son Dash, 25. “It wasn’t me on my own. It was the original band that had all the iconic records from ‘Love it to Death’ on to ‘Billion Dollar Babies’ and ‘Muscle of Love.’ “What I did after that was an aftermath. The original band were the guys that had to cut through that big, thick ice in order to become an entity out there. I can’t see how I could just go up there as an individual.” Any remaining rancor from the split has long been smoothed over, and the surviving band members regrouped in December to play at Cooper’s 10th annual Christmas Pudding in Phoenix to benefit his Solid Rock Foundation for children. They’ll also perform at Monday’s induction ceremony, with Steve Hunter and former Frost guitarist Dick Wagner — the guitar tandem who worked with Cooper on his 1975 “solo” debut “Welcome to My Nightmare” — joining in. (Rob Zombie is inducting the group.) Bruce, Dunaway and Smith also appear on “When Hell Comes Home,” a track from Cooper’s forthcoming “Welcome 2 My Nightmare” sequel album which is due out in the fall. “It fit just like a glove again,” he says. “I was going to go in and say, ‘What I want this thing to have is this live, ’70s sound,’ but I didn’t have to say that. That’s just the way they play. They just had that sound you couldn’t go in and try to direct them to get. That’s the normal way they play. “So I said to Bob (Ezrin, who’s producing the album), ‘I don’t want it to sound any different than that.” The group will, however miss having Buxton, who died on Oct. 19, 1997, in Clarion, Iowa, from complications from pneumonia at the age of 49. “Glen was the heart and soul of the Alice Cooper group,” Cooper says of the guitarist, who was ranked No. 90 on Rolling Stone magazine’s list of the 100 Greatest Guitarists of All Time. “He was our Keith Richards, with the cigarette on the end of his guitar. He always had a drink or something on him that was illegal. He was purely Keith Richards without copying Keith Richards. “He was truly a Bowery Boy. There was always some kind of trouble around him, but he would sit in his room and just noodle with a cigarette and a guitar and play great music. We’ll be thinking about him. He’ll be there in spirit.” hile concerts that featured mock executions, chopped-up baby dolls, live snakes and other theatrics generated enough controversy to make the Toronto chicken incident seem like the accident it was. From 1971-74 it’s safe to say few touring bands generated more headlines, discussion and debate than Alice Cooper. Continued... “It’s been that way our whole career, really,” he explains. “It took (Bob) Dylan and (John) Lennon and (Paul) McCartney and people like that talking about Alice Cooper before we got accepted as a band, before people started taking us really seriously. Even when we were No. 1 with ‘Billion Dollar Babies’ (in 1973), we were still striving for acceptance because people were so taken in by the theatrics. It finally got through to some people who thought we were a novelty act that we have 15 platinum records and 14 Top 40 singles and really were a big, commercial success musically.

http://www.theoaklandpress.com/articles/2011/03/06/entertainment/doc4d7042e81c47b012633177.txt Finding the right frequency — R.E.M. learns to communicate, pull together for new album Published: Sunday, March 06, 2011 R.E.M. is giving its fans a new album this week — but don’t expect to see a lot of the band once it’s out. As it’s done at various points of its career, including after 1991’s multi-platinum “Out of Time,” the trio has decided not to tour in support of the new “Collapse Into Now,” which comes out Tuesday, March 8. “It just doesn’t feel right,” explains multi-instrumentalist Mike Mills. “We’ve always gone with our gut instinct on everything, and right now it just didn’t feel like touring was the thing we needed to do.” That said, R.E.M. — Mills, frontman Michael Stipe and guitarist Peter Buck, who co-founded the band during 1980 in Athens, Ga. (drummer Bill Berry left in 1997) — had a very strong instinct for the kind of album it wanted to make for its 15th studio release. “With (2008’s) ‘Accelerate,’ we sort of made a statement record — everything short, fast and loud,” Mills, 52, explains. “And on this one we just wanted any good songs, regardless of the type or the tempo. What we like to do when possible is have a nice diversity, and this has that. It’s got some serious rockers. It’s got some beautiful slow stuff, and it’s got some of that nice, mid-ballad stuff we do so well. “We just felt free to make ‘Collapse Into Now’ into whatever record it needed to be. We’ve always thought songwriting was our strong suit, or one of them, and I think this kind of displays that.” It took a bit of doing for R.E.M. to get back into that kind of groove, however. Prior to “Accelerate,” and particularly in the wake of disappointing sales for 2004’s “Around the Sun,” the members of R.E.M. were at odds — even as the group celebrated an induction into the Rock and Roll Hall of Fame in 2006. “We had gotten into this thing where we were spending a year making a record,” says Buck, 54, “just playing with it forever. I thought we were going down the wrong path.” Mills acknowledges that “we had a tough time making ‘Around the Sun’ ” and notes that the group members “weren’t communicating very well. When you get to a low point, communication-wise, you have to have a meeting and sit down and look at each other and go, ‘OK, what’s the deal? Are we going to keep doing this or not? And if we’re gonna do it, we have to do it the right way, which means communicating and being positive and pulling in the same direction.’ “And we decided that we could and would do that, so ‘Accelerate’ was made in that spirit.” Continued...(thru link above)

"Shouted shouted NO !!

I broke my knee-cap 3 weeks ago. Had surgery two weeks ago, and I've been living in a lazy-boy and watching movies for what seems like forever ! Anybody see this ? Strange but good European flick about World War 1, and Jodi Foster surprisingly shows up in the middle. Recommended if you're looking for something a little different. Maybe the vicodin made it better than it really was ?

Although good shows, I think both '70 Bath and Copenhagen are murder on the ears. I remember the first time I heard heard both I had to ask some people, how often do you subject yourself to that ? '69 Buffalo is very distant, but it's not a harsh listen. Reminds me of being in tier 3 at Cobo. The '77 Silverdome show is rough, even with head phones.

Why's everyone laughing at Charlie Sheen ? He appears to be spending his time and money quite wisely to me.

GRRRRRRRRR

http://www.youtube.com/watch?v=v8rRVuWKv2c Never stop.....

12 Mile Beach....Lake Superior. Would you trust a guy named Bong-Man to fix your toilet ?

If you are serious, you should immediately have that copied to a different format. Once that's accomplished, drop a copy to Sam. If he isn't interested, please ship a copy to me.

Great crowd shot Steve. That pic is early....probably between 5-6pm that day. The band wouldn't appear for another 4 hours. If you compare that shot to Buckeye's, you can tell how early he got in, and how quickly the Dome filled up. There is a pic that exists of the crowd during the show from the same vantage point. It was in The Detroit Free Press a day or two after. The only reason I mention it is that I've never seen that particular shot ever posted here, there, or anywhere else. You got it ? An interesting article where this show gets a mention http://www.freep.com/article/20100829/ENT04/8290316/Stadium-superlatives-10-epic-stadium-shows-in-Michigan-concert-history

I third the vote in a drunken stupor. The Firm should return !! God bless the fretless bass and the B Bender !!!

Detroit Olympia "The Old Red Barn" Location 5920 Grand River Avenue Detroit, Michigan 48208 Opened 1927 Closed 1979 Demolished 1987 Architect C. Howard Crane Capacity 15,000 Tenants Detroit Cougars/Falcons/Red Wings (NHL) (19271979) Detroit Pistons (NBA) (19571961) Detroit Olympics (IHL) (19271936) Olympia Stadium, better known as the Detroit Olympia and nicknamed The Old Red Barn, stood at 5920 Grand River Avenue in Detroit, Michigan from 1927 until 1987. It seated close to 15,000. Lincoln Cavalieri, general manager of Olympia Stadium, once described the building's construction as tremendous, saying "... if an atom bomb landed, I'd want to be in Olympia." Although not likely to have actually survived a nuclear attack, the Olympia was considered to be a well-constructed building, and Cavalieri, along with many in the Red Wings organization, were sad to leave it behind.

I'm almost finished with "I Am Ozzy". I must have laughed out loud at least 5 times reading this book. It's surely done by Ozzy, because it's written at about a 4th grade level, if that. Great stuff though, including a couple stories of Plant pre Zep. "Son....You look like a fuckin' idiot".

The phone rang at the Vatican, and the Pope answered. "Hello", he said, "This is the Pope". "Pope, this is God," came the reply, "and I have good news and I have bad news." With a shaken voice, the Pope asks, "What's the good news, God?" God replies, "There has been too much killing and stealing going on in the name of religion. From this day forward, there shall be but the one true religion, and all men shall adhere to it and live in peace forevermore." "That's WONDERFUL news, God!" exclaimed the Pope. "What's the bad news?" "I'm calling from Salt Lake City."

Motown humor.

http://www.youtube.com/watch?v=GwHaUKeRhSg&feature=PlayList&p=6BB44A3C60047007&playnext=1&playnext_from=PL&index=21

"I Can't Reach You".....The Who http://www.youtube.com/watch?v=8LGS0h83Lns