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When you think of poker and gambling, you think of Las Vegas, big wads of cash, and maybe a few social beverages. It should come as no surprise that many rock stars have taken up the game of poker in recent years, especially seeing that there is so much money at stake at online poker sties for US players and others. Let's look at a few of those stars that play poker.

Some rock stars have used poker as not just a way to make some money, but also to help out those less fortunate. Vince Neil of Motley Crue helped out the Nevada SPCA a couple of years ago by taking part in a charity poker tournament that raised literally tens of thousands for neglected and abused dogs. Of course, for his generosity he had to face the Godfather of Texas Hold'em poker Doyle Brunson. Let's just say that Brunson made him an offer he couldn't refuse.

Jerry Cantrell from Alice in Chains as well as Vinnie Paul from Pantera joined Kirk Hamett from Metallica and Greg Tribbett from Mudvayne were all part of a major promotion by online site UltimateBet that allowed players to battle rock and roll stars for a seat for the 2009 Aruba Poker Classic. The rockers were part of a massive tournament that awarded bounties for players who were fortunate enough to knock the players out.

One of the most skilled rock star poker players would have to be Anthrax guitarist Scott Ian. Ian is not just your average recreational poker player. After winning a seat to the Aruba Poker Classic in 2007 in VH1's Rock Stars of Charity poker tournament, he went on to take lessons from poker pros Phil Hellmuth and Annie Duke. Within a couple of years, Ian became so proficient that online site UB.com decided to sign Ian as a sponsored pro. Ian has been featured in many high profile tournaments, including the World Series of Poker.

As you can see, the game of poker attracts a varied crowd and those from all walks of life play the game. If you have never played poker, now is a good time to learn the game. You may not be able to play a guitar or sing like a rock star, but you sure can play poker like one.

Jesus. I have no idea why I can't stop hiccuping during the podcasts. I'm fine until I get on the mic, and then: "*hic* *hic* *hic*" It's like I'm a lush from a 1950's comic strip or something. Maybe it has something to do with the way I sit in my chair and speak into the microphone. I've got that proper straight-spin posture, speaking from the diaphragm and all. Who knows? The music this week is a nice, concise blend of punk and new wave, heavy on the 1980s. I certainly had fun digging up some lesser-played tracks, and it'll be a nice counterpoint to next week's all-new material. Podcast #77, "Spirit Of" 7 Seconds, "Regress No Way" (Walk Together, Rock Together Big Boys, "No Love" (No Matter How Long The Line...) NOFX, "Friend Or Foe" (NOFX) --- The Impossibles, "Get It + Got It = Good" (Never Say Goodbye) Unwritten Law, "Lame" ("Lame" single) The Haddonfields, "One Bottle" (We Are Not Alone) --- The Murder City Devils, "That's What You Get" (Thelema Them, "Baby, Please Don't Go" (Good Morning Vietnam soundtrack) The Enthusiasts, "Sinkin'/Risin'" ("Sinkin'/Risin'" single) --- The Dickies, "Pretty Please Me" (Stukas Over Disneyland) The Ergs!, "Saturday Night Crap-O-Rama" (Dorkrockcorkrod) Art Brut, "Formed A Band" (Bang Bang Rock & Roll) --- Julie Brown, "Earth Girls Are Easy" (Goddess In Progress) Devo, "Be Stiff" (DEV-O Live) The B-52's, "Mesopotamia" (Mesopotamia

Boston's Dan Webb & the Spiders released their third LP last year. Entitled Much Obliged, it's on Gunner Records, and sounds far differently than what you'd expect from a Boston punk act. It takes almost nothing from that area's long history of hardcore and streepunk, instead offering up a mix of influences that owe more to the more "rural" areas of the country. We spoke with the group's frontman and namesake, Dan Webb, via e-mail about the group's influences. Where does your sound come from? The new album has an interesting mix of Gainesville 'orgcore and the Replacements. That's an interesting insight you have about the dichotomy of the sound. I think the Gainesville angle is a result of growing up in the punk community. All that we know of the music, we learned through basement shows, van tours and self-released music. So our background is heavily rooted in that DIY world. The replacements aspect comes from us loving really well-crafted pop songs from more mainstream artists like the 'mats, the Kinks or the Beatles. The sound we have is essentially pop songs with punk ingredients. Why the vocal effect? It sounds kind of hollow and echo-y. It's an interesting counterpoint to the chiming guitars. The vocal effect was basically a safety net that allowed me to feel more comfortable when I originally made the first record back in '09. I wasn't really stoked on how my voice came across by itself, unaffected when we were recording and I was listening to a lot of Jay Reatard and the Thermals at the time. The idea was to have the overblown vocal lend the whole thing a kind of overdriven, garage-y feel, like the Marked Men or something. And then, just out of habit, I used it again on Oh Sure, and then a third time on Much Obliged. We recently recorded some bonus tracks for the re-release of Oh Sure and those tracks will be the first ones that don't have the vocal effect on them. I think those sound great, so moving forward, we won't be using the vocal effect. "28 Years" is pretty mellow, and it's a bit of a "record-flip/end of side one" tune. That acoustic sound of "28 Years" is mirrored with what sounds like a mandolin in the album-ender, "Shrug." Is that intended? The placement of "28 Years" as the closer of the first side was intentional. I thought it would be a nice way to break up the album a little. Sometimes records throw acoustic songs at the end of the album, and those always feel like afterthoughts to me, so I wanted to make sure it was right in the middle of the record, so it really felt like part of the album. There is no mandolin on "Shrug," but that one felt like a proper album closer from the get-go. In terms of album placement, those two definitely had the most thought put into them. The rest could be shuffled around. You've played with a wide variety of bands. Do you find that there's a specific kind of act that you fit best with, or does the fact that Dan Webb & the Spiders span genres mean that you can play with anyone? I feel most at home in the punk DIY world, although we may be a little more pop than some in that crowd would prefer. Despite this, it's the world we come from so it's where we are most comfortable and I think it's where we fit best. We have played with a few acts a little more on the garage-y/indie side of things, but I think of us more as a punk band with garage tendencies rather than the other way around. I've been told that we should play outside of the "punk" scene, but I don't really see us appealing to folks that don't want to spend time drinking beer in basements. We really haven't tested those waters adequately, so it's tough to say. Any plans of upcoming tours? In March we are headed back to Germany and the UK in support of the European release of Oh Sure. We will be over there for a run of about 25 dates, and the itinerary is here. Compare the band's "echo-y" vocal sound on Much Obliged with a non-effected bonus track from the forthcoming re-release of Oh Sure.

Despite the fact that it came out months ago, I only recent snagged a vinyl copy of Bomb the Music Industry!'s latest, Vacation. It'd taken me a while to warm up to the newer sounds of the Brooklyn band. This new record is certainly a switch from the ska-punk-indie experimental noise that they were known for. This is a truly mellow, introspective record, but like Fletcher said in a recent NN2S strip, it's not mature - "Punk bands don't get better when they mature. Cheese gets better when it matures. And more smelly. Punk bands that mature just get more boring. And less smelly." However, even after seeing BtMI! at the Overlook this summer, I wasn't down with what they're doing. Then, as is the case with really great albums, I found myself throwing it on while I was working down here in the basement, and as I listened more and more, it ended up being this album that showed Jeff Rosenstock can make mellow songs, where he's not shouting, broken-voiced, at the top of his lungs, where the band's not jumping time signatures and styles every thirty seconds, and it's still innovative and brilliant. "The Shit That You Hate" is the logical continuation of Scrambles songs like "(Shut) Up the Punx!!!" and really just hits close to home for a guy who's getting older and wondering if complaining all the time might not be a little tiresome. Plus, seriously - look at this vinyl. It's so amazingly gorgeous, and the packaging much the same. It's the sort of thing that makes you remember why you start listening to vinyl in the first place. Never can you look at an mp3 or a 300x300 pixel JPEG and marvel at the artistry like you can with a 12-inch slab o' wax like this: Go buy the record from Really Records. Yes, you can download it for free over at Quote Unquote, and I suggest you do that, just to be sure you like it (you don't have to take my word for it - I'm just a jackass bitching about records on the Internet). But if you do like it, fucking buy a copy. It's gorgeous.

After all the hoopla regarding the SOPA/PIPA stuff last week, and the takedown of Megaupload, we'd heard a lot from the likes of media pundits and analysts, but nothing really from the folks supposedly affected by the whole piracy thing against which SOPA was supposed to defend. That was until Friday, when Valient Himself, frontman for Venusian boogie-metal rockers Valient Thorr, took to his Twitter feed (@valientthorr) to lay out what might be the most rational deconstruction of the whole thing I've seen thus far. The Pirate Bay's screed is funnier, but this is far cooler and personal. I've taken the liberty of assembling all the tweets into an easy-to-read couple of paragraphs below.

Everyone is guilty of illegal downloading. Me including. Since Napster was invented. But its out of hand. There are still tons of sites up. I wanna ramble for a sec here- don't wanna clog feeds too much, so hopefully you won't unfollow, but I wanna address something: there's a big difference between censorship & piracy. I've been against SOPA & PIPA from the beginning, but not because they may take away my ability to download free movies or music. That (hopefully) is NOT why MOST artists are against it. We are against it b/c the bills are written SO poorly as to allow corpos & the gov't to BLOCK or CENSOR our sites & therefore our thoughts & freedom much like in China, etc. Downloading flicks & jams that are not free is illegal, & REALLY takes bread out of all artist's (big & SMALL) pockets (read: mouths). I'm still against SOPA & PIPA & I think the MPAA & RIAA are fucked up. But if Megaupload goes down, that's not censorship. They were pirates. I'll not shed a tear for megaupload. The point of this ramble is this: SOPA & PIPA were written poorly. Most in gov't couldn't tell you why. If they were purely anti-piracy they may not have been that bad. But they were full of flaws that would have endangered our freedom. BUT piracy endangers plenty as well. Many artists have spoken out about this. Gillionaires may not care, but hundredaires can't afford rent! Just wanted our Anonymous friends to know that while we're mostly on their side, All stories aren't black & white. Thanx for reading... sorry for the ramble. Hope yall dig that. now back to your regular scheduled horseshit. #peace

We take a turn down the gravel road this week, hitting you with some "greatest hits" of the alt.country scene, if such a thing is possible. the other songs, while lesser-known, are no less wonderful, and we could've easily made this a 30-track, two-hour affair. Hopefully, it makes up for the fact that just as we got used to the new mic, we had to screw everything up by adding a new mixing board. It's a lovely and simple little Mady 6-channel mixer, and it's a little easier to use, being as how the Tascam needed software to operate, whereas we can adjust this one on the fly. Hopefully, things will get better as we learn how to operate this thing (we're a little rusty yet), so please be patient. Podcast #76, "Insurgent" Old Crow Medicine Show, "Wagon Wheel" (O.C.M.S.) The Jayhawks, "Blue" (Tomorrow the Green Grass) Billy Bragg & Wilco, "Way Over Yonder In The Minor Key" (Mermaid Avenue) --- The Byrds, "Eight Miles High" (Greatest Hits) A Band of Bees, "Love in the Harbour" (Octopus) Old 97's, "Valentine" (Fight Songs) --- Andrew Jackson Jihad, "Survival" (People Who Can Eat People...) Ryan Adams, "Goodbye Honey" (Makign Singles, Drinking Doubles) Kepi Ghoulie, "This Friend Of Mine" (American Gothic) --- The Sadies, "One Million Songs" (Tremenoud Efforts) Lee Hazlewood, "We All Make the Flowers Grow" (Trouble Is A Lonesome Town) Wanda Jackson, "Funnel Of Love" (Rock 'n' Roll At the Capitol Tower Vol. 3) --- Ween, "You Were The Fool" (12 Golden Greats) John Doe with Neko Case, "Hwy 5" (Forever Hasn't Happened Yet) The Vandals, "Elvis Decanter" (Slippery When Ill)

We've been siting on this mp3 for a while, and I can't think of a valid reason. For those not in the know (or who don't listen to the podcast), the Holy Shakes are a band based out of Hot Springs, Arkansas. They also happen to feature on vocals one Mr. Billy Spunke, former vocalist and frontman for long-running Chicago ska-punk-core-whatever-jazz band, the Blue Meanies. The band recorded a demo, and it is amazing. Think the ebb-and-flow throbbing anger of early '90s Amphetimine Reptile bands mixed with the snotty, focused energy of Rocket From the Crypt, Cougars or (yes) the Blue Meanies, minus the horns. It's lean, focused rock and roll, and I hope to god some label has the good sense to pick this up and release it. If I had the money, I'd fucking release it myself. Keep an eye out for their upcoming shows at their Facebook page. Holy Shakes, "Feast or Famine"

Given the amount of material from Our Band Could Be Your Life and Get In the Van, you'd think that Stevie Chick's Spray Paint the Walls: The Story of Black Flag would be a little shorter. The author did a number of interviews, and the material from band members such as Chuck Dukowski and Keith Morris is wonderfully illuminating, in terms of what they bring to the story. However, the Greg Ginn and Henry Rollins material all comes from previously-published material. In other words, the bulk of the story is already out there. While Spray Paint the Walls is a wonderful piece of research, it's not a story which you've not heard. It's well-organized, but the most illuminating piece of the book is that Rollins' infamous "shed" from Get in the Van was in fact a fully-finished study behind the Ginn household, as opposed to an actual garden shed (as I'd always assumed). This is a nice way to aggregate the story of Black Flag into one thick tome. If you've been a fan of the band for some time, or a student of punk history, you already know what's within its pages, however. While Chick does a good job of presenting a cohesive, interesting story, it's not strong enough of a narrative to keep anyone reading other than already staunch Black Flag fans.

Indie-popsters Lemuria have been tweeting about their recent recording session with producer J. Robbins, and it seems that the songs tracked last week will see release on April 21, as a Record Store Day 7-inch. The two-song single, entitled "Varoom Allure," comes out via the band's label, Bridge 9. Says drummer Alex Kerns, "We are very excited about them, I think they are the two best songs we have ever written and recorded." Honestly, I'm happy that the trio's next release will be a 7-inch. Their best tunes as of late ("Ozzy," "Chautauqua County," "Lemons") have all been on singles, whereas the full-lengths tend to drag a bit. I'm hoping for a short, punchy, pop blast. Robbins' production on the Rooftop Vigilantes' Real Pony Glue makes me think that he could give Lemuria a slight edge they've been sorely lacking.

This week's podcast is a reflection of my mood at the moment. The weather has gone from unseasonably warm to seasonally appropriate (i.e., cold), and I've gone from a head cold that had me feeling slightly drunk all day to a clear head with razor-sharp dry cough. I'm not in the best of moods, and the dark, angry vibe permeating this week's musical choices ought to reflect that. Enjoy (or sympathize, as the case may be). We'll be back next week with a stack of new stuff. Podcast #75, "Spray Paint the Walls" Love Me Destroyer, "Add Vice" (Black Heart Affair) Selby Tigers, "Droid" (Charm City) Sk8 or Die, "Sk8 or Die Is Go!" (Not In My Skatepark) --- Converge, "Eagles Become Vultures" (You Fail Me) The Jon Spencer Blues Explosion, "Identify" (Now I Got Worry) Blood Brothers, "USA Nails" (Burn, Piano Island, Burn) --- Black Flag, "American Waste" (The First Four Years) The Misfits, "We Bite" ("Die Die My Darling" single) Municipal Waste, "Intro/Deathripper" (Hazardous Mutation --- The Trashies, "Free Fourm War" (Space Jam) The Headies, "Let's Sit Around" (Sugar and Spice (And Everything's Fucked) The Love Shots, "Kill" (Crooner) --- The Briefs, "Destroy the USA" (Sex Objects) The Explosion, "Save Us" (Bury Me Standing) Unwritten Law, "Falling Down" (Oz Factor)