Purple (Stone Temple Pilots album)
Purple is the second studio album by the American rock band Stone Temple Pilots, released on June 7, 1994 by Atlantic Records. The album, building off the foundations laid by the band's debut album Core, was a huge success for the band, debuting at #1 on the Billboard 200 chart and remaining there for three weeks selling over six million copies, it spawned a number of successful singles — "Vasoline" and "Interstate Love Song" both topped the Mainstream Rock Tracks chart and hit number 2 on the Modern Rock Tracks chart, while "Big Empty" cracked the top ten on both charts. Lesser known album cuts "Pretty Penny" and "Unglued" were released as promotional radio singles; the album's first single, "Big Empty", made its debut at STP's MTV Unplugged acoustic performance in 1993. The song would appear on the soundtrack to The Crow; the Crow soundtrack reached number #1 in 1994 and a couple of weeks Purple reached the top of the charts, thus making two for the band in 1994. The lyric "She said she'd be my woman, she said she'd be my man" from "Lounge Fly" appears on the Mighty Joe Young Demo, in the song "Spanish Flies".
Paul Leary of the Butthole Surfers is credited with playing the ending guitar solo in "Lounge Fly". While Purple features elements of grunge like its predecessor, the album displays the band developing a sound influenced by other genres, such as the psychedelic rock evident in "Lounge Fly" and "Silvergun Superman", the country vibes of "Interstate Love Song" and blues rock elements of "Big Empty". Allmusic's Stephen Erlewine wrote that "Purple is a quantum leap over, showcasing a band hitting their stride." Erlewine described "Interstate Love Song" as a "concise epic as alluring as the open highway" and "Big Empty" as "a perfect encapsulation of mainstream alienation." The cover for the album features an animated photo of a child riding on a Qilin accompanied by a quintet of fairies above the creature and the child, taking place on a cloudy background. The album title is written as a Chinese character, zǐ, on the cover, nowhere else on the packaging. No track listing appears on the back cover, which instead displays the image of a cake with the phrase "12 Gracious Melodies".
On the cover of the cassette version of Purple, the child is holding the Chinese character in his hand, it is not in the corner. There are two pressings of the actual disc in Purple CDs. One version has flowers on it and another has dragon scales; the vinyl LP release is made from colored vinyl - transparent purple in the US and UK release and a limited edition opaque marbled vinyl in a softer shade of purple available only in the UK and Europe. On analogue formats of the original release, the album title is shown as Stone Temple Pilots on the tape shells and LP labels. In 2005, Purple was ranked number 438 in Rock Hard magazine's book of The 500 Greatest Rock & Metal Albums of All Time. In 2006, the album was ranked number 73 on Guitar World magazine's list of the 100 greatest guitar albums of all time. In May 2014, Loudwire placed Purple at number six on its "10 Best Hard Rock Albums of 1994" list. In July 2014, Guitar World ranked Purple at number 24 in their "Superunknown: 50 Iconic Albums That Defined 1994" list.
All lyrics written by Scott Weiland. The opening of track 3, "Lounge Fly", was used as the theme for MTV News's short MTV News Break segments for several years in the mid-1990s. Track 11, "Kitchenware & Candybars", contains a hidden track named "My Second Album", a parody of most hidden tracks being unorthodox songs that a band wouldn't make; the lounge song was performed by Richard Peterson, a musician who happens to be a big fan of Johnny Mathis, hence the reference to him in the song as well as the similar cover of Olé. The Japanese release of this album contains a bonus track, a live version of "Andy Warhol", as track #12. Stone Temple Pilots Scott Weiland – all vocals, guitar on "Silvergun Superman", percussion on "Pretty Penny" Dean DeLeo – electric and acoustic guitars, percussion on "Pretty Penny", drum ending on "Silvergun Superman" Robert DeLeo – bass, guitars on "Meatplow", "Vasoline", "Pretty Penny", "Silvergun Superman" and "Kitchenware & Candybars", percussion on "Pretty Penny" Eric Kretz – drums, percussion on "Vasoline", "Lounge Fly", "Pretty Penny" and "Big Empty"Additional personnel Brendan O'Brien – producer, mixing, percussion on "Meatplow", "Interstate Love Song", "Silvergun Superman", "Army Ants" and "Kitchenware & Candybars", guitar on "Kitchenware & Candybars", mellotron on "Army Ants" Nick DiDia – engineer Caram Costanzo – assistant engineer Bob Ludwig – mastering Paul Leary – ending guitar solo on "Lounge Fly" John Heiden – design Dale Sizer – illustrations
Blues rock is a fusion genre combining elements of blues and rock. It is an electric ensemble-style music with instrumentation similar to electric blues and rock: electric guitar, electric bass, drums with Hammond organ. From its beginnings in the early- to mid-1960s, blues rock has gone through several stylistic shifts and along the way it inspired and influenced hard rock, Southern rock, early heavy metal. Blues rock continues to be an influence in the 2010s, with performances and recordings by popular artists. Blues rock started with rock musicians in the United Kingdom and the United States performing American blues songs, they recreated electric Chicago-style blues songs, such as those by Muddy Waters, Jimmy Reed, Howlin' Wolf, Albert King, at faster tempos and with a more aggressive sound common to rock. In the UK, the style was popularized by groups such as the Rolling Stones, the Yardbirds, the Animals, who managed to place blues songs into the pop charts. In the US, Lonnie Mack, the Paul Butterfield Blues Band, Canned Heat were among the earliest exponents and "attempted to play long, involved improvisations which were commonplace on jazz records".
John Mayall & the Bluesbreakers and Peter Green's Fleetwood Mac developed this more instrumental, but traditional-based style in the UK, while late 1960s and early 1970s groups, including Ten Years After, Savoy Brown, the Climax Blues Band and Foghat became more hard rock oriented. In the US, Johnny Winter, the Allman Brothers Band, ZZ Top represented a hard rock trend. Although around this time, the differences between blues rock and hard rock lessened, there was a return to more blues-influenced styles. In the 1980s, the Fabulous Thunderbirds and Stevie Ray Vaughan, recorded their best-known works and the 1990s saw guitarists Gary Moore, Jeff Healey, Kenny Wayne Shepherd become popular concert attractions. Groups such as the Jon Spencer Blues Explosion and the White Stripes, brought an edgier, more diverse style into the 2000s, as do contemporary artists such as the Black Keys. Blues rock can be characterized by bluesy improvisation, the twelve-bar blues, extended boogie jams focused on the electric guitar player, a heavier, riff-oriented sound and feel to the songs than might be found in traditional Chicago-style blues.
Blues rock bands "borrow the idea of an instrumental combo and loud amplification from rock & roll". It is often played at a fast tempo, again distinguishing it from the blues; the core blues rock sound is created by bass guitar and drum kit. Bands included a harmonica called "a harp." The electric guitar is amplified through a tube guitar amplifier or using an overdrive effect. Two guitars are commonplace in blues rock bands: one guitarist focused on rhythm guitar, playing riffs and chords as accompaniment. While 1950s-era blues bands would sometimes still use the upright bass, the blues rock bands of the 1960s used the electric bass, easier to amplify to loud volumes. Keyboard instruments, such as the piano and Hammond organ, are occasionally used; as with the electric guitar, the sound of the Hammond organ is amplified with a tube amplifier, which gives a growling, "overdriven" sound quality to the instrument. Vocals typically play a key role, although the vocals may be equal in importance or subordinate to the lead guitar playing.
As well, a number of blues rock pieces are instrumental-only. Blues rock pieces follow typical blues structures, such as twelve-bar blues, sixteen-bar blues, etc, they use the I-IV-V progression, though there are exceptions, some pieces having a "B" section, while others remain on the I. The Allman Brothers Band's version of "Stormy Monday", which uses chord substitutions based on Bobby "Blue" Bland's 1961 rendition, adds a solo section where "the rhythm shifts effortlessly into an uptempo 6/8-time jazz feel"; the key is major, but can be minor, such as in "Black Magic Woman". One notable difference is the frequent use of a straight eighth-note or rock rhythm instead of triplets found in blues. An example is Cream's "Crossroads". Although it was adapted from Robert Johnson's "Cross Road Blues", the bass "combines with drums to create and continually emphasize continuity in the regular metric drive". Cream uses some of the lyrics from "Traveling Riverside Blues" to create their own interpretation of the song.
Rock and blues have always been linked, with driving rhythms and electric guitar techniques such as distortion and power chords used by 1950s blues guitarists Memphis bluesmen such as Joe Hill Louis, Willie Johnson and Pat Hare. Characteristics that blues rock adopted from electric blues include its dense texture, basic blues band instrumentation, rough declamatory vocal style, heavy guitar riffs, string-bending blues-scale guitar solos, strong beat, thick riff-laden texture, posturing performances. Precursors to blues rock included the Chicago blues musicians Elmore James, Albert King, Freddie King, who began incorporating rock and roll elements into their blues music during the late 1950s to early 1960s. In 1963, American rockabilly soloist Lonnie Mack had an idiosyncratic, fast-paced electric blues guitar style that came to be identified with blues rock, his instrumentals from that period were recognizable as blues or R&B tunes, but he relied upon fast-picking techniques derived from traditional American country and bluegrass genres.
The best-known of these are the 1963 hit singles "Memphis" and "Wham!". However, blues rock was not named as such, or recognized as a distinct movement w
In the music industry, a single is a type of release a song recording of fewer tracks than an LP record or an album. This can be released for sale to the public in a variety of different formats. In most cases, a single is a song, released separately from an album, although it also appears on an album; these are the songs from albums that are released separately for promotional uses such as digital download or commercial radio airplay and are expected to be the most popular. In other cases a recording released. Despite being referred to as a single, singles can include up to as many as three tracks; the biggest digital music distributor, iTunes Store, accepts as many as three tracks less than ten minutes each as a single, as does popular music player Spotify. Any more than three tracks on a musical release or thirty minutes in total running time is either an extended play or, if over six tracks long, an album; when mainstream music was purchased via vinyl records, singles would be released double-sided.
That is to say, they were released with an A-side and B-side, on which two singles would be released, one on each side. Moreover, only the most popular songs from a released album would be released as a single. In more contemporary forms of music consumption, artists release most, if not all, of the tracks on an album as singles; the basic specifications of the music single were set in the late 19th century, when the gramophone record began to supersede phonograph cylinders in commercially produced musical recordings. Gramophone discs were manufactured in several sizes. By about 1910, the 10-inch, 78 rpm shellac disc had become the most used format; the inherent technical limitations of the gramophone disc defined the standard format for commercial recordings in the early 20th century. The crude disc-cutting techniques of the time and the thickness of the needles used on record players limited the number of grooves per inch that could be inscribed on the disc surface, a high rotation speed was necessary to achieve acceptable recording and playback fidelity.
78 rpm was chosen as the standard because of the introduction of the electrically powered, synchronous turntable motor in 1925, which ran at 3600 rpm with a 46:1 gear ratio, resulting in a rotation speed of 78.26 rpm. With these factors applied to the 10-inch format and performers tailored their output to fit the new medium; the 3-minute single remained the standard into the 1960s, when the availability of microgroove recording and improved mastering techniques enabled recording artists to increase the duration of their recorded songs. The breakthrough came with Bob Dylan's "Like a Rolling Stone". Although CBS tried to make the record more "radio friendly" by cutting the performance into halves, separating them between the two sides of the vinyl disc, both Dylan and his fans demanded that the full six-minute take be placed on one side, that radio stations play the song in its entirety; as digital downloading and audio streaming have become more prevalent, it has become possible for every track on an album to be available separately.
The concept of a single for an album has been retained as an identification of a more promoted or more popular song within an album collection. The demand for music downloads skyrocketed after the launch of Apple's iTunes Store in January 2001 and the creation of portable music and digital audio players such as the iPod. In September 1997, with the release of Duran Duran's "Electric Barbarella" for paid downloads, Capitol Records became the first major label to sell a digital single from a well-known artist. Geffen Records released Aerosmith's "Head First" digitally for free. In 2004, Recording Industry Association of America introduced digital single certification due to significant sales of digital formats, with Gwen Stefani's "Hollaback Girl" becoming RIAA's first platinum digital single. In 2013, RIAA incorporated on-demand streams into the digital single certification. Single sales in the United Kingdom reached an all-time low in January 2005, as the popularity of the compact disc was overtaken by the then-unofficial medium of the music download.
Recognizing this, On 17 April 2005, Official UK Singles Chart added the download format to the existing format of physical CD singles. Gnarls Barkley was the first act to reach No.1 on this chart through downloads alone in April 2006, for their debut single "Crazy", released physically the following week. On 1 January 2007 digital downloads became eligible from the point of release, without the need for an accompanying physical. Sales improved in the following years, reaching a record high in 2008 that still proceeded to be overtaken in 2009, 2010 and 2011. Singles have been issued in various formats, including 7-inch, 10-inch, 12-inch vinyl discs. Other, less common, formats include singles on Digital Compact Cassette, DVD, LD, as well as many non-standard sizes of vinyl disc; the most common form of the vinyl single is the 45 or 7-inch. The names are derived from its play speed, 45 rpm, the standard diameter, 7 inches; the 7-inch 45 rpm record was released 31 March 1949 by RCA Victor as a smaller, more durable and higher-fidelity replacement for the 78 rpm shellac discs.
The first 45
Thank You (Stone Temple Pilots album)
Thank You is a greatest hits collection released by the American alternative rock band Stone Temple Pilots on November 11, 2003 on Atlantic Records. The album has sold over 500,000 copies. Thank You features most of the band's singles and notable songs, although "Dead & Bloated", "Crackerman", "Unglued", their version of Led Zeppelin's "Dancing Days", "Hollywood Bitch", which were all fan favorites as well as modest rock radio hits, were left off the album. There are two versions of the compilation, one that only contains a music CD and another that features a DVD with live performances and music videos spanning the band's career. Thank You was called "nearly perfect" by Allmusic's Stephen Erlewine, who wrote that "STP made music that sounded great at the time and better now" and that the band's music had "stood the test of time." Rolling Stone, who named STP as the Worst New Artist of 1993, gave the compilation album 4 out of 5 stars. An earlier greatest hits album, to be titled Big Bang Babies, was planned for an October 2000 release.
In addition to twelve of the band's biggest numbers, the album was to feature four new songs, including "Heed the Water Whisperer", "The Way She Moves" and "You Can't Drive Me Away." STP planned to record the new material in New York with producer Brendan O'Brien in mid-2000. Album - Billboard Singles - Billboard
Australian Recording Industry Association
The Australian Recording Industry Association is a trade group representing the Australian recording industry, established in 1983 by six major record companies, EMI, Festival, CBS, RCA, WEA and Universal replacing the Association of Australian Record Manufacturers, formed in 1956. It oversees the collection and distribution of music licenses and royalties; the association has more than 100 members, including small labels run by one to five people, medium size organisations and large companies with international affiliates. ARIA is administered by a Board of Directors comprising senior executives from record companies, both large and small; as of October 2010, the directors were Denis Handlin, George Ash, Mark Poston, Sebastian Chase, David Vodica and Tony Harlow. In 1956, the Association of Australian Record Manufacturers was formed by Australia's major record companies, it was replaced in 1983 by the Australian Recording Industry Association, established by the six major record companies operating in Australia, EMI, Festival Records, CBS, RCA, WEA and Polygram.
It included smaller record companies representing independent acts/labels and has over 100 members. By 1997, the six major labels provided 90% of all recordings made in Australia. ARIA is administered by a Board of Directors comprising senior executives from record companies, both large and small; as of October 2010, the directors were Denis Handlin, George Ash, Mark Poston, Sebastian Chase, David Vodica and Tony Harlow. Australian TV pop music show Countdown presented its own annual awards ceremony, Countdown Music and Video Awards, co-produced by Carolyn James during 1981–1984 in collaboration with ARIA. ARIA provided peer voting for some awards, while Countdown provided coupons in the related Countdown Magazine for viewers to vote for populist awards. At the 1985 Countdown awards ceremony, held on 14 April 1986, fans of INXS and Uncanny X-Men scuffled during the broadcast and as a result ARIA decided to hold their own awards. Since 2 March 1987, ARIA administered its own peer-voted ARIA Music Awards, to "recognise excellence and innovation in all genres of Australian music" with an annual ceremony.
Included in the same awards ceremonies, it established the ARIA Hall of Fame in 1988 and has held separate annual ceremonies since 2005. The ARIA Hall of Fame "honours Australian musicians' achievements have had a significant impact in Australia or around the world". In February 2004, the Australian Record Industry Association announced its own legal action against Kazaa, alleging massive copyright breaches; the trial began on 29 November 2004. On 6 February 2005, the homes of two Sharman Networks executives and the offices of Sharman Networks in Australia were raided under a court order by ARIA to gather evidence for the trial. In 2006, ARIA formed sponsorship deals with Motorola and Nova and changed the appearance and conduct of the charting. Motorola took naming-rights sponsorship seeing the charts referred to in the media as the Motorola ARIA Charts. ARIA, have commented that as part of the same marketing printed charts would be reintroduced into media retailing shops and their website would be redesigned.
As part of the deal Nova began broadcasting the charted singles in reverse order on a Sunday afternoon show before it was released on the ARIA charts website. The ARIA Charts is the main Australian music sales charts, issued weekly by the Australian Recording Industry Association; the charts are a record of albums in various genres. All charts are compiled from data of both digital sales from retailers in Australia. A music single or album qualifies for a platinum certification if it exceeds 70,000 copies shipped to retailers and a gold certification for 35,000 copies shipped; the diamond certification was created for albums in November 2015 to mark 500,000 sales/shipments. For music DVDs, a gold accreditation represented 7,500 copies shipped, with a platinum accreditation representing 15,000 units shipped. Prior to ARIA taking on the role of certification authority in 1983, the music industry used the following certification levels: The ARIA No. 1 Chart Awards were established in 2002 to recognise Australian recording artists, who reached number one on the ARIA albums and music DVDs charts.
The ARIA Music Awards is an annual series of awards nights celebrating the Australian music industry. The event has been held annually since 1987. Like most recording industry associations, ARIA has been criticised for fighting copyright infringement matters aggressively, although in Australia this has taken the form of aggressive advertising campaigns in cinemas directly preceding movies; this criticism is stauncher in Australia due to the absence of an equivalent Digital Millennium Copyright Act or state crimes acts which establish copyright infringement as a crime. In February 2004, the Australian Record Industry Association took legal action against Kazaa, alleging massive copyright breaches; the trial began on 29 November 2004. On 6 Febr
"Plush" is a song by American rock band Stone Temple Pilots. It is one of the band's biggest hits, was released as the second single from the band's 1992 debut studio album, Core; the song's chord structure was inspired by Robert DeLeo's love of ragtime music, its lyrics were loosely based on a newspaper article Scott Weiland had read about a girl, found dead after having been kidnapped in the early 1990s. Weiland had said that the song's lyrics are a metaphor for a failed relationship; the song was released in 1992 as Core's second single and became a major rock radio hit in the U. S. peaking at #1 on the Album Rock Tracks and #9 on the Modern Rock Tracks. The song was one of the first alternative rock songs to reach the #1 spot on the Album Rock Tracks chart during height of the alternative rock/grunge scene. "Plush" won in the category of "Best Hard Rock Performance" at the 1994 Grammy Awards. The music video earned the band an MTV Video Music Award for Best New Artist in 1993. "Plush" remains one of the biggest rock hits of the 1990s, is still heard on radio stations today.
The song was voted #12 on the Australian annual music poll Triple J Hottest 100 in 1993. In 2004, this song was featured in Grand Theft Auto: San Andreas soundtrack on Radio X; the song appeared as a playable song in the music video games Rock Band 3 and Power Gig: Rise of the SixString in addition to the VH1 series Hindsight. The award-winning music video, directed by Josh Taft, was released in 1993 and had heavy rotation on MTV, it combines a visual interpretation of the song's lyrics with footage of a red-haired Weiland singing with the band as a lounge act in an empty bar. There are two different versions of this video, with minor but noticeable differences. For example, in the version that appears on the Thank You Bonus DVD, the last shot of the video is a woman looking at a mirror image of herself and viewing her whole body while the mirror image drifts away. In another version, she's looking at a mirror image of her face, with water dripping down the reflection of the mirror. Weiland and Stone Temple Pilots guitarist Dean DeLeo performed an impromptu acoustic version of "Plush" on the MTV show Headbangers Ball in 1992.
The recording was only available on a CD single from the United Kingdom for their single, "Creep", on the German promotional radio release "Plush", but it was not released anywhere else until it appeared on the band's 2003 "greatest hits" compilation, Thank You, alongside the original studio recording. Like its original version, it became a big hit to rock and alternative radio stations in 2003 although it had moderate airplay when the original version had heavy airplay on radio at the time. A rare first take of the same acoustic version on MTV's Headbangers Ball was available, but it was only found as a B-side to the rare "Crackerman" single; this version was notable for being a longer version of the one which appeared on "Thank You". It has the same length and processing as the original electric version, uses the last part of the original electric version. Although most radio stations play the original acoustic version, few radio stations managed to play the rare acoustic version. "Plush" – 4:19 "Sin" – 6:05 "Sex Type Thing" – 4:20 "Sex Type Thing" – 3:32 MLB pitcher Bronson Arroyo covered the song on his debut album Covering the Bases.
Retired MLB player Jeff Conine covered the song in 2005 on the album Oh Say Can You Sing?. Aaron Lewis of Staind has covered an acoustic version of the song. Toby Rand and Magni both sang this song on Rock Star: Supernova. Folk-punk band Andrew Jackson Jihad performed a version of the song in July 2014 for The A. V. Club's A. V. Undercover series. Keller Williams has covered the song during live performances.* Umphrey's McGee has covered the song during live performance. Lyrics of this song at MetroLyrics
Atlantic Recording Corporation is an American record label founded in October 1947 by Ahmet Ertegün and Herb Abramson. Over its first 20 years of operation, Atlantic earned a reputation as one of the most important American labels, specializing in jazz, R&B, soul by Aretha Franklin, Ray Charles, Wilson Pickett and Dave, Ruth Brown and Otis Redding, its position was improved by its distribution deal with Stax. In 1967, Atlantic became a wholly owned subsidiary of Warner Bros.-Seven Arts, now the Warner Music Group, expanded into rock and pop music with releases by Led Zeppelin and Yes. In 2004, Atlantic and its sister label. Craig Kallman is the chairman of Atlantic. Ahmet Ertegün served as founding chairman until his death on December 14, 2006, at age 83. In 1944, brothers Nesuhi and Ahmet Ertegun remained in the United States when their mother and sister returned to Turkey after the death of their father Munir Ertegun, Turkey's first ambassador to the U. S; the brothers were fans of jazz and rhythm & blues, amassing a collection of over 15,000 78 RPM records.
Ahmet ostensibly stayed in Washington to undertake post-graduate music studies at Georgetown University but immersed himself in the Washington music scene and entered the record business, enjoying a resurgence after wartime restrictions on the shellac used in manufacture. He convinced the family dentist, Dr. Vahdi Sabit, to invest $10,000 and hired Herb Abramson, a dentistry student. Abramson had worked as a part-time A&R manager/producer for the jazz label National Records, signing Big Joe Turner and Billy Eckstine, he had no interest in its most successful musicians. In September 1947, he sold his share in Jubilee to his partner, Jerry Blaine, invested $2,500 in Atlantic. Atlantic was run by Abramson and Ertegun. Abramson's wife Miriam ran the label's publishing company, Progressive Music, did most office duties until 1949 when Atlantic hired its first employee, bookkeeper Francine Wakschal, who remained with the label for the next 49 years. Miriam gained a reputation for toughness. Staff engineer Tom Dowd recalled, "Tokyo Rose was the kindest name some people had for her" and Doc Pomus described her as "an extraordinarily vitriolic woman".
When interviewed in 2009, she attributed her reputation to the company's chronic cash-flow shortage: "... most of the problems we had with artists were that they wanted advances, and, difficult for us... we were undercapitalized for a long time." The label's office in the Ritz Hotel in Manhattan proved too expensive, so they moved to a room in the Hotel Jefferson. In the early fifties, Atlantic moved from the Hotel Jefferson to offices at 301 West 54th St and to 356 West 56th St. Atlantic's first recordings were issued in late January 1948 and included "That Old Black Magic" by Tiny Grimes and "The Spider" by Joe Morris. In its early years, Atlantic concentrated on modern jazz although it released some country and western and spoken word recordings. Abramson produced "Magic Records", children's records with four grooves on each side, each groove containing a different story, so the story played would be determined by the groove in which the stylus happened to land. In late 1947, James Petrillo, head of the American Federation of Musicians, announced an indefinite ban on all recording activities by union musicians, this came into effect on January 1, 1948.
The union action forced Atlantic to use all its capital to cut and stockpile enough recordings to last through the ban, expected to continue for at least a year. Ertegun and Abramson spent much of the late 1940s and early 1950s scouring nightclubs in search of talent. Ertegun composed songs under the alias "A. Nugetre", including Big Joe Turner's hit "Chains of Love", recording them in booths in Times Square giving them to an arranger or session musician. Early releases included music by Sidney Bechet, Barney Bigard, The Cardinals, The Clovers, Frank Culley, The Delta Rhythm Boys, Erroll Garner, Dizzy Gillespie, Tiny Grimes, Al Hibbler, Earl Hines, Johnny Hodges, Jackie & Roy, Lead Belly, Meade Lux Lewis, Professor Longhair, Shelly Manne, Howard McGhee, Mabel Mercer, James Moody, Joe Morris, Art Pepper, Django Reinhardt, Pete Rugolo, Pee Wee Russell, Bobby Short, Sylvia Syms, Billy Taylor, Sonny Terry, Big Joe Turner, Jimmy Yancey, Sarah Vaughan, Mal Waldron, Mary Lou Williams. In early 1949, a New Orleans distributor phoned Ertegun to obtain Stick McGhee's "Drinking Wine, Spo-Dee-O-Dee", unavailable due to the closing of McGhee's previous label.
Ertegun knew Stick's younger brother Brownie McGhee, with whom Stick happened to be staying, so he contacted the McGhee brothers and re-recorded the song. When released in February 1949, it became Atlantic's first hit, selling 400,000 copies, reached No. 2 after spending six months on the Billboard R&B chart – although McGhee himself earned just $10 for the session. Atlantic's fortunes rose rapidly: recorded 187 songs were recorded in 1949, more than three times the amount from the previous two years, received overtures for a manufacturing and distribution deal with Columbia, which would pay Atlantic a 3% royalty on every copy sold. Ertegun asked about artists' royalties, which he paid, this surprised Columbia executives, who did not, the deal was scuttled. On the recommendation of broadcaster Willis Conover and Abramson visited Ruth Brown at the Crystal Caverns club in Washington and invited her to audition for Atlantic, she was injured in a car accident en route to New York City, but Atlantic supported her for nine months and signed her.