Atlantic Records (Atlantic Recording Corporation) is an American record label best known for its many recordings of rhythm and blues, rock and roll, and jazz.^[1] Over its first 20 years of operation Atlantic earned a reputation as one of the most important American independent recording labels, specializing in jazz, R&B and soul recordings by African-American artists, a position greatly enhanced by its distribution deal with Stax Records.

In 1967 Atlantic became a wholly owned subsidiary of Warner Bros.-Seven Arts, now the Warner Music Group, and expanded into rock and pop music, signing Cream, Led Zeppelin, Yes and Foreigner. In 2004 Atlantic Records and its sister label Elektra Records merged into Atlantic Records Group.^[2] Craig Kallman is currently Chairman of Atlantic Records. Label co-founder Ahmet Ertegün served as Founding Chairman until his death on December 14, 2006 at age 83.^[3] The label also has a number of deals with previously independent labels such as Must Destroy (which brought Goldie Lookin Chain and The Darkness into the label)^[4] and VP Records in Jamaica, home to reggae artists such as Sean Paul.^[5]

Early years[link]

In 1944 brothers Nesuhi and Ahmet Ertegun elected to remain in the USA when their mother and sister returned to Turkey, following the death of their father Munir Ertegun, who had been the first Turkish Ambassador to the United States. The brothers had become ardent fans of jazz and rhythm & blues music, amassing a collection of over 15,000 78rpm records.^[6] Ahmet ostensibly stayed on in Washington to undertake post-graduate music studies at Georgetown University but immersed himself in the Washington music scene and decided to enter the record business, then enjoying a resurgence after wartime restrictions on the shellac used in manufacture.^[7] He convinced the family dentist, Dr Vahdi Sabit, to invest $10,000 and recruited Herb Abramson, a dentistry student, who had worked as a part-time A&R manager/producer for the jazz label National Records, signing Big Joe Turner and Billy Eckstine, and then founded Jubilee Records but had no interest in its most successful artists and now sold his share, investing $2500 in the new label.

Atlantic Records was incorporated in October 1947 and was run by Abramson (the company president) and Ertegun (vice-president in charge of A&R, production and promotion) while Abramson's wife Miriam ran the label's publishing company, Progressive Music, and did most office duties until 1949 when Atlantic hired its first employee, book-keeper Francine Wakschal, who remained with the label for the next 49 years.^[8] Miriam quickly gained a reputation for toughness: staff engineer Tom Dowd later recalled; "Tokyo Rose was the kindest name some people had for her"^[9] and Doc Pomus described her as "an extraordinarily vitriolic woman".^[10] When interviewed in 2009 she attributed her reputation to the company's chronic cash-flow shortage: " ... most of the problems we had with artists were that they wanted advances, and that was very difficult for us ... we were undercapitalized for a long time."^[11] The label's original office in the Ritz Hotel, Manhattan proved too expensive so they relocated to an $85 per month room in the Hotel Jefferson.^[12][13][14] In the early fifties Atlantic moved from the Hotel Jefferson to offices at 301 West 54th St and then to its best-known home at 356 West 56th St.

Atlantic's first batch of recordings were issued in late January 1948, and included Tiny Grimes' "That Old Black Magic" and "The Spider" by Joe Morris.^[15] In its early years Atlantic focused principally on modern jazz^[13][16] although it released some country and western and spoken word recordings. Abramson also produced "Magic Records" which were children's records with four different sets of grooves so each side had four different stories of which the story which got played was determined by where the stylus landed on the groove.^[17]

Soon after its formation, Atlantic faced a serious challenge - in late 1947 James Petrillo, head of the American Federation of Musicians, announced an indefinite ban on all recording activities by union musicians, and this came into force on 1 January 1948. The union action forced Atlantic to use almost all its capital to cut and stockpile enough recordings to last through the ban, which was initially expected to continue for at least a year.^[16]

Ertegun and Abramson spent much of the late 1940s and early 1950s scouring nightclubs in search of talent. Ertegun composed many songs under the alias "A. Nugetre", including Big Joe Turner's hit "Chains of Love", working them out in his head and then recording them in 25c recording booths in Times Square and giving the recording to an arranger or straight to the session musicians.^[18] Early releases featured Joe Morris, Frank Culley, Art Pepper, Shelly Manne, Pete Rugolo, Tiny Grimes, The Delta Rhythm Boys, The Clovers, The Cardinals, Big Joe Turner, Erroll Garner, Mal Waldron, Howard McGhee, James Moody, Dizzy Gillespie, Jackie & Roy, Sarah Vaughan, Leadbelly, Sonny Terry, Professor Longhair, Mabel Mercer, Sylvia Syms, Billy Taylor, Mary Lou Williams, Sidney Bechet, Django Reinhardt, Earl Hines, Barney Bigard, Pee Wee Russell, Al Hibbler, Meade Lux Lewis, Jimmy Yancey, Johnny Hodges and Bobby Short.^[6]

The hits begin[link]

In early 1949 a New Orleans distributor phoned Ertegun trying to obtain Stick McGhee's "Drinking Wine, Spo-Dee-O-Dee", which was unavailable due to the closure of McGhee's previous label. Ertegun knew Stick's younger brother Brownie McGhee, with whom Stick happened to be staying, so he contacted the McGhee brothers and cut a re-recording; when released in February 1949,^[6] became Atlantic's first hit, selling 400,000 copies and reaching #3 in the Billboard R&B chart - although McGhee himself earned just $10 for the session.^[19] From this point Atlantic's fortunes rose rapidly: they recorded 187 songs in 1949 (more than three times the output of the previous two years) and received overtures of a manufacturing and distribution deal with CBS Records, who would pay Atlantic a 3% royalty on every copy sold. Ertegun asked about artists' royalties, which he paid, which surprised CBS executives, who did not, which scuttled the deal.^[20]

On the recommendation of broadcaster Willis Conover, Ertegun and Abramson went to see Ruth Brown at the Crystal Caverns club in Washington and invited her to audition for Atlantic. She was badly injured in a car accident en route to New York but Atlantic supported her for nine months and then signed her. Her first release for the label "So Long", cut at her second Atlantic session on 25 May 1949 with the Eddie Condon band, was^[21] a major hit, reaching #6 on the R&B chart. Brown went on to record more than eighty songs for the label, becoming the most prolific and best-selling Atlantic artist of the period. So significant was Brown's success to Atlantic's fortunes that the label became known colloquially as "The House That Ruth Built".^[22]

Joe Morris, one of the label's earliest signings, scored a major hit with his October 1950 release "Anytime, Anyplace, Anywhere", the first Atlantic record issued in 45rpm format, which the company began pressing in January 1951. The Clovers' "Don't You Know I Love You" (composed by Ertegun) became the label's first R&B #1 in September 1951 and a few weeks later Ruth Brown's "Teardrops from my Eyes" became its first million-selling record.^[23] She hit #1 again in March–April 1952 with "5-10-15 Hours".^[6][21] "Daddy Daddy" reached #3 in September 1952, and "Mama, He Treats Your Daughter Mean" (which featured the MJQ's Connie Kay on drums) reached #1 in February–March 1953, becoming a solid seller for years afterwards,^[21] as did the late 1954 "Oh What A Dream", her last hit with Atlantic. She left the label in 1961 and her fortunes declined rapidly - within a few years was reduced to working as a cleaner and bus-driver to support her children. In the 1980s she sued her former label for unpaid royalties; although Atlantic, which had prided itself on treating artists fairly, had stopped paying royalties to some artists, Ahmet Ertegun denied this was intentional. Brown eventually received a voluntary payment of $20,000 and founded a charity, the Rhythm and Blues Foundation, in 1988, established with a donation of $1.5 million from Ertegun.^[23]

In 1952 Atlantic signed Ray Charles, who scored a string of hugely influential hits including "I Got A Woman", "What'd I Say" and "Hallelujah I Love Her So". Later that year The Clovers' "One Mint Julep" reached #2. In 1953, after learning that singer Clyde McPhatter had been fired from Billy Ward and His Dominoes and was forming his own group (The Drifters), Ahmet Ertegun tracked McPhetter down and signed the new group immediately. Their single "Money Honey" became the biggest R&B hit of the year.^[24] Their subsequent records created some controversy: the suggestive "Such A Night" was banned by radio station WXYZ in Detroit and the follow-up "Honey Love" was banned in Memphis^[25] though both records reached #1 on the Billboard R&B chart.^[21]

Although not a major success in chart terms, female vocal trio The Cookies became an important part of the Atlantic 'family'. The original group, put together by Atlantic producer Jesse Stone in 1954, comprised Darlene (Ethel) McCrea, Dorothy Jones and Dorothy's cousin Beulah Robertson, who was replaced in 1956 by Marjorie "Margie" Hendricks. They recorded "In Paradise", a minor R&B hit in early 1956, but after another unsuccessful release the trio became the regular backing singers for Atlantic recording sessions. They performed on many hits in this period including Joe Turner's "Corinna, Corinna" and "Lipstick, Powder and Paint", Chuck Willis' "It's Too Late (She's Gone)", and Ray Charles' "Lonely Avenue", "Drown In My Own Tears" and "Night Time is the Right Time" (which features Margie Hendricks prominently), before being taken on by Ray Charles and renamed The Raelettes.

Tom Dowd[link]

Recording engineer and producer Tom Dowd played a crucial role in Atlantic's success. He initially worked for Atlantic on a freelance basis, but within a few years he had been hired as the label's full-time staff engineer. His recordings for Atlantic and Stax exerted a major influence on the history of popular music and he scored more hits than George Martin and Phil Spector combined.^[26][27] As Atlantic's studio engineer Tom Dowd oversaw many advances in production.

Atlantic was one of the first independent labels to make recordings in stereo: Dowd used a portable stereo recorder which ran simultaneously with the studio's existing mono recorder. In 1953 (according to Billboard) Atantic was the first label to issue commercial LPs recorded in the early, experimental stereo system called binaural recording.^[28] In this system, recordings were made using two microphones, spaced at approximately the distance between the human ears, and the left and right channels were cut as two separate, parallel grooves, although playing them back required a player with a special tone-arm fitted with dual needles; it was not until around 1958 that the single stylus microgroove system (in which the two stereo channels were cut into either side of a single groove) became the industry standard.^[29] By the late 1950s stereo LPs and record players were being introduced into the marketplace. Atlantic's early stereo recordings included "Lover's Question" by Clyde McPhatter, "What Am I Living For" by Chuck Willis, "I Cried a Tear" by LaVern Baker, "Splish Splash" by Bobby Darin, "Yakety Yak" by the Coasters and "What'd I Say" by Ray Charles. Although these were primarily 45rpm mono singles for much of the 1950s Dowd stockpiled his "parallel" stereo takes for future release. In 1968 the label issued History of Rhythm and Blues, Volume 4 (Atlantic SD-8164) in stereo and the stereo versions of Ray Charles "What'd I Say" and "Night Time is the Right Time" were also included on the Atlantic anthology The Birth Of Soul: The Complete Atlantic Rhythm & Blues Recordings, 1952-1959.^[30]

Atlantic's New York studio was also the first in America to install multitrack recording machines, developed by the Ampex company. Bobby Darin's "Splish, Splash" was the first song to be recorded on 8-track recorder whereas it was not until the mid-1960s that multitrackers became the norm in recording studios and EMI's Abbey Road Studios did not install 8-track facilities until 1968.^[31]

The label entered the new LP market very early: its first was a 10" album of poetry by Walter Benton, This Is My Beloved (March 1949), narrated by John Dall, with music by Vernon Duke^[32] In 1951, Atlantic was one of the first independents to press records in the new 45rpm single format, and by 1956 the "45" had overtaken the "78" as the main sales format for singles. In April that year, Miriam (Abramson) Bienstock reported to Billboard that Atlantic was now selling 75% of its singles as 45s whereas only one year earlier 78s had been outselling 45s by two to one.^[33]

Jerry Wexler[link]

Herb Abramson was drafted into the US Army in February 1953 and left for Germany where he served in the US Army Dental Corps,^[33] although he retained his post as President of Atlantic on full pay.^[6] Ertegun recruited Billboard reporter Jerry Wexler in June 1953:^[33] who is credited with coining the term "rhythm & blues" to replace the earlier "race music".^[34] He was appointed vice-president and purchased 13% of the company's stock for $2,063.25.^[6] Wexler and Ertegun soon formed a close partnership which, in collaboration with Tom Dowd, produced thirty R&B hits.

Ertegun and Wexler realised many R&B recordings by black artists were being covered by white performers, often with greater chart success:^[35] Atlantic's LaVern Baker had a #4 R&B hit with "Tweedlee Dee" but a rival version by Georgia Gibbs went to #2 on the pop charts, Big Joe Turner's April 1954 release "Shake, Rattle and Roll" was a #1 R&B hit but only made #22 on the pop chart while Bill Haley & His Comets's version reached #7, sold over 1 million copies and was Decca Records' biggest-selling song of the year. In July 1954, as rock'n'roll gathered momentum, Wexler and Ertegun wrote a prescient article for Cash Box, headlined "The Latest Trend: R&B Disks Are Going Pop", devoted to what they called "cat music"; the same month, Atlantic scored its first major "crossover" hit on the Billboard pop chart when the "Sh-Boom" by The Clovers reached #5^[33] (although The Crew-Cuts' version went to #1). Atlantic missed an important signing in 1955 when Sun Records' owner Sam Phillips sold Elvis Presley's recording contract in a bidding war between labels. Atlantic offered $25,000 which, Ertegun later noted, "was all the money we had then."^[36] but they were outbid by RCA Records's offer of $45,000. In 1990 Ertegun remarked:

"The president of RCA at the time had been extensively quoted in Variety damning R&B music as immoral. He soon stopped when RCA signed Elvis Presley."^[36]

Nesuhi Ertegun[link]

Ahmet's older brother Nesuhi was recruited to the label in January 1955.^[28] He had been living in Los Angeles for several years and had only irregular contact with his younger brother, but when Ahmet learned that Nesuhi had been offered a partnership in Atlantic's rival Imperial Records, he and Wexler convinced Nesuhi to join Atlantic instead.^[37] Nesuhi headed the label's jazz division and built a strong roster, signing West Coast jazzers Shorty Rogers, Jimmy Giuffre, Herbie Mann and Les McCann, as well as ^[6] Charles Mingus, John Coltrane^[38] and the Modern Jazz Quartet, who became a mainstay of the label, releasing twenty albums; by 1958 Atlantic was America's second-largest independent jazz label.^[39] Nesuhi was also in charge of LP album production, a market that was beginning to take off, and he was credited with greatly improving the packaging, production and originality of Atlantic's LP line.^[39] He soon deleted the old '100' and '400' series of 10" albums and the earlier 12" albums in Atlantic's catalog, launching the new '1200' series, which sold for $4.98, with Shorty Rogers' The Swingin' Mr Rogers (Atlantic 1212).^[40] In 1956 he started the '8000' popular series (selling for $3.98) for the label's few R&B albums, reserving the 1200 series for jazz.^[6] Joel Dorn became Nesuhi's assistant following his successful production of Hubert Laws' The Laws of Jazz.^[41][42]

Herb Abramson departs[link]

Herb Abramson's return from military service in 1955 created problems: Ertegun and Wexler had scored a run of hits, including Big Joe Turner's "Flip Flop and Fly" and Ray Charles' "I Got A Woman", and when Abramson returned, he realised that that he had been effectively replaced by Wexler as Ahmet's partner. There were also personal conflicts: Abramson did not get on well with either Wexler or Nesuhi Ertegun, and he had returned from his military service with a German girlfriend, which precipitated his divorce from Miriam, a minor stockholder and Atlantic's business and publishing manager.

By 1958 relations between Abramson and his partners had broken down completely, so in December 1958 a $300,000 buy-out was arranged; his stock was split between Nesuhi Ertegun and Abramson's ex-wife Miriam, who had in the meantime re-married to music publisher Freddy Bienstock (later the owner of the Carlin Music / Chappell Music publishing empire). Abramson's departure opened the way for Ahmet Ertegun to take over as president of the label.^[43]

Expansion[link]

Atlantic played a major role in popularising the new genre that Jerry Wexler dubbed rhythm & blues and it profited handsomely from this. The market for these records exploded during late 1953 and early 1954, as more and more R&B hits crossed over to the mainstream (i.e. white) audience. In its tenth anniversary feature on Atlantic, Billboard noted that previously, "... a very big r&b record might achieve 250,000 sales, but from this point on (1953-54), the industry began to see million sellers, one after the other, in the r&b field".^[28] It observed that the label's "fresh sound" and the quality of its recordings, arrangements and musicians was a great advance on what was the standard for R&B records at the time, and that for the past five years Atlantic had "dominated the rhythm and blues chart with its roster of powerhouse artists".^[28]

From 1954 onwards Atlantic created or acquired several important subsidiary labels, the first being the short-lived but significant Cat Records. By the mid-1950s Atlantic had an informal agreement with Eddie Barclay's French label Barclay Records and the two companies regularly exchanged titles, usually jazz recordings. Atlanticalso began to get recordings distributed in the United Kingdom; initially this was done through EMI on a 'one-off' basis, but in September 1955 Miriam Abramson went to the UK and signed a formal distribution deal with Decca Records, who were soon releasing every new Atlantic title.^[44] Miriam later recalled:

"I was the one who came to England at the beginning to negotiate all those deals (in the fall of 1955). I would deal with people there who were not really comfortable with women in business, so ... we would do business very quickly and get it over with. But they were charming. Sir Edward Lewis was wonderful, we became great friends. We kept in touch after I left Atlantic."^[45]

A new subsidiary label, Atco Records, was established in 1955 as an effort to keep Abramson involved. East West was founded in September 1957; it initially concentrated on singles and featured an "across the board" roster of pop, rock & roll, rhythm & blues and rockabilly artists^[46] and its first releases were by Jay Holliday, Johnny Houston and The Glowtones. After a slow start, Atco had considerable success with The Coasters and Bobby Darin. Darin's early releases had not been successful and Abramson planned to drop him, but Ertegun offered him another chance, and the session he produced yielded "Splish Splash", which Darin had written in 12 minutes and which sold 100,000 copies in the first month and became a million-seller. During 1958-59 Darin's "Queen of the Hop" made the Top 10 on both the US pop and R&B charts and also charted in the UK, "Dream Lover", a multi-million seller, reached #2 in the USA and became a UK #1, and "Mack the Knife" (August 1959) went to #1 in both the US and the UK, sold over 2 million copies and won the 1960 Grammy Award for 'Record of the Year'. "Beyond the Sea", an English-language version of the Charles Trenet hit "La Mer", became his fourth consecutive US/UK Top 10 hit. Darin later signed with Capitol Records and left for Hollywood to begin a movie career although Atco continued to score hits into 1962 with tracks already in the can, including "You Must Have Been a Beautiful Baby" and "Things". Darin returned to Atlantic in 1965.^[47]

By 1958 the label had expanded considerably - in 1956 Atlantic's head office moved to 157 West 57th St, while retaining two floors in the earlier premises at 234 West 56th St. New staff hired between 1956 and 1958 included Gary Kramer (director of publicity and advertising), Lester Lees (national sales manager), Victor Selsman (DJ promotions), Lester Sill (West Coast promotions) and Bob Bushnell (recording engineer).

During the 1960s Atlantic distributed selected titles recorded by many small regional independent labels including Dial (Joe Tex), Karen (The Capitols' "Cool Jerk"), Rosemart (Don Covay's "Mercy, Mercy"), Nola (Willie Tee's "Teasin' You"), Vault, Class, Shirley, Tomorrow, Instant, Dade ("Mashed Potatoes" by Nat Kendrick & The Swans), Moonglow, Correct-Tone Records, Lu-Pine, Keetch, Royo, T-Neck, Heidi, Sims and others, using those labels' imprints and separate catalog numbers.

Leiber, Stoller and Spector[link]

In October 1955 Jerry Leiber and Mike Stoller scored a West Coast hit with Los Angeles-based vocal group The Robins, who released version of the Leiber-Stoller song "Smokey Joe's Cafe" on the duo's own Spark Records label. Seeking a national outlet, they leased the master to Atco and in November Atlantic purchased Spark and its catalog; Leiber and Stoller moved back to New York and signed a landmark deal with Atlantic that made them America's first independent record producers. In 1956 two members of The Robins, Carl Gardner and Bobby Nunn, formed The Coasters who finally provided Atlantic with the crossover success it had been striving for. Their first (March 1956) Atco release (recorded in Hollywood) was "Down in Mexico", a Top 10 R&B hit: the double-sided "Young Blood"/"Searchin'" (also recorded in Hollywood) followed, with both sides entering the pop Top 10 after radio exposure and both charting for over 20 weeks - "Young Blood" reached #3 and "Young Blood" #8. Relocating to New York, The Coasters' then cut "Yakety Yak" (June 1958), featuring the saxophone of King Curtis, and this became Atlantic's first pop #1; "Charlie Brown" made #2 on both the pop and R&B charts in February 1959, "Along Came Jones" also reached the pop Top 10 as did "Poison Ivy" (#7, Aug. 1959). "Shopping for Clothes" (1960) was their only single that failed to make the pop chart. "Little Egypt" (1961) was their last hit, reaching #21 in the pop chart.

Leiber and Stoller also wrote and produced the classic "Ruby Baby" for The Drifters, a 1956 #13 R&B hit that featured Johnny Moore as lead vocalist (replacing Clyde McPhatter, who had been drafted); it became a pop standard and reached #2 in 1962 when re-recorded by Dion. By 1958 The Drifters had undergone many lineup changes and their former popularity was waning. That May, after one of the members got into a fight with the manager of the Apollo Theater, group manager George Treadwell sacked the entire lineup and recruited the members of The Five Crowns to become the 'new' Drifters. Leiber and Stoller produced "There Goes My Baby" with this second incarnation, featuring a lead vocal by Ben E. King, who also co-wrote the song. It was the first R&B song to feature a string arrangement, but Ertegun disliked it and Jerry Wexler was appalled, reportedly telling the producers; "Get that out of here. I hate it. It's out of tune and it's phony and it's shit and get it out of here".^[48] They refused to release it for several months, but when they finally relented and released it as a single in April 1959 the song shot to #1.^[30]

Phil Spector had learned the basics of record production working for Lester Sill and Lee Hazlewood's Trey Records label (which was distributed by Atlantic) in California in the late 1950s. At Sill's recommendation he returned to New York to work for Leiber and Stoller in early 1960. Leiber and Stoller assigned him to produce Ray Peterson's "Corrine, Corrina" and Curtis Lee's "Pretty Little Angle Eyes" (released on Petersen's Dunes Records label), both of which became hits. As a result, Atlantic signed him as a staff producer, though his difficult personality was already evident, and Ahmet Ertegun was reportedly the only Atlantic executive who liked him. Leiber later remarked, "He wasn't likeable. He was funny, he was amusing - but he wasn't nice." Wexler reportedly had no time for him and Miriam Bienstock, in her typically blunt fashion, described Spector's erratic behaviour "insane" and considered him "a pain in the neck".^[49] When Ertegun took Spector to meet Bobby Darin, he openly criticized Darin's songwriting, with the result that Darin had him thrown out of the house.^[50]

Despite these issues, Spector contributed to the production of several notable Atlantic singles by The Coasters, Ben E. King and the Drifters, although the extent of his contributions was later disputed by Leiber and Stoller. He also produced The Top Notes' original version of "Twist and Shout," but it flopped. Bert Berns, the song's writer, was incensed by Spector's arrangement, which he believed had ruined the song, so Berns re-recorded it the way he thought it should sound with The Isley Brothers, and it became a huge hit. Spector also produced Jean DuShon, Billy Storm, LaVern Baker and Ruth Brown during his short stay at Atlantic, with only moderate success. He left Atlantic in 1961 and returned to Los Angeles, where he founded Philles Records with Lester Sill and soon established himself as the preeminent American pop producer of the mid-1960s^[51]

In early 1960 the 'new' Drifters debuted with "Dance With Me", which reached #15 on the pop chart and #2 R&B. "This Magic Moment" reached #16 on the pop chart, and their classic rendition of Doc Pomus' poignant "Save The Last Dance For Me" became a major international pop hit, reaching #1 in the USA and #2 in the UK. However, in May 1960, after only one year and just 10 recordings with the Drifters, lead singer Benjamin Nelson left the group due to a dispute with manager George Treadwell. Assuming the stage name Ben E. King, he launched a successful solo career, although the Drifters went on to score several more big hits.

King's first solo single, "Spanish Harlem (co-written by Leiber and Spector), became a Top 10 pop hit in early 1961. It was followed by "Stand By Me", a re-interpretation of the gospel standard "Lord, Stand By Me", with new lyrics by King and orchestration by Stan Applebaum. Reaching #4 on the pop chart, the song quickly became a standard covered by many artists including John Lennon. It has since been included in the Rock and Roll Hall of Fame's 500 Songs That Shaped Rock and Roll listing and in 2001 it was voted #25 in the 'Songs of the Century' poll conducted by the Recording Industry Association of America. In late 1962 The Drifters returned to the charts, fronted by new lead vocalist Rudy Lewis, performing hits recorded with Ben E. King on stage and TV. "Up On The Roof", co-written by Gerry Goffin and Carole King, was another major crossover hit making the Top 5 on both the pop and R&B charts and Mann and Weill's "On Broadway", made the Top 10 on both charts. It has since been covered by many artists. The Drifters' last hit, "Under The Boardwalk" (1964) was produced by Bert Berns and orchestrated by British arranger-producer-composer Mike Leander. Lead singer Rudy Lewis was found dead on the morning of the recording session (21 May 1964) and former lead singer Johnny Moore was brought in to replace him: despite this tragedy, the song became a big hit, reaching #4 on the pop chart and #1 on the R&B chart, and went on to be covered by many other acts, notably by The Rolling Stones.

The Leiber & Stoller/Atlantic partnership was enormously successful, but by 1962 the relationship was deteriorating. The duo reportedly resented the credit accorded to Spector, but their own artistic and financial demands alienated the Atlantic executives. From the beginning, Miriam Bienstock "couldn't see why it was necessary to use them" and they infuriated Jerry Wexler by asking for producers' credits on record labels and sleeves, although this was grudgingly granted. The breaking point came when duo asked for a producer's royalty, which was also granted informally, but their accountant insisted on a written contract and also requested an audit of Atlantic's accounts. When this was carried out (over Jerry Wexler's strenuous objections) it was found that Leiber and Stoller had been underpaid by $18,000. Although Leiber considered dropping the matter, Stoller insisted on pressing Atlantic for payment, but when they presented their request, Wexler exploded, telling them it would mean the end of their relationship with Atlantic. Leiber and Stoller backed down but the showdown ended the partnership anyway: Ertegun and Wexler told them they would not be involved in The Drifters next recording, giving the assignment to Phil Spector.^[52] Atlantic quickly filled the gap left by Leiber and Stoller's departure with the hiring of producer and songwriter Bert Berns, who had recently scored a major hit with his remake of "Twist and Shout" for The Isley Brothers.

The ramifications of the split continued after Leiber and Stoller left Atlantic: in 1963 they set up Red Bird Records with George Goldner. Although they scored major hits (including The Dixie Cups' "Chapel of Love" and The Shangri-Las "Leader of the Pack") the label's business position was precarious, so in late 1964 they approached Jerry Wexler, proposing a merger with Atlantic. When interviewed in 1990 for Ertegun's biography, Wexler declined to discuss the matter, but Ertegun himself claimed that these negotiations soon developed into a plan to buy him out. At this time (September 1964) the Ertegun brothers and Wexler were in the process of buying out the company's other two shareholders, Dr Sabit and Miriam Bienstock^[53] and it was proposed (presumably by Wexler) that Leiber and Stoller would buy Sabit's shares. Leiber, Stoller, Goldner and Wexler pitched their plan to Ertegun at a fateful lunch meeting at the Plaza Hotel in New York. Though Leiber and Stoller were adamant it was not their intention to buy Ertegun out, Ahmet was aggravated by Goldner's high-handed attitude and became convinced that Wexler was conspiring with them. Wexler then told Ertegun that if he refused, Wexler would do the deal without him, but this was impossible since the Ertegun brothers still held the majority share, while Wexler only controlled about 20%. Ertegun nursed a lifelong grudge against Leiber and Stoller and the affair drove an irreparable wedge between Ertegun and Wexler.^[54]

Stax[link]

Atlantic was doing so well in early 1959 that some scheduled releases were held back and the company enjoyed two successive months of gross sales of over $1 million that summer, thanks to hits by The Coasters, The Drifters, LaVern Baker, Ray Charles, Bobby Darin and Clyde McPhatter^[55] However, only months later the company was reeling from the successive loss of its two biggest artists, Bobby Darin and Ray Charles, who together accounted for one third of sales. Darin, who moved to the Los Angeles area, signed with Capitol Records. Charles signed a deal with ABC-Paramount Records in November 1959 that reportedly included increased royalties, a production deal, profit-sharing and eventual ownership of his master tapes. Wexler later commented; "It was very grim. I thought we were going to die" and Ertegun in 1990 disputed whether Charles had received the promised benefits. It led to a permanent rift between Charles and his former colleagues, although Ertegun remained good friends with Darin who returned to Atlantic in 1966.^[56] Charles returned to Atlantic in 1977.^[57]

Through 1961-62 Leiber and Stoller's successes maintained the label's fortunes, and these were further enhanced by a licensing deal with a small Memphis-based independent label Stax Records, which would soon prove to be of enormous value. In 1960, Atlantic's Memphis distributor Buster Williams contacted Wexler and told him he was pressing large quantities of "Cause I Love You", a duet between Memphis-based singers Carla Thomas and her father Rufus Thomas, which was released on a small local label called Satellite (which was soon renamed Stax Records, from the names of the owners, Jim Stewart and Estelle Axton, in 1961). Wexler contacted the co-owner of Satellite, Jim Stewart, who agreed to lease the record to Atlantic for $1000 plus a small royalty (the first money the label had ever made).^[58] The deal included a $5000 payment against a five-year option on all other records. When Carla Thomas' first solo single, "Gee Whiz (Look at his Eyes)" began to attract national attention in 1961 New York producer Hy Weiss, went to Memphis to try to acquire the rights, but after examining the contract he told Wexler it gave Atlantic options on all Satellite recordings for the next five years. Wexler subsequently claimed he had been unaware of this: "The lawyers did it and I didn't read every contract."^[59] Wexler and Stewart and discussed the deal and according to Wexler's account, "... there was no acrimony. Everything was fine and we picked up the record. Then we really rolled with Stax."^[59]

The Atlantic deal marked the start of a hugely successful eight-year association between the two labels, giving Stax access to Atlantic's promotions and distribution, and it meant easy money for Atlantic, as Wexler later conceded:

"...it was certainly biased on our favor. We didn't pay for the masters ... Jim paid for the masters and then he would send us a finished tape and we would put it out. Our costs began at the production level - the pressing, and distribution, and promotion, and advertising."^[60]

Atlantic began pressing and distributing Stax records and Wexler soon sent Tom Dowd to upgrade Stax's recording equipment and facilities. Wexler was impressed by the easy-going, cooperative atmosphere at the Stax studios and by the distinctive sound of the label's racially-integrated group of 'house' musicians (which he described as "an unthinkably great band")^[61] and he was soon bringing Atlantic artists to Memphis to record.^[30] Shortly afterwards Stewart and Wexler hired Al Bell, then working as a DJ at a Washington DC radio station, to take over national promotion of Stax releases, the first African-American partner in the label.^[60]

In 1962 the Stax deal began to reap major rewards for both labels. An after-hours jam by members of the Stax house band resulted in the classic instrumental "Green Onions". In conversation with BBC Radio 2 DJ Johnnie Walker on 7 September 2008, guitarist Steve Cropper revealed that the record became an instant success when DJ Reuben Washington played it four times in succession on Memphis radio station WLOK, before either the tune or the band had an agreed-upon name. The single was issued nationally in August 1962, by which time the band had been dubbed Booker T & the MGs; "Green Onions" became the biggest instrumental hit of the year, reaching #1 on the R&B chart and #3 on the pop chart, where it stayed for 16 weeks, and it sold over one million copies, earning a gold record award.

1962 also saw the Stax debut of Otis Redding, who had been Johnny Jenkins' driver and was allowed to record several songs at the end of one of Jenkins' sessions, among them his own "These Arms of Mine", which was released on Stax's Volt subsidiary and became a minor hit in the south. Over the next five years Redding would become one of Stax's most important artists. During 1965 Redding broke through into the national charts; "Mr. Pitiful" reached #10 on the soul chart and just missed out on the pop Top 40, followed by "I've Been Loving You Too Long", which made #2 on the soul chart and peaked at #21. "Respect" also performed strongly, reaching #4 on the soul chart and #35 on the pop chart.^[62]

Over the next five years Stax and its subsidiary Volt provided Atlantic with a tremendous run of success, and many Atlantic artists were taken to Memphis to record. Among the many hits recorded by (or at) Stax between 1963 and 1967 were Rufus Thomas' "Walking The Dog", Otis Redding's "Respect", his classic version of "Try A Little Tenderness" and "Tramp", his hit duet with Carla Thomas, Eddie Floyd's "Knock On Wood" and The Bar-Kays' "Soul Finger". Sam & Dave were signed to Atlantic but recorded at Stax at Jerry Wexler's suggestion; with the Stax band and the writing team of Isaac Hayes and David Porter, the duo scored eight consecutive R&B Top 20 hits including "You Don't Know Like I Know", "Hold On, I'm Coming", "When Something Is Wrong With My Baby", "Soul Man" and "I Thank You; Wilson Pickett scored hits with "In The Midnight Hour", "634-5789", "Land of 1000 Dances", "Mustang Sally", "Funky Broadway" and "I'm In Love".

Some of Pickett's earlier hits were recorded at Stax, but in early 1966 Jim Stewart banned all non-Stax productions from the studio, so Atlantic began using other southern studios, notably Rick Hall's FAME Studios in Muscle Shoals, Alabama, and the American Group Productions studio in Memphis, run by former Stax producer Chips Moman.

The soul years, 1962–1967[link]

In late 1961 singer Solomon Burke arrived at Jerry Wexler's office unannounced. Wexler was a fan of Burke's and had long wanted to sign him so when Burke told Wexler his contract with his former label had expired Wexler replied: "You're home. I'm signing you today". The first song Wexler produced with Burke was "Just Out of Reach", which became a big hit in September 1961. Burke's the soul/country & western crossover predated Ray Charles' similar venture by more than 6 months. Burke became a consistent big seller through the mid-1960s and scored hits on Atlantic into 1968. In 1962 folk music was booming and the label came very close to signing Peter, Paul & Mary; although Wexler and Ertegun pursued them vigorously the deal fell through at the last minute and they later discovered music publisher Artie Mogull had introduced their manager Albert Grossman to Warner Bros. Records executive Herman Starr, who had made the trio an irresistible offer that gave them complete creative control over the recording and packaging of their music.^[63]

Doris Troy signed with Atlantic in early 1963 and in June scored a major hit with "Just One Look", which she co-wrote and which reached #3 on the R&B chart and #10 on the pop chart. She scored another UK hit with "What'cha Gonna Do About It" and went on to a long and a successful career as a backing vocalist on many Dusty Springfield hits and with other famous acts including Pink Floyd, George Harrison and Nick Drake. "Just One Look" has been covered by many other artists including The Hollies, whose version became a major hit in the UK and gave the group its first US chart placing in 1964.

1967-68 was a peak period for Atlantic, as the string of hits coming from the Stax roster was augmented by the tremendous success of Aretha Franklin. Wexler had signed her in 1966 after the expiry of her contract with Columbia Records, who had unsuccessfully tried to market her as a jazz singer. In November that year a Columbia executive asked Jerry Wexler what he was going to do with Franklin, to which he replied "we're gonna put her back in church".^[62] Wexler was determined to return Franklin to her gospel roots and personally took over her production at FAME Studios in Muscle Shoals, crucially allowing her to establish the "feel" of the songs by singing while accompanying herself on piano. Although the session was fraught with tension (mainly due to the fractious presence of Aretha's then husband and manager, Ted White), it yielded a double-sided hit which initiated a run of seven consecutive singles that made both the US pop and soul Top 10, and of which five were million-sellers; "I Never Loved A Man (The Way I Love You)" (b/w "Do Right Woman") (#1 soul, #9 pop), "Respect" (#1 pop and soul), "Baby, I Love You" (soul #1, pop #4), "You Make Me Feel Like A Natural Woman" (#2 pop and soul), "Chain of Fools" (soul #1, pop #2), "Since You've Been Gone" (1968, soul #1, pop #5) and "Think" (1968, soul #1, pop #7).

The mid-1960s British Invasion led Atlantic to change its British distributor, since Decca did not give Atlantic access to its British recording artists, who mainly appeared in the U.S. via their U.S. subsidiary London Records. In 1966 Atlantic signed a new reciprocal licensing deal with Polydor Records which, thanks to Polydor's recent distribution deal with Robert Stigwood's Reaction label, included newly-formed British "supergroup" Cream, whose debut album was released on Atco in late 1966. In May 1967 the group came to Atlantic's New York studio to record their US breakthrough LP Disraeli Gears with Tom Dowd; it became a Top 5 LP in both the US and the UK, with the single "Sunshine of Your Love" reaching #5 on the Billboard Hot 100. Although Jerry Wexler was dismissive of the new developments in popular music—derisively dubbing the new generation of (predominantly white) musicians as "the rockoids"^[64] -- Cream's American success marked the beginning of Atlantic's hugely successful diversification into the exploding rock music market, which would reap enormous rewards in the 1970s with signings such as Led Zeppelin, Yes and Crosby, Stills, Nash & Young.

In late 1966 rising Los Angeles group Buffalo Springfield were signed to the Atco label, and in early 1967 they scored a major US hit with their second single, "For What It's Worth", which made the natioanl Top 10, sold over 1 million copies and earned a gold record award. Despite this early breakthrough and Ahmet Ertegun's high hopes for the band, internal tensions and the drug-related deportation of Canadian-born bassist Bruce Palmer led to the band splitting up in May 1968 without achieving any further hits. However former members Stephen Stills and Neil Young would go on to play a major role in Atlantic's rock success as members of 70s supergroup Crosby, Stills, Nash & Young.

Acquisition by Warner Bros.[link]

Despite the huge success Atlantic was enjoying with its own artists and through its deal with Stax, by 1967 Jerry Wexler was seriously concerned about the disintegration of the old order of independent record companies and, fearing for the label's future, he began agitating for it to be sold to a larger company. Label president Ahmet Ertgeun still had no desire to sell, but the balance of power had changed since the abortive takeover attempt of 1962; Atlantic's original investor Dr Vahdi Sabit and minority stockholder Miriam Bienstock had both been bought out in September 1964^[53] and the other remaining partner, Nesuhi Ertgeun, was eventually convinced to side with Wexler. Since they jointly held more stock, Ahmet was obliged to agree to the sale.

In October 1967 Atlantic was sold to Warner Bros.-Seven Arts for US$17.5 million, although all the partners later agreed that it was a poor deal which greatly undervalued Atlantic's true worth. Initially, Atlantic and Atco operated entirely separately from WB-SA's other labels, Warner Bros. and Reprise Records, and WB-SA's management did not interfere with the music division, since the ailing movie division was losing money, while the Warner recording division was booming - by mid-1968 Warner's recording and publishing interests were generating 74% of the group's total profits.^[65][66][67]

The sale of Atlantic Records activated a clause in the distribution agreement with Stax Records calling for renegotiation of the distribution deal and at this point the Stax partners discovered that the deal gave Atlantic ownership of all the Stax recordings Atlantic distributed. The new Warner owners refused to relinquish ownership of the Stax masters, so the distribution deal ended on May 1968.^[68] Atlantic continues to hold the rights to Stax recordings they distributed in the 1960s.

In the wake of the takeover, Jerry Wexler's influence in the company rapidly diminished; by his own admission, he and Ertegun had run Atlantic as "utmost despots" but in the new corporate structure, he found himself unwilling to accept the delegation of responsibility that his executive role dictated. He was also alienated from the "rockoid" white acts that were quickly becoming the label's most profitable commodities, and dispirited by the rapidly waning fortunes of the black acts he had championed, such as Ben E. King and Solomon Burke. Wexler ultimately decided to leave New York and move to Florida. Following his departure, Ertegun—who had previously taken little interest in Atlantic's business affairs—took decisive control of the label^[69] and quickly became a major force in the expanding Warner music group.

During 1968 Atlantic established a new subsidiary label, Cotillion Records. It The label was originally formed as an outlet for blues and deep Southern soul; its first single, Otis Clay's version of "She's About A Mover", was an R&B hit. Cotillion's catalog quickly expanded to include progressive rock, folk-rock, gospel, jazz and comedy. In 1976, the label started focusing on disco and R&B. Among its acts were the post-Curtis Mayfield Impressions, Slave, Brook Benton, Jean Knight, Mass Production, Sister Sledge, The Velvet Underground, Stacy Lattisaw, Lou Donaldson, Mylon LeFevre, Stevie Woods, Johnny Gill, Emerson, Lake & Palmer, Garland Green, The Dynamics, The Fabulous Counts, and The Fatback Band. Cotillion was also responsible for launching the career of Luther Vandross, who recorded for the label as part of the trio Luther. Cotillion also released the triple-albums soundtrack of the Woodstock festival film in 1970. From 1970 it also distributed Embryo Records, founded by jazz flautist Herbie Mann after his earlier Atlantic contract had expired.

In 1969 Warner Bros.-Seven Arts was taken over by the Kinney National Company, and in the early 1970s the group was rebadged as Warner Communications. After buying Elektra Records and its sister label Nonesuch Records in 1970, Kinney combined the operations of all of its record labels under a new holding company, Warner-Elektra-Atlantic, or WEA for short, and also known as Warner Music Group. WEA was also used as a label for distributing the company's artists outside North America. In January 1970, Ahmet Ertegun was successful in his executive battle against Warner Bros. Records president Mike Maitland to keep Atlantic Records autonomous and as a result Maitland was fired by Kinney president Steve Ross. Ertegun recommended Mo Ostin to succeed Maitland as Warner Bros. Records president.^[70] With Ertegun's power at Warners now secure, Atlantic was able to successfully maintain autonomy through the parent company reorganizations and continue to do their own marketing, while WEA handled distribution.

The rock era[link]

In late October 1968 music manager Peter Grant flew to New York with tapes of the debut album by new British rock band Led Zeppelin and met with Ertegun and Wexler. A deal was quickly drawn up and on November 23 Atlantic issused a press release announcing the signing of the band to an exclusive five-year contract, one of the "most substantial" in the label's history; although not disclosed at the time, this included an advance of $US200,000.^[71] The band recorded directly for Atlantic Records from 1968 to 1973 and after that contract expired, they founded their own "vanity" label, Swan Song Records and signed a distribution deal with Atlantic (after being turned down by other labels). The arrival of Led Zeppelin proved timely for Atlantic's future as a rock label - one month after the Zeppelin signing, Atlantic's flagship rock act Cream played their farewell concert at the Royal Albert Hall in London (supported, coincidentally, by another up-and-coming new band, Yes, who were themselves signed to Atlantic early the next year).

Following his departure from The Hollies, singer-songwriter Graham Nash met Stephen Stills (ex Buffalo Springfield) and David Crosby (ex The Byrds) at a party at the Los Angeles home of Cass Elliott in March 1968. When Nash sang with them their unique vocal chemistry was instantly apparent and this quickly led to them forming Crosby, Stills & Nash. After failing an audition for Apple Records, they went to Atlantic, who eagerly snapped them up and gave them virtually complete freedom to record their debut album. The signing was initially complicated by the fact that Nash was still nominally under contract to Epic Records (The Hollies' US distributor), but Ahmet Ertegun overcame this by arranging a 'swap' - he released former Buffalo Spingfield member Richie Furay from his Atlantic contract, allowing his new group Poco to sign to Epic, in exchange for Nash being allowed to move to Atlantic. The deal proved highly advantageous to Atlantic - Poco only achieved moderate success for Epic, while Crosby, Stills & Nash's self-titled debut album (released in May 1969) was major hit; it reached #6 on the Billboard album chart, spawned two US Top 40 singles, became a multi-platinum seller and eventually earned a place in the Rolling Stone list of The 500 Greatest Albums of All Time, and this led to a new incarnation of the band, which became even more successful.

Their commercial breakthrough prompted the CSN trio to recruit extra members to allow them to tour (since Stephen Stills had played almost all the instruments on their first album). They added session player Dallas Taylor as their permanent drummer and bassist Greg Reeves, finally recruiting Stills' former Buffalo Spingfield bandmate Neil Young. The new lineup reportedly spent several hundred hours in the studio recording their next album, Déjà Vu, which was released in March 1970 and became a huge hit, reaching #1 on the Billboard album chart (also reaching #1 in Australia and #5 in the UK) and generating three hit singles. It was soon followed by the protest single "Ohio" which was rush-released in May 1970 and became a Top 20 hit. All four members released their own albums over the next few months: Stills, Crosby and Nash released their debut solo albums on Atlantic during 1970-71, each featuring stellar supporting casts of backing musicians alongside the other members of CSNY. (Young's After The Goldrush came out on Atlantic's sister label Reprise Records, to which Young had already signed as a solo artist). Stills' album was a major hit, reaching #3 (with the single "Love The One You're With" making #14 on the US singles chart); Crosby's If I Could Only Remember My Name reached #14 (and has remained in print ever since) and Nash's Songs for Beginners reached #15, with the single "Chicago", reaching #35. In the meantime, Atlantic had released CSNY's second album, the 2LP live set 4 Way Street, which also went to #1 and earned a gold record award, but by the time it had reached the stores the group had already split. Despite this, Atlantic enjoyed continued success with the various members - Stills' next two LPs both made the US Top 10, as did Crosby and Nash's 1972 duo album. The group briefly reformed in 1974 for a hugely successful stadium tour, and although plans for a new album were scuppered by the band's legendary infighting, the hastily-compiled anthology So Far still managed to top the US album chart.

Concurrently, Led Zeppelin were becoming one of the biggest groups in the world, earning millions for Atlantic. Despite some early negative critical reactions, their 1969 debut album took off rapidly, going Top 10 in the US and the UK, where it remained on the charts for 73 weeks and 79 weeks respectively, and it was also a Top 10 album in both Spain and Australia. It has remained a consistently huge seller ever since, earning 8 platinum awards (8 million copies) for sales in the USA alone. Their second LP was even more successful, going to #1 in the USA, Canada, Britain, Australia and Spain and earning a Grammy nomination for Best Album. It too became a massive and enduring success, selling over 12 million copies in the USA.

Alongside the huge success of CSNY and Led Zeppelin, British band Yes established themselves as one of the most significant acts in the burgeoning progressive rock genre, and their success played a significant part in establishing the primacy of the long-playing album as the major sales format for rock music in the 1970s. After several lineup changes during 1969-70, the band settled into its "classic" '70s incarnation with guitarist Steve Howe and keyboard player Rick Wakeman during 1971. Although the extended length of much of their material made it somewhat difficult to promote the band with single releases, their albums were hugely successful - their third LP The Yes Album (1971), which featured the debut of new guitarist Steve Howe, became their first big hit, reaching #4 in the UK and just scraping onto the chart in the US at #40. From this point, and notwithstanding the impact of the punk/New Wave movement in the late 1970s, the band enjoyed an extraordinary run of success—beginning with Fragile each of the eleven albums they released between 1971 and 1991 (including the lavishly-packaged live triple-album Yessongs) made the Top 20 in both the USA and the UK, and the double-LP Tales of Topographic Oceans (1973) and Going For The One (1977) both reached #1 in the UK.

Atlantic (and the world) suffered an irreparable loss in February 1978 when a fire destroyed most of its tape archive, which had been stored in a non-air-conditioned warehouse in Long Branch, New Jersey. Although (fortunately) the master tapes of the material in Atlantic's released back-catalog survived because they were stored in New York, the fire destroyed or damaged an estimated 5000-6000 reels of tape, including virtually all of the company's unreleased master tapes, alternate takes, rehearsal tapes and session multi-tracks recorded between 1948 and 1969. Atlantic was one of the first labels to record in stereo, and many of the tapes that were lost were stereo 'alternates' recorded in the late 1940s and 1950s (which Atlantic routinely taped simultaneously with the mono versions until the 1960s) as well almost all of the 8-track multitrack masters recorded by Tom Dowd in the 1950s and 1960s. According to Billboard journalist Bill Holland, news of the fire was kept quiet, and one Atlantic staffer who spoke to Holland reported that he did not find out about it until a year later. Fortunately, reissue producers and archivists subsequently located some tapes that were at first presumed 'lost', but which had survived because they had evidently been removed from the New Jersey archive years earlier and not returned. During the compilation of the Rhino-Atlantic John Coltrane boxed set, producer Joel Dorn located supposedly destroyed outtakes from Coltrane's seminal 1959 album Giant Steps, plus other treasures including Bobby Darin's original Atco demo of "Dream Lover" (with Fred Neil playing guitar); Atlantic archivists have since rediscovered other 'lost' material including unreleased masters, alternate takes and rehearsal tapes by Ray Charles, Van "Piano Man" Walls, Ornette Coleman, Lennie Tristano and Lee Konitz.^[72]

In May 1988, the label held a 40th Anniversary concert, broadcast on HBO. This concert, which was almost 13 hours in length, featured performances by a large number of their artists and included reunions of some rock legends like Led Zeppelin and Crosby, Stills, and Nash (being David Crosby's first full band performance since being released from prison).^[73]

"You're Pitiful" dispute[link]

"Weird Al" Yankovic edits the Atlantic Records' Wikipedia page to read "YOU SUCK!" in the music video for the song "White & Nerdy"

In 2006, the label denied "Weird Al" Yankovic permission to release "You're Pitiful", a parody of James Blunt's "You're Beautiful", despite Blunt's own approval of the song. Atlantic said that it was too early in Blunt's career, and that they did not want Blunt to become a one-hit wonder.^[74] Although Yankovic could have legally gone ahead with the parody anyway, his record label, Volcano Entertainment, thought that it was best not to "go to war" with Atlantic.^[75] The parody was released onto the Internet as a free download. Later he recorded two more parodies, "White & Nerdy", and "Do I Creep You Out", to replace "You're Pitiful". Yankovic, afterward, began wearing T-shirts reading "Atlantic Records sucks" while performing live. In addition, the music video for "White & Nerdy" depicts Yankovic vandalizing the Wikipedia article for Atlantic Records, replacing the whole page with "YOU SUCK!" in excessively large type (which spawned copycat vandalism of the article).^[76]

Recent developments[link]

Warner Communications merged with Time Inc. (owners of the aforementioned HBO) in 1990, forming Time Warner. That same year, Jimmy Iovine founded Interscope Records, which Atlantic owned a 50% stake in. Interscope released notable gangsta rap titles — many in conjunction with Death Row Records. Pressure from activist groups opposed to gangsta rap, however, later led to parent company Time Warner's decision to sell Atlantic's stake in the label to MCA in 1995.^[77]

A country music division, which was founded in the 1980s, was closed in 2001.^[78] This branch included acts such as Neal McCoy, Tracy Lawrence and John Michael Montgomery, all of whom were transferred to Warner Bros. Records' Nashville division. The Atlantic Nashville division was revived in 2008 with Zac Brown Band and Jesse Lee being signed to it.

Time Warner sold Warner Music Group to a group of investors for $2.6 billion in late 2003. The deal closed in early 2004, consolidating Elektra Records and Atlantic into one label operated in the eastern United States.^[2]

In 2007, the label celebrated its 60th anniversary with the May 2 PBS broadcast of the American Masters documentary Atlantic Records: The House that Ahmet Built and the simultaneous Starbucks CD release of Atlantic 60th Anniversary: R&B Classics Chosen By Ahmet Ertegun.^[79]

That year also saw Atlantic reach a milestone for major record labels: "More than half of its music sales in the United States are now from digital products, like downloads on iTunes and ring tones for cellphones", doing so "without seeing as steep of a decline in Compact Disc sales as the rest of the industry."^[80]

Notable sublabels[link]

• Big Beat Records
• Big Tree Records
• Cotillion Records
• Eardrum Records
• Finnadar Records^[81]
• First Priority Music
• Grand Hustle Records
• LaSalle Records
• Stone Flower Records
• TAG Recordings
• Vortex Records

See also[link]

• List of current Atlantic Records artists
• List of former Atlantic Records artists
• Atlantic Records Group
• List of Atlantic Records artists
• List of record labels: 0-9
• Atlantic Records discography

References[link]

External links[link]

• Official website
• Warner Music Group page about the Atlantic Records Group
• Atlantic Records: The House that Ahmet Built television documentary in PBS American Masters series
• Atlantic Records's channel on YouTube
• Atlantic US/UK A&R team contact list

v t e The Spinners Henry Fambrough · Bobbie Smith · Charlton Washington · Marvin Taylor · Jessie Robert Peck Billy Henderson · Pervis Jackson · C.P. Spencer · James Edwards · George Dixon · Joe Stubbs · Edgar "Chico" Edwards · G. C. Cameron · Philippé Wynne · Jonathan Edwards · Frank Washington · Harold "Spike" Bonhart Studio albums The Original Spinners · 2nd Time Around · Spinners · Mighty Love · New and Improved · Pick of the Litter · Happiness Is Being With the Spinners · Yesterday, Today & Tomorrow · Spinners/8 · From Here to Eternally · Dancin' and Lovin' · Love Trippin' · Labor of Love · Can't Shake This Feelin' · Grand Slam · Cross Fire · Lovin' Feelings · Down to Business Live albums Live! (1975) · In Concert · Live! (2007) Compilation albums The Best of the Spinners (1973) · Smash Hits · The Best of the Spinners (1978) · A One of a Kind Love Affair: The Anthology · The Very Best of the Spinners · The Very Best of the Spinners, Vol. 2 · The Spinners: Their Early Years · Essential Collection · The Essentials · The Chrome Collection · The Definitive Soul Collection · The Platinum Collection · Are You Ready for Love? The Very Best of the Detroit Spinners Singles "That's What Girls Are Made For" · "I'll Always Love You" · "It's a Shame" · "How Could I Let You Get Away" · "I'll Be Around"  · "Could It Be I'm Falling in Love" · "One of a Kind (Love Affair)" · "Together We Can Make Such Sweet Music" · "Mighty Love" · "I'm Coming Home" · "Then Came You" · "Games People Play" · "The Rubberband Man" · "Are You Ready for Love" · "Working My Way Back to You"/"Forgive Me, Girl" · "Cupid"/"I've Loved You for a Long Time" · "Yesterday Once More"/"Nothing Remains the Same" · "Funny How Time Slips Away" · "I'll Be Around" (with Rappin' 4-Tay) Related articles Discography · Atlantic Records · Motown · Volt Records Book:The Spinners · Category:The Spinners · Portal:R&B and Soul Music

Lupe Fiasco
Lupe Fiasco at WGCI Radio, Chicago, Illinois.
Background information
Birth name	Wasalu Muhammad Jaco
Born	(1982-02-16) February 16, 1982 (age 30) Chicago, Illinois, U.S.
Origin	Chicago, Illinois
Genres	Hip hop
Occupations	Rapper, producer, songwriter
Instruments	Vocals, keyboard
Years active	2006–present
Labels	Atlantic
Associated acts	Child Rebel Soldier, Japanese Cartoon, Matthew Santos, B.o.B, Kanye West, All City Chess Club, Sway DaSafo, Pharrell
Website	www.lupefiasco.com

Wasalu Muhammad Jaco (born February 16, 1982), better known by his stage name Lupe Fiasco ( /ˈluːpeɪ/ LOO-pay), is an American rapper, record producer, and entrepreneur. He rose to fame in 2006 following the success of his debut album, Lupe Fiasco's Food & Liquor. He also performs as the frontman of rock band Japanese Cartoon under his real name. As an entrepreneur, Fiasco is the chief executive officer of 1st and 15th Entertainment.

Raised in Chicago, Fiasco developed an interest in hip hop after initially disliking the genre for its use of vulgarity. After adopting the name Lupe Fiasco and recording songs in his father's basement, 19-year-old Fiasco joined a group called Da Pak. The group disbanded shortly after its inception, and Fiasco soon met rapper Jay-Z who helped him sign a record deal with Atlantic Records. In 2006, Fiasco released his debut album Lupe Fiasco's Food & Liquor on the label, which received three Grammy nominations. He released his second album, Lupe Fiasco's The Cool, in December 2007. The lead single "Superstar" peaked at number 10 on the Billboard Hot 100. He released Lasers on March 8, 2011 after a two-year delay. The album's lead single "The Show Goes On" peaked at number 9 on the chart, thus becoming his most successful single since "Superstar".

In addition to music, Fiasco has pursued other business ventures, including fashion. He runs two clothing lines, Righteous Kung-Fu and Trilly & Truly; he has designed sneakers for Reebok. He has been involved with charitable activities, including the Summit on the Summit expedition, and in 2010 he recorded a benefit single for victims of the 2010 Haiti earthquake. Fiasco is also noted for his anti-establishment views, which he has expressed in both interviews and his music.

Life and career[link]

1982–98: Early life[link]

Fiasco was born Wasalu Muhammad Jaco on February 16, 1982 in Chicago, Illinois.^[2][3] Born of West African descent,^[4] he was one of nine children of Shirley, a gourmet chef, and Gregory, an engineer.^[1][3] His father, a member of the Black Panther Party, was a prolific African drummer, karate teacher, operating plant engineer, and owner of karate schools and army surplus stores.^[5][6][7] Fiasco was raised Muslim on the West Side of Chicago on Madison Terrace housing project.^[6][8] At the age of three, Fiasco began taking martial arts classes.^[1] His parents divorced when he was five, and he went on to live with his mother, but his father still remained an important part of his life. He described his father's influence over the family by saying, "After school, my father would come and get us and take us out into the world—one day, we're listening to N.W.A, the next day we're listening to Ravi Shankar, the next day, he's teaching us how to shoot an AK-47, the next day, we're at karate class, the next day, we're in Chinatown...".^[6]

In sixth grade, he went to live with his father full-time in Harvey, Illinois.^[9] His father lived next door to a crack house and taught Fiasco to use guns to defend himself from drug dealers.^[1] Despite his unstable upbringing, Fiasco states that he was well-educated as a child, asserting that his parents exposed him to a diverse array of subjects and that reading was highly encouraged in his household.^[1] As a teenager, Fiasco participated in Academic Decathlon competitions.^[3] His mother described him by saying, "He was a great spirited child. Smart, a bit complex; he kind of was a loner; he didn't hang with a lot of people...He always had the glasses. Always had a book bag over his shoulder and some type of a writing tablet."^[3] Fiasco initially disliked hip hop music for its use of vulgarity, and preferred to listen to jazz; he idolized clarinet player Benny Goodman.^[1][8] His struggle to learn to play an instrument led him to create poetry instead, which led to his interest in the lyrical aspects of music.^[10]

He began rapping his poems in the eighth grade, and upon hearing Nas' 1996 album, It Was Written, began to pursue hip hop.^[7] While attending Thornton Township High School, Fiasco met gang member Bishop G. The two became friends due to their shared interest in music.^[3] Fiasco's father allowed him and Bishop to make mixtapes in his basement, and the two gained notoriety at the school for their music. However, they were kicked off stage during their first performance because their eclectic musical style was not embraced by the hip hop community.^[3] Early in his career, he went by stage names Little Lu and Lu tha Underdog.^[11] Growing up, Fiasco was given the nickname "Lu", the last part of his first name, by his mother. "Lupe" is an extension of this nickname, which he borrowed from a friend from high school. "Fiasco" is a reference to The Firm song "Firm Fiasco"; the rapper "liked the way it looked on paper."^[12] He also said of his name, "You know how rappers always have names like MC Terrorist—like they're 'terrorizing' other rappers? I knew fiasco meant a great disaster or something like that, but I didn't realize that the person named Fiasco would be the disaster, and that you should be calling other MCs fiascos—not yourself...it kind of humbled me in a sense. It taught me like, 'Yo, stop rushing, or you're going to have some fiascos.'"^[11]

1999–2005: Career beginnings[link]

Lupe Fiasco performing at the Intonation Music Festival, 2006.

When Fiasco was 17, he began creating music as a solo artist in his father's basement, even though his parents were not keen on having their son be a rapper. He scoured flea markets and secondhand stores, where he was able to find an old mixing board and a record player, stacks of vinyl records, and mic stands.^[11] At age 19, Fiasco joined a group called Da Pak, which was influenced by other California gangsta rappers such as Spice 1 and Ice Cube. Da Pak signed to Epic Records and released one single before splitting up.^[2] Fiasco later described the experience, saying "We had a song out about cocaine, guns, and women, and I would go to a record store and look at it and think, 'What are you doing?' I felt like a hypocrite. I was acting like this rapper who would never be judged, and I had to destroy that guy. Because what Lupe Fiasco says on this microphone is going to come back to Wasalu Jaco. When the music cuts off, you have to go home and live with what you say."^[13]

After turning away from gangsta rap, he developed a greater appreciation of the lyricism of Jay-Z and Nas. His mother also gave him a record of the influential group The Watts Prophets, one of the first bands to use spoken words with music.^[14] Although he was without a group for the first time, Fiasco continued to record music. One of these first self-recorded tracks was "Could Have Been", which described the career options he could have pursued had he not begun rapping.^[15] He viewed the song as a turning point in his career that marked a drastic change in the subject matter of his music.^[15] "Could Have Been" was released as a demo tape and discovered by MTV despite the fact that no video was created for the song.^[15]

Fiasco later signed a solo deal with Arista Records, but was dropped when president and CEO L.A. Reid was fired.^[2] During his short tenure at Arista, he met Jay-Z, who was the president of Def Jam Recordings at the time. Jay-Z referred to him as a "breath of fresh air", saying that he reminded him of a younger version of himself.^[14] Jay-Z later helped him get a record deal at Atlantic Records.^[14] While Fiasco was working on his debut solo album, he released his mixtape series Fahrenheit 1/15 over the internet, which gained notoriety by word-of-mouth. At this time, Fiasco's remix of Kanye West's "Jesus Walks" entitled "Muhammad Walks", became very popular in the Muslim community.^[16]

He remixed another one of West's songs, "Diamonds from Sierra Leone", and renamed it as "Conflict Diamonds". With this remix, Fiasco wished to raise awareness of the conflict diamond business.^[17] This caught West's attention, and he asked Fiasco to perform on his song "Touch the Sky" off his album Late Registration. The song, which sampled Curtis Mayfield's "Move On Up", became a hit in the Billboard Hot 100, peaking at number forty-two.^[18] After this success his first single "Kick, Push" was released earlier than expected. The song was a love story about two people sharing a passion for skateboarding, a topic generally not discussed in hip hop.^[19] Fiasco explained, "[Skateboarding culture is] just as deep as hip-hop. I'm not the greatest skateboarder, but I'm a damn good rapper, so I made a damn good skateboarding song."^[19] The single, and its accompanying music video, helped Fiasco get attention in the hip-hop community and was later nominated for two 2007 Grammy Awards.^[10][20] During this time, he had guest appearances on singles on Tha' Rayne's "Kiss Me" and "Didn't You Know" and also K Foxx's 2004 "This Life".

[edit] 2006–08: Lupe Fiasco's Food & Liquor and The Cool