Doug Collette

Ron Howard’s excellent documentary film, The Beatles: Eight Days a Week – The Touring Years,

With various and sundry activities spanning the continental United States, from Woodstock to San Francisco and in between, guitarist-songwriter is something of a master of space and time.

The contemporary blues community is densely populated with posers long on affectation and short on authenticity.

Cover bands abound within contemporary music circles, both on stage and in the studio.

At the time of the original release of Gov’t Mule’s High & Mighty album twenty years ago (released 8/22/06), some wags trenchantly observed, ‘This is SO Zeppelin?!?’ And, sure enough, within two years, the band had performed, recorded, and released their interpretation of Page, Plant, and Company’s 1973 outing Houses of the Holy, in its entirety, as Holy Haunted House (with guest guitarist Audley Freed).

As with so many Grateful Dead albums, the front cover art of the now forty-five-year-old Dead Set

Bob Dylan’s Modern Times (released 8/29/06) benefited tremendously from being the third release in a string of critically acclaimed albums by the Nobel Laureate. In fact, the overwhelmingly positive response to the record seems in retrospect like a knee-jerk reaction to its predecessors’ consummate blend of blues, rockabilly, and pre-rock balladry.

Grateful Dead 6/17/91 at Giants Stadium Majestic 10, Williston, VT August 20, 2026 Rhino Records/Trafalgar Releasing

Self-motivated as R.E.M. was from the very outset of their career, it is hardly coincidental that the iconoclastic Georgians released their most creatively ambitious work only after leaving the independent IRS Records in 1988 for the major label Warner Brothers.

The middle entry in a trilogy of albums by which Bob Dylan elevated his public profile to a height it had not reached for over a quarter-century—since The Rolling Thunder Revue of 1975— “Love and Theft”