Rowdy of The "cross L."

Unlike other labels subjected to exhaustive multi-disc retrospectives like this whopping ten-disc Revolutions in Sound: Warner Bros. Records – The First Fifty Years, Warner Brothers never embodied a scene or sound: they've always embodied what a major label should be – a dominant force that chronicles and dictates the sound of the mainstream. Coming out at the tail-end of 2008, when the influence of major labels is on a slow steady decline, Revolutions in Sound can be seen as a portrait of a time that's beginning to recede into the past: a time when there was such a thing as mass entertainment, when the pop audience all shared a common bond of hit records they either loved or rallied against. Perhaps the greatest things about this monumental box set is that it captures that colossus while also illustrating that for a while, majors did take risks. Of course, Warner was the riskiest of all the majors, never held back by an anti-rock & roll sourpuss like Mitch Miller, who struggled to keep CBS out of the tumult of the '60s (this with no less than Bob Dylan as the label's flagship rock artist). Instead, Warner embraced the underground, recording some of the strangest to shake out of the '60s, and that adventure fits a label that turned to rock & roll to help establish themselves as a real player at the turn of the '60s.

in 1974, the Eagles released their third studio album, an LP that earned them their first - but certainly not their last - hit single.
Produced by Glynn Johns ("You Never Cry Like a Lover" and "Best of My Love") and Bill Szymczyk (everything else) during sessions at Record Plant Studios in Los Angeles and Olympic Studios in London, ON THE BORDER was the first Eagles album with guitarist Don Felder in the lineup, but it could have been a very different album if the guys in the band hadn't tired of Johns' efforts to play country in their rock. Johns' argument was, "The Who is a rock and roll band, and you're not," and you can imagine how well that went over. After working with Johns in London for six weeks, the Eagles returned to L.A., where they teamed up with Szymczyk, and it was during those sessions that Felder joined the band. Admittedly, he joined rather late, so he can only be heard on two tracks - "Good Day in Hell" and "Already Gone" - but it was enough to make a name for himself and be officially accepted into the band.

in 1974, the Eagles released their third studio album, an LP that earned them their first - but certainly not their last - hit single.
Produced by Glynn Johns ("You Never Cry Like a Lover" and "Best of My Love") and Bill Szymczyk (everything else) during sessions at Record Plant Studios in Los Angeles and Olympic Studios in London, ON THE BORDER was the first Eagles album with guitarist Don Felder in the lineup, but it could have been a very different album if the guys in the band hadn't tired of Johns' efforts to play country in their rock. Johns' argument was, "The Who is a rock and roll band, and you're not," and you can imagine how well that went over. After working with Johns in London for six weeks, the Eagles returned to L.A., where they teamed up with Szymczyk, and it was during those sessions that Felder joined the band. Admittedly, he joined rather late, so he can only be heard on two tracks - "Good Day in Hell" and "Already Gone" - but it was enough to make a name for himself and be officially accepted into the band.

From All Fours to Zebra Poker, this is the definitive, A-to-Z guide to contemporary card games.

From All Fours to Zebra Poker, this is the definitive, A-to-Z guide to contemporary card games.

Universe in Blue, a collection of undated live club performances by Sun Ra & His Blue Universe Arkestra, was issued in small-run pressings with two different LP covers on Sun Ra's Saturn label in 1972. Until now it has never been officially reissued on LP or CD.

From All Fours to Zebra Poker, this is the definitive, A-to-Z guide to contemporary card games.