What I meant to say was something along the lines of, "the reason younger generations haven't gotten into TL as much is because of the CD sound." I went through my Led Zeppelin phase right after the Remasters box set was released and it helped that those CDs simply sounded better. Of course it helped that my radio…

Agreed. The improved effects were…improved. I thought Norton brought some angst to the table that wasn't there in the Ang Lee one. And I thought the action scenew were very well executed.

I have a theory that part of the reason America didn't get more into Thin Lizzy is because of the poor sound the CDs had for so long. Nothing against the Visconti-produced records, but they sounded so sludgy when I first got on the Lizzy bandwagon. The recent remasters finally get it right.

Man, "Borderline"…That track is the biggest reason I bought the recent re-release of Johnny the Fox.

Makes sense to me.

I prefer my Dr. Steve Brule to be only slightly insane. This season has helped me realize I probably don't need to DVR this show anymore. That said, I will give this episode a shot. 

No. Yes.

Levon caught the Cannonball. What a good man and musician. 

Looks like Levon caught the Cannonball.

Glad they got to bury the hatchet. I know they came to an understanding a while back, but this is a classy move by Robertson.

Yes, this is childhood distilled to its essence for me. Those singing crocs really stuck with me. It was probably the first realization I had that rock stars were "other."

We don't have to impotently wish for such things anymore now that we have HOLOGRAMS!

Here's an excellent article by someone who had the good fortune to attend one of Levon's Midnight Rambles.

Truth. It took me about five screenings of The Last Waltz to realize what a horrible guitarist Robbie Robertson is/was.

My vote for Sam's greatest line.

I really love "She Came Along to Me."

Really looking forward to this, you guys.

For me, I loved the show almost in spite of that last scene. I'll elaborate.

This is actually a pretty apt analogy.

I've read both Slash's and Duff's biographies and they both tell a similar story: Neither of them were interested in managing the band or money and when they were presented with new, somewhat lucrative contracts at the height of their fame (given to them by Axl's choice for manager), they signed away any future rights…