Tiny Alice

Survivors of a jungle plane crash realize that their repaired airplane can only carry five passengers.

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 2011 when Alice Feiring first arrived in Georgia, she felt as if she’d emerged from the magic wardrobe into a world filled with mythical characters making exotic and delicious wine with the low-tech methods of centuries past.

In 2011 when Alice Feiring first arrived in Georgia, she felt as if she’d emerged from the magic wardrobe into a world filled with mythical characters making exotic and delicious wine with the low-tech methods of centuries past. She was smitten, and she wasn’t alone.