There were record companies, and then there was Warner Brothers. During the halcyon, Wild West days of the music business in the Sixties and Seventies, Warner Brothers — along with its associated labels like Reprise and Sire — earned a reputation for signing some of pop’s most idiosyncratic or unconventional artists. But even better, the label — and executives like Mo Ostin, Joe Smith and Lenny Warner — allowed those musicians the freedom to roam and grow in the studio with few artistic constraints. Jimi Hendrix, Joni Mitchell, Neil Young, Van Morrison, the Grateful Dead, and Randy Newman were among the label’s first wave of talent, followed in later years by Prince, Madonna, Van Halen, Devo and the post-indie Replacements. The result wasn’t just a mind-boggling string of classic and often groundbreaking music but also plenty of profit to go around — and plenty of ways to spend it and revel in the excesses of the times. In this excerpt from Peter Ames Carlin’s Sonic Boom: The Impossible Rise of Warner Bros. Records from Hendrix to Fleetwood Mac to Madonna to Prince, the label — especially head publicist Bog Regehr working with band manager Shep Gordon — decides to go… Read full this story
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