The Nothing to See Here Hotel

Five years after the critical and commercial disappointment of Twin Peaks: Fire Walk With Me, director David Lynch returned to the big screen with this cryptic thriller about confused identities and erotic obsession. Fred (Bill Pullman) is an avant-garde jazz saxophonist who shares a luxurious but fashionably barren house with his wife Renee (Patricia Arquette). Fred suspects that Renee may be unfaithful to him, but realizes he has bigger things to worry about when a series of videotapes appear at his door that prove someone is watching his home from the outside and inside. When Renee is found murdered, Fred finds himself behind bars, but one morning Fred is no longer in his cell. He has seemingly been transformed into Pete Drayton (Balthazar Getty), a young auto mechanic who foolishly allowed himself to get involved with the wife of gangster Dick Laurent (Robert Loggia), a luscious blonde named Alice who looks exactly like Renee.

In the liner notes to these carefully packaged reissues, all four of the Incredible String Band principals– co-founder Clive Palmer, core duo Mike Heron and Robin Williamson, and Elektra records executive Joe Boyd– offer their insights in separate essays. Three of them mention the smell of patchouli. Such were the times, certainly, but the ISB are loved equally by avant-garde musicians, psychedelia enthusiasts, and those slightly dweeby young gentlemen who hang around music shops on college campuses. The reissue of their first four albums probably put to rest any notion that the ISB were a properly great band, releasing just one true classic, but they were rarely anything less than brave, inspired, and profoundly weird.

The first feature film directed by Jean-Luc Godard and one of the seminal films of the French New Wave, Breathless is story of the love between Michel Poiccard, a small-time hood wanted for killing a cop, and Patricia Franchini, an American who sells the International Herald Tribune along the boulevards of Paris. Their relationship develops as Michel hides out from a dragnet. Breathless uses the famous techniques of the French New Wave: location shooting, improvised dialogue, and a loose narrative form. In addition Godard uses his characteristic jump cuts, deliberate "mismatches" between shots, and references to the history of cinema, art, and music. Much of the film's vigor comes from collisions between popular and high culture: Godard shows us pinups and portraits of women by Picasso and Renoir, and the soundtrack includes both Mozart's clarinet concerto and snippets of French pop radio.

These 20 CDs comprise over 25 hours of music captured on-stage in the 1940s, ‘50s, and ‘60s at KWKH’s legendary Louisiana Hayride radio show. Staged live in Shreveport, the Hayride featured national country music stars, soon-to-be legends, regional break-outs, and talented newcomers. Most of this music has not been heard since the day it was broadcasted.

Five years, six discs, and though it is certainly a flawed document, it is still unlikely whether there will ever be a more complete accounting than this. Between 1982 and 1987, Marillion first established – and then confirmed – their place at the vanguard of the U.K. prog scene. Of course they maintained it thereafter, but the loss of frontman Fish saw them lose a certain madness as well; things became safer and calmer once he was gone, and if you need proof of that, then this is for you…