Kanada Kev

I've enjoyed the Martins remix of the music many times. Did you notice if they were selling a DVD of the show yet? Might be a cheaper alternative if you can't make it to Vegas

WOW ... fantastic games tonight!!! Next round is looking sweet

Take a read of the entire thread. You'll get a better understanding of what/why it went down: http://www.dsoforums.net/forum/index.php?showtopic=9099&st=0&start=0 Keep the sketch out ...

Bummer. I saw Evan in Buffalo the day after the Dead show. I can't wait to hit up the Ledges again. It will not stop me from going. Evan runs the place for people to have fun, but within limits. If you read about the history of the park you'll know that it has a very sketchy past. He turned it around and doesn't want it to go back to what it was. I watched Evan deal with a tour rat last year with her dog. There are NO dogs allowed and he came down hard on her and rightfully so. Evan doesn't want any shit being sold on his property that is going to cause somebody to OD. I'm sure that he was fully compliant (possibly even contacted the authorities himself) with the law enforcement. There are at least 3 or 4 other concert weekends at the park before Gratefulfest. It'll be interesting to see how it goes.

Gonna be a lot of late nights watching the West match-ups if they live up to expectations.

That looks interesting. You planning on going?

Dylan on working with Robert Hunter: http://www.rollingstone.com/rockdaily/index.php/2009/04/28/bob-dylan-talks-about-working-with-robert-hunter-on-together-through-life/ Bob Dylan Talks About Working With Robert Hunter On “Together Through Life†4/28/09, 10:56 am EST Photo: Micelotta/Getty Bob Dylan’s latest, Together Through Life, arrives today, but while critics are hailing this fresh batch of hardened, urgent songs, much of the advance chatter surrounding the album centers on the involvement of Grateful Dead lyricist Robert Hunter. “Hunter is an old buddy,†Dylan explains in our next cover story, which hits newsstands this week. Dylan and Hunter collaborated on 10 songs, all but one of the album’s tracks. “We could probably write a hundred songs together if we thought it was important or the right reasons were there,†Dylan tells Rolling Stone. “He’s got a way with words and I do too. We both write a different type of song than what passes today for songwriting.†Dylan and Hunter collaborated before on “Silvio†and “The Ugliest Girl In The World†for Dylan’s 1988 album Down In The Groove. The pair’s latest efforts, however, mark Dylan’s deepest work with a collaborator since his 1976 album Desire, which saw Dylan team with Jacques Levy for all but two songs. Dylan explained his creative partnership with Hunter to RS contributor Doug Brinkley, a noted historian and Rice University professor who’s also profiled Norman Mailer, Kurt Vonnegut and Ken Kesey for RS. Brinkley interviewed Dylan for our new issue, which arrives this week. During their conversation, Dylan kept the door open to future collaborations with Hunter. “I think we’ll be writing a couple of other songs too for some off-Broadway play,†Dylan says. Rolling Stone issue 1078 hits newsstands this week, and look for more from Dylan — including more from our exclusive interview, and a look back at his past RS covers — throughout the week here on RS.com.

http://www.rollingstone.com/reviews/album/27386686/review/27534262/together_through_life Bob Dylan Together Through Life RS: 4 of 5 Stars 2009 Play View Bob Dylan's page on Rhapsody Bob Dylan has sung in many voices on his records: the nasal-braying alarm of "A Hard Rain's A-Gonna Fall"; the acidic dismissal in "Like a Rolling Stone"; the country hermit on The Basement Tapes; the grizzly wisecracking drifter on 2001's Love and Theft and 2006's Modern Times. But Dylan, who turns 68 in May, has never sounded as ravaged, pissed off and lusty, all at once, as he does on Together Through Life. It is a murky-sounding, often perplexing record. The lyrics seem dashed off in spots, like first drafts, while the performances — by Dylan's current touring band — feel like head arrangements caught on the run between Never Ending Tour dates. But there is a grim magnetism coursing through these 10 new songs — and most of it is in Dylan's vividly battered singing. The shock of his voice comes right away. Dylan starts the record as if he's at a loss for words. "I love you, pretty baby/You're the only love I've ever known/Just as long as you stay with me/The whole world is my throne," he sings in the muddy samba "Beyond Here Lies Nothin'." It is a plain, unpromising opening, except for the delivery: a deep, exhausted rasp that sounds like the singer has been beaten to a pulp, then left for dead at the side of the road. When Dylan gets to the title punch line in each verse, he grumbles it with an audible sneer. As far as he can tell, there isn't much world left to sit on. Dylan's throat has never been anyone's idea of clear and soaring. But as a young folk singer, he strained to sound older and more sorely tested than he was, as if he had known Charley Patton, A.P. Carter and the Great Depression firsthand. He's finally there, with an authentically pitted instrument ideally suited to the devastated settings of these songs and the rusted desert-shed production (by Dylan under his usual pseudonym, Jack Frost): brushed-snare strolls and bar-band shuffles; bag-of-snakes guitars, with frequent stinging fills by Mike Campbell of Tom Petty and the Heartbreakers; the rippled sigh and mocking laugh of an accordion icing most songs, played by David Hidalgo of Los Lobos. Compared to the Western-swing-like buoyance of Love and Theft and the Fifties-Chess-session air of Modern Times, this record sounds like it was cut in the dead-end Mexican border town in Orson Welles' 1958 film noir, Touch of Evil, especially when Dylan gets to lines like the closing few in "Forgetful Heart," a musky blend of banjo, dirty guitar and utter emotional defeat: "All night long/I lay awake and listen to the sound of pain/The door has closed forevermore/If indeed there ever was a door." That hardened, bleating voice is also perfect for these times: A nation drunk on hope less than six months ago now drowns in red ink and pink slips. "Some people they tell me/I got the blood of the land in my voice," Dylan cracks in the Nashville Skyline-style sway of "I Feel a Change Comin' On." But the country in these songs is running on fumes, into brick walls. "State gone broke/The county's dry/Don't be looking at me with that evil eye," Dylan snaps in the Chicago-blues lark "My Wife's Home Town," spitting the lines like a CNN news ticker. (The name of that town, according to Dylan: Hell.) "Shake Shake Mama," a string of comic come-ons with a Louisiana juke-dance gait, ends not with scoring but dire warning: "If you're goin' on home, better go the shortest way." There is another line worth noting in "I Feel a Change Comin' On" — "You are as whorish as ever" — and Dylan growls it like a compliment. Together Through Life is, in a surprisingly direct way, about the only thing you can count on when you're surrounded by clowns, thieves and government (sometimes all the same thing) and what happens when you lose — or throw away — your good thing. In the slow hurt of "Life Is Hard," Dylan bites down gently on each syllable, over soft-shoe drums and weeping pedal steel ("My dreams are locked and barred/Ad-mit-ting life is hard/With-out you near me"). And regret doesn't get much better than his strict instructions in the final verse of "If You Ever Go to Houston," a Doug Sahm-like shot of norteño R&B: "Find the barrooms I got lost in/And send my memories home/Put my tears in a bottle/Screw the top on tight." Ultimately, Together Through Life is a mixed bag of this decade's Dylan — impulsive, caustic, sentimental, long done with the contrived details of contemporary record-making. The album may lack the instant-classic aura of Love and Theft or Modern Times, but it is rich in striking moments, set in a willful rawness, and comes with a wicked finish. "It's All Good" is a bayou-John Lee Hooker boogie that opens with bad shit ("Big politician telling lies/Restaurant kitchen, all full of flies/Don't make a bit of difference") and just gets worse ("Brick by brick, they tear you down/A teacup of water is enough to drown"). It's a portrait of an ugly America, devolving into bare-knuckle Darwinism — survival of the coldest and cruelest — and Dylan rubs your face in it. "It's all good," he sings repeatedly with a cruel shrug in that voice, knowing damn well it's not. But Dylan is just as sure, in nearly every other song here, that there is strength in numbers — and that number is two.

While we're on the subject of avatars' date=' what's up with kev's gay senator? Not that there's anything wrong with that. [/quote'] LOL ... it's Ottawa's new 3rd jersey for next year

Stella Blue Hair

If Avery is in and Torts is out, he ain't listening to ANYONE. Madness at MSG at 2pm!!! Maybe the remaining "air enhancement" from the Dead show last night will still remain and calmer heads will prevail

WOW! Killer setlist, IMHO (Set 1) Cosmic Charlie China Cat Sunflower> Shakedown Street Ship Of Fools He's Gone Cassidy Sugaree (Set 2) Drums> Cryptical Envelopment> Other One> Born Cross Eyed> St Stephen> The Eleven> Uncle John's Band> Unbroken Chain> One More Saturday Night Donor Rap (Encore) Brokedown Palace Set 1 In and out of the Garden he goes… This place has always been such an important venue for the Grateful, where they played more than 50 concerts. I only saw two there, in 1987, but I do recall the energy in the building was unlike any other place I’d seen the Grateful Dead. As Jerry said, the place is juiced. And speaking of Jerry, the show tonight opened with five Garcia tunes in row, Cosmic Charlie, China Cat>Rider, Shakedown, Ship of Fools, He’s Gone. Pretty cool. The only non-repeat of the tour amongst this batch of songs is Ship of Fools. After these Jerry tunes comes a Weir-Barlow classic, Cassidy, always such a fine first set tune. Capping everything off with Sugaree seems like a nice launching point for the break, as this is one of those tunes the post-1995 bands have consistently nailed. Set 2 Well, that’s quite a second set opening sequence, all music written in 1969 or earlier. That is the type of setlist we used to write down as a fantasy setlist. Very cool. Opening with Mickey and Bill doing Drums (aka Rhythm Devils, which can be used in lieu of Drums anytime Mickey and Bill are involved) is a great way to start the set. I recall seeing The Other Ones on 7/5/98 at Darien Lake, NY, a show at which Mickey and John Molo opened the show with Drums for about 5 minute before the band joined in for Samson and Delilah (it was Sunday, after all). At MSG on this night, though, they barreled into Cryptical>Other One>Born Cross-Eyed>St. Stephen (no surprise here, a reminder of 10/11/83)>The Eleven>Uncle John’s Band. And then comes the first foray of the set into the 1970s, Unbroken Chain. This is followed by not only another early 1970s song, but a perfectly appropriate song for the night: One More Saturday Night. And sending the masses out the door with Brokedown Palace is the perfect capper to what was evidently a fun night of music. On to Hartford!

Tortorella OUT! http://www.nhl.com/ice/news.htm?id=420130

seriously? [color:purple] Don't worry' date=' non of the surviving members of the Grateful Dead can make any music that's worthy either[/color']

Pens brought it ... after getting behind 3-0 Malkin was really into it this afternoon.

Me too. However, it might be sweeter to see him back on the bench and his 'play' on the ice the cause for the Rangers to blow a 3-1 series lead and LOSE!!! Could also be the perfect chance for somebody to take him out

Today is frackng beautiful out. I've got some Dead cranking on the stereo while hanging out in the back yard with the kids. They're pumped hearing what Mom and Dad got to hear in Buffalo the other night and they had to stay home (thanks otherones90210). Wishing I could be hitting a sunny Shakedown Street this afternoon

I emailed The Hip that morning. No email, no tix.

http://www.glidemagazine.com/hiddentrack/review-spinal-tap-unwigged-unplugged/

Sure Ollie, have another:

PLEASE LET THIS HAPPEN ... PLEASE LET THIS HAPPEN ... PLEASE LET THIS HAPPEN ... PLEASE LET THIS HAPPEN ... PLEASE LET THIS HAPPEN ... PLEASE LET THIS HAPPEN ... PLEASE LET THIS HAPPEN ... PLEASE LET THIS HAPPEN ... PLEASE LET THIS HAPPEN ... PLEASE LET THIS HAPPEN ... PLEASE LET THIS HAPPEN ... PLEASE LET THIS HAPPEN ... PLEASE LET THIS HAPPEN ... PLEASE LET THIS HAPPEN ... Visit msnbc.com for Breaking News, World News, and News about the Economy

OVECHKIN is on fire! That was one sweet goal to end the period. Caps WANT IT tonight. Would love to see them make the comeback and win this series. Avery can lose it for them on Sunday afternoon

Just scored PIT SEATS Fuck Yeah! http://www.artpark.net/documents/Artpark_Seating_Chart_2009.pdf