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Lou Judson • Intuitive Audio
415-883-2689

On Apr 11, 2006, at 10:58 AM, Stephen C Leggett wrote:

> LIBRARY OF CONGRESS101 Independence Avenue SEWashington DC
> 20540Phone: (202) 707-2905Fax: (202) 707-9199Email: [log in to unmask]
> April 11, 2006 Press contact: Sheryl Cannady (202) 707-6456
> Librarian of Congress Names 50 Recordings to the 2005 National
> Recording Registry Librarian of Congress James H. Billington has made
> his annual selection of 50 sound recordings for the National Recording
> Registry. Under the terms of the National Recording Preservation Act
> of 2000, the Librarian is responsible for annually selecting
> recordings that are "culturally, historically, or aesthetically
> significant." Registry recordings must be at least 10 years old. In
> announcing the registry, the Librarian said, "The National Recording
> Registry represents a stunning array of the diversity, humanity and
> creativity found in our sound heritage, nothing less than a flood of
> noise and sound pulsating into the American bloodstream."The National
> Recording Registry was created by the National Recording Preservation
> Act of 2000, legislation that promotes and supports audio
> preservation. The registry celebrates the richness and variety of the
> nation's audio legacy and underscores the responsibility to assure the
> long-term preservation of that legacy for future
> generations.Nominations for the registry were gathered from members of
> the public, who submitted suggestions online (www.loc.gov/nrpb/), and
> from the National Recording Preservation Board, which comprises
> leaders in the fields of music, recorded sound and preservation. The
> board also assisted the Librarian with the review of nominations.The
> new additions to the registry honor a wide variety of outstanding
> spoken and musical recordings and span the years 1903-1988. Among the
> selections is the first presidential inauguration to be broadcast,
> featuring the "New England man-of-few-words" Calvin Coolidge; the
> first official transatlantic telephone conversation that took place on
> Jan. 7, 1927; Clem McCarthy's 1938 broadcast of the historic Joe
> Louis-Max Schmeling fight won by Louis in round 1; Samuel Barber's
> beautiful and haunting "Adagio for Strings," called by some the
> "American anthem for sadness and grief"; and Gil Scott-Heron's "The
> Revolution Will Not Be Televised," a song poem whose title has become
> a well-known part of the American cultural lexicon. Additions also
> include a number of performances by an American pantheon of
> significant artists, including Bob Hope, Nat "King" Cole, Fred Allen,
> Mahalia Jackson, Fats Domino, Buddy Holly, Jerry Lee Lewis, Dave
> Brubeck, B.B. King, the Nitty Gritty Dirt Band and Stevie
> Wonder.Celebrity attendees at the news conference included Robert
> Hendrix, cousin to music legend Jimi Hendrix; Martha Reeves, renowned
> lead singer for the classic Motown group Martha and the Vandellas; and
> members of the comedy troupe the Firesign Theatre, who performed a
> five-minute comedy routine. All are connected with recordings added
> to the registry today.At the press conference, the Library also
> announced acquisition of 31 rare, mint-condition test pressings from
> blues legend Robert Johnson and discovery of a jam session featuring
> jazz great Lester Young. Speaking on the Young discovery, Loren
> Schoenberg, executive director of the Jazz Museum in Harlem, said,
> "Yes, this was Lester's absolute zenith and there is precious little
> extant from this period. Imagine a new Shakespearean sonnet, Chopin
> nocturne or Hemingway short story * that's what we have here * an
> American master, a true iconoclast, at his very best."On behalf of
> Congress and the National Recording Preservation Board, the Library of
> Congress is conducting a study on the state of audio preservation and
> will develop a comprehensive national recording preservation program,
> the first of its kind. The study encompasses the current state of
> sound-recording archiving, preservation, restoration activities and
> access to those recordings by scholars and the public. Rob Bamberger,
> director and writer for the National Recording Preservation Plan, was
> introduced as the person who will prepare the study and plan.The
> Library is identifying and preserving the best existing versions of
> the recordings on the registry. These efforts have received support
> from record companiesand archives. Sony BMG, in particular, is
> assisting the national preservation program by locating the best
> surviving elements of its recordings and duplicating them at no cost
> to the Library, ensuring that the best existing versions are added to
> the National Recording Registry Collection at the Library of
> Congress.The Library is currently accepting nominations for the 2006
> National Recording Registry at the National Recording Preservation
> Board Web site, www.loc.gov/nrpb/.The Library of Congress is the
> nation's oldest federal cultural institution and the world's largest
> library with more than 132 million items, which includes nearly 2.8
> million sound recordings. The Library's Recorded Sound Section holds
> the largest number of radio broadcasts in the United States * more
> than 500,000.A selection of audio excerpts and images will be
> available to the press through April 18 at www.loc.gov/2005 National
> Recording Registry # # #PR 06-834/11/06ISSN 0731-3527NATIONAL
> RECORDING REGISTRY ANNOUNCED 2005 National
> Recording Registry (in chronological order) 1. "Canzone del
> Porter" from "Martha (von Flotow)," Edouard de Reszke (1903)2.
> "Listen to the Lambs," Hampton Quartette; recorded by Natalie Curtis
> Burlin (1917)3. "Over There," Nora Bayes (1917)4.
> "Crazy Blues," Mamie Smith (1920)5. "My Man" and "Second Hand
> Rose," Fanny Brice (1921)6. "Ory's Creole Trombone," Kid
> Ory (June 1922)7. Inauguration of Calvin Coolidge (March 4,
> 1925)8. "Tanec pid werbamy/Dance Under the Willows," Pawlo
> Huemiuk (1926)9. "Singin' the Blues," Frankie Trumbauer and
> his Orchestra with Bix Beiderbecke (1927) 10. First official
> transatlantic telephone conversation (Jan. 7, 1927)11. "El
> Manisero" ("The Peanut Vendor"), Rita Montaner, vocal with orchestra
> (1927); "El Manisero," Don Azpiazu and his orchestra (1930) 12.
> Light's Golden Jubilee Celebration (Oct. 21, 1929)13.
> Beethoven's Egmont Overture, Op. 84, Modesto High School Band
> (1930)14. "Show Boat," Helen Morgan, Paul Robeson, James
> Melton and others; Victor Young, conductor; Louis Alter, piano (1932)
> 15. "Wabash Cannonball," Roy Acuff (1936)16. "One
> o'Clock Jump," Count Basie and his Orchestra (1937)17.
> Archibald MacLeish's "Fall of the City," Orson Welles, narrator,
> Burgess Meredith, Paul Stewart (April 11, 1937) 18. "The
> Adventures of Robin Hood" radio broadcast of May 11, 193819. Joe
> Louis-Max Schmeling fight, Clem McCarthy, announcer (June 22,1938)20.
> "John the Revelator," Golden Gate Quartet (1938) 21.
> "Adagio for Strings," Arturo Toscanini, conductor; NBC Symphony
> (1938)22. "Command Performance" show No.21, Bob Hope,
> master of ceremonies (July 7, 1942)23. "Straighten Up and
> Fly Right," Nat "King" Cole (1943)24. Allen's Alley segment
> from "The Fred Allen Show"(Radio broadcast of Oct. 7, 1945)25.
> "Jole Blon," Harry Choates (1946)26. "Tubby the Tuba," Paul
> Tripp (words) and George Kleinsinger (music) (1946)27.
> "Move on up a Little Higher," Mahalia Jackson (1948)28.
> "Anthology of American Folk Music," edited by Harry Smith (1952) 29.
> "Schooner Bradley," performed by Pat Bonner (??1952-60)30.
> "Damnation of Faust," Boston Symphony Orchestra with the
> Harvard Glee Club and Radcliffe Choral Society (1954)31.
> "Blueberry Hill," Fats Domino (1956)32. "Variations for
> Orchestra," Louisville Orchestra (1956)33. "Whole Lotta Shakin'
> Goin' On," Jerry Lee Lewis (1957)34. "That'll Be the Day,"
> Buddy Holly (1957)35. "Poeme Electronique," Edgard Varese
> (1958)-more-36. "Time Out," The Dave Brubeck Quartet (1959)37.
> Studs Terkel interview with James Baldwin (Sept. 29, 1962)38.
> William Faulkner address at West Point Military Academy (1962) 39.
> "Dancing in the Street," Martha and the Vandellas (1964)40.
> "Live at the Regal," B.B. King (1965)41. "Are You
> Experienced?" Jimi Hendrix Exerience (1967)42. "We're Only in It
> for the Money," Frank Zappa and the Mothers of Invention (1968)43.
> "Switched-On Bach," Wendy Carlos (1968)44. "Oh Happy
> Day," Edwin Hawkins Singers (1969)45. "Don't Crush That
> Dwarf, Hand Me the Pliers," Firesign Theatre (1970)46. "The
> Revolution Will Not Be Televised," Gil Scott-Heron (1970)47.
> "Will the Circle Be Unbroken," Nitty Gritty Dirt Band (1972)48.
> The old fog horn, Kewaunee, Wis., recorded by James A. Lipsky
> (1972)49. "Songs in the Key of Life," Stevie Wonder (1976) 50.
> "Daydream Nation," Sonic Youth (1988)
> 2005 National Recording Registry (in chronological order) 1.
> "Canzone del Porter" from "Martha (von Flotow)," Edouard de Reszke
> (1903) Representative of the Columbia Grand Opera Series. Columbia
> Records' 1903 "celebrity" series of discs featured seven Metropolitan
> Opera stars who were considered some of the most significant singers
> of the period. Perhaps of great historical significance within the
> series are the three recordings made by bass Edouard de Reszke. They
> are his only known published recordings, made when he was approaching
> the end of his performing career. Other performers included in the
> series are Giuseppe Campanari, baritone; Marcella Sembrich, soprano;
> Suzanne Adams, soprano; Ernestine Schumann-Heink, contralto; Antonio
> Scotti, baritone; and Charles Gilbert, baritone. 2. "Listen
> to the Lambs," Hampton Quartette; recorded by Natalie Curtis Burlin
> (1917) Natalie Burlin (1875-1921), a pioneer in the study of American
> minority cultures, was one of the leading collectors and transcribers
> of indigenous music of Africa and the United States. Beginning around
> 1903, she worked to document and preserve Native American culture and
> in 1910, extended her work to carry out important studies of
> African-American and African culture. Burlin published four volumes of
> transcriptions taken from performances by students at Virginia's
> Hampton Normal and Agricultural Institute in 1918-1919. Recordings by
> the Hampton Quartette made on wax cylinders during the 1880s,
> including this recording of "Listen to the Lambs," were probably the
> basis of some of her published transcriptions. 3. "Over
> There," Nora Bayes (1917) Inextricably associated in popular
> imagination with World War I, Nora Bayes' recording introduced George
> M. Cohan's song and became an international hit. Cohan had
> specifically requested that Bayes be the first singer to release his
> composition. A former member of the "Ziegfeld Follies," an extremely
> popular vaudevillian and a Broadway star, she recorded a number of
> other songs to boost morale during the war and performed extensively
> for the soldiers. 4. "Crazy Blues," Mamie Smith (1920) With
> her recording of "Crazy Blues," Mamie Smith became the first black
> vocalist to make a commercial vaudeville blues record. The recording
> was a surprise hit, reputedly selling more than 250,000 copies. It
> revealed to record companies a previously neglected market for
> records, African-American buyers. Subsequently, thousands of
> recordings were made of black jazz and blues artists, invigorating the
> record business and enabling the documentation and preservation of one
> of the richest eras of musical creativity in the United States. 5.
> "My Man" and "Second Hand Rose," Fanny Brice (1921) Performed by
> Fanny Brice in the "Ziegfeld Follies of 1921," "My Man" and "Second
> Hand Rose" were recorded by Victor Records the same year and issued
> together on a double-faced 78-rpm disc. Known for her comedic songs in
> Yiddish and other dialects, Brice was in the midst of marital woes
> when she recorded "My Man." Audiences, connecting strongly with her
> passionate performance, concluded she was singing about herself.
> "Second Hand Rose" was a follow-up to a previous hit song, "Rose of
> Washington Square," and was a rare instance of the sequel excelling
> its predecessor. 6. "Ory's Creole Trombone," Kid Ory (June
> 1922) This ensemble of trombonist Kid Ory, originally called "Spikes'
> Seven Pods of Pepper," was the first recording ever issued of a black
> jazz band. It was recorded by Andrae Nordskog for his Santa Monica,
> Calif.-based Nordskog record label. Under confusing circumstances, the
> record was issued on the Sunshine label belonging to Los Angeles music
> promoters the Spikes Brothers. 7. Inauguration of Calvin
> Coolidge (March 4, 1925) Calvin Coolidge's inauguration in 1925 was
> the first presidential inauguration to be broadcast. Using the latest
> technology, RCA and Bell Telephone aired the ceremonies over a
> makeshift network of radio stations. The New York Times estimated that
> more than 25 million Americans would be able to hear the president's
> address, thus making it a national event in a manner not previously
> possible. Twenty-one radio stations, linked in a circuit throughout
> the country, broadcast the president's 47-minute inaugural address
> from the steps of the U.S. Capitol. This recording was made as an
> experiment, not for publication. It features announcers Graham McNamee
> on AT&T's Red Network and Major J. Andrew White and Norman Brokenshire
> for the RCA/Westinghouse stations. 8. "Tanec pid werbamy/Dance
> Under the Willows," a Ukrainian violin solo with cymbaly, bass and
> sleigh bells, Pawlo Huemiuk (1926) Pawlo Humeniuk was a renowned
> violin player in Ukranian communities before beginning his recording
> career with Columbia, for which he made this dance number. He learned
> violin in western Ukraine at the age of 6 and enjoyed a busy career
> playing concerts, dances and vaudeville theaters. The song is an
> excellent example of the ethnic releases that record labels began to
> produce in the 1920's for sale to immigrant communities in the United
> States. 9. "Singin' the Blues," Frankie Trumbauer and his
> Orchestra with Bix Beiderbecke (1927) Saxophonist Frankie Trumbauer
> and cornetist Bix Beiderbecke created some of the most significant
> jazz recordings of the 1920s, works still noted for their beauty and
> influence on fellow musicians. Traumbauer and Beiderbecke had worked
> together in the orchestras of Jean Goldkette, Adrian Rollini and Paul
> Whiteman. For a brief period in 1927, Trumbauer had his own recording
> contract with Okeh Records. Together with guitarist Eddie Lang and
> other members of the ensemble, Trumbauer and Beiderbecke recorded
> "Singin' the blues," which contains one of Beiderbecke's greatest
> solos. 10. First official transatlantic telephone
> conversation (Jan. 7, 1927) Upon the opening of the transatlantic
> telephone circuit for commercial service, W.S. Gifford, president of
> the American Telephone & Telegraph Co., called Sir Evelyn P. Murray,
> secretary of the General Post Office of Great Britain, offering
> felicitations. 11. "El Manisero" ("The Peanut Vendor"), Rita
> Montaner, vocal with orchestra (1927); "El Manisero," Don Azpiazu and
> his orchestra (1930) Popular Cuban singer and radio artist Rita
> Montaner recorded the first version of the traditional song "El
> Manisero" in Havana in 1927. The Don Azpiazu Orchestra version of "El
> Manisero," adapted from Montaner's recording, was made in New York
> City three years later. It is the first American recording of an
> authentic Latin dance style. This recording launched a decade of
> "rumbamania," introducing U.S. listeners to Cuban percussion
> instruments and Cuban rhythms. 12. Light's Golden Jubilee
> Celebration (Oct. 21, 1929) Celebrating the 50th anniversary of the
> invention of incandescent light, inventor Thomas Edison was honored at
> a dinner Oct. 21, 1929. Portions of the celebration were broadcast
> over an NBC radio network. Hosted by announcer Graham McNamee, the
> radio program included speeches by President Herbert Hoover, Marie
> Curie, Henry Ford and, speaking over shortwave from Berlin, Albert
> Einstein. Messages from the Prince of Wales, President Von Hindenberg
> and Commander Richard Byrd from the South Pole were read to Edison
> during the broadcast. 13. Beethoven's Egmont Overture, Op. 84,
> Modesto High School Band (1930) This 1930 recording of the Modesto,
> Calif., High School Band is the only known recording made by a high
> school band participating in the National High School Band contests
> held between 1926 and 1934. Under the direction of Frank Mancini,
> Modesto High School placed third in the 1927 and 1928 contests, and
> second in 1929. An important educator and conductor who directed band
> programs in California area schools, Mancini was a former member of
> the bands of John Philip Sousa and Patrick Conway. Limited edition
> high school band recordings were once common, produced as fundraising
> tools for school bands and treasured as souvenirs by band members.
> However, few high school bands were recorded before the advent of tape
> recording and long-playing discs inthe late 1940s. 14. "Show
> Boat," Helen Morgan, Paul Robeson, James Melton and others; Victor
> Young, conductor; Louis Alter, piano (1932)
>
> Original cast recordings of hit musicals were not made at the time of
> Jerome Kern and Oscar Hammerstein's landmark 1927 show, "Show Boat."
> Brunswick Records recorded 10 sides of selections from the musical in
> 1932 and issued them as an album set. The most notable performances on
> the set are those of Helen Morgan, the original "Julie" in the
> musical, and Paul Robeson, who played "Joe" in the London cast. The
> set also includes discs of the musical's overture and finale, making
> it as close to an original cast album as one may encounter from this
> period. 15. "Wabash Cannonball," Roy Acuff (1936) Fiddler and
> vocalist Roy Acuff's "Wabash Cannonball" was first recorded in 1936,
> featuring the vocals of Sam "Dynamite" Hatcher of Acuff's band, the
> Crazy Tennesseans. Acuff later changed the band's name to the Smoky
> Mountain Boys while continuing to make himself well known through
> motion picture appearances, recordings and personal tours. He first
> appeared in 1938 as a regular on the Grand Ole Opry and was its top
> star by 1942. "Wabash Cannonball" was recorded again by Acuff, this
> time with his own vocals, in 1947. Acuff was the first living artist
> to be elected into the Country Music Hall of Fame in 1962. 16.
> "One o'Clock Jump," Count Basie and his Orchestra (1937) This landmark
> of the big band Swing Era first came together as a "head arrangement."
> Head arrangements, worked out in rehearsal and committed to memory
> rather than written down, gave much freedom to soloists and allowed
> the musicians to concentrate on the rhythmic drive for which Kansas
> City jazz and the Basie orchestra is noted. The Basie orchestra, like
> most Kansas City-style bands, was organized around its rhythm section.
> The interplay of brass and reeds on the "One o'Clock Jump" serves as a
> backdrop for the unfolding solos of the band's extraordinary players,
> including Lester Young, Herschel Evans and Buck Clayton. 17.
> Archibald MacLeish's "Fall of the City," Orson Welles, narrator,
> Burgess Meredith, Paul Stewart (April 11, 1937) As broadcast on "The
> Columbia Workshop," Earle McGill's production of Archibald MacLeish's
> chilling vision of a not-so-future war featured Orson Welles as the
> narrator. This program brought experimental radio as pioneered by "The
> Columbia Workshop" to maturity and profoundly influenced a generation
> of creative radio producers and directors. 18. "The Adventures
> of Robin Hood" radio broadcast of May 11, 1938 Prior to the release of
> its 1938 film, "The Adventures of Robin Hood," Warner Bros. studio
> arranged to promote the motion picture by broadcasting portions of its
> musical score over its Los Angeles radio station, KFWB. The radio
> broadcast included composer Erich Wolfgang Korngold's symphonic
> scoring of 10 sequences from the film, with narration by actor Basil
> Rathbone. "Robin Hood" is one of Korngold's most respected dramatic
> scores, an outstanding example of what he termed "operas without
> words." Because commercial recordings of motion picture scores did not
> exist in 1938, this unusual film score recording was not published
> until 1975. 19. Joe Louis-Max Schmeling fight, Clem McCarthy,
> announcer (June 22,1938) It is believed that more than 70 million
> people, the largest audience to date for a single radio broadcast,
> listened to NBC's broadcast of the boxing rematch between American Joe
> Louis and German Max Schmeling. From its inception, the fight was
> viewed as more than a sports event. The symbolism of an African
> American defeating a citizen of the political state that proclaimed
> the superiority of the white race was lost on no one. Veteran
> announcer Clem McCarthy delivered a blow-by-blow account of the
> 124-second match to radio audiences from a packed Madison Square
> Garden. 20. "John the Revelator," Golden Gate Quartet (1938)
> This pioneer Virginia gospel quartet of the 1930s and 1940s had a
> profound influence on gospel music, furthering the development of
> gospel vocal quartets from the Jubilee-style of the 19th century to
> one influenced by 20th century jazz and popular music. Their smooth
> Mills Brothers-influenced harmonies, humor and vocal improvisations
> brought the quartet large audiences that extended far beyond the
> church. 21. "Adagio for Strings," Arturo Toscanini, conductor;
> NBC Symphony (1938) "Adagio for Strings," adapted for orchestra by
> Samuel Barber from a movement of his 1936 String Quartet No. 1, Op.
> 11, was created for maestro Arturo Toscanini. It was premiered to a
> widely enthusiastic audience on a Nov. 5, 1938, radio broadcast of the
> NBC Symphony. Its tense melodic line and taut harmonies have made this
> moving composition one of the most popular of all 20th century
> classical works. The work is often performed and can be heard in the
> scores of many motion pictures and television programs, most notably
> "Platoon" and an episode of "Seinfeld." 22. "Command
> Performance" show No. 21, Bob Hope, master of ceremonies (July 7,
> 1942) Although Bob Hope is known for his tireless touring for United
> Service Organizations (USO) shows, he also lent his services to other
> entertainment projects for the troopsduring World War II, including
> "Command Performance." Of the programs broadcast by the Armed Forces
> Radio Service * a wartime broadcasting service for the troops *
> "Command Performance" consistently attracted the biggest stars of the
> day. Hope appeared on the program as master of ceremonies a number of
> times, and service personnel reported greatly enjoying his
> performances. 23. "Straighten up and Fly Right," Nat "King" Cole
> (1943) The King Cole Trio, featuring Nat "King" Cole on piano and
> vocals, is one of most respected small-group ensembles in jazz
> history. Cole's astonishing technical command of the piano, featuring
> a deceptively light touch, influenced many of the greatest piano
> virtuosos who followed him, including Erroll Garner, Oscar Peterson
> and Bill Evans. His vocal solo on this recording introduced audiences
> to his beautifully smooth singing, immaculate diction and liquid
> style, launching his career as a one of the most popular singers of
> the mid-20th century. 24. Allen's Alley segment from "The Fred
> Allen Show"(Radio broadcast of Oct. 7, 1945) Starting on Dec.13,
> 1942, "The Fred Allen Show" featured a segment known as "Allen's
> Alley" in which Allen would stroll along a fictitious alley and meet a
> colorful cast of characters, including Senator Bloat, Minerva Pious,
> Mrs. Pansy Nussbaum and Falstaff Openshaw. One measure of the
> continuing influence of the show was Warner Bros.' modeling the
> cartoon rooster Foghorn Leghorn on Senator Claghorn, the blustery
> Southern politician who was a regular character on "Allen's Alley."
> The Oct. 7, 1945, broadcast marked the debut of the Senator Claghorn
> character. 25. "Jole Blon," Harry Choates (1946) "Jole Blon," by
> fiddler Harry Choates, is credited with introducing Cajun music to a
> national audience and making that genre a significant component of
> country music. Choates is known to many as the "Godfather of Cajun
> Music" and "Fiddle King of Cajun Swing." "Jole Blon," recorded for the
> Gold Star label, quickly became a country charts hit, the first Cajun
> song to make the top 10. 26. "Tubby the Tuba," Paul Tripp
> (words) and George Kleinsinger (music) (1946) The charming musical
> story of Tubby introduces children to the sounds and roles of
> orchestra instruments and is one of the most enduring children's
> recordings ever made. The work was first recorded in 1946, featuring
> the narration of character actor Victor Jory. "Tubby" has since been
> recorded in many different forms. 27. "Move on up a Little
> Higher," Mahalia Jackson (1948) This recording was gospel singer
> Mahalia Jackson's breakthrough disc, a best-seller that appealed
> equally to black and white audiences and reputedly became the
> best-selling gospel release to date. Jackson blends the vocal styles
> of blues singers, such as Bessie Smith and Ma Rainey, with the
> heartfelt emotion and commitment common to traditional gospel singing.
> She helped to make gospel music popular with racially diverse
> audiences of all religions. 28. "Anthology of American Folk
> Music," edited by Harry Smith (1952) The "Harry Smith Anthology,"
> compiled for Folkways Records from obscure, commercially released
> 78-rpm discs originally recorded between 1926 and 1934, brought a
> variety of neglected and virtually forgotten genres of American music
> to the public's attention. The anthology was drawn from the personal
> record collection of the independent filmmaker and record collector
> Harry Smith, who also annotated and illustrated the set. It includes
> country blues, hillbilly tunes, Cajun social music, Appalachian murder
> ballads and other genres of American music rarely heard on record in
> the early 1950s. The LP set was widely influential and played a
> seminal role in the folk music revival of the 1950s and 1960s. 29.
> "Schooner Bradley," performed by Pat Bonner (1952-60).
> Representative of the Ivan Walton Collection, Bentley Library,
> University of Michigan. In the 1930s, Great Lakes folklorist Ivan
> Walton collected songs and music in the northern part of Michigan's
> Lower Peninsula in an effort to save the music of Great Lakes sailors.
> This recording by fiddler Pat Bonner reflects and preserves [AS1] a
> fading tradition tied to maritime life at the end of the schooner era.
> 30. "Damnation of Faust," Boston Symphony Orchestra with the
> Harvard Glee Club and Radcliffe Choral Society (1954) Recorded in
> Boston's Symphony Hall on Feb. 21 and 22, 1954, this "live"
> performance of Berlioz's "dramatic legend" was recorded through a
> single condenser microphone suspended 17 feet above the conductor's
> podium, with one auxiliary microphone enlisted occasionally to
> strengthen the chorus. Conductor Charles Munch, considered one of the
> great interpreters of Berlioz, leads the Boston orchestra with
> assistance from G. Wallace Woodworth directing the Harvard Glee Club
> and Radcliffe Choral Society. Soloists include Suzanne Danco, David
> Poleri, Martial Singher and Donald Gramm. 31. "Blueberry Hill,"
> Fats Domino (1956) Domino's relaxed-tempo, R&B version of "Blueberry
> Hill" was inspired by Louis Armstrong's rendition of the 1940
> composition. The singer's New Orleans roots are evident in the Creole
> inflected cadences that add richness and depth to the performance.
> Recorded in Los Angeles for Imperial records, Domino insisted on
> performing the song despite the reservations of the producer of the
> session. The wisdom of this choice is borne out by the enduring
> association of the song with Domino, despite a number other
> popularrenditions. 32. "Variations for Orchestra,"
> representative of the Louisville Orchestra First Edition Recordings
> series, Louisville Orchestra (1956) "Variations for Orchestra"
> by Elliot Carter is one of many works commissioned by the Louisville
> Orchestra under its Rockefeller Foundation-funded program to
> commission, premiere and record 20th century classical music.
> Premiering on April 21, 1956, with Robert S. Whitney conducting,
> "Variations for Orchestra" was recorded the next month. From 1954
> through 1959, the Louisville Orchestra commissioned and performed 116
> works from 101 composers, issuing 125 long-playing discs on its First
> Edition Recordings label, the first recording label owned by an
> American orchestra. 33. "Whole Lotta Shakin' Goin' On," Jerry
> Lee Lewis (1957) Jerry Lee Lewis' second release for Sun Records
> included this lively number that jettisoned the performer to
> international popularity. A reworking of an R&B single penned by Roy
> Hall (aka Sunny David) and Dave Williams, Lewis radically altered the
> original, adding a propulsive boogie piano that was perfectly
> complemented by the drive of J.M. Van Eaton's energetic drumming. The
> listeners to the recording, like Lewis himself, had a hard time
> remaining seated during the performance. 34. "That'll Be the
> Day," Buddy Holly (1957) Buddy Holly had actually recorded an earlier
> version of this song with a more country-and-western feel than the hit
> version that Brunswick records released. In an era when performers
> were not necessarily songwriters, Buddy Holly and the Crickets wrote
> most of their own material, including this number. 35. "Poeme
> Electronique," Edgard Varese (1958) Described by composer Joel
> Chadabe as "the ultimate statement of tape music as mastic concrete,"
> this work premiered in the Philips pavilion designed by famed
> architect Le Corbusier for the 1958 Brussels Exposition. The work
> incorporated innumerable recorded sounds * voices, sirens, bells, tone
> generators * that were all heard by visitors to the pavilion from 425
> loudspeakers positioned throughout the hall. The speakers allowed the
> sound to be moved through the space in interesting patterns that
> clashed with or complemented an array of projected images. The
> Columbia release (ML 5148) used the actual tapes that Edgard Varese
> employed in the original performance. 36. "Time Out," The Dave
> Brubeck Quartet (1959) Spawned by the "Cool Jazz" movement, "Time Out"
> is an album both accessible and musically and rhythmically
> sophisticated. "Take Five,"composed by the Quartet's saxophonist Paul
> Desmond, has an unforgettable melody but is written in 5/4 time.
> "BlueRondo a la Turk," which Brubeck claimed to be inspired by Turkish
> music he heard while on tour, is in the challenging 9/8 meter, but a
> generation of listeners would instantly recognize it. 37. Studs
> Terkel interview with James Baldwin, representative of the Studs
> Turkel Collection at the Chicago Historical Society, (Sept. 29, 1962)
> From 1952 to 1997, Studs Terkel hosted a radio program featuring
> interviews with a broad variety of performing artists, writers, poets,
> playwrights, historians, political commentators, activists and people
> who in other circumstances might be termed average Americans. He has
> long been recognized as an outstanding interviewer and practitioner of
> oral history. His skills extend beyond getting others to talk candidly
> about themselves to producing revealing interchanges that illuminate
> and inform about creativity, commitment and life in the United States.
> 38. William Faulkner address at West Point Military Academy
> (1962) Three months before his death, in one of his last public
> appearances, William Faulkner spent two days as a guest lecturer at
> West Point, where he read from his novel "The Reivers" and
> participated in a question-and-answer session with the press and
> public. Recorded and transcribed by two English professors at the
> Academy, Joseph L. Fant III and Robert Ashley, Faulkner is extremely
> candid, lucid and generous. Among the subjects he discusses are
> Hemingway, Dreiser, race relations and the future of the South and the
> purpose of literature. 39. "Dancing in the Street," Martha and
> the Vandellas (1964) This rousing dance hit has been cited as one of
> the first examples of what would come to be known as the Motown sound.
> Written by Marvin Gay, William Stevenson and Ivy Jo Hunter, the song
> was turned down by another Motown act before Martha and the Vandellas
> performed it in the Motown studios. The group, which consisted of
> Martha Reeves, Rosalyn Ashford and Annette Beard, had alternated
> between singing backup for other Motown acts and working on their own
> material, but, after the success of this song, their career as a
> backup group was definitively ended. The African-American community
> would come to infuse the tune with political sentiments. 40.
> "Live at the Regal," B.B. King (1965) Bluesman B.B. King recorded this
> album at the Regal Theater in Chicago in 1964. The recording showcases
> King's inventive and emotional guitar style, which blends Delta blues
> with a rhythm and blues beat, spiking the combination with his
> "sliding note" style. The album, one of the first of an in-concert
> blues performance, documents King's intimate relationship with his
> audience. King, who has been called "The King of the Blues" and the
> "best blues artist of his generation," has been a primary influence on
> a number of artists, including Buddy Guy, Eric Clapton and Mike
> Bloomfield. 41. "Are You Experienced?" Jimi Hendrix Exerience
> (1967) This 1967 release remains not only one of the quintessential
> statements of psychedelic rock but also has proved to be one of the
> most groundbreaking guitar albums of the rock era. Hendrix's playing,
> while strongly rooted in the blues, also incorporated a variety of
> jazz influences and a uniquely personal vocabulary of emotive guitar
> feedback and extended solos. Including such classics as "Purple Haze,"
> "Hey Joe" and "The Wind Cries Mary," the album featured the able
> rhythm section of Noel Redding on bass and Mitch Mitchell on drums. It
> is difficult to overstate the enormous influence that Hendrix's
> recordings have had on subsequent guitarists. 42. "We're Only
> in It for the Money," Frank Zappa and the Mothers of Invention (1968)
> Frank Zappa's inventive and iconoclastic album presents a unique
> political stance, both anti-conservative and anti-counterculture, and
> features a scathing satire on hippiedom and America's reactions to it.
> The album art is a brilliant parody of the Beatles' sleeve design for
> "Sgt. Pepper's Lonely Hearts Club Band." Zappa's radical audio editing
> and production techniques produced an eclectic blend of electronic,
> avant-garde and rock music that was influenced by composers such as
> Varese and Stravinsky, with pop melodies, virtuoso instrumental
> performances, verbal asides and sound effects that segue into a
> cohesive work. The result is an electronic sound collage that may be
> Zappa's definitive musical statement on America in the 1960s. 43.
> "Switched-On Bach," Wendy Carlos (1968) This meticulously recorded
> album introduced the Moog synthesizer to a much wider audience than it
> had previously reached. Many of the separate synthesizer voices on the
> album were recorded to tape individually and carefully mixed to create
> the final product. After the recording, Bob Moog's musical circuitry
> enjoyed an enormous boom. Within a decade the synthesizer was well
> established in the idioms of rock music, dance music and Western art
> music. Wendy Carlos went on to record several more well-crafted Bach
> recordings. 44. "Oh Happy Day," Edwin Hawkins Singers (1969)
> Regarded as the springboard for the development of contemporary gospel
> music, "Oh Happy Day" was based on a 19th century white hymn. Its
> popular music and jazz-influenced harmonies, infectious rhythms and
> use of instruments not often found on earlier gospel recordings have
> made the recording enduringly popular and influential. Originally
> recorded on a long-playing album, "Let Us Go into the House of the
> Lord," as a fund-raising effort for the Northern California State
> Youth Choir by director Edwin Hawkins, its compelling, exhilarating
> sound found its way onto radio playlists in San Francisco. Re-recorded
> under the name "Edwin Hawkins Singers," the song became an
> international crossover hit. 45. "Don't Crush That Dwarf, Hand
> Me the Pliers," Firesign Theatre (1970) Firesign Theatre, the Los
> Angeles-based comedy group, started on radio station KPFK in 1966 and
> began producing comedy records in 1968. "Don't crush that dwarf" was
> recorded in 1970, utilizing many sophisticated production techniques
> for the first time on a comedy album, including 16-track recording and
> Dolby noise reduction. The technology, enlisted in service of the
> ensemble's creativity, enabled the use of surreal sound effects and
> layered storytelling to create an album of far more than individual
> comedy sketches. "Dwarf "is a one-act play that satirizes radio and
> television programs to comment on political, social and literary
> topics of its day, remaining funny decades later. 46. "The
> Revolution Will Not Be Televised," Gil Scott-Heron (1970) This poem,
> first released on Gil Scott-Heron's first album, "Small Talk at 125th
> and Lenox," served as a rallying cry to black America and proved a
> foreshadowing of the more politically active strains of rap music.
> Having published a novel before he switched to a career as a recording
> artist, Scott-Heron's street poetry proved uncompromising in its
> vision. Flutist Hubert Laws accompanied Scott-Heron's spoken and sung
> pieces. 47. "Will the Circle Be Unbroken," Nitty Gritty Dirt
> Band (1972) For "Will the Circle Be Unbroken," the Nitty Gritty Dirt
> Band, previously known for their country-rock and jug band music,
> brought together a stellar group of musical giants of country music
> for an unprecedented collaboration. The recordings, made in Nashville,
> showcased traditional songs and country music classics with guest
> performances by Doc Watson, Roy Acuff, Jimmy Martin, Maybelle Carter,
> Merle Travis and Earl Scruggs. The resulting three-LP set introduced
> acoustic country music to a new generation of audiences and revived
> the careers of several of the guest performers. 48. The old fog
> horn, Kewaunee, Wis., recorded by James A. Lipsky (1972) In the late
> 19th century, Kewaunee, Wis., one of the great maritime ports of the
> northern Great Lakes, sought to challenge Chicago as Lake Michigan's
> supreme port city. Its car ferry and rail loading tracks were
> constructed in 1891 within a vast program of harbor improvements
> toward this goal. The port's original fog signal was removed in 1981
> when an automated signal was installed. Improved rail connections to
> other cities led to the ultimate decline of the port; Kewaunee's
> aspirations were short lived. This recording preserves lost sounds of
> the once bustling northern lake port. 49. "Songs in the Key of
> Life," Stevie Wonder (1976) In addition to Stevie Wonder's impeccable
> musicianship, this album features contributions from Nathan Watts
> (bass), Raymond Pounds (drums), Greg Phillinganes (keyboards), Ben
> Bridges and Mike Sembello (guitar) and a guest appearance by jazz
> pianist Herbie Hancock. To produce the album, Wonder and the group
> worked in the studio relentlessly for two years, occasionally logging
> sessions of 48 hours straight. These efforts paid off with a number of
> excellent jazz, blues and gospel-influenced songs, including "I Wish"
> and "Pastime Paradise." The album also includes the Duke Ellington
> tribute "Sir Duke," in which Wonder acknowledges his debt to the
> African-American musical tradition. 50. "Daydream Nation,"
> Sonic Youth (1988) Pioneer members of New York City's clangorous early
> 1980s New Wave scene, Sonic Youth are renowned for a glorious form of
> noise-based chaos. Guitarists Thurston Moore and Lee Ranaldo had
> previously performed with Glen Branca's large guitar ensembles, and
> their alternative guitar tunings and ringing harmonies attest to this
> apprenticeship. On "Daydream Nation," their third album, the group's
> forays into outright noise always return to melodic songs that employ
> hypnotic arpeggios, driving punk rock rhythmic figures and furious
> gales of guitar-based noise. Bassist Kim Gordon's haunting vocals and
> edgy lyrics add additional depth to the numbers she sings.
> Steve Leggett, Program Coordinator
> National Film Preservation Board
> National Recording Preservation Board
> Library of Congress (4690)
> MBRS Division
> Washington, D.C. 20540
> p: 202/707-5912
> f: 202/707-2371
> email: [log in to unmask]
> WWW: http://www.loc.gov/film/
> http://www.loc.gov/rr/record/nrpb/Also visit the Web site of our
> charitable
> affiliate, the National Film Preservation
> Foundation at
> http://www.filmpreservation.org"It is amazing what can be accomplished
> when no
> one cares who gets the credit." -- Harry S. Truman