Was there a Beach Boys tour in the 70s, or a leg of a tour, that was called or had the word iroquois somewhere in it? I found this old guitar amp in an even older beat up road case, and it has the "beach boys in concert" horse logo stenciled on it. the owner said it (the case) was from the "Iroquois" tour... but i cant get much more information out of him. 

yes, i can undersatnd how people 'don't like newer rock'  -- but then they DO like white stripes and franz.  no criticisms of those two bands, or the poster for liking them - i like em too.... but those are just two of the most high profile bands around.  you may or may not find more you like out there....

thermals
wilco
islands
golden smog
supergrass
constantines
goldcard
deerhoof
fiery furnances
sharon jones and the dapp kings
malkmus
gorky's zygotic mynci
beachwood sparks (awe.... so sad they are gone)

Re Basement Tapes v 2, I don't think the production of TooM is anything like Basement Tapes. My opinion, but what those guys did in that house in NY, and what Lanois did in Louisiana (or wherever they recorded that one) don't sound a thing alike. The former was mostly dry room sounds. The latter is drowned in typical Lanois fog.


But in closing, hey--to each his own.

couldnt disagree more with that one point though.  listen to dirt road blues, and tell me it doesnt sound like a cut from basement tapes. .  basement tapes are not some 'dry'  room recording.    going to acapulo?  again, sounds like a cut from time out of mind.  i think if you A/B these two albums you'll find major similarities in places. not everywhere of course.

i think is a pretty darn good album. great for an old fart like dylan   but my problem lies in that its too similar production-wise to love and theft.  too predicatble.  i don't undersatnd how people can knock on time out of mind for it's production..... are you kidding?  it sounds like the basement tapes part 2.... incredible.  the production makes that album - well, so does that fact that it has excellent if not perfect dylan songwriting.  unrelated opinions aside, i can recommend Modern Times to any one.  great record in fact.  probbaly a better experience live, where the band really matters.  i'm not that impressed that somebody can accurately capture a great band on record if the band isnt doing anything that special.  i guess i want something more interesting in a studio product.

queen rocks and yes, there some other die hards on here. most everything is fantastic, however, you really don't need to go past the game and about half of hotspace.  take a few singles off of flash gordon and the works. ok, maybe for cheesy indulgence you can squeeze a couple off of kind of magic.  man, i really love this cheesy group. by far the best cheesy group of all time.  and i dont mean that as some kind of qualifying statement.  news of the world, while it does contain two of their biggest most commercial hits, its one of their most genuine and raw/honest rock records.  imagine if the singles we will rock you and we are champions were never released, and they just happened to be the openers of that album.

http://www.thecrimson.com/article.aspx?ref=513079

this by the way is a pretty fascinating recent interview with Rivers, the harvard student.  there is some very recent relections on pinkerton in there you should peep.  this article seems to have changed fromthe first time i read it, in that its missing some very funny photos of Rivers in his normal looking dorm room - where he chooses to live.

i love paul simon.  i cant stand this new album. this merda do touro production is the same 'already-dated-before-its-out' crap we heard on Hearts and Bones - when he teamed up with another ill-matched produced - that Glass nerd.  i'm not knocking eno or simon by themselves. the lyrics on a few of these songs are absolutely laughable.  i will say that his voice sounds good. really good.

tweedy played rulling class live on his solo tour. to me it also has that soft 70s cynical randy newman vibe - mixed up with the production of a jj.cale record.  love that stuff. the lyrics are hilarious, but also dead on. this kind of political song hasnt resurfaced in pop music in a while.

loose fur rocks.  this album is going to be in my rotation for a while.

ive seen her live twice. once just playing in ameoba records, and again opening for neil young.  unfortunatley, although shes a great songwriter, her voice is unbearable to me.

i didnt say anybody was white. i desribed the discussion as being 'white'.  i stand by it, in the comical sense of the word.   the beach boys are probbaly the whitest form of pop music on the planet - romatic blond hair middle class suburband surfer boys and pom poms - regardless of blondie and ricky's temporary soulifying.  go figure that hilariously morinic and ignorant statements about a largely black art form are made here. 

i love coming to the smiley shop to listen in on the whitest, most ill-informed discussion of rap music in the land.  sounds like my parrents talking about hip-hop with dr. phil. obvioulsy, not everybody is a fan of hip hop and thats fine. but there are some pretty sad moments recorded in these posts whenever this topic is brought up. lets talk about jazz, yeah! did you all see that great ken burns documentary on jazz? he really captured it all. yeah!

yeah, i have to say, i've NEVER heard anyone call diamond dogs their favorite. but then again, i've never heard more than a couple people say outside is even a record that deserves multiple listenings - so i guess its a great big world of diversity. normaly you have people who are going to pick hunky dory or ziggy, or you've got the people who are going to pick low or heroes.  then you have a smaller bunch who are going to choose scary monsters - which is his last meaningful piece of music.   i'm not commenting that its crazy to like outside, in fact i'm glad ot hear it gets appreciation. rock on.

i completely disagree. as a bowie historian myself (actually, just a major fan), Outside rates in the lower 8th of his entire cannon for me. 90s bowie is just awful, metalic, thin and hopelessly dated - he was trying so hard to sound 'of' the time. its all downhill from Let's Dance until Heathen for me. no soul to be found in those years.

harry nilsson recorded his first album in late night sessions while working at a bank during the days.

maybe i missed it reading though, but you are all missing Life Goes On - obla di.  This has to be the only time a beatles song was liscenced as a theme song, right?  i cant remeber though, i know there might have been addtional signing added, or was it an entirely new version?... didnt watch the show much and wasnt a big beatles fan.

Soap Opera.  i should heave mentioned it. its one of those albums i avoided for a long time, until i found a 1 dollar vinyl.  gotta say, i went out and bought the cd a few weeks later.  should i be ashamed to admit i really like this record?  there are admitedly a few week spots, and you have to get past some of the dumb dialogue bewteen songs ( ithink kinks invented the Rap skit record, way before prince paul

i kind of agree with the Preservation being the end of their classic era. soap opera and schoolboys are good, but out side of that.  im just waiting patiently now for hte bootleg dvd of all the bcc concerts and tv spots from sweden....

well, as far as the total musical package, Arthur wins. its a big story, grand music, and contains at least 3 mini-operas, "Mr. Churchill Says" "Shangri-La" and "Australia" - amongst a solid set of perfect pop numbers. personaly, i love the production as well - for me it sounds so much better thatn VGPS (fidelity, the mix).

but Lola is my favorite, as far as being the record i can relate to on a more intimate level. It's really a beautful album, and it evokes alot of feelings when i put it on. "get back in the line" and "this time tommorow" are perfect pop songs with the very honest and simple messages.

preservation act 1, vgps, something else, and others folks have mentioned are also very high up on my list. however i want to give a shout out to Everybody's In Showbiz. this is really a great record - somewhere in between muswell and lola, with a little more of a slight message, but a kinks record all the way. of course, the bonus of the second live disc is nice too.  don't be afraid of this album the next time you see it in the rack.