Love – Forever Changes

List of then new releases on this transition label in the U.S.:
"Alive She Cried" - The Doors: Released in October 1983 60269-1. White field.
"Imagine This" - Pieces of a Dream: 1983 60270-1. White field, Columbia Record Club used "small E label.
"You Gotta Say Yes to Another Excess" - Yello: 1983 60271-1. Red "Small E" label.
"Shrapnel" - Shrapnel: 1984 60281-1 (Mini LP). White field.
"More Fun in the New World" - X: September, 1983 60283-1. Red "Small E" label, later reissued on Black & Red '84-'89 label.
"Shout At the Devil" - Motley Crue: 1983 60289-1. Red "Small E" label, later reissued on Black & Red '84-'89 label.
"Breaking the Chains" - Dokken: 1983 60290-1. Red "Small E" label, later reissued on Black & Red '84-'89 label.
"Break the Silence" - The World: 1983 60291-1. Could only find image of promo, which uses the "Small E" design.
"It's So Delicious" - Starpoint: 1983 60292-1. Red "Small E" label.
"Love Wars" - Womack & Womack: 1983 60293-1. White field, later reissued on Black & Red '84-'89 label.
"Airborne" - Don Felder: 1983 60295-1. Issued on Asylum, however, promo copies were on the "Small E" style Elektra label.
"Heartbeat City" - The Cars: March 13, 1984 60296-1. Custom label incorporating white field version of transition label.
"Home Again" - Judy Collins: 1984 60304-1. Black & Red '84-'89 label.
"From the Hip" - Josie Cotton: 1984 60309-1. Black field.
"Earth Crisis" - Steel Pulse: 1984 60315-1. White field, black field, black & red labels.
"New Dimension" - Imagination: 1984 60316-1. White field.
"Inside Moves" - Grover Washington: 1984 60318-1. Black & Red.
"Feeling Cavalier" - Ebn-Ozn: 1984 60319-1. White field.
"Human's Lib" - Howard Jones: 1984 60346-1. Black field, custom label incorporating white field version, black & red.
"Flesh Made World" - Dubset: 1984 60347-1. No images of label available.
"It's All Yours" - Starpoint: 1984 60353-1. Black field. Last new release on transition label.

In total, the number of new album releases to have appeared on the transition label design was ten; from October of '83 to sometime in '84. I listed all U.S. Elektra album releases from the first appearance of the label to the last, and not all albums within these numbers were on this label. There are some huge gaps in the numbers. Asylum record numbers intermingled with Elektra. There was also the Elektra Musician label whose numbers intermingled, and some numbers that should have followed numerically here apparently did not. Instead they showed up as late '80s and early '90s CD reissue numbers for Joni Mitchell albums, Cars albums and so on.

Mine is unnumbered. A bassier, more modern interpretation of the album compared to the 2012 (and 2018). Every bit as worthy, and nice as an alternative listen, but the 2012 is a bit more immersive, punchy and realistic.

I love the clarity of the vocals and guitars on this pressing, in later repressings (f.i. 2012) drums are overpowering i.m.o.

No warp as such but I'm a bit pissed off because my vinyl has a slight kink in it causing the stylus to jump a little at the start. Otherwise, this sounds fantastic. The vast majority of stuff including the alternate mix, singles, backing tracks, etc have already been released on previous special editions of "Forever Changes" but not so the mono fold down. Also, the DVD... nobody talks about the DVD...The DVD contains the album in hi-def sound. All you see on the screen as it is playing is a shot of the album cover and the track list. There is also a 4 minute and 45 second music video of "Your Mind and We Belong Together" which shows the guys goofing around their domicile, panoramic views of L.A. from their balcony. Arthur riding his bicycle, driving his car and hanging with his dog, pigeons and girlfriend. Cool booklet with lots of info and pics and this is where you will find the gold stamped, limited edition item number. It's stamped on the insert booklet and NOT on the outer, textured, hard book cover. Recommended, but don't feed he sharks.

What the hell is this version . . . .?

Really digging the 60s stereo (i.e drums panned to one sound and guitar on the other side) on a superbly mastered full analog record.

Soaring highs, deep low end, warm mids. Most importantly very dynamic for $20 record.

Flat and noiseless discs.

I see the lacquer was cut by George Ingram... I think this is before the Rhino remasters that came out in 2003 and after. Would love to hear anybody's opinion on this cut.

I love this monarch mono press. My nm copy plays quiet compared with my nm stereo monarch. I feel the mono, dedicated or not, is more upfront and slightly louder than the stereo.

I have this one and “A house is not a motel” ends abruptly and not with a fade out

what a good suprise! one of the best represses :)