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It seems strange that someone who doesn’t even want to be part of this generation has become the voice of it. Jack White could care less about reality TV, George Bush, or the Boston Red Sox. Jack lives in a bygone era where Orson Welles and Rita Heyworth are the new stars, and Robert Johnson, Blind Willie McTell, and Dolly Parton represent the avant-garde.

There's an outlaw tune, a tough-chick-struts-her-stuff tune, one about breakup and regret and other familiar subjects, and Kathleen Edwards and her band express it with edgy, pedal steel drenched country roots-rock that has probably already worn familiar pathways through the musical synapses of your mind, but on her sophomore effort, Kathleen Edwards proves she's got the goods to go for the long haul.

Abbey Lincoln:
In the upside down year of 1961 (not until 6009 will that happen again), the Kennedy era began, Washington D.C. residents finally got the right to vote in presidential elections thanks to the 23rd amendment to the constitution, and the civil rights movement was in its most activist period, with sit-ins staged throughout the south at public places and freedom riders traveling on buses to force the de-segregation of bus terminals as mandated by federal law.

The idea of this 1956 session was for everyone involved to have a chance to blow the roof off Van Gelder's home recording studio. And why not when you have trumpeter Donald Byrd and trombonist Curtis Fuller joining the alto sax player's group for this session, with Sonny Clark on piano backed by drummer Art Taylor and George Joyner on bass?