Havoc and Bright Lights marked a rebirth for Alanis Morissette, the first album she recorded as a newlywed mother. Delivered a full eight years later, Such Pretty Forks in the Road is the second act of the story, an album about learning how to find contentment at middle age. Morissette wrestles anxieties, origin stories, addictions, parenthood, and partnership throughout the record, searching for reasons and a diagnosis, achieving a sense of peace with having her sense of calm being disturbed on occasion. Appropriately for an album that's decidedly focused on an inward journey, Such Pretty Forks in the Road simmers, never boils. Hooks force themselves into the center stage on "Reasons I Drink" -- the rare tune here that could be called catchy -- but otherwise melody takes a back seat to mood. This doesn't necessarily mean Morissette's words are pushed into the spotlight. Such Pretty Forks in the Road is lacquered in immaculate gloss, a sound that accentuates the interior journey of the songs without quite inviting exploration. A close listen reveals all the troubles rolling around Morissette's mind, but the nice thing about Such Pretty Forks in the Road is how its smooth, placid surface makes the record feel like an album-length guided serenity meditation.Side A1. Smiling2. Ablaze3. Reasons I Drink4. Diagnosis5. Missing The Miracle6. Losing The Plot
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Kramer had no idea who Bob Dylan was before he noticed him perform "The Lonesome Death of Hattie Carroll" on the Steve Allen television show in 1964. He was riveted by the power in the song's message of social outrage and passionately wanted to photograph this artist. It took Kramer six months to negotiate with Dylan's manager, Albert Grossman, to secure a one-hour portrait session in Woodstock. The one-hour appointment became a five-hour photography session, an invitation to travel with Dylan to his upcoming performance at Town Hall Philadelphia, and the incredible opportunity to photograph the performer for the next year.His most recognizable images grace the covers of three essential Bob Dylan albums Bringing it all Back Home, Highway 61 Revisited, and Biograph.Kramer's 1967 acclaimed book, Bob Dylan, A Year and a Day, captures Dylan during his most prolific and accessible period with 147 mesmerizing photos, including alternate images for Bringing it all Back Home and Highway 61 Revisited.In addition to photographing Bob Dylan, Kramer has directed several films and documentaries and shot Norman Mailer extensively for three years. His work has been featured extensively in prominent publications and exhibited at prestigious galleries and museums throughout the world. 2ff7e9595c
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