TimmyB

wow, hey Ashley Simpson is on the chart too!!! 18 weeks! maybe we should start a thread for her too....hmmmm, wait a minute, I think we already have! ::

So based on your thesis then all bands on the charts are not good.

That's what that statement means right?

Well if that's the case then the Grateful Dead are not good either, as they've been on the charts from the beginning to the end of their studio releases.

Grateful Dead #73, Anthem of the Sun #87, Aoxomoxa #73, Live/Dead #64, Workingman's Dead #27, American Beauty #30, Historic Daed #154, Grateful Dead (live) #25, Europe '72 #24, History of the Grateful Dead Volume 1 (Bears Choice) #60, Wake of the Flood #18, The Best of/Skeletons From the Closet #75, Grateful Dead From the Mars Hotel #16, Blues for Allah #12, Steal Your Face #56, What a Long Strange Trip It's Been: The Best of the Grateful Dead #121, Terrapin Station #28, Shakedown Street #41, Go To Heaven #23, Reckoning #43, Dead Set #29, In the Dark #6, Built to Last #27, Without a Net #43

If you think every artist that made the charts isn't good than you wouldn't like too many artists. Including the aforementioned Grateful Dead, The Allman Brothers Band, Santana, Little Feat, Phish, Widespread Panic, Primus and many, many more.

nice.

i've been wanting to read chronicles.

does he mean the def leppard "rock of ages"? i hope so.

No guigsy Bob Dylan didn't mean the Def Leppard "Rock of Ages."

Dylan meant this one:

ROCK OF AGES

Rock of ages, cleft for me,

Let me hide myself in Thee;

Let the water and the blood,

From Thy riven side which flowed

Be of sin the double cure,

Cleanse me from its guilt and power.

Not the labor of my hands

Can fulfill Thy law’s demands;

Could my zeal no respite know,

Could my tears forever flow,

All for sin could not atone,

Thou must save, and Thou alone.

Nothing in my hand I bring,

Simply to Thy cross I cling;

Naked, come to Thee for dress,

Helpless, look to Thee for grace;

Foul, I to the fountain fly;

Wash me, Saviour, or I die.

Whilst I draw this fleeting breath,

When my eyestrings break in death;

When I soar through tracts unknown,

See Thee on Thy judgment throne,

Rock of ages, cleft for me,

Let me hide myself in Thee.

—Augustus M. Toplady (1740-1778)

The text for "Rock of Ages" first appeared in The Gospel Magazine, a British publication, in 1776. It was printed as the climax to an article by its author, Augustus M. Toplady. In the over two hundred years since its introduction it has surely become one of the best known and best loved hymns of the English-speaking church. Its strong declaration of Christ and His work on the cross as man’s only hope of salvation from the judgment his sin deserves, earns it a place of honor among hymns of grace.

The analogy of Christ to a rock has its roots in Scripture. Alluding to the Israelites during their wilderness wanderings, Paul writes, "For they drank of that spiritual Rock that followed them, and that Rock was Christ" (1 Cor 10:4). Paul is apparently referring to the event recorded in Exod 17:6. Moses, at God’s command, struck the rock in Horeb, miraculously bringing forth a needed supply of water for God’s people. The physical rock is a picture of Christ being struck to provide the "water" needed to satisfy sinful man’s spiritual need. In addition, there are numerous OT references to the Lord as a "Rock" or "Rock of salvation."

The specific picture of Christ as a rock split open (cleft) to provide a place of spiritual refuge for sinful people is surely drawn from Moses’ experience recorded in Exod 33:20-23. Because Moses, a fallen man, could not see God’s face and live, God Himself protected Moses by placing him in the cleft of a rock as He passed by. In like manner, by being hidden in Christ, the Rock cleft on his behalf at the cross, the believer is sheltered from the eternal death he would face when he stands before a holy, righteous God.

Augustus Toplady was saved at the age of sixteen and later became a respected minister in the Anglican Church. While many grace-oriented Christians today have great respect and admiration for John and Charles Wesley, Toplady did not. The article which introduced "Rock of Ages" was written to refute some of the Arminian teachings of the Wesleys, particularly their belief in man’s free will. Toplady held to a strong Calvinist view of election. While not all grace-oriented Christians will agree with Toplady’s stand on election, all can surely rejoice in this hymn which so effectively states the clear scriptural teaching regarding man’s utter inability to in any way offer God anything to earn or merit salvation. "Not by works of righteousness which we have done, but according to His mercy He saved us…" (Titus 3:5a).

"Toplady," the hymn tune most often used today in the United States for singing "Rock of Ages," was written in 1830 by Dr. Thomas Hastings (1784-1832). Born in Washington, Connecticut, Hastings compiled 53 hymn collections and composed as many as 600 hymns during a lifetime devoted to church music.

Today is world aids day

Thanks for letting us know here that today is world aids day. I'm happy there are people in the world like Bono that take the time to fight for those who can't fight for themselves. I tip my hat to him.

Hey Steve from Cleveland,

Nice to meet you. And that's a cool experience you have had at a U2 concert back in the nineties.

To be clear I U2 are currently the biggest band in the world that are currently active. I feel that the Beatles are the biggest, greatest and best band of all time. But that's for another thread.

Also I feel that "Pop" is an underrated album, go back and listen to tracks like "Do You Feel Loved," "Last Night on Earth," "Gone" and especially "Please" which is a masterpiece.

U2 RULES!

I watched the episode yesterday, and yes he's a right wing fool. But really he doesn't believe what he said about us Canadians he's just trying to be funny, much like how Jon Stewart is funny.

U2 are the Biggest Band in the World! Whether you like it or not.

from www.billboard.com

Edited By Jonathan Cohen. December 01, 2004, 10:45 AM ET

U2's 'Bomb' Explodes At No. 1

U2 earns its sixth No. 1 on The Billboard 200 this week with "How To Dismantle an Atomic Bomb." The Interscope set nearly doubled the band's previous best SoundScan era sales week (1991-present), moving 840,000 U.S. copies, according to Nielsen SoundScan.

In 2000, the Irish quartet's Grammy-winning "All That You Can't Leave Behind" entered at No. 3 on sales of 428,000 copies; the set has a to-date total of 4.2 million.

U2 ends the two-week chart reign of labelmate Eminem's "Encore" (Shady/Aftermath/Interscope), which drops to No. 2 on a 46% tilt to sales of 471,000 copies. As previously reported, U2 also terminated the rapper's three-week stint at the top of the U.K. album chart, where "Atomic Bomb" landed at No. 1 after an international Nov. 22 release on Island.

The album's arrival was heralded by first single "Vertigo," which is featured in Apple Computer's iPod/iTunes TV commercial. The track spent four weeks atop Billboard's Modern Rock Tracks list, where it holds this week at No. 3. Additionally, the band made a series of high profile appearances in the week leading up to the album's release, including a performance on NBC's "Saturday Night Live" and an unannounced free outdoor show in New York.

U2, which first went to No. 1 on The Billboard 200 with 1987's "The Joshua Tree," has a worldwide sales total of more than 120 million, according to Interscope.

There you go generalizing again. I've never wished you any harm and only hope the best for you.

Be well and take it easy.

Here's my list of favorite Sting albums.

1. Nothing Like the Sun (1987)

2. Ten Summoner's Tales (1993)

3. Soul Cages (1991)

4. The Dream of the Blue Turtles (1985)

5. Mercury Falling (1996)

6. Sacred Love (2003)

7. Brand New Day (1999)

I can't wait for the new album!

from www.bobdylan.com

Q&A: Bob Dylan

He's not sorry about the Victoria's Secret ad and not sure you should call Chronicles a book

By AUSTIN SCAGGS

Bob Dylan has proved that his prose can be as elegant as his poetry. In his new memoir, Chronicles: Volume One, Dylan takes us on a circular ride through the most intense periods of his professional life, from Greenwich Village in 1961 to his retreat to Woodstock in 1968 and his regeneration in the late Eighties. It's less an autobiography than a historical document -- a philosophical and personal analysis of life in America -- and it will make your head spin. Ladies and gentlemen, Columbia recording artist Bob Dylan, checking in from a tour stop in Manhattan, Kansas.

In Chronicles you write about the guitar technique that Lonnie Johnson taught you. Only a serious musician could comprehend the language you use. Why'd you choose to go into such great detail?

I think it might be helpful for people to understand that my style has got a structure to it. Maybe I wrote that for people who play. Some people might pick it up. Why? Do you find it irrelevant in some way?

On the contrary.

I can't say whether a bus driver would find it interesting. To me it was important.

You also describe watching La Dolce Vita "intently, thinking that I might not see it again." Do you have a photographic memory?

I leave my mind open. I don't fill it up with a lot of things. I'm very careful as to what I get distracted by. With the book, what I try and do is put a feeling across. It's not the kind of book where it's a short life and a merry one. It's more abstract, drawn out over long periods of time. I worked the book, if you want to call it that, in patterns. I portray life as a game of chance. It works on a variety of levels, like some of the best songs do.

You write about the night Woody Guthrie sent you to his house in Coney Island to get a box of his lyrics. What would have happened if you'd found them?

I don't know if I would have been capable of doing much with them at all, really, though I suppose I would have. I don't think I would have made a record of that stuff, like the record that eventually came out [billy Bragg and Wilco's Mermaid Avenue Vols. 1 and II]. Who'd really heard of me?

You downplay a chunk of your career in Chronicles. Am I crazy to love Street Legal, Slow Train Coming and Infidels?

Not at all. I can play those songs, but I probably can't listen to those records. I'll hear too many faults. I was just being swept along with the current when I was making those records. I don't think my talent was under control. But there's probably good stuff on all of them. Shelley said the point was to make unpremeditated art. I don't think those records fall into that category.

Lyrically, does it get any better than "It's Alright, Ma"?

It's hard to live up to that kind of thing. You can't try to top it -- that's not the point. Lyrically you can't top it, no. I still can play that song, and I know what it can do. That song was written with a hunger that can break down stone walls. That was the motivation.

Have you ever hung with Little Richard?

Yeah!

What was that like? Did you tell him that in your high school yearbook you wrote your ambition was to be in his band?

He's a fantastic person. Very exciting guy to be around, as you can imagine. I don't think I told him about the yearbook -- I don't think I needed to. He knows I've been a fan of his from way back.

In the book you don't talk too much about playing harp. What harmonica performances of your own are you most proud of?

A lot of them, really. I don't know if proud is the word.... I play the harmonica like I play the piano. I don't really need to listen to what I'm playing. Of course, I can tell if I'm playing it wrong, when it's not going to appeal to anybody. It might on a technological level, but it won't on a gut level. If I put it into the beat, right on the one or the three, that's really basically all I have to do to get the point across. It will form a melodic structure on its own. Someone can always play it better, but you've heard a lot of great musicians where it sounds great at the time, but you forget about it two minutes later. I stay away from that showoff thing.

This is how I see it: You fly to Italy, hang out with beautiful women, make a little scratch and next thing you're in a Victoria's Secret commercial.

Yeah. Was I not supposed to do that?

I enjoyed it.

I wish I would have seen it. Maybe I'd have something to say about it. I don't see that kind of stuff. That's all for other people to see and make up what they will.

Why do you leave your Oscar on your guitar amp?

I think it's welded to it now. The guys who work with me backstage are so thrilled about seeing it that they keep putting it up there.

What's the last song you'd like to hear before you die?

How 'bout "Rock of Ages"?

I heard you've written songs for a new album.

I have a bunch of them. I do.

When will you crank 'em out?

Maybe in the beginning of the year. I'm not sure where and when.

Can you tell me about them?

No, I couldn't explain them to you. After you listen to them, call me back. It's difficult to paraphrase them or tell you what kind of style they're in. You won't be surprised.

Why not?

The musical structure you're used to hearing -- it might be rearranged a bit. The songs themselves will speak to you.

I saw you play at the Newport Folk Festival a couple of years ago. What was up with the wig and fake beard?

Is that me who you saw up there?

(Posted Nov 17, 2004)

It's here.

The Benevento/Russo Duo featuring Mike Gordon

B.B. King Blues Club & Grill, New York, NY

Sat, Jan 1, 2005 02:00 AM

If only I had a pair for this show, why didn't I try and get the tickets sooner?

Now,your point was?

Dylan smokes em both anyway. ::

Once again Esau I agree with you completely.

"Corrina" wasn't written by the Grateful Dead. I believe it's a Taj Mahal song.

I have seen every Sting tour since 1993 and I will be excited to see this one. It will be the smallest band since his '93 tour when he toured as a four piece, though it had David Sancious on keyboards not two guitarists as this tour will have.

See you in London, ON on April 22, 2005.

from www.billboard.com

Edited By Jonathan Cohen. November 30, 2004, 10:40 AM ET

Sting Scales Down For Spring Tour

Since establishing himself as a solo artist, Sting's tour's have become grand affairs featuring large bands. That will change in April, when he launches the Broken Music tour, backed by just three other players.

Set to kick off April 1 in San Jose, Calif., the tour will feature Sting on bass and vocals, longtime guitarist Dominic Miller, guitarist Shane Fontayne (Bruce Springsteen, Lone Justice) and drummer Josh Freese (A Perfect Circle). At deadline, 11 shows make up the itinerary, running through an April 29-30 stand in Atlantic City, N.J. More dates are expected, according to the artist's official Web site.

Los Angeles-based rock act Phantom Planet will open all shows on the tour, except the New Jersey engagement, support for which is to be determined.

Some shows will take place on college campuses, where students will have access to tickets prior to the general public. Sting.com members will also have access to pre-sale opportunities, some beginning as early as Thursday (Dec. 2). Some venues will also include general admission areas in front of the stage, with those tickets priced at $30.50, according to the site.

Sting is still in the midst of a European leg of his Sacred Love tour, which plays Milan tonight (Nov. 30). He will wrap his 2004 dates with a Dec. 9 show in Copenhagen, and will launch an 11-date Asian swing Jan. 10 in Singapore.

Released in October 2003, "Sacred Love" (A&M/Interscope) debuted at No. 3 on The Billboard 200. As previously reported, Sting re-recorded his 1987 No. 7 Billboard Hot 100 hit "We'll Be Together" with North American tourmate Annie Lennox for the recently released Geffen soundtrack to "Bridget Jones: The Edge of Reason."

Here are Sting's upcoming tour dates:

Nov. 30: Milan (Fila Forum)

Dec. 2: Modena, Italy (Palapanini)

Dec. 5: Karlsruhe, Germany (Europahalle)

Dec. 6: Innsbruck (Olympiaeishalle)

Dec. 9: Copenhagen (Forum)

Jan. 10: Singapore (Indoor Stadium)

Jan. 12: Bangkok (Impact Arena)

Jan. 15: Osaka, Japan (Osaka-Jo Hall)

Jan. 16: Hiroshima (Sun Plaza)

Jan. 18: Fukuoka, Japan (Kokusai Centre)

Jan. 19: Nagoya, Japan (Rainbow Hall)

Jan. 21-23: Tokyo (Budokan Hall)

Jan. 26: Hong Kong (Convention Center)

Jan. 28-29: Seoul (Olympic Gym)

April 1: San Jose, Calif. (Event Center Arena)

April 3: Eugene, Ore. (McArthur Court Arena)

April 4: Spokane, Wash. (Spokane Arena)

April 5: Kelowna, British Columbia (Prospera Place)

April 7: Missoula, Mon. (Adams Event Center)

April 9: Nampa, Idaho (Idaho Center)

April 11: Salt Lake City (Delta Center)

April 14: Columbia, Mo. (Mizzou Arena)

April 22: London, Ontario (Labatt Centre)

April 29-30: Atlantic City, N.J. (Borgata Hotel & Casino)

-- Barry A. Jeckell, N.Y.

I like the Dave Matthews Band. I especially like Dave Matthews & Friends which Trey Anastasio was in since the Friends started in 2003. The best Matthews shows I've seen including some solo shows at a few Farm Aids the Friends shows are my favorite.

Based on that association it makes sense if Trey goes to the Dave Matthews management team.

Deadheads like to overdo things haven't you figured that out yet MarcO?

Air! Air! Air! Air! And no I don't mean the French duo Air, even I'll admit that the Grateful Dead are greater then those two.

These headlines on Phish are going to start to dwindle, so I'm goig to post everyone I see, including this one.

from www.billboard.com

Edited By Jonathan Cohen. November 30, 2004, 4:00 PM ET

Phish Management Company To Close

With the final, rain-soaked Phish fest in Coventry, Vt., now in the books after a lengthy refund reconciliation, longtime band manager John Paluska will dismantle the band's Burlington, Vt.-based management company, Dionysian Productions.

"Dionysian Productions will be a non-entity as of the end of the year," Paluska, Phish's manager for 16 years, tells Billboard. "I'm taking a sabbatical and I don't know where I'll re-emerge. It may be in the music business, or it may not be."

Paluska started managing Phish while he was still in college. "My entire adult life has been consumed with this band," he says. "It has been an amazing 16 years."

Phish will maintain a small headquarters in Vermont, headed by longtime Phish archivist Kevin Shapiro. "The rest of us are all splitting off and doing different things," says Paluska. Dionysian's staff, including Phish Dry Goods, the band's merchandising company, numbered more than 25 when the band was on the road.

Jason Colton, a key executive at Dionysian, will continue to work with Phish bassist Mike Gordon as manager; Gordon is recording a second album with Leo Kottke in December and the pair will tour together again.

As previously reported, keyboardist Page McConnell just released a DVD, "Live at the Fillmore," with his band Vida Blue and the Spam Allstars on Image Entertainment. Drummer Jon Fishman's side project, Pork Tornado, currently has no tour dates booked.

Sources say band guitarist Trey Anastasio is close to announcing a new management deal with Dave Matthews Band manager Coran Capshaw, but the move could not be immediately confirmed. Anastasio, who owns the most box office clout of any Phish member, will likely tour in 2005. The artist was recently visited in the studio by Gordon and Fishman while he at work on his next project.

The last major effort of Dionysian Productions was orchestrating the mass refunding effort for fans turned away from Coventry. The Aug. 14-15 event sold out and grossed more than $8.8 million, but at least 10,000 people never made it into the grounds due to torrential rains that closed roads in the area.

Each of those ticket holders were fully refunded and also received a limited edition Danny Clinch photo-documentary about Phish. Band members hand-signed every copy.

"That in itself was quite an effort," says Paluska. "We rented space, and seeing all those books was quite a sight. It took the band a couple of solid days of signing to get it done. I hope people appreciate the gesture, because it was heartfelt. The band put a lot into it, and I think it was somewhat therapeutic."

On its final tour, Phish stayed true to its history, keeping ticket prices at the normal rate when it likely could have charged devoted fans three times as much.

"It would have been a little late to change our whole strategy," observes Paluska. "These guys will continue to have careers as musicians, and hopefully Phish fans will follow them in their new careers. So there wasn't any thinking of 'this is our last chance to squeeze every penny out before it ends.'"

-- Ray Waddell, Nashville

Come on secondtube we are both Friends of the Hall and we can get great tickets for this fantastic tribute to the greatest band of all time.

I'll be checking out the Duo probably both in Hamilton and in Toronto.

I only wish I was on the ball and got tickets for their show with Mike Gordon in NYC for NYE!

So you don't want me to get you a ticket secondtube?

Hey Greg and anyone else who was at the Gordon Lightfoot concert on Monday here's the setlist.

I'd be lying if I said I wouldn't have wanted to see Lightfoot perform "All the Lovely Ladies" and "Bitter Green."

1. All the Lovely Ladies

2. Spanish Moss

3. Let it Ride

4. Minstrel of the Dawn

5. Rainy Day People

6. In my Fashion

7. Harmony

8. Triangle

9. Cotton jenny

10. Wreck of the Edmund Fitzgerald

11. Sundown

12. If you could Read my Mind

13. Clouds of Loneliness

14. Bitter Green

15. On the High Seas

16. Old Dan's Records

17. Early Morning Rain (Encore)

Bob Dylan

If an explanation is required then you'll never understand.

Ditto.

We may not agree on Gordon Lightfoot's current state of abilities. But I respect that.

Though we definitely agree on this, Bob Dylan is the most significant artist of the twentieth century and the best.

Damn, I wish I had gone to Ottawa today. I hope some of you yell out "For shame!" for me today.

I didn't want to make this post before people on this site attended the second Gordon Lightfoot show yesterday (11/29).

First off I think Gordon Lightfoot is a legend. Not just a legend in Canada but the world as well. How many people can say they've had one of their songs covered by both Elvis Presley and Bob Dylan? Not too many.

That being said I saw Lightfoot perform twice before in 1998 and 1999 each at Massey Hall. At the time he was performing 30 and 29 songs respectively with a set break. The crowds were easily the oldest for the gigs that I attend. Including blues artists like B.B. King, Buddy Guy as well as others. I'm guessing based on age the crowds were dead quiet. Also the volume of music on stage was far too quiet as well.

After my second Lightfoot show in 1999 I decided that was going to be my last. Then in 2001 Lightfoot nearly died and it has taken until now for him to headline a concert.

I figured it being Gordon's first show back, that it was a "Concert Dedicated to Hamilton Health Sciences" and that the show was a five minute walk from my place I would give Lightfoot another go.

Nothing has changed and it has only gotten worse. The crowd was better, most likely because people recognized the significance of the night. Also the it was nice how much Lightfoot thanked the medical staff that was in attendance, he often even joked about it.

The volume levels were so low that an elderly gentleman's breathing beside me was distracting! Come on that shouldn't happen. I've seen Neil Young, Bruce Springsteen, Bruce Cockburn and Steve Earle solo acoustic and comparing their volume levels to Lightfoot's would make theirs like a Who concert.

Lightfoot's actual performance was competent and on par with the shows I saw in 1998-99. Though instead of seeing Gord perform thirty songs he performed eighteen. Which meant as a headlining act it was the shortest in time concert I've ever attended coming in at one hour and twelve minutes.

It was nice to hear "The Wreck of the Edmund Fitzgerald," "Sundown" and "Early Morning Rain" again. Also Lightfoot debuted my favorite song off of "Harmony" titled "River of Light." And I had never heard "Minstrel of the Dawn" and "Christian Island." But if he can't make a ninety minute show (I feel it is the unwritten rule that a headliner must at least hit), he shouldn't be performing headlining concerts yet.

I'm going to pass Lightfoot by when he comes around again to Massey Hall or anywhere else for that matter. If he's opening for Bob Dylan or someone else that I don't miss I'll be happy to see him again or if he's apart of a folk festival that I happen to be at. But otherwise I will not be spending my money to have Lightfoot's name on a ticket.

I will continue to love Lightfoot's music, I just think he has lost it as a live performer.

Here's the setlist from the Sunday November 28 concert.

Start time 8:34PM

1. Spanish Moss

2. Let It Ride

3. Minstrel of the Dawn

4. Rainy Day People

5. In My Fashion

6. Harmony

7. Triangle

8. River of Light

9. Cotton Jenny

10. The Wreck of the Edmund Fitzgerald

11. Sundown

12. Clouds of Loneliness

13. Sit Down Young Stranger

14. Christian Island

15. Couchiching

16. If You Could Read My Mind

17. Old Dan's Records

Encore 18. Early Mornin' Rain

Show ends 9:47PM (Total time 1 hour and 12 minutes)

it's been fun. I mean, arguing about the Beatles vs the Dead is like me trying to decide, which do I love more? air or beer? I need them both.

I still think the Dead's cultural impact was HUGE but limited, whereas the Beatles was simply HUGE, period, but c'est la vie.

I'll just let hamilton bicker with you some more, it's been pretty funny to watch him lose his nut! :: God I'd love to kick him right in the nuts right now.

The Beatles would be the air and the Grateful Dead would be the beer. You need air more than beer, whether you want to believe it or not.

Nice picture Esau!

Right now I'm watching the Concert for George where that picture came from.

I tried to get tickets for this show which took place on the one year anniversary of Harrison's passing, but unfortunately I couldn't get tickets via the UK ticket agency. I keep getting tickets but each time my credit card information was being processed it took too long. Oh well at least I have the DVD to watch.