{'fraction_non_alphanumeric': 0.016143497757847534, 'fraction_numerical': 0.002242152466367713, 'mean_word_length': 5.1291208791208796, 'pattern_counts': {'":': 0, '<': 0, '<?xml version=': 0, '>': 0, 'https://': 0, 'lorem ipsum': 0, 'www.': 0, 'xml': 0}, 'pii_count': 0, 'substrings_counts': 0, 'word_list_counts': {'cursed_substrings.json': 0, 'profanity_word_list.json': 0, 'sexual_word_list.json': 0, 'zh_pornsignals.json': 0}}
Who Did It First? Great Pop Cover Songs and Their Original Artists

Furthermore, this is one of the few moments of the book in which the prose lacks the characteristic elegance, wit, and narrative strength of the preceding chapters. That being said, Grubbs provides an excellent context in terms of the racial dimensions at play in European free improvisation’s attempts to obscure its relation to jazz. Engaging with notable scholars such as George E. Lewis and Georgina Born, the beginning of Chapter 4 shows Grubbs’s ability to shift discursive channels in an adept and fluid manner. In the final chapter, “Remove the Records from Texas: Online Resources and ImpermanentArchives,” the author examines theways inwhich the online dissemination of digital files has affected not only the ways in which listeners historicize experimental music from the 1960s, but also the category of the archive itself. The chapter workswell in updating many of the anxieties and concerns of artists and listeners detailed throughout the book to the current technological landscape. True to form, Grubbs navigates a multitude of cultural perspectives through poignant discourse analyses that highlight the conversational aspects of artistic creation and reception. As a whole, it is the dialogic aspect of Records Ruin the Landscape that marks it as a necessary read for scholars, artists, and listeners across artistic and academic disciplines. Through an endlessly alluring rhetorical style combined with vast stores of primary source material, Grubbs offers new insights on old questions from a variety of perspectives, placing previously disparate discourses into productive conversation. From beginning to end, the reader wastes no time immersing herself in a unique take on the typical story about the influence of recordings on musical practice, and by the end is left wondering how the next chapter of the story will proceed. Yet it was a poetic gesture for Grubbs to conclude the book without a proper conclusion at all. In this way the book emulates the sound recordings on which it dedicates so much of its energy: it becomes part of a dialectical landscape itself, a memory within an ever evolving and increasingly mediated narrative.