The 2009 New Orleans Jazz Heritage Festival once again will take place over two weekends in the spring. Jazz Fest, which began in 1970, will return to the Fair Grounds Race Course on April 24-26 and again on April 30-May 3. Artists set to perform over the first three days include Wynton Marsalis, Dave Matthews Band, Wilco, Drive-By Truckers featuring Booker T. Jones, James Taylor, Erykah Badu, Robert Cray, Etta James the Roots Band, Mavis Staples, Johnny Winter, Pete Seeger, Hugh Masekela, Sharon Jones the Dap Kings, Galactic, and Roy Haynes. Musicians set for April 30-May 3 include: Aretha Franklin, Ben Harper and Relentless7, Tony Bennett, Kings of Leon, Meter Men (featuring three of The Meters four founders: Zigaboo Modeliste, George Porter Jr., and Leo Nocentelli, Bonnie Raitt, The Neville Brothers, Emmylou Harris, Dr. John, Buddy Guy, Allen Toussaint, John Mayall, Solomon Burke, Doc Watson, Dirty Dozen Brass Band, John Scofield the Piety Street Band, George Wein the Newport Allstars featuring Randy Brecker and many others. The full line-up and ticket information can be found at Nojazzfest.com.

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Rolling Stone Rank: 25

Quite an interesting album this was. Fleetwood Mac blends the California polished sound with an RB down and dirty style. They almost seem to alternate every song between these two competing styles. But then again, they alternated songwriters on nearly every song, except The Chain which they all wrote.

Another captivating aspect of this album was the emotional state that the band members were in while composing the album. Check this out: Mick was in the middle of his divorce. John and Christine got divorced during the album. Lindsey and Stevie (Lindsey is the guy, Stevie is the girl) also broke up during the making of this album. This of course led to all the band writing songs about the break-ups of their significant other, who were in the band (hence the title of the album, Rumours. You see they all thought the others' were spreading rumours about them....oh you get it? OK.) But after the album was done, they all kind of realized that the highly emotional writing had helped them to get through their tough times, and oh yeah, there was the great album as a record of their recovery.
So given that background, it's easy to hear the tension throughout the album, hard to explain but you definitely feel that raw energy running throughout the album, emotionally charged would also be a good way to describe the aesthetic. And of course you can hear a mature Nicks ready to move on, her voice and writing are different from the rest of the band, you get the sense she a rising star in the making.
Overall, I liked the album. I liked the style they have, the songs vary just enough to keep me interested, but they don't stray too much from their California roots(Think pre-Walsh Eagles). If there is one problem with their sound, it's that I don't think they every resolve the tension built throughout the entire album. For me, it just ended, keeping me in the edge of my seat. I just want a rock out song somewhere in there. But then if it did, I'm sure I'd complain that "it all sounded great except for that one lazy rock out song". So let's just agree to disagree, Rachel Ray is on TV which is making me hungry.

Take some time, take a listen, post your thoughts.

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Carrots has yet to be on today, so far as I can tell.
Its kind ofodd.  And disappointing.  But thats okay.  I guess.  Nothing to be done about it, at any rate.
It feels strange, today.
Its finally the weekend after the week, yes.  And, it feels as if it should be over already.  I have done nothing really all day.  I started a project thing, for which I am totally bored of already.  There wasnt enough of an idea beforehand to use to make it, and now theres even less of an idea - no idea what to say for it, so Im hoping Ill get back to it later, but not sure if I will.
Just, like, Ive gotten used to this late night thing, so I guess Im waiting for night to come to have to go to bed and then get up and go to school the next day.
Also, 5 day weeks are odd after so many non5day weeks in a row.  Its like waow, its finally the weekend, but now what do I do?
For I have no idea what to do.  Im only doing what I normally do on the  nights afterschool/beforebed.
So, really, nothing out of the ordinary.
Other than not eating.
All Ive had today is a sandwich and a cup of hot chocolate that I never finished.  And its 3:30.  Thats ridiculous, for me.  Im sort of hungry, yet not.  My stomach hurts a little, but thats cuz its cold.
Oh yes, cold.
It snowed sometime this morning.  Like, only an inch, but still snow.  Its supposed to do that again tonight, and tomorrow nightFor like a total of 6, 7, 8 inches.  Its fine, the weather can do whatever it damn well pleases.  Just, the power better not go out.  I dont want to have to sit around, with nothing to do, with nothing to do, and a laptop battery that lasts about 3 and a half hours or so.  Thats without using the internet.  Ive never been on it long whileOh yes I have. But that was the wireless, but it lasted about an hour or so, a little longer than that.
Just, whatever happens, happens, but the power better not go out.  This is too early for snows and stuff, let alone poweroutages.  I HATE it when the power is out.  Theres nothing to do, theres nothing to do, nothing going on, nothing at all.  And, you have to pretend to be contented watching the woodstove.  GRR.  Its NOT entertaining, Im sorry.
We better not have times like we did 10th grade.  The night before the last day of school before christmas vacation, there was a huge storm with like 90 MPH gust winds, and then the rain, and falling trees and the power was out and GAHHH scariness.  AND the thunder and lighting.
Wind here SUX.  As does lightning.  Its scary.  The thunder is hellascary.  Im upstairs, and I feel it shake the house.  Im sorry, but thats scary.  VERY scary.
Especially when it feels like youre in the house alone, because youre in the upstairs all alonem sure it wouldnt be so bad if there were other people around (depends on who the other people were) but still, SCARY.
Mom thinks that maybe well be up in portland leaving the night of the 19th and getting back Sunday or Monday.  Im sorry, is she trying to drag me away from my life?!?!?!?  If my aunt has internets, its fine.  Just, Im not sure if she doesOh, I think she does!!  Cuz shes talked to me on YM a few times when shes at home, meaning she has interwebs at her house!  Just means I have to take my lappytop with me.  Not sure my mom would like me taking it to school with me, cuz she would have to pick me up afterschool Friday (what she said) but I dont really care, shes not the one at home anyway.  LOLOLOLOLOLOL.
Anywhoz.  I have no idea WHEN the portland trip is, beccause she doesnt know.  I probably wont know until Thursday.  I tend to not know until the last minute on things of importance.  Oh well!
Ill post it when I know it.
LOLOLOLOLOLOL.
For a person who said theyd never say I sure use a lot.  Then again, they arent really the same thing, are they?
No, I think they arent.
Yes, I am right, again.
My internets seems to have lost its four hour rule, seeing as Ive been on for 5:52 straight!!
No idea what the new rule is, though, if there is a new rule at all.
Oh well, Im not complaining.  Means I dont have to deal with leaving every four hours.
I suppose this is all.
Other than Celery is using an old email account of mine to get a different Sporum account.  SPAM account, I presume.  Whatever.  Old email account is old, and should be deleted.  Also, I dont really care.
He told me not to ever tell Carrots anything we talk about ever again.  I wonder if posting about what we talk about would consider telling him about it?!?!?!?
HMMMMMMMmmmMMMMmmMMMmMMMMMMmmmmm.
It probably would.  No idea.
Id tell you the reason why, but he told me AFTER he said starting now in response to never telling Carrots anything Celery and I talk about.
Confusing, much.
Carrots, please get better.

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Led Zeppelin's Jimmy Page and John Paul Jones paid a visit to Extreme at theirs gig in London's Astoria Theatre last night (Nov. 24). The rock royalty, who're rumored to be looking for a replacement for frontman Robert Plant, posed for a few pictures with Extreme bassist Pat Badger, drummer Kevin Figueiredo, guitarist Nuno Bettencourt, and singer Gary Cherone backstage and watching the band from their balcony seats.

Extreme performed Led Zeppelin's Communication Breakdown on their first encore before breaking into a Queen medley.

http://www.boston.

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"The Only Way To Fly"
Empress Valley

Source: Soundboard Recording with Audience patches to make a complete show.

01. Introduction
02. The Train Kept A Rollin'
03. I Can't Quit You
04. Dazed And Confused
05. You Shook Me
06. How Many More Times
07. Communication Breakdown

Notes:

Empress Valley has taken the missing segments for the soundboard and added the audience source to fill in the gaps. Sound is excellent for the Sb and good/very good for the audience source.

For those of you who havent heard this show, youre in luck because now you have one of the greatest 69 shows just waiting to be experienced. This, being the last show of Zeppelins festival packed summer, shows the band playing a tight and extremely powerful set. The improves are longer, and the playing is fresh and raw. Each member of the band is at top form, and the playing reflects it. Check out Pages solos in every song! Inventive and intense. Plants singing is sweet, bluesy, and raw. One of his most satisfying and consistent 69 performances. The adlibs work and the HMMT medley is perfect. Bonham throws in some cowbell play during his intro in HMMT and Jones plays nice and laid back throughout. Although they are forced to keep their set short, they still manage to give an hour of pure energy, creating a wonderful rapport with the Dallas crowd. They love every minute of the show, and you will too

This is an excellent package from EVSD in their customary long-box with card slip cover containing the CDs in paper sleeves. The title appears to have come from an advert in the UK weekly music paper New Musical Express in March 1969. The CDs are gold discs and the package is finished with the now usual liner notes from Aquarius11! The audience source on disc 1 is taken from the same tape source as "Plays Pure Bob" on the Tarantura label and uses the original reel to reel tape as recorded from the photographer's pit. However, there is a damatic increase in the sound level and it is therefore much more powerful with JPJ's bass very prominent. The cuts in the prior release have been edited out using an alternative tape source. Disc 2, unlike previous releases, starts with the Audience source intro warm-up and tape warble from disc 1. However, there the similarity ends. This is complete stunning quality taken from the original mixing desk recording. I was rather dubious if some of the previous releases could be improved. I was wrong. There is absolutely no tape hiss and this show is undeniably super excellent SBD quality. The power and loudness is amazing and everything is perfectly balanced. The cuts in D C and HMMT have been skillfully edited in from another source and I personally could not distinguish any difference in output. These details are all provided in the liner notes anyway so it's not as though EVSD are trying to hide anything. An interesting note is that it does mention the DC cuts present on the tapes are not on the film, which is complete!!!!!! Anyone know where it is? Every track is outstanding with Communication Breakdown finished off "old style" which I thought was always better than later renditions which were too bland. My personal favourite Zep show of all time, short but a technically brilliant performance. (The VLH Dec 02)

The soundboard recording of this concert has long been available to fans in a number of superb presentations. The best, both in terms of sound and packaging, was by Oh Boy way back in 1991. Initially released as Don't Mess With texas, it was subsequently released as Texas International Pop Festival, the first of a series of soundboard recordings of many of the artists that appeared at this three day festival. The festival programme is reproduced in full as the jewel case front insert. I seem to remember seeing a large 12" x 12" box set with all the individual CDs inside it, and still kick myself to this day that I did not buy it. I have the Ten Years After CD from this series, another superb release. So along come Empress Valley and put this show out as a two CD release, one disc the audience recording and the second the soundboard. The discs are in card covers, housed in a long thick card sleeve, over which a card slipcase is fitted. This label has released a number of shows this way, and I personally find this packaging rather naff. The first disc is the audience recording, claimed to be from the original master reel to reel tape. Empress Valley have made a mess of this, the sound is dull and very bottom endy. This source was originally released by Tarantura as Plays Pure Bob, and whilst this release does not have a great deal of bottom end, the top end is there and it sounds much clearer and crisper. It remains the best version. Also Empress Valley have filled the small gaps in the audience recording from the soundboard, and vice versa with the soundboard disc. The second disc is the soundboard recording, and this sounds a bit louder than the original Oh Boy release from 1991, but this is merely achieved by cranking up the EQ, a great favourite of this and many other labels. The Oh Boy release (also available on the Whoopy Cat label) still stands the test of time and remains a superb and definitive release. Therefore this latest release achieves nothing, and is yet another pointless regurgitation of material that we already have in better quality. One to avoid.

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I hate it.  I really do.  Do you not understand?  I dont even know why. I just hate it.  Why?  Competition, I dont take heartly to it.  I hate competition, I get into it too much, and I hate that.  I have a type-A personality, any competition at all deserves to be murdered, for getting in  my way of course.  Really.  You just dont get it. JEALOUSY.  Its a disease.  It will eat you alive if you dont watch out.  I have been overtaken by jealousy before, itll happen again, its getting there.GETTING THERE.  I hate being there, I really do, but one cant help that.  But I dont want to go among mad people, oh you cant halp that, were all mad here.You  may have noticed, that Im not all there myself.
Chesire cat.
Goddamn Im obsessive.  OBSESSIVE. Not OCD obessive, or the other type of Obsessive.  There really are two kinds, just I can never remember the difference.  Im not OCD, though, just obsessive.  Psychotic!  Yeah, thats what I am.  No, Im not psychotic.
Insanity is really only a legal term, did you know that?  I learned that, for my psych. class.  We had to learn that.  It was on the test.  Its just a legal term.
I need to re-read The Catcher in the Rye.  I wish I had a Holden.  Christina hates that book, she cant stand it.  Shes far too picky.  I said that I loved it, and I said that if I knew someone who was like Holden, wed so be friends.  She said no, youd be going out with him. I said okay yeah, youre right.  Shes right.  I need a Holden.  I look for Holden.  I need to read that book again.
Jealousy.  Back there again.  I hate listening/reading it.  I dont want to.  But I have to, have to make sure nothing bad is happening.  She could ruin things, you know.  She could.  She KNOWS THINGS.  Things I wish she didnt know, things I wish I hadnt done, things I wish I could erase.  You know, at the time, I didnt know I was doing wrong.  I thought it was okay.  Now Im past it all, ALL, and I look back in disgust.  DISGUST.  I hate it.  Hate it all.  I wish I could erase it all.
I wish, sometimes, that we had never moved, that we still lived back in Beaverton and that I could be there again.  I do wish that sometimes.  It wasnt until we moved that all these bad things started to happen.  Sure seventh grade was rocky, but hey, eigth grade, I bounced back ten fold.  I did.  I really did.  You have no idea how great that year was.  Then we moved, and, well, all hell has broken loose since.
Sometimes I just want to go back.  There are a few good things about now, there really are, but I feel like Im missing something.  God how I lie.  Im not missing something, so to speak, just, I get to be so..attached.  Its terrible.  I get there and Im like oh my god, OBSESSIVE!! But I cant help it.  I try to be perfect, I try to be exactly what you may want me to be, and it never works out that way.  I havent been able to please someone by trying in a long whiles always something wrong, something inside that doesnt work, or they just dont want it.  Dont want it.
God this is terrible.
I.reassurance.  I wish I had some.  I really do. Nobody that I see in real life understands, they know nothing.  I sorta told Amanda on the bus after school yesterday, about IT/THIS, but she swept off into her own story without even paying attention to mine.  Thats Amanda for you.  I feel left out, to burn.  Left out.  Shinedown, them songs always make me sad, and so I listen to them when Im sad, so I can get over the sad - if Im sad long enough, I can make it go away, I can get relief if I cry hard enough, if I take it far enough.  Im not sad, though.  Last night I was swept off to cloud 8 and a half.  I was close to nine, but there were things that could have made it better.  Like, it not being my imagination in charge, but real life.
I wish I had one, a real life.  I really do.  I have no life.  This is my life.  I wish..
God Im obsessive.  I wish I could stop, but I dont want to.  I wish I could hold back, but I cant, its overwhelming.
I wish I could make her go away, and she wouldnt come/go to everyone else, because I have to go and find it and make sure shes not ruining anything.  She will ruin things, somehow, I can feel it.
Im going to be the one to ruin it.  Probably.  I have a way of ruining everything, breaking everything, destroying it all.  I dont want to destroy this, I really dont.  I dont want to be the one to say something wrong, say too much, and have him be all like oh wow, I didnt know that, goodbye!  I had that happen before.  I have.  It was torture.  I always second guess what I say.  I do.  I recap as much as I can, try to go over everything that was said, to look for different angles, interpretations, reactions.  And I always find the bad parts, where I screwed up.  I do that a lot, screw up.  Just, I dont know.
*Sadface* I dont even know why.  Just, damn it.  I dont want to ruin everything, for once.  But knowing me, I will.  On accident.  Like always.

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Jacopo il tuo discorso è complesso, chiaro ma complesso. Cioè il prezzo da pagare per fare un corteo è alto, cazzo se è alto. Violenza contro violenza non si risolve nulla, sono d'accordissimo, d'altronde subire violenza, quindi agire in modo non violento può portare risultati. Concordo, ma quanto cazzo è grande il prezzo? Cioè farmi spaccare la testa perchè berlusconi ha fatto una legge di merda...Il gioco non vale la candela. Non so, forse posso sembrare cinico, ma d'altra parte sono un convinto sostenitore del fatto che le cose si possano cambiare anche in altri modi. Io la rivoluzione la faccio tutti i giorni, dal momento in cui prendo consapevolezza dal sonno, al momento in cui la perdo quando vado a dormire. Soffro di un fottuto/benedetto disturbo mentale che ha cambiato totalmente la mia vita, e forse è stata la molla che ha reso possibile il cambiamento, d'altra parte mi ha fatto capire quante cose ho perso durante i miei anni di "sonno", e un pò ci sono rimasto male, ma l'ho superato, lo sto superando. Rendersi conto che sei come sei perchè sei stato in un certo modo, o perchè ti è successa una certa cosa è una grande rivoluzione. Ma la cosa più incredibile è capire che alla fine, se vuoi, tutto il tuo passato non conta, perchè è nel presente che puoi cambiare e migliorare. Ed ora sono felice, molto felice, sto cambiando la mia vita, amo me stesso, mi fido di me stesso...Cosa cazzo centra tutto questo con la questione? Ci sto arrivando. Sono un amante delle tecniche e dei concetti di cui parli e ho trovato sulla stessa onda anche altri concetti, nonostante abbia 21 anni ho capito che tutte questi concetti, tutte queste possibilità sono reali, estremamente reali, non sono belle parole, sono realtà, pura e semplice realtà, ma per molti sono belle parole, e per quanto ti sforzi di mostrarglielo, loro se ne infischiano, puoi divertirti, puoi ridere come un pazzo, ma nessuno può sottrarre "un ipnotizzato" dalla sua ipnosi se non lui stesso. Cazzo gli offri il cielo gratuitamente ma loro non lo vedono...E così ho capito che siamo veramente dio, ma che il nostro illimitato potere agisce solo sul nostro universo, sulla nostra realtà, non possiamo cambiare la realtà degli altri dei, e ognuno di loro vive nel mondo che si crea. Sembrano cazzate, sembrano, ma io so che sono vere, almeno per me lo sono diventate, e ti assicuro jacopo che prendo regolarmente le medicine per il mio disturbo (doc, disturbo ossessivo compulsivo). :-) Il punto jacopo è che il mondo cambia davvero se cambiamo noi stessi, ma molti lo sanno, dicono di crederci ma in realtà pensano solo siano bei pensieri. E allora le proteste sono giuste, fanno bene, ma se nessuna delle persone che vi partecipano non capiscono il loro immenso potere, ma continuano a credere solo di poter strascicarsi per un corteo "con la vana speranza" di cambiare qualcosa, allora è davvero inutile. Anche per me è un discorso complesso, e quindi perdonami se non sono in grado di spiegarmi bene. Penso che i cambiamenti possano avvenire anche in altro modo, nel mio caso partendo da me. Ovviamente non sfuggo di fronte al giudizio degli altri, che a volte mi spaventa anche se sono un'anima illuminata :-D, spaventandomi vado sulla difensiva, e sviluppo sensi di colpa, leggeri ma comunque presenti. Mi sento un egoista, un tipo da "armiamoci e andate!", o meglio sento di sembrare così, ma ti assicuro che non sono così. Possiamo influenzare gli altri "universi", ma non cambiarli, solo i legittimi dei, possono farlo, solo ogni singola persona ha questo potere. Finchè queste parole saranno considerate delle sciocchezze o fantasticherie, deliri di onnipotenza, deliri di qualche pazzo, mentre il "considerare il mondo una merda" sarà visto come un sano realismo, le brutte notizie come la vera realtà che ha valore, e tutte cose simili (spero di essermi spiegato), le cose per se stessi non cambieranno mai, e se pensi di vivere in un mondo di merda, vivrai davvero in un mondo di merda. Cosa cazzo mi serve protestare e farsi male, quando non capiamo che nessuno ha il potere di farci davvero del male? E' una fantasia? E la fantasia di vivere in un mondo violento perchè sarebbe più reale? Ho divagato, mi scuso per questo caro jacopo, ma è un discorso che volevo fare da tempo. Infine per riassumere: penso che per cambiare le cose ognuno di noi si dovrebbe dedicare ad essere felice (perchè alla fine è quello che vogliono davvero tutti), e dobbiamo sapere che per essere felici basta molto poco, basta volerlo. Saluti jacopo.

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I just want to thank the owners of Isnare.com for such a fabulous service. I publish an ezine as well as own multiple websites and this site has been a lifesaver as far as finding fresh content for my ezine and websites. You guys are simply the best. I will not ever worry about finding good free content for my ezine or websites again thanks to Isnare.

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I attended my first big rock show 26 years ago tonight. It was at Shea Stadium in Queens, New York, and it featured former New York Dolls singer David Johansen, The Clash, and The Who.
Johansen had a minor MTV hit at the time with his Animals Medley, which was a melding together of some of the hits by the great British Invasion band, The Animals. Johansen gave a good performance, if memory serves. But I really wanted to see The Clash (pictured above, top) and The Who (pictured above, bottom, in 1982 in a photo from TheWho.com).
The show was the second of two nights at Shea Stadium for the three acts. The Who would play later that week at the Meadowlands Arena in New Jersey with Johansen (but not The Clash).
The Clash were touring behind their Combat Rock album at the time, and were performing with their original drummer, Terry Chimes. Topper Headon was having serious legal problems back home in the UK and was unavailable to tour. The Clash put on a ferocious set that night, and blew The Who off the stage. The Clashs performance from that show has just been released as a live album. That album is definitely worth picking up.
I was excited to see The Who for the first time, but it was kind of obvious that Pete Townshend didnt want to be there. The Who had already announced that the tour would be their Farewell Tour. Theyve since gone back on that promise, obviously.
The stage was in the outfield, and was made up to spell out the word  The and the covered the massive speaker racks. The stage was in the bottom part of the On top of the was a giant video screen, which I mostly relied upon to watch the show as I was sitting in the nosebleed seats.
Ive since grown to despise stadium concerts, strongly preferring club shows. But I had nothing to measure that concert against at the time. And I have to admit that it was pretty cool to see 65,000 people going nuts when The Who hit the stage and tore into the opening number,
Overall, it was probably as good a gig as youll get at a stadium show. It was mostly memorable because of The Clash. Ive seen The Who give much better performances at other venues.
Shea Stadium is currently being demolished to make way for parking spaces fro the New York Mets new home, Citi Field. But Im sure that the memories of that October night in 1982 will remain strong for all who attended.
To watch The Clashs performance of Should I Stay Or Should I Go from that night, click here. (Embedding was disabled by request.

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this article from the Arizona Republic, part of a lengthy series on the senator, I've concluded that neither POV is accurate.

While it is true that by 1987, McCain had received about $112,000 in political contributions from Keating and his associates, McCain was hesitant about intervening on Keating's behalf in the dealings with the Lincoln Savings and Loan. Indeed, McCain had previously refused his colleague, Democratic senator Dennis DeConcini's request to meet with the Lincoln auditors themselves. In his book Worth the Fighting For, McCain wrote that he remained "a little troubled" at the prospect, "but since the chairman of the bank board didn't seem to have a problem with the idea, maybe a discussion with the regulators wouldn't be as problematic as I had earlier thought."

The reprieve did not help Keating's businesses, but tainted senators as "The Keating Five", which became "synonymous for the kind of political influence that money can buy. As the SL failure deepened, the sheer magnitude of the losses hit the press. Billions of dollars had been squandered. The five senators were linked as the gang who shilled for an SL bandit.

"SL 'trading cards' came out. The Keating Five card showed Charles Keating holding up his hand, with a senator's head adorning each finger. McCain was on Keating's pinkie..."

McCain, however, made a "critical error" when he "had adopted the blanket defense that Keating was a [mere] constituent and that he had every right to ask his senators for help." But on "Oct. 8, 1989, The Arizona Republic revealed that McCain's wife and her father had invested $359,100 in a Keating shopping center in April 1986, a year before McCain met with the regulators."

The paper also reported that the McCains, sometimes accompanied by their daughter and baby-sitter, had made at least nine trips at Keating's expense, sometimes aboard the American Continental jet. Three of the trips were made during vacations to Keating's opulent Bahamas retreat at Cat Cay.

McCain also did not pay Keating for some of the trips until years after they were taken, after he learned that Keating was in trouble over Lincoln. Total cost: $13,433.

When the story broke, McCain did nothing to help himself.

"You're a liar," McCain said when a Republic reporter asked him about the business relationship between his wife and Keating.

"That's the spouse's involvement, you idiot," McCain said later in the same conversation. "You do understand English, don't you?"

He also belittled reporters when they asked about his wife's ties to Keating.

"It's up to you to find that out, kids."

The paper ran the story.

In his 2002 book, McCain confesses to "ridiculously immature behavior" during that particular interview and adds that The Republic reporters' "persistence in questioning me about the matter provoked me to rage."

In the end, McCain received only a mild rebuke from the Ethics Committee for exercising "poor judgment" for intervening with the federal regulators on behalf of Keating. Still, he felt tarred by the affair.

"The appearance of it was wrong," McCain said. "It's a wrong appearance when a group of senators appear in a meeting with a group of regulators because it conveys the impression of undue and improper influence. And it was the wrong thing to do."

So, it appears that while McCain was the most minor of players in the Keating Five, his legendary temper fueled his own difficulties.

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Welcome to another edition of Wednesday Night at the Movies. Sorry about the mess. Ive been sick in bed all day with a cold, an how appropriate is that, irony-wise? At any rate, I havent had time to clean the apartment and get things ready for company. Lets just get this thread started and, if you dont mind, Ill straighten up and put the last touches on this post, writerly-wise.
I love you, Miss Kubelik. You hear what I said? I absolutely adore you.Shut up and deal?
The most romantic exchange in the most romantic movie ever made, love story-wise. In my opinion. At any rate, its the only romantic comedy that breaks my heart and makes me happy every time I watch. Billy Wilders 1960 classic, The Apartment.
Whats funny is that Billy Wilders 1960 classic, The Apartment, isnt about a boy and girl meeting and falling in love. Its about two people who are already in love. Not just in love. Theyre married. They just dont know it yet. Fran Kubelik, elevator operator, and C.C. Baxter, 19th floor, ordinary policy division, accounting department, Section W, Desk 861, three years, ten months on the job, taking home $94.70 a week, have a married couples morning conversation the first time we see them together on Miss Kubeliks elevator. Their conversation is a mixture of small talk and exchanges of unimportant news and information that only matters to either of them because the other ones saying it and hearing it.
The next time theyre together shes worrying about his cold and fussing over the way hes dressed for a meeting with the boss and hes responding in a that foolish way some men have of being with their wives, playing at being a big shot while giving himself over to her tender loving care like a little boy. It looks like a pretty good marriage. C.C.s got some growing up to do still. He needs to learn that its not enough for him to be interested in her. He has to make her as much an object of his care as shes made him an object of hers. She has to learn some things too, mainly that what shes doing with him and what shes getting from him is love and that shes been mistaking being the object of a mans desire for being the object of his care, but that, we figure, is what the movies going to be about, how they learn what they need to learn. And so it is.
Which is why its perfect that the last time we see them together shes deflecting his attempts to be romantic in order to make him be her husbandthat is the last time we see them together they are doing nothing more than sitting home together to play cards.
People sometimes talk about that spark between stars of movie, and what causes it or why its missing. Is it just good acting? The result of the stars liking each other? An accident? Or is it really chemical? Whats not mentioned as much is the chemistry between two characters. If the characters really have no reason to be talking to each other, the stars have nothing to act together. Then there is nothing to put on screen but what exists between the actors. Jack Lemmon and Shirley MacLaine have enough of that first sort of chemistry, although I wouldnt say they burn up the screen. But Fran Kubilek and C.C. Baxter have the second sort. The script by Billy Wilder and I.A. Diamond gives the two of them nothing but reasons to talk to each other. In fact, when Miss Kubilek isnt around, Baxter hardly has any reason to talk at all, which is fine because hes played by Jack Lemmon who is one of the funniest silent film comics since Buster Keaton.
Its amazing how much screen time director Billy Wilder gave over to long scenes of Lemmon doing little and saying less. He just lets the camera sit still and watch Lemmon move.

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TRACKS
1 Tuscumbian Lover
2 Foxfire
3 Journey With the Breeze
4 On Lucifers Knee
5 Theme from Sparkle
6 Trapped in a Bubble
7 Broken Stone
8 Race of the Computers
9 Twisted Hair

CREDITS
Pete Carr Guitar, Vocals
Roger Clark Drums
Tim Henson Synthesizer, Keyboards
Clayton Ivey Keyboards
Chuck Leavell Keyboards
Lenny LeBlanc Bass
Tom Roady Percussion
Harvey Thompson Saxophone

BIOGRAPHY
Pete Carr, recognized as one of the most versatile studio guitarists of the past three decades, has contributed to hit recordings by Bob Seger, Paul Simon, Rod Stewart, Wilson Pickett, Hank Williams, Jr., The Staple Singers, Barbra Streisand, Luther Ingram and many other artists. Carr is known for versatility, using the electric or acoustic guitar, playing with taste and his ability to create standout guitar lines on hit songs. Pete being a recording engineer and producer adds even more depth to his talents and understanding of the recording studio environment.

Carr was born in Daytona Beach Florida and started to play the guitar at the age of 13. The Beatles and the Rolling Stones were leading the "British Invasion" at that time. Pete bought their records and others such as the Yardbirds, The Animals and The Searchers which helped him learn the guitar as he studied and played along with the records. The first few albums released by the Beatles and the Stones contained many American Rhythm Blues songs. The Rolling Stones at that time were deeply influenced by American RB artists. Two of Pete's favorite "Stones" songs at the time were "It's All Over Now" by Bobby Womack and "Mercy, Mercy" by Don Covay, both American RB recording artist. Pete never dreamed that he would one day play guitar on recordings for artist like Womack and Covay. It is ironic Carr was introduced to American Blues by British bands. One of Pete's favorite guitar instrumentals was "Walk Don't Run 64" by The Ventures, which he learned note for note. Around this time a guitar player from Memphis, Travis Wammack, released an instrumental guitar record named "Scratchy". The other side of the record was named "Fire Fly". When Pete heard "Scratchy" on the radio he was so impressed he immediately went out and bought the record. Carr also learned from listening to guitarist such as James Burton, Jeff Beck, Eric Clapton, Duane Allman, Ted Connors and Chet Atkins.

Pete's next learning experience was to go and watch bands play. The first band he went to see were playing at the Daytona Beach City Island Recreation Center. They were called the House Rockers, an early version of the Allman Joys. Pete was very young but remembers the two guitar players had blonde hair. Pete didn't talk with the two guitar players at the time. It would be at a later date when he would meet the two guitar players, Gregg and Duane Allman. Later, another popular Daytona Beach band called the Night Crawlers, would play at the same place. Pete would watch The Night Crawlers play songs from the first few Rolling Stones records which Pete had been learning from. Pete learned more as he watched the bands two guitar players, Sylvan Wells and Pete Thomason. Pete now plays an acoustic guitar made by Wells.

At the age of 15, Carr went to see the Allman Joys play at the Club Martinique in Daytona Beach. Carr, with guitar case in hand, introduced himself when the band took a break and asked Gregg Allman to show him some guitar lines. Gregg replied, "That's my brother, Duane's, department." At that point Pete introduced himself to Duane Allman. That meeting began a friendship which lasted until Allman's tragic death in a motorcycle crash Oct. 29, 1971.

Pete moved to Decatur Alabama in 1966 to play guitar for a band called the Five Minutes. Their guitar player, Eddie Hinton, was leaving the band to pursue studio work and Carr was called to be his replacement. Johnny Sandlin, Mabron McKinney and Paul Hornsby were the other members of the band. Pete was a fast learner with the guitar so he fit right into the new band. Pete remembers Sandlin playing him songs such as "It's All Over Now" by Bobby Womack and the Valentinoes. Carr already knew the Rolling Stones version of this song, which he loved, but he also liked Womack's version. Sandlin had heard Womack's version first and did not like the Stones version. They were both great recordings in different ways. Sandlin also got Pete to sit down with the classic B.B. King album "Live at the Regal". The band could not find a lead singer so they eventually disbanded after a few weeks. Carr credits Johnny Sandlin and Paul Hornsby as both being big brother influences and teachers in his music career.

In 1967 Pete, Gregg, Duane, Paul Hornsby and Johnny Sandlin, in a group named The Hour Glass, played together on the "The Power Of Love" album. The Hour Glass had recorded songs in Muscle Shoals, Alabama, at Rick Hall's FAME Studios which was known for innovative productions and great sound. One song recording at FAME, "Sweet Little Angel", was later released in a Duane Allman Anthology set. This recording is now considered a classic piece of raw electric southern rock blues. Pete recalls some warm memories from that time. I remember Gregg, Duane and I playing and singing "Long Black Veil", a great country music standard. It started "Ten years ago, on a cold dark night, there was someone killed, in the town that night". I remember us harmonizing on that song and it really was a moment separated from everything else we were doing. It was like a close family thing. I remember my mother talking about how my Aunt Gertrude would play and sing songs like that. She played guitar also, but she died before I was old enough to really remember her very much. My mom said she would sometimes play the guitar using a kitchen butter knife, so she must have played slide guitar also. She had epilepsy and I think I recall Mom saying that had something to do with her death.

Carr soon found he liked playing in recording studios along with engineering and producing. Pete eventually moved to Muscle Shoals around the age of 20. Johnny Wyker and Court Pickett would soon start work on their "Motorcycle Mama" album. Carr was called on to contribute as musician, engineer and producer of the project. The album was a commercial success for the new Muscle Shoals producer. After this Pete moved into the lead guitarist seat for the Muscle Shoals Sound Rhythm Section. The 70s were among the most productive of the Muscle Shoals Rhythm Section as the cream of rock, pop and soul found their way to 3614 Jackson Highway in Sheffield, AL. Carr played on almost all sessions recorded at the studio for the next 10 years. A good example of Pete's musical ability and taste is the standout guitar lines he played on the Bob Seger hit "Main Street". The Rhythm Section co-produced Paul Simon's "There Goes Rhymin' Simon" which earned them a Grammy nomination. Jimmy Johnson, the rhythm guitar player for the Muscle Shoals Sound Rhythm Section was quoted as saying "..Duane Allman had a magic touch with the guitar that no one else had, with the exception of Pete Carr.."

Carr continued as the premier session guitarist in the Muscle Shoals area playing on projects for artists recording at the main studios and also produced two guitar instrumental albums on himself. This strengthened Carr's reputation as one of the South's best studio session guitarists, as well as an artist in his own right. Jerry Wexler, a world renowned record executive and producer, helped Carr find a record label for his productions. Pete put together the group LeBlanc Carr and created the album "Midnight Light" as both artist and producer. The song "Falling" became a big hit for LeBlanc Carr. "Falling" was mixed at FAME Studios which is where Pete did most of the mixing for his production projects. The group's first tour was with Lynyrd Skynyrd on the "Street Survivors Tour" and ended tragically with an airplane crash in Mississippi, Oct. 20,1977. After this tragedy, and other band problems, Pete decided to return to the studio.

Pete Carr had now distinguished himself as the only studio musician in the Muscle Shoals area to succeed as studio musician, artist, composer, engineer and producer. Tom Dowd called Carr to Los Angeles to play on a Rod Stewart album which produced the big hit "Tonight's The Night". Pete's guitar playing was a prominent part of the hit. He layered rhythm and lead guitars throughout the song. In 1980 Carr was chosen to play for the Simon and Garfunkel Reunion World Tour and the legendary HBO Central Park Concert where he played acoustic and electric guitars.

Rolling Stone magazine gave Pete a rave review for his bluesy and tasty electric guitar solo on the Barbra Streisand song "Make It Like A Memory" from her "Guilty" album. The song "Woman In Love" from the same album was a big hit for Streisand. Pete's opening harmony guitar lines were notably unique and hard to categorize but very effective in introducing this Streisand hit.

Carr got his first personal computer in 1978 and became enthralled with it and it's possibilities. Carr experimented with computer multimedia around this time. He had computer data recorded on a music album that when loaded into a computer would display extra information about the album. Denny Purcell, a top mastering engineer in Nashville, ran the test for Carr and it all worked fine. Denny was very impressed with Carr's innovative idea and setup Billboard Magazine to do an interview but Pete was busy at the time. Carr and Purcell believe that this was the first time digital computer information was included along with a music album. Of course the record company did not want to release an album with computer data and for good reason. There were very few personal computers around at the time, thus no market for such a product. Pete studied computer science in Florida during the 80s.

Countless people around the world enjoy Pete Carr's contribution to American music everyday. During the Falklands War of 1982, as British battle ships set sail to reclaim the Islands the BBC (The British Broadcasting Corporation) played the Rod Stewart song "Sailing" nation wide. "Sailing" featured Pete Carr's acoustic and electric guitar playing.

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Is the Garden State Parkway the highway to hell? Or is the New Jersey Turnpike the road to damnation?
Someone keeps stealing the metal signs at mile marker 66.6 along the heavily traveled toll roads, and the New Jersey Turnpike Authority is having a devil of a time keeping up with the thefts.
Its been happening all over the country, particularly on roads with names like Route 666. Officials arent sure if the thefts are being committed by religious zealots upset about the numbers association in the Bible with the devil, by Satanic scavenger hunters, or by college students who think a sign would look cool in their dorm room.

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Legendary rock band Led Zeppelins lead vocalist Robert Plant has just quelled rumors of a possible, and no doubt anticipated Led Zeppelin reunion tour.  
Since last December, when the band, responsible for epic and timeless songs such as “Stairway to Heaven,” and “Kashmir,” agreed to do a one-night reunion concert for charity, speculations are popped out everywhere about a follow up reunion tour which would have sold out worldwide the moment tickets went on sale.
An official band insider who is currently with Plant in his United States tour with Alison Karus has just made a statement on their website last Monday, saying that “Robert Plant and Alison Krauss are currently touring the USA on the last leg of their Raising Sand tour, he said, adding that the tour finished on October 5,” and “Robert has no intention whatsoever of touring with anyone for at least the next two years.”
It’s one of those moments when you know it sucks being born during the eighties.  In addition, mr. bigshot band insider said, “Contrary to a spate of recent reports, Robert Plant will not be touring or recording with Led Zeppelin.  Also, he called the reports of having a reunion tour both frustrating and ridiculous, before adding: I wish (guitarist) Jimmy Page, (bassist/instrumentalist) John Paul Jones and (drummer) Jason Bonham nothing but success with any future projects.
Oh, well…
 
Want to get FREE unlimited music downloads?  Click here.
Fly to the cities where Robert Plant is touring.  Click here for free tickets.

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..I have to admit I went to this show with only the expectation of having a good time and bathing in the sheer iconic stature of Iggy The Stooges. I dont need to go into details about the impact of Iggy and The Stooges had on music or their history. I understand that if you are reading this review you already know. My worst fear would be an encounter with a parody of their former selves. I had not seen Iggy before and was relying on what I had heard from my friend Bob, what I heard, what read over the years and I what I could glean from the internet. Im very happy to say my fear wasnt realized and it wasnt by a long shot.
This show blew me away!!! If this band is operating at 60% of what they used to be able to do, there arent many frontmen around now that could touch this level of energy. Sometimes the show is about the headspace you happen be in at the time. I was certainly ready for the stripped down c0ck out, rock out show. Everything was perfect!!
My friend Bob and I went down to the show and got there a few minutes before Iggy went in. I got a nice video clip of him getting out the black towne car, signing a few things, talking to a couple of fans then heading in the stage door. The clip is cool just for the sense of getting a bit of the fan frenzy around a rock star. There is a point in the clip when someone asked Iggy to pose for a photo and he obliges with a goofy headshake and sticking out his tongue. Someone said they were sorry about the equipment getting ripped off in Montreal the day prior and Iggy says Im not gonna let that bother me At another point in this video you can hear my friend Bob yell alright Jimmy.

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The SHM-CD [Super High Material CD] format features enhanced audio quality through the use of a special polycarbonate plastic.

Using a process developed by JVC and Universal Music Japan discovered through the joint companies' research into LCD display manufacturing, SHM-CDs feature improved transparency on the data side of the disc, allowing for more accurate reading of CD data by the CD player laser head. SHM-CD format CDs are fully compatible with standard CD players.

Led Zeppelin is the debut album by English rock band, Led Zeppelin. It was recorded in October 1968 at Olympic Studios in London and released on Atlantic Records on 12 January 1969. The album featured integral contributions from each of the group's four musicians and established Led Zeppelin's fusion of blues and rock. Led Zeppelin also created a large and devoted following for the band, with their unique heavy metal and psychedelic rock sound endearing them to a section of the counterculture on both sides of the Atlantic.

Although the album initially received negative reviews, it was commercially a success and has now come to be regarded in a much more positive light by critics. Many now regard it as one of the best debuts in rock history. In 2003, the album was ranked number 29 on Rolling Stone magazine's list of the 500 greatest albums of all time.

In August 1968, the English rock group The Yardbirds had completely disbanded. Guitarist Jimmy Page, The Yardbirds' sole remaining member, was left with rights to the groups name and contractual obligations for a series of concerts in Scandinavia For his new band, Page recruited bassist John Paul Jones, vocalist Robert Plant and drummer John Bonham. During September 1968, the group toured Scandinavia as The New Yardbirds, performing some old Yardbirds material as well as new songs such as "Communication Breakdown", "I Can't Quit You Baby", "You Shook Me", "Babe I'm Gonna Leave You" and "How Many More Times". The month after they returned to England, October 1968, Page changed the band's name to Led Zeppelin, and the group entered the studio to record their debut album.

The conceptual originality of the album was displayed on tracks such as "Good Times Bad Times" and "Communication Breakdown", which had a unique and distinctively heavy sound new to the ears of young music-buyers in the late-1960s. "Communication Breakdown" would become monumental in its influence: In the documentary "Ramones - The True Story", Page's sped up, downstroke guitar riff is cited as guitarist Johnny Ramone's inspiration for - and basis of - his punk-defining, strictly downstroke guitar strumming. Led Zeppelin also featured delicate steel-string acoustic guitar by Page on "Black Mountain Side", and a combination of acoustic and electric approaches on their adaptation of "Babe I'm Gonna Leave You".

"Dazed and Confused" is arguably the album's centerpiece: a foreboding arrangement featuring a descending bass line from Jones, heavy drumming from Bonham and some powerful guitar riffs and soloing from Page. It also showcased Page playing guitar with a cello bow (an idea suggested by David McCallum Sr., whom Page had met while doing studio session work). The bowed guitar in the middle section of the song brought psychedelic rock to experimental new heights, especially in extended stage versions, building on Page's earlier renderings of the song during the latter days of The Yardbirds. "Dazed and Confused" would become Led Zeppelin's signature performance piece for years to come. The bowed guitar technique is also used on "How Many More Times", a song which features a "Bolero" riff and a broken-down noise section in which Robert Plant howls Albert King's "The Hunter" (a blues song popularised by singer Koko Taylor).

Many of Led Zeppelin's earliest songs were based on blues standards, and the album also included three songs composed by others: "You Shook Me" and "I Can't Quit You Baby", both by blues artist Willie Dixon; and "Babe I'm Gonna Leave You". Regarding the last of these, at the time guitarist Jimmy Page mistakenly believed he was adapting a traditional folk song he had heard on a Joan Baez record, but this was corrected on subsequent rereleases after it was revealed that the song was composed by Anne Bredon in the 1950s. Dixon, on the other hand, received proper credit as the composer of his two songs on this album (although "You Shook Me" would later be additionally credited to J. B. Lenoir) but would go on to settle out of court with Led Zeppelin over partial use of other material of his on Plant's lyrics to "Whole Lotta Love". On "You Shook Me", Plant vocally mimics Page's guitar effects - a metallicised version of the "call and response" blues technique.

Jeff Beck had previously recorded "You Shook Me" for his album, Truth, and accused Page of stealing his idea. With John Paul Jones and drummer Keith Moon of The Who, Page had played on (and says he arranged) "Beck's Bolero", an instrumental on Truth that would be grooved into the mix of the Led Zeppelin jam "How Many More Times". These cross-pollinations led to a rift between Beck and Page, who had played in the Yardbirds together and been friends since childhood. In fact, it was Page who first suggested Beck for the Yardbirds' guitarist position when he was contacted by the band after Eric Clapton's departure.

In an interview he gave in 1975, Page offered his own perspective on the album's music:

For material, we obviously went right down to our blues roots. I still had plenty of Yardbirds riffs left over. By the time Jeff [Beck] did go, it was up to me to come up with a lot of new stuff. It was this thing where [Eric] Clapton set a heavy precedent in the Yardbirds which Beck had to follow and then it was even harder for me, in a way, because the second lead guitarist had suddenly become the first. And I was under pressure to come up with my own riffs. On the first LP I was still heavily influenced by the earlier days. I think it tells a bit, too... It was obvious that somebody had to take the lead, otherwise we'd have all sat around jamming for six months. But after that, on the second LP, you can really hear the group identity coming together.

01."Good Times Bad Times" (Jimmy Page, John Paul Jones, John Bonham) 2:46
02."Babe I'm Gonna Leave You" (Robert Plant, Page, Anne Bredon) 6:41
03."You Shook Me" (Willie Dixon, J. B. Lenoir) 6:28
04."Dazed and Confused" (Page) 6:26
05."Your Time Is Gonna Come" (Page, Jones) 4:35
06."Black Mountain Side" (Page) 2:13
07."Communication Breakdown" (Page, Jones, Bonham) 2:30
08."I Can't Quit You Baby" (Dixon) 4:43
09.

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Yesterday, I rode my bike to the beach with Sarine. It was a beautiful day and the waves were breaking. There was a mixed swell that caused some chop and there was a serious current going North, but there were some lengthy lines . . . and some big closeouts. Fun battle, nevertheless!

I've been seeing things more and more like a fight. I might amend one of my favorite sayings
from: "Acquiring anything worthwhile takes hard work" to "Acquiring anything worthwhile takes hard work and some things require a fight." In a real sense, I'm fighting for my health and the ability for my body to function as it should. Ever since my pinched nerve, I've been as active as possible and I'm totally enjoying it, but it isn't easy. I'm still adjusting to this whole thing and I'm remembering the lazy days. I guess it's just tough to stick with anything for a long time, but creating a new lifestyle of positive habits will be good. I say that as I drink a Red Bull for breakfast.

This morning, I texted my friend who is a doctor in a hospital and asked him if it was ok to drink Red Bull on an empty stomach. He said no problem. Whew. I generally have a great first meal and will soon, but not right now.

I recorded me playing guitar today. I want to analyze the licks and leads and see if I want to expand on them. When a song hits my playlist (which has 500 songs in it, taken from the 6700 total), I usually want to grab my guitar and play along. I'll play some different chords in the song and then I'll play single notes. By the time the song is finished, I will have played a couple of chord progressions, a couple of licks, and a couple of solos. Great fun and practice!

Back to the fight. Catching waves is a fight! These waves show no mercy, no partiality, and no turning. It's exhilarating. I should write a book on it one day. Getting out past the white wash and the small stuff is an exciting process and if the surf is big, you have to do it just right (if you can do it at all) or else you won't make it out there. In short, it involves paddling your butt off and kicking with your fins (when on a bodyboard, like I prefer). You also have to know how to duck dive effectively or else you're going to be repeatedly knocked back.

Everyone has a limited amount of strength and stamina before they need a recharge. The tough part is when you're out in big surf and you're at the end of your tank of gas. You want to catch a couple more, but you know it'll be even tougher because you're just a little slower. It reminds you that you can only have one speed out there: all out. Hence, the fight.

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I realizzatori del presente sito si dissociano dal violare la legge n.633 del 22 aprile 1941. Altresì tutto il materiale pubblicato, per il fatto stesso che deve essere utilizzato per i SOLI SCOPI DI STUDIO E VALUTAZIONE, non deve essere definito illegale ma di LIBERO UTILIZZO, pertanto non viola gli art.615, 615 quater e 623 del Codice Penale. Poiché alcuni dei contenuti e delle informazioni rinvenibili nella rete Internet possono in vario modo essere contrari alle leggi vigenti, i realizzatori del sito avvertono l'utente che il download di alcuni tipi di file può costituire violazione del diritto d'autore e copyright. Gli autori non assumono a riguardo alcuna responsabilità ed avvertono l'utente che l'uso che egli fa di tutto ciò che è contenuto su questo sito ricade sotto la sua completa ed esclusiva responsabilità. Scaricando uno qualunque dei files presenti sul sito l'utente concorda in un periodo di valutazione di 24 ore e prima che questo periodo scada dovrà cancellare il file dal suo harddisk o dovunque avrà copiato i files.

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A little repulsed and a lot fascinated by this article. I think its required reading (even re-reading), so Im saving it here for the future.

In other news, I recently acquired the complete Led Zeppelin catalog for a bargain price (not free, mind youI paid for it). As a result, Ive challenged myself to listen to the entire thing start to finish. Now, Im certainly a LedZep fan, but this little experiment has been a challenge to say the least. Like most everyone these days I suppose, Im used to dashing in and out of songs on my iPod or computer, changing tunes as rapidly as my moods swings. Its been a long time since Ive listened to an album start to finish, much less the entire recorded work of a single group.
Here are some highlights from the (still continuing) journey:
1  Hey Communication Breakdown kicks ass!
2 The Lemon Song featuring what I consider one of the most masterful bass lines in all of rock. A friggin understated masterpiece by the unsung hero of Zep, John Paul Jones.
3 Wait, why does nearly everything after The Immigrant Song from Led Zeppelin III sound like music youd hear at a LARP convention?
4 The more I think about it, the The Immigrant Song could be a LARP anthem; a call to arms for chubby warrior nerds everywhere. DAMNIT!
5 Hey its Stairway to Heaven! Neat!
6 Hey its The Rain Song, which is like a billion times better than Stairway to Heaven!
7 Uh oh, its the soundtrack from The Song Remains the Same. Live albums suck.
8 Q: Why in the Christ is the Dazed and Confused 18 minutes long?!
9 A: Because Jimmy Page thinks whacking a Les Paul with a violin bow for six minutes is interesting to people.
10 John Bonham sure liked the sixteenth-note triplet fills, didnt he?
11 Now I know why people stopped caring about Zep after Physical Graffiti.
12 One hundred songs in,  sixty more or so to go (counting the remasters of the first few albums). Am I man enough to finish this?
13 Oh God, its Moby Dick live. If youre reading this, save me.

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