Well that was weird . . . . . . couldn't get online without waiting for over 20+ minutes for a page to load yesterday and what with one thing and another and being an honorary fellow of The Son's of Nargo The Bort's Deviant Subculture I have been feeling a tad paranoid so this didn't help (just because your paranoid and have the fears doesn't mean they're not out to get you . . . . . .) So I did a mini tidy round the vaults, swept out the dungeon and threw some bleach down me Ha-Ha and cleaned off the blood from the Iron Maiden and gave the scold's bridle a polish and we seem ( I say "seem") to be back to business as normal (what IS normal around here? Never met anyone normal yet . . . . . . )
Here then this is nice . . . . . . . I loved Elektra. They had Love and Arthur Love who introduced The Doors to their A&R men etc etc so I always rather liked that profile but this is a fascinating article and lost treasure
GREAT LOST ELEKTRA SINGLES - PLAIN & FANCY
"For most of its early history, the Elektra label concentrated almost exclusively on the album market. Prior to Love's "My Little Red Book" in 1966, they never had a significant entry on the national singles charts; prior to the same band's "7 and 7 Is" later that year, they never had a Top Forty hit. In 1967, this would change to some degree when the Doors' "Light My Fire" soared to #1, followed in the rest of the 1960s by several other Doors smashes and the Top Ten success of Judy Collins's "Both Sides Now." Yet even into the first half of the 1970s, Elektra's product and aesthetic would remain firmly geared toward the long-playing record. . . . . . . read on McDuff
Judy Collins - Who Knows Where The Time Goes
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