People ask if rock 'n' roll will ever die, and to that I say no. Why? Because kids are just too awesome to ever let it happen, that's why. And here are two compelling pieces of evidence: Exhibit A and Exhibit B. Play 'em loud. And somebody get these two in a "School of Rock"-type band together.

So my teenage son recently began singing in a band. A death-metal band. I'm not going to put it down, but...let's just say I'm not part of the demographic. Which is fine. He'd probably wonder what he was doing wrong if his dad liked it too much, you know?

Besides which, we can laugh about it. For example, his favorite band nowadays is Cannibal Corpse. And to illustrate the point, he turned me on to this twisted little piece of genius. And so I pass it on to you, because that's why I'm here. Enjoy.

(Thanks, Aaron.)

As we've covered before, I'm often canvassing the people around me for interview questions. So when I scheduled a chat with Mastodon, the ubur-heavy prog-metal band, I asked my teenage son to contribute a question. His reply: Ask them what it feels like to be so, so awesome!

"It feels really good," Mastodon drummer Brann Dailor said when I put that question to him. "Amazing, even. In fact, I was just down at the permit office getting a permit for some general repairs, and it felt so great to tell them how awesome I was -- even though they didn't believe me."

Ah, but the heck of it is that they probably did believe him, and Dailor is just being modest. For more on Mastodon as the consensus metal band that everybody digs, see the interview in Friday's paper. The group plays Raleigh's Lincoln Theatre Saturday night, on a can't-miss bill with Triangle expatriates Valient Thorr; and will sign autographs at 4 p.m. Saturday at Schoolkids Records.

Beyond standing back in open-mouthed awe, I have nothing I can add to this -- it pretty much speaks for itself. So rise and shine and play it loud.

(Thanks, Brian.)

Presenting the David Lee Roth "Runnin' With the Devil" Soundboard. The effect is particularly cool if you hit a bunch of them at once (if you're quick enough on the mouse finger). It's about the most fun you can have this side of the Samuel L. Jackson Soundboard.

(Thanks, Bob.)

ADDENDUM (1/15/09): More DLR fun.  

Plant and Krauss conjure up a new spirit
By David Menconi, News & Observer
July 14, 2008

Conventional wisdom on popular music nowadays is that it's all been done. The frontier is closed and everythings been invented, with nothing left to do but recycle, reuse and rehash.

But if you believe that, you werent at the RBC Center on Friday night listening to the indelible guitar riff from Led Zeppelins "Black Dog" being plunked on a banjo, the lyrics murmured like a prayer - topped off by a fiddle solo that somehow sounded like a screaming electric guitar.

The Robert Plant/Alison Krauss show was in town, and if this wasnt a new kind of music then I dont know what is. Its a spectacularly unlikely combination of sensibilities that ought to clash violently. He's the frontman for Led Zeppelin, legendary swingers of the hammer of the gods, while she's a quietly demure country/bluegrass singer of rare beauty.

Somehow, what should be an oil-and-water mixture comes out weirdly wonderful, thanks to some impressive roots-rock alchemy from producer T-Bone Burnett. In addition to producing last years Plant/Krauss album "Raising Sand" (Rounder Records), Burnett is bandleader for this tour. The touring ensemble's overall sound was reminiscent of Chris Isaak's tiki-torch noir, shot through with stark Old Testament country blues.

Add it all up, and it was a veritable playground for Plant and Krauss to stretch out in unexpected ways. Plant has never exactly been noted for restraint, while belting has never been Krauss strong suit. But danged if they both didn't go in those respective directions, with handsome dividends.

Krauss showed more sass than ever, embracing the inner rock goddess we (and she, probably) never knew she had. If nothing else, this tour should definitively establish Krauss as a singer for the ages. When she soared into a ghostly wail on "Fortune Teller, " hairs were standing on every neck in the building.

Plant, meanwhile, rocked the leather pants and radiated star quality. But he also showed surprising facility as a harmony singer, meshing his voice with hers in ways you wouldn't imagine possible. He sang beautiful harmonies on "Down to the River to Pray," giving it just the right touch.

"This is new, old, modified, " Plant said at one point. "Its a new spirit up here."

No kidding.

"Raising Sand" provided the backbone for the just-under-two-hour set, augmented with a handful of Led Zeppelin songs. The aforementioned "Black Dog" was one highlight, as was "Black Country Woman." And the surreal folk of "The Battle of Evermore" made it an obvious choice.

Less obvious was "In the Mood, " originally a 1983 solo hit for Plant. This version played up the original's gliding offbeats, which drummer Jay Bellerose turned into something like a Bo Diddley backbeat. To top it off, they made it into a medley with the old fiddle tune "Matty Groves." Somehow, it worked.

There were also plenty of obscure covers, including the gospel standard "You Dont Knock, " Ray Charles' "Leave My Woman Alone" and a couple I couldnt for the life of me identify. I cant wait to hear what they cook up for the next chapter.