Interprètes Divers Forever Changing: The Golden Age Of Elektra Records 1963-1973

Forever Changing: The Golden Age Of Elektra Records 1963-1973

Interprètes Divers

Erschienen am 4. August 2009 bei Rhino - Elektra

Künstler: Interprètes Divers

Genre: Pop/Rock > Rock

Bestimmte Tracks sind nur zum Verkauf über Download verfügbar:  Der Rechtsinhaber lehnt das Streamen dieser Inhalte ab. Sie können diesen Tracks herunterladen oder Ausschnitte von 30 Sekunden im MP3 320-Format abspielen.

Unbegrenzte Musik

Hören Sie dieses Album jetzt mit unseren Apps in hoher Soundqualität

Mit Ihrem Abo können SIe dieses Album auf allen Ihren Qobuz Apps hören

Digitaler Download

117,49 Fr.

Verfügbar in CD-Qualität

In den Warenkorb

Weitere Infomationen
This five-CD set (which also includes a bonus CD-ROM) is not the biggest, most massive box set that you've ever encountered -- back in the late '90s, Deutsche Grammophon had out something about the size of a cello case (with a pair of handles on it) that contained the label's entire recorded output of the music of Johann Sebastian Bach, although, to be fair, that wasn't much more than a hyper-mega-packaging of existing CDs, CD sets, and box sets. This set, on the other hand, is very much an elaborately designed creation, specifically remastered and assembled for this release, and its packaging is custom-conceived from the individual song up through to the outer box. And in the context of popular music, this set is certainly in the running alongside some of Bear Family's most ambitious creations, for sheer size and weight -- (anyone on any kind of heart medication who decides they want this set and doesn't own a car or feel like springing for a taxi should probably order it and have it shipped to their home, rather than buy it at a store and transport it themselves, at least unless they check with their doctor first). Ironically enough, the very fact that this is, indeed, a "popular music" box set says something about the end of Elektra Records' history that is embraced by its contents, Forever Changing: The Golden Age of Elektra 1963-1973, and a limitation in its scope and content -- you won't mind buying it, but you'll heartily wish (and would have bought it that much faster) there were a companion volume of some sort covering the label's history from 1953 through 1963, a time when the company's output included such curiosities as physician-turned-folksinger Shep Ginandes (who was to the postwar folksinging community in Boston the same kind of godfather that Alexis Korner and Cyril Davies were to home-grown blues in England) and the soundtracks to documentary movies by Maya Deren, and when founder Jac Holzman (whose participation was all over this set) would have been astounded to see Elektra's output designated as "popular" music. On the other hand, the box at hand, opening as it does with Judy Collins' "Turn! Turn! Turn!" and closing with Queen's "Keep Yourself Alive" a decade later speaks volumes, not only about changes in the record company across that later time period, but also about changes in the society to which it was offering its music during that same era. Those buying the set will need a good-sized and sturdy table on which to open it, and to dig down, past a folder containing art prints of four classic album covers from the label, a package of postcards devoted to a larger handful of significant artists, a set of publicity shots devoted to the Doors, Love, Queen, and Tom Rush; a pair of Elektra emblem pin badges; and a 96-page hardcover book chock-full of information, essays, commentary, and more by Holzman and the artists themselves (which is another reason one yearns for a volume covering Elektra's first decade -- those are the artists who are truly lost to time and very much need an account of this sort on their behalf). With all of that material inside, the set isn't really devised for convenience of use, a fact of which you'll be reminded in your inability to find the "numbered exclusive certificate of authenticity" supposedly included, which hardly matters -- to borrow from the title of Holzman's autobiography, which is represented here on the bonus CD-ROM, one buys this to "follow the music," not to prize a numbered edition, or as an investment (the Mosaic Records boxes are wiser acquisitions in the latter regard). But following the music is made slightly difficult by the design of the set; why is it that the makers of all of these mega-boxes, from the joint EMI/Columbia Pink Floyd set Shine On and RCA's Duke Ellington career retrospective and on to this release, can't devise an easy way to store and access the CDs and, more importantly, include artist and song information on the individual CD packaging? Some of the artists on disc one, such as Judy Collins, Judy Henske (whose "High Flying Bird" is one of the highlights of the whole set for anyone who doesn't know it -- and anyone hearing it for the first time may rightly wonder why she never got nearly as well-known or found as wide an audience as Grace Slick or Janis Joplin), Phil Ochs, Richard Farina, Tom Rush, Fred Neil, and the Doors are obvious, but many are far less so, and keeping up with it means dealing with a listing separate from the handsome CD package itself, either in the hardcover book or one of the other documents in the package. But in terms of the sound, it is mightily impressive, whether one is listening to the field-call of "Linin' Track" by Koerner, Ray & Glover or the instrumental "The Even Dozens" by the Even Dozen Jog Band; and the makers were clever enough to get such deserving figures as Bob Gibson and Hamilton Camp represented separately, on "Duke's Song (Fare Thee Well)" and "Pride of Man," respectively (of which the latter is one of several places where this volume brushes up against the folk-rock boom and the psychedelic era that followed in the wake of much of the music here). This CD probably straddles the greatest gap of the set, from reinterpretations of traditional folk to the Doors' "Moonlight Drive," though the latter song doesn't convincingly belong on this CD, so much as on the next volume. Disc two is devoted to Elektra's gradual switch in mid-decade from folk to more elaborately conceived and arranged (and heavily amplified) music, opening with Love's "My Little Red Book" and intermingling the work of the Doors, Judy Collins, Tom Paxton, David Blue, Tim Buckley, Clear Light, the Holy Modal Rounders, the Paul Butterfield Blues Band, the Incredible String Band, and Earth Opera, as well as encompassing such less familiar names as the Zodiac Cosmic Sounds, Alasdair Clayre, and Waphphle -- it marks the place where the folkies and blues artists all added instruments and began stretching out what they did with them, and the label also signed rock bands that knew distinctly more than three or four chords, and about a lot else besides playing music (though the latter was true of virtually every artist that Holzman ever signed up). And even though most of the performers here have their work represented on CD already, often in updated, audiophile-quality editions, the sound throughout this disc is still pretty damned impressive. Disc three is where it all blossoms, leaping the gap from amplified folk, blues, and pop variations to bolder messages and groups founded on harder sounds -- the Doors are still here, as are Judy Collins and Tom Rush, but Collins' "Both Sides Now" is present as a representative of Joni Mitchell's songwriting in the first acquaintanceship that most listeners had with it, and not entirely out-of-sync with Love's "Alone Again Or" or Tom Paxton's "Jennifer's Rabbit" in its rather elaborately arranged electric version. And surrounding them are Nico, the Doors, David Ackles, Rhinoceros, David Stoughton, the Stalk-Forrest Group, Delaney & Bonnie & Friends, Crabby Appleton, and Bread -- and the MC5 and the Stooges, both of whom carried the label into a crunchy, defiant music territory far from its roots, mining deep into a popular culture and an audience that was a world away from the one that had existed just three years before. Disc four opens with the Stooges' "Down on the Street" and weaves across the work of Harry Chapin and Carly Simon, as well as such label stalwarts as Judy Collins (who was selling more records than ever) and Hamilton Camp (who wasn't), and takes us down roads old and new, into pop music as well as eclectic obscurities such as Cyrus Faryar, Plainsong, and Courtland Pickett, until we get to Queen, whose "Keep Yourself Alive" closes out the main section of the set. But in case that musical journey and the obscure musical notables included on the way aren't enough to satisfy the true music obsessive who would buy this set, there's a fifth disc, titled "Another Time, Another Place," which delves into a kind of alternate history of Elektra, and some of the important one-offs, blind alleys, and ultimately unsigned and lost acts that littered the company's history, as well as releases that somehow fit outside of the conception of the other discs here -- everyone from Eric Clapton & the Powerhouse and the Byrds in their early incarnation as the Beefeaters to David Peel & the Lower East Side, and Joseph Spence, a Caribbean singer from the album The Real Bahamas, which helped launch what eventually became the Nonesuch Explorer label. There are also oddities such as the 1966 Judy Collins single "I'll Keep It with Mine" (presenting the singer in a fascinating but ultimately abandoned electric folk-rock setting), the Charles River Valley Boys' bluegrass Beatles stylings, and some of the company's very late signings before Holzman's exit -- Simon Stokes' swamp rock "Voodoo Woman" and Eclection's Jefferson Airplane-influenced "Please (Mark II)" are the most interesting, but they're all well worth hearing -- when Elektra was absorbed into the Warner-Elektra-Atlantic corporate identity. Each CD is mastered on a black-vinyl-style platter and re-creates one of the appropriate period Elektra label designs, and the whole release is an exceptional listening experience, but more to the point, it's all fun and enjoyable, mostly because the makers have avoided any obvious boundaries in doing their jobs: tracks such as Judy Collins' "Both Sides Now" and Harry Chapin's "Taxi," which were hated by many critics but sold millions of copies, are juxtaposed with pieces by the Stooges, which sold in the thousands but were immensely important and influential on two subsequent generations of musicians -- and they're on the same box with David Peel's compellingly subversive "Alphabet Song"; it's diversity in the name of completeness and telling a great larger story engagingly through the music, which ultimately matters more than the elaborate packaging or the visual paraphernalia. There's a good month's listening, at least here (plus the CD-ROM, which is Mac- and Windows-compatible and includes Holzman's Follow the Music plus an Elektra discography) and a lot more reading to go with it if that's what one wants, and the only event that could make this release even better than it is in the listening would be a further volume devoted to the earlier history of the label, to fill in that end of the music. ~ Bruce Eder
Weitere Infomationen

Wiedergabe-Qualität

MP3 (CBR 320 kbps)

FLAC (16 Bit - 44,1 kHz)

1.45

Webplayer

Sie hören derzeit Ausschnitte der Musik.

Streamen Sie mit Ihrem Abonnement mehr als 40 Millionen Tracks.

Ab 9,99 €/ Monat

1 Monat gratis
Details der Tracks anzeigen

Album : 1 Disc - 117 Tracks Gesamte Laufzeit : 06:24:00

  1. 1 Turn, Turn, Turn! / To Everything There Is a Season (LP Version)

    Judy Collins, MainArtist - Ecclesiastes, Writer - Seeger, Writer - Mark Abramson, Producer - Bill Takas, Bass Guitar - Jim MGuinn, Banjo, Guitar Copyright : 2006 Rhino Entertainment Company, a Warner Music Group Company 1969 Elektra/Asylum Records for the United States and WEA International for the world outside of the United States.

  2. 2 He Was a Friend (LP Version)

  3. 3 High Flying Bird (LP Version)

  4. 4 Fare Thee Well (Dink's Song) (LP Version)

  5. 5 Casey (LP Version)

  6. 6 Shady Grove (LP Version)

  7. 7 Little Brown Dog (LP Version)

  8. 8 Linin' Track (LP Version)

    Traditional, Writer - Huddy Ledbetter, Arranger - Ray Koerner & Glover, MainArtist Copyright : 2006 Rhino Entertainment Company, a Warner Music Group Company 1963 Elektra Entertainment Group

  9. 9 The Even Dozens (LP Version)

  10. 10 Wild Child in a World of Trouble

  11. 11 Good Luck Child

  12. 12 Downtown Blues (LP Version)

  13. 13 I Ain't Marching Anymore (LP Version)

    Phil Ochs, Vocals, Writer, MainArtist Copyright : 2006 Rhino Entertainment Company, a Warner Music Group Company 1965 Elektra Entertainment for the United States and WEA International Inc. for the world outside of the United States.

  14. 14 The Last Thing on My Mind (LP Version)

    Felix Pappalardi, Guitar - Tom Paxton, Composer, Lyricist, Guitar, Vocals, Writer, MainArtist - Paul Rothchild, Producer - Barry Kornfeld, Guitar Copyright : 2006 Rhino Entertainment Company, a Warner Music Group Company 1964 Elektra Entertainment

  15. 15 Pride of Man (LP Version)

    Bob Camp, Writer - Hamilton Camp, Vocals, MainArtist Copyright : 2006 Rhino Entertainment Company, a Warner Music Group Company 1964 Elektra Entertainment for the United States and WEA International Inc. for the world outside of the United States.

  16. 16 Tomorrow Is a Long Time (LP Version)

    Judy Collins, MainArtist - Bob Dylan, Writer - Jac Holzman, Producer - Mark Abramson, Sound Director - Bill Lee, Bass Guitar Copyright : 2006 Rhino Entertainment Company, a Warner Music Group Company 1965 Elektra/Asylum Records for the United States and WEA International for the world outside of the United States.

  17. 17 Black Mountain Rag (with Byron Berline) (LP Version)

  18. 18 Green Rocky Road (LP Version)

    Traditional, Writer - Carol McComb, Musicians, MainArtist - Kathy Larisch, Musicians, MainArtist Copyright : 2006 Rhino Entertainment Company, a Warner Music Group Company 1964 Elektra Entertainment

  19. 19 Cocaine (LP Version)

  20. 20 House Un-American Blues Activity Dream (LP Version)

  21. 21 West Egg Rag (LP Version)

  22. 22 Two Trains Running (LP Version)

  23. 23 Breeze (LP Version)

  24. 24 Joshua Gone Barbados (LP Version)

  25. 25 Other Side to This Life (LP Version)

  26. 26 Birdses

  27. 27 Blues with a Feeling (LP Version)

    Elvin Bishop, Guitar - Walter Jacobs, Writer - The Paul Butterfield Blues Band, MainArtist - Jerome Arnold, Bass Guitar - Mark Naftalin, Organ - Sam Lay, Drums - Mike Bloomfield, Guitar - Paul Butterfield, Vocals - Paul Rothchild, Producer Copyright : 2006 Rhino Entertainment Company, a Warner Music Group Company 1965 Elektra Entertainment Company

  28. 28 Moonlight Drive (Early Version)

  29. 29 My Little Red Book (Mono LP Version)

    LOVE, MainArtist - Burt Bacharach, Writer - David, Writer - Jac Holzman, Producer - H. DAVID, Writer - Mark Abramson, Producer - Arthur Lee, Vocals - Bryan Maclean, Guitar - John Echols, Guitar - Ken Forssi, Bass Guitar - Alban Pfisterer, Drums Copyright : 2006 Rhino Entertainment Company, a Warner Music Group Company 1966 Elektra/Asylum Records

  30. 30 Wings (LP Version)

  31. 31 So Easy She Goes By (LP Version)

  32. 32 I Got a Mind to Give up Living (LP Version)

    Elvin Bishop, Guitar - The Paul Butterfield Blues Band, MainArtist - Jerome Arnold, Bass Guitar - Mark Naftalin, Organ - Sam Lay, Drums - Mike Bloomfield, Guitar - Paul Butterfield, Arranger, Vocals - Paul Rothchild, Producer - B. B. King, Writer - Cliff Adams, Writer Copyright : 2006 Rhino Entertainment Company, a Warner Music Group Company 1968 Elektra Entertainment Company

  33. 33 The Magic Carpet (LP Version)

  34. 34 First Girl I Loved (LP Version)

  35. 35 The Invisible Backwards-Facing Grocer Who Rose To Fame

  36. 36 One Time And One Time Only (UK Single Electric Version)

  37. 37 Changes (LP Version)

    Ochs, Writer - Jac Holzman, Producer - Mark Abramson, Producer - Phil Ochs, Guitar, Vocals, Writer, MainArtist Copyright : 2006 Rhino Entertainment Company, a Warner Music Group Company 1966 Elektra Entertainment

  38. 38 Hard Lovin' Loser (LP Version)

    Judy Collins, MainArtist - Mark Abramson, Producer - Joshua Rifkin, Conductor, Arranger - Richard Farina, Writer Copyright : 2006 Rhino Entertainment Company, a Warner Music Group Company 1966 Elektra/Asylum Records for the United States and WEA International for the world outside of the United States.

  39. 39 She Comes In Colors (LP Version)

    LOVE, MainArtist - Arthur Lee, Guitar, Vocals, Writer - Bryan Maclean, Guitar - John Echols, Guitar - Ken Forssi, Bass Guitar - MICHAEL STUART, Percussion - Paul Rothchild, Producer - Alban Pfisterer, Drums - Tjay Cantrelli, Flute, Saxophone Copyright : 2006 Rhino Entertainment Company, a Warner Music Group Company 1966 Elektra/Asylum Records

  40. 40 Light My Fire (LP Version)

    Bruce Botnick, Engineer - Larry Knechtel, Bass Guitar - Doug Sax, Mastering Engineer - JOHN DENSMORE, Drums, Writer - Jim Morrison, Lead Vocals, Writer - Ray Manzarek, Keyboards, Writer - The Doors, MainArtist - Robby Krieger, Guitar, Writer - Paul A. Rothchild, Producer Copyright : 2006 Rhino Entertainment Company, a Warner Music Group Company 1967 Elektra Entertainment Group Inc. for the United States and WEA International Inc. for the world outside of the United States

  41. 41 Black Roses (LP Version)

  42. 42 Once I Was (LP Version)

  43. 43 Virgo - Perpetual Perfectionist (LP Version)

    Mort Garson, Composer, Conductor, Arranger - Cyrus Faryar, Vocals - Alex Hassilev, Producer - Jim Lockert, Engineer - Paul Beaver, Synthesizer - Phil Jacques, Lyricist - Zodiac, MainArtist Copyright : 2006 Rhino Entertainment Company, a Warner Music Group Company 1967 Elektra Entertainment for the United States and WEA International Inc. for the world outside of the United States.

  44. 44 Buy for Me the Rain (LP Version)

  45. 45 Nevertheless (LP Version)

  46. 46 Fields of People (LP Version)

  47. 47 Dame Fortune (LP Version)

  48. 48 Girl of the Seasons (Album Version)

    Dave Ray, Writer - Bamboo, Performance, MainArtist Copyright : 2006 Rhino Entertainment Company, a Warner Music Group Company 1968 Elektra Entertaiment

  49. 49 Magazine Lady (LP Version)

    Willie Murphy, Writer, Performance, MainArtist - John Koerner, Writer, Performance, MainArtist Copyright : 2006 Rhino Entertainment Company, a Warner Music Group Company 1967 Elektra/Asylum Records

  50. 50 The Red Sox Are Winning (LP Version)

    PETER ROWAN, Writer - Earth Opera, MainArtist Copyright : 2006 Rhino Entertainment Company, a Warner Music Group Company 1968 Elektra Entertainment

  51. 51 I Want You (To Be My One And Only Girl)

  52. 52 Alone Again Or (LP Version)

    LOVE, MainArtist - Bruce Botnick, Producer - Jac Holzman, Executive Producer - Arthur Lee, Producer, Vocals - Bryan Maclean, Guitar - John Echols, Guitar - Ken Forssi, Bass Guitar - MICHAEL STUART, Percussion - Andrew MacLean, Writer Copyright : 2006 Rhino Entertainment Company, a Warner Music Group Company 1967 Elektra/Asylum Records

  53. 53 Both Sides Now (LP Version)

    Judy Collins, MainArtist - Joni Mitchell, Writer - Mark Abramson, Producer - JOHN HAENY, Engineer - Joshua Rifkin, Conductor Copyright : 2006 Rhino Entertainment Company, a Warner Music Group Company 1967 Elektra/Asylum Records for the United States and WEA International for the world outside of the United States.

  54. 54 No Regrets (LP Version)

  55. 55 Jennifer's Rabbit (Electric UK Single Version)

  56. 56 Swift as the Wind (LP Version)

  57. 57 Frozen Warnings (LP Version)

  58. 58 Down River (LP Version)

  59. 59 Mad Lydia's Waltz (LP Version)

  60. 60 Sing a Song for You (LP Version)

    Jerry Yester, Producer - Zal Yanovsky, Producer - John Miller, Bass Guitar - Tim Buckley, Guitar, Vocals, Writer, MainArtist - Carter C. Collins, Drums - Lee Underwood, Guitar - DAVID FRIEDMAN, Marimba Copyright : 2006 Rhino Entertainment Company, a Warner Music Group Company 1969 Elektra Records

  61. 61 The Sun Comes Up Each Day (LP Version)

  62. 62 Early Morning Blues and Greens (LP Version)

  63. 63 She Sang Hymns out of Tune (LP Version)

  64. 64 Arthur Comics (LP Version)

    Eric Bloom, Performance - Joe Bouchard, Writer, Performance - Andy Winters, Performance - Meltzer, Writer - Les Braunstein, Performance - Stalk-Forrest Group, MainArtist Copyright : 2006 Rhino Entertainment Company, a Warner Music Group Company 1968 Elektra Entertainment Group Inc. for the United States and WEA International Inc. for the world outside of the United States

  65. 65 Five to One (LP Version)

  66. 66 Apricot Brandy (LP Version)

    Michael Fonfara, Keyboards, Organ - John Finley, Vocals - JOHN HAENY, Engineer - Paul Rothchild, Producer - Rhinoceros, MainArtist - Alan Gerber, Keyboards, Piano, Vocals - Billy Mundi, Percussion - Danny Weis, Guitar, Keyboards, Piano - Douglas Hastings, Guitar - Fonfara, Writer - Jerry Penrod, Bass - WEIS, Writer Copyright : 2006 Rhino Entertainment Company, a Warner Music Group Company 1968 Elektra Entertainment Group Inc. for the United States and WEA International Inc. for the world outside of the United States

  67. 67 When the Battle Is Over (LP Version)

    J. HILL, Writer - Bonnie Bramlett, Vocals - Mac Rebennack, Writer - Jim Keltner, Drums - Leon Russell, Guitar, Keyboards - Jim Price, Horn - Jerry McGee, Guitar - Bobby Whitlock, Keyboards, Vocals - Rita Coolidge, Vocals - Delaney Bramlett, Guitar, Vocals - Bobby Keys, Saxophone - Carl Radle, Bass - Delaney & Bonnie & Friends, MainArtist Copyright : 2006 Rhino Entertainment Company, a Warner Music Group Company 1969 Elektra Entertainment for United States and WEA International Inc. for the world outside of the United States.

  68. 68 Mt. Healthy Blues (LP Version)

  69. 69 Kick out the Jams (LP Version)

    Wayne Kramer, Guitar, Keyboards, Vocals, Writer - Rob Tyner, Vocals, Writer, Harmonica - Fred Smith, Guitar, Vocals, Writer, Harmonica - MC5, MainArtist - Bruce Botnick, Producer - Jac Holzman, Producer - Michael Davis, Band Member, Vocals, Writer, Bass - DENNIS THOMPSON, Drums, Vocals, Writer Copyright : 2006 Rhino Entertainment Company, a Warner Music Group Company 1969 Elektra Entertainment for the United States and WEA International Inc. for the world outside of the United States.

  70. 70 I Wanna Be Your Dog (Album Version)

    The Stooges, Lead Vocals, Writer, MainArtist - DAVE ALEXANDER, Bass - David Alexander, Composer - Iggy Pop, Composer, Producer, Vocals, Produced by - James Osterberg, Writer - John Cale, Producer, Viola, Produced by - RON ASHETON, Composer, Vocals, Rhythm Guitar, Bass - SCOTT ASHETON, Composer, Drums Copyright : 2006 Rhino Entertainment Company, a Warner Music Group Company 1969 Elektra/Asylum Records for the United States and WEA International for the world outside of the United States.

  71. 71 Go Back

    Phil Jones, Drums - Brian Ross-Myring, Engineer - Michael Fennelly, Guitar, Vocals, Writer - Crabby Appleton, MainArtist - Caseu Foutz, Keyboards - Don Galluci, Producer - Felix Falcon, Percussion - Hank Harvey, Bass Copyright : 2006 Rhino Entertainment Company, a Warner Music Group Company 1970 Elektra Entertainment for the United States and WEA International Inc. for the world outside of the United States.

  72. 72 Dismal Day (LP Version)

  73. 73 August (LP Version)

    LOVE, MainArtist - Frank Fayad, Bass - George Suranovich, Drums - Jay Donnellan, Lead Guitar - Arthur Lee, Composer, Lyricist, Producer, Arranger, Piano, Lead Vocals, Rhythm Guitar, Harmonica Copyright : 2006 Rhino Entertainment Company, a Warner Music Group Company 1969 Elektra Entertainment for the United States and WEA International Inc. for the world outside of the United States.

  74. 74 Down On The Street (Mono Single Edit)

  75. 75 Louise (LP Version)

  76. 76 Amazing Grace (LP Version)

  77. 77 That's The Way I've Always Heard It Should Be (LP Version)

    Jacob Brackman, Writer - Mark Klingman, Band Member - Buzzy Linhart, Band Member - Carly Simon, Writer, MainArtist - Jimmy Ryan, Band Member - Jimmy Johnson, Band Member - Paul Griffin, Band Member - JEFF BAXTER, Band Member - Eddie Kramer, Producer - Dave Palmer, Engineer - Tony Levin, Band Member - Gerry Jemmott, Band Member - David Bromberg, Band Member - Doug Rauch, Band Member - Billy Mernit, Band Member - David Givens, Band Member - Ed Freeman, Band Member - Ed Kramer, Engineer - Frank Steo, Band Member - Harvey Shapiro, Band Member - Jim Wilkins, Band Member - John Siomos, Band Member - Steve Merriman, Band Member - Tom Caulfield, Band Member Copyright : 2006 Rhino Entertainment Company, a Warner Music Group Company 1971 Elektra/Asylum Records

  78. 78 Riders on the Storm (LP Version)

    Bruce Botnick, Producer, Engineer - Doug Sax, Mastering Engineer - JOHN DENSMORE, Producer, Drums, Writer - Jim Morrison, Producer, Percussion, Lead Vocals, Writer - Ray Manzarek, Producer, Writer, Fender Rhodes Piano - Jerry Scheff, Bass Guitar - The Doors, MainArtist - Robby Krieger, Producer, Guitar, Writer Copyright : 2006 Rhino Entertainment Company, a Warner Music Group Company 1971 Elektra Entertainment Group Inc. for the United States and WEA International Inc. for the world outside of the United States

  79. 79 The Future's Not What It Used To Be

  80. 80 Start Living

    Farquahr, MainArtist - Barnswallow Farquahr, Writer Copyright : 2006 Rhino Entertainment Company, a Warner Music Group Company 1970 Elektra Entertainment

  81. 81 Taxi (LP Version)

    Jac Holzman, Producer - Russ Kunkel, Drums, Percussion - Harry Chapin, Composer, Acoustic Guitar, Lead Vocals, Writer, MainArtist - John Wallace, Bass Guitar, Backing Vocals - Ron Palmer, Electric Guitar - Steve Chapin, Contributor, Keyboards - Tim Scott, Cello Copyright : 2006 Rhino Entertainment Company, a Warner Music Group Company 1972 Elektra/Asylum Records for the United States and WEA International for the world outside of the United States.

  82. 82 True Story of Amelia Earhart (LP Version)

  83. 83 I Hardly Know Her Name (LP Version)

    Bishop, Writer - The Wackers, MainArtist - B. Segarini, Writer - Stull, Writer Copyright : 2006 Rhino Entertainment Company, a Warner Music Group Company 1972 Elektra/Asylum Records for the United States and WEA International for the world outside of the United States.

  84. 84 Ballad of the Ship of State

  85. 85 Guitar Man (Album Version)

  86. 86 You're so Vain (LP Version)

    Carly Simon, Piano, Writer, MainArtist - BILL SCHNEE, Engineer - JIM GORDON, Drums - Jimmy Ryan, Guitar - Joe Gastwirt, Masterer - Klaus Voorman, Bass Guitar - Mark Berry, Recorder - Paul Buckmaster, Orchestra - Richard Perry, Producer, Percussion - Robin Cable, Engineer - Robin Geoffrey Cable, Engineer Copyright : 2006 Rhino Entertainment Company, a Warner Music Group Company 1972 Elektra/Asylum Records for the United States and WEA International for the world outside of the United States.

  87. 87 You Don't Grow Old (LP Version)

  88. 88 Dolphins

    Fred Neil, Writer - Cyrus Faryar, MainArtist Copyright : 2006 Rhino Entertainment Company, a Warner Music Group Company 1973 Elektra Entertainment Group

  89. 89 Shadows on The Wall (with Hamid Hamilton Camp) (LP Version)

  90. 90 Burning Love (LP Version)

  91. 91 Keep Yourself Alive

  92. 92 Wind Chimes (LP Version)

  93. 93 Don't Be Long

  94. 94 I'll Be Back

  95. 95 Baldheaded End Of The Broom

  96. 96 We Shall Be Happy

  97. 97 Good Time Music (LP Version)

  98. 98 Born in Chicago (LP Version)

  99. 99 Crossroads (LP Version)

  100. 100 I'll Keep It with Mine

  101. 101 She's a Woman (LP Version)

  102. 102 Sunshine Sunshine (LP Version)

  103. 103 Bird Song (LP Version)

  104. 104 She's Ready to Be Free (LP Version)

  105. 105 Wayfaring Stranger

  106. 106 Laissez-Faire (LP Version)

  107. 107 Alphabet Song (LP Version)

  108. 108 Voodoo Woman

  109. 109 Please (Mark II) (UK Compilation Track)

  110. 110 Flames (UK Compilation Version)

  111. 111 No Words Between Us

    Show Of Hands, MainArtist - Jak Jacobsen, Writer Copyright : 2006 Rhino Entertainment Company, a Warner Music Group Company 1970 Elektra Entertainment for the United States and WEA International Inc. for the world outside of the United States.

  112. 112 Listening to Music (LP Version)

  113. 113 Lotus (LP Version)

    The Rainbow Band, MainArtist - Mahesh, Writer - Pavarthi, Writer Copyright : 2006 Rhino Entertainment Company, a Warner Music Group Company 1971 Elektra Entertainment

  114. 114 The Persecution and Restoration of Dean Moriarty (On the Road) (LP Version)

    Aztec Two-Step, MainArtist - Rex Fowler, Writer Copyright : 2006 Rhino Entertainment Company, a Warner Music Group Company 1972 Elektra Entertainment for the United States and WEA International Inc. for the world outside of the United States.

  115. 115 P.O.W.

  116. 116 All Around My Grandmother's Floor (LP Version)

  117. 117 World Without End

  • Beschreibung des Albums
  • This five-CD set (which also includes a bonus CD-ROM) is not the biggest, most massive box set that you've ever encountered -- back in the late '90s, Deutsche Grammophon had out something about the size of a cello case (with a pair of handles on it) that contained the label's entire recorded output of the music of Johann Sebastian Bach, although, to be fair, that wasn't much more than a hyper-mega-packaging of existing CDs, CD sets, and box sets. This set, on the other hand, is very much an elaborately designed creation, specifically remastered and assembled for this release, and its packaging is custom-conceived from the individual song up through to the outer box. And in the context of popular music, this set is certainly in the running alongside some of Bear Family's most ambitious creations, for sheer size and weight -- (anyone on any kind of heart medication who decides they want this set and doesn't own a car or feel like springing for a taxi should probably order it and have it shipped to their home, rather than buy it at a store and transport it themselves, at least unless they check with their doctor first). Ironically enough, the very fact that this is, indeed, a "popular music" box set says something about the end of Elektra Records' history that is embraced by its contents, Forever Changing: The Golden Age of Elektra 1963-1973, and a limitation in its scope and content -- you won't mind buying it, but you'll heartily wish (and would have bought it that much faster) there were a companion volume of some sort covering the label's history from 1953 through 1963, a time when the company's output included such curiosities as physician-turned-folksinger Shep Ginandes (who was to the postwar folksinging community in Boston the same kind of godfather that Alexis Korner and Cyril Davies were to home-grown blues in England) and the soundtracks to documentary movies by Maya Deren, and when founder Jac Holzman (whose participation was all over this set) would have been astounded to see Elektra's output designated as "popular" music. On the other hand, the box at hand, opening as it does with Judy Collins' "Turn! Turn! Turn!" and closing with Queen's "Keep Yourself Alive" a decade later speaks volumes, not only about changes in the record company across that later time period, but also about changes in the society to which it was offering its music during that same era. Those buying the set will need a good-sized and sturdy table on which to open it, and to dig down, past a folder containing art prints of four classic album covers from the label, a package of postcards devoted to a larger handful of significant artists, a set of publicity shots devoted to the Doors, Love, Queen, and Tom Rush; a pair of Elektra emblem pin badges; and a 96-page hardcover book chock-full of information, essays, commentary, and more by Holzman and the artists themselves (which is another reason one yearns for a volume covering Elektra's first decade -- those are the artists who are truly lost to time and very much need an account of this sort on their behalf). With all of that material inside, the set isn't really devised for convenience of use, a fact of which you'll be reminded in your inability to find the "numbered exclusive certificate of authenticity" supposedly included, which hardly matters -- to borrow from the title of Holzman's autobiography, which is represented here on the bonus CD-ROM, one buys this to "follow the music," not to prize a numbered edition, or as an investment (the Mosaic Records boxes are wiser acquisitions in the latter regard). But following the music is made slightly difficult by the design of the set; why is it that the makers of all of these mega-boxes, from the joint EMI/Columbia Pink Floyd set Shine On and RCA's Duke Ellington career retrospective and on to this release, can't devise an easy way to store and access the CDs and, more importantly, include artist and song information on the individual CD packaging? Some of the artists on disc one, such as Judy Collins, Judy Henske (whose "High Flying Bird" is one of the highlights of the whole set for anyone who doesn't know it -- and anyone hearing it for the first time may rightly wonder why she never got nearly as well-known or found as wide an audience as Grace Slick or Janis Joplin), Phil Ochs, Richard Farina, Tom Rush, Fred Neil, and the Doors are obvious, but many are far less so, and keeping up with it means dealing with a listing separate from the handsome CD package itself, either in the hardcover book or one of the other documents in the package. But in terms of the sound, it is mightily impressive, whether one is listening to the field-call of "Linin' Track" by Koerner, Ray & Glover or the instrumental "The Even Dozens" by the Even Dozen Jog Band; and the makers were clever enough to get such deserving figures as Bob Gibson and Hamilton Camp represented separately, on "Duke's Song (Fare Thee Well)" and "Pride of Man," respectively (of which the latter is one of several places where this volume brushes up against the folk-rock boom and the psychedelic era that followed in the wake of much of the music here). This CD probably straddles the greatest gap of the set, from reinterpretations of traditional folk to the Doors' "Moonlight Drive," though the latter song doesn't convincingly belong on this CD, so much as on the next volume. Disc two is devoted to Elektra's gradual switch in mid-decade from folk to more elaborately conceived and arranged (and heavily amplified) music, opening with Love's "My Little Red Book" and intermingling the work of the Doors, Judy Collins, Tom Paxton, David Blue, Tim Buckley, Clear Light, the Holy Modal Rounders, the Paul Butterfield Blues Band, the Incredible String Band, and Earth Opera, as well as encompassing such less familiar names as the Zodiac Cosmic Sounds, Alasdair Clayre, and Waphphle -- it marks the place where the folkies and blues artists all added instruments and began stretching out what they did with them, and the label also signed rock bands that knew distinctly more than three or four chords, and about a lot else besides playing music (though the latter was true of virtually every artist that Holzman ever signed up). And even though most of the performers here have their work represented on CD already, often in updated, audiophile-quality editions, the sound throughout this disc is still pretty damned impressive. Disc three is where it all blossoms, leaping the gap from amplified folk, blues, and pop variations to bolder messages and groups founded on harder sounds -- the Doors are still here, as are Judy Collins and Tom Rush, but Collins' "Both Sides Now" is present as a representative of Joni Mitchell's songwriting in the first acquaintanceship that most listeners had with it, and not entirely out-of-sync with Love's "Alone Again Or" or Tom Paxton's "Jennifer's Rabbit" in its rather elaborately arranged electric version. And surrounding them are Nico, the Doors, David Ackles, Rhinoceros, David Stoughton, the Stalk-Forrest Group, Delaney & Bonnie & Friends, Crabby Appleton, and Bread -- and the MC5 and the Stooges, both of whom carried the label into a crunchy, defiant music territory far from its roots, mining deep into a popular culture and an audience that was a world away from the one that had existed just three years before. Disc four opens with the Stooges' "Down on the Street" and weaves across the work of Harry Chapin and Carly Simon, as well as such label stalwarts as Judy Collins (who was selling more records than ever) and Hamilton Camp (who wasn't), and takes us down roads old and new, into pop music as well as eclectic obscurities such as Cyrus Faryar, Plainsong, and Courtland Pickett, until we get to Queen, whose "Keep Yourself Alive" closes out the main section of the set. But in case that musical journey and the obscure musical notables included on the way aren't enough to satisfy the true music obsessive who would buy this set, there's a fifth disc, titled "Another Time, Another Place," which delves into a kind of alternate history of Elektra, and some of the important one-offs, blind alleys, and ultimately unsigned and lost acts that littered the company's history, as well as releases that somehow fit outside of the conception of the other discs here -- everyone from Eric Clapton & the Powerhouse and the Byrds in their early incarnation as the Beefeaters to David Peel & the Lower East Side, and Joseph Spence, a Caribbean singer from the album The Real Bahamas, which helped launch what eventually became the Nonesuch Explorer label. There are also oddities such as the 1966 Judy Collins single "I'll Keep It with Mine" (presenting the singer in a fascinating but ultimately abandoned electric folk-rock setting), the Charles River Valley Boys' bluegrass Beatles stylings, and some of the company's very late signings before Holzman's exit -- Simon Stokes' swamp rock "Voodoo Woman" and Eclection's Jefferson Airplane-influenced "Please (Mark II)" are the most interesting, but they're all well worth hearing -- when Elektra was absorbed into the Warner-Elektra-Atlantic corporate identity. Each CD is mastered on a black-vinyl-style platter and re-creates one of the appropriate period Elektra label designs, and the whole release is an exceptional listening experience, but more to the point, it's all fun and enjoyable, mostly because the makers have avoided any obvious boundaries in doing their jobs: tracks such as Judy Collins' "Both Sides Now" and Harry Chapin's "Taxi," which were hated by many critics but sold millions of copies, are juxtaposed with pieces by the Stooges, which sold in the thousands but were immensely important and influential on two subsequent generations of musicians -- and they're on the same box with David Peel's compellingly subversive "Alphabet Song"; it's diversity in the name of completeness and telling a great larger story engagingly through the music, which ultimately matters more than the elaborate packaging or the visual paraphernalia. There's a good month's listening, at least here (plus the CD-ROM, which is Mac- and Windows-compatible and includes Holzman's Follow the Music plus an Elektra discography) and a lot more reading to go with it if that's what one wants, and the only event that could make this release even better than it is in the listening would be a further volume devoted to the earlier history of the label, to fill in that end of the music. ~ Bruce Eder

logo qobuz Warum Musik bei Qobuz kaufen?

Streamen oder downloaden Sie Ihre Musik

Sie können Alben oder Tracks einzeln kaufen oder unseren gesamten Katalog im Rahmen unserer Streaming-Abonnements in hoher Audioqualität streamen.

Wählen Sie ein Format

Sie können aus einer Vielzahl von Formaten (FLAC, ALAC, WAV, AIFF...) jenes wählen, das Ihren Ansprüchen entspricht.

Kein DRM

Die von Ihnen gekauften Musikdateien gehören Ihnen ohne jegliche Nutzungsbeschränkung. Sie können Sie sooft herunterladen, wie Sie möchten.

Hören Sie die von Ihnen gekaufte Musik mit unseren Apps

Installieren Sie die Qobuz-Apps für Smartphones, Tablets und Computer und hören Sie Ihre Musikeinkäufe immer und überall.

Jetzt entdecken

Zum selben Thema

Das Genre

Rock im Magazin

Mehr Artikel

Das Subgenre

Pop/Rock im Magazin

Mehr Artikel

Aktuelles

Mehr Artikel