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Grateful Dead tickets going for $116,000 on StubHub

By Frank Pallotta @frankpallotta

Would you pay $116K to see the Grateful Dead?

If you're truckin' to see the Grateful Dead this summer, bring your checkbook.

A three day pass for The Grateful Dead's "Fare Thee Well" sold out reunion show in Chicago are being offered for as much as $116,000 on online ticket site, StubHub.

That price gets fans a spot on the general admission floor in front of the stage. But just to walk in the door will still cost upwards of $1,435 -- and that's an obstructed view seat!

The shows will reunite the four original members of The Dead for their 50th anniversary over the Fourth of July weekend this summer at Chicago's Soldier Field.

It will also include Phish front man and guitarist Trey Anastasio, who will fill in for the iconic leader of The Dead, Jerry Garcia, who died back in 1995.

The three night concerts have been a hot ticket since the show was first announced back in January, and sold out its 210,000 capacity for all three nights almost immediately.

StubHub reports that tickets for the three day pass are posted on its site for as much as $160,000. The most expensive 3 day pass sold on StubHub so far went for $7,499.

That's a whole lot more than the face value of the tickets, which were originally priced at between $60 and $200.

Both the Grateful Dead and Phish have extremely loyal fans that have their own subcultures and even monikers ("Deadheads" for The Grateful Dead and "Phans" for Phish).

And "Fare Thee Well" will be the last performance ever with the original members of The Dead, according to band member Bob Weir.

To put the ticket prices into context, a general admission ticket to a Phish show would cost roughly $50-$60 while a three day GA pass to the three day music festival Bonnaroo this summer costs about $320.

http://money.cnn.com/2015/03/03/media/grateful-dead-tickets/index.html?section=money_news_companies&utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+rss%2Fmoney_news_companies+%28Companies+News%29

10 of the best: the Grateful Dead

Chris Hardman

Wednesday 2 April 2014 21.12 AEDT
1 Playing in the Band

Standing on a tower, world at my command/ You just keep a-turning, while I'm playing in the band/ If a man among you, got no sin upon his hand/ Let him cast a stone at me for playing in the band."

It could be the Grateful Dead’s mission statement. With no burning desire for fame or fortune, the Dead were driven instead by a need to stand on a stage and play their music, irrespective of what anyone else thought. And at the heart of that process was this belief: "Some folks trust to reason, others trust to might/ I don't trust to nothing, but I know it come out right." It didn’t always work, of course, but the belief was constant and the off-road musical journeys were an essential part of any concert. Playing in the Band is a classic Dead game of risk: start an intricately-tooled song in 10/4, turn off halfway through down a road of unspecified length and content (different keys, time signatures or even different songs), then somehow coalesce back to the 10/4 song, several minutes, hours or even days later.

2 Ripple

Having defined the musicians’ function in Playing in the Band, here lyricist Robert Hunter defines the songwriter’s goal. Ripple may be admired for its Zen-like observations about life, but the introductory verses are the real meat of the song. "Don’t we all want a song to encapsulate our own thoughts in golden words delivered over sublime music?" he asks. Well, yes, but it’s more likely that you’ll get some "broken", "hand-me-down" thoughts like those in the rest of the song. But: "I don't know, don't really care/ Let there be songs to fill the air." Jerry Garcia gave Ripple the simplest of simple tunes and, at the end, the opportunity for everyone to sing their own song with their own words and meanings. I like to think the "ripple in still water" is analogous to the sound waves made by a song in silence.

3 Jack Straw

Ambiguous characters populate many a Hunter song: outlaws, oddballs and chancers fit nicely into the Grateful Dead family, itself comprising outlaws, oddballs and chancers. This tale of two buddies on the run from the law could be a film script, with its dramatic incidents and open landscape, but the climax of the tale is marvellously ambiguous: "Jack Straw from Wichita cut his buddy down/ And dug for him a shallow grave, and laid his body down." Maybe Jack’s companion was caught by the law and hanged, so Jack cut him down and gave him a decent burial. But I don’t think so. Bob Weir’s two-speed music reflects the duality of the song immaculately.

4 Looks Like Rain

They Love Each Other is, I think, the only positive love song in the Dead songbook. More common is the heartache song, of which this – one of the first Bob Weir songs with lyrics by John Perry Barlow – is a prime example. Built around the fear of being dumped ("You were gone, my heart was filled with dread"), it starts out as a country "crying song" featuring Garcia’s pedal steel and ends up as (almost!) a full-blown power ballad.

5 Black Peter

It has to be noted that death is a much more common theme than love in the Grateful Dead repertoire, whether in original compositions or cover versions. Here, poor Peter is on his deathbed awaiting the end, his friends around him. But are they there out of concern for him, from curiosity, or maybe just to chat about the weather? As so often in Hunter/Garcia songs, the bridge shows us the only truth we know for sure about the situation: "See here how everything led up to this day/ And it's just like any other day that's ever been/ Sun going up and then the sun going down/ Shine through my window and my friends they come around."

6 Cumberland Blues

Black Peter is a typical Hunter character: poor, unremarkable, not particularly lucky. He’s the sort of man you’d find in an old country song working down the mine, complaining at the hours, moaning at his girl and dreaming of escape. In Cumberland Blues, Hunter tells of an actual Cumberland miner who wasn’t keen on the idea of the Dead playing what he thought was an old song from the area – although the gradual mood and musical changes mark it out from most country songs.

7 Estimated Prophet

The Deadheads were/are such an integral part of the band’s existence that they occasionally ended up in songs. This takes a doped-up west coast crazy from the stage door and lets him rave. Barlow gives him the language of Revelations and old spirituals, acknowledging the religious fervour sometimes found in the band’s following, who often quote lyrics as if they were divine wisdom: "My time coming any day, don't worry 'bout me, no/ It's gonna be just like they say, them voices tell me so." Weir’s music, again, is a delicious oddity: a reggae tune in 7/4 (Burning Spear sang it as straight reggae in common time).

8 Stella Blue

Ambiguity, love, loss, regret, the passage of time – this is one of Hunter’s most poignant and beautiful lyrics, set to one of Garcia’s most poignant and beautiful tunes. Even if it is about a model of old blues guitar, it’s still brimming with emotion and sad truth: "It all rolls into one/ And nothing comes for free/ There's nothing you can hold/ For very long." Stella is one of several sad, slow songs that the band used to flow into at the end of a second-set extended jam, just to calm everyone down and put everything into perspective after the chaos.

9 Victim or the Crime

This first collaboration between Weir and actor Gerrit Graham produced the band’s most controversial – yet by far the best – song of their late career. Possibly referring to Garcia and Weir themselves, it looks at drug and sex addiction. The uncomfortable nature of that reality, and its ongoing existence in the life of the band, is reflected in Weir’s angular music, based on a theme by Béla Bartók. It’s an ugly, dark, disturbing, yet glorious, piece that remains unresolved at the end, like the question in the title.

10 China Cat Sunflower

A song inspired by a trip to Neptune and the works of Edith Sitwell and Lewis Carroll, China Cat is pure psychedelic joy. And since that is the foundation on which the band grew up, it has to be in this list. It is attached – as it invariably was on stage – to the traditional song I Know You Rider, in which a condemned woman’s thoughts are aired. The juxtaposition of life and death, joy and sorrow, hope and despair, are typical of a Grateful Dead setlist and the musical transition between songs was a treasured feature of almost every concert.

http://www.theguardian.com/music/musicblog/2014/apr/02/10-of-the-best-the-grateful-dead

The Grateful Dead: 50 classic tracks to celebrate their 50th

Darryl Sterdan, Postmedia Network
May 21, 2015
, Last Updated: 11:25 AM ET


It promises to be the ultimate flashback.

This summer, the surviving members of ’60s psychedelic-rock legends The Grateful Dead will reunite for one last run to celebrate the band’s 50th birthday — and mark the 20th anniversary since the death of founding singer-guitarist and guru Jerry Garcia, who suffered a heart attack in rehab at age 53.

Dubbed Fare Thee Well, the five shows in Santa Clara (June 27-28) and Chicago (July 3-5) will see the Dead’s ‘Core Four’ — singer-guitarist Bob Weir, bassist Phil Lesh, and rhythm devils Bill Kreutzmann and Mickey Hart — bolstered by Phish leader Trey Anastasio (handling Jerry’s parts) and keyboardists Jeff Chimenti and Bruce Hornsby (the latter is basically an unofficial member; he’s played more than 100 gigs with them over the decades).

Want a ticket? You’ll need a miracle; they’re already going for up to $35,000 online. But don’t let that harsh your mellow. You can still take a long, strange trip with the dark stars. To honour their 50 years, here’s a list of 50 classic Dead tracks in chronological order, along with a quick guide to their best/worst albums. If I missed your favourite, sorry. But you’ll get by.

THE SONGS

The Golden Road (To Unlimited Devotion) (1967)

First song, first album. The trip starts with this hit of exotically spiced folk-rock.

Cream Puff War (1967)

Another first-album nugget, it finds the sweet spot between garage-rock and psychedelia.

That’s it For the Other One (1968)

A multi-part suite that grew into a live epic — and gave the band’s post-Jerry lineup its name.

Born Cross-Eyed (1968)

One darkly dense shapeshifter from Anthem of the Sun, it’s Weir’s first song on a Dead album.

Dark Star (1968)

The band’s ultimate live improv piece often ran 30 glorious minutes or more.

China Cat Sunflower (1969)

This live staple has intricately intertwined guitars, an offkilter beat and surrealistic lyrics.

St. Stephen (1968)

Enjoy a dynamic cross of psychedelia, gospel, British folk and bluegrass from Aoxomoxoa.

Cumberland Blues (1970)

A vigorous blend of country, jazz and bluegrass with three-part harmonies a la CSN.

Easy Wind (1970)

Late singer Ron (Pigpen) McKernan shines on this gritty blues by longtime lyricist Robert Hunter.

Box of Rain (1970)

Lesh’s American Beauty opener balances melody and melancholy, with folk guitars and pedal steel.

Ripple (1970)

Mandolin-flecked Americana — written partly on the band’s Festival Express Tour of Canada.

Truckin’ (1970)

Their trademark shufflin’ ode to the road introduces their motto: “What a long, strange trip it’s been.”

Casey Jones (1970)

Censored for druggy lyrics, this boogie about “driving that train, high on cocaine,” actually preaches temperance.

Uncle John’s Band (1970)

Make that Uncle John’s Calypso Band; this acoustic folk invitation sports lilting Caribbean percussion.

Sugar Magnolia (1970)

Romantic, harmony-rich country-rock from American Beauty. The live version was a single in 1973.

Friend of the Devil (1970)

More heavenly than its title, this jaunty bluegrass gem is one of their most covered cuts.

Dire Wolf (1970)

Garcia’s pedal steel highlights a country-folk campfire tale of a wolf at the door.

Brokedown Palace (1970)

Subdued and subtle, this country-gospel ballad is another American Beauty standout.

Wharf Rat (1971)

One of the band’s overlooked treasures, it’s smoky and soulful but hypnotic and intense.

Bertha (1971)

Lesh’s nimble, bouncing baseline drives this jangly Garcia-fronted rocker.

Playing in the Band (1971)

Their country-soul autobiography was a concert staple for most of the Dead’s career.

Jack Straw (1972)

One of several strong rockers that debuted on the landmark Europe ’72 album.

One More Saturday Night (1972)

A driving dose of time-shifting country-rock, courtesy of Weir.

Ramble on Rose (1972)

Whimsical lyrics and a lazy groove combine in this live ’72 offering.

Tennessee Jed (1972)

Jerry and co. head for the backwoods with a twangy shuffle.

Sugaree (1972)

Written for a Garcia solo album, this bluesy cut was another live mainstay.

Eyes of the World (1973)

Jerry gets jazzy on a flowing masterpiece and concert-jam staple.

Stella Blue (1973)

Haunting and tender, this Garcia-Hunter ballad is a Wake of the Flood highlight.

Unbroken Chain (1974)

Lesh helmed this complicated epic, which the band never played live until their final tour.

Scarlet Begonias (1974)

An underrated Garcia track with a buoyantly funky backbeat, spiced with Cuban touches.

U.S. Blues (1974)

This big, boisterous boogie-rocker is decorated with tongue-in-cheek political lyrics.

Franklin’s Towner (1975)

A little funk, a little reggae, a little jazz — and a lyrical ode to Ben Franklin and liberty.

The Music Never Stopped (1975)

The Dead embrace the ’70s with a disco beat, sax and Donna Godchaux’s backup vocals.

Estimated Prophet (1977)

Ominous and sinister lyrics are offset with reggae and kitschy synths in this gem.

Terrapin Station (1977)

This inspired 16-minute magnum opus reinterprets an old English folk ballad.

Shakedown Street (1978)

The title cut from album No. 15 displays the playful grooviness of producer Lowell George.

I Need a Miracle (1978)

Weir opens up and cuts loose on this harmonica-laced blues-rocker.

For mobile users, click here to watch the video



Fire on the Mountain (1978)

Drummer Hart co-wrote this lighthearted, Caribbean-seasoned groover.

Althea (1980)

Shakespearean lyrics, a simple midtempo beat and piercing licks from Jerry.

Don’t Ease Me In (1980)

It took the Dead more than 20 years to commit this organ-rich boogie-rocker to vinyl.

Feel Like a Stranger (1980)

Keyboardist Brent Mydland’s synths and falsetto colour this funky rocker from Go to Heaven.

Alabama Getaway (1980)

The Dead seldom hit harder than on this Chuck Berry-style barnburner.

Touch of Grey (1987)

Rollicking, breezy and upbeat, the band’s only No. 1 hit came on their second-last album.

For mobile users, click here to watch the video



Hell in a Bucket (1987)

Motorcycles and whips and doggies (oh my) decorate this fun-loving rocker. Enjoy the ride.

West L.A. Fadeaway (1987)

Lazy and hazy, this slinky slow-burner shows some antipathy toward the City of Angels.

Throwing Stones (1987)

With topical political lyrics and folk-rock snarl, this could be a Bruce Cockburn song.

Black Muddy River (1987)

A moving rumination on time’s passage, it’s the last song Garcia sang lead on live.

Blow Away (1989)

A blast of crunchy guitar work by Jerry, from the Dead’s final album Built to Last.

Foolish Heart (1989)

Pretty and synth-driven, this bittersweet charmer was one of the band’s last singles.

Standing on the Moon (1989)

Slow, spare and stately, this ballad has Jerry’s final lead vocal on a Dead studio album.

For mobile users, click here to watch the video



THE ALBUMS

Best Studio Album

American Beauty (1970)

Pound for pound, the band’s fifth studio release boasts more classics than any other release in their catalogue. Runner-up: Its folksier predecessor Workingman’s Dead.

Worst Album

Dylan & the Dead (1989)

The Grateful Dead backing Bob Dylan? What could possibly go wrong? Almost everything, judging by this bland and lifeless live collaboration.

Best Official Live Album

Europe ’72

The band’s third live outing features a handful of songs that hadn’t been released on studio albums — plus some of Pigpen’s final appearances.

Best Unofficial Live Album

Dick's Picks, Vol. 4: Fillmore East, 2/13-2/14 1970

There are literally thousands to choose from, but these recordings of two New York shows are near the top of every Deadhead’s list.

Best Box Sets

The Golden Road (1965-1973) & Beyond Description (1973-1989)

All the band’s official studio and live albums (minus that Dylan disaster), augmented with a mountain of bonus tracks and liner notes.

darryl.sterdan@sunmedia.ca

http://jam.canoe.com/Music/2015/05/19/22406331.html?cid=rssentertainmentmusic

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^ You need a band like One Direction to cover this song (which is all they do) to give the children of the current generation exposure / knowledge to music like this!

Grateful Dead Smokes Backstreet Boys With Pay-Per-View Record



by Greg Evans

July 26, 2015

Grateful Dead, Fare Thee Well   

The Grateful Dead just keeps on truckin’, toasting the pay-per-view record for live music shows set in 1999 by the Backstreet Boys. More than 400,000 subscribers paid to watch one or all of the Dead’s five Fare Thee Well concerts via cable, satellite or online stream, according to broadcast producer Live Alliance.

According to our sister publication Variety, the Dead’s five-night concert presentation grossed $52.2 million in ticket sales. The Dead’s 400,000+ views are a big jump over the ’90s boy band’s 160,000 views back in ’99, says Live Alliance, although, to be fair, the Backstreet Boys were the first to hit the 100,000-plus mark for paying customers.

The Dead shows, available on YouTube, the Dish Network, DirecTV, Verizon Fios and AT&T Uverse, ranged in single-show prices from $19.95 to $29.95, with a package deal available at $109.95.

Long known for its massive, devoted following of tour-trailing fans, the surviving Dead–Bob Weir, Phil Lesh, Bill Kreutzmann, and Mickey Hart–were augmented by Phish guitarist Trey Anastasio for this reunion tour, a going-away trip marking the band’s 50th anniversary. The five concerts (two from Santa Clara, California, and three from Chicago) will remain available via pay-per-view until August 2.

http://deadline.com/2015/07/grateful-dead-smokes-backstreet-boys-with-pay-per-view-record-1201485458/

1D are a group, not a band [-(

Bands who went on too long

Led Zeppelin's final albums show that like The Beatles, Clash and REM, they should have broken up years before they did

It is hard to think of many bands whose recording career wouldn’t have been improved by ending a bit sooner

Neil McCormick
By Neil McCormick

2:20PM BST 31 Jul 2015

Is this really the end for Led Zeppelin? Today sees a final box set of remastered albums with alternate takes and studio leftovers. With no apparent prospect of a reunion and nothing left in the vault, this could be the last we ever hear from one of the greatest rock bands that ever bestrode a stage.

And maybe it is about time. Because, the truth of the matter is that the band actually broke up 35-years-ago, after the death in 1980 of drummer John Bonham, at a point when they were already in creative decline.

Such is the formidable and lasting power of Zeppelin’s music and image, it is easy to overlook that they petered out rather than exiting with a dramatic flourish. The band’s extraordinary reputation rests on seven stunning albums recorded from their debut in 1969 to Physical Graffiti in 1975. And if it had ended there, it would be without equal in rock history. Instead, they went on that bit too long, shifting out of fashion and losing a sense of purpose and momentum.

Presence (1976), In Through The Out Door (1979) and the posthumous Coda (1982) are Zeppelin’s final three albums and nobody’s favourites. Not even the band’s. Singer Robert Plant has often criticised his own performances, physically debilitated by a car accident in 1975 (he recorded Presence in a wheelchair) and emotionally drained by the death of his infant son in 1977 (“When I lost my boy, I didn’t really want to go swinging around”). Guitarist Jimmy Page, Zeppelin’s driving musical force, was debilitated by personal problems and played a reduced role in the studio, with bassist and keyboard player John Paul Jones taking the reigns on In Through The Out Door. “It wasn’t the greatest thing in the world but at least we were trying,” is Plant’s lukewarm assessment.

The burgeoning new wave music scene made the superstar rock bands of the 70s seem musically and morally bloated. And then Bonham died in an alcohol binge, and the group, still the most popular live attraction on the planet, went their separate ways (with only two performances since). The uneven, unfocused Coda was a collection of out-takes supposed to represent the best of the leftovers, and now comes repackaged with more leftovers, the odds and ends of the odds and ends.

It is hard to think of many bands whose recording career wouldn’t have been improved by ending a bit sooner. There are some obvious candidates for culling. Who now remembers that The Velvet Underground made an album, Squeeze, in 1973, featuring none of the original members? Fleetwood Mac made 17 albums, of which, really, their reputation is based on just three (the 1975-79 period of their seminal line up). The Ramones rewrote the rock template with five bravura albums in a row from 1976 to 1980 then spent the next fifteen years exploiting the same formula to ever diminishing returns. Fans of The Clash tend to draw a veil over their sixth and final album, the unfortunately titled Cut The Crap (1985), made after two members sacked the other two.

REM were a beacon for American alternative rock in the 80s and 90s but really could have brought things to a satisfying close with New Adventures In Hi-Fi in 1996 following the departure of drummer Bill Berry. You can almost hear the inspiration evaporating over the course of their final five albums. And then there is acme of overblown careers: even Oasis’s most ardent admirer secretly knows their discography could have been reduced to their first two seminal albums with no great loss to music. Of course, The Stone Roses only actually managed to make two, but might be even more revered if they had left it at just the one.

Only a handful of legendary bands bowed out at their creative and commercial peak. The reputations of ABBA, The Jam and The Smiths have surely been enhanced by breaking up before the rot set in and never getting back together. The Doors, Jimmy Hendrix Experience and Nirvana burnt out in tragic circumstances that left behind a posthumous glory you wouldn’t wish on anyone.

And then there is the intriguing case of Roxy Music, who have never officially broken up. It would be hard to fault the eight albums they crafted over ten years from 1972 to 82, carrying them from provocative art rock to glacially sophisticated pop perfection. Band leader Bryan Ferry has continued making music in the same vein with critical successes and failures, none of which taint the impeccable Roxy brand, occasionally revived for live performance.

I suspect we are more forgiving of solo careers, accepting them as individual journeys. We can take a long view of variations in the output of such iconic figures as Bob Dylan, David Bowie, Neil Young and Bruce Springsteen, where you can at least always trace the thread of personal artistry. Bands are inherently more complex propositions. Shaped by volatile interactions of personalities yet branded by their most definitive work, there is often a sense that they themselves (as much as their fans) are forever chasing the elusive magic of their finest moments.

Perhaps the very notion of perfection in such a quixotic business is an ideal best left to pedants. Even The Beatles last album, Let It Be, is a dud. Many fans prefer to consider Abbey Road (recorded at later sessions but released earlier) to be their true swansong instead of the messy movie soundtrack derided in NME in 1970 as “a cheapskate epitaph, a cardboard tombstone.” On the other hand, most bands would be happy to have the title track engraved on their tombstone.

Their Sixties rivals The Rolling Stones haven’t made a great album since Some Girls in 1978, or even a particularly good one since Emotional Rescue in 1982, yet their occasional continuing studio offerings are part of what keeps them rolling on, still playing fantastic shows that amply demonstrates rock’s enduring power. If The Who had called it a day after Who Are You and the death of Keith Moon in 1980, their reputation as rock’s maddest, hardest, artiest mavericks would be unassailable. But would they still be headlining Glastonbury Festival with a set that made me feel lucky to have borne witness and gutted that I might never see such a thing again?

As a fan of all of those bands, I would be reluctant to give up a recorded note. I hear, even in lesser offerings, a striving for glory, echoes and reminders of the things that originally made me love them, beautiful failures that deepen a lifetime relationship. For me, Pink Floyd’s bold adventures in sound might have come to a magnificent close with Wish You Were Here in 1975, although that would mean forsaking the fantastical conceit of The Wall (1979) and even the elegiac drift of last year’s The Endless River.

I suspect the truth is that we listen to the bands we love with suspended judgment. So I will still be dipping into Led Zeppelin’s final box set with anticipation, intrigued to hear what has been dug out of a depleted vault, excited to be reminded that, even at lowest ebb, they made a sound capable of thrilling me to the core. Perhaps this is how every rock career is bound to end: not with a bang but a remix. But for many of us, even bad Led Zeppelin is preferable to most bands at their best.

http://www.telegraph.co.uk/culture/music/11775740/Bands-who-went-on-too-long.html

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^ Australia's answer to Bob Dylan

Readers' Poll: The Best American Rock Band Ever

Posted 09/10/2015 at 7:05am | by Guitar World Staff

Guitar World is out to crown the Best American Rock Band Ever!

When Labor Day came and went earlier this month, it reminded us of the American labor movement and the contributions American workers have made to the strength, prosperity and well-being of the good ol' U.S. of A.

However, since we're Guitar World people, we couldn't help but apply those sentiments to music and the American people who made and make it—bands!

This, in turn, led to thoughts and theories about the greatest American band of all time, which led us to our latest readers' poll—the Best American Rock Band Ever! Yes, the gangs from Guitar World and Sweetwater want to get GW readers—you people!—involved as we attempt to crown the Best American Rock Band Ever!

Although we had thousands of bands to choose from, we decided to narrow things down to 32, which is perfect for a month's worth of intense—and fun (it's supposed to be fun, people!) matchups. All the bands were carefully selected by Guitar World's editorial staff.

Note that this poll includes current bands and bands that disappeared into the woodwork years ago. Also, if you're wondering why the Jimi Hendrix Experience aren't on this list, they weren't an American band. Hendrix was American, but he's not a band. Band of Gypsys were American, but they simply didn't make the cut based on the music released under the "Band of Gypsys" moniker. It's one of many tough sacrifices we had to make along the way. Speaking of which, be sure to read "How the Bracket Was Compiled" at the bottom of this story.

Anyway, here are our 32 American bands, which are presented in alphabetical order. You also can check out the entire 32-band bracket below.

Aerosmith, Alice In Chains, the Allman Brothers Band, the Beach Boys, Bon Jovi, Bruce Springsteen and the E Street Band, Creedence Clearwater Revival, the Doors, Eagles, Foo Fighters, Grateful Dead, Green Day, Guns N' Roses, Heart, Kiss, Lynyrd Skynyrd, Metallica, Nirvana, Pearl Jam, Queens of the Stone Age, Ramones, Red Hot Chili Peppers, R.E.M., Soundgarden, Steely Dan, Steve Miller Band, Stevie Ray Vaughan and Double Trouble, Styx, Tom Petty and the Heartbreakers, Van Halen, the White Stripes and ZZ Top.


http://www.guitarworld.com/readers-poll-best-american-rock-band-ever-aerosmith-vs-doors/25400://www.guitarworld.com/readers-poll-best-american-rock-band-ever-aerosmith-vs-doors/25400

My Top Ten(I think) not in order from their list.

the Beach Boys,
Bon Jovi,
Bruce Springsteen and the E Street Band,
Creedence Clearwater Revival,
Eagles,
Grateful Dead,
R.E.M.,
Steve Miller Band,
Tom Petty and the Heartbreakers,
Van Halen .

Their list
Aic
Aerosmith
Bon jovi
CCR
The doors
Kiss
Metallica
Soundgarden
VH
Zz top

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one of the first songs I learnt on guitar.

STFU and heap praise on these offbeat heroes ->

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Still sounds as weird, unsettling, melodic and difficult as any experimental music released nowadays

Edited by condemned666: 27/10/2015 10:12:51 PM

Elvis Presley is still the King of the charts 40 years after his death



Tamara Hardingham-Gill for Metro.co.ukSaturday 7 Nov 2015 4:15 pm

He’s been dead for over 40 years, but Elvis Presley is still breaking records.

The King has topped the UK album charts for the 12th time with If I Can Dream, an album of 14 classic tracks reworked by the Royal Philharmonic Orchestra.

He now has more number one albums in the UK than any male solo artist and is edging close to the current record held by The Beatles, who’ve had 15 albums in the top spot.

‘This is an album that Elvis always really wanted to do and he would have been so pleased to know his fans are still there and they continue to love his music,’ the late singer’s former wife Priscilla Presley told OfficialCharts.com.


‘The most talented team put this album together and helped us all realise an unfulfilled dream.’

Elvis, who died in 1977, regularly appears on Forbes magazine’s top-earning dead celebrities list and the appeal of his music seems to be a strong as ever.

The Hound Dog singer’s latest album has sold 79,000 copies and is now the second fastest selling album of the year behind Chasing Yesterday by Noel Gallagher’s High-Flying Birds.

If I Can Dream took around 15 months to create and includes classic Tunes Can’t Help Falling In Love, Bridge Over Troubled Water, Love Me Tender and a new version of Fever featuring Michael Buble.

The album is part of the continuing celebrations for what would have been Elvis’ 80th birthday and was featured in ITV documentary Elvis and Me, which saw Absolutely Fabulous actress Joanna Lumley join Priscilla in the studio while it was being recorded.


Read more: http://metro.co.uk/2015/11/07/elvis-presley-is-still-the-king-of-the-charts-40-years-after-his-death-5486834/#ixzz3qqfEFFVV

Watching no direction home. Lot of detail and interviews but Worthy

This has been going off in the Den lately. :d

[youtube]iS0wuN_6wyw[/youtube]

Iggy Pop - Gimme Danger

[youtube]1tp4srXRZDI[/youtube]

Check page 3 of this thread ;)

Seriously though, such a great track.

Check out funhouse being played by the stooges in Sydney. Iggy tells everyone to join him on stage. Song is probably one of my favourites. Security must love Iggy.

Its strange that I never associate the term 'old school' to glam rock in particular this song->

[youtube]LaqMwE5NKaM[/youtube]

The band I've been getting into a lot recently from that era is Gentle Giant. I only discovered them last year, but a real gem of a progressive rock band from the 70's. Some wild and whacky sounds, but great song writing and musos.

[youtube]VyJBNZ4i4Yc[/youtube]

^ This track is everything everyone loved - and derided about prog rock in the one track ;)

[youtube]I__o6BmwtDA[/youtube]

This is actually a classic album, Weezer unknowingly spawned an entire new genre of music, Emo

Weird music was around before people were around->

[youtube]nlcZYOENgcQ[/youtube]

BTW: How do people feel about Radiohead being termed an 'oldies' act*? Theyve been a band for 31 years, if thats not termed "oldies" Im not sure what is

god this album still slays me. My all time favourite.

Every Bieber/1D/Taylor Swift fan should be strapped to chairs Clockwork Orange-style and forced to listen to 'Trout Mask Replica' on loop till they are saved.

That or TISM's entire back-catalogue, either should do the trick.

Pfft... if you want results make them listen to Slayers Christ Illusion on repeat. That's one of the darkest albums ever made :lol:

Still remember the first time dad showed me Brain Salad Surgery
Managed to borrow his vinyl of it and not return it to date
Never listens to his records but is still funny about me taking them aha