Doug Collette, Author at Glide Magazine

New Riders of the Purple Sage: Live New Years Eve 2006

Doug Collette January 2, 2008 No Comments

ith its sharp replication of the original New Riders’ cover art an accurate reflection of the music itself recorded at Mexicali Blues Café (except for the often abrupt track changes), this modern-day version of the band proves itself to be not just an extension of the (seemingly) bottomless roots of The Grateful Dead, but a worthwhile endeavor its own terms.

Elvis Costello: My Aim Is True (30th Anniversary Deluxe Edition)

Doug Collette December 24, 2007 No Comments

While there have been previous, not to mention extensive, archival reissues of Elvis Costello’s discography in recent years, the third one begun earlier in 2007 may end up being the best of the lot. At least if subsequent titles demonstrate the comprehensive logic of My Aim Is True 30th Anniversary Deluxe Edition.

Los Lobos : Higher Ground, South Burlington, VT – 12/12/07

Doug Collette December 18, 2007 No Comments

It was just about a year ago that Los Lobos nearly tore the roof off of Higher Ground. This year’s appearance at the South Burlington venue was slightly shorter and slightly less ambitious, but no less satisfying in its own way.

Sly and the Family Stone: Stand/There’s A Riot Goin’ On

Doug Collette December 14, 2007 No Comments

The recently announced late 2007 New York appearances of Sly and the Family Stone will no doubt focus attention on the re-mastered limited-edition catalog titles released earlier in the year.

Moby Grape: Listen My Friends! The Best of Moby Grape

Doug Collette December 12, 2007 No Comments

Listen My Friends, a twenty track Moby Grape compilation, is arguably superior to the now out-of-print double-cd Vintage simply because this one focuses solely on the group’s strengths.

Warren Zevon: Preludes/Stand in the Fire

Doug Collette December 10, 2007 No Comments

Warren Zevon invaded the mainstream only briefly during his career but in so doing forged a memorable persona with the public. Preludes, a double disc package of unreleased demo recordings combined with an interview on cd, illustrates how much more there is to the man than the combination of comic absurdity and latent violence in songs such as “Excitable Boy” and “Werewolves of London.”

Levon Helm: Dirt Farmer

Doug Collette December 5, 2007 No Comments

Dirt Farmer is Levon Helm’s first solo studio recording in a quarter of a century and the debut album on his own label. . An outgrowth of informal sessions in his Woodstock barn studio, its music flows with all the ease and grace with which Levon sings. Meanwhile, musicians including multi-instrumentalist Larry Campbell and Helm’s daughter Amy (co-producers of the project) imbue the music with warmth and an inviting informality.

Bob Dylan: The Other Side of the Mirror: Live at Newport Folk Festival 1963-1965

Doug Collette November 29, 2007 No Comments

Considering how much has been written, spoken and contemplated about Bob Dylan’s appearances at the Newport Folk Festival, especially his (literally and figuratively) electric set in 1965, it boggles the mind it’s taken forty years for the film of those shows to find broad circulation. But the wait to see Murray Lerner’s The Other Side of the Mirror is worth it, because the director lets the performances speak for themselves, and they constitute a profound statement indeed.

Unbroken Chain: The Grateful Dead in Music, Culture, Memory: University of Massachusetts, Amherst, MA 11/16-11/18/07

Doug Collette November 28, 2007 No Comments

Jerry Garcia would chuckle to think of a multi-day event hosted by a major American university designed to dissect Grateful Dead culture and history. No doubt too as the weekend long series of events progressed, he would become more than bemused by the proceedings.

John Fogerty: Revival

Doug Collette November 26, 2007 No Comments

On John Fogerty’s new album Revival the ex-leader of Creedence Clearwater Revival acknowledges the brilliance of his past work rather than deny it. But the wry likes of “Creedence Song” notwithstanding, an air of self-consciousness pervades the album, which begs the question of whether Fogerty’s embrace of his past now overcompensates for that period he boycotted it over twenty-years ago?

Doug Collette

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