DEJA RE-VU
Pop Culture Classics’ Recommended CDs, DVDs and Books
By Paul Freeman


DVDs

"HIRED HAND"
"Easy Rider" may be Peter Fonda's best known film. But "Hired Hand" is his best. It disappeared without a trace following its initial release, but has achieved a measure of cult status over the years. Now Arrow Video Academy presents a gorgeously restored, high definition Blu-ray version of the 1971 film. It was transferred from Universal's original film elements. Visually and artistically, the film is enthralling.

As it opens, Harry Collings and two friends, Arch (Warren Oates) and the younger Dan (Robert Pratt) are savoring a peaceful respite, fishing and swimming in an idyllic spot. The mood is shattered when the body of a little girl floats by. It's a jarring juxtaposition that will echo in the film. The three ride into an isolated, ugly, minuscule, Purgatory-type of a town, a blemish on the otherwise unspoiled magnificence of the surrounding landscape. The serenity of nature is again suddenly disrupted by human violence. Dan is murdered by a villain (Severn Darden) who covets his horse. Harry attains a measure of revenge. But it will come back to haunt him.

Still trying to find his place in the world, Harry had left his wife and young daughter seven years prior, forsaking responsibility for the freedom of points west. Having married too young, he wanted to experience life. But he has grown weary of drifting. And so he returns home. Arch decides to tag along. They share a bond that's hard to break. Harry's wife Hannah (Verna Bloom) is reluctant to make herself vulnerable again. Harry convinces her to at least let him stay on at the small farm as a hired hand. Slowly, a poignant, bittersweet romance unfolds. But forces of evil still beckon from beyond this little garden of Eden.

Too often under-appreciated for his craft on screen, Fonda radiates a low-key charisma that proves riveting. He's the master of subtlety in his acting. Each barely perceptive facial flicker is meaningful. And we can see so much going on behind his eyes. Oates gives one of his finest performances, as well. He may be playing a simple man, but his portrayal is quite complex, reaching down into the depths of the character's soul. Equally good is Verna Bloom ("Medium Cool," "High Plains Drifter"), who suggests Hannah's simmering inner turmoil and reveals a long wilted flower who's beginning to blossom again.

Fonda's direction is pure poetry. With a painterly shot composition, Fonda has fashioned a lyrical western. Remarkably, "The Hired Hand" marked Fonda's debut as a director. Boldly, in choosing his team, he selected a number of key talents who had little or no previous big screen credits. They enabled him to fulfill his enlightened vision. Vilmos Zsigmond's brilliant cinematography is a work of art, caressing the gorgeous New Mexico vistas. Bruce Langhorne's gentle, sparse, Americana score, for which he played all the instruments, complements each frame, each feeling. Like the performances, photography and music, the script by Alan Sharp ("Night Moves") is beautiful in its spareness. No word wasted. Much is left for the viewer to read between the lines. And the editing by Frank Mazzola (who had previously dazzled on "Performance"), contributes mightily to the feel of the film. The opening montage is especially arresting.

It's rare to find a film in which every element meshes so flawlessly. Viewers feel as though they had stepped into the old West. Not a western movie. The real west. Vast, unspoiled, beautiful... and dangerous.

The Arrow disc contains many great extras, including a Sundance Channel special on the making of the film, a message from Martin Scorcese and a Fonda commentary track. Be sure to listen to the audio track of Fonda and Oates taking questions, in 1971, at London's National Film Theatre. Great stuff. There are several deleted scenes, including a few which feature Fonda pal Larry Hagman. He's wonderfully disarming in the footage, but the excised bits would have disrupted the flow that had been established, which focused on the three principals. Fonda knew exactly what he needed. "The Hired Hand" is perfection. The deliberately paced, unconventional film was difficult to market in the wake of the "Easy Rider" phenomenon. But now "The Hired Hand" can take its rightful place as a western classic.

TELEVISION'S LOST CLASSICS: VOLUME ONE -- 2 PRIMETIME SPECIALS"
If you want to know why the 50s is often referred to as television's "Golden Age," just experience these two outstanding one-hour dramas. If you're wary of ancient broadcasts being grainy with scratchy sound, you're in for a delightful surprise. Now VCI has made these programs available on Blu-ray, boasting new high-definition restorations. Considering the age and rarity, these shows look and sound terrific.

But it's the content of these anthology series episodes that will thrill you. Both shows star John Cassavetes, one of the era's finest actors and, later, an icon of American independent filmmaking. 1955's "Crime in the Streets," from "The Elgin Hour," (sponsored by the watch company), casts him as a violent, 18-year-old punk whose troubled childhood has brought him to the brink of committing murder. Robert Preston effectively plays the social worker trying to save him from himself. Glenda Farrell, who played the feisty reporter in the 1930s' "Torchy Blane" film series, turns in a multi-dimensional performance as the teen's world-weary mother. Van Dyke Parks, renowned musician/songwriter/producer, then a child actor, is marvelous as the punk's earnest little brother. But it's Cassavetes who will keep you immersed in this story. His portrayal crackles with intensity. The program, written by the great Reginald Rose and directed by Sidney Lumet, delivers a compelling message about rehabilitating juvenile delinquents.

The second program, "No Right to Kill," from the "Climax!" series, was adapted by Victor Wolfson from Dostoyevski's "Crime and Punishment." In it, Cassavetes deftly brings out the depth and complexity of his tormented character. He plays a brilliant, but rejected writer who believes his superiority might entitle him to ignore society's laws. Terry Moore is appealing as the waitress who tries to provide him with a measure of the compassion he so desperately needs. Directed by Buzz Kulick (who helmed several episodes of "The Twilight Zone)," the episode, like Lumet's on the previous show, displays a level of intricacy and fluidity in its shot design, astonishing for a live presentation. Series Host William Lundigan serves up nostalgically fun-to-watch Chrysler commercials. The disc has a bonus treat for classic TV fans -- a naughty blooper reel from "The Nurses" and "The Defenders," apparently made for a cast-and-crew wrap party. Oh, my, what comes out of the mouths of Robert Reed and E.G. Marshall!

"STRAIT-JACKET"
It's a far cry from "Mildred Pierce," but Joan Crawford definitely doesn't just phone in her performance in the low-budget horror flick "Strait-Jacket." She wrings her ounce of dramatic intensity out of every scene. It's Mommie Dearest at her scenery-chewing best.

This is the perfect time to revisit "Strait-Jacket," because Shout! Factory has now released a Blu-ray version that displays the sharpest audio and video quality since the film's 1964 theatrical release.

After being incarcerated in an institution for the criminally insane for 20 years, convicted ax murderess Lucy Harbin (Crawford) is released into the care of her brother (Leif Erickson) and sister-in-law (Rochelle Hudson), who had adopted Lucy's now grown daughter (Carol Baker). Needless to say, people are soon being chopped to pieces. Baker, Erickson and Hudson are very good in support. You'll also enjoy a wonderfully wooden appearance by pre-"Big Valley" Lee Majors. With gimmick king Willian Castle directing and a screenplay by Robert "Psycho" Bloch, there are plenty of surprises. "Strait-Jacket" came after the classic "Whatever Happened to Baby," which launched the "Hagsploitation" genre," and this one, too, is colossally campy fun.

For those who were introduced to Crawford and this film through the "Feud" mini-series with Jessica Lange portraying the aging star, it'll be a treat to watch the real Joan light up this shocker. The Shout! Factory release offers loads of not-to-be-missed extras, including Crawford's wardrobe/makeup test, gruesome ax-swinging screen tests and the featurette "Battle-Ax: The Making of Strait-Jacket," as well as a commentary track that gives viewers insights into not only this picture, but the full careers of Crawford, Castle and Bloch. Great new 2018 bonuses include an interview with Ann Helm, explains why Crawford had her fired and replaced by Baker, plus an interview with publicist Richard Kahn, detailing the experience of being on the road with Crawford.

"THE TINGLER"
Shout! Factory has also released another William Castle horror classic, 1959's "The Tingler," this one starring the inimitable Vincent Price. He plays a pathologist whose autopsy work leads to a startling discovery -- fear creates a parasitic creature that grows on spinal cords. Only screaming can stop it. So he experiments with LSD on a deaf mute incapable of issuing a scream. Her terror spawns a creature. The mad scientist manages to extract this little monster, the Tingler, which escapes and terrorizes a movie theatre.

Audiences at home won't have the advantage of feeling the mini-shocks that Castle arranged by wiring the seats of movie houses (calling the technique Percepto). But there's still plenty of scary, silly fun to be had. Price is a ghoulish delight and the supporting cast, particularly Judith Evelyn, Pamela Lincoln and Patricia Cutts, is effective. The extras include a commentary track by author/film historian Steve Haberman, a featurette and an interview with Pamela Lincoln. Castle was all about wildly imaginative publicity. So it's also a joy to watch and interview with publicist Barry Lorie.

"SID CAESAR: THE WORKS"
When thinking about 50s classic TV comedy, one of the first names to pop to mind should be Sid Caesar. The new release from Shout! Factory, "Sid Caesar: The Works" brings his genius into full focus. He was the king of sketch comedy. He was a master of slapstick, pratfalls, creating memorable characters and spewing gibberish passing as foreign languages. This collection offers 14 hours of his comic inventiveness on five discs. Many of us have seen at least a few segments from the legendary "Your Show of Shows." Yes, there's plenty of that here, including the feature film compilation. You'll guffaw through his hilarious spoofs of "This Is Your Life," "From Here to Eternity" and the opera "Pagliacci." But there's so much more, including real rarities.

Among the highlights are bits from "Caesar's Hour" and " The Admiral Broadway Revue," an episode of "The Chevy Show" featuring Caesar, and a 1967 special reuniting "Show of Shows" cast members Caesar, Imogene Coca, Carl Reiner and Sid Caesar. Also of interest is the 1983 episode of "Nightcap: Conversations on the Arts and Letters," with Caesar, Brooks and Reiner, as well as excerpts from "Caesar's Writers," a 1996 PBS special that brought back together Mel Tolkin, Carl Reiner, Aaron Ruben, Larry Gelbart, Mel Brooks, Neil Simon, Danny Simon, Sheldon Keller and Gary Belkin (Woody Allen didn't participate). If you look at these writers' combined credits, you'll get some idea of just how impactful Caesar was on the comedy world.

"JOHNNY CASH'S BITTER TEARS REVISITED"
Johnny Cash never turned his back on the truth. Throughout his life, his courage was evident, both as a man and as an artist. A perfect example of this came in 1964, with the release of his album "Bitter Tears: Ballads of the American Indian." Tracks included the Cash song "Apache Tears," Peter La Farge's "Custer" and Johnny Horton's "The Vanishing Race." The documentary "We're Still Here: Johnny Cash's Bitter Tears Revisited" examines the impact of Cash's album, as well as the controversy surrounding its original release. Kino Lorber has made the documentary available on DVD.

Cash sparked much outrage, in some quarters, by recording this material. Many radio stations shunned the album. But he persevered and eventually the Peter La Farge-penned tune "The Ballad of Ira Hayes" became a hit. As the Civil Rights movement was gaining traction, addressing the injustices faced by African-Americans, Cash wanted to bring to light the plight of Native Americans, who had also been mistreated for centuries. Known for western tunes, as well as rockabilly and country music, Cash took more of a folk turn with this issue-oriented album. And the result was moving and powerful.

The film also documents the making of 2014's "Look Again to the Wind," a 50th anniversary tribute album that recreated Cash's landmark record, utilizing the talents of such artists as Kris Kristofferson, Emmylou Harris, Rhiannon Giddens, The Milk Carton Kids, Steve Earle, Gillian Welch, Native American singer-songwriter Bill Miller and Rosanne Cash, who also contributes an insightful interview to the film. The documentary was written, directed and produced by Antonio D'Ambrosio, based on his book, "A Heartbeat and a Guitar: Johnny Cash and the Making of Bitter Tears." The DVD adds, as bonus features, about 15 minutes of additional interview footage, plus the trailer.

"KEEPING FAITH"
Faith Howell seems to have it all -- a successful career as a solicitor at a family-run law firm, a loving husband and three precocious children. But that's all about to unravel in the absorbing Welsh mystery, "Keeping Faith," now available on DVD from Acorn Media. While on maternity leave, Faith has been having fun, bonding with her kids and trying to get everything back to normal. But all traces of normalcy vanish in an instant, when her husband disappears.

The series takes time to fully establish the multi-dimensional characters and relationships. We're drawn to Faith, her warmth humanity, humor and vivaciousness. As her life is torn apart and she's under suspicion, Faith is beset by puzzlement, then anger. But she holds onto her strength, determined to protect her children and her faith in herself.

Eve Myles ("Torchwood," "Broadchurch"), who portrays her, is convincing and compelling in all facets of the characterization. Suspense builds as the series progresses. Viewers will also appreciate the striking vistas of Wales displayed throughout. There are also half a dozen engaging tunes by singer-songwriter Amy Wadge, scattered through the series. The DVD set includes all eight episodes on three discs. Bonuses include cast members offering brief explanations of the characters, as well as an extensive featurette going behind the scenes.

"THE US FESTIVAL 1982: THE US GENERATION"
Forget about them. It's all about US. MVD has just released, on Blu-ray/DVD, award-winning filmmaker Glenn Aveni's documentary on the 1982 US Festival. The three-day event, conceived by Apple genius Steve Wozniak, brought together many of the era's most exciting musical acts. And you can experience concert highlights with top-notch video and audio quality. Among the artists delivering memorable performances are The Police, Tom Petty & The Heartbreakers, Fleetwood Mac, The Cars, The Ramones, Talking Heads, Carlos Santana and the B-52s. The behind-the-scenes film also contains interviews, new and archival, with a number of participants, including Wozniak, Mick Fleetwood, Stewart Copeland, Mickey Hart and Marky Ramone. Yes, music buffs will hunger for more concert footage, but this an entertaining and informative document about a historic rock gathering.

CDs

MICHAEL NESMITH & THE FIRST NATIONAL BAND REDUX - "LIVE AT THE TROUBADOUR"
One of the true pioneers of country-rock, the often under-appreciated Michael Nesmith recorded three terrific albums with his First National Band in 1970 and 1971. These came in the wake of his departure from The Monkees and the records were widely ignore. But those who did hear the albums were dazzled and held the music close to their hearts through the years. Thus the news that he was reviving the band for a few live dates in 2018 was greeted ecstatically by fans. Of course, those who couldn't get to those performance were crestfallen. No need to pine. A fantastic live album has been released by 7a Records, preserving an amazing show at L.A.'s Troubadour, the club where Nez began, back in the 60s. There are 19 tunes here and each is a gem, perfectly performed. The melodies and rhythms are grabbing. And Nez's poetic lyrics are intelligent, impressionistic and consistently intriguing.

The record kicks off in exciting style with a rocking "Nevada Fighter." Nez has juiced up "Grand Ennui," delivering it in exhilarating style. "Little Red Rider" and "Dedicated Friend" chug along amiably. You can't help but be disarmed by such exquisite, unassuming ballads as "Nine Times Blue," "Some of Shelley's Blues" and "Propinquity." "Crippled Lion" is another beauty, enhanced by the pedal steel work of Pete Finney, ably filling in for the late, legendary O.J. "Red" Rhodes.

"Calico Girlfriend" encompasses Nez's country, lounge and Latin influences. "Tengo Amore" is another enticing excursion into exotic territory. "Lady of the Valley" proves to be an ethereal highlight.

In the acoustic section of the show, Nez performs a gentle, charming "Different Drum," which "The Monkees" producers had rejected and then became a smash for Linda Ronstadt and the Stone Poneys. One of Nez's songs that did The Monkees did record memorably was "Papa Gene's Blues" and crowd enthusiastically sings along on this appealing rendition.

"Keys to the Car" has a wonderfully weepy, honky tonk feel. Nez plays rock 'n' roll cowboy on the western-themed "Mama Nantucket." "Bye Bye Bye" is a country pleasure with a driving beat. Of course, the band's one big hit, the lovely, languid "Joanne" is here. "Silver Moon" should have been another commercial success for the band with its cool guitar riffs, silky steel and hooky chorus. Appropriately closing the historic concert is the cosmic road tune, "Thanx for the Ride."

Now in his 70s, Nesmith's voice has never sounded better, able to even handle the falsetto and yodeling passages. The new version of the band is sensational, featuring his sons Christian and Jonathan on guitars and vocals, plus female backing singers Circe Link and Amy Spear. The First National Band was gone, but not forgotten. Thank heavens this music is being rediscovered.

TESSA SOUTER - "PICTURE IN BLACK AND WHITE"
Growing up, Tessa Souter was told that her estranged father was from Spain, a white man. At age 28, she learned that he actually was black and Trinidadian. This led to an exploration of roots that has resulted in a brilliant and beautiful new album, which glows with a universal resonance. The songs are individually exquisite and collectively powerful and moving, taking the listener on a meaningful journey.

Souter's unique blend of jazz and world music draws from a variety of influences, including Africa, the Caribbean, Celtic Britain and Andalusian Spain. Her iridescent vocals captivate with intuitive phrasing and honest emotion.

She opens the record with an exquisite rendition of a Kenyan tune "Kathbiro," written by Mbarak Achieng. The harmonies mesmerize. Souter serves up a lovely, languid interpretation of "A Taste of Honey." A wondrous quality imbues her "Dancing Girl," which segues silkily into U2's "Where The Streets Have No Name."

Souter penned affecting new lyrics to Wayne Shorter's "Ana Maria's Song." The title track, "Picture in Black and White," is a Souter original that came in the wake of her finally meeting her biological father. "You Don't Have to Believe" is another outstanding Souter composition, this one bubbling with irresistible rhythms and a Middle Eastern flair. A hint of Roberta Flack can be perceived in Souter's elegant performance of the traditional English folk ballad "Reynardine." "Siren Song" is indeed alluring. And Souter makes "Lonely Woman," lyrics by Margo Guryan, composed by Ornette Coleman, poignantly spellbinding.

The impressive album winsomely closes with Milton Nascimento's "Nothing Will Be As It Was." Throughout, the impeccably arranged material is performed superbly by Souter's supporting musicians. Souter, with gorgeous, often breathtaking vocalizing and deeply moving songwriting, ranks in the uppermost echelon of contemporary artists.

JOE ELY - "THE LUBBOCK TAPES"
These dynamic demos, recorded in 1974 and 1978 sessions in Texas, reveal the unvarnished beauty and power of singer-songwriter Joe Ely's music. These recordings came after Ely's original stint as one of The Flatlanders, which teamed him with Jimmie Dale Gilmore and Butch Hancock. On his own, Ely impressed with unpretentiously poetic lyrics and engaging melodies. Among the highlights here are the lilting Texas swing of "I'll Be Your Fool" and "All My Love," the poignant ballad "Fools Fall in Love" and the rockabilly gems" "I Keep Gettin' Paid The Same" and "Road Hawg." "I Had My Hopes Up High" is a country pleaser. This release is a treasure, an important look at the early career at a man who grew into one of our most vital Americana artists.

PAUL SIMON - "IN THE BLUE LIGHT"
In a remarkably warm and intimate new album, Paul Simon reimagines some of the more obscure gems from his solo recordings. Thoughtful arrangements add fresh textures and meanings to these compositions.

Simon opens with a bluesy "One Man's Ceiling Is Another Man's Floor," originally on 1973's "There Goes Rhymin' Simon." A jazzier feel then takes over and guests include trumpeter Wynton Marsalis, guitarist Bill Frisell and drummers Steve Gadd and Jack DeJohnette. Simon's "Love" is as wistful as it is lovely. A flute takes flight in "Can't Run But." There's a New Orleans lilt to "Pigs, Sheep and Wolves." "How The Heart Approaches What It Yearns" sounds like a tune you'd hear in a little New York club about 2 a.m.

Folk and classical influences are delicately woven through "The Teacher." And delicacy describes "René and Georgette Magritte With Their Dog After the War." Longing lingers in "Darling Lorraine." Flowing piano establishes a contemplative atmosphere on "Some Folks' Lives Roll Easy," from 1975's "Still Crazy After All These Years." An ethereal "Questions for the Angels" closes this beautiful collection of revisited deep album cuts.

12 ENSEMBLE - "RESURRECTION"
The emotion-stirring, contemporary string magic of the UK's influential 12 Ensemble takes an ambitious step forward with an entrancing debut album, "Resurrection." It does indeed breathe new life into the classical genre with this diverse program.

The Ensemble opens with Polish composer's Witold Lutoslawski's marvelously moody "Musique Funèbre," The 12 Ensemble intuitively explores the contrapuntal and harmonic intricacies of the work. They build a palpable tension throughout the piece. Viola vibrantly courses through "Ulysses Awakes, which British composer John Woolrich drew from Monteverdi's opera "Il ritorno d’Ulisse in Patria." A sense of wonder suffuses Kate Whitley's "Autumn Songs" with a dramatic power. Bringing the album full circle is "Réponse Lutoslawski," composed by American artist Bryce Dessner (of The National) as an homage to Lutoslawski's "Musique Funèbre." Each of its five movements establishes its own identity, in terms of feeling and atmosphere.

In the performances of each of these composers' works, 12 Ensemble's interpretations prove endlessly evocative. The unconducted orchestra, which formed in 2012, brings an exhilarating energy and passion to its music.

MARK WINKLER AND CHERYL BENTYNE - "EASTERN STANDARD TIME"
The sophisticated vocal duo of Mark Winkler and Cheryl Bentyne is back with the sparkling follow-up to their acclaimed "West Coast Cool." They work wonders with standards, less familiar Great American songbook numbers and a couple of Winkler originals. Winkler, an accomplished lyricist, is a 2018 Downbeat Rising Male Vocalist. Bentyne, of course, is an integral part of Manhattan Transfer's rich history.

The duo, backed by a top-notch combo swing through an array of winning numbers. Winkler solos on "I Could Get Used to This (Bumpin')." He added the lyrics to the Wes Montgomery tune. Bentyne takes the spotlight and shines on "The Gentleman Is a Dope" and a lovely "Spring Can Really Hang You Up the Most." The two of them team for a finger-popping rendition of "Things Are Swingin'," fondly remembered as a Peggy Lee number. Other top tracks include "Devil May Care" and "Walk on the Wild Side." This pair remain entertainingly cool.

BILLY GIBBONS - "THE BIG BAD BLUES"
The ZZ Top guitarist is back with his second solo effort and it's a rip-roaring collection of searingly delivered rock-blues tunes. He delivers strong renditions of Bo Diddley's "Crackin' Up," Chess artist Jerome Green's "Bring It to Jerome" and the classic "Rollin' and Tumblin.'" But the Gibbons originals, such as "My Baby She Rocks," "Let The Left Hand Know" and the churning "Mo' Slower Blues" are equally dynamic. Gibbon's guitar stays hot throughout and his growling vocals are raw and real. Gibbons obviously had a blast making this record, as fans will when they listen to it.

NOBODY'S GIRL - "WATERLINE"
Gorgeous harmonies make the country-folk-rock sound of female trio Nobody's Girl irresistible. Their debut EP, "Waterline," brims with an engaging spirit. BettySoo, Grace Pettis and Rebecca Loebe alternate lead vocal duties and all three are supremely capable of handling that role.

The infectious foot-tapper "What'll I Do" kicks off the seven-song set. The title track is a power-packed, memorable, mid-tempo number. The group slows it down for the beautiful "Bluebonnets." The purity of the vocals makes "Riding Out the Storm" exhilarating. Nobody's Girl's makes Blondie's "Call Me" their own. A live rendition of "What'll I Do" closes this fine launch. The tight, three-part harmonies are stirring throughout. And the group's songwriting talents are also impressive here. The trio earned acclaim on the Texas scene and are definitely ready for wide recognition.

BARRE PHILLIPS - "END TO END"
In 1968, Barre Phillips became the first artist to record an album of solo double bass. Now the master of the instrument has released what he says will be his final album. It certainly can't be because he has nothing left to say, musically. This latest exploration sounds just as fresh and exciting as his early efforts. What Phillips can lure from the double bass is astonishing. The sounds here are remarkably rich and varied, rhythmic and vibrant, evocative and provocative, melodic and moody. Whether Barre Phillips ever records again or not, his music will remain incredibly influential and compelling.

JEAN-MICHEL JARRE - "PLANET JARRE: 50 YEARS OF MUSIC"
This thrilling new release is a compilation celebrating Jean-Michel Jarre's 50 years of making adventurous music. These impeccably remastered pieces, selected by Jarre himself, are divided into four distinct sections -- Soundscapes, Themes, Sequences, Explorations and Early Works.

The French electronic composer/performer is a pioneer in the electronic, ambient, trance, techno and New Age forms. What he could accomplish with analog synthesizers was mind-boggling, often achieving a futuristic vibe. Renowned for his epic outdoor shows, he is the son of Maurice Jarre, the composer/conductor who wrote the scores for such classic films as "Lawrence of Arabia" and "Doctor Zhivago." Jean-Michel Jarre, who was married to 20 years to Charlotte Rampling, creates melodies, rhythms and sonic environments that are immersive, utterly beguiling.

There's a wondrous variety of music in this collection. For example, "Oxygène Part 1," from his 1976 commercial breakthrough album, projects us into a cosmic wonder. On "Oxygène Part 19," from the 2016 album that marked the 40th anniversary of that earlier release, he interlocks seductive beats and swirling melodic patterns. Later Jarre will move into a poignant, reflective piece, such as "Oxygène Part 20."

"Industrial Revolution Part 2" bursts into passage of power and majesty. And "Revolutions" dreams up a robotic frenzy, that manages to be both orgiastic and ominous, then veers into a Middle Eastern-sounding dazzlement. "Ethnicolor" is also both eerie and alluring, stirring tension.

The composer has mastered some of the selections in 5.1 for an even more enveloping experience. The new compilation provides two-and-a-half hours of listening excitement, including two new numbers, "Coachella" and "Herbalizer," plus the demo for his 1983 "Music for Supermarkets" album, so rare only one copy was pressed before the composer destroyed the masters. Old and new, Jarre's timeless sounds will enthrall and transport you.

FRANCES ENGLAND - "BLUE SKIES AND SUNNY DAYS"
Welcome back, Frances! We loved her previous album, "Explorer of the World" and this new one, "Blue Skies and Sunny Days," again offers exceptionally pleasing tunes for kids and families. Pretty vocals, clever lyrics and engaging melodies add up to plenty of listening fun. Among the enchanting numbers are the sibling homage "Not Just My Sister," the catchy, upbeat "Good Day," a winsome "Mama Said," a melodious "Perfect Tuesday Afternoon," the breezy, rhythmic "Into the Wild" and a buoyant "Watching You Grow." In addition to her charming originals, England offers a sweetly satisfying cover of Cat Stevens' "If You Want to Sing Out." Like blue skies and sunny days, England's uplifting music is endlessly appealing.

DOYLE BRAMHALL II - "SHADES"
Fans greeted singer-songwriter-guitarist Doyle Bramhall's fourth's solo album with jubilation. After all, it had been 15 years since the release of his third record. Fortunately, we haven't had to wait too long for this eminently satisfying new one, "Shades." His earnest vocals are highly effective. And of course, the guitar work is superlative. The Tedeschi-Trucks Band joins Bramhall for Bob Dylan's "Going, Going Gone." The rest of the songs were co-written by Bramhall. He pounds out a convincing "Hammer Ring." His guitar wails on "Love and Pain." For the mid-tempo, R&B-inflected number "Everything You Need," he teams with Eric Clapton. There's a George Harrison sort of spirituality to "Consciousness." "Break Apart to Mend" is a moving ballad. '"Parvanah" wends its way sensuously. One of the most memorable tracks is the simmering, soulful "Searching For Love," a duet with Norah Jones. A very satisfying album.

AIMEE ALLEN - "WINGS UNCAGED"
With a crystalline voice that can glide or soar, Aimée Allen can entrance a listener. Based in New York, after being raised in Pittsburgh and spending time in Paris, Allen is emerging as an exceptional, inspired jazz artist. With her latest album, "Wings Uncaged," Allen truly takes flight. She opens with a righteously refined rendition of Hoagy Carmichael's "Skylark." She brings her own distinctive magic to such familiar tunes as "Autumn Leaves/Les Feuilles Mortes" (sung in French and English), "Save Your Love for Me," Antonio Carlos Jobim's "Fotografia," and "Midnight Sun," which was written by Lionel Hampton and Sonny Burke, with lyrics by Johnny Mercer.

But equally impressive are Allen's originals, beauties such as "Shooting Star," In My Web" and "Night Owl." Her "Democracy How (Harmony and Dissonance)" proves profound and thought-provoking. There's a wonderful warmth to Allen's vocals. And they're enhanced by the polished accompaniment of a first-rate trio -- bassist François Moutin, pianist Billy Test and drummer Kush Abadey.

AMANDA GARDIER - "EMPATHY"
Smoothly and sensuously, Indiana-based Amanda Gardier uses her extraordinary skills on saxophone, fluet and clarinet to create "Empathy," her debut album. She composed 10 of the 11 tracks here and her tunes are diverse and delectable. The opening "Giants" builds to great heights. Drama courses through "Revolving Doors." Other outstanding tracks include an interpretation of Bjork's "Joga," the subtly edgy "Thin Line," the hypnotic "Fjord" and a wondrous "Leap of Faith." The combo behind Gardier really cooks. These standout musicians include Charlie Ballantine on guitar, Clay Wulbrecht on piano, Rob Dixon on tenor, Chris Parker on drums and Jesse Wittman on upright bass. And Mina Keohane adds arresting vocals on the title track and, in a wordless performance,"Smoke." But it's Gardier's alto sax work that drives the sound, bringing the album its soulful, emotional center.

GINA SICILIA - "HEARD THE LIE"
Gina Sicilia earned a Blues Music Award nomination as Best New Artist following her 2007 debut album. With her robust, earthy voice and strong songwriting, she continues to impress on her latest album, "Heard The Lie." The title track, a potent country rocker, opens the record. "How Many Times" is a ballad which Sicilia delivers in soul-stirring style. Another top track is "Ready for Love," a bluesy slow rocker penned by Mick Ralphs while he was with Mott The Hoople. Like most of these songs, Sicilia co-wrote "Brighter Day," a number that proves to be uplifting. That's also true of "Angels Watching." A gospel fervor makes Sicilia's "Man in the Sky" a spirited standout. "Light Me Up" is another fiery winner. Sicilia's powerful, expressive vocals should win her much attention.

THE SKYLARKS - "ON THE BACK OF THE NEW"
The L.A.-based folk-rock-country band returns with a throughly enjoyable new album. They have a well-honed sound that's hard to resist, riding on crisp, atmospheric guitar work and rich, wonderful vocal harmonies. Each of the 10 songs here is a winner. The record opens with the engaging "Even in the Afternoon." Other top tracks include "Send a Message to the Night," Change of Heart," "No Surrender," "On The Ropes" "As If to Say," the title track and "Carry It Home." The closer, "For My Own Regard," is a head-bopping delight. Sam Mellon knows how to craft memorable songs. This top-notch band, founded in 2005, appears ready for a big breakthrough. Give them a listen.

BOOKS

YOU'RE ON AN AIRPLANE: A SELF-MYTHOLOGIZING MEMOIR
By Parker Posey [Blue Rider Press]
Imagine you're on a long plane flight and you're fortunate enough to have been seated next to Parker Posey. You're in for a highly amusing, thought-provoking, touching, uniquely memorable journey. That's exactly what Posey's new memoir provides. In dozens of indie and major studio screen appearances, she has projected a delightfully quirky personality. She proves charming in print, as well.

She writes as if she's casually conversing with the reader as the flight progresses, darting here and there in her recollections, unfettered by chronology, embracing tangents, allowing stream of consciousness to touch on a myriad of subjects, including growing up in the South, being a twin, yoga, sewing, crafting pottery, Erich von Stroheim, Emily Dickinson, penis envy, Nora Ephron's memorial service, recipes for skillet apple pie, cocktails and Cheese Crisps, plus adoring accounts of her canine companion, Grace.

Posey is a character actor from a family of colorful characters. Of course, there's also plenty here about acting. Films like "Dazed and Confused" and "Party Girl" instantly established her as a cult favorite in the 90s. She was dubbed "Queen of the Indies." She gave another outstanding performance in "The House of Yes." And the spontaneous Posey was lauded for her remarkable improvisational skills in Christopher Guest movies like "Best in Show" and "Waiting for Guffman." She drops in many entertaining and illuminating on-set reminiscences. There are wonderful insights into the work processes of Woody Allen and Louis C.K.

Even after achieving a measure of fame, Posey's insecurities continued to nag at her. She never quite felt like she fit in. Nevertheless, she landed roles in such major studio productions as "You've Got Mail" and "Superman Returns." Posey details the industry insanity she witnessed, when she signed with the huge "Death Star" talent agency. And she shares the uncertainty that builds as a film actor's youth beings to fade. But Posey has managed to transcend the madness of show biz. The book includes info on shooting the new Netflix series "Lost in Space."

Off-beat photos and illustrations complement the text. Every element of the book is, like Posey herself, unconventional. And that's what makes it so delicious. It all adds up to a fun trek, one of those rare flights that you wish wouldn't end.

A MOUSE DIVIDED: HOW UB IWERKS BECAME FORGOTTEN... AND WALT DISNEY BECAME UNCLE WALT
By Jeff Ryan [Post Hill Press]
We all know who created Mickey Mouse, right? Hold on a minute. In his new book, "A Mouse Divided: How Ub Iwerks Became Forgotten... and Walt Disney Became Uncle Walt," author Jeff Ryan reveals that the answer is not so simple. This is a fascinating deeper look into the origins of the Disney empire.

Walt was the marvelous marketeer and bold businessman. But Ub Iwerks was the ingenious innovator, when it came to animation. The two teamed in Kansas City in the 20s. They represented the Yin and the Yang, Disney the image-conscious extrovert, Iwerks the shy artist. Disney could dream up funny gags. And, as we know, he dreamed big. Iwerks could execute Disney's concepts to perfection, turning them from ideas to reality.

There were years of struggle for the pair, resorting to shooting a dental hygiene film to pay the bills. The determined Disney's early attempts at establishing his own film company, while they were still experimenting with techniques, were crushed. But Iwerks' design of a certain impish mouse changed all that. Astonishingly, Iwerks was the sole animator for Mickey's debut in 1928's "Plane Crazy," swiftly completing a mountain of drawings for the project.

Disney and Iwerks complemented one another beautifully. However, Walt never hesitated to take the lion's share of the credit for their successes. And, over the decades, Mickey evolved into an icon, a national treasure. Eventually, Iwerks and Disney had a parting of the ways.

Iwerks did some outstanding work in later years, but lacked Disney's knack for tapping into the zeitgeist. He's best remembered for his classic animation for Mickey and "Silly Symphonies" cartoons. Ryan states that perhaps Disney's greatest gift was knowing how to access the greatness of others. Walt's utilization of the great talents of Ub Iwerks helped to build a magic kingdom. Animation buffs will revel in the story, much of it previously not widely known. And Ryan tells it -- deftly separating fact from myth -- in a flowing, entertaining style.

THE LONE RANGER ON RADIO, FILM AND TELEVISION
By Ed Andreychuk [McFarland; www.mcfarlandpub.com; 800-253-2187]
Hi-Yo, Silver! As we know, from the iconic TV show, that's what the Lone Ranger bravely thunders as his noble steed rears up. But we learn in Ed Andreychuk's informative new book that the catchphrase dates all the way back to the radio series, which began in 1933. Also already in place were the "William Tell Overture" as a rousing theme song and the appealing appellation "Kemo Sabe." You'll be surprised at the source of the latter.

The book is filled with fun facts. The Lone Ranger and his faithful companion Tonto fearlessly fought for justice, protecting the underdog. Andreychuk documents their adventures in each medium. The author presents background on the Texas Rangers and recounts our hero's origin story. He gives details on the film serials of 1938 and '39. There's an episode guide, with original air dates, for the TV series, which ran from 1949-'57. He tells about future western stars who guested on the show, including James Arness, Dennis Weaver, Guy Williams and Robert Horton. He offers info on directors who frequently helmed episodes and even on a couple of the stuntmen.

Andreychuk even covers the animated "Lone Ranger" TV series, as well as commercials and spoofs that featured the character. He gives us the scoop on all the actors who portrayed the Lone Ranger and Tonto, most prominently, of course, Clayton Moore and Jay Silverheels. How can anyone resist a heroic yet humble fellow who totes silver bullets? Who was that masked man? After reading Andreychuk's book, you'll really know.

THE ART OF AMERICAN SCREEN ACTING, 1912-1960
By Dan Callahan [McFarland; www.mcfarlandpub.com; 800-253-2187]
Though some casual movie fans look at pre-70s screen acting styles as antiquated, melodramatic, stilted or hammy, author Callahan helps us to fully appreciate earlier stars for the unique gifts they brought to the screen, putting their various styles into the context of their times. Certainly, there are many among us who prefer the bigger-than-life personalities who brought magic to the classic Hollywood pictures, rather than seeking an arbitrary "realism." They projected instead a heightened reality that could be every bit as involving.

Callahan has chosen a colorful group of actors spanning the silent era, the Golden Age and the post-WWII shifts in attitudes. He examines each of their careers in full. There's Lillian Gish, who acted poetically with her whole body, immersing herself in emotion, utterly focused, devastatingly depicting despair in close-ups; Gloria Swanson, who went from Sennett slapstick to silent stardom to the tragicomedy of "Sunset Boulevard;" Louise Brooks, defying conventional morality, not acting, but being; Garbo's mesmerizing visage; the alluringly ambiguous Marlene Dietrich who adored to be adored; John Barrymore, the Great Profile, who plummeted from his peak as a serious thespian, earning huzzahs in "Hamlet," becoming a sad, self-destructive ruin relying on self-parody; Bette Davis, channeling the excess emotion that boiled within her, making up for her lack of Hollywood-standard beauty with her abundance of talent and moxie; the "sadly happy" Katherine Hepburn, who made affectation appealing; dearest Joan Crawford, who was hard and hard to ignore; the relatable Ingrid Bergman, as stubborn and adventurous as she was beautiful; Cary Grant, epitomizing fun, fantasy and escape, while hinting at darker tendencies (and yes, Callahan tackles the gay rumors); James Cagney, from the streets of New York, tough and energetic, able to fire out dialogue with speed of machine gun bullets, yet playful, as well; Clark Gable, an uncomplicated screen presence whose charm made him a movie king; Spencer Tracy, the "actor's actor;" Humphrey Bogart with his distinctive, low-pitched, resonant voice, working his way up from stereotypical baddie parts to legendary leading man status; Charles Laughton, allowing a femininity to peek through, commenting on human suffering, unafraid to reveal the ugliness in human nature, his approach presaging the Method.

Callahan does segue into the ushering in of a new sensibility with Marlon Brando, volatile, moody; James Dean, a "world-class exhibitionist;" Kim Stanley, the "Queen of the Actors Studio," who rejected fame; The naturalistic Monty Clift, never about the external, bringing up everything from within.

As Swanson says in "Sunset Boulevard," "There just aren't faces like that anymore." Oh, those eyes! These stars could speak volumes with them. They influenced generations of actors and continue to enthrall discerning audiences. Callahan points out the stars' flaws, as well as the traits that made them so magical. He has strong opinions and doesn't hesitate to express them, which makes for entertaining reading.