Sam Phillips didn't record anybody else the way he recorded Jerry Lee Lewis. With other artists, he pushed and prodded, taking his time to discover the qualities that made them uniquely human, but with Jerry Lee, he just turned the tape on and let the Killer rip. There was no need to sculpt because Lewis arrived at Sun Studios fully formed, ready to lean back and play anything that crossed his mind. Over the course of seven years, that's more or less how things were run at Sun: Lewis would sit at the piano and play, singing songs that were brought to him and songs that crossed his mind, and Sam never stopped rolling the tape.
He experiments in a darkroom. She composes on a computer screen. Together, husband-and-wife artists Jerry Uelsmann and Maggie Taylor create haunting, layered dreamscapes that push the boundaries of photography's possibilities. This documentary from lynda.com explores both the technical and emotional aspects of Jerry's and Maggie's work, from the composition to the criticism, with insight from other preeminent voices in photography.
Jerry Garcia and David Grisman enjoyed getting together in Grisman's studio to record informally for their friends, with the mandolinist wisely choosing to share their best efforts with the public by releasing a series of CDs following Garcia's death. With various members of Grisman's quintet and a couple of other musicians as well, the two old friends explore a wide range of material, including a bluegrass treatment of James Brown's "I'll Go Crazy," an instrumental of a popular old sea shanty renamed "Handsome Cabin Boy Waltz," and country legend Jimmie Rodgers' "Blue Yodel No. 9," along with fresh interpretations of works by Bob Dylan, Merle Travis, and Mel Tillis.