M1 I remember having lunch with you and a couple of your friends in midtown Manhattan. I that before you had that Milly, Milly, now when it was Milly, this was before Milly.

M2 And it was just after and I just made that trip to Jamaica with Tommy Dowd and we made it to Bali, right? Yeah, right.

M8 But with Melanie Miller was 16, no, no, 64, 64. So it be like 62, that's when you had to deal with Sue.

M29 Sue Sue was Sue was about 63, 63.

M2 That's when I first met you. We had lunch together.

M19 And.

M1 And that's like 63 signable, 62 or 63.

M2 You had some friends from Jamaica with you from London. I don't remember, it's good. I can't I remember having lunch in a medium type restaurant in Midtown, you know, you know where they where was you.

M5 But at that time, you were at at 1861.

M1 I think.

M5 Because the first time I came to Atlantic Curette, you're in 57 st, yeah, with 57 st.

M1 Yeah. First time I am 57 st. Yeah. You know, a funny thing. I was I was in front of of.

M2 The building where our office was, I ran into I ran into, uh.

M1 The jazz piano.

M2 Why the big white guys are important to the quartet in those days, the most vulnerable everywhere around to Dave Brubeck.

M19 And.

M2 And said, what's happening? What's new? I said, you might hear something new, I what it was like six o'clock at night assembly. Nobody was in the office. So I went out and locked the door to go to my office and I played them some Ray Charles, you know, piano rings and so forth, you know. And he couldn't he said, my God, that is fabulous player, fabulous flag. Who is that? That's Ray Charles.

M1 I never heard of it, you know, in those days, you know, it's a.

M5 Well, you heard Ray Charles in France before you heard it, a white person would hear Ray Charles in France there. Oh, definitely, because Berkeley put Berkeley, put out all the EPS in every which which way of Ray Charles, his music. They did. They did a great deal in getting him to.

M2 Yeah. When he played in Paris, when Ray Charles played in Paris, I couldn't get there for the opening night. He played at the Olympia Theater and he had like a two week engagement way. It was all sold out, you know. And I got there the second night, the second day of their engagement and the whole band, I just oh my God, thank God you're here. What happened? I said, why?

M27 I said, we're starving so we can't get anything to eat here. So I. I turned to Bruno. Congotronics was the owner and manager of the theater. I said, why don't you take him to the drugstore? That was you know, I would have hamburgers. Right. And it was just open, you know, the drugstore. And I took him there. But he said they almost threw up when they saw and put an egg on the hamburger.

M10 I said, no, we can't. Yeah.

M27 And I found I found a place in my heart that was Fouché Leroy Shalako with the French fries. Wow. And I'll bet it was Leroy. It was it was a soul food place which had which I when you came in that room you could go into, which had no windows or anything, but they you said and have a drink. And there was a very there was so much marijuana smoke in the air that you have to smoke everything. I think they got contact and then you could be a master of that stuff. I never heard of, say, Leroy. And we on yet.

F2 Yeah, we're on. We've been up. Oh really? Oh yeah. But I like to sneak up on you.

F1 OK.

F3 OK, you know what, I was curious, but you both were outsiders in a way. I mean, you were an outsider to some degree in Jamaica, and they grew up there. You were an outsider. What impact did being an outsider, falling in love with sort of the indigenous music have upon you both? It seems like there's a common ground.

M30 Well, actually, you know. Grew up in Jamaica and England.

M4 That's very different than Turkey, but I didn't grow up in Turkey, I was born in Turkey, but I grew up in Switzerland, France and England. So we're not that far apart from that point of view and and the rest of the time in America. And, Chris. Was the person who whom I met very early in his career and in the beginning, in the early years of my career and. And Chris was a rare person in that he was a person who understood the beauty of black music in general, which includes a lot of things. You know, when I said black music, I mean black American or Caribbean music.

M30 He has he has been he has been the the champion of many very great artists.

M4 But most of all, the greatest pleasure I have from knowing him is that he has an understanding of very many different kinds of music and wherever he plays. Always moves me, so that's you know, he puts a record. I know it's going to be something there's some reason he's playing it and always gets to me. So is he's a very important person in my life.

M3 Well, that's certainly vice versa. I grew in Jamaica, but I first got into music actually when I was at school in England, somebody really started to turn me on to New Orleans jazz and then Chicago jazz. And I sort of grew through the whole period of of of of jazz just following its roots and. So when I went back to Jamaica, I went back to Jamaica after school in England and I got a job as a taxi to the governor and that lasted for a little bit of time. And then very soon after that, I. Started doing different things, and one of the things I did was I got a job or I got the concession to teach water skiing at the half hotel, which was a great career, believe me, it has tremendous side benefits. And but there was there was a band playing there who was a jazz band who was sort of pretty good. It was sort of Oscar Peterson ish kind of music. And I really loved it. And I decided that I really, you know, just wanted to record it. So I took them into town in Jamaica and recorded them. And then I came to New York and got the music masters and got the cover done and went back to Jamaica and got them press, took them around, tried to sell them. I couldn't sell too many in any place I could sell any was actually in the hotel where they worked. But I love the whole process. So I started to hang around the kind of shows that went on in Jamaica, hang around the sound system, guys. That was really what was the lifeblood of Jamaica. And then I started to come up to New York and. I'd go and search out records for the sound system guys started off, one of them said to me, well, you go up, you know, look for some stuff. So I started to do that. And I first, really? I guess recognized the importance of what nowadays is called branding, because I loved what was on Atlantic, I love the music that was on Atlantic. And so when I used to go through all the shops and a lot of them were on 6th Avenue in those days, and I'd go through them to to decide which to pick up, in which to buy for the sound system. Guys, whenever I heard an Atlantic record or when I when I lived through it and I'd see one, I'd immediately pick it up. And if I played it and I didn't like it, which was very rare, I absolutely doubt my own opinion on it because I just loved the music that was released through Atlantic so much. And that's, I guess when I first sort of became in touch with Atlantic. And then soon after that I came and tried to see if I could get the rights to release Atlantic, and that's when I first came up. And I don't think we didn't actually meet at that time. I met somebody called Miriam Binstock. And was she in charge of international affairs? Right. So I met her and said, could I could I get the rights for Jamaica? But. Didn't really go anywhere.

F1 You know, but you then got to regain some point shortly after that, right, for the water to the way he didn't matter what he did.

M4 Said he has to introduce reggae to the rest of the world.

F2 Could you do this and say, I'm getting I'm getting cross signals here? They need to stop for one situation, OK?

F1 Look at that speed. Just look. Just pick up. Pick up the floor. OK. OK. All right. What's your back?

F3 I guess all I was saying is, was you had a lot in common from the very beginning. That's what I was trying to get you going on. Anyway, um. Did you, um. Did you become when did you start getting involved with each other or did you hang out in London together? Did you go to clubs together?

M2 Well, we know we saw each other often on. In many places, but mostly in New York and once in a while in London, London and.

M8 Well, you know, Chris had the best studio in London in a church in which we use was a terrific place and Notting Hill, right.

M9 The first long distance call, this is going to data.

M5 So I guess the first longest Ahmed came in the office and he wanted to ring New York and said, well, you can dial direct. And he said, no, impossible. I said, yeah. He said, impossible. You mean you can just pick up the phone and dial? I said, yeah, you can. So you did dial down the wrong number. But we met a lot. We first met at the time of when I've had my first hit was as you know, I could go My Boy Lollipop, my boy Lollipop. And and the person who was representing me at the time took me to see who was Paul Marshall, took me to see Columbia Records. And then they took me to see Atlantic Records. And, you know, I thought Atlanta is there was no contest. So we just made a deal with. With with Ahmed after that, because of the first record, actually, I licensed to Phillips in England, so it went on Mercury in America. So this was the future ones and they made a deal with Ahmed. So that's when we first met. But we came and we kept in touch after that because when Ahmed would come to London, he would often ring me, you know, and I remember seeing a lot in London, spending a lot of time in London, a lot of a lot of acts, which I remember I tried Emerson, Lake and Palmer. I remember one time we went to they did a show for us and the Lyceum. And there was there was nobody except the band, the management and Ahmet and I. Right. And they were very, you know, very full of activity as they were, you know, and they and Keith Emerson, remember, he would use like like take a knife and stab the piano and things like that. That was part of the show. And at the end of it. It just kind of exhausting the show and the end of it. I said, well, what what do you think? And he said, well, that's the first person I've ever seen play with a piano. But I had lots of no, it was it was a really amazing time. London at that time, there was so much coming out of England.

M17 Wasn't that it was incredible that one day. Uh. Stephen Stills had been recording in your studio.

M15 And he called me up and said, come by tomorrow because I'm going to have a terrific session, I'm going I've got some great guys and so on, that I've got to do is I've got to pick up a drummer and a bass player. I said, why not answer? And I said, don't worry, I'll get them.

M16 So the next day I go to the studio, to your studio, and there are these two West Indian guys that he picked up in a nightclub the night before who played in the band, and he hired them to come to play that day. And the other people were Jimi Hendrix and Eric Clapton. So Jimi Hendrix, Eric Clapton, Stephen Stills and these two. And then when I got there, the Jamaican guys took me aside and said, we're getting paid for this thing.

M13 So I said, yeah, right.

M16 Because they only made us play one track and then playing over that track. Over and over, and we're just sitting here, I think, going to pass.

M10 I don't going back. You know, they are at it. They know I don't know who they were. They had no idea what that was.

M17 It was I could have said anything, you know, I was. But it was a great session that you imagined. I mean, that's what and unfortunately, a lot of what they did was not recorded. Now, they were just. Messing around it was. It was great, great times.

F3 Did an album actually come up?

M15 Yeah, it came out. Yeah, I've some some one one or two cuts with them. Came out.

F6 Mm hmm.

M5 We had a lot of that city was was a Mecca at the time, and there was so much going on in London, there was there was an abundance of music and abundance of talent. It was really amazing what was happening. It was really and truly an explosion. Well, bad company came after free.

M8 Yeah. I have to say, I was going to ask your. Yeah. Let me start with you. Do you have anything to do with King Crimson? Sure. Sure. Absolutely. Kingson was asked and that was Fred Robert Fripp because Emerson Lake in Palmer emerged out of King Crimson. Yeah. When the King Crimson broke up then Emerson and Palmer, because I think Greg, like, was in King Crimson. Yes, absolutely.

M18 The most difficult man I've ever met in my life. Oh, no comment.

F3 A little bit about the club scenes in London then, because I know that Ahmed apparently discovered that he went to Eric Clapton there and Wilson Pickett played to talk to me a little bit about the club scene and encountered you two to each other about remembering some wonderful night clubs in.

M6 Well, and we used to go to the speakeasy speakeasy, it was one that became the mean revolution. I couldn't remember the name of the revolution.

M7 The revolution took over and eventually I think all of the musicians started to hang out at Jimmy Gold's place, try and perhaps try and.

M5 Right. Yes, that's right. But the speakeasy was very hot for speaking.

M6 He was the best. The best. The speakeasy man you ran into, everybody and everybody that came from America would immediately go there.

M17 And all all the all the in English people were there.

M5 Yeah, no, it was it was it was like a bands. All the bands would go there, all the bands would go and compare what their deals were and everything else like that. And who would side with this. I remember there was a time when we were there one night and I think it was the time you you agreed to sign.

M18 Yes, that's right. As a matter of fact, the first audition I had of yes, I, I they the people at the club allowed me to have the audition in the club in the afternoon.

M6 They came and playing in the afternoon. I came into that evening I think I did. And then they performed that night. Yeah. Yeah. From that night. But that was an exciting band. It was, it was a kind of revolutionary band at the time. Yes, definitely.

M5 And then at the Revolution Club there, they never had the same feel that the speakeasy did now, but but there was there was Terry region, you remember Terry and everybody said that he was going to be the biggest act.

M8 Yeah. Everybody he was everybody know somebody told me that Harry Reid lives in L.A. now. He lives in L.A. and plays little clubs, plays little clubs, have Philcox and told me that you remember Phil Carson vaguely. I remember. Yeah. You know, he used to represent us in England, but he signed up half the bands we have on the label.

M18 Yeah.

M5 Uh, Terry, Rick Terry Reed was everybody was certain that he was getting it because there was this year I think it was about 1968. There was him, there was Joe Cocker and there was Jethro Tull. There were three acts and people were a little concerned about Jethro Tull because he was, you know, played a flute and was stood on one foot and, you know. Yeah. And then Joe Cocker people were a little and he had a great voice. But, you know. Yeah, a bit like spastic, a little weird. But everybody was certain about Terry Reid that he was going to be the big. And Terry Reid, I think was really the influence for Zeppelin. I think he was I think he I think I'm pretty sure he was. I think Robert Plant sort of sang a lot like him.

M18 I remember you took me to hear Jethro Tull. At some college. And outside New York, no, you know what that is?

M5 That was the whooper.

M9 Oh, my, that was that was the Hoople. And the people rioted, wanted them offstage and guys got on stage. And Ahmed said, and I take oh, dragged it.

M13 I said, when you got there and there's this gem or whatever, that the school gym was absolutely packed. There were thousands of people there. And that and the headline act was traffic, traffic, traffic. And they'd all come there to hear Stevie Winwood. I mean, it was like the big thing. And then the opening act was the Hoople that you told me you would like us to put out. That's right. And when I heard them play, I said, you know what? I don't think this audience came here to hear this kind of music, they're in the house and and and phragmites alone with books and he was with us and Frank passed along to me, said, Are you kidding? By your next 10 minutes, they'll have an evening out of the hands eating out of their hands that they are so great. I said, I just don't think so. And we're to to the whole crowd started to chant, get them off the stage, get them off. Say it's the end of it.

M10 It's not a very auspicious I mean, it's still kind of the way it was a good, bad guy.

M17 Stevens was to.

F5 Did you manage traffic, too, didn't you? Yep.

F7 What exactly was the deal for for the rest of the audience out there who doesn't understand what exactly was the business arrangement between island and land?

M15 Well, at various times there were different arrangements and certain records and so on. However, at one point. And it was a very important time for Island Records, you you chose to distribute island in America, the key to it was not long. It was a long time. I mean, it was a thing that lasted several years, several years, and I'll never forget you took me, said you've got to come to the studio with me today. I've got a group you've got to hear. It's a new group and you've got to hear them. And they were just making their first record. And that's the group who are getting inducted into the Rock and Roll Hall of Fame tonight.

M20 And at a young, young Bono, it must have been less than 20 years old.

M17 Yeah. And it was less than 20, it was the first recording session of U2 and. And Chris said to me, he said. Listen carefully, these guys are something else, you have to hear what they're doing. And it was. A great a great thing for us at that time.

F5 Yeah.

M12 From the first recording. Right up until I left the company, actually still with Ireland.

F8 Yes, I mean, and you still district.

M17 No, no, no, no, no, no, that that that Chris sold Island Records to add to a universal right. What's now Universal was Polygram. Yeah.

F7 Was that an unusual business relationship? I've talked to in other words, I have this feeling that when you make these connections with Chris and with Stigwood and various other people, that that was an unusual thing in the business of that time. Is that the case or a misunderstanding? Something?

M17 No, I don't think it was that unusual. I mean. People moved around, you know, they been various times people started independent record companies sold them. We sold Atlantic in 1967. Uh. You sold your company much later and for a lot more money, and I bet but but, you know, it's. You know, as it was, it was not, you know, it was not unusual for independent record companies to sell to somebody else because many of them went out of business totally. You know, many of the great labels. Yeah, specialty imperial, all those labels that made charts and so forth. Eventually, he just I think I think.

M12 The fact where I think there is a common bond between us is really jazz, because I think if you start your musical interest on jazz, you tend to think more in terms of a body of work than as a single. The labels that really went out of business were the ones which were singles orientated because it's very hard to come up with hit singles all the time. Whereas if you find the right artists and the artists are really talented, that body of work is in albums. And every time they come out with a new album, when they might find new fans, those fans will go back and buy their earlier earlier albums. And I think certainly that's what attracted me. Even though the story I was telling you earlier when I went up and used to go up and buy singles I bought, there were albums. Atlantic always, always had a jazz as long as I can remember. Anyhow, it had a jazz element to it, strong jazz element to it.

M23 So I think that was really the big difference.

M24 That means we're just choosing plan to make a point about it was something unusual about how you conduct your business because you were the first person to concentrate on coming to England because people like Chris were there and. Sticky, sticky poo and so forth, if you can kind of address that issue that you took on this, I mean, when I started working for you, you'd already made that decision and used to come once every six weeks to aim for those specific reasons to get liquids or Stigwood or whatever, if you could kind of address.

M25 And we know.

M21 Well, I think that. A lot of things happened in the 60s. Not the least of which is the. British invasion. And that prior to the British invasion. There was.

F9 The.

M7 The upsurge of rock and roll in America. After. Elvis Presley's initial successes, a great many rock'n'roll bands developed especially on the West Coast, and you had, you know, a whole flurry of of groups there and also some and and in New Jersey, around New York and. You know, and we we were lucky enough to get Buffalo Springfield in the very beginning and in California. And then I signed up to that point will be mostly signing artists. For the black American markets, for R and B artists, and and then I signed The Rascals, who I like, a New Jersey group and another fudge, another kind of New Jersey group. And out west, we had a, uh, after after, uh. The Buffalo Springfield signed a group that was called Iron Butterfly and Sonny and Cher and Sonny and Cher and, you know, and.

M14 But.

F4 But the major great music was coming from England.

M7 Mm hmm, and we were at the same time as I was signing The Rascals and those people, we also I also heard Eric Clapton and got Stigwood to sign him a with Baza was our our English and our guy at that time. And. And from there, you know, we went on many trips when I saw you so often where were signing other other groups, many of whom through you and. Well, we became known, especially after the tremendous success of Led Zeppelin and we became known as the. American label that that knew how to work British acts and wound up with the Rolling Stones, among others.

M14 But.

F4 It was it's a it's. I think that there is something, again about jazz, I think that the great guitar players who emerged. You know, Jimmy Page, Eric Clapton, A.

F8 Can you cut for a minute? Yeah. Just back. Yeah, say it again. OK.

F4 Eric Jimmy Page, Eric Clapton and Jeff Beck. Where extraordinary moves players. And I used to think. Thank you. You know, it's incredible. How how they got to this and they got to it. And in and including. Jagger and Keith Richards, they got to it by listening not only to early jazz, but to a lot of early blues and old blues records, and I know I wanted those houses and their houses from morning to night. It was blaring. Blues music, that really great black blues music from the swamp, you know, and.

F9 And.

M13 They swallowed the eye. You said that they swallowed the pill because they became if they weren't imitating, they could just sit down.

F4 I mean, Jeff Beck can sit down, play the blues against anybody in the world for real. And it's not it's not not weighty. Imitating You know, the master is the real thing and. And I think that comes also from from their understanding of early of the early music that you and I listen to.

F10 And.

M5 And because the music those guys liked was pretty much from Chicago was just mostly just cancelable and Viji.

M7 Yeah, and you know something. There was no blues in New York. We had no money to travel, so we had to record whatever was in New York and we couldn't find any blues in New York and there was no venue in Chicago, whether you're Vijay or Jasso and you go there.

M13 But I had to go out on the street is full of guys who migrated from and from the south and.

M26 They're all playing funky, funky music and and a lot of them went to California and they were going for a Latin special day and so forth and modern, you know, that's.

F10 But.

M7 It sure is a wonderful. That this music has not disappeared. And that you can hear some of the great early jazz players and it's incredible how many people go. You know, a couple of young French guys came to see me, they had written a book called I The Blues, The Road of the Blues and and and they asked me to write it forward to it. I said, well, let me look at the book as a very good book, a man with a deep understanding of blues.

F11 I said, and I thought the young French guys I work, I said, well, one of them was a cook's helper or something, you know?

M18 I said, What do you and where'd you get that? I said, Well, Led Zeppelin fans. Well, there wasn't any.

M12 No, no. We did that in Jamaica. You would not hear any RB on the radio. You would only hear music people called Billy Vaughan or country music because. The radio station didn't want to attract any of the routes people. They don't want to advertise because they didn't want them coming into the stores because they'd actually say, well, these people are going to actually come and and and shoplift and they don't have any money to buy. So the only places you would hear any raw American music, which was American black music, which was basically Atlantic was a label king and imperial. Those are the three big labels in Jamaica. Imperial had Fats Domino. King had Hank Ballard and and James Brown and Atlantic had Ruth Brown and Ray Charles and everybody else like that. But that the way that music was heard in Jamaica was through the sound systems. And that's really how it started. And the sound systems were all guys that had liquor stores and they would go out and play and they'd be booked to play. And it'd be like a band, a band that has the most popular songs, gets the biggest money and the biggest audience. So the sound system that had the most the hottest song, the hottest records, they would be booked most.

M28 So that's why I was able to and that was done outdoors. That was all outdoors, all outdoors, all outdoor scenes now of like a parking lot or something. Or an empty parking lot. Yes. But which they sort of put up kind of kind of seats and things like seats round and also kind of wall around it. So they charge an entrance fee.

M11 So the promoter would get the entrance fee and the sound systems would bring their liquor and sell the liquor. And that's basically how it would work. So that music then was was what? Reach the street people? Now, I was one of the first people that started to try and make our indie records in Jamaica. I was trying to emulate records that were made by Atlantic, for example, but the musicians played them with a different kind of feel. They didn't come out like that. They started to come out with the offbeat instead of like unbe, as it were. So it started this thing developed, which became known as SKA, which is a sort rolling rhythm, a rolling rhythm.

M28 And Scar's like onomatopoeic record did sort of describe the sound of the guitar, which, of course, John Scott, Scott, Scott. And it was fast, but it was jazz. Most most of the musicians were all jazz players. Yeah. And and a lot of the records were instrumental records, people like by like the satellites and they and the records would be formed just like jazz. You'd hear there would be an ensemble, you know, do the first chorus and then there'd be a trombone solo and a trumpet solo. And then suddenly they all get together and end and things like that.

M11 That's really how the that music emerged in Jamaica. Jamaican music. And then from that, later on, the beat slowed down to Rock Steady and the beat picked up a little bit. And that became known as reggae and but but reggae didn't actually actually reggae itself didn't really start until the late 60s or the early 60s started ska music. Now, in my opinion, how jump up is to jump jump up was jump up was more of the eastern Caribbean. Yeah, Trinidad music that was more the the the mighty sparrow. Yeah. Like that. Yeah. But where I think we're I think both companies became important with. English rock was because. The music that Ahmet was putting out was influential for the kids in England, the music that I was putting out became didn't become so influential that it was more the kind of lifestyle in a sense, because it was a very loose type of a lifestyle, a Jamaican record company.

M28 So at a time where bands now would go on stage and what they've been wearing for four days before that, bands were all in even the early Beatles, you know, you see them all in a uniform with a suit.

M11 It was the Rolling Stones really were the first band that I remember that would come on looking like that. And they'd slept in the same clothes for a week. And so what Ireland had. Was that kind of a looseness which appealed to that can that same kind of sensibility and I think that's how we start to make make our ground there. And in terms of Atlantic, everybody wanted to emulate. That's the sort of music that Atlantic was putting out, even though maybe earlier they started with, like we're seeing the blues, the Chicago blues stuff that they loved, black music, these English kids loved black music. And and and a lot of them could never actually be at ease with the fact that they became such big stars, in my opinion, because they were just trying to be like these guys they loved and suddenly they were being worse, lionized, lionized.

M22 And when you say, yeah, that's true. But I must tell you something, that what struck me, you know, in those days, all the record companies. Wanted to make friends with the musicians. I mean, there was a you know, a whole thing that developed where record companies had to get an image of being liked as people by musicians. I think that was one of the great reasons for your success, because all the musicians I ever met in there all loved you. You know, many of them like me. I know they were telling me the truth when they said, you know, and and I think that that you developed part is partly because of you of your Jamaican background and so forth. But it's partly because of yourself and and your understanding of their music. You know, they feel, you know. They feel that when, when, when when you tell them that they feel like they're talking to somebody who knows what they're doing and who understands their music, which is which is, which I think is I think that I have tried to do the same thing, you know, because. I think the thing that's most important for a musician. Is if he feels that the person he's talking to feels the same thing about when he hears the music for sure.

F8 Then it seems I want to back when the practice means I want to talk about.

M26 I do know that that's that's a job as a joke between us. You know what they're talking about. I want to tell them. But, you know, you ask me to just get together and we haven't got no time.

M22 I had to I was leaving. So the only time that you come, you come for breakfast. So you came for breakfast and then you never said anything, you know? So I said mean, we talked about a lot of things.

F11 And then you said.

M10 I said, oh, I said, I know why you got that free breakfast, and he said, Oh no, no, I get that every day. You know, these hotels breakfast and you just go in and out and get a room.

M5 No, I'm saying I'm ashamed to say that I love hotel burners at all. I remember the hotel. Hopefully it's not there anymore. Certainly it's changed ownership, hopefully by the time everybody hears this.

M12 But it was near my office and it was like it was not a big, big hotel, but it was the kind of size which was big enough that they they didn't know everybody who was staying there. But it was a bed. You know, you had breakfast automatically. So I just walk in every morning and sit down and have.

Chris Blackwell with Ahmet Ertegun
Interview Date:
American Archive of Public Broadcasting GUID:
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"Chris Blackwell with Ahmet Ertegun, Atlantic Records: The House that Ahmet Built." American Masters Digital Archive (WNET). 14 May. 2005,
(2005, May 14). Chris Blackwell with Ahmet Ertegun, Atlantic Records: The House that Ahmet Built. [Video]. American Masters Digital Archive (WNET).
"Chris Blackwell with Ahmet Ertegun, Atlantic Records: The House that Ahmet Built." American Masters Digital Archive (WNET). May 14, 2005. Accessed May 25, 2022


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