Love Me Don't

The Happy Couple, About Ready to Pop The Champagne
DATELINE: LONDON-
Hear ye, hear ye!
The ruling is in, in the tabloid-pandering Case No: FD06D03721, Royal Courts of Justice Strand, London WC2A 2LL, Sir James Paul McCartney, Petitioner/Respondent and Heather Anne Mills-McCartney, Respondent/Petitioner. And although still subject to appeal, 1600's esteemed legal affairs advisors have predicted that Heather Mills, the ex-model and now ex-wife of ex-Beatle Paul McCartney, will gladly take her approximately $48.6 million settlement and run- or, perhaps get a ticket to ride with it, after speculation that the greedy shrew would take another bite at the "apple" (pun intended) to get the $125 million she originally demanded.

The award was approximately $400,000 less than the amount offered in settlement approximately a year ago, which was turned down flat at the time by Ms. Mills-McCartney. However, when the decision came down, she held a press conference to announce she was "so glad it's over" and that the ruling "secure(d) my and my daughter's future." After all, she gave the guy nearly the best 48 months of her life! That works out to a little over a million bucks a month, probably a tad more than she ever made limping down the runway, ya think? My love don't give me presents, indeed!

Judge Hugh Bennett heard the sordid case, which alleged various mega-ugly acts of cruelty, including stabbing and choking incidents at the hands of a livid Sir Paul, alcoholism, drug abuse, infidelity, and other pretty much "irreconcilable differences." He characterized the Plaintiff's testimony as "inconsistent and inaccurate," stating that she had been "less than candid," while calling her request for relief "unreasonable, indeed exorbitant." In a final slap, he indicated that she was "less than impressive" as a witness, summarizing her "ideas about her marriage" as "make-belief." Sounds like polite English legalese for "lying, gold-digging vulture."

Perhaps worst of all, the couple's only child, Beatrice, is entitled to a mere £35,000 (about $70,000 a year) of that still-humungous chunk of change, for her continued support and education. Presumably Sir Paul, who has described Beatrice as the only good thing to come of this ill-advised union, will continue to contribute voluntarily to her upbringing. And while Ms. Mills-McCartney was also awarded primary custody of Beatrice for now, we are reminded that the status of her continued residence is always subject to modification. And it will doubtless be reviewed again when she becomes old enough for the court to recognize her own preferences in the matter.

In related news, word on the street has it that this seeming end to hostilities may finally prompt Sir Paul to make his portion of the Beatles' catalogue, worth approximately $400 million, available for online services such as i-Tunes, now that the income from such a sale won't be considered part of his estate for this settlement. And even if he doesn't follow through on that, it's unlikely the "Macca" will wind up "darning his socks in the night when there's nobody there," as the settlement represented only about 3% of his total assets, a figure English counsel has suggested was "remarkably low."

Well, I guess you have to consider the merits and the parties involved. Sounds like that probably accounts for it. Hell, if ya ask me they were overly generous.

Paul- two important words for the future: "pre-nup." And next time around, don't take any wooden legs! D'Oh!

Three of A Perfect Pair

INCOMPARABLE: Julie Slick, Adrian Belew, Eric Slick- Still Making Beautiful Music Together

The Adrian Belew Power Trio returned to Jammin' Java in Vienna for their second show in just under a year, this time at the very end of the tour and holding absolutely nothing back for their final SOLD OUT performance. From the opening notes of their first song, Writing on the Wall, to the last echoing feedback of Crimson-era compositions Neurotica and the autobiographical Thela Hun Ginjeet (wherein Belew, on tape loop, describes an ugly confrontation with would-be muggers in London), the band was even tighter and more practiced than their last trip. At the same time, this visit found them more relaxed and confident than ever, stretching their wings and experimenting, improvising, and building to wild crescendoes, only to stop on a dime and come back together in unison.

The capacity crowd was then treated to another intimate, intense performance, showcasing the material that is featured in the band's new release, the live "Side Four." The disc captures the sheer joy of this band as they give it their all, playing with reckless abandon and staggering musicianship, especially impressive for a bassist and drummer barely old enough to vote! As a good musician and close friend once observed, it's enough to make longtime players lock themselves in their rooms for months on end trying to learn the chops that Julie and Eric Slick demonstrated so effortlessly, or else make you throw your instrument down (perhaps in many pieces) because you know that you'll never be as good as they are if you spend every moment you have left trying...

Nonetheless, as a non-musician, I dwelled on the positive and inspiring side of that equation, wondering what new tricks (and perhaps which old favorites) Mr. Belew and Co. would have up their sleeves. And as always, I was not disappointed. Saul Zonana, co-producer of forementioned "Side Four", warmed up with his uniquely expressive blend of vocals and guitar, with songs that ran the gamut from Beatles-influenced pop (Mr. Blue, Midnight Rain, If I Don't) to more provacative and daring, edgier songs, using guitar loops and occasional drum programs for good effect. He too has used the last year to hone his skills, especially as a guitarist. I look forward to his next release to mark his progress as a songwriter.

The Power Trio played much of the new album, but also many favorites from Adrian's solo career (Matchless Man and Drive were standouts once again), as well as several of the songs he co-wrote as a member of King Crimson (Dinosaur remains among my favorite songs of all time, and their rendition of Three of A Perfect Pair was spot on). Naturally, the arrangements were different with a trio format, but none of them suffered for it. In fact, it breathed new life into some of the songs, propelled by Eric's furious barrage on drums (I have to wonder how many heads he must go through in a year!), with Julie more than capably playing Tony Levin's best licks, while adding some twists and more than a few original touches of her own. Afterward, she told me that she follows her brother's drumming and really plays off of him- and credits their amazing empathy and affinity that allows them to anticipate each other and flow in flawless precision. I don't think I heard a sour note all night- and I was listening pretty closely!

Other highlights were Adrian's transcendent solo on Within You Without You that has apparently become a staple, as Eric and Julie take a well-earned breather; Ampersand, which found the band tearing up the stage in glorious cacophony; and Big Electric Cat, a favorite from Adrian's first solo record, the ambitious "Lone Rhino," still luxuriant with the same innovation and whimsical charm that makes it's way into all the music that bears his imprint, 25+ years later...

So, the good news is: they're coming back AGAIN, to the Ram's Head in Annapolis on June 6th! Well? What are you waiting for?? 'Cause you KNOW that show will be sold out too-

And while you're at it, sign the petition to put this most deserving guitar hero in the Rock n' Roll Hall of Fame! The link is below- and it also contains a nice outline of Adrian's career, recordings, and contributions to the world. If they can induct Madonna (who has yet to do anything remotely approaching rock n' roll music) the least we can do is put this guy in there for all the great work he's done! (At least, as long as he promises not to play a guitar rendition of Like A Virgin when they honor him!)

http://www.petitiononline.com/ab2009/petition.html

Rockin' Robin

Robin Trower: Channeling Deep, Hypnotic Blues

I've never heard the volume cranked up to 11 at Alexandria's famous Birchmere before, but I'm sure I saw the roof rising off the building from the sheer sound and spectacle of Robin Trower's brilliant performance there last Sunday, the 9th of March. The packed house celebrated the legendary guitarist's 63rd birthday in fine style, and Mr. Trower obligingly gave a non-stop, pedal to the metal performance par excellence. The well-rehearsed quartet, including Pete Thompson on drums, and former Gamma band alumnae Glenn Letsch on bass, and vocalist Davey Pattison flew through a solid 90 minutes of Trower's trademark blistering psychedelic blues, indulging the audience in extended romps and atmospheric solos.

Mr. Trower also joined us for an interview backstage after soundcheck, to be aired on 1600 sometime in the next few weeks. He discussed his long and well-documented career, some of the master musicians with whom he has and continues to work, the new "Seven Moons" CD, collaborating again with his old friend Jack Bruce, for perhaps their most powerful venture together yet. And while we were expecting to hear some of it live, Robin stuck to older material, as the new CD had not been available for long and he didn't think that enough fans would be familiar with it. (Cue the fanbelt, Steve!)

The band started early, and wasted no time launching into a driving, blues-drenched attack. They opened with the title cut from Trower's 1975 debut, Twice Removed From Yesterday, immediately capturing the attentive audience and establishing that he was not there to play a lightweight, mellow set, and even did a bit of vocalizing himself. They followed immediately with another fan favorite, Shame the Devil, and a soulful reading of the title track also from his 1975 solo debut, For Earth Below, which set the mood for a very memorable performance. In between, the crowd offered a brief serenade of their own to Robin, wishing him a happy birthday and many more years of rockin' our socks off!

In rapid-fire succession came a wealth of classic Trower tunes, including The Fool and Me, a rocking Day of the Eagle, Bridge of Sighs, A Little Bit of Sympathy, and Too Rolling Stoned from what is probably his best known work, the psychedelic masterpiece "Bridge of Sighs." The title cut was especially moving: a slow, deep blues that wound around the room, enveloping the transfixed audience in a plush sonic cocoon, and sweeping them away. The guitarist's technique and flair were further showcased on Gonna Be More Suspicious,with a lilting Hannah, Victims of the Fury, and the thoughtful Another Time, Another Place (as captured on Trower's recent live disc, the 2006 CD "Living Out of Time- Live") were other highlights rounding out a fine set. The band largely relied on Trower's first three records, all of which sounded as crisp and retained every measure of the power they had thirty years ago.

I'm not sure how much of a new following Trower will find, forty years into an exceptional career of making unique and engaging music. On the other hand, this was among those rare shows when we actually saw people at the show that looked even older than us, if you can believe that! But for interested novices, I would encourage seeking out 1991's "The Essential Robin Trower" for a good primer, featuring several of the highlights we heard that night. The previously mentioned live album, the classics "Bridge of Sighs" and "For Earth Below," and many more recent recordings, including the 2005 release "Another Day's Blues," and his latest album, "Seven Moons," all deliver satisfying and timeless rock and roll that sounds fresh yet familiar at the same time. Ya pretty much can't go wrong.

Thanks again to Robin, his tour manager Laurie Brace, publicist David Maida of Rising Talent Group, and John Brinegar and our good friends at the Birchmere for another memorable evening in their good company! We'll be back- and SOON!

Grace Potter and the Nocturnals

Grace Potter and the Nocturnals: they only come out at night!

Meanwhile, back at the SOLD OUT 9:30 Club, it's like old times again!

Grace Potter and the Nocturnals, whom we enjoyed as an opening act supporting Gov't Mule last November, are on the prowl and selling out venues across the country in their first ever headline tour. The 1600 crew was granted an EXCLUSIVE interview with the gracious Ms. Potter backstage before the show, slated to air in about 3 weeks on Channel 10. And let me tell ya, we were as impressed by her knowledge of music and dedication to her craft as we were by her voice and musicianship. And remember, you heard it here FIRST!

As for the show, opening act Will Dailey and the Rivals warmed up the packed house, with guitarist Matt Pynn showing some solid chops and playing some crisp leads. In 2006, Dailey won a Boston Music Award for best male singer/songwriter, and his songs have been featured on CSI: NY and recorded a cover of Tears for Fears' Everybody Wants To Rule The World for the series Kid Nation. With a couple of albums under their belts, last year's "Back Flipping Forward" has gotten some traction already, and may catapault them further into the public eye.

In the meantime, in case you've been under a rock somewhere for the last couple of years, Grace Potter and the Nocturnals have arrived. The band has released three CDs so far, culminating in 2007's "This Is Somewhere," which demonstrates the young Vermonsters' retro, bluesy sound and Grace's rapidly-evolving songwriting and mature, expressive voice. Guitarist Scott Tournet, bassist Brian Dondero, and drummer Matt Burr ably and gleefully accompanied Grace in this nearly two-hour, adrenalin filled romp. And clearly their exposure to other artists in the jam band scene has made an impression, but they have a distinctive, rootsy sound with a pace that's tight but unhurried, separating them from many of their contemporaries. They are a throwback to old 60's soul and blues, as genuine and heartfelt as their inspiration.

Take one part folk, a dose of Southern blues, add a touch of swamp boogie, some overtones of a gospel revival meeting and top it off with a generous portion of sweet maple syrup, and you get the powerful, "lightning in a bottle" punch described in their opening number, Mastermind, one of the bands' signature tunes. Stop the Bus, a great jamming groove about getting out and playing on the road soon followed, as well as Here's To the Meantime, a song about unrequited love that Grace assured us was not autobiographical. Likewise, Joey ("don't treat me good no more"), off the "Nothing But the Water" album, echoed the defiant spirit of a woman done wrong by her abusive boyfriend, finally standing up to him and getting out of a bad situation. Ah, Mary is another song about a tough ol' gal, with a sly knockout play on words at the end, that takes the story to a whole different level.

Sugar is a new song, showing Grace in turns as playful, seductive, raucous and bluesy, and evoking a classic sound that was simultaneously familiar yet fresh. Sweet Hands also had a great hook, and Nothing But the Water was another standout, the latter song joyous and exultant, and bursting with that "Sunday-go-to-meeting" spirit interpreted through Janis, Bonnie, Rickie Lee, Johnny Cash, and a little Band-era Bob Dylan. The set and encore also yielded a couple of interesting arrangements that refreshed the band's covers of the Who's Gettin' in Tune, and Aerosmith classic Sweet Emotion. The band closed with a strong rendition of Big White Gate, written for (but not actually about) Grace's grandmother, about life being too short for regrets, and the merits of diving into it feet first.

We're expecting great things from this talented band, and look forward to seeing them back again, for what we hope will be many appearances in local DC-area venues, and many more jokes, stories and insights. 1600 also thanks Grace's dog Kick for joining us, and breaking the ice, as well as Jen and Justin for helping to make the interview possible. We hope everyone enjoys the rest of the tour, and look forward to the next release, which Grace promised us will be a departure from their previous recordings, taking the band into new and uncharted frontiers!

Catch 'em if you can, but for now, we'll reluctantly say "goodnight, Gracie!"

Night of A Thousand Years ( Of Commercial Free Music!)

Debra Dobkin, Richard Thompson & Judith Owen Really Belt It Out

It was a windy Wednesday night when the 1600 gang invaded the not-so-ivied halls of academia at George Washington Univ. campus' Lisner Auditorium for a musical history lesson from the renowned singer and guitarist Richard Thompson, accompanied by singer- keyboardist Judith Owen, and singer- percussionist Debra Dobkin, for the "One Thousand Years of Popular Music" tour. Uncharacteristaically early, due to some good parking karma, we showed up in time to hear the sound check and get a small taste of what we would be in for that night. And we were tempted to break into applause long before the curtain ever rose.

First, we had the good fortune and privilege to sit down with the tale-spinning Mr. T for a few minutes prior to the show. He graciously provided insight into the current tour, the character of popular music over the centuries, his songwriting regimen, recordings, soundtracks, videos, and other diverse projects; his quick wit always at the ready, but still indulging our questions with patience and courtesy. All to be broadcast in a 1600 interview coming your way in the next week (starting Feb. 4th, online at http://www.1600.tv/ soon after)! Unfortunately, time did not permit us to have Ms. Dobkin or Ms. Owen accompany him; we hope to meet them again the next time they are in Washington, and will keep a sharp eye out for their return. The ladies each demonstrated effortless mastery of their instruments, as well as incredible vocal range and sophistication that left the audience breathless and eager for more. Mr. Thompson has never shared the stage with more talented or compelling performers in his long and distinguished career. We hope this particular trio will continue to entertain together for many tours to come.

After our interview and a hastily-gobbled dinner at the packed Lindy's Lion around the corner, we returned to the hall. Now a confession (with all due apologies!): from the door, we observed the three walking in from the back of the audience, Ms. Dobkin in the lead with a bass drum. We waited until the doors were opened, rushed to our seats, and never missed another second of the performance. And what a performance it was!

They serenaded a packed house, and paid tribute to some of the best and most enduring compositions of the last ten centuries, with a loving nod and a wink, and glib introductions by Thompson describing the period from which each song arose, and its significance in the musical pantheon. Over the last few years, the set has changed and metamorphosed, as musicians as diverse as Hank Williams Sr., The Kinks, the Beatles, Nat King Cole, Nelly Furtado, ABBA, and even Britney Spears have been covered alongside Henry Purcell, Gilbert and Sullivan- even Richard the Lionhearted, as well as dozens of traditional folk songs in three or four languages since this series of shows began in 2002.

Thompson was his usual wry, affable self, and he set the crowd up for each song, sometimes discussing the time it was written, other times focusing on content, or who wrote it and what made it significant. So Ben Mi Ca Bon Tempo, ("I know a lucky man") sung in Italian, was described blithely as a "cuckolding song," a popularly recurring theme which, Thompson noted, has literally "been around for centuries." Pipe Shepherd's Pipe was a madrigal that featured the rich harmonies of Thompson, Owen, and Dobkin to their fullest advantage. Later in the set (by several centuries) came a powerful Shenendoah, which he apologetically explained was not about Virginia, but Missouri. The trio also gave their loving treatment to I Live in Trafalgar Square, a song about a tramp's boast of living the good life on the streets of London. It was just a warm-up for what we would hear in the second half of the show, which was devoted to 20th century compositions.

Stick McGhee's Drinkin' Wine Spo-De-O-Dee was explained to me by Jerry to be the deadly concoction of wine with liquor the wild eyed hillbilly boys drank in the old days to get all revved up. Java Jive was another merry romp, but the highlights of the evening were doubtlessly Judith Owen's stunning renditions of Cole Porter's Night and Day, and Cry Me A River. Her dynamic vocals evoked the greatest response from an appreciative audience, who were on their feet by the end, saluting this versatile chanteusse with well-placed admiration. They also showcased the Kinks' Ray Davies, whom he described as one of the greatest songwriters of our time, with a smart arrangement of See My Friends. And as always, sound wizard extrordinaire Simon Tassano ensured that every note was crystal clear, and the instruments complimented each other without ever overpowering the sometimes-delicate vocals or acoustic guitar and keyboards, played with a subtle confidence that made for a truly intimate performance. And throughout the 2 sets, art from the middle ages and renaissance showed on a screen behind the eclectic artists, as well as more modern pieces, as the band played on.

Although the crowd begged for it, Thompson refrained from playing any of his own songs, many of which were certainly more worthy than the Abba or Nelly Furtado songs they performed. During our interview, he stated that including his own music would have been presumptive, something no one could ever accuse this modest artist of ever being, even though his guitar and songwriting skills are in constant demand, and his albums always critical favorites. Once again, to his credit, Thompson didn't show off his considerable guitar skills, choosing instead to let the songs speak for themselves, the performers' fine voices doing the heavy lifting, and generously sharing the spotlight with Dobkin and Owen, who demonstrated that they could more than hold their own. Debra Dobkin's atmospheric drumming, ranging from sticks on one song, to mallets or brushes on others as the situation demanded, was always tight and timely, providing a steady counterpoint to the guitar and vocals, which she and Judith Owen blended with Thompson's sturdy baritone to achieve breathtaking results.

The band will continue this tour with dates in various clubs through the Northeast and Midwest until the middle of February. If you're interested in seeing just how three talented players can render a wide range of music, from ancient secular music to opera, country, and pop, this is the show for you. As Thompson noted, perhaps this will spark some interest in a particular period, or prompt the audience to delve deeper into the works of some deserving artists. Fans of Richard Thompson will likely be treated to a more characteristic display of guitar virtuosity, when he makes a return to another Washington area venue, either solo or with a band, sometime in the near future. And we hope that Ms. Dobkin (www.debradobkin.com) and Ms. Owen (www.judithowen.net) also return here soon, like Mr. Thompson, to dazzle listeners with their own music and further enrich the current century with songs yet unheard.

PS: The "1,000 Years of Popular Music" 2 CD/1 DVD package is a beautiful companion to this tour that captures the players at their best, including many songs heard on previous incarnations of this show. And Judith Owen will release her latest album, "Mopping up Karma," in June, and singles will debut beginning February 12th, starting with Let's Hear It For Love, from various online sources. And if you haven't yet heard her 2007 release, "Happy This Way," I encourage you to pick it up to really appreciate the breadth of her songwriting, and vocal and piano skill, with guest appearances by Thompson, Cassandra Wilson, and other world-class musicians.

They Came From NJ

Jim, Pat, Thrilla and Dennis: Still Top of the Pops!

The Smithereens returned to the State Theater in Falls Church on fire on Jan 12th for a sold- out performance, picking up where they left off in Reston on Memorial Day weekend. The band was in top form, with Pat turning in a tremendous performance and Jim Babjak and the Thrilla, Severo Jornacion, aiding and abetting and leading the raucous crowd whilst the ever- reliable Dennis Diken laid down a steady beat and harmonies. Playing a thunderous mix of classic Smithereens including rare moments from their early releases, a few British Invasion tunes, and even a slightly belated X-Mas singalong in a gratifying tour de force, these Jersey boys (and honorary East Coaster. the Thrilla) deftly mixed in a couple of songs from Pat's latest solo album, Since You Went Away and Any Other Way, classic pop ballads that stand up to the Smithereens' formidable body of work.

There was no opening act (they would have probably been ripped apart by rabid fans were it otherwise!) and the band simply took the stage and launched into a high octane 2 hour set. The Smithereens mixed it up, playing a bounty of their best known work, kicking off with Only a Memory, and digging into their catalogue for House We Used To Live In, A Girl Like You, Blue Period, Behind the Wall of Sleep, Time and Time Again, Miles From Nowhere, and Cigarette (which Pat explained, he normally sang with a lit smoke in hand, but having recently given up the habit, he was forced to improvise a bit).

The band also pulled out chestnuts like Spellbound and In a Lonely Place that were welcome additions to their set, and as mentioned above, even threw in a few Beatles tunes from last year's "Meet The Smithereens," my favorite being It Won't Be Long, which had everybody in the joint yeah-yeah-yeahing. Thrilla and Jim kept the relentless pace going, clapping their hands and really ratcheted it up a notch when the unmistakable rumbling bass for Blood and Roses began. The subsequent encore featured a pair of Who covers (The Seeker, one of their staples, and a solid reading of Behind Blue Eyes, which I'd never heard them play before!), along with Santa Bring My Baby Back from their latest release, "Christmas With The Smithereens," that features classic (and non-cheesy!) Christmas songs like Chuck Berry's Run Rudolph Run, alongside their own original compositions.

Unfortunately, we did not have time for a third interview on this whirlwind visit, but we may be able to corner them when they return this summer play here at the Red Cross Waterfront Festival in Alexandria, VA. Saturday, June 14th. In the meantime, however, our friends did have us videotape this excellent show, which will be broadcast on Channel 10 as a 2 HOUR 1600 SPECIAL- in it's entirety very soon. Keep tuned to this space for schedules and check the www.fcac.org website for info on when this will air- anticipated to be sometime (several times, actually!) in February and March!

And that ain't all- these guys aren't letting any moss grow under their feet. Later this month, they'll be recording their first official live album at the Court Tavern, in New Brunswick, NJ January 30- February 2nd. Be there or be square! (For more latebreaking news, visit the Pat Di Nizio and Smithereens websites, now available on our links page!) This project is intended to be released as a double CD, and will feature all your favorite Smithereens' rockers, ballads, covers, and more recent material, recorded in state of the art digital sound! Pat said other new songs are ready for a third "solo" album. More details on that, and whether this will be a semi- (as the latest one) or complete Smithereens jam, when the info becomes available!

VIEWER'S RESPONSES, BURNING QUESTIONS, AND THINGS TO COME!

Well, the response to our live 2 hour Christmas free-for-all was inspirational! We thank the many callers, some of whom were actually not related to any of us, for sharing their holidays with the 1600 family, who likely rank somewhere between the Osmond Family, the Partridge Family, and the Manson Family among the people least welcome to prepare the egg nog for your next holiday bash!

And best of all, dinner was really GREAT! Chef Jerry gave cast and crew a delicious, mouthwatering bird which was devoured in due course as soon as the cameras stopped rolling. The side dishes all came out pretty well, too. Everyone survived quite nicely, and no Tums or Alka Seltzer were necessary to soothe upset stomachs afterward. However, we note that only Pete the Builder was brave enough to try the jellied cranberry sauce. By the time we got out of the studio, it was far too late to get a glass of Christmas cheer anywhere. So sugarplums still dancing in our heads, we trundled off for home, already scheming to top "Cooking with 1600" with another gala soiree in 2008!

So, what's coming up in 2008, you ask?

We start off with a bang next Saturday with our friends the Smithereens at the State Theater on Saturday night, January 12th! Guitar giant Richard Thompson will join us before his show at the Lisner Theater on January 23rd (get your tickets now!) and the 9:30 Club hosts Grace Potter and the Nocturnals on February 16th- they were a killer opening act for Gov't Mule, and we can't wait to hear more out of this smokin' blues band! And then we look forward to a visit to the Iota Club and Cafe on February 19th for Brian Vander Ark of the Verve Pipe! Soon after that, we'll be back at Jammin' Java, for the return of the Adrian Belew Power Trio on March 15th...sure to be sold out, so act now!

And of course, there's a few other items we're working on but don't want to let the cat out of the bag just yet! Keep watching and check this website for more info as it becomes available! You'll be the first to know.

Now for a few emails and notes we received after the Christmas show:

Caught a new episode today 11/26 on channel 10 cox cable. seems like a long time since last new show. has the gas gone out of the show? see no new blog entries since june and at end of todays show steve said so long and farewell. does that mean that was last show?and steve really should sit more ladylike if he's going to keep wearing shorts!
visitor_email: grantnapier@live.com

Thanks, dude. Can't understand why you're not seeing new shows, you should have new episodes every week! Next time, just remember to put the Wild Turkey away, and turn the set on at 10 pm Fridays! And there were lots of blog entries in October, November and December. Maybe you went to the old blog site? This is where we're at now, tell your friends, and drop us a line to say hi! We're here for the long haul, you're not rid of us so easily. And Steve....LADYLIKE? BWAH- HAH- HAH!!! You SLAY me! I knew the striking TV writers had to have an outlet to keep sharp! That's the funniest thing I've heard since Condi Rice called Russia's elections fixed!!!

you mentioned 10cc but left out the lovin spoonful...same idea - reo speedwagon was a very old fire engine - bill cosby, beverly sills, johnny cash, henny youngman = cosby, sills, cash, and youngman - cocteau twins were characters from a claude monet book...i think - u2 is from the spy plane -
visitor_email: kstewart@gmu.edu

Yes, Ken, you get points on the Cocteau Twins and U2. However, the Lovin' Spoonful was named for how junkies typically prepare their heroin. And wasn't it really Crosby, Tillis, Crash and Hung- Norm Crosby, Mel Tillis, Billy "Crash" Craddock, and William Hung, who sang "She Bangs" so painfully on American Idol, only to be narrowly beaten out by the Clark Bros. (Roy and General Wesley (Ret.) on the Next Great American Band? Seriously, we could probably do 2 more shows on band names- glad you enjoyed it!

I love your show... Have you heard of a band called MOFRO? They're out of Jacksonville, Florida and play "swamp cracker" front porch soul. They opened for half of the Allman's 2007 summer tour... Cheers - Ted
visitor_email: tedbowler@msn.com

Sorry we missed that, Ted. It sounds like an interesting mix. I used to wear a mofro, but when I went to the salon to get it permed, all the guys in the neighborhood snickered at me and threatened to beat me up. It was embarrassing. Steve was at the Brothers' show here, but probably too hammered to remember the opening act...what's that? J. Geils and Heart? I thought you said it was Dio and Foghat!

And once again, thanks to everyone who tuned in and called, especially our pal, the infamous Tommy Gavin! See ya at the next show!

That's all for now. Stay tuned for more inspired (?) silliness. We always enjoy running into and hearing from you guys, and appreciate your thoughtful recommendations, camaraderie, and heckling!

And onto another wild year!