I assure you though, once you have SIP and Still Cruisin, you'll long for the day before when you merely wished you had them.

Me? I don't have any live discs or KTSA/ BB85. I have 85 on LP, just haven't put it on the player. I'm afeared to break it over my knee.

Would you be so kind as to post the contents of the e-mail? Or provide me a link.

It's the title of a Beach Boys boot. I don't have it so I honestly can't tell you much else.

Could someone explain to me why the "eyechart" pic isn't included in the "Friends/ 2020" booklet? They mention it and that's it. In fact I've never even seen it.

Excuse my ignorance, but how could a standalone burner help compared to another kind?

You got me, but just we are clear I'm referring to my Aiwa dual tray component burner. Maybe it contains an internal equalizer? (I'm a Luddite so if that's retarded. I apologize.) One of my more frivolous purchases sure but handy when I wanna make sure I'm making an absolutely perfect copy. I've never had a volume concern with it-- I only discovered the issue recently when making a Wings compilation, all the BOTR tracks from the 1998 remaster were all much louder.

Get a standalone burner if it bugs you that much. I agree though. I thought I saw an option in Media Player for it.

Hey does anyone else have that import (in the US anyway) mini LP sleeve box set called "The Originals" and it features "Today", "SDSN!!" and "Smiley Smile" as single discs with rainbow swirl discs? Any information what the mastering is on them? I've got it-- it was a necessary purchase for me in early 2000 since the two-fers were at that time MIA.

Um actually.... Yoko's the reason that Nike had the rights to "Revolution" in the late 1980s. And she's made a career oout of being a professional widow, totally milking the JL back catalog for the past twenty years. Paul doesn't bank on his leftovers or back catalog to his credit and loss.

I totally saw that Lexus live and in person.

Yeah, the less said the better on that one.

There are many. In brief:

Dio was in Rainbow and Sabbath and then went solo. Jimmy Bain was in Rainbow and then in Dio's solo band. I think, Bain was in the first Ozzzy solo lineup with Randy Rhoads.
Ian Gillan was in Deep Purple and for one disastrous record, sang for Black Sabbath. Ritchie Blackmore was in Deep Purple and Rainbow.

Vivian Campbell was in Dio's band and then went and joined Def Leppard. Black Sabbath also had ELO's drummer Bev Bevan (I think that's his name) on for a tour  while Gillan was the singer.

Useless metal knowledge!

The album's "flaws" is it's strength. I'm not one to compile one of those "single disc" white album tracklistings-- the record is perfect right now right as it is. Change nothing, add nothing, move nothing-- "wild honey pie" is as important a song as "While My Guitar Gently Weeps."

Ive oft dug on the Black Sabbath/ Rainbow/ Deep Purple love affairs. But you all know that.

Yes I didn't comment on Abbey Rd since in terms of the band's evolution it's a bit of apochrypha. Production wise, it was a throwback and Macca I'm sure kissed George Martin's ass to get him back on board. Between the full use of 8 track and Martin and the Side 2 song cycle, Abbey Rd is excess gone awry. "The milk's gone bad" as "Chappelle as Rick James" would say.

I'm a few pages late on this thread but I'll toss in this fresh perspective.

The Beatles as a band and as personalities thrived on excess. This ideal may not have been recognized as such as "excess" then since there wasn't any sort of gauge to compare-- in other words the Beatles self indulgence lead to either futher rock and roll extremism-- (Bowie, Alice Cooper et al) or the direct attack against in the form of punk (which in most cases was it's own debauched overkill.)

But I digress-- what I'm getting at is that the White Album isn't acid burnout, it's simply the next phase of the Beatles deliberatley and obviously topping their last major project. You can pretty much follow the band's self indulgence through Hamburg (all night shows, uppers. "mach schau!"), Beatlemania (insane crowds, insane workload, of which I believe they could have stopped-- it's not like Paul was up there saying "Come on now everyone sit down and we don't play." No they bobbed their heads and girls pissed themselves.), the middle era records (Rubber Soul and Revolver remain the finest in the catalog due to the excess being tempered by stunning great songcraft) right on up to Pepper and the White Album. "Pepper" is a huge production, a roly poly carnivale of an LP, a psychedelic slap to the masses and that's just the music. The album cover is pop art, overflowing with an overwhelming array of the sorta famous and various curios. But the album doesn't escape being just that, a single album. So where do you go? To film of course though the Pepper film evolved into the madcap acid flash of "Magical Mystery Tour." If you want acid burnout, look here but it's not the band that's burned out, it's the bus passengers and vicariously the viewers suffering the malaise.

Beyond that we arrive at the White Album. Bearing a remarkably crisp and clean sound and mix (thanks in part to some work at Trident on 8 track) in comparison to the psychedelic sludge that Pepper became due to endless bouncing) the lyrics are eclectic, crazy, emotional, dry, avant garde-- the record is as diverse as life itself and the record is spare enough to breathe on its own. And it's huge-- 30 songs, 30 songs about just about any and everything. So what do you put on the cover of a huge LP about EVERYTHING.  The answer: NOTHING. Sheer fodaing genius. Drop all the costumes, foda the walrus and all the rest of the bullmerda and it's about the excess of songs this time around.

So where does this path of "excess" lead? To further extremism, next project "Let's track live in a studio while being filmed and freezing our asses off" and maybe hit the road. Even further, "no overdubs" we need to "get back."

And in short it killed the band.

I'm probably botching these terms all to hell but I think Kretz's drumming on Purple damn near makes the record-- it's polyrthymic and somehow Arabic and adds a flair to the band that other pseudo grunge acts have lacked.

I love "Shangra La Dee Da"-- it's their second best album, close behind "Tiny Music" and most people haven't heard it.

Well I haven't followed the VR story too closely but Slash and the boy's long search for a vocalist was well documented in the press. Scott probably didn't want to stray too far away from what was already established within in the songs placed in front of him. Who knows how long the other guys noodled about on some of those riffs? I for one wouldn't get in the way of Slash's pisswind.

Now, Stone Temple Pilots... if they ever get their act back together and tour I'm definitely there for that show. I actually caught a (rare) Weiland solo gig at a radio festival in DC in 1998 but wasn't quite hipped to Weiland solo or STP at the time.

Weiland's solo album was brilliant.

I agree. And I doubly agree that VR just needs hooks-- most of the music of that album was finished before they brought in Weiland.

The only GnR'ers worth a damn currently have Scott Weiland as their vocalist as Velvet Revolver, which is a *huge* step up the evolutionary ladder.

Two things need to happen for VR to be truly great: The band needs to let Weiland a) write songs and b) shoot up.

I still think it stinks and I've followed this band since 1995. Kneejerk? nah. I loved Maladroit from Day One.

yeah, but winds change sometimes.

I'm a huge fan of "Appetite" and "Appetite" only, the rest of GNR is by and large misguided pomp and pisswind. (I think I just coined "pisswind" but that's precisely what it is.)

I will however check out "Chinese Democracy" if it ever drops and consider checking out a tour, if that ever happens.

Pretty big fan of "slanted and enchanted" Steve.

They were pretty much the soundtrack to my "teenage-slacking off-hanging out" days.

You mean you listen to them all the fooking time?

*yawn*