Doug Collette is a journalist at Seven Days. He focuses on arts and entertainment, particularly in the realms of theater, photography, and music, exploring topics such as the music business and various music genres. Doug's work has been featured in publications including Sophos, All About Jazz, Glide Magazine, and NewsBreak.
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With the title of One Last Heist so closely juxtaposed with the album's cover image, the acerbic expression on 's face says it all.
With the purposefully under-the-radar release of Son Volt's Sound Signal Serenades —which was not originally issued on Record Store Day in April
By: Doug Collette
The late Bob Weir could not have foreseen the now decade-old Blue Mountain (released 9/30/16) being the effective end of his recording career. But even if he had, it’s doubtful he could have crafted an album more true to his roots and the evolution thereof over the previous half-century.
By: Doug Collette
In the sixty-one years since its release in December of 1965, the Beatles’ Rubber Soul has come to be regarded as one of the pinnacles of the Liverpudlians’ discography. But, sacrilegious as it may sound, innovative instrumentation and ingenious production barely offset the erratic quality of the material, perceptions ironically ratified over the course of the expansive Super Deluxe Edition.
By: Doug Collette
Grateful Dead tour stops at ‘The Garden’ became legendary over the band’s twenty-four years of visiting the venue above North Station in Boston. More than just inhabiting Causeway Street, the Shakedown community expanded into and around the neighborhood, and accordingly, the iconic band returned the loving favor with repeated (and often extended) visits to The Hub.
By: Doug Collette
Over three decades, the Grateful Dead arguably navigated more personnel shifts than any modern rock band besides the Allman Brothers. But Merriweather 6/30/85, a cull from the Summer Magic 1985 box set, captures the iconic ensemble at the center of one of their most stable periods: the late Brent Mydland’s eleven-year tenure.
By: Doug Collette
Despite Hot Tuna’s increasingly relentless tour schedule, the group began with the inexorable dissolution of Jefferson Airplane, and it’s arguable how many vivid memories remain of the group’s later work during their initial run in the Seventies.
His profile elevated for the world to see and hear as 's creative partner on Fourth World, Vol. 1: Possible Musics (Editions EG/Polydor, 1980), trumpeter-composer
By: Doug Collette
The now-thirty-year-old Live at Roseland Ballroom (released 10/22/96) stands as a template for Gov’t’ Mule’s past, present, and future. Most of the material on this reissue served as a means to lengthy improvisations, but it remains an integral part of the group’s repertoire even today, with the personnel having been reconfigured as a quartet three times since 2004.
By: Doug Collette
Dating back to 1994's Live…My Truck Is My Home and The 9 Volt Years: Battery Powered Home Demos from four years later, Marshall Crenshaw has created an
