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	<div id="hd-text"><h1><span>Oscar Rennebohm Library</span></h1><a href="http://www.edgewood.edu"><span>Edgewood College</span></a></div>
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	<h2>A return of some old friends</h2>
	<p id="postdate">February 19, 2007</p>
	<p>In the library world, sometimes our stuff gets lost, worn-out, whatever.  What this often means to us is that these titles are popular and get high use, and so when the time comes, we replace them with new copies.  Below are a few of these old friends which you may recognize, and perhaps consider checking out again.</p>
	<p><a href="http://oscar.edgewood.edu/record=b1107147">Rainforest II</a> [Sound Recording] by David Tudor. Mureau / John Cage.<br />Call #: M 1473 .T83  R2 2000<br />Genres: Electronic music. Monologues with music. Thoreau, Henry David, 1817-1862 -- Musical settings.</p> 
	<a href="http://oscar.edgewood.edu/record=b1107147"><img class="imgL" src="../../images/news/2007/02-19a.jpg" height="150" width="150" alt="Rainforest II" /></a>
	<p>This document was recorded at a live 1972 performance in Bremen, Germany, capturing a simultaneous, interactive presentation of David Tudor's electronic Rainforest and John Cage's verbal text Mureau. Amid the accompanying notes by Hans Otte, music director of Radio Bremen from 1959-84, is the statement that "This open-ended performance lasted about three hours...," suggesting that the disc is a highly edited version of the original concert. In any case, this is not music in which awareness of a structural edifice is helpful to guide the listener's experience, nor is one even perceptible; rather, as the combination exists as a sound continuum or, perhaps, a musique ambiante--which is not to suggest a passive experience--this version may not serve as a replication of the full performance but nevertheless stands as a valid, self-contained, and representative excerpt of the whole. For most listeners, 90 minutes will be enough to get the flavor of the total experience, and at this length I found the effect is more meditational than confrontational... The music moves gradually across a spectrum of gestures, intensities, shapes, and timbres, unfortunately lacking the antiphonal effect of the eight loudspeakers in the hall during the original performance. Alternately arid, abrasive, and amusing, this is a valuable document by two of the 20th century's most innovative artists, and if you've read this far you no doubt already know whether you want to hear it or not. Art Lang, <cite>Andante Magazine</cite>.</p>

	<p><a href="http://oscar.edgewood.edu/record=b1125783">Daughters Of The Lonesome Isle</a> [Sound Recording] by John Cage<br />Call #: M22.C33 D38 1994<br />Genres: Piano music. Prepared piano music. Ballets, Suites (Piano).</p>
	<a href="http://oscar.edgewood.edu/record=b1125783"><img class="imgR" src="../../images/news/2007/02-19b.jpg" height="150" width="150" alt="Daughters Of The Lonesome Isle" /></a>
	<p>Margaret Leng Tan, the pianist on this album, knew and played for John Cage himself for more than a decade. The insight that comes with such a relationship with the composer shines through on this album. I can scarcely imagine better versions of these wonderful piano pieces. The pieces span a variety of types of pianos (prepared piano, toy piano, regular piano, bowed piano) and moods. From the incredibly beautiful ("In a Landscape" is one of the most beautiful pieces of music I have ever heard) to the aggressive ("Ophelia") to the minimalist ("Music for Piano #2), this album spans quite a bit of the possibilities for piano music. I highly recommend it, but should caution you that you must have an open mind to enjoy this--this could be unlike you might have heard a piano played before (or imagined it could be played). If you like this, I recommend "The Perilous Night/Four Walls," which also has Margaret Leng Tan playing piano.  Justin Oser, <cite>Amazon.com</cite>.</p>

 	<p><a href="http://oscar.edgewood.edu/record=b1127818">This Is Madness</a> [Sound Recording] by The Last Poets<br />Call #: M1366.L37 T447 2002<br />Genres: African Americans -- Poetry. Protest poetry, American. American poetry -- African American authors. American poetry -- New York (State) -- New York. Harlem (New York, N.Y.) -- Poetry. American poetry -- 20th century. Monologues with music (Percussion).</p>
	<a href="http://oscar.edgewood.edu/record=b1127818"><img class="imgL" src="../../images/news/2007/02-19c.jpg" height="150" width="150" alt="This is Madness" /></a>
	<p>With their politically charged raps, taut rhythms, and dedication to raising African-American consciousness, the Last Poets almost single-handedly laid the groundwork for the emergence of hip-hop. The group arose out of the prison experiences of Jalal Mansur Nuriddin, a U.S. Army paratrooper who chose jail as an alternative to fighting in Vietnam; while incarcerated, he converted to Islam, learned to "spiel" (an early form of rapping), and befriended fellow inmates Omar Ben Hassan and Abiodun Oyewole... [This is Madness is] a legendary set featuring a group of extremely controversial street poets. The Last Poets used offensive language brilliantly, talked in graphic detail about America's social and racial failures, and helped expose a wider audience to the sentiments of the '70s black nationalists. They were the forerunners of today's Afrocentric rappers, and also showed the way to a jazz/rap union now being explored on both sides of the Atlantic. <cite>All Music Guide</cite>.</p>

	<p><a href="http://oscar.edgewood.edu/record=b1130668">Call Me</a> [Sound Recording] by Al Green<br />Call #: M1371.G733 C344 2004<br />Genres: Soul music. Rhythm and blues music.</p>
	<a href="http://oscar.edgewood.edu/record=b1130668"><img class="imgR" src="../../images/news/2007/02-19d.jpg" height="150" width="150" alt="Call Me" /></a>
	<p>Al Green reached his creative peak with the brilliant Call Me, the most inventive and assured album of his career. So silky and fluid as to sound almost effortless, Green's vocals revel in the lush strings and evocative horns of Willie Mitchell's superbly intimate production, barely rising above an angelic whisper for the gossamer "Have You Been Making Out O.K.." With barely perceptible changes in mood, Call Me covers remarkable ground, spanning from "Stand Up" - a call to arms delivered with characteristic understatement - to renditions of Hank Williams' "I'm So Lonesome I Could Cry" and Willie Nelson's "Funny How Time Slips Away," both of them exemplary fusions of country and soul. Equally compelling are the album's three Top Ten hits - "You Ought to Be With Me," "Here I Am (Come and Take Me)," and the shimmering title cut. A classic.  <cite>All Music Guide</cite>.</p>

	<p><a href="http://oscar.edgewood.edu/record=b1133808">American Beauty</a> [Videorecording] / Dreamworks Pictures Presents ; Directed By Sam Mendes ; Written By Alan Ball ; Produced By Bruce Cohen &amp; Dan Jinks ; A Jinks/Cohen Company Production.<br />Call #: PN1997 .A357 2000.<br />Genres: Midlife crisis -- Drama. Suburban life -- Drama. Feature films. Video recordings for the hearing impaired.</p> 
	<a href="http://oscar.edgewood.edu/record=b1133808"><img class="imgL" src="../../images/news/2007/02-19e.jpg" height="185" width="131" alt="American Beauty" /></a>
	<p>This amazing and impassioned fantasia about American loneliness begins as satire and ends with a vision of the sublime. The defeated suburban patriarch Lester Burnham (Kevin Spacey), condemned by his withdrawn daughter (Thora Birch) and his hyperorganized wife (Annette Bening), drops out of his job and misbehaves badly. After Lester's marriage gets blown apart by squalls of comic contempt, the movie, which was written by Alan Ball and directed by the British theatre maestro Sam Mendes (it's his first film), opens up and takes in Lester's suburban territory-the dissatisfactions of the business-mad nineties, in which the gospel of selfishness leaves people clenched and isolated. The bitter satirical riffs slowly give way to a mystical appreciation of the vagrant beauty trapped beneath the surface of life. The hard-edged, almost hyperreal cinematography, by Conrad L. Hall, and the editing, by Tariq Anwar and Chris Greenbury, shift back and forth between dream and actuality with mesmerizing beauty. With Mena Suvari as a teen vamp who is terrified of being ordinary, and Wes Bentley as a young drug dealer who uses his video camera to discover the hidden connections among things. David Denby, <cite>The New Yorker</cite>.</p>

	<p><a href="http://oscar.edgewood.edu/record=b1139220">Ella Fitzgerald. Volume 1</a> [Sound Recording]<br />Call #: M1366.F5 E44 2002<br />Genres: Jazz vocals. Jazz. Swing (Music).</p>
	<a href="http://oscar.edgewood.edu/record=b1139220"><img class="imgR" src="../../images/news/2007/02-19f.jpg" height="150" width="150" alt="Ella Fitzgerald Volume 1" /></a>
	<p>"The First Lady of Song," Ella Fitzgerald was arguably the finest female jazz singer of all time (although some may vote for Sarah Vaughan or Billie Holiday). Blessed with a beautiful voice and a wide range, Fitzgerald could outswing anyone, was a brilliant scat singer, and had near-perfect elocution; one could always understand the words she sang. The one fault was that, since she always sounded so happy to be singing, Fitzgerald did not always dig below the surface of the lyrics she interpreted and she even made a downbeat song such as "Love for Sale" sound joyous. However, when one evaluates her career on a whole, there is simply no one else in her class.  <cite>All Music Guide</cite></p>

	<p><a href="http://oscar.edgewood.edu/record=b1099757">Ragas</a> [Sound Recording] by Ravi Shankar, Ali Akbar Khan.<br /></p>
	<a href="http://oscar.edgewood.edu/record=b1099757"><img class="imgL" src="../../images/news/2007/02-19g.jpg" height="150" width="150" alt="Ragas" /></a>
	<p>Call #: M1808.S26 R34 1990<br />Genres: Ragas. Music -- India. Sitar music. Sarod and sitar music.</p>
	<p>This 1973 release presents some precious collaborative music from the mid-'60s by India's greatest sitar player, Ravi Shankar, and master sarod player Ali Akbar Khan, for an insightful snapshot of Indian classical music in America during the 1960s. If it's possible to "jam" on the sitar and sarod, that's what these two masters do on the first two tracks while drone and tabla dance in and out of their soulful, somewhat improvised, vignette. "Ragas Ramdar Dalhar" takes its sweet time in unfolding, sprinkling glorious tones like raindrops before jumping into waves of ecstatic sound when the tabla furiously chimes in. "Raga Malika" is a steady, melodious piece, churning on with lively tabla and vibrant sarod. The CD's sound quality, while not up to late-1990s standards, is certainly free of crackling and distortion. Very listenable and a wonderful slice of history. Karen Karleski, <cite>Amazon.com</cite></p>

	<p><a href="http://oscar.edgewood.edu/record=b1107568">Blood On The Tracks</a> [Sound Recording] by Bob Dylan.<br />Call #: M1370.D94  B667 1984.<br />Genre: Popular music.</p>
	<a href="http://oscar.edgewood.edu/record=b1107568"><img class="imgR" src="../../images/news/2007/02-19h.jpg" height="150" width="150" alt="Blood on the Tracks" /></a>
	<p>Following on the heels of an album where he repudiated his past with his greatest backing band, Blood on the Tracks finds Bob Dylan, in a way, retreating to the past, recording a largely quiet, acoustic-based album. But this is hardly nostalgia - this is the sound of an artist returning to his strengths, what feels most familiar, as he accepts a traumatic situation, namely the breakdown of his marriage. This is an album alternately bitter, sorrowful, regretful, and peaceful, easily the closest he ever came to wearing his emotions on his sleeve. That's not to say that it's an explicitly confessional record, since many songs are riddles or allegories, yet the warmth of the music makes it feel that way. The original version of the album was even quieter - first takes of "Idiot Wind" and "Tangled Up in Blue," available on The Bootleg Series, Vols. 1-3, are hushed and quiet (excised verses are quoted in the liner notes, but not heard on the record) - but Blood on the Tracks remains an intimate, revealing affair since these harsher takes let his anger surface the way his sadness does elsewhere. As such, it's an affecting, unbearably poignant record, not because it's a glimpse into his soul, but because the songs are remarkably clear-eyed and sentimental, lovely and melancholy at once. And, in a way, it's best that he was backed with studio musicians here, since the professional, understated backing lets the songs and emotion stand at the forefront. Dylan made albums more influential than this, but he never made one better. </p>

	<p><a href="http://oscar.edgewood.edu/record=b1130016">Let It Bleed</a> [Sound Recording] by The Rolling Stones.<br />Call #: M1370.R64  L47 2002<br />Genre: Rock music -- 1961-1970.</p>
	<a href="http://oscar.edgewood.edu/record=b1130016"><img class="imgL" src="../../images/news/2007/02-19i.jpg" height="150" width="150" alt="Let It Bleed" /></a>
	<p>Mostly recorded without Brian Jones - who died several months before its release (although he does play on two tracks) and was replaced by Mick Taylor (who also plays on just two songs) - this extends the rock and blues feel of Beggars Banquet into slightly harder-rocking, more demonically sexual territory. The Stones were never as consistent on album as their main rivals, the Beatles, and Let It Bleed suffers from some rather perfunctory tracks, like "Monkey Man" and a countrified remake of the classic "Honky Tonk Woman" (here titled "Country Honk"). Yet some of the songs are among their very best, especially "Gimme Shelter," with its shimmering guitar lines and apocalyptic lyrics; the harmonica-driven "Midnight Rambler"; the druggy party ambience of the title track; and the stunning "You Can't Always Get What You Want," which was the Stones' "Hey Jude" of sorts, with its epic structure, horns, philosophical lyrics, and swelling choral vocals. "You Got the Silver" (Keith Richards' first lead vocal) and Robert Johnson's "Love in Vain," by contrast, were as close to the roots of acoustic down-home blues as the Stones ever got. <cite>All Music Guide</cite></p>

	<p><a href="http://oscar.edgewood.edu/record=b1130024">Bringing It All Back Home</a> [Sound Recording] by Bob Dylan.<br />Call #:M1370.D94 B74 2003<br />Genre:Popular music -- 1961-1970.</p>
	<a href="http://oscar.edgewood.edu/record=b1130024"><img class="imgR" src="../../images/news/2007/02-19j.jpg" height="150" width="150" alt="Bringing it all Back Home" /></a>
	<p>With Another Side of Bob Dylan, Dylan had begun pushing past folk, and with Bringing It All Back Home, he exploded the boundaries, producing an album of boundless imagination and skill. And it's not just that he went electric, either, rocking hard on "Subterranean Homesick Blues," "Maggie's Farm," and "Outlaw Blues"; it's that he's exploding with imagination throughout the record. After all, the music on its second side - the nominal folk songs - derive from the same vantage point as the rockers, leaving traditional folk concerns behind and delving deep into the personal. And this isn't just introspection, either, since the surreal paranoia on "It's Alright, Ma (I'm Only Bleeding)" and the whimsical poetry of "Mr. Tambourine Man" are individual, yet not personal. And that's just the tip of the iceberg, really, as he writes uncommonly beautiful love songs ("She Belongs to Me," "Love Minus Zero/No Limit") that sit alongside uncommonly funny fantasias ("On the Road Again," "Bob Dylan's 115th Dream"). This is the point where Dylan eclipses any conventional sense of folk and rewrites the rules of rock, making it safe for personal expression and poetry, not only making words mean as much as the music, but making the music an extension of the words. A truly remarkable album.</p>
	<p><a href="http://oscar.edgewood.edu/record=b1130331">Sticky Fingers</a> [Sound Recording] by The Rolling Stones.<br />Call #: M1370.R64 S74 1971<br />Genre: Rock music -- 1971-1980.</p>
	<a href="http://oscar.edgewood.edu/record=b1130331"><img class="imgL" src="../../images/news/2007/02-19k.jpg" height="150" width="150" alt="Sticky Fingers" /></a>
	<p>Pieced together from outtakes and much-labored-over songs, Sticky Fingers manages to have a loose, ramshackle ambience that belies both its origins and the dark undercurrents of the songs. ...Apart from the classic opener, "Brown Sugar" (a gleeful tune about slavery, interracial sex, and lost virginity, not necessarily in that order), the long workout "Can't You Hear Me Knocking" and the mean-spirited "Bitch," Sticky Fingers is a slow, bluesy affair, with a few country touches thrown in for good measure. The laid-back tone of the album gives ample room for new lead guitarist Mick Taylor to stretch out, particularly on the extended coda of "Can't You Hear Me Knocking." But the key to the album isn't the instrumental interplay - although that is terrific - it's the utter weariness of the songs. "Wild Horses" is their first nonironic stab at a country song, and it is a beautiful, heart-tugging masterpiece. Similarly, "I Got the Blues" is a ravished, late-night classic that ranks among their very best blues. "Sister Morphine" is a horrifying overdose tale, and "Moonlight Mile," with Paul Buckmaster's grandiose strings, is a perfect closure: sad, yearning, drug-addled, and beautiful. With its offhand mixture of decadence, roots music, and outright malevolence, Sticky Fingers set the tone for the rest of the decade for the Stones. </p>

	<p><a href="http://oscar.edgewood.edu/record=b1130663">White Blood Cells</a> [Sound Recording] by The White Stripes.<br />Call #: M1370.W55 W44 2002.<br />Genre: Rock music -- 2001-2010.</p>
	<a href="http://oscar.edgewood.edu/record=b1130663"><img class="imgR" src="../../images/news/2007/02-19l.jpg" height="150" width="150" alt="White Blood Cells" /></a>
	<p>Despite the seemingly instant attention surrounding them - glowing write-ups in glossy magazines like Rolling Stone and Mojo, guest lists boasting names like Kate Hudson and Chris Robinson, and appearances on national TV - the White Stripes have stayed true to the approach that brought them this success in the first place. White Blood Cells, Jack and Meg White's third effort for Sympathy for the Record Industry, wraps their powerful, deceptively simple style around meditations on fame, love, and betrayal. As produced by Doug Easley, it sounds exactly how an underground sensation's breakthrough album should: bigger and tighter than their earlier material, but not so polished that it will scare away longtime fans. Admittedly, White Blood Cells lacks some of the White Stripes' blues influence and urgency, but it perfects the pop skills the duo honed on De Stijl and expands on them. The country-tinged "Hotel Yorba" and immediate, crazed garage pop of "Fell in Love With a Girl" define the album's immediacy, along with the folky, McCartney-esque "We're Going to Be Friends," a charming, school-days love song that's among Jack White's finest work. However, White's growth as a songwriter shines through on virtually every track, from the cocky opener "Dead Leaves and the Dirty Ground" to vicious indictments like "The Union Forever" and "I Think I Smell a Rat." "Same Boy You've Always Known" and "Offend in Every Way" are two more quintessential tracks, offering up more of the group's stomping riffs and rhythms and us-against-the-world attitude. Few garage rock groups would name one of their most driving numbers "I'm Finding It Harder to Be a Gentleman," and fewer still would pen lyrics like "I'm so tired of acting tough/I'm gonna do what I please/Let's get married," but it's precisely this mix of strength and sweetness, among other contrasts, that makes the White Stripes so intriguing. Likewise, White Blood Cells' ability to surprise old fans and win over new ones makes it the Stripes' finest work to date. </p>

	<p><a href="http://oscar.edgewood.edu/record=b1139298">A Nod Is As Good As A Wink-- To A Blind Horse</a> [Sound Recording] by Faces.<br />Call #: M1370.F32 N62 2005.<br />Genre: Rock music -- 1971-1980.</p>
	<a href="http://oscar.edgewood.edu/record=b1139298"><img class="imgL" src="../../images/news/2007/02-19m.jpg" height="150" width="150" alt="A Nod Is As Good As A Wink... To A Blind Horse" /></a>
	<p>Boasting "Stay With Me," the only hit the Faces ever had, A Nod Is as Good as a Wink is their most consistent record, and arguably their best. "Stay With Me" and "Miss Judy's Farm" showcase the band at their best - they're all over the place, threatening to fall apart altogether before they snap it all back into place. Nobody rocked better than this, and the album is full of such terrific moments, including a rollicking cover of Chuck Berry's "Memphis." As with all of the Faces' albums, it's a little messy, but it is a classic rock &amp; roll band at the top of their form.</p>

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