Martin Scorsese's documentary No Direction Home chronicles Bob Dylan's career in the early sixties, featuring never before seen footage of Dylan on tour, in the studio, and more. The deluxe 10th anniversary edition includes more than two hours of new footage, including the unedited Apothecary Scene from the 1966 U.K. tour, an interview with Scorsese on the making of the film, extended interviews, and more…
On the cover of Must Be Nice, the Vermont duo comprising Soule Monde—drummer Russ Lawton and keyboardist Ray Paczkowski- stand in wintery repose on the grounds of a lifeless grey mansion. Paczkowski looks off into the distance while a smiling Lawton holds the sarcastic title card; two trespassers delivering the musical antidote to a cold, bleak, and uninviting place.
Sometimes, a greatest-hits set is timed perfectly to gather together a group's most successful and familiar performances just at the point when that group has passed the point of their maximum exposure to the public, but before the public memory has had a chance to fade. That was the case when Columbia Records assembled this compilation for release in early 1972. At that point, Blood, Sweat & Tears had released four albums and scored six Top 40 hits, each of which is heard here. But lead singer David Clayton-Thomas had just quit the group, so that the unit that recorded songs like "You've Made Me So Very Happy" was not working together anymore. And even when Clayton-Thomas returned, the band would continue to decline commercially. As such, BS&T's Greatest Hits captures the band's peak in 11 selections–seven singles chart entries, plus two album tracks from the celebrated debut album when Al Kooper helmed the group, and two more from the Grammy-winning multi-platinum second album.
The follow-up to the breakthrough Headhunters album was virtually as good as its wildly successful predecessor: an earthy, funky, yet often harmonically and rhythmically sophisticated tour de force. There is only one change in the Headhunters lineup – swapping drummer Harvey Mason for Mike Clark – and the switch results in grooves that are even more complex. Hancock continues to reach into the rapidly changing high-tech world for new sounds, most notably the metallic sheen of the then-new ARP string synthesizer which was already becoming a staple item on pop and jazz-rock records. Again, there are only four long tracks, three of which ("Palm Grease," "Actual Proof," "Spank-A-Lee") concentrate on the funk, with plenty of Hancock's wah-wah clavinet, synthesizer textures and effects, and electric piano ruminations that still venture beyond the outer limits of post-bop.