Back in 2002, I conducted an interview with on/off Motley Crue drummer Tommy Lee for Guitar One magazine (he was promoting his self-titled solo album at the time). In a portion of the interview that didn't make my story, because it seemed like such a far-fetched sidebar, Tommy discussed a dream he had for his ultimate onstage spectacle.

"I WILL do it. A couple years from now, we'll be sitting here and I'll say, 'See? I TOLD you I'd do it!'" he insisted. "I've always wanted to do this: Imagine a fan walking into an arena and seeing a rollercoaster track, INSIDE the arena, with a drum set that's on a flat riser. Your drums are bolted down, you're strapped in, and you've got a jumper sear for a fan--a fan in the audience would win a ride on the back on this thing. And they're be cameras mounted on it, going to the big screen, so that the people in the audience who were watching it would feel like they were on it, watching the camera shake [he got up and started to act this out]. OK, so

Australia is usually known for its glorious climate--Bondi Beach sunbathers, shrimps on the barbie, frolicking dolphins, and all that--but the Cure brought the gloomy English weather with them when they journeyed south of the equator to play the Vivid Festival at the Sydney Opera House on May 31/June 1. (So much for a sunny Aussie holiday for me, huh?) Okay, so it wasn't entirely the Cure's fault that Sydney was struck by a torrential rainstorm this particular week; it is winter Down Under right now, after all. But considering that the Cure were at Vivid (Sydney's two-week carnival of light displays, outdoor art installations, and music) to perform their first three doomy albums--Three Imaginary Boys, Seventeen Seconds, and Faith--the depressingly gray weather was most fitting. Who wants to hear dirges like "Funeral Party," "Drowning Man," and "A Forest" when it's sunny and cheery outside, anyway?

Yes, as Cure diehards descended upon Sydney's Circular Quay harbor, mingling among the

One of the foremost post-grunge bands of the last decade, Seether, well, continues to seethe with ashy, angst-ridden rock and introspective lyrics. Six albums and a few lineup changes later, Seether is dropping their latest album Holding Onto Strings Better Left to Fray with the first single "Country Song."

Considering they're from South Africa their take on country rock is actually quite seamless. Seeing them perform acoustically only reinforces my suspicion, that hey, if the rock thing doesn't work out for Seether, they'd do well with country!

We've got an exclusive acoustic performance from Seether playing in what looks like a liberal arts college dorm. While the Vedder/Cobain growl may have died out with lesser bands, it fits lead singer Shaun Morgan like a tattered, fingerless glove.

As I've said about a lot of acoustic performances, it's always interesting to see a rock band without the squall of the crowd and the boom of stadium speakers. It breaks them down to their

When is a rock & roll concert like a game show and jazz? Answer: When it's part of Elvis Costello's "Revolver" tour, which revives his Spectacular Spinning Songbook wheel to further randomize the rocker's already ever-changing set lists. There are no brilliant mistakes, just brilliance, in these shows, which combine pure circus-barker hucksterism with the improvisational thrill that only comes when anything—or at least anything great—could happen. With some of the greatest serious songwriting of the last century and professional go-go dancers, too, this tour might just be the best thing since the invention of, you know, the first wheel.

Too effusive, you say? Check out this video of Costello segueing from a cover of Prince's "Purple Rain" into "(What's So Funny About) Peace, Love and Understanding)"—accompanied not just by backing band the Imposters but five go-go dancers, three of whom are the Bangles—and maybe you'll see what the hullabaloo is about.

The spinning wheel and go-go