• #flyfishing Southwest announces more Denver, Colorado, flights. http://bit.ly/295VDz #
• On this day in 1825 – Erie Canal opened – joining Lake Erie and Hudson River. #
• #flyfishing Somebody go in with me on Val's old place – http://www.santaferealtypartners.com/santa-fe/residential/search/?q=kilmer#gmap #
• #flyfishing Anybody got their hands on a new TFO BVK yet? #
• #flyfishing St. Croix new fly rods – http://bit.ly/9AJseS . #
• #flyfishing What's fly fishing without a little brewsky? Hurry – http://www.austinbeerweek.com/?prg=bdg #
• #flyfishing Yellowstone Mantle Plume – http://www.msnbc.msn.com/id/39057904 #

AUSTIN CITY LIMITS REVEALS FINAL SHOW TAPING IN FAMED STUDIO 6A WITH ICONIC SINGER AND SONGWRITER LYLE LOVETT
- Press Release-

An important chapter in the history of American television comes to a close on November 8 as the PBS television series AUSTIN CITY LIMITS tapes its final episode from its current and original home: KLRU-TV’s famed Studio 6A. The taping features iconic American singer and songwriter Lyle Lovett, in what promises to be an extraordinary and emotional concert event for the performer, for the show’s longtime staff and crew, and for the worldwide viewing audience. As previously announced, AUSTIN CITY LIMITS moves to its new home at The Moody Theater, a full-time music venue and state of the art production facility in the heart of downtown Austin, in early 2011.

“We’re proud of the incredible legacy that we’ve created in Studio 6A,” said series executive producer Terry Lickona, “and will always treasure the memories and magical performances on that historic stage. But we’re even more excited about the future and the enormous potential that our new home brings as a full-time music venue. If you think the past 36 years have been great, you ain’t seen nothin’ yet!”

AUSTIN CITY LIMITS is the longest-running music series in American television history. More than 500 episodes featuring more than 800 performers have originated from the modest and unassuming Studio 6A since tapings began in 1974. The AUSTIN CITY LIMITS story is one of unparalleled passion for music, commitment to excellence, and perseverance against many odds. What began as a modest Texas music series has gone on to become the only television series ever to be awarded the prestigious National Medal of the Arts. And it has made so much history in one small room that the Rock and Roll Hall of Fame and Museum declared that it was one of the few rock and roll landmarks worthy of official recognition, an honor that was bestowed upon the show in March 2010.

Lyle Lovett’s history with AUSTIN CITY LIMITS runs deep. When he first came to Studio 6A it was as an audience member, and he made his first appearance on the show as a backing singer for Nanci Griffith in 1985. Since then, he has come to know the stage well, appearing on the show no less than 12 times, making him one of the most frequent guests in the show’s history.
When it comes to presenting live music, AUSTIN CITY LIMITS embodies its motto of “Great Music. No Limits.” Accomplishing what no other show has done in the history of American television, the series has, for nearly four decades, presented audiences with the most diverse, original, cutting-edge talent music has to offer. Past performers have included Willie Nelson, Asleep at the Wheel, B.B. King, Roy Orbison, Johnny Cash, Jerry Lee Lewis, Ray Charles, John Fogerty, Robert Plant, Neil Young, The Dixie Chicks, Dolly Parton, Kenny Chesney, Emmylou Harris, Elvis Costello, Van Morrison, R.E.M., Allen Toussaint, Arcade Fire, Patty Griffin, Spoon, Coldplay, Wilco, Norah Jones, The Flaming Lips, The Dave Matthews Band, Jimmy Cliff and many, many more.

The show’s next chapter continues in early 2011 with Season 37, originating from its new home at The Moody Theater in downtown Austin. The new studio location will enable more fans to watch future live tapings and provide an enhanced experience for all future shows, while maintaining the intimacy, character and integrity that have been the hallmark of AUSTIN CITY LIMITS for more than three decades.

Produced by KLRU-TV, funding for AUSTIN CITY LIMITS is provided in part by AMD, Budweiser, the Austin Convention Center Department and its newest supporter, Dell. Additional funding is provided by the Friends of Austin City Limits.
For upcoming tour dates and album information on all three artists:
Robert Earl Keen
Hayes Carll
Lyle Lovett

All information on this post provided by Lost Highway & Austin City Limits

Bob Dylan – THE WITMARK DEMOS 1962-1964 Bootleg Series #9

I am sitting in a trailer, on the ground, by a gas well, above the Barnett Shale, about a buzzard’s flap from the Red River. Game consoles, games, a big tubular TV, a jar of peanut butter, water samples … all the flotsam of boredom’s dirty business lay scattered inside the wind whipped tin box.

From my vantage point on the plaid crushed foam fold out couch, I have a bright image of a canary yellow water tank framed by an insecure swinging screen door. The fall air on the Shale is so cool, today we’re just letting her blow on through.

You may find it hard to believe this is a music review, but I thought it necessary to set the sounds of a masterpiece’s first listening to a specific location on the geological survey.

It’s taken a little while, but in the last year-and-a-half some of the younger more current acts have finally begun plowing the fallow fields of social unrest and North America’s economic upheaval. Now comes Bob Dylan’s “The Witmark Demos.” Rewind your mind to 1962, and Bob Dylan … in a recording closet, getting lyrics in the can as quickly as possible – to shop to other recording artists. The result – HIS masterpieces such as “Masters of War,” “Blowin’ in the Wind,” and on and on. You can even hear the door shut in the tiny recording booth, where a technician looks in and records history on tape at half speed to save tape. What else was in the closet? Dylan, his harmonica, guitar, or piano, words and music, and that’s about it.

Imagine the art world finding a stack of Rembrandt drawings that lead to his masterpieces, some raw unfinished sketches, and some complete. Forget that Dylan singlehandedly changed music and the music business, if you like. This is lightning in a bottle, sitting on a circular acre of scorched earth.

And somehow, once again, that which was old becomes new, and vital to the senses of struggling souls who find ourselves outside the hedge, looking and waiting for signs of economic life, a monetary revival of art appreciation, or perhaps a whole new life. We see more wrath than grapes in our time.

So, get The Witmark Demos, and go back to where you are, close your eyes, and listen … be transported away from wherever you are, back in time and listen to the sounds of the rosetta stone of modern American folk music.

Bob Dylan will be doing a little touring as well, so if you miss him, don’t be left wishing you had been there. You can bet, he won’t be doing anything close to what you’re going to hear on these CD’s.