Elektra Records Master Discography: Browse

Elektra EKL 4001 (Mono) EKS 74001 (Stereo)

Released: March 1966

Production: Jac Holzman and Mark Abramson

Engineering: Bruce Botnick

Recorded: Sunset Sound Recorders, Los Angeles

Having been unsuccessful in signing the Lovin' Spoonful (see EKS 74002), Jac found Arthur Lee and Love to catapult Elektra into the 60s rock scene. The band gave Elektra their first hit single ('My Little Red Book') and are fondly remembered in England if not everywhere else, mainly because Arthur wouldn't travel any further than 'the length of a piece of string' from LA. Arthur Lee was greeted as a hero by members of the British House of Commons during his 2002 tour.

The disc started a new numerical series for Elektra - known as the 4000 series - and the company introduced a radically new kind of sleeve. This was printed in colour directly onto stiff card and, for the first time, both the front and back of the cover could be in colour. Love were also the first Elektra band to get their own custom designed logo and this became a common practice for the label. The Love logo, however, is quite complex and does not look so good when printed at a small size. Later designs, notably the Doors logo, didn't suffer from this drawback. Both the sleeve type, and the logo, became common practice in the record business but they are believed to have been originated by Jac Holzman and William S Harvey at Elektra with this album.

As it turned out, when Arthur signed his deal for this album he was under age and backed out of the deal when it came to make a second album. Jac managed to keep Love with Elektra despite this setback but insisted that when Arthur signed a new contract he stapled a copy of Arthur's driving licence to it ... to prove his age. Of course this mirrors Elektra's deal with Jean Ritchie back in the 10-inch days, when Jac's father had to sign because Jac wasn't old enough at the time.

There are some slight differences between the mono and stereo versions of this album: 'Softly to Me' is slightly longer on the stereo and 'Emotions', 'Colored Balls Falling' and 'Mushroom Clouds' are slightly longer on the mono. (See love.torbenskott.dk for more info on Love recordings. The definitive home for Love-dom is the fanzine 'The Castle': www.thefreedomman.com )

To avoid confusion: there really is a track called 'And More' on this LP.

Elektra EKL 4002 (Mono) EKS 74002 (Stereo)

Released: May 1966

Production: Paul Rothchild, Mark Abramson, Joe Boyd and Jac Holzman

This set is reputed to have started life as 'The Electric Blues Project' and made good use of some otherwise homeless Elektra recordings. The Spoonful tracks were all they recorded for Elektra before going to Kama Sutra and the Butterfield tracks were recordings from one of the abortive sessions for their first album.

Eric Clapton's band 'The Powerhouse' includes Steve Winwood (under the alias Steve Anglo) on vocals, Paul Jones on harmonica (under the alias Jacob Matthews) and Jack Bruce on bass.

This disc has also (erroneously) appeared in lists as EKS 7304 and is the basis of the UK release 'Good Time Music', EUK 260/EUKS 7260 which has a different cover (and gets the 'why on earth did they do that' award for 1966). Early copies of this included an information sheet on the artists, otherwise you're on your own ... or perhaps by then you'd know who everyone was.

Jac Holzman had nearly signed the Lovin' Spoonful to Elektra: John Sebastian was an Elektra regular including his appearance in the Even Dozen Jug Band. Unfortunately the Spoonful's music publishing deal turned out to include a recording contract so the Spoonful went to Kama Sutra and Jac had to wait to find his first great rock act.

Eric Clapton has been reported as saying that a 4th Powerhouse track was recorded, a slow blues, but not included on the album. Joe Boyd's autobiographical book 'White Bicycles' tells us that the band was put together by Paul Jones and Joe Boyd for this album session and recorded in London with both Joe and Jac Holzman in attendance. So I'd vote for 'Produced by Joe Boyd ... Production Supervisor Jac Holzman'. The mix was done back in the States.

Elektra EKL 4003 (Mono) EKS 74003 (Stereo)

Released: August 1966

Production: Arthur Gorson

Engineering: Bill Szymczk

David Blue also recorded as David Cohen but he's not the same guy who was in Country Joe and the Fish..

Elektra EKL 4004 (Mono) EKS 74004 (Stereo)

Released: 1966

Production: Paul Rothchild and Jac Holzman

Engineering: Bruce Botnick

Recorded: Sunset Sound, Los Angeles

Tim Buckley was nineteen years old when he made this first album. Besides Buckley (guitar), the other musicians are Lee Underwood (lead guitar), James Feidler (bass), Billy Mundi (drums and percussion) and Van Dyke Parks (keyboards). String arrangements are by Jack Nitzsche.

Elektra EKL 4005 (Mono) EKS 74005 (Stereo)

Released: November 1966

Production: Paul Rothchild

Engineering: Dave Hassinger and Bruce Botnick

Recorded: Hollywood

In retrospect this disc represents an unfulfilled promise, since it consists of a magnificent first side - full of pop/rock songs which combine hummable simplicity of melody with unusual musical sophistication - and a side-long semi-jam which is now just 'of its time'. Arguably the stand-out track is '7 and 7 is' which was the earliest to be recorded. This is short, fast and almost brutal: the only logical way to stop it was with an explosion. The drumming is so fast-paced that it seems no-one can remember whether it was Snoopy or Arthur who played on the issued version, since they alternated takes. During his 'Forever Changes' tours Arthur did this song as an encore.

Surprisingly, 'The Castle' was used for several years by BBC Television as the theme for a Holiday magazine programme. 'Stephanie Knows Who' was covered by The Move and, at first, it was rumoured that the Rolling Stones were covering 'She Comes in Colours'. This turned out to be a mistaken reference to a completely different song ('She's a Rainbow') on their 'Satanic Majesties Request' album.

Elektra EKL 4006 (Mono) EKS 74006 (Stereo)

Released: November 1966

Production: Paul Rothchild and Peter K Siegel

Engineering: Glenn Snoddy

Recorded: Nashville

It seems that Lennon and McCartney wrote some fine country tunes. 'I've Just Seen a Face' works particularly well as bluegrass. After the success of the 'Baroque Beatles Book' (Elektra 306) this was probably seen as a no-brainer. Not as successful unfortunately.

The Charles River is, of course, the one that flows through Boston and the musicians here are from Cambridge Mass with a little underpinning from the likes of authentic Nashville fiddler Buddy Spicher. To call this 'Country' is probably a bit of a misnomer since it is basically fine bluegrass ... which ain't really the same thing!

Eros Keith is credited with the cover art but since the image shows Eros in London's Picadilly Circus I have to asume the name is a pseudonym. Is it Rik von Schmidt perhaps? On the back of the sleeve you can just make out the Beatles themselves, leaving the scene.

The engineer, Glenn Snoddy, is something of a legend too. He worked at both Castle and Woodland Sound in Nashville (this disc might have been cut there) and is said to have built the first stereo recording board in the town and set up one of the first 3-track recorders in the US when he was chief engineer of Owen Bradley's Quonset Hut Studio. He was instrumental in defining what became the 'Nashville Sound' and among his recordings was Johnny Cash's 'Ring of Fire'. Obviously the right man for this job.

Elektra EKL 4007 (Mono) EKS 74007 (Stereo)

Released: January 1967

Production: Paul A Rothchild

Engineering: Bruce Botnick

Recorded: Sunset Sound Recorders, Hollywood

Arthur Lee introduced Jac to the Doors and the rest is vinyl history.

This disc was released in January and promoted with a billboard on Sunset Strip. Elektra really meant business. Early mono copies are reported to include an unexpurgated edit of 'The End'.

This album clearly illustrates the quality of Elektra's recordings. At a time when the industry in general saw 'pop' as disposable and needing no great care in its production, Elektra ... and Jac Holzman in particular ... saw things differently. Everything about this release, from the careful arrangement of the band in the sleeve photos to the pattern of songs over the two sides, is carefully crafted. In 'The End', producer Paul Rothchild even managed (IMHO) to record the sound of smoke. Alternatively you could take blender.com's assessment ... "Bombastic? Lugubrious? Sounds like it was recorded in a large metal shipping container and mixed by drunks?" ... and the 24th worst song ever! As they say on the London Underground: obstructing the Doors causes delay and can be dangerous.

When the album went gold, Elektra added a 'Gold' RIAA seal, printed as part of the front cover, to commemorate this. Copies with the seal are early but not the earliest since they, of course, were printed before the award.

When Rhino released remastered versions of the Doors albums in 2007, Bruce Botnick's note to this first LP revealed to us that the album master tapes were recorded at the wrong speed. This appeared to be due to a problem with a tape machine at Elektra's New York studio, where the disc was mixed. Either the 4-track machine playing back the recording was slow or the 2-track machine recording the mix was fast (presumably analysis of the ultrasonic tape bias would determine which). Either way, the result is about a semi-tone off pitch. Ironically the singles of 'Break on Through' and 'Light my Fire' (Bruce doesn't mention 'Whisky Bar' but then that wasn't a US single) were mastered just about right because the practice was to cut singles deliberately fast to help with radio play. This remastered version reinstates parts of the lyrics that were 'hidden' on initial release. The cryptic repeated 'She gets ...' line in 'Break on Through' turns out to be 'She gets ... high', for example.

As if this wasn't enough, the singles were cut using a Dolby unit to expand the dynamic range of the mix to compensate for AM radio's compression of the sound when broadcast.

I think I need a lie down in a dark room!

By the way, the Japanese version initially moved 'Light my Fire' to the start of side 1.

Elektra EKL 4008 (Mono) EKS 74008 (Stereo)

Released: March 1967

Production: Alex Hassilev

Recorded: Sount Techniques Studio, London

This is mood music recorded in the UK. It was originally going to be the first of series of such discs but the project didn't come together as planned. Alex Hassilev (a member of the Limelighters) turned his attention to the Zodiac in EKS 74009.

Elektra EKL 4009 (Mono) EKS 74009 (Stereo)

Released: May 1967

Production: Alex Hassilev

Engineering: Jim Lockert

The voice on this album is Cyrus Faryar and the electronic instruments are played by Paul Beaver. Words by Jacques Wilson ... and an instruction (nay ... order) that the recording 'Must be played in the dark'. Yet more great Elektra cover art; this time by Abe Gurvin. Front and back are both shown here.

This was one of the first appearances of a Moog synthesiser on record. More details on the recording and the instrumentation can be found at www.richieunterberger.com .

Mort Garson later made a set of Zodiac recordings for A&M (SP 4211 to 4222) amongst other things (eg an 'acid satire' of the Wizard of Oz with Bernie Krause and a disc of Moog music to grow plants by!).

Elektra EKL 4010 (Mono) EKS 74010 (Stereo)

Released: 1967

Production: Joe Boyd

Engineering: John Wood

Recorded: Sound Techniques, London

Sleeve design and artwork by 'Simon & Marijke'. Simon Posthuma and Marijke Koger were part of a 60s design group called The Fool. They did work for Apple, including some of the Sergeant Pepper sleeve, the wall of the Apple Boutique in London and the clothes worn by the Beatles in the 'Our World'/'All You Need is Love' TV special.

Originally issued in the UK on Elektra EUK 257/EUKS 7257 and also issued there with EKL/EKS prefixes and the same numbers. Matrix numbers continued to include the EUK numbers alongside new ones.

This number was listed for an album by David Blue and the American Patrol (in a 1967 Elektra catalogue). The Blue album seems to have been later planned for Reprise release but was only, partially, released in 2023.

Elektra EKL 4011 (Mono) EKS 74011 (Stereo)

Released: October 1967

Production: Paul A Rothchild

Engineering: Bruce Botnick

Recorded: Sunset Sound Recorders, Hollywood

Double drummers and a 'guru' and a 'seer and overseer' credited as members of the band.

Some copies include an inner sleeve with photos of the group. The B-Side of the single issue of 'Black Roses' is an extra track which has appeared on reissues of this LP - 'She's Ready to be Free' - which was featured on the Soundtrack of the Movie 'The President's Analyst'. Mono version was released in US.

Elektra EKL 4012 (Mono) EKS 74012 (Stereo)

Released: 1967

Production: Mark Abramson

Engineering: John Haeny

All arrangements but one were by Joshua Rifkin. On this LP Judy introduced the world to both Joni Mitchell and a couple more seminal songs of Leonard Cohen.

Elektra EKL 4013 (Mono) EKS 74013 (Stereo)

Released: December 1967

Production: Arthur Lee with Bruce Botnick

Engineering: Bruce Botnick

Recorded: Sunset Sound Recorders, Hollywood

Quintessential Love ... and for some people this is the best album ever made. The promise of 'Da Capo' was finally realised with a rock album where, for once, the string arrangements don't feel 'bolted on'. The seminal 'Alone Again Or' even manages to include a Mexican-style trumpet break without breaking stride and the staccato-editing in 'You Set the Scene' was eventually echoed 25 years later by Madonna. These are songs and settings that really seem to have been 'phoned in from the future' - something also said of Jimi Hendrix. (Arthur Lee and Jimi had worked together.)

The album is listed in the 1968 Elektra catalogue as being titled 'Love Forever Changes', which has a certain poetic ring to it with echoes of Victorian romantic poets. If only I could track down the poem ... if it exists. That configuration does have a nice ring to it.

The music is enhanced by the amazing painting of the band - showing an integration that belies Arthur's creative control on this album - by Bob Pepper. It sits nicely alongside the art on the cover of 'Revolver' which was, as it happens, the Beatles finest album.

Two versions of the sleeve exist since at one time Elektra seemed to have lost one of the photographs used on the back cover (a band shot with Arthur holding a broken jug) and replaced it with a black and white photo of Arthur. I recently discovered that Arthur's smile was a late addition to the painting. The original, without the smile, was used on the promotional billboard.

For a long time Jac Holzman would deny that there were any other tracks from the sessions for this album; presumably to stop endless clamours for them to be released. A Rhino reissue of the set in 2001 (8122-73537-2) included some alternate mixes and associated tracks from other sessions. You can even hear Jac himself talking at the start of 'Hummingbirds' which was a demo cut at the '7 and 7 is' session and is an early version of 'The Good Humor Man He Sees Everything Like This'. Also included is an outtake from 'Forever Changes' called 'Wonder People (I Do Wonder)' which was arguably too cheery to fit into the album.

Another variant is a Greek version which fades 'A House is not a Motel'. (This has Kinney-era number K42015)

Elektra EKL 4014 (Mono) EKS 74014 (Stereo)

Released: October 1967

Production: Paul A Rothchild

Engineering: Bruce Botnick

Recorded: Sunset Sound Recorders, Hollywood

Did you notice that this sleeve doesn't feature the group? After the dramatic photography of the band members on the first Doors album this one goes for completely different territory and may have gone too far. Elektra eventually stickered the albums to make sure people knew it was the new Doors album.

In 'Follow the Music' Bill Harvey tells an interesting tale about the people featured on the cover. I think the cover sets the scene for the track 'People are Strange' but externalises the strangeness whereas the song internalises it.

Early copies had a photo inner-sleeve with the photo of Jim looking as if he's holding an invisible crystal ball with the song lyrics on the reverse of the inner-sleeve.

There is apparently no connection, but there is a Richard Avedon photo (see collections.vam.ac.uk ) called 'Elise Daniels with Street Performers' taken in 1948 in Paris which could have been an inspiration, although the Doors cover shot was done in New York.

Engineer Bruce Botnick had got hold of an early acetate of Sgt Pepper (via the Turtles) and listening to this was an influence on the direction of 'Strange Days'.

Elektra EKL 4015 (Mono) EKS 74015 (Stereo)

Released: 1967

Production: John Court

Sleeve illustration/montage by Kim Whitesides.

This was the last regular mono issue in the US, although other territories continued for a while longer. The usual give-away on the stereo-only discs is that the cover refers to them as being 'playable on mono phonographs'.

At this time a number of pickup manufacturers were producing stereo-compliant mono pickups so that using a mono player wouldn't damage the disc. If there is no vertical compliance in the pickup it is possible for the groove of a stereo disc to be damaged.

My thanks to Pat Gillespie for info on the US mono issues. The really rare one is EKL 74024, 'Waiting for the Sun', which attracts a high purchase price on eBay, currently rapidly approaching $1000!

Elektra EKS 74016 (Stereo)

Released: 1968

Production: Peter K Siegel

Engineering: Dave Sanders, Roy Cicala and Peter K Siegel

Elektra EKS 74017 (Stereo)

Released: 1968

Production: Paul Rothchild/Peter K Siegel

A touch of mystery about this one. There are no producer or engineer credits ... not even the normally ever-present production supervisor tag for Jac. Sadly, the recording sessions were not anything like a smooth ride for Steve. There is a photo on the back of the sleeve by Linda Eastman (the future Mrs McCartney) however. It's all revealed in Richie Unterberger's sleeve notes for the CD reissue of the album, available online at www.richieunterberger.com .

Steve was a friend of Jackson Browne, and some of Browne's songs are used on this album. At about this time there were tentative plans for a Jackson Browne album on Elektra to be called 'Baby Browning', but it didn't happen.

Elektra EKL 4018 (Mono) EKS 74018 (Stereo)

Released: 1968

Production: Arthur Gorson

Engineering: Bruce Botnick and Brooks Arthur

Recorded: Century Sound Studios

This is the album with 'No Regrets' on it ... possibly Tom Rush's finest hour. The girl is his then girlfriend Jill Lumpkin. US Mono copies are promo copies only.

Elektra EKS 74019 (Stereo)

Released: 1968

Production: Peter K Siegel

Elektra EKS 74020 (Stereo)

Released: May 1968

Production: Paul A Rothchild

Engineering: John Haeny

Gatefold and non-gatefold sleeves: I'm not sure which is the earlier. Mono version not released in US. Band member Jonathan Raskin is the son of Elektra artists Gene and Francesca.

Elektra EKS 74021 (Stereo)

Released: 1968

Production: Joe Boyd, Witchseason Productions

Engineering: John Wood

Recorded: Sound Techniques, London

UK release on EUK 258. Early US catalogue listing of this album gave the title as 'The Hangman's Lovely Daughter'. Over time the front cover of the disc flipped from the picture of Robin and Mike to a mass group shot.

Elektra EKS 74022 (Stereo)

Released: 1968

Production: David Anderle and Russ Miller

Engineering: Bruce Botnick and Brian Ross Myring

Two covers: the cracked mirror/window from the initial release and a close-up portrait for the 1971 reissue of the album where the title was changed to The Road to Cairo.

Elektra EKS 74023 (Stereo)

Released: 1968

Production: Ossie Byrne

Engineering: Damon Lyon-Shaw

Recorded: IBC Studios, London

A rare UK signing for the world by Elektra.

Elektra EKL 4024 (Mono) EKS 74024 (Stereo)

Released: July 1968

Production: Paul A Rothchild

Engineering: Bruce Botnick

The inner sleeve of this contains the lyrics for The Celebration of the Lizard, by Jim Morrison, described as a theatre composition by the Doors. The US mono version of this is very rare since it was only issued to radio stations, and from here on mono copies of Elektra albums are most likely to be from the UK.

Elektra EKS 74025 (Stereo)

Released: 1968

Production: John Court (A Groscourt Production)

Cover art by Gene Szafran.

Elektra EKS 74026 (Stereo)

Released: 1968

Production: Frazier Mohawk

Engineering: Robin and Bob Labla

The Bird Song was used on the soundtrack of 'EasyRider', which is where most people will have heard it. Cover art by Gene Szafran.

Elektra EKS 74027 (Stereo)

Released: 1967

Production: Mark Abramson

Originally released as EKS 7320 and the sleeve on my copy shows signs of being repurposed from the 320 art work. The reason for the double numbering lies in differential pricing between the folk product in the 300 series and lower-priced (dollar less) rock product in the 4000 series. Two cover variations exist based on the same photograph for this 4000-series release. One is a full-cover photo showing Judy sitting in a shack setting with a stove, while later ones frame a section of this photo.

Elektra EKS 74028 (Stereo)

Released: 1967

Production: Jerry Yester

Engineering: Bruce Botnick

Originally issued as EKS 7318.

Elektra EKS 74029 (Stereo)

Released: 1968

Production: Frazier Mohawk

Engineering: John Haeny

Arrangements by John Cale. Mono version only released in UK. Blue vinyl version (why... you may well ask) released in Belgium.

Elektra EKS 74030 (Stereo)

Released: 1968

Production: Paul A Rothchild

Engineering: John Haeny

A magnificent cover, especially when folded out, by Gene Szafran. Both sides shown here. Rhinoceros were reputedly the result of Elektra's 'Project Supergroup'. 'Apricot Brandy' was used at least twice by BBC Radio as a signature/theme tune for two totally different programmes (one of which was produced by me). There's a good rundown of the band's history on their web site: www.rhinoceros-group.com

Elektra EKS 74031 (Stereo)

Released: 1969

Production: David Anderle and Russ Miller

Engineering: Bruce Botnick

Recorded: TTG Studios, Hollywood

The title track was covered by the Monkees.

Elektra EKS 74032 (Stereo)

Released: 1968

Production: Peter Siegel

This is possibly the only album you will ever hear where the artists sing the credits. It was recorded 'Live on the Streets of New York' in the manner of a field recording.

Elektra EKS 74033 (Stereo)

Released: 1969

Production: David Anderle

Engineering: John Haeny

Recorded: Elektra Sound Recorders, Los Angeles

Elektra EKS 74034 (Stereo)

Released: 1968

Production: David Stoughton

Engineering: Marshall Goldberg, Bob Petrucci, Peter Granet

Elektra EKS 74035 (Stereo)

Released: 1968

Production: Rodney Dillard and Jimmy Hilton

Engineering: Jimmy Hilton

Recorded: Gold Star Studios, Los Angeles

Mono (probably) only issued in UK.

Elektra EKS 74036 (Stereo)

Released: 1968

Production: Joe Boyd, Witchseason Productions Ltd (London)

Engineering: John Wood

Recorded: Sound Techniques, London

In the UK Wee Tam and the Big Huge were initially available as a double with the numbers EKL 4036/4037 and EKS 74036/7.

Elektra EKS 74037 (Stereo)

Released: 1968

Production: Joe Boyd, Witchseason Productions

Engineering: John Wood

Recorded: Sound Techniques, London

In the UK Wee Tam and the Big Huge were also available as a double with the numbers EKL 4036/4037 and EKS 74036/7. The sleeve designs differ in that the double has the lyrics on the outside and inside there is a single big photo of Robin and Mike whereas the single albums have different dual photos on each cover. The individual discs were. at least for early UK pressings, issued with labels saying 'Wee Tam and the Big Huge' even though they were one or the other. This is logical for the double but seems to have also happened with individual single-disc copies. The single disc copies also used different photos from both the double and US releases.

Elektra EKS 74038 (Stereo)

Released: 1969

Production: Peter K Siegel

Engineering: Dave Sanders, Peter K Siegel

Recorded: A&R Studios and Elektra Sound Recorders, New York

Sleeve is a collage by Dave Grisman and Myron Collins using photos by Myron Collins. The illustration id by Gene Szafran.

Elektra EKS 74039 (Stereo)

Released: 1969

Production: Delaney for DelBon Productions

Engineering: John Haeny

Recorded: Elektra, Los Angeles

This album was to have appeared on Apple (SAPCOR7) and a few test pressings of this exist with full Apple labels although no cover has been found. The UK Polydor pressings have two matrix numbers, one set for EKS 74039 and the other saying SAPCORE7 (with an E which could either be a genuine error or a joke by the cutting engineer).

There are signs of a 'tension' between the band and Elektra. This was the only disc where artistic control of the cover was not in Bill Harvey's hands and there is a cryptic sleeve note saying 'We would like to acknowledge Jac Holzman and Bill Harvey of Elektra Records and also Sid Keiser whose photos do not appear on the album because they were out of town.'

The track "Do Right Woman - Do Right Man" is called just "Do Right Woman" on the sleeve. (Label copy is generally regarded as definitive!)

Elektra EKS 74040 (Stereo)

Released: 1969

Production: Russ Miller

Engineering: Bruce Botnick

Recorded: Elektra Sound Recorders, Los Angeles

This is probably the last disc available in mono, from the UK.

Elektra EKS 74041 (Stereo)

Released: December 1969

Production: Frazier Mohawk

Engineering: Allan Emig

Recorded: Paxton Lodge

Not much emerged from the ill-fated Paxton Lodge project: this is probably the best. CD re-issue on Red House Records RHR 63 in Feb 1994.

Elektra EKS 74042 (Stereo)

Released: 1969

Production: Jac Holzman and Bruce Botnick

Engineering: Bruce Botnick

Recorded: Russ Gibb's Grande Ballroom, Detroit

Recorded live at Russ Gibb's Grande Ballroom October 30-31, 1968. There were two issues of the disc, with and without the notorious 'Kick Out the Jams Motherfuckers!' shout at the beginning. The bowdlerised version says 'Brother and sisters' in a noticeable audio edit.

The recording was done on two successive nights, with and without audience, in order to guarantee sound quality. (Leakage of the instruments and vocals into audience microphones being a 'bad thing' in this context.) Apparently the live recording was used primarily for song starts, ends, applause and links.

A promotional 45 (MC5-1) with alternative mixes of 'Kick Out the Jams' and 'Motor City is Burning' was given away to fans before a Filmore East concert. The label reads: Preview Pressing For Brothers and Sisters of the MC5.

If you look closely at the sleeve (probably not possible on a small web page version) you can see Bill Harvey's face at the top right. Art department in-joke #1649!

Elektra EKS 74043 (Stereo)

Released: 1969

Production: Peter K Siegel

Engineering: Dave Sanders, Shelly Yakus

A 45 of Tom Paxton interviewing himself was produced for radio stations to promote this album.

Elektra EKS 74044 (Stereo)

Released: 1969

Production: Bread

Engineering: Bruce Botnick

Recorded: Elektra Sound Recorders, Los Angeles

Jac tells of how Bread basically worked office hours to record, unlike most bands who were nocturnal.

Cover art by Abe Gurvin. A leaflet with lyrics is included. CD reissue in 1995 in the Elektra Traditions series from Rhino.

Elektra EKS 74045 (Stereo)

Released: 1968

Production: Jerry Yester and Zal Yanovsky

Engineering: Bruce Botnick

Recorded: Elektra Sound Recorders, Los Angeles

There is something superbly cool about the arrangements on this album and the soft songs on side one just build upon each other to make this set, for me, the pinnacle of Tim Buckley's career. The harder edge of Gypsy Woman presages the more experimental music to follow on Lorca.

Elektra EKS 74046 (Stereo)

Released: 2001

Production: Dennis Murphy, Peter Siegel and Jay Lee

Some mystery has surrounded the identity of EKS 74046 with unreleased (or at least not released on Elektra) albums by Delaney and Bonnie, David Peel and UK band Leviathan being contenders. However, in 2001 a CD called 'St Cecilia' by the Stalk Forest Group emerged in a limited edition on Rhino and seems to defintively claim this number, showing made-up master tape boxes carrying the legend EKS 74046.

The band went on to be Blue Öyster Cult and the reasons for the non-release stay unclear even if the numerical mystery is solved. Note that Sandy Pearlman seems to have taken 'an active role' as producer and two tracks which were released as a single ('Arthur Comics' and 'What is Quicksand?') were credited as produced by Jay Lee.

The cover shown is that for the Rhino CD (Rhino Hand Made RHM2 7716) which, as well as the album tracks listed above - as held on the master tape - includes alternative/original versions of several tracks, an extra cut called 'Bonomo's Turkish Taffy' and the mono single mixes for 'Arthur Comics' and 'What is Quicksand' which were released as Elektra EKM 45693.

Elektra EKS 74047 (Stereo)

Production: Jim Dickson

Engineering: Charles Tagot

Hip jive talk from the man who did it best. 'The Nazz' ... in case you didn't know ... is Christ: as his lordship tells us the story of the miracle of the 'Cat with the Bent Frame'.

Original release on Vaya Records in 1951 over two albums: 'Euphoria', Vaya Records VLP 101, which carried 'The Nazz', 'Mark Anthony's Funeral Oration', 'Nero (From Quo Vadis)' and 'Murder' and 'Euphoria Vol 2' VLP 107 which carried 'Jonah and the Whale', 'Cabenza de Gasca', 'The Gasser', 'The Hip Gahn', 'The Dog and the Wolf', 'The Grasshopper and the Ant', 'The Mouse and the Lion' and 'The Lion's Breath'. (So actually the discs don't completely correspond, and where did the 'Gettysburg Address' come from?.) Also released as Crestview CRV 801 in 1963 and on Blue Thumb (US) and Liberty (UK). Since Elektra was no longer using the EKL prefix this disc has a stereo number even though it is mono.

Despite how he sounds, Buckley was white ... he's the dude with the moustache on the cover.

Elektra EKS 74048 (Stereo)

Released: 1968

Production: Allan Emig

Engineering: Allan Emig and Allan Sohl

Recorded: Elektra's Paxton Lodge on the Feather River, Keddie, California

Band includes Dave Ray.

Elektra EKS 74049 (Stereo)

Released: August 1969

Production: Arthur Lee

Engineering: George Gaal and Arthur Lee

Good though this album is, those of us waiting for a follow-up to 'Forever Changes' were somewhat disappointed.

Reissued on CD by Thunderbolt Records (CDTB 047) in the UK. 'Your Friend and Mine' is listed as 'You're Friends of Mine' on the Thunderbolt release.