27 Facts About Warner Records

Technically, Warner Records 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 Records Bros.

In late 1959, Warner Records Bros signed a virtually unknown Chicago-based comedian, Bob Newhart, marking the beginning of the label's continuing involvement with comedy.

Warner Records's break came thanks to a friend, local DJ Dan Sorkin, who knew Warner CEO Jim Conkling.

Warner Records recalled that the success of the album almost instantly kick-started his career, and that he was being deluged with appearance offers, including The Ed Sullivan Show.

Warner Records released other Pye artists in the US market such as the Kinks.

Related searches

Later he worked with the small San Francisco label Autumn Warner Records, founded by disc jockeys Tom Donahue, Bobby Mitchell, and Sylvester Stewart.

In November 1966 the entire Warner Records group was taken over by and merged with Seven Arts Productions, a New York-based company owned by Eliot Hyman.

Pictures was faltering, the purchase coincided with a period of tremendous growth in the music industry, and Warner Records-Reprise was now on its way to becoming a major player in the industry.

Wickham had worked as a commercial artist in London, followed by a stint with Andrew Loog Oldham's Immediate Warner Records before moving to Los Angeles to work for Adler's Dunhill label.

Warner Records played a major role in signing Eric Andersen, Jethro Tull, Van Morrison, and Joni Mitchell, whom Wickham successfully recommended to Ostin in his first week with the company.

Warner Records was stretched even further by the making of their third album Aoxomoxoa, which took around seven months to record and cost $180,000, almost twice as much as its predecessor.

The restructure reversed the reporting arrangement put in place in 1960, and from this point the Warner Records publishing arm reported to the record division under Maitland.

Warner Records changed the title to Paranoid fearing a backlash by consumers.

In July 1970, the Warner recording group acquired another prestige asset with the purchase of Jac Holzman's Elektra Records for US$10 million.

Warner Records 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.

The Alice Cooper band recorded two unsuccessful albums for Frank Zappa's Warner-distributed label Straight Records before teaming with producer Bob Ezrin, who became a longtime collaborator.

Warner Records had unexpected success in the mid-1970s with another 'heritage' act, veteran vocal group the Four Seasons.

Warner Records, who agreed to release the album, therefore bypassing Cohen and DiscReet.

Thanks to its distribution deal with Curb Warner Records, WBR scored the biggest hit single in the company's history in 1977.

Warner Records 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 while his performance of "Arthur's Theme" from the Dudley Moore film Arthur, which went to No 1, won both the Oscar and the Golden Globe award for Best Original Song.

Lead singer Peter Cetera left the group after this album but had continued success as a solo artist for Warner Records, scoring a No 1 hit in 1986 with "Glory of Love", which was nominated for a Grammy Award, a Golden Globe Award, and an Academy Award.

Costello's first Warner Records album Spike featured his biggest American single, the Paul McCartney collaboration "Veronica", which was a US Top 20 hit.

Warner Records recorded three more critically praised albums for Warner Bros.

Warner Records scored numerous hit albums and singles through the latter half of the 1980s, but his record sales declined and Warner Bros.

Warner Records's comeback album Tutu was a major crossover hit, gaining rave reviews and winning a Grammy in 1987.

Related searches

Warner Records soon soured, climaxing in a highly publicized legal battle and his eventual departure from the label.

Bush denounced the label for releasing the song, Warner Records executives received death threats, Time Warner Records stockholders threatened to pull out of the company and the New Zealand police commissioner unsuccessfully tried to have the record banned there.