Editing Atlantic Records (section)

===Signing Led Zeppelin and CSN===
In 1968, by [[Peter Grant (music manager)|Peter Grant]] flew to New York with tapes of the debut album by British rock band [[Led Zeppelin]]. Ertegun and Wexler knew of the group's leader, Jimmy Page, through [[The Yardbirds]]. Their favorable opinion was reinforced by [[Dusty Springfield]], who recommended Atlantic sign the band. Atlantic signed the band to an exclusive five-year contract. Atlantic described it in a press release as one of the "most substantial deals" in the label's history.<ref>{{cite web |date=November 11, 1968 |title=Led Zeppelin official website – Atlantic press release, Nov. 1968 |url=https://www.ledzeppelin.com/event/november-11-1968 |access-date=January 17, 2025 |publisher=Ledzeppelin.com}}</ref> Zeppelin recorded for Atlantic from 1968 to 1973. After the contract expired, they founded their label [[Swan Song Records|Swan Song]] and signed a distribution deal with Atlantic after being turned down by other labels.

In 1969, Stephen Stills was still signed to Atlantic under the contract dating from his time with Buffalo Springfield. His agent [[David Geffen]] went to Wexler to ask for Stills to be released from his Atlantic contract because Geffen wanted Stills' new group to sign with Columbia. Wexler lost his temper and threw Geffen out of his office, but Geffen called Ahmet Ertegun the next day, and Ertegun persuaded Geffen to convince [[Clive Davis]] at Columbia to let Atlantic sign [[Crosby, Stills & Nash]].<ref name="Atlantic Records Story" />

The trio was formed following a chance meeting between members of three leading 1960s pop groups – Stephen Stills, [[David Crosby]] of [[The Byrds]] and [[Graham Nash]] of [[The Hollies]]. Stills and Crosby had been friends since the early 1960s; Nash had first met Crosby in the mid-1960s when [[The Byrds]] toured the UK, and he renewed the friendship when The Hollies toured the US in mid-1968. By this time creative tensions within The Hollies were coming to a head, and Nash had already decided to leave the group. Nash reunited with Crosby and met Stephen Stills (ex-[[Buffalo Springfield]]) at a party at the Los Angeles home of [[Cass Elliott]] in July 1968, during the Hollies US tour. After Crosby and Stills sang Stills' new composition "You Don't Have To Cry" that evening, Nash asked them to repeat it, and chimed in with an impromptu third harmony part. The trio's unique vocal chemistry was instantly apparent, so when Nash quit the Hollies in August 1968 and relocated to Los Angeles, the three immediately formed a trio, Crosby, Stills & Nash. After failing their audition for [[Apple Records]], thanks to Ertegun's intervention and negotiations with David Geffen, who represented Crosby and Nash, as well as Stills,<ref>Tom King (2001). ''The Operator: David Geffen Builds, Buys, and Sells the New Hollywood''. New York: Broadway Books. p. 110.</ref> they ultimately signed with Atlantic, who gave them virtually complete freedom to record their first album.

The signing was complicated by the fact that Nash was still under contract to [[Epic Records]] (The Hollies' US distributor), but Ertegun used his diplomatic prowess to overcome this by arranging a 'swap' – he released former Buffalo Springfield member [[Richie Furay]] from his Atlantic contract, allowing Furay's new group [[Poco (band)|Poco]] to sign to Epic, and in exchange Columbia Records (the parent company of Epic) allowed Nash to sign to Atlantic. In the event, Ertegun and Atlantic were the clear winners. Poco achieved moderate success for Epic, but Crosby, Stills & Nash's self-titled [[Crosby, Stills & Nash (album)|debut album]] (released in May 1969) became a huge and enduring hit, reaching #6 on the ''Billboard'' album chart, spawning two US Top 40 singles, becoming a multi-platinum seller and eventually earning a place in the ''Rolling Stone'' list of [[Rolling Stone's 500 Greatest Albums of All Time|The 500 Greatest Albums of All Time]].{{citation needed|date=March 2024}}

Hot on the heels of the huge success of CSNY and Led Zeppelin, British band [[Yes (band)|Yes]] rapidly established themselves as one of the leading groups in the burgeoning [[progressive rock]] genre. 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" incarnation, with guitarist [[Steve Howe (guitarist)|Steve Howe]] and keyboard player [[Rick Wakeman]], who both joined during 1971. Although the extended length of much of their material made it somewhat difficult to promote the band with single releases, their live prowess gained them an avid following and their albums were hugely successful – their third LP ''[[The Yes Album]]'' (1971), which featured the debut of new guitarist [[Steve Howe (guitarist)|Steve Howe]], became their first big hit, reaching #4 in the UK and just scraping onto the chart in the US at #40. Beginning with their fourth album ''[[Fragile (Yes album)|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 the US and the UK, and the double-LP ''[[Tales from Topographic Oceans]]'' (1973) and ''[[Going For The One]]'' (1977) both reached #1 in the UK.

Much of Atlantic's renewed success as a rock label in the late 1970s can be attributed to the efforts of renowned A&R manager [[John Kalodner]]. In 1974, the former photographer, record store manager and music critic joined Atlantic's New York publicity department. In 1975, Kalodner moved to the A&R department, rose rapidly through the ranks, and in 1976 he was promoted to become Atlantic's first West Coast director of A&R. Over the next four years he was instrumental in signing a string of major acts including [[Foreigner (band)|Foreigner]], [[AC/DC]], [[Peter Gabriel]] and [[Phil Collins]]. Kalodner built his reputation by signing acts that other labels had turned down, and perhaps the most significant example of his achievements in this area was his championing of the Anglo-American band [[Foreigner (band)|Foreigner]].

The group was the brainchild of expatriate British musicians [[Mick Jones (Foreigner)|Mick Jones]] (ex [[Spooky Tooth]]) and [[Ian McDonald (musician)|Ian McDonald]], one of the founding members of [[King Crimson]]. The demo tapes of the songs that eventually became their debut album (including the song "Feels Like The First Time") were famously rejected by almost every major label, including Atlantic – although their tenacious manager Bud Prager later revealed that, in retaliation for a previous bad deal, he deliberately did not approach CBS ("They had screwed me out of a lot of money, so I figured I would screw them out of Foreigner. The band was never even offered to them.")<ref>Wade & Picardie 1990, p. 241.</ref>

Prager persisted with Atlantic, even though their A&R department and label President Jerry Greenberg repeatedly rejected Foreigner. Kalodner's belief in the group (and a live audition) finally convinced Greenberg to allow Kalodner to sign them and take them on as his personal project. Even then, Kalodner was turned down by twenty-six producers before he found someone willing to take on the project. Despite all the resistance, Foreigner was a success. Their 1976 debut single "Feels Like The First Time" reached #4 on the Billboard singles chart, their self-titled debut album sold more than 4 million copies, and the subsequent singles from the album kept the group in the US charts continuously for more than a year. In the years that followed, Foreigner became one of Atlantic's biggest successes, and one of the biggest-selling groups in history, scoring a string of international hits and selling more than 80 million albums worldwide, including 37.5 million albums in the US alone.

In 1978, Atlantic finally broke the leading UK progressive group [[Genesis (band)|Genesis]] as a major act in the US. Ahmet Ertegun had first seen them perform in the Midwest on one of their early American tours, and it was on this occasion that he also became an ardent fan of their drummer/vocalist, Phil Collins. Jerry Greenberg signed the group to Atlantic in the US in 1973 on Ertegun's advice, but although they were very successful in Europe, Genesis remained at best a "cult" act in America for most of the Seventies. In the meantime, original lead singer [[Peter Gabriel]] had left the group in 1975, followed in 1977 by lead guitarist [[Steve Hackett]], reducing the group to a three-piece. Ertegun was directly involved in the recording of the band's 1978 album ''[[...And Then There Were Three...]]'', personally remixing the album's projected first single "[[Follow You, Follow Me]]". Although the group did not use this version, it guided them in their subsequent production. Collins later commented, "We didn't use his version, but we knew what he was getting at. He saw something more in there that wasn't coming out before".<ref>Wade and Picardie 1990, p. 245.</ref> The released version of "Follow You, Follow Me" gave Genesis their first hit single in the US, the album became their first American gold record, and the experience resulted in Ertegun and Collins becoming close friends.

By 1979, Genesis drummer and singer [[Phil Collins]] was considering branching out into a solo career. Reacting to the breakup of his first marriage, he had begun writing and recording new songs at home, which were considerably different from the material he had been recording with Genesis. Although many in the industry reportedly discouraged him from going solo,<ref>{{cite web |author=Laurel Fishman |url=http://www.johnkalodner.com/bio.html |title=Biography: John Kalodner |url-status = live|archive-url=https://web.archive.org/web/20170706113347/http://www.johnkalodner.com/bio.html |archive-date=July 6, 2017}}</ref> Collins was strongly supported by Ertegun, who encouraged him to record an album after hearing the R&B-flavoured demo tapes Collins had recorded in his garage. Ertegun also insisted on changes to the song that became Collins' debut single. After hearing the song's sparsely-arranged opening section, Ertegun said: "Where's the backbeat, man? The kids won't know where it is – you've got to put extra drums on it". Collins replied "The drums come later," to which Ertegun retorted "By that time the kids will have switched over to another radio station". Acceding to Ertegun's demand, Collins took the unusual step of overdubbing extra drums on the finished master tape, and he later commented, "He (Ertegun) was quite right".<ref>Wade & Picardie 1990, p. 246.</ref>

By early 1980, when Collins was recording his solo album, the record industry was suffering greatly from the impact of the worldwide economic recession, and many labels were beginning to cull their rosters and drop acts that were not providing major returns. At this same time, Genesis' contract with Atlantic was up for renewal, and Collins was yet to sign as a solo artist. As part of the negotiations, Collins and his bandmates wanted their own 'vanity' label, Duke Records, but according to Kalodner, and despite Ertegun's personal interest, the group's demands, and their relatively modest performance in the US made Atlantic executives ambivalent about the deal. Kalodner was overseeing the recording of Collins' solo album while Atlantic were vacillating about signing the band and Collins, but it was at this point that Kalodner was abruptly dismissed from Atlantic, although he was almost immediately recruited to head the A&R division at the newly formed [[Geffen Records]]. Angered by his unceremonious ejection from Atlantic, he alerted Geffen to Collins' availability, but to his chagrin, neither Geffen nor any other US label showed interest. He then alerted [[Virgin Records]] boss [[Richard Branson]], who immediately contacted Collins' manager [[Tony Stratton Smith]] and signed Collins to Virgin in the UK as a solo act.<ref>Wade & Picardie 1990, p. 247.</ref>

Although Ertegun subsequently disputed Kalodner's account of the Genesis/Collins contract saga, he agreed that the loss of Gabriel was a big mistake, and his regret about his handling of the matter was only compounded by Gabriel's subsequent success with Geffen. Much of this was due to Kalodner, who later admitted that, as soon as Gabriel was dropped from Atlantic, he realized he had made a mistake. In order to make amends to Gabriel, he alerted both CBS and Geffen to the fact that Gabriel was available, and after a bidding war, Gabriel signed with Geffen.<ref>Wade & Picardie 1990, p. 247–248.</ref> They released his fourth solo album (a.k.a. "Security") in 1982 to wide acclaim, and Gabriel scored a minor US hit with the single "Shock The Monkey". Gabriel achieved huge international success with his fifth album ''So'' (1986), which reached #1 in the UK and #2 in the US and sold more than 5 million copies in the US. He then scored a US #1 hit with the R&B-influenced single "[[Sledgehammer (Peter Gabriel song)|Sledgehammer]]", which featured the legendary [[Memphis Horns]], and which Gabriel later described as "my chance to sing like [[Otis Redding]]".{{citation needed|date=March 2024}}