Word: ertegun
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...Running Atlantic Records with Ahmet Ertegun, Jerry Wexler, 91, launched the pop careers of R&B giants Ray Charles and Aretha Franklin, made a crossover star of Bobby Darin, kept the Drifters a top act through ever-changing personnel and in the '70s signed the Rolling Stones and Led Zeppelin. Wexler produced Dusty Springfield's Dusty in Memphis LP and Bob Dylan's first Grammy-winning album, the 1979 Slow Train Coming...
...kind great man of music. Before helping shape the sound of the second half of the 20th century, he was the Billboard reporter who coined rhythm and blues to replace the category "race music" on the magazine's charts. With Ahmet Ertegun, he co-piloted Atlantic Records, once saying the label made "black music for black adults." But that underestimated the impact of the classics he produced--Aretha Franklin's Respect, Percy Sledge's When a Man Loves a Woman, Wilson Pickett's In the Midnight Hour and The Genius of Ray Charles. When I was president of Columbia Records...
DIED. Ahmet Ertegun, 83, singularly influential music mogul who in 1947 founded Atlantic Records, the label that launched seminal acts that included Ruth Brown, Ray Charles, Otis Redding (who called him Omelet), Aretha Franklin, Bette Midler and Cream; in New York City. The Turkish-born son of a diplomat, he fell in love with jazz in his youth, and as a teenager amassed a collection of 15,000 records. A hands-on producer, occasional songwriter, tireless talent scout and mentor to many of his artists, Ertegun--who started with a $10,000 loan from his dentist--popularized soul and later...
...some fascinating stuff. Skip the well-worn hits, and go right to the song sketches to hear how Charles felt his way toward redefining American pop music. And if you somehow make it to disc eight, the reward is a recording of the legendary moment when record executive Ahmet Ertegun sang a bizarre-- but not at all bad-- version of What'd I Say to convince Charles of the song's potential...
...Ertegun and house arranger Jesse Stone had to prod the new guy to drop the crooning (on some early recordings, like ?It Should?ve Been Me? and ?Greenbacks,? he adopts the nasal whisper of a race-track tout) and get forceful. Charles also learned that he was his best composer. His first pieces were primitive and primal. The lyrics to ?Don?t You Know? might be maddeningly, mantra-ingly repetitive (?Don?t you know, baby/ Child, don?t you know, baby/ Don?t you know, baby/ Little girl, little girl, don?t you know/ Please listen to me, baby/ Girl...