Atlantic Records, USA – Part Three
By the time Ahmet Ertegun had cemented his position within the new Warner Bros set up, one of the biggest bands in rock music history had been signed up to Atlantic Records. Led Zeppelin were the new kids on the block and the new stars on the horizon and other new British band Yes followed shortly afterward. Home grown rock was also making an indent at Atlantic though; Crosby, Stills and Nash (and eventually Neil Young) were signed in 1968, their self-titled debut album being a massive seller.
Led Zeppelin were the contemporary superstars though and made vast amounts of money for Atlantic until 1973 when their contract ended and they started their own label, Swan Song Records, although Atlantic still organised their distribution. Yes were the third big money maker of the early 1970s and stayed with Atlantic even after Led Zeppelin had left. In fact Yes continued their success well into the 1980s and still tour and record today.
A fire in one of Atlantic Records’ warehouses in New Jersey in 1978 destroyed a huge amount of early recordings, dating from 1948 and 1969. Up to 6000 tape reels were destroyed, including some of Atlantic’s original stereo recordings, a technology which they pioneered. Ultimately many originals were located at various locations around the country, for example those that had been ‘borrowed’ and not returned and the archives were restocked to a a certain level.
The 1980s continued in the same successful vein as previously and featured the likes of Genesis, Foreigner, AC DC and Mike and the Mechanics. It also preceded Warner Communications merger with Time Inc. in 1990 to become Time Warner. Atlantic Records remained a largely independent entity although it was forced to sell off its share of the gangsta rap label Interscope Records in 1995.
Atlantic has remained a relevant and successful label to this day, surviving the split between Time Inc and Warner in 2004. The label celebrated its 60th birthday in 2007 and currently has hundreds of successful artists on its roster. It has also been forward looking enough (for a record label at least) to embrace digital technology; in 2007 50% of its sales were from downloads.