<DIV>John Cage's disdain for records was legendary. He repeatedly spoke of the ways in which recorded music was antithetical to his work. In <I>Records Ruin the Landscape</I>, David Grubbs argues that, following Cage, new genres in experimental and avant-garde music in the 1960s were particularly ill-suited to be represented in the form of a recording. These activities include indeterminate music, long-duration minimalism, text scores, happenings, live electronic music, free jazz, and free improvisation. How could these proudly evanescent performance practices have been adequately represented on an LP?</P><P>In their day, few of these works circulated in recorded form. By contrast, contemporary listeners can encounter this music not only through a flood of LP and CD releases of archival recordings, but also in even greater volume through Internet file-sharing and online resources. Present-day listeners are coming to know that era's experimental music through the recorded artifacts of composers and musicians who largely disavowed recordings. In <I>Records Ruin the Landscape</I>, Grubbs surveys a musical landscape marked by altered listening practices.</div>