Doug Collette

David Lemieux – The Key To The Dead’s Vaults

Doug Collette May 20, 2011 No Comments

In Doug Collette’s conversation with Grateful Dead archivist David Lemieux. Lemieux’s enthusiasm is so highly infectious for his work in general and in specific about his current project Europe ’72: The Complete Recordings, that it only takes one statement or interrogatory for him to head off on another charged explication of the process behind that project, the general checklist for an archive title or the thought behind the genesis of complete Dead runs in the wake of Fillmore West 1969: The Complete Recordings.

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Warren Haynes: Man In Motion

Doug Collette May 9, 2011 No Comments

If you’ve ever seen and heard Warren Haynes perform Otis Redding and Delbert McClinton covers, you know he has more than a passing interest in both soul and rhythm and blues.  But the passion in this man’s singing on “Save Me,” the final cut on Man in Motion, borders on desperation: arguably the most confessional vocal he’s ever done, this single performance alone is enough to redeem the inconsistencies that otherwise afflict the exercise in style that constitute his second solo album.

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Fleet Foxes: Helplessness Blues

Doug Collette May 2, 2011 No Comments

Virtually as impenetrable as it is alluring on first listen, Fleet Foxes’ Helplessness Blues ultimately becomes one of those albums that reveals something new about the music and the band that made it on each successive hearing.

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Jeff Beck: Jeff Becks’s Rock ‘n’ Roll Party Honoring Les Paul

Doug Collette April 22, 2011 No Comments

Jeff Beck’s Rock 'n' Roll Party is worth having even though it constitutes a marked digression from the fusion forays the British guitarist began with 1975’s Blow By Blow. Even more than the main concert footage, the bonus segments give varied perspective on the heartfelt sentiment involved in this tribute to Les Paul as well as valuable insight into the psyche of Jeff Beck.

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Toad the Wet Sprocket: Higher Ground, South Burlington, VT 3/31/11

Doug Collette April 15, 2011 No Comments

In the 20 plus songs and slightly less than two hours Toad the Wet Sprocket played in the Ballroom at Higher Ground 3/31, virtually none of the tunes sounded appreciably different than the original recordings some of which date back 25 years. Yet, based on the scattered but nonetheless hearty acclamation so many of those tunes received, the band still hits a chord with their audience, perhaps for that very familiarity.

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Robbie Robertson: How To Become Clairvoyant

Doug Collette April 5, 2011 No Comments

Robbie Robertson credits Eric Clapton for much of the original impetus behind the recording of his new album, so it’s no coincidence that How to Become Clairvoyant is remarkably reminiscent of Slowhand’s studio productions as heard on 1998’s Pilgrim.

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Bob Dylan: Bob Dylan in Concert: Brandeis University 1963

Doug Collette April 4, 2011 No Comments

Recordings such as In Concert Brandeis University 1963 are the source of a charisma Bob Dylan still commands today, the likes of which continues to resonate with generations far removed from his own demographic. Originally available only as a value-added piece to The Witmark Demos, this composite of a live show documents the power of Dylan’s performances as well as his compositions of that period, just prior to his breakout beyond the folk genre he would soon redefine.

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John Lennon Remasters

Doug Collette March 14, 2011 No Comments

Despite the erratic nature of his solo output, John Lennon garnered almost as much respect and reverence on his own as he did as a Beatle. It’s arguable that his extra-musical activities, such as the peace advocacy that raised the ire of the establishment, had as much or more to do with the admiration accorded Lennon, but that doesn’t deny the force of the best work he did once the iconic band dissolved in 1970

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Jerry Garcia Acoustic Band: Almost Acoustic/Ragged But Right

Doug Collette March 1, 2011 No Comments

There’s a beautiful logic to Jerry Garcia’s rediscovery of his roots in these late Eighties recordings that belies Sandy Rothman’s casual tone in writing “The Definitive History” of The Jerry Garcia Acoustic Band.  The initial recording Almost Acoustic hasn’t been available for over two decades, but now newly remastered, it’s easy to hear where Garcia learned the precision that informed his guitar (and pedal steel) work with the Dead and JGB. No sequel was ever released until recent archiving exhumed a collection of live tracks, Ragged But Right, that display the same collective joie de vivre as its predecessor.

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