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DISCID=52125b16
DTITLE=Various Artists / Forever Changing: The Golden Age of Elektra R
DTITLE=ecords 1963-1973 - Disc 3 of 5
DYEAR=2006
DGENRE=Rock/Pop
TTITLE0=Love / Alone Again Or
TTITLE1=Judy Collins / Both Sides Now
TTITLE2=Tom Rush / No Regrets
TTITLE3=Tom Paxton / Jennifer's Rabbit
TTITLE4=The Incredible String Band / Swift As The Wind
TTITLE5=Nico / Frozen Warnings
TTITLE6=David Ackles / Down River
TTITLE7=Earth Opera / Mad Lydia's Waltz
TTITLE8=Tim Buckley / Sing A Song For You
TTITLE9=David Stoughton / The Sun Comes Up Each Day
TTITLE10=Diane Hildebrand / Early Morning Blues And Greens
TTITLE11=The Dillards / She Sang Hymns Out Of Tune
TTITLE12=Stalk-Forrest Group / Arthur Comics
TTITLE13=The Doors / Five To One
TTITLE14=Rhinoceros / Apricot Brandy
TTITLE15=Delaney & Bonnie And Friends / When The Battle Is Over
TTITLE16=Lonnie Mack / Mt. Healthy Blues
TTITLE17=MC5 / Kick Out The Jams
TTITLE18=The Stooges / I Wanna Be Your Dog
TTITLE19=Crabby Appleton / Go Back
TTITLE20=Bread / Dismal Day
TTITLE21=Love / August
EXTD=Forever Changing: The Golden Age of Elektra Records 1963-1973 - D
EXTD=isc 3 of 5\n2006 Rhino/Elektra Records\n\nOriginally Released Oct
EXTD=ober 30, 2006 or January 23, 2007\n\nAMG EXPERT REVIEW: This five
EXTD=-CD set (which also includes a bonus CD-ROM) is not the biggest, 
EXTD=most massive box set that you've ever encountered -- back in the 
EXTD=late '90s, Deutsche Grammophon had out something about the size o
EXTD=f a cello case (with a pair of handles on it) that contained the 
EXTD=label's entire recorded output of the music of Johann Sebastian B
EXTD=ach, although, to be fair, that wasn't much more than a hyper-meg
EXTD=a-packaging of existing CDs, CD sets, and box sets. This set, on 
EXTD=the other hand, is very much an elaborately designed creation, sp
EXTD=ecifically remastered and assembled for this release, and its pac
EXTD=kaging is custom-conceived from the individual song up through to
EXTD= the outer box. And in the context of popular music, this set is 
EXTD=certainly in the running alongside some of Bear Family's most amb
EXTD=itious creations, for sheer size and weight -- (anyone on any kin
EXTD=d of heart medication who decides they want this set and doesn't 
EXTD=own a car or feel like springing for a taxi should probably order
EXTD= it and have it shipped to their home, rather than buy it at a st
EXTD=ore and transport it themselves, at least unless they check with 
EXTD=their doctor first). Ironically enough, the very fact that this i
EXTD=s, indeed, a "popular music" box set says something about the end
EXTD= of Elektra Records' history that is embraced by its contents, Fo
EXTD=rever Changing: The Golden Age of Elektra 1963-1973, and a limita
EXTD=tion in its scope and content -- you won't mind buying it, but yo
EXTD=u'll heartily wish (and would have bought it that much faster) th
EXTD=ere were a companion volume of some sort covering the label's his
EXTD=tory from 1953 through 1963, a time when the company's output inc
EXTD=luded such curiosities as physician-turned-folksinger Shep Ginand
EXTD=es (who was to the postwar folksinging community in Boston the sa
EXTD=me kind of godfather that Alexis Korner and Cyril Davies were to 
EXTD=home-grown blues in England) and the soundtracks to documentary m
EXTD=ovies by Maya Deren, and when founder Jac Holzman (whose particip
EXTD=ation was all over this set) would have been astounded to see Ele
EXTD=ktra's output designated as "popular" music.\n\nOn the other hand
EXTD=, the box at hand, opening as it does with Judy Collins' "Turn! T
EXTD=urn! Turn!" and closing with Queen's "Keep Yourself Alive" a deca
EXTD=de later speaks volumes, not only about changes in the record com
EXTD=pany across that later time period, but also about changes in the
EXTD= society to which it was offering its music during that same era.
EXTD= Those buying the set will need a good-sized and sturdy table on 
EXTD=which to open it, and to dig down, past a folder containing art p
EXTD=rints of four classic album covers from the label, a package of p
EXTD=ostcards devoted to a larger handful of significant artists, a se
EXTD=t of publicity shots devoted to the Doors, Love, Queen, and Tom R
EXTD=ush; a pair of Elektra emblem pin badges; and a 96-page hardcover
EXTD= book chock-full of information, essays, commentary, and more by 
EXTD=Holzman and the artists themselves (which is another reason one y
EXTD=earns for a volume covering Elektra's first decade -- those are t
EXTD=he artists who are truly lost to time and very much need an accou
EXTD=nt of this sort on their behalf). With all of that material insid
EXTD=e, the set isn't really devised for convenience of use, a fact of
EXTD= which you'll be reminded in your inability to find the "numbered
EXTD= exclusive certificate of authenticity" supposedly included, whic
EXTD=h hardly matters -- to borrow from the title of Holzman's autobio
EXTD=graphy, which is represented here on the bonus CD-ROM, one buys t
EXTD=his to "follow the music," not to prize a numbered edition, or as
EXTD= an investment (the Mosaic Records boxes are wiser acquisitions i
EXTD=n the latter regard). But following the music is made slightly di
EXTD=fficult by the design of the set; why is it that the makers of al
EXTD=l of these mega-boxes, from the joint EMI/Columbia Pink Floyd set
EXTD= Shine On and RCA's Duke Ellington career retrospective and on to
EXTD= this release, can't devise an easy way to store and access the C
EXTD=Ds and, more importantly, include artist and song information on 
EXTD=the individual CD packaging?\n\nSome of the artists on disc one, 
EXTD=such as Judy Collins, Judy Henske (whose "High Flying Bird" is on
EXTD=e of the highlights of the whole set for anyone who doesn't know 
EXTD=it -- and anyone hearing it for the first time may rightly wonder
EXTD= why she never got nearly as well-known or found as wide an audie
EXTD=nce as Grace Slick or Janis Joplin), Phil Ochs, Richard Farina, T
EXTD=om Rush, Fred Neil, and the Doors are obvious, but many are far l
EXTD=ess so, and keeping up with it means dealing with a listing separ
EXTD=ate from the handsome CD package itself, either in the hardcover 
EXTD=book or one of the other documents in the package. But in terms o
EXTD=f the sound, it is mightily impressive, whether one is listening 
EXTD=to the field-call of "Linin' Track" by Koerner, Ray & Glover or t
EXTD=he instrumental "The Even Dozens" by the Even Dozen Jog Band; and
EXTD= the makers were clever enough to get such deserving figures as B
EXTD=ob Gibson and Hamilton Camp represented separately, on "Duke's So
EXTD=ng (Fare Thee Well)" and "Pride of Man," respectively (of which t
EXTD=he latter is one of several places where this volume brushes up a
EXTD=gainst the folk-rock boom and the psychedelic era that followed i
EXTD=n the wake of much of the music here). This CD probably straddles
EXTD= the greatest gap of the set, from reinterpretations of tradition
EXTD=al folk to the Doors' "Moonlight Drive," though the latter song d
EXTD=oesn't convincingly belong on this CD, so much as on the next vol
EXTD=ume.\n\nDisc two is devoted to Elektra's gradual switch in mid-de
EXTD=cade from folk to more elaborately conceived and arranged (and he
EXTD=avily amplified) music, opening with Love's "My Little Red Book" 
EXTD=and intermingling the work of the Doors, Judy Collins, Tom Paxton
EXTD=, David Blue, Tim Buckley, Clear Light, the Holy Modal Rounders, 
EXTD=the Paul Butterfield Blues Band, the Incredible String Band, and 
EXTD=Earth Opera, as well as encompassing such less familiar names as 
EXTD=the Zodiac Cosmic Sounds, Alasdair Clayre, and Waphphle -- it mar
EXTD=ks the place where the folkies and blues artists all added instru
EXTD=ments and began stretching out what they did with them, and the l
EXTD=abel also signed rock bands that knew distinctly more than three 
EXTD=or four chords, and about a lot else besides playing music (thoug
EXTD=h the latter was true of virtually every artist that Holzman ever
EXTD= signed up). And even though most of the performers here have the
EXTD=ir work represented on CD already, often in updated, audiophile-q
EXTD=uality editions, the sound throughout this disc is still pretty d
EXTD=amned impressive. Disc three is where it all blossoms, leaping th
EXTD=e gap from amplified folk, blues, and pop variations to bolder me
EXTD=ssages and groups founded on harder sounds -- the Doors are still
EXTD= here, as are Judy Collins and Tom Rush, but Collins' "Both Sides
EXTD= Now" is present as a representative of Joni Mitchell's songwriti
EXTD=ng in the first acquaintanceship that most listeners had with it,
EXTD= and not entirely out-of-sync with Love's "Alone Again Or" or Tom
EXTD= Paxton's "Jennifer's Rabbit" in its rather elaborately arranged 
EXTD=electric version. And surrounding them are Nico, the Doors, David
EXTD= Ackles, Rhinoceros, David Stoughton, the Stalk-Forrest Group, De
EXTD=laney & Bonnie & Friends, Crabby Appleton, and Bread -- and the M
EXTD=C5 and the Stooges, both of whom carried the label into a crunchy
EXTD=, defiant music territory far from its roots, mining deep into a 
EXTD=popular culture and an audience that was a world away from the on
EXTD=e that had existed just three years before.\n\nDisc four opens wi
EXTD=th the Stooges' "Down on the Street" and weaves across the work o
EXTD=f Harry Chapin and Carly Simon, as well as such label stalwarts a
EXTD=s Judy Collins (who was selling more records than ever) and Hamil
EXTD=ton Camp (who wasn't), and takes us down roads old and new, into 
EXTD=pop music as well as eclectic obscurities such as Cyrus Faryar, P
EXTD=lainsong, and Courtland Pickett, until we get to Queen, whose "Ke
EXTD=ep Yourself Alive" closes out the main section of the set. But in
EXTD= case that musical journey and the obscure musical notables inclu
EXTD=ded on the way aren't enough to satisfy the true music obsessive 
EXTD=who would buy this set, there's a fifth disc, titled "Another Tim
EXTD=e, Another Place," which delves into a kind of alternate history 
EXTD=of Elektra, and some of the important one-offs, blind alleys, and
EXTD= ultimately unsigned and lost acts that littered the company's hi
EXTD=story, as well as releases that somehow fit outside of the concep
EXTD=tion of the other discs here -- everyone from Eric Clapton & the 
EXTD=Powerhouse and the Byrds in their early incarnation as the Beefea
EXTD=ters to David Peel & the Lower East Side, and Joseph Spence, a Ca
EXTD=ribbean singer from the album The Real Bahamas, which helped laun
EXTD=ch what eventually became the Nonesuch Explorer label. There are 
EXTD=also oddities such as the 1966 Judy Collins single "I'll Keep It 
EXTD=with Mine" (presenting the singer in a fascinating but ultimately
EXTD= abandoned electric folk-rock setting), the Charles River Valley 
EXTD=Boys' bluegrass Beatles stylings, and some of the company's very 
EXTD=late signings before Holzman's exit -- Simon Stokes' swamp rock "
EXTD=Voodoo Woman" and Eclection's Jefferson Airplane-influenced "Plea
EXTD=se (Mark II)" are the most interesting, but they're all well wort
EXTD=h hearing -- when Elektra was absorbed into the Warner-Elektra-At
EXTD=lantic corporate identity.\n\nEach CD is mastered on a black-viny
EXTD=l-style platter and re-creates one of the appropriate period Elek
EXTD=tra label designs, and the whole release is an exceptional listen
EXTD=ing experience, but more to the point, it's all fun and enjoyable
EXTD=, mostly because the makers have avoided any obvious boundaries i
EXTD=n doing their jobs: tracks such as Judy Collins' "Both Sides Now"
EXTD= and Harry Chapin's "Taxi," which were hated by many critics but 
EXTD=sold millions of copies, are juxtaposed with pieces by the Stooge
EXTD=s, which sold in the thousands but were immensely important and i
EXTD=nfluential on two subsequent generations of musicians -- and they
EXTD='re on the same box with David Peel's compellingly subversive "Al
EXTD=phabet Song"; it's diversity in the name of completeness and tell
EXTD=ing a great larger story engagingly through the music, which ulti
EXTD=mately matters more than the elaborate packaging or the visual pa
EXTD=raphernalia. There's a good month's listening, at least here (plu
EXTD=s the CD-ROM, which is Mac- and Windows-compatible and includes H
EXTD=olzman's Follow the Music plus an Elektra discography) and a lot 
EXTD=more reading to go with it if that's what one wants, and the only
EXTD= event that could make this release even better than it is in the
EXTD= listening would be a further volume devoted to the earlier histo
EXTD=ry of the label, to fill in that end of the music.  -- Bruce Eder
EXTD=\n\nAmazon.com Editorial Review\nFounded in 1950, Jac Holzman's E
EXTD=lektra label grew from its folk roots, embracing the burgeoning b
EXTD=lues and rock scenes of the '60s and eventually becoming a major 
EXTD=force in the pop music marketplace of the '70s. This five-disc se
EXTD=t not only celebrates its years of ascendancy and experimentation
EXTD=, but also explores beyond the familiar into some very obscure bu
EXTD=t still potent recordings. The first four discs proceed in relati
EXTD=ve chronological order (the fifth is devoted to rarities and asso
EXTD=rted efforts from the fringes). Introduced by the better-known so
EXTD=ngs and acts, the discs open with Judy Collins, Love (twice!), an
EXTD=d the Stooges. Each disc is also its own little journey that remi
EXTD=nds us of how rich Elektra's catalog is--the Incredible String Ba
EXTD=nd, Fred Neil, Nico, and many more found their way into record co
EXTD=llections of the era and continue to resonate. However, it's the 
EXTD=more forgotten acts that make this box so exciting, as the Wacker
EXTD=s, David Ackles, Plainsong, Paul Siebel, and many others burst fo
EXTD=rth from the speakers. Even among the well-known there are some n
EXTD=ice surprises, such as an early version of the Doors' "Moonlight 
EXTD=Drive" (sounding more like one of the label's folk-blues performe
EXTD=rs) and the harder-edged punch of Judy Collins's "Hard Lovin' Los
EXTD=er." --David Greenberger \n\nAmazon.com Product Description\nA Sp
EXTD=ectacular Anthology of the Best from the Elektra Records Label as
EXTD= it Evolved from Folk to Folk-rock Music and Eventually Embracing
EXTD= Electric Rock Based Artists at the Core of It's Roster. "Forever
EXTD= Changing" was Meticulously Assembled and Great Care Given to It'
EXTD=s Contents. Opening with Pivotal Early Folk Artists Like Judy Col
EXTD=lins, Fred Neil and Phil Ochs, in the Wake of Dylan's Appearance 
EXTD=at Newport in 1965, the Label Became the Home of Electric Music w
EXTD=ith the Paul Butterfield Blues Band and Then Key Signings with Lo
EXTD=ve, the Doors and the Extraordinarily Unique Tim Buckley. Elektra
EXTD= Never Lost Its Folk Roots and as the Decades Changed, the Label 
EXTD=Embraced Singer/Songwriters Like Carly Simon, Harry Chapin and th
EXTD=e Sweet Sounds of Bread. Yet in 1969, Elektra Released Debut Albu
EXTD=ms by the Stooges, Mc5 and Queen, Groups that have Significantly 
EXTD=Impacted Young Musicians to this Day. The Label Had Evolved with 
EXTD=the Times, Showcasing Only the Best and the Brightest in Modern M
EXTD=usicians. \n\n\nAMAZON.COM CUSTOMER REVIEW\nnuggets of the folky 
EXTD=variety, March 4, 2007\nReviewer: attentive listener "dubs" (Joys
EXTD=ey)\nThere are some real forgotten gems here. If you've enjoyed a
EXTD=ny of Rhino's other comprehensive mining operations, this is a no
EXTD= brainer. When I first saw the track list and listened to the 30 
EXTD=second lo-fi snippets, I thought this might be a risky acquisitio
EXTD=n. I'm sure glad I ignored that initial evaluation. I would never
EXTD= have guessed that Judy Collins would neatly fit in with my other
EXTD= musical interests. Show a little faith, this collection really s
EXTD=tands up and grows some hair. Royal flush, aces, back to back. \n
EXTD=\nI shopped it around as the prices on this were all over the map
EXTD=. \n\n\nAMAZON.COM CUSTOMER REVIEW\n\n\nHalf.com Details \nProduc
EXTD=er: Mick Houghton (Compilation), Phil Smee (Compilation), Stuart 
EXTD=Batsford (Compilation) \n\nAlbum Notes\nRecording information: 19
EXTD=63 - 1973.
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