Warner Records

Warner Records Inc.
Parent company	Warner Music Group
Founded	March 19, 1958 (1958-03-19)
Founder	Warner Bros.
Distributor(s)	Self-distributed (United States) Warner Music Group (International) Rhino Entertainment Company (Reissues)
Genre	Various
Country of origin	United States
Location	Los Angeles, California
Official website	warnerrecords.com

Warner Records Inc. (formerly known as Warner Bros. Records Inc. until 2019) is an American record label. A subsidiary of the Warner Music Group, it is headquartered in Los Angeles, California. It was founded on March 19, 1958, as the recorded music division of the American film studio Warner Bros.

Artists who have recorded for Warner Records include Madonna, Prince, Linkin Park, Zach Bryan, Van Halen, Kylie Minogue, ZZ Top, Gorillaz, Bette Midler, Grateful Dead, Jane's Addiction, Duran Duran, Fleetwood Mac, Rod Stewart, Funkadelic, James Taylor, Red Hot Chili Peppers, Mac Miller, R.E.M., and the Sex Pistols.

History

Founding

At the end of the silent movie period, Warner Bros. Pictures decided to expand into publishing and recording so that it could access low-cost music content for its films. In 1928, the studio acquired several smaller music publishing firms which included M. Witmark & Sons, Harms Inc., and a partial interest in New World Music Corp., and merged them to form the Music Publishers Holding Company. This new group controlled valuable copyrights on standards by George and Ira Gershwin and Jerome Kern, and the new division was soon earning solid profits of up to US$2 million every year.

In 1930, Music Publishers Holding Company (MPHC) paid US$28 million to acquire Brunswick Records (which included Vocalion), whose roster included Duke Ellington, Red Nichols, Nick Lucas, Al Jolson, Earl Burtnett, Ethel Waters, Abe Lyman, Leroy Carr, Tampa Red and Memphis Minnie, and soon after the sale to Warner Bros., the label signed rising radio and recording stars Bing Crosby, Mills Brothers, and Boswell Sisters. Unfortunately for Warner Bros., the dual impact of the Great Depression and the introduction of broadcast radio greatly harmed the recording industry—sales crashed, dropping by around 90% from more than 100 million records in 1927 to fewer than 10 million by 1932 and major companies were forced to halve the price of records from 75 to 35 cents.

In December 1931, Warner Bros. offloaded Brunswick to the American Record Corporation (ARC) for a fraction of its former value, in a lease arrangement which did not include Brunswick's pressing plants. Technically, Warner maintained actual ownership of Brunswick, which with the sale of ARC to CBS in 1939 and their decision to discontinue Brunswick in favor of reviving the Columbia label, reverted to Warner Bros. Warner Bros. sold Brunswick a second time (along with Brunswick's back catalog up to 1931), this time along with the old Brunswick pressing plants Warner owned, to Decca Records (which formed its American operations in 1934) in exchange for a financial interest in Decca. The heavy loss it incurred in the Brunswick deal kept the studio out of the record business for more than 25 years, and during this period it licensed its film music to other companies for release as soundtrack albums.

1958–1963: formation and early years

The gold, black and red label design used for Warner Bros. stereo albums from 1958 to 1967 and mono albums from 1964 to 1967.

The grey, black, white and yellow label design used for Warner Bros. mono albums from 1958 to 1964 when it switched to the same gold label as the stereo version.

In 1956, Harry Warner and Albert Warner sold their interest in the studio and the board was joined by new members who favored a renewed expansion into the music business—Charles Allen of the investment bank Charles Allen & Company, Serge Semenenko of the First National Bank of Boston and investor David Baird. Semenenko in particular had a strong professional interest in the entertainment business and he began to push Jack Warner on the issue of setting up an 'in-house' record label. With the record business booming – sales had topped US$500 million by 1958 – Semnenko argued that it was foolish for Warner Bros. to make deals with other companies to release its soundtracks when, for less than the cost of one motion picture, they could establish their own label, creating a new income stream that could continue indefinitely and provide an additional means of exploiting and promoting its contract actors.

Another impetus for the label's creation was the music career of Warner Bros. actor Tab Hunter. Although Hunter was signed to an exclusive acting contract with the studio, it did not prevent him from signing a recording contract, which he did with Dot Records, owned at the time by Paramount Pictures. Hunter scored several hits for Dot, including the US No. 1 single, "Young Love" (1957) and, to Warner Bros.' chagrin, reporters were primarily asking about the hit record, rather than Hunter's latest Warner movie. In 1958, the studio signed Hunter as its first artist to its newly formed record division, although his subsequent recordings for the label failed to duplicate his success with Dot.

Warner Bros. agreed to buy Imperial Records in 1956 and, although the deal fell apart, it marked the breaking of a psychological barrier: "If the company was willing to buy another label, why not start its own?" To establish the label, the company hired former Columbia Records president James B. Conkling; its founding directors of A&R were Harris Ashburn, George Avakian, and Bob Prince. Conkling was an able administrator with extensive experience in the industry—he had been instrumental in launching the LP format at Columbia and had played a key role in establishing the National Academy of Recording Arts and Sciences the previous year. However, Conkling had decidedly middle-of-the-road musical tastes (he was married to Donna King of vocal trio the King Sisters), and was thus rather out of step with emerging trends in the industry, especially the fast-growing market for rock'n'roll music.

Warner Bros. Records opened for business on March 19, 1958. Its early album releases (1958–1960) were aimed at the upscale end of the mainstream audience, and Warner Bros. took an early (though largely unsuccessful) lead in recording stereo LPs that targeted the new "hi-fi" market. The catalogue in this period included:

• vocal/spoken word albums by Warner contract players such as Tab Hunter, Edd Byrnes, Connie Stevens, Jack Webb and William Holden
• novelty/comedy albums by artists such as Spike Jones and Bob Newhart
• film soundtracks and collections of film and TV themes
• 'middle of the road' instrumental albums by artists including Matty Matlock, Buddy Cole, Henry Mancini, George Greeley, Warren Barker and "Ira Ironstrings" (a pseudonym for guitarist Alvino Rey, Conkling's brother-in-law, who was in fact under contract to Capitol Records at the time).

Some albums featured jokey or self-deprecating titles such as:

• Music for People with $3.98 (Plus Tax If Any),
• Terribly Sophisticated Songs: A Collection of Unpopular Songs for Popular People,
• Songs the Kids Brought Home from Camp,
• Please Don't Put Your Empties on the Piano, and
• But You've Never Heard Gershwin with Bongos.

Almost all were commercial failures; and the only charting album in Warner Bros.' first two years was Warren Barker's 'soundtrack' album for the studio's hit series 77 Sunset Strip, which reached No. 3 in 1959. Tab Hunter's "Jealous Heart" (WB 5008), which reached No. 62, was Warner Bros.' only charting single during its first year.

Early Warner Bros. singles had distinctive pink labels, with the WB logo at the top center and "WARNER" in white Hellenic font to the left of the WB shield and "BROS." in the same color and style font to the right. Below the shield in white Rockwell font, it read "VITAPHONIC HIGH FIDELITY;" this 45 label was used for two years, 1958 – 1960. This initial 45 label was soon replaced by a new, all-red label with the WB shield logo at 9 o'clock and a number of different-colored arrows (blue, chartreuse, and yellow) surrounding and pointing away from the center hole. The first hit was the novelty record "Kookie, Kookie (Lend Me Your Comb)", with words and music by Irving Taylor, which reached No. 4 on the Billboard Hot 100. It was nominally performed by Warner contract actor Edd Byrnes, who played the wisecracking hipster character Gerald Lloyd "Kookie" Kookson III on Warner's TV detective series 77 Sunset Strip. The story behind the recording illustrates the sharp practices often employed by major recording companies. Actress and singer Connie Stevens (who appeared in the Warner TV series Hawaiian Eye) spoke on the song's chorus, but although her record contract entitled her to a five-percent royalty rate, the label arbitrarily defined her contribution to be a favor to Byrnes, and assigned her just 1% royalty on the song, despite the fact that, as she soon discovered, her name was being prominently displayed on the single's label. Warner Bros. also charged her for a share of the recording costs, which was to be recouped from her drastically reduced royalty. When Stevens scored her own hit single with "Sixteen Reasons" in 1960, Warner Bros. refused to allow her to perform it on Hawaiian Eye because it was not published by MPHC, and they also prevented her from singing it on The Ed Sullivan Show, thereby robbing her of nationwide promotion (and a $5000 appearance fee).

With only two hits to its credit in two years, the label was in serious financial trouble by 1960, having lost at least US$3 million and music historian Frederic Dannen reports that the only reason it was not closed down was because the Warner board was reluctant to write off the additional $2 million the label was owed in outstanding receivables and inventory. After a restructure, Conkling was obliged to report to Herman Starr; he rejected a buyout offer by Conkling and a group of other record company employees but agreed to keep the label running in exchange for heavy cost-cutting—the staff was reduced from 100 to 30 and Conkling voluntarily cut his own pay from $1000 to $500.

Warner Bros. now turned to rock'n'roll acts in hopes of advancing its sales but their first signing, Bill Haley, was by then past his prime and failed to score any hits. The label was more fortunate with its next signing, the Everly Brothers, whom Warner Bros. secured after the end of their previous contract with Cadence Records. Herman Starr effectively gambled the future of the company by approving what was reputed to be the first million-dollar contract in music history, which guaranteed the Everly Brothers $525,000 against an escalating royalty rate of up to 7 percent, well above the industry standard of the day.

In late 1959, Warner Bros signed a virtually unknown Chicago-based comedian, Bob Newhart, marking the beginning of the label's continuing involvement with comedy. Newhart provided the label's next major commercial breakthrough — in May 1960, three months after the success of "Cathy's Clown", Newhart's debut album The Button-Down Mind of Bob Newhart unexpectedly shot straight to No. 1 in the US, staying at the top for fourteen weeks, charting for more than two years and selling more than 600,000 copies.

Warner Bros. made another prescient signing in folk group Peter, Paul & Mary. The trio had been on the verge of signing with Atlantic Records, but before the deal could be completed they were poached by Warner Bros. Artie Mogull (who worked for one of Warner Bros.' publishing companies, Witmark Music) had introduced their manager Albert Grossman to Herman Starr, and as a result the group signed a recording and publishing deal with Warner Bros. Grossman's deal for the group broke new ground for recording artists — it included a substantial advance of $30,000 and, most significantly, it set a new benchmark for recording contracts by stipulating that the trio would have complete creative control over the recording and packaging of their music.

Soon after, Grossman and Mogull signed a publishing deal that gave Witmark one of its most lucrative clients, Bob Dylan. Grossman bought out Dylan's previous contract with Leeds Music and signed the then-unknown singer-songwriter to Witmark for an advance of $5000. Two years later in 1963, Peter, Paul & Mary scored two consecutive Top 10 hits with Dylan songs, launching Dylan's career, and this was followed by many more hits by artists covering Dylan's songs, alongside the growing commercial success of Dylan himself. Grossman benefited enormously from both deals, because he took a 25% commission as Dylan's manager, and he structured Dylan's publishing deal so that he received 50% of Witmark's share of Dylan's publishing income.

The label's fortunes had finally turned around by 1962 thanks to the Everly Brothers, Newhart, folk stars Peter, Paul & Mary, jazz and pop crossover hit Joanie Sommers and comedian Allan Sherman, and Warner Bros. Records ended the financial year 1961–62 in the black for the first time since its founding.

Warner/Reprise 1963–1967

In August 1963, Warner Bros. made a "rescue takeover" of Frank Sinatra's ailing Reprise Records as part of a deal to acquire Sinatra's services as a recording artist and as an actor for Warner Bros. Pictures. The total deal was valued at around US$10 million, and it gave Sinatra a one-third share in the combined record company and a seat on the Warner/Reprise board; Warner Bros. Records head Mike Maitland became the president of the new combine and Mo Ostin was retained as manager of the Reprise label.

Reprise was heavily in debt at the time of the takeover, and the Warner Records management team was reportedly dismayed at their balance sheet being pushed back into the red by the acquisition, but they were given no choice in the matter. Ben Kalmenson, a Warner Bros. company director and close aide to Jack Warner, summoned the label's directors to a meeting in New York and explicitly told them that both he and Warner wanted the deal and that they expected them to vote in favor of it.

Despite these misgivings, the purchase ultimately proved very beneficial to the Warner group. Reprise flourished in the late 1960s thanks to Sinatra's famous comeback and the hits by Sinatra and his daughter Nancy, and the label also secured the US distribution rights to the recordings of the Kinks and Jimi Hendrix. Most importantly for the future of the company, the merger brought Reprise manager Mo Ostin into the Warner fold and "his ultimate value to Warner Bros. would dwarf Sinatra's."

In 1964, Warner Bros. launched Loma Records, which was meant to focus on R&B acts. The label, run by former King Records promotion man Bob Krasnow, would release over 100 singles and five albums, but saw only limited success and was wound down in 1968.

An important addition to the Warner Bros. staff in this period was Ed Thrasher, who moved from Columbia Records in 1964 to become Warner/Reprise's head art director. Among his design credits for the Warner family of labels were The Jimi Hendrix Experience's Are You Experienced, Van Morrison's Astral Weeks, The Grateful Dead's Anthem of the Sun, The Doobie Brothers' Toulouse Street, Tiny Tim's God Bless Tiny Tim, and Joni Mitchell's Clouds, which set off a trend of musicians creating the artwork for their own record sleeves. In 1973, when Frank Sinatra emerged from retirement with his comeback album, Thrasher shot candid photographs for the cover and also devised the album title Ol' Blue Eyes Is Back, which was widely used to promote Sinatra's return to recording and touring. Besides his work on album covers, Thrasher art-directed many of Warner Bros.' ads and posters from 1964 to 1979.

"Cream Puff War" (1967), the first single by The Grateful Dead. The orange label with chevron border was used on Warner Bros.' American 45s for much of the 1960s.

In 1964, Warner Bros. successfully negotiated with French label Disques Vogue and Warner Bros.' British distributor Pye Records for the rights to distribute Petula Clark's recordings in the US (said rights previously being held by Laurie Records).

Another significant development in the label's history came in 1966 when Ostin hired young independent producer Lenny Waronker as an A&R manager, beginning a strong and enduring mentor/protegé relationship between the two. Waronker, the son of Liberty Records founder Simon Waronker, had previously worked as an assistant to Liberty producer Snuff Garrett.

Waronker had been hired as a freelance producer for some of Autumn's acts including The Tikis (who later became Harpers Bizarre), The Beau Brummels, and The Mojo Men, and for these recording sessions he brought in several musician friends who were then becoming established on the L.A. music scene: composer/musicians Randy Newman (a childhood friend), Leon Russell, and Van Dyke Parks. Together they became the foundation of the creative salon that centered on Waronker at Warner Bros. and which, with Ostin's continuing support, became the catalyst for Warner Records' subsequent success as a rock music label.

In 1967, Warner Bros. took over Valiant Records, which added hit-making harmony pop group The Association to the Warner roster. This acquisition proved to be another huge money-maker for Warner Bros.; The Association scored a string of major hits in the late 1960s, and their 1967 hit "Never My Love" went on to become the second-most-played song on American radio and TV in the 20th century. During the year, the label also took its first tentative step into the burgeoning rock market when they signed leading San Francisco psychedelic rock group The Grateful Dead. Warner Bros. threw the band a release party at Fugazi Hall in San Francisco's North Beach. During the concert, Warner A&R manager Joe Smith took the stage and announced, "I just want to say what an honor it is to be able to introduce the Grateful Dead and its music to the world," which prompted a cynical Jerry Garcia to quip in reply, "I just want to say what an honor it is for the Grateful Dead to introduce Warner Bros. Records to the world."

Also in 1967, Warner/Reprise established its Canadian operation Warner Reprise Canada Ltd., replacing its distribution deal with the Compo Company. This was the origin of Warner Music Canada.

1967–1969: Warner Bros.-Seven Arts

In November 1966 the entire Warner group was taken over by and merged with Seven Arts Productions, a New York-based company owned by Eliot Hyman. Seven Arts specialized in syndicating old movies and cartoons to TV, and had independently produced a number of significant feature films for other studios, including Stanley Kubrick's Lolita, as well as forging a successful production partnership with noted British studio Hammer Films. Hyman's purchase of Jack L. Warner's controlling share of the Warner group for US$32 million stunned the film world—Warner Records executive Joe Smith later quipped that it was

... as if the Pasadena Star-News bought The New York Times. As ludicrous as that."

In June 1967, Mo Ostin attended the historic Monterey International Pop Festival, where The Association performed the opening set. Ostin had already acquired the US rights to The Jimi Hendrix Experience's recordings, sight unseen, but he was reportedly unimpressed by Hendrix's now-famous performance. During his visit he met Andy Wickham, who had come to Monterey as an assistant to festival promoter Lou Adler. Wickham had worked as a commercial artist in London, followed by a stint with Andrew Loog Oldham's Immediate Records before moving to Los Angeles to work for Adler's Dunhill label. Ostin initially hired Wickham as Warner's "house hippie" on a generous retainer of $200 per week. Hanging out around Laurel Canyon, Wickham scouted for new talent and established a rapport with the young musicians Warner Bros. was seeking to sign. Like Lenny Waronker, Wickham's youth, intelligence and hip attitude allowed him to bridge the "generation gap between these young performers and the older Warner 'establishment'". He played a major role in signing Eric Andersen, Jethro Tull, Van Morrison, and Joni Mitchell (who signed to Reprise), whom Wickham successfully recommended to Ostin in his first week with the company.

During this formative period, Warner Bros. made several other notable new signings including Randy Newman and Van Dyke Parks. Newman would not make his commercial breakthrough until the mid-1970s but he achieved a high profile in the industry thanks to songs he wrote that were covered by other acts like Three Dog Night and Alan Price. Although Warner Bros. spent large sums on albums that sold poorly, and there were some missteps in its promotion strategy, the presence of unorthodox acts like The Grateful Dead and critically acclaimed 'cult' performers like Newman and Parks, combined with the artistic freedom that the label afforded them, proved significant in building Warner Bros.' reputation and credibility. Bob Krasnow, who briefly headed Warner Bros.' short-lived 'black' label Loma Records, later commented that The Grateful Dead "...were really the springboard. People said, 'Wow, if they'll sign The Dead, they must be going in the right direction.'"

Although not widely known to the general public at that time, Van Dyke Parks was a figure of high repute on the L.A. music scene thanks to his work as a session musician and songwriter (notably with the Byrds and Harper's Bizarre), and especially because of his renowned collaboration with Brian Wilson on the legendary unreleased Beach Boys album Smile. In 1967, Lenny Waronker produced Parks' Warner debut album Song Cycle, which reportedly cost more than $35,000 to record, making it one of the most expensive 'pop' albums ever made up to that time. It sold very poorly despite rave critical reviews, so publicist Stan Cornyn (who had helped the label to sign The Grateful Dead) wrote an infamous tongue-in-cheek advertisement to promote it. The ad cheekily declared that the label had "lost $35,509 on 'the album of the year' (dammit)," suggested that those who had purchased the album had probably worn their copies out by playing it over and over, and made the offer that listeners could send these supposedly worn-out copies back to Warner Bros., who would exchange it for two new copies, including one "to educate a friend with." Incensed by the tactic, Parks accused Cornyn of trying to kill his career. Cornyn encountered similar problems with Joni Mitchell—he penned an advertisement that was meant to convey the message that Mitchell was yet to achieve significant market penetration, but the tag-line "Joni Mitchell is 90% Virgin" reportedly reduced Mitchell to tears, and Cornyn had to withdraw it from publication.

Warner Bros. also struggled with their flagship rock act, The Grateful Dead who, like Peter, Paul and Mary, had negotiated complete artistic control over the recording and packaging of their music. Their debut album had been recorded in just four days, and although it was not a major hit, it cracked the US Top 50 album chart and sold steadily, eventually going gold in 1971. For their second album, The Grateful Dead took a far more experimental approach, embarking on a marathon series of recording sessions lasting seven months, from September 1967 to March 1968. They started the album with David Hassinger, who had produced their first album, but he quit the project in frustration in December 1967 while they were recording in New York City (although he is co-credited with the band on the album). The group and their concert sound engineer Dan Healy then took over production of the album themselves, taking the unusual step of intermixing studio material with multitrack recordings of their concerts. Anthem of the Sun proved to be the least successful of The Grateful Dead's 1960s albums—it sold poorly, the extended sessions put the band more than $100,000 in debt to the label, and Warner Bros. executive Joe Smith later described it as "the most unreasonable project with which we have ever involved ourselves."

The Grateful Dead's relationship with Warner Bros. Records was stretched even further by the making of their third album Aoxomoxoa (1969), which also took around seven months to record and cost $180,000, almost twice as much as its predecessor. It sold poorly and took almost thirty years to be accredited with gold-record status. There were further difficulties in 1971 when the band presented Warner Bros. with a planned live double-album that they wanted to call Skull Fuck, but Ostin handled the matter diplomatically. Rather than refusing point-blank to release it, he reminded The Grateful Dead that they were heavily in debt to Warner's and would not see any royalties until this had been repaid; he also pointed out that the provocative title would inevitably hurt sales because major retailers like Sears would refuse to stock it. Realizing that this would reduce their income, the band voluntarily changed the title to Grateful Dead, known generally as Skull and Roses.

Some of Warner Bros.' biggest commercial successes during this period were with "Sunshine Pop" acts. Harpers Bizarre scored a No. 13 Billboard hit in April 1967 with their version of Simon & Garfunkel's "The 59th Street Bridge Song (Feelin' Groovy)", and a month later The Association scored a US No. 1 with "Windy", and they reached No. 8 on the album chart with their first Warner Bros. album Insight Out. Their next single "Never My Love" also topped the charts in autumn 1967 (No. 2 Billboard, No. 1 Cashbox), and now ranks as one of the most successful of all Warner Bros. recordings—it became a radio staple and is now accredited by BMI as the second most-played song on US radio in the 20th century, surpassing both "Yesterday" by the Beatles and "Stand by Me" by Ben E. King.

During 1968, using the profits from Warner/Reprise, W7 purchased Atlantic Records for $17.5 million, including the label's valuable archive, its growing roster of new artists, and the services of its three renowned executives Jerry Wexler, Nesuhi Ertegun and Ahmet Ertegun. However, the purchase again caused rancor among the Warner/Reprise management, who were upset that their hard-won profits had been co-opted to buy Atlantic, and that Atlantic's executives were made large shareholders in Warner-Seven Arts—the deal gave the Ertegun brothers and Wexler between them 66,000 shares of Warner Bros.' common stock.

On June 1, 1968, Billboard announced that Warner Bros. Records' star comedy performer Bill Cosby had turned down a five-year, US$3.5 million contract renewal offer, and would leave the label in August of that year to record for his own Tetragrammaton Records label. Just over one month later (July 13) Billboard reported on a major reorganization of the entire Warner-Seven Arts music division. Mike Maitland was promoted to Executive Vice-president of both the recorded music and publishing operations, and George Lee took over from Victor Blau as operational head of the recording division. The restructure also reversed the reporting arrangement put in place in 1960, and from this point the Warner publishing arm reported to the record division under Maitland. The Billboard article also noted the enormous growth and vital significance of W7's music operations, which were by then providing most of Warner-Seven Arts' revenue—during the first nine months of that fiscal year, the recording and publishing divisions generated 74% of the corporation's total profit, with the publishing division alone accounting for over US$2 million of ASCAP's collections from music users.

1969–1972: Kinney takeover

In 1969, Warner Bros.-Seven Arts was taken over by the Kinney National Company, headed by New York businessman Steve J. Ross, who would successfully lead the Warner group of companies until his death in 1992. The US$400 million deal created a new conglomerate that combined the Warner film, television, recording, and music publishing divisions with Kinney's multi-faceted holdings. Ross had founded the company in the late 1950s while working in his family's funeral business—seeing the opportunity to use the company's cars, which were idle at night, he founded a successful car hire operation, which he later merged with the Kinney parking garage company. Ross took the company public in 1962, and from this base it expanded rapidly between 1966 and 1968, merging with National Cleaning Services in 1966 to form the Kinney National Company, and then acquiring a string of companies that would prove of enormous value to the Warner group in the years ahead–National Periodical Publications (which included DC Comics and All American Comics), the Ashley-Famous talent agency, and Panavision.

During 1969, the rivalry between Mike Maitland and Ahmet Ertegun quickly escalated into an all-out executive battle, but Steve Ross favored Ertegun, and the conflict culminated in Maitland being dismissed from his position on January 25, 1970. He declined an offer of a job with Warner Bros. Pictures and left the company, subsequently becoming president of MCA Records. Mo Ostin was appointed president of Warner Bros. Records with Joe Smith as executive vice-president.

In 1970, the 'Seven Arts' name was dropped and the WB shield became the Warner Bros. Records logo again.

1970–1979: The Ostin era

British group Black Sabbath were signed to Philips Records' progressive subsidiary Vertigo in their native country. Deep Purple, who recorded for EMI's Parlophone and Harvest labels in England, were originally signed in the US to the independent Tetragrammaton Records, which was distributed by Warner Bros., who acquired the label after it folded in 1970. Black Sabbath's eponymous debut album (recorded in just two days) reached No. 8 on the UK album chart, and No. 23 on the Billboard 200, where it remained for over a year, selling strongly despite some negative reviews. It has since been certified platinum in the US by the Recording Industry Association of America (RIAA) and in the UK by British Phonographic Industry (BPI). Sabbath's second album was to have been called War Pigs, but Warner Bros. Records changed the title to Paranoid fearing a backlash by consumers. It was a Top 10 hit on the US album chart in 1971, and went on to sell four million copies in the US alone with virtually no radio airplay.

In July 1970, the Warner recording group acquired another prestige asset with the purchase of Jac Holzman's Elektra Records for US$10 million. Like Atlantic, the new acquisition came with a very valuable back-catalogue, which included the Doors, Love, Paul Butterfield Blues Band, Tim Buckley, the Stooges, MC5 and Bread, but Elektra soon began producing more major hits under the Warner umbrella. Recent signing Carly Simon scored two successive Top 20 singles in 1971 with "That's the Way I've Always Heard It Should Be" and "Anticipation", and her first two albums both made the Billboard Top 50, but the following year she topped the single and album charts with her international smash hit "You're So Vain" and the album No Secrets, which both went to No. 1 in the US Jac Holzman ran the label until 1972, when he was succeeded by David Geffen and Elektra was merged with Geffen's label Asylum Records. Geffen was forced to step down in 1975 for health reasons and Joe Smith was appointed president in his place, although the label's fortunes subsequently waned considerably, with Elektra-Asylum reportedly losing some $27 million during the last two years of Smith's tenure.

With three co-owned record companies, the next step was the formation of the group's in-house distribution arm, initially called Kinney Records Distributing Corporation, to better control distribution of product and make sure records by breaking new acts were available.

In 1971, UK-based pop rock trio America were signed to the recently established British division of Warner Bros. Their debut album, released late in the year, at first enjoyed only moderate success, but in early 1972 their single "A Horse with No Name" became a major international hit, reaching No. 1 in the US. Warner hastily reissued the album with the song included and it too became a huge hit, reaching No. 1 on the US album chart and eventually earning a platinum record award. Although criticized for their similarity to Neil Young (indeed, rumors circulated around Hollywood that Young had cut the track anonymously),

The Warner Bros. "Burbank" picture label introduced in 1973. It was later modified when a banner was added across the WB Shield, on which the word "RECORDS" was inscribed.

WBR introduced a new label design for its LPs and singles in mid-1973. This design, which WBR would use until mid-1978, featured a multi-colored, idealized watercolor painting of a Burbank street lined by palms and eucalypts, and titled with the slogan "Burbank, Home of Warner Bros. Records". According to the label's official history, the design was copied from a similarly styled "orange crate art" fruit company label illustration created by an unknown commercial artist in the 1920s.

After several years as a 'cult' artist, Randy Newman achieved his first significant commercial success as a solo artist with his 1974 album Good Old Boys which made the Top 40. His controversial 1977 single "Short People" was one of the surprise hits of the year, reaching No. 2 on the Billboard Hot 100. On October 12, 1974, WBR and Phil Spector established Warner-Spector Records, but the label was short-lived and folded in 1977; most of its releases were reissues Philles Records recordings from the 1960s and the only new material released was two singles by the disco group Calhoon and a single by Cher.

In 1975 David Geffen was obliged to leave the company for health reasons, after being told that he had a terminal illness (although this later proved to be a false diagnosis). In his place, Joe Smith was promoted to become President of the combined Elektra/Asylum label. At this time Warner Bros. began to wind down the Reprise label.

By far the most successful of the Reprise acts who moved to Warner Bros. was Fleetwood Mac, whose massive success firmly established Warner Bros. in the front rank of major labels—although few would have predicted it from the band's tumultuous history. Between 1970 and 1975 there were multiple lineup changes (with only two original members remaining by 1974), their album sales declined drastically, and a legal battle over the group's name kept them off the road for over a year. However, just as Fleetwood Mac was switching labels in 1975, the group re-invigorated by the recruitment of new members Lindsay Buckingham and Stevie Nicks. The 'new' Fleetwood Mac scored a string of US and international hits and their self-titled Reprise debut album was a huge success, reaching No. 1 in the US, charting for more than 30 weeks and selling more than 5 million copies. In 1977, their now-legendary Rumours took both group and Warner Bros. label to even greater heights—it generated a string of international hit singles and became the most successful album in the label's history; it is currently ranked the 11th biggest selling album of all time and as of 2009 was estimated to have sold more than 40 million copies.

Throughout the 1970s, Warner Bros. also benefited from its US/Canada distribution deals with independent labels such as Straight Records, DiscReet Records, UK labels Chrysalis (1972–1976) and Island (1974–1982), Bizarre Records, Bearsville Records (1970–1984) and Geffen Records (which was sold to MCA in 1990).

Although primarily associated with mainstream white acts in the Seventies, Warner Bros.' distribution deals with smaller labels also brought it some success in the disco, soul and funk genres in the late 1970s and early 1980s. Among the imprints it distributed that were notable in these fields were Seymour Stein's Sire Records (which Warner Bros. soon purchased), Curtis Mayfield's Curtom, Norman Whitfield's Whitfield Records, Quincy Jones' Qwest, Prince's Paisley Park, RFC Records (formed in December 1978 when Ray Caviano became the executive director of Warner's disco division), and Tom Silverman's Tommy Boy Records (another label Warner Bros. eventually took over).

Warner Bros. also began to tentatively embrace the burgeoning new wave movement in the late 1970s, signing cult bands Devo and the B-52s. A crucial acquisition in this field—and one which would soon prove to be of enormous importance to the company—was the New York-based Sire Records, founded in 1966 by Seymour Stein and Richard Gottehrer. Warner Bros. took over Sire's distribution from ABC Records in 1977 and bought the label in 1978, retaining Stein as its president. The addition of the Sire roster gave Warner Bros. an important foothold in this area (indeed, Stein is often credited with naming the genre to replace the term "punk", which he disliked); its American signings included the Ramones, the Dead Boys, and Talking Heads and most importantly of all, Madonna, who soon became the most successful female artist in music history, earning billions for Warner.

In the 1970s there were different systems for four-channel stereo. Warner Records and the whole WEA group chose JVC's and RCA's discrete system called CD-4 or Quadradisc. That was the system with the highest separation between the four channel, but the system needed a special stylus that could read frequences up to 48 000 Hz.

1980–1988

The 1980s was a period of unprecedented success for Warner Bros. Records. The golden decade began with the success of singer-songwriter Christopher Cross, whose self-titled debut album went to No. 6 in the US and produced four charting singles, including the No. 1 hit "Sailing". He also won five major categories at the 1981 Grammy Awards, becoming the only solo artist to date to win the "Big Four" awards in one year (Record, Song and Album of the Year, and Best New Artist) while his performance of "Arthur's Theme" from the Dudley Moore film Arthur, which also went to No. 1, won both the Oscar and the Golden Globe award for Best Original Song.

Warner Bros. scored an apparent coup in 1980 by luring Paul Simon away from Columbia Records. His first Warner album was One Trick Pony (1980), which accompanied the movie of the same name, which Simon wrote and starred in. The single "Late in the Evening" was a major hit (#6) but the album was not a big seller. His next album, Hearts and Bones (1983) was well received by critics but neither it nor the lead single "Allergies" made the chart and Simon's career took a nosedive and it was several more years before the label's patience eventually paid off.

After two moderate-selling albums that established them as one of the most original American new wave bands of the period, DEVO broke through to mainstream success in 1980 with their third album Freedom of Choice which reached No. 22 in the US. Thanks to its quirky music video, which was put on high rotation on MTV, the single "Whip It" reached No. 14 on the Billboard pop chart, becoming the group's biggest American hit. Their follow-up EP DEV-O Live (1981) was a surprise hit in Australia, topping the singles chart there for three weeks, but their subsequent albums and singles suffered from declining sales and the group was eventually dropped by the label after their 1984 album Shout.

Prince's 1980 album Dirty Mind was widely praised by critics, earning a gold record award, but his 1982 double-LP 1999 (1982) became his first major hit album, selling over six million copies and spawning three hit singles. The title track reached No. 12 in the US and provided his first international hit (#25 UK) and his next two singles, "Little Red Corvette" and "Delirious", were both US Top 10 hits.

Chicago was picked up by Warner Bros. in 1981 after being dropped by its former label Columbia, which believed that the band was no longer commercially viable. After teaming with producer David Foster, the band shot back into the charts in 1982 with the album Chicago 16, which reached No. 9 and produced two hit singles including the US No. 1 hit "Hard To Say I'm Sorry". The group's second Warner album, Chicago 17, became the biggest seller of its career—it reached No. 4 in the US and produced four US Top-20 singles including the Top-5 hits "Hard Habit to Break" (#3) and "You're the Inspiration" (#3) and is currently accredited at 6× Platinum. Lead singer Peter Cetera left the group after this album but had continued success as a solo artist for Warner, scoring a No. 1 hit in 1986 with "Glory of Love" (from the movie The Karate Kid Part II), which was also nominated for a Grammy Award, a Golden Globe Award, and an Academy Award. His second solo album sold more than a million copies and produced another No. 1 hit, "The Next Time I Fall". His third solo album produced the Top 5 hit "One Good Woman" (1988) and "After All" reached No. 6.

Lenny Waronker took over as President of WBR in 1982, and his first act was to sign Elvis Costello. Costello's first Warner album Spike featured his biggest American single, the Paul McCartney collaboration "Veronica", which was a US Top 20 hit. He recorded three more critically praised albums for Warner Bros., Mighty Like A Rose, Brutal Youth, and All This Useless Beauty, but he was dropped from the label after the major corporate shakeup in the mid-1990s.

After the end of his contract with RSO Records and Polydor, Eric Clapton signed with Warner Bros. in 1982. His first WBR album, Money and Cigarettes (1983), reached No. 16 on the Billboard album chart, and the single "I've Got a Rock 'n' Roll Heart" reached No. 18 on the Billboard Hot 100. His next album Behind the Sun also fared well, reaching No. 34 and the hit single "Forever Man" went to No. 26, but he transferred to Reprise for his next release.

Another resurgent 1970s act who scored major success with Warner Bros. in this period was ZZ Top, which had previously been signed to London Records. During an extended break in the late 1970s the group gained ownership of its London recordings and signed with Warner Bros., which also re-issued the band's back-catalogue. The group's first two Warner albums Deguello (1979) and El Loco (1981) were moderately successful, but Eliminator (1983) became a major hit thanks to strong support for its music videos on MTV. The band scored three US hit singles including "Legs" (US #8), while the album reached No. 9 on the Billboard 200 and sold in huge numbers, earning a Diamond record award in 1996. Afterburner (ZZ Top album) (1985) went to No. 4 and produced five hit singles, including "Sleeping Bag" (#8).

Sire artist Madonna shot to international prominence with her 1983 self-titled debut album and her first mainstream hit single "Holiday", which reached No. 16 in the US and became a hit in many other countries, including Australia and the UK, where it was Top 5. The album made the Top 20 in more than a dozen countries including the US, where it has been certified at 5× Platinum status. It was quickly followed by Like a Virgin, which became her first US No. 1 album and has sold more than 21 million copies worldwide. The title track was also a huge international hit, going to No. 1 in Australia, Canada, Japan and the US. Boosted by her well-received role in the film Desperately Seeking Susan, "Crazy For You" (1985) became her second US No. 1 hit, and the follow-up "Material Girl" reached No. 2 in the US and was Top 5 in many other countries.

Prince's hugely successful 1984 film and album Purple Rain cemented his stardom, selling more than thirteen million copies in the US (25 million worldwide) and spending twenty-four consecutive weeks at number one on the Billboard 200 chart, while the Purple Rain film won the Academy Award for "Best Original Song Score" and grossed more than $80 million in the US. Singles from the album became hits on pop charts around the world; "When Doves Cry" and "Let's Go Crazy" both reached No. 1 and the title track reached No. 2 on the Billboard Hot 100. However, the sexually explicit album track "Darling Nikki" generated a major controversy that had lasting effects—when politician's wife Tipper Gore heard her 12-year-old daughter listening to the song and investigated the lyrics, her outrage led to the formation of the conservative lobby group Parents Music Resource Center. Their stance was vehemently opposed by former Warner Bros. artist Frank Zappa and others, but the PMRC's political clout eventually forced the US recording industry to adopt the compulsory practice of placing a "Parental Advisory: Explicit Lyrics" sticker on records deemed to contain "offensive" content.

1984 also saw Van Halen break into the big league with the single "Jump" (their only US No. 1 hit) and the album 1984; it was a huge seller (earning Diamond album status in 1999) and reached No. 2 in the US, producing two more Top 20 hits. However, escalating friction between guitarist Eddie Van Halen and lead singer David Lee Roth reached breaking point soon after the album's release and Roth left the band, to be replaced by Sammy Hagar, who recorded for WB as part of Montrose; 1984 was also the last time they worked with Ted Templeman, who had produced all their albums up to this point.

In 1985, Dire Straits' single "Money for Nothing" gained massive exposure on MTV thanks to its innovative computer-animated music video, propelling the single to No. 1 in the US. They scored two more US Top 20 hits with "Walk of Life" and "So Far Away" and the album Brothers in Arms was a phenomenal success—it went to No. 1 in the US, Australia and most European countries and sold in colossal numbers—by 1996 it had been certified at 9× platinum in the US and it is currently ranked at No. 25 in the list of best-selling albums of all time, with sales of more than 30 million copies worldwide.

The new incarnation of Van Halen bounced back in 1986, releasing the enormously successful 5150 album which went to No. 1 and produced two hit singles, "Why Can't This Be Love" (US #3) and "Dreams" (#22). Their three subsequent studio albums (OU812, For Unlawful Carnal Knowledge, and Balance) all reached No. 1 and the band scored 17 US Top 20 singles, including 1988's "When It's Love" (US #5), but their overall sales gradually declined, with each album selling less than its predecessor.

The same was true of Prince; he scored numerous hit albums and singles through the latter half of the 1980s, but his record sales declined and Warner Bros. executives became increasingly concerned that he was producing far more material than they could release. His image was also tarnished by the failure of his later film ventures, his embarrassing refusal to participate in the recording of "We Are The World" and his sacking of guitarist Wendy Melvoin and long-serving keyboard player Lisa Coleman. The 1985 album Around the World in a Day held the No. 1 spot on the Billboard 200 for three weeks and peaked at No. 5 in the UK, selling seven million copies despite minimal promotion. Parade (1986) served as the soundtrack for Prince's second film Under the Cherry Moon; although the movie was a critical and commercial failure, the album peaked at No. 3 in Billboard and No. 2 on the R&B album charts and his classic single "Kiss" was another big international hit, going to No. 1 in the US and becoming a radio staple.

Prince's next project had a long and complex evolution, beginning as a proposed concept double-album called Dream Factory; Prince then proposed a solo album which he intended to issue under the pseudonym Camille, but he eventually combined elements from both to create the ambitious three-album set Crystal Ball. However, because of the relatively lower sales of his previous albums, Prince's manager Steve Fargnoli and Warner Bros. president Mo Ostin both doubted the commercial viability of releasing a 3-LP set, and after previewing Crystal Ball, Ostin insisted that Prince pare it down to two records. Prince at first refused and a battle of wills ensued for several weeks, but he eventually backed down and removed seven tracks; the resulting double-album was released in March 1987 as Sign o' the Times. Despite Prince's bitterness over its forced reduction, it was very successful, peaking at No. 6 on the Billboard 200 albums chart and selling 5 million copies, while the title single "Sign o' the Times" reached No. 3 on the Hot 100. The follow-up single "If I Was Your Girlfriend" flopped (although it went to No. 12 on R&B chart) but he scored big hits with the next two singles, "U Got the Look" (#2 Hot 100, #11 R&B) and "I Could Never Take the Place of Your Man" (#10 Hot 100, #14 R&B).

In 1985, the company collaborated with View-Master to start out a children's video series Kidsongs, which were produced by Together Again Productions, and Warner Music Video handling distribution of the video product, designed for the educational market.

1986–87 took Warner Bros. to even greater heights. Madonna's 1986 album True Blue produced three US number one hits and two top five singles, and the album topped the charts in more than 28 countries (a feat that earned her a place in the Guinness Book of Records); the album has sold over 25 million copies to date. After several years of career stagnation, Paul Simon burst back onto the music scene in late 1986 with Graceland. Warner Bros. were initially anxious about the commercial appeal of Simon's innovative fusion of rock with African styles but the album was a resounding success, topping the charts in many countries, reaching No. 3 in the US and producing two US Top 20 singles. It became the best-selling American album of 1987 and the most successful of Simon's solo career, selling more than 5 million copies, and winning the 1986 Grammy for 'Album of the Year'; the title track also won 'Song of the Year' in 1987. In jazz, Warner Bros. scored another artistic coup by signing jazz legend Miles Davis after his break with longtime label Columbia. His comeback album Tutu (1986) was a major crossover hit, gaining rave reviews and winning a Grammy in 1987.

In the summer of 1986, Warner Bros. announced the reactivation of Reprise Records with its own separate promotions department, and former Warner Bros. Vice President of Promotion Richard Fitzgerald was appointed as label Vice President.

During 1987, Prince recorded a pared-down funk album, The Black Album, but he withdrew it in December just before it was to be released (even though 500,000 copies had been printed). Its hastily recorded replacement Lovesexy (1988) was a moderate success, reaching No. 11 on the Billboard album chart although it reached No. 1 in the UK. However, he rebounded in 1989 with the soundtrack for the hugely successful Batman film, which sold more than eleven million copies, reached No. 1 on the Billboard album chart and produced four hit singles including "Batdance", which topped both the Hot 100 and R&B charts.

Like fellow Athens, Georgia natives the B-52s, R.E.M. was a 'cult' band that gradually built up a strong following in the US and internationally during the 1980s (thanks in part to their innovative music videos). For most of the 1980s they were signed to the independent label IRS Records and in 1987, they broke out to mainstream success with the album Document, their first to sell more than one million copies. However, they were frustrated by IRS's poor international distribution and when their IRS contract expired in 1988 they signed with Warner Bros. Their Warner debut Green established them as a major force, earning a platinum album and selling more than 4 million copies worldwide, and "Stand" became their first US hit single.

In 1989, after an extended period of inactivity following the death of guitarist and main writer Ricky Wilson, the B-52s shot back to prominence with the album Cosmic Thing. It was a Top 5 hit in the US (#4) and the UK (#2) and went to No. 1 in Australia, where the group had enjoyed a strong following since their debut single "Rock Lobster"; they also scored three consecutive hit singles with "Love Shack" (#3 US, #1 Australia), "Roam" (US #3) and "Deadbeat Club" (US #30).

In early 1989, Madonna signed an endorsement deal with Pepsi, and debuted her new single "Like a Prayer" in a commercial titled "Make a Wish"—the first time a pop single had debuted in an advertisement and the first time such a commercial was given a worldwide satellite premiere. The actual music video for "Like a Prayer" premiered on MTV the following day; it generated heated criticism due to its provocative use of religious imagery and was condemned by the Vatican. As a result, Pepsi withdrew the advertisement and canceled the endorsement deal, although Madonna was allowed to retain her US$5 million advance. The controversy also introduced heightened interest in the single and the album (also titled Like a Prayer). The single became Madonna's seventh US number one hit, as well as topping the chart in more than 30 other countries, and the album has sold fifteen million copies worldwide.

1989–2004: The Time Warner era

In 1989 Time Inc. acquired Warner Communications and merged the two enterprises to create Time Warner in a deal valued at US$14 billion.

Prince's fortunes in the Nineties were mixed; he scored more hits and renewed his contract in 1992, but his relationship with Warner Bros. Records soon soured, climaxing in a highly publicized legal battle and his eventual departure from the label. Although his fourth film, Graffiti Bridge was panned by critics and bombed at the box office

Prince was appointed a vice-president of Warner Bros. Records when he re-signed with them in 1992, but soon regretted his decision. His next album—identified by the cryptic symbol on the cover later defined as "The Love Symbol"—was another solid hit, peaking at No. 5 on the Billboard 200 and selling 5 million copies worldwide,

Following the 3-disc compilation The Hits/The B-Sides (1993), Prince stopped using his first name and started using only the "Love Symbol"—a decision that drew considerable ridicule from the media. Because this sign has no verbal equivalent, he was often derisively referred to as "The Artist Formerly Known as Prince". By 1994, relations between The Artist and his record label had reached an impasse—in February WEA cancelled its distribution deal with Paisley Park, effectively putting the label out of business.

During 1992 WBR faced one of the most serious controversies in its history over the provocative recording "Cop Killer" from the self titled album by Body Count, a rap metal band led by Ice-T. Unfortunately for Warner Bros., the song (which mentions the Rodney King case) came out just before the controversial acquittal of the police charged with King's beating, which sparked the 1992 Los Angeles Riots and the confluence of events put the song under the national spotlight. Complaints escalated over the summer—conservative police associations called for a boycott of Time Warner products, politicians including President George H. W. Bush denounced the label for releasing the song, Warner executives received death threats, Time Warner stockholders threatened to pull out of the company and the New Zealand police commissioner unsuccessfully tried to have the record banned there. Although Ice-T later voluntarily reissued Body Count without "Cop Killer", the furore seriously rattled Warner Music and in January 1993 WBR made an undisclosed deal releasing Ice-T from his contract and returning the Body Count master tapes to him. In the wake of the "Cop Killer" affair, Warner Bros. distanced itself from gangsta rap and in late 1995, it sold its 50% stake in Interscope Records and its controversial subsidiary Death Row Records (Tupac Shakur, Snoop Dogg) back to co-owners Jimmy Iovine and Ted Field.

End of an era: Ostin and Waronker depart

During 1994–1995, Warner Bros.'s successes and problems with its artists were overshadowed by a protracted period of highly publicized internecine strife, centering on Warner Music Group chairman Robert J. Morgado and his successor Michael J. Fuchs. In September 1993, Ostin began negotiations to renew his contract and it was at this point that Morgado unveiled his plan for a major corporate shakeup of the Warner group. This triggered a series of damaging corporate conflicts and in particular created a fatal rift between Morgado and Ostin. The first major casualty was Elektra chairman Bob Krasnow, who resigned abruptly in July 1994.

For many years Ostin had reported directly to Time Warner chairman Steve Ross (and then to Ross's successor Gerald Levin) but Morgado now insisted that Ostin should report to him, and he established a new division, Warner Music US, headed by Doug Morris, to oversee the three main record labels. Fearing the loss of autonomy and worried that he would be obliged to implement Morgado's "slash-and-burn" policy to streamline the label's staff and artist roster, he refused to carry out Morgado's orders and decided not to renew his contract. Ostin officially stepped down from Warner Bros. when his contract expired on December 31, 1994, although he stayed on as a senior consultant to Time Warner's chairman until August 1995. He later commented:

This business is about freedom and creative control. An executive has to be able to make risky decisions with minimal corporate interference. But Warner is a different company now than the company I was brought up in. And in the end, I found it impossible to operate in that kind of environment.

Ostin's departure sent shockwaves through the company and the industry, and elicited glowing tributes from colleagues and competitors like Joe Smith and Clive Davis, and musicians like Paul Simon and R.E.M. It also triggered an exodus of Warner executives who had joined the company primarily because of Ostin. Next to go was Lenny Waronker—he was initially designated to succeed Ostin as chairman but he ultimately declined the job and left WBR soon after. Following a period of uncertainty and speculation, the two joined forces to establish a new label, DreamWorks Records. Waronker was replaced by ex–Atlantic Records president Danny Goldberg, but his tenure proved short. Long-serving WBR executive Russ Thyret, who had joined the label in 1971 and worked closely with Mo Ostin for many years, was promoted to vice-chairman in January 1995.

Gerald Levin forced Morgado to resign in May 1995 and he was replaced by HBO chairman Michael J. Fuchs. Fuchs sacked Morris a month later (sparking a US$50m breach of contract suit) and Warner Music US was dissolved. Morris' removal led to speculation that Ostin was being courted to return to WBR, but these reports proved unfounded, since Ostin and Waronker moved to DreamWorks soon after.

Despite his close ties to Morris, Danny Goldberg was initially told he could remain as WBR president but he left the company in August 1995 after negotiating a settlement with Time Warner to terminate his five-year, US$20 million contract, which still had four years to run. He was subsequently appointed president of PolyGram subsidiary Mercury Records in October. Following Goldberg's departure Russ Thyret was promoted to chairman, CEO and label president. Fuchs himself was forced out of Time Warner in November 1995. In May 1997, Phil Quartararo took over as president of WBR, only weeks after he had left EMI's Virgin Records following a management shake-up there.

"I've sent Warner an amusing letter of resignation, and I haven't heard anything. It's like trying to find a general to surrender to. I think I'm gone, you know? And I signed with DreamWorks and I haven't heard from them! The people I'm leaving don't give a shit that I'm leaving and the people I'm going to don't give a shit that I'm coming!

In early 2001, there was a major restructure of the Warner Music Group; about 600 positions were eliminated across the three labels, and an executive reshuffle led to the departures of Thyret and Quartararo (as well as Reprise president Howie Klein) and the hiring of then-Interscope president Tom Whalley as head of Warner Bros. Records. In August Whalley appointed Jeff Ayeroff as Creative Director of Warner Bros. Records and Creative Consultant to Warner Music Group. Ayeroff had previously been WBR's Senior Vice-president and Creative Director from 1983 to 1986, overseeing many successful album covers and music videos in that period.

2004–2019: Warner Music Group

Warner Music Group's former West Coast headquarters, at 3400 Olive Avenue in Burbank, California.

The final Warner Bros. Records logo, which was used from 2003 to 2019.

Following the divestiture, WMG licensed the Warner Bros. trademarks, although this license could have been revoked if WMG came under control of a major motion picture studio.

In 2013, WMG acquired Parlophone Records from EMI as part of its sale to Universal Music Group. Most Parlophone artists (excluding Coldplay and Tinie Tempah, who were placed under Atlantic) were placed under Warner Bros. Records for US distribution. Dan McCarroll was named president. He held the position until July 2017.

In October 2017, Aaron Bay-Schuck and Tom Corson were named co-chairmen of Warner Bros. Records, with Bay-Schuck serving as CEO and Corson COO. Corson joined the company in January 2018; Bay-Schuck began in the fall of that year. The Warner Bros. headquarters moved from Burbank to downtown Los Angeles in March 2019.

2019–present: Warner Records

On May 28, 2019, the label announced that it had changed its name to Warner Records, and unveiled a new logo—replacing the Warner Bros. shield with a wordmark and black circle (both partially cut off at the bottom). WMG explained that the new logo was meant to resemble the Earth, a record, and the Sun, and had "artful simplicity and impactful typography that are ideally suited to the digital world". The change was necessitated by the upcoming expiration of WMG's license to the Warner Bros. trademarks; after the sale of Warner Music Group in 2004 by Time Warner (now Warner Bros. Discovery since 2022), the company had been granted a 15-year license to use the Warner Bros. name and shield logo. The new logo received mixed reviews, with marketing critics and former WMG employees lamenting the replacement of the historic Warner Bros. emblem (used by the label for 61 years) with a comparatively simplistic mark. However, the record label's ISRC code remains "WB1".

On May 31, 2022, a partnership was announced with the South Korean entertainment company SM Entertainment for K-pop girl group Aespa's global promotions.

Affiliated labels

Current

• A&E Records (formerly Mushroom Records UK) (2003–present)
• Helium 3 (2006–present)
• Defiant Records (2023–present)
• Beluga Heights (2008–present)
• Curb Records (1974–1982, 2000–present)
  • Word Records (2002–present)
• Facultad de Némea (2017–present)
• Festival Mushroom Records (2005–present)
• Hotwire Unlimited (2010–present)
• Machine Shop Recordings (2001–present)
• Loveway Records (2009–present)
• Mind of a Genius (2016–present)
• Arkade Records (2016–present)
• Nonesuch Records (2004–present)
• Parlophone (2014–present)
• Reprise Records (1963–present)
• REMember Music (2014–present)
• Sire Records (1978–1995, 2003–present)
• Artery Recordings (2017–present)
• The Benton Music Records (2018–present)
• Clover Music (2018–present)
• Masked Records (2018–present)

Former

• 1017 Brick Squad Records
• 143 Records
• 4AD Records (1992–1998) (US only)
• Action Theory Records
• American Recordings (1988–1997 [US], 2005–2007 [worldwide])
• Autumn Records (1963–1965)
• Bearsville Records (1970–1984)
• BME Recordings
• Blacksmith Records (2005–2008)
• Brute/Beaute Records (2004–2007)
• Capricorn Records (1972–1977), (1990–1995)
• Chrysalis Records (1972–1976) (US only)
• Cold Chillin' Records (1987–1994)
• Dark Horse Records (1976–1992)
• Doghouse Records
• ECM Records (?–1984)
• Extasy International Records (2000–2004)
• Full Moon Records (1974–1992)
• F-111 Records (1995–2001)
• Geffen Records (1980–1990)
• Giant Records and its subsidiaries the Medicine Label (1993–1995), Paladin, Revolution (1990–2001; catalog is owned by Warner Records today)
• Ice Age Entertainment
• Island Records (1977–1982, except for Steve Winwood releases until 1987)
• Jet Life Recordings
• Kwanza Records (1973–1974)
• Loma Records (1964–1968 and one boutique release in 2003)
• London Records (2000–2017; small part of catalog was secured by WMG after sold to Because Music, including New Order)
• Luaka Bop Records (1988–2000)
• Malpaso Records (1995–2000)
• Maverick Records (1992–2008; dormant)
• Maybach Music Group (2011–2012)
• Metal Blade Records (1988–1993)
• Music for Little People (1990–1995)
• Opal Records (1987–1993)
• OVO Sound (2012–2022)
• Paisley Park Records (1985–1994)
• Perezcious Music
• Playmaker Music
• Premeditated Records (middle 1990s)
• Public Broadcasting Service
• Qwest Records (1980–2000)
• Raybaw Records (2005–2008)
• RuffNation Records
• Slash Records (1982–1998; 2003–present)
• Teleprompt Records
• Tommy Boy Records (1985–2002; rights to pre-2002 catalog transferred to Atlantic Records and reacquired by a "new" Tommy Boy (Tommy Boy Entertainment) in 2017, being distributed by ADA subsidiary of WMG. The label reacquired its pre-2002 catalog in 2017)
• Valiant Records (1960–1966)
• Warner Alliance (1986–1998)
• Warner Western (198?–200?)
• Funk Volume (2015–2016)

Artists

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

See also

• List of record labels
• List of Warner Records artists
• Reprise Records

References

• Goodman, Fred (1997). The Mansion on the Hill: Dylan, Young, Geffen, Springsteen and the Head-on Collision of Rock and Commerce. London: Jonathon Cape. ISBN 978-0-224-05062-3.

External links

• Official website
• Video Interview with Bill Bennett – CEO & President of Warner Bros. Records Nashville^[usurped]
• The Warner Bros. Records Story from BSN Pubs. – includes links to comprehensive Warner Bros. album discographies, 1958–1983
• Warner Records' channel on YouTube
• Discography of Loma Records Archived December 25, 2007, at the Wayback Machine