Category: Prime Cuts

William Friedkin was an extraordinary film director.  The French Connection (1971) is one of my favorite movies and Sorcerer (1977) and To Live and Die in L.A. (1985) are also […]

This series of essays, that explore the ideas of sequencing and montage between two pieces of recorded music or two film scenes, continues with another one of my favorite albums: […]

In the Prime Cuts essays so far I’ve focused on music and how two tracks on an album placed back-to-back can impact each other (Abide With Me and Well You […]

This is the second in a series of essays that are meant to explore the impact two pieces of music can have when lined up back-to-back on an album, and […]

I thought it would be interesting to start a series of write-ups about specific aspects of recordings that I find remarkable, also regarding cinema.  After seeing the new documentary, “Becoming […]