Atlantic Records

Atlantic Records
File:Atlanticrecordslogo.jpg
Parent company	Warner Music Group
Founded	1947
Founder	Ahmet Ertegün Herb Abramson
Distributor(s)	WEA Corp. (In the US) Warner Music International (Outside of the US)
Genre	Various
Country of origin	United States
Official website	Atlantic Records.com

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. 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 which was greatly enhanced by its distribution deal with Stax Records), but after its 1967 acquisition by Warner Bros.-Seven Arts Atlantic expanded into rock and pop music, signing many significant rock acts including Cream, Led Zeppelin, Yes and Foreigner. Since the 1967 takeover Atlantic has operated as a wholly owned subsidiary of what is now the Warner Music Group. In 2004 WMG consolidated Atlantic Records and its sister label Elektra Records into an umbrella group titled Atlantic Records Group. 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. 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) and VP Records in Jamaica, home to reggae artists such as Sean Paul.

History

Foundation and early years

Following the death of Munir Ertegun (the first Turkish Ambasador to the United States), his wife and daughter returned to Turkey, but his two sons Nesuhi and Ahmet elected to remain in the USA. The Ertegun brothers had become passionate fans of American jazz and rhythm & blues music in their teens, amassing a collection of over 15,000 78rpm records, and although Ahmet ostensibly stayed on in Washington to undertake postgraduate study at Georgetown University, he was in fact immersing himself in the thriving Washington music scene. He decided to enter the record business, which was then enjoying a major resurgence, following the lifting of wartime restrictions on the supply of shellac, a key component in 78rpm record manufacture. After convincing the Ertegun family dentist Dr Vahdi Sabit to invest $10,000 in his as-yet-unnamed label, Ertgeun then recruited a fellow music enthusiast with solid experience in production. Herb Abramson was a dentistry student and jazz lover who began working part-time as an A&R manager/producer for the jazz label National Records, where he signed artists including Big Joe Turner and Billy Eckstine. By the time he was approached by Ertegun, Abramson had left National and joined Jubilee Records, but he was not interested in Jubilee's successful diversion into Jewish comedy recordings and was looking for new opportunities; he agreed to join Ertegun's new label and invested a further $2500 of his own capital.

Atlantic Records was incorporated in October 1947, with Abramson as president and Ertegun as vice-president; its original office was a room in the Ritz Hotel in Manhattan but when this proved too expensive they relocated to an $85 per month room in the Hotel Jefferson. In its early years Atlantic was principally a jazz and rhythm and blues label, although it also released some country and western and even spoken word recordings. One of the company's earliest and most important recruits was recording engineer and producer Tom Dowd, who played a crucial role in shaping the label's sound and who, through his work with the Atlantic and Stax roster, exerted a major influence on the history of late 20th century popular music. In the late 1940s and early 1950s period Ertegun and Abramson spent much of their time in Harlem or travelling to other cities, scouring nightclubs in search of new talent. To supply material to record, Ertegun composed many songs under the alias "A. Nugetre", including Big Joe Turner's hit "Chains of Love". Because he could not write music, Ertegun composed his original songs in his head and then recorded himself singing them in the 25c recording booths in Times Square; he would then either give the recording to an arranger to transcribe or simply play them for the to the musicians before the session.

Atlantic's early releases featured an eclectic range of jazz and R&B artists including 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. The label entered the new LP market very early, although its first LP release was a 10" album featuring poetry by Walter Benton, This Is My Beloved (March 1949), narrated by John Dall, with music by Vernon Duke

The fledgling label struggled to survive and scored no hits at all in its first two years; their first break came in early 1949 when a New Orleans distributor phoned Ertegun asking if he knew where the distributor could obtain copies of a record by Stick McGhee called "Drinking Wine, Spo-Dee-O-Dee". Knowing that McGhee's previous label had already folded, Ertgeun offered to provide an exact re-recording and fortunately, he knew Stick's younger brother Brownie McGhee through his Harlem visits. By luck Stick was staying with Brownie at the time so he cut the new version, released in February 1949, which 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). From this first success Atlantic's fortunes rose steadily -- they recorded 187 songs in 1949 (more than three times the output of the previous two years) and received overtures about a manufacturing and distribution deal with CBS Records, who would pay Atlantic a 3% royalty on every copy sold. Ertegun's asking about artists royalties which he paid surprised CBS executives who did not pay artists royalties at the time which scuttled the proposed deal.

The artist who really established Atlantic as a premier R&B label was teenage vocal sensation Ruth Brown. On the recommendation of broadcaster Willis Conover, Ertegun and Abramson went to see Brown at the Crystal Caverns club in Washington and immediately invited her to record for them. Unfortunately, she was badly injured in a car accident en route to New York and spent nine months in hospital; although not yet signed to the label, Atlantic supported Brown through her recuperation and signed her as soon as she was well enough to come to New York to record. "So Long", a track from her second Atlantic session, cut on 25 May 1949 with the Eddie Condon band, was her first release for the label. Released in June 1949, it became 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. Her success led to the label being dubbed "The house that Ruth built" (derived from the popular nickname for Yankee Stadium).

From this auspicious start, Atlantic went from strength to strength, scoring a string of R&B hits over the next few years. Joe Morris, one of the label's earliest signings, scored a major hit with his October 1950 release "Anytime, Anyplace, Anywhere"; it was also the first Atlantic recording to be issued in the new 45rpm single format, which the company began pressing in January 1951. The Clovers' "Don't You Know I Love You" (composed by Ertegun) became Atlantic's first R&B #1 in September 1951 and a few weeks later Ruth Brown repeated the achievement with "Teardrops from my Eyes", which inaugurated a golden run of hits and became Atlantic's first million-selling record. She hit #1 again in March-April 1952 with "5-10-15 Hours". "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. "Wild Wild Young Men" (composed by Ertegun) was a major hit and Brown hit the top spot again in late late 1954 with "Oh What A Dream", although this marked the end of her hit-making run with Atlantic and she left the label in 1961.

The ironic counterpoint to Brown's early success was that, within a few years of leaving Atlantic, she was reduced to cleaning and bus-driving to support her children. In the 1980s she sued her former label for unpaid royalties and it emerged that Atlantic, which had long traded on its reputation for fair treatment, had failed to pay continuing royalties to its artists, although Ahmet Ertegun strenuously denied that this was intentional. Brown herself received a voluntary payment of just $20,000, but her experience led her to found the Rhythm and Blues Foundation, established in 1988 with a donation of $1.5 million from Ertegun.

In the early fifties Atlantic moved from the Hotel Jefferson to offices at 301 West 54th St and then to West 56th St. In 1952 they signed rising star Ray Charles, who provided 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 Clyde McPhatter had been fired from leading vocal group Billy Ward and His Dominoes and was forming his own group, The Drifters, Ahmet Ertegun tracked McPhatter down to a Harlem rehearsal room and signed The Drifters to Atlantic. Their first release "Money Honey" became the biggest R&B hit of the year. Although 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 similarly banned in Memphis -- both records reached #1 on the Billboard R&B chart.

In 1953 Herb Abramson was drafted into the US Army, where he served as a dentist, although he retained his post as President of Atlantic, on full pay. To replace him during his two years' military service, Ertegun recruited Billboard reporter Jerry Wexler, who is credited with coining the term "rhythm & blues" to replace the earlier usage "race music". Wexler was appointed as vice-president and purchased 13% of the company's stock for $2,063.25. Wexler and Ertegun soon formed a close partnership and their studio collaborations with Tom Dowd produced thirty R&B hits.

By the mid-1950s Atlantic recordings were being successfully covered by white performers - Atlantic artist LaVern Baker had a #4 R&B hit with "Tweedlee Dee," but a rival version by white singer Georgia Gibbs went to #2 on the pop charts. The same thing happened with several other Atlantic recordings: "Sh-Boom" by The Chords was a hit on the R&B charts, but a version by Canadian group The Crew-Cuts reached #1 on the pop chart; Big Joe Turner's April 1954 release "Shake, Rattle and Roll" was a #1 R&B hit but only made it to #22 on the pop chart; however, when Bill Haley & His Comets's cleaned-up version was released in July, it reached #7, selling over 1 million copies and becoming Decca Records biggest-selling song of the year. This phenomenon soon led Ertegun and Wexler to realise that they could record material that could cross over into the pop market.

Unfortunately Atlantic missed out on what could have been an epoch-making acquisition when, in 1955 Sun Records owner Sam Phillips decided to sell Elvis Presley's contract, sparking a bidding war between record labels. Jerry Wexler was determined to sign Presley to Atlantic, offering $25,000 for his contract (Ertegun later noted: "It was all the money we had then.") but they were outbid by RCA Records, who paid $45,000. Commenting on the missed opportunity in 1990, Ertegun pointedly 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."

When Herb Abramson returned from his army service in 1955 he found that had been effectively replaced as Ertegun's partner by Wexler; he was further distanced by the arrival of Ahmet's older brother Nesuhi, who was recruited to the label soon after. Nesuhi had been living in Los Angeles for the previous ten 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 went to California to talk Nesuhi out of taking up Imperial's offer and joining Atlantic instead. This further alienated Abramson, who did not get on well with either Wexler or Nesuhi and the situation was made even more complicated by Abramson's divorce from his wife Miriam, who was a minority shareholder and Atlantic's business manager.

In an effort to keep him involved, Abramson was put in charge of a new subsidiary, Atco Records. Its roster included The Coasters and Bobby Darin, but Darin's early releases were not successful and Abramson decided to drop him; however, Ahmet decided to give Darin one more chance and among the three sides he produced at that session was "Splish Splash" (a song Darin had written in just 12 minutes) which sold 100,000 copies in the first month and went on to become a million-seller, establishing Darin as a major star. By 1958 relations between Abramson and his partners had broken down completely; a $300,000 buyout was arranged, with his stock split between Nesuhi and Miriam Bienstock. Abramson left the company and Ahmet Ertegun took over as President of the label.

Nesuhi headed the label's jazz division, where he was responsible for major signings such as Charles Mingus and John Coltrane;; later, Joel Dorn became Nesuhi's full-time assistant following his successful production on the album The Laws of Jazz by flutist Hubert Laws. Nesuhi was also put in charge of the company's LP album production; although Atlantic's R&B main output of R&B was still issued on 78rpm record at this time, LPs were an important new market that was rapidly expanding. Nesuhi championed the Modern Jazz Quartet, who became a mainstay of the Atlantic's jazz roster, releasing twenty albums for Atlantic, all of which he produced. Among the many other significant artists Nesuhi brought to Atlantic were 'West Coast' acts he had seen during his stay in California, including Shorty Rogers, Jimmy Giuffre, Herbie Mann and Les McCann. Soon after Nesuhi took over the album catalog, he deleted the old '100' and '400' series of 10-inch long-playing albums and the earlier 12-inch albums in Atlantic's catalog and launched the new '1200' series, which sold for $4.98. It was inaugurated with Shorty Rogers' The Swingin' Mr Rogers (Atlantic 1212). The 1200 series originally featured both jazz and R&B albums but in 1956 Nesuhi started a new '8000' popular series (selling for $3.98), so the few R&B albums in the 1200 series were reissued under the 8000 series, and from this point the 1200 album series was exclusively dedicated to jazz.

Expansion and crossover success: 1956-1967

From 1954 onwards Atlantic created or acquired several important subsidiary labels. The first was the short-lived but significant Cat Records, established in 1954. Atco Records was started in 1955 for Herb Abramson. Atco scored a string of successful records in the late 1950s thanks to its association with the songwriting and production duo Jerry Lieber and Mike Stoller, who had developed their own distinctive style of R&B, with songs that were cast as comedic "playlets". Their success began in October 1955 when Los Angeles-based vocal group The Robins scored a West Coast hit with the Lieber-Stoller song "Smokey Joe's Cafe", released on the duo's Spark Records label; seeking a national outlet, Lieber and Stoller leased the master to Atco and in November Atlantic bought Spark, merging its catalog into the Atco roster, and Lieber and Stoller subsequently moved back to New York and signed an independent production deal with Atlantic.

In 1956 two members of The Robins, Carl Gardner and Bobby Nunn formed a new group, The Coasters, and they finally provided Atlantic with the crossover success it had been striving for. Their first Atco release (recorded in Hollywood) was "Down in Mexico" (March 1956), a Top 10 R&B hit. They consolidated this with the double-sided hit "Young Blood"/"Searchin'" (also recorded in Hollywood) -- both sides were picked up by radio and broke into the Top 10 on the pop chart concurrently, and both charted for over 20 weeks, with "Young Blood" reaching #3 and "Young Blood" making #8. After relocating to New York, the Coasters continued their winning streak of classic R&B hits from with songs written and/or produced by Lieber and Stoller, and featuring the distinctive saxophone of King Curtis. "Yakety Yak" (June 1958) became Atlantic's first #1 hit on the pop chart; "Charlie Brown" made #2 on both the pop and R&B charts in Feb. 1959; "Along Came Jones" was their third pop Top 10 hit, followed by "Poison Ivy" (pop #7, Aug. 1959). "Shopping for Clothes" (1960) was their only single that failed to make the pop chart and "Little Egypt" (1961) was their last hit, reaching #21 in the pop chart. Lieber and Stoller also wrote and produced the classic "Ruby Baby" for The Drifters, a #13 R&B hit in 1956; this featured Johnny Moore, who was recruited as lead vocalist to replace Clyde McPhatter after he was drafted into the army. "Ruby Baby" subsequently became a #2 US pop hit in 1962 for Dion.

Another notable Atlantic act to emerge in this period was The Cookies, a female vocal trio put together by Atlantic producer Jesse Stone in 1954; it originally 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", which was released in early 1956 and became a minor R&B hit, but after one more unsuccessful release the trio became an important fixture at Atlantic recording sessions, providing vocal backing on many renowned Atlantic releases including Joe Turner's "Corinna, Corinna" and "Lipstick, Powder and Paint", Chuck Willis' "It's Too Late", and Ray Charles' "Lonely Avenue", "Drown In My Own Tears" and "Night Time is the Right Time", which features Margie Hendricks prominently. As a result of their sessions with him, the Cookies were taken over by Ray Charles as his permanent backing singers and renamed The Raelettes.

By the late 1950s stereo recording had become a practical reality and stereo LPs were becoming an important new marketing tool. Thanks the skill and enthusiasm of Tom Dowd, Atlantic was one of the first independent labels to record in stereo, using a portable stereo recorder to make multitrack tapes at the same time the mono recordings were being made; Atlantic's New York studio was the first to install the new multitrack recording technology being developed by the Ampex company -- Bobby Darin's 1958 breakthrough "Splish, Splash" was the first song to be recorded on Atlantic's newly acquired Ampex 8-track recorder. 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. The stereo versions of these songs remained unreleased until 1968, when the label issued a stereo LP called History of Rhythm and Blues, Volume 4 (Atlantic SD-8164). The rare 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.

Another major breakthrough came in 1958 when Lieber and Stoller produced "There Goes My Baby" with the second incarnation of The Drifters, featuring Ben E. King, who co-wrote the song. It was the first R&B song to feature a string arrangement but this innovation at first proved too radical for Atlantic's bosses -- Ertegun disliked it and Jerry Wexler dismissed it as "dogmeat", and they refused to release it for over a year, but Lieber and Stoller kept pressuring them and when they finally relented and released it as a single in April 1959, the song shot to #1.

During 1958-59 Bobby Darin consolidated his success with a string of huge hits for Atco. "Queen of the Hhop" made the Top 10 on the the pop and R&B charts and also charted in the UK. "Dream Lover" became a major hit, reaching #2 in the USA and #1 in the UK and was a multi-million seller. This was followed by a swinging jazz-pop update of the Brecht-Weill standard "Mack the Knife" (Aug. 1959), which 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'. He followed up with "Beyond the Sea", an English-language version of the Charles Trenet hit "La Mer" which was another dual US/UK Top 10 hit.

Although the company was ending the decade riding high on these successes, Atlantic was dealt a double-blow by the departure of both Darin and Ray Charles (who together accounted for one third of the company's sales) in 1959-60. Darin signed with Capitol Records and left for Hollywood to begin a movie career, although Atco continued to score hits into 1962 with tracks it already had in the can, including "You Must Have Been a Beautiful Baby" and "Things", his last Atco single before he commenced recording for Capitol. Ray Charles was lured away to ABC-Paramount Records in November 1959 by a deal that reportedly included an increased royalty rate, a production deal, profit-sharing and eventual ownership of his master tapes; however Ertegun later disputed whether Charles received any profit share outside his royalties, asserted that Charles had not gained ownership of his ABC-Paramount masters, pointing out that Charles was already receiving a top royalty at Atlantic and that he doubted whether Charles received more that "a point or two increase". The Atlantic executives were reportedly devastated by Charles' defection (Wexler later commented: "It was very grim. I thought we were going to die.") and it led to a permanent rift between Charles and his former colleagues, although Ertegun remained good friends with Darin.

Others including Lava Records and 143 Records became part of the Atlantic group. In 1958, Atlantic changed its catalogue numbering system for singles after issuing record number 1199 to the 2000 series because the 1200 series was reserved for Jazz LPs. Also in 1958, founding president Abramson left the company and fellow co-founder Ahmet Ertegun became Atlantic's new president. In 1960, Wexler began a distribution relationship between Atlantic and Memphis-based Stax Records. The association with Stax ended in 1968.

During the 1960's, Atlantic distributed selected titles from scores of little regional labels including Vault, Class, Shirley, Tomorrow, Instant, Dade, Moonglow, Correct-Tone, Moonglow, Lu-Pine, Keetch, Royo, Rosemart, T-Neck, Heidi, Sims, and others, using the small independent label's design and separate catalog numbers.

Acquisition by Warner Bros.

Atlantic Records Logo from 1966 to 2005 (US). Still used outside North America

Atlantic was acquired by Warner Bros.-Seven Arts in 1967. Initially, it and Atco were to be run entirely separate from WB-SA's other labels, Warner Bros. and Reprise Records. One of Atlantic's major signings around this time was British rock band Led Zeppelin. The band had a deal with Atlantic Records directly from 1968 to 1973. After this contract ran out, they started their own vanity label, Swan Song Records. It signed a distribution deal with Atlantic after being turned down by other labels.

Warner Bros.-Seven Arts was taken over in 1969 by the Kinney National Company, which later became Warner Communications. After buying Elektra Records and its sister label Nonesuch Records the following year, 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. Atlantic Records was able to successfully maintain autonomy through the parent company reorganizations and continue to do their own marketing while WEA handled distribution.

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).

Merger with Time Inc.

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.

Closure of Nashville division

A country music division, which was founded in the 1980s, was closed in 2001. 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.

Elektra absorption

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.

"You're Pitiful" scandal

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 claimed that it was "too early" in Blunt's career, and that they didn't want Blunt to become a one-hit wonder. 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. The parody was released onto the Internet as a free download, and can be legally accessed and downloaded from Yankovic's official website. Later he recorded two more parodies, "White & Nerdy", and "Do I Creep You Out", to replace "You're Pitiful". The music video for "White & Nerdy" depicts Weird Al 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).

60 Years

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.

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."

Notable Sublabels

• Big Beat Records
• Big Tree Records
• Cotillion Records
• Eardrum Records
• First Priority Music
• Grand Hustle Records
• LaSalle Records
• Roc Nation *(As Artist's Jay-Z's The Blueprint 3 music videos on youtube.com are played and owned by Atlantic Records,and are not on Universal Music's VEVO Website,Roc Nation is partially a sub-label of Atlantic Records)
• Stone Flower Records
• TAG Recordings

Artists

Main articles: List of current Atlantic Records artists and List of former Atlantic Records artists

Atlantic Records Group labels

Main article: Atlantic Records Group

See also

• List of Atlantic Records artists
• List of record labels: 0-9

External links

• 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