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...year-old president of Elektra-Asylum Records, is not complaining. The tour will help boost sales of Dylan's new Asylum album, Planet Waves, which already has become a Gold Record ($1 million in sales at the manufacturer's level). Two other new Geffen productions, Joni Mitchell's Court and Spark, and Carly Simon's Hotcakes, were gilded last month in their first week on the market. Since the recent downfall of Clive Davis as president of Columbia Records, Geffen has emerged as the financial superstar of the $2 billion pop music industry...

Author: /time Magazine | Title: ENTREPRENEURS: Geffen's Golden Touch | 2/25/1974 | See Source »

...BOOGIE WOOGIE BUGLE BOY, Bette Midler. Song of the year. Peaked on the Billboard chart in July at number eight. Midler came into her own here after her offensive recording of a slow "Do You Want to Dance?" Dynamic, good-time sound; harmony by overdubbing her own voice. Joni Mitchell's current single, "Raised on Robbery," is in the same style...

Author: By Jeff Magalif, | Title: Plums and Prunes | 2/11/1974 | See Source »

...JONI MITCHELL--Thurs. Jan. 31 at Boston Music Hall...

Author: NO WRITER ATTRIBUTED | Title: Rock and Jazz | 1/30/1974 | See Source »

...been aimed at revitalizing himself musically. It turns out that Arthur Garfunkel was a restrictive influence in roughly the same way Paul McCartney restricted John Lennon. Paul Simon sang Simon's problems; not unusual in light of the trend toward works exploring "the pain of the heart," exemplified by Joni Mitchell and Baby James. Songs like "Everything Put Together Falls Apart," "Run That Body Down," and "Armistice Day" probed their author's psyche, while "Mother and Child Reunion," and "Me and Julio" revitalized Simon's music, as well as letting him look within...

Author: By Freddy Boyd, | Title: Simon Says: Diversify | 6/4/1973 | See Source »

Clearly the pop world has come a long way since the Crew-Cuts first sang Sh-Boom. When Elvis Presley twitched at the head of a pack of oil-gun-groomed Teen Angels, white youth abandoned the syrupy somnolence of Joni James and Patti Page to share, at a safe distance, the black experience expressed in rhythm and blues. In the late '50s, the sullen sounds of American rock gave way to the urban folk madrigals of the Kingston Trio. They and their imitators were in turn swept from the popular field by those definitive merry mercenaries the Beatles...

Author: /time Magazine | Title: Pop Records: Moguls, Money & Monsters | 2/12/1973 | See Source »

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