“In This Moment” will regret signing with Atlantic Records. Atlantic Records under the reign of the departed Ahmet Ertegun were well known for not paying their artists. Throughout the Eighties, Atlantic capitalised big time on the success of the metal and rock bands, and once those bands dad a drop in sales, Atlantic started dropping the bands left, right and centre and moved on to the next thing that could make them money.
Let’s look at some of the bands that Atlantic have signed;
The story of the band “Bush” is very similar to “In This Moment”. After three successful releases on a smaller label, “Bush” signed with Atlantic for their fourth release and in return they had their least successful album. So with no mainstream success and a lack of label support, “Bush” called it quits. Which is a shame as the band was coming of three great albums.
“Winger” was signed by Atlantic and they had success with Atlantic Records, there is no doubt about that. However, Atlantic signed a band that had musicians already developed and experienced. There was no artist and development costs associated with “Winger”. With that experience Atlantic reaped in millions from the first two “Winger” albums. After “Winger” delivered their best album “Down Icognito”, “Beavis and Butthead” also happened, and after hanging a Winger loving family in one of their episodes, Atlantic Records suddenly developed amnesia and claimed that they had never heard of “Winger”.
“Collective Soul” already had a demo version of their massive hit “Shine” doing the rounds on radio for about six months before Atlantic picked them up and re-released the same demo album under the Atlantic brand. What an artist and development program at Atlantic. While the band kept selling, Atlantic loved them. Then when the sales started to decline (although still great numbers compared to other bands), the label started to lose interest and after 7 years of making Atlantic wealthy, once their contract ended, it wasn’t renewed.
“White Lion” also experienced a similar fate to “Winger”. When the band was signed, they already had seven years under their belts, plus an independent release. What an artist and development program at Atlantic. So when “Pride” broke out, Atlantic pushed them to write more hit singles. This added pressure to create “hit songs” caused a conflicted Vito Bratta even more conflict and when the record label advice failed to provide an increase in sales for “Big Game”, the label just stopped caring. As a last resort, they gave them a lot of money for the “Mane Attraction” album and while “White Lion” was out of the music scene recording that album, their label had already moved on. So it was no surprise when the album was released with no marketing budget and within 5 months of the album being released the band was over. No one from the label called them and it just ended.
“Twisted Sister” had a huge local following, however US labels just kept on rejecting them. Eventually, they went looking for a deal in Europe and after a false start with Secret Records, they ended up getting signed to Atlantic Europe. Then they started to get traction in the US with “You Cant Stop Rock N Roll”. As an import album, it was selling like hot cakes in the US. So of course, Atlantic US came knocking, signed them (even though they ignored and rejected them for ten years prior to that), made a huge amount of money of the “Stay Hungry” album and then dropped them three years later. Again, what an artist and development program at Atlantic.
“Zebra” had a huge local following before they got signed with Atlantic Records. Then the “Zebra” debut album became one of the fastest selling releases on the Atlantic roster. Again, what an artist and development program at Atlantic. Not one of the bands that I have mentioned above got signed and developed. They where all developed. Three years later, Atlantic dropped the band, however they kept an option open on Randy Jackson. Randy Jackson finished the “China Rain” record in 1990 and Atlantic Records decided not to release it. Sound familiar. Gatekeepers controlling the fate of musicians. Dee Snider suffered the same fate with his “Desperado” project after experiencing the same shafting when he was in “Twisted Sister”.
“Badlands” was signed by Atlantic. The self-titled debut came out and it achieved cult like status among the jaded metal community. “Voodoo Highway” came next however Atlantic was not impressed with what “Badlands” delivered. It was during the making of “Voodoo Highway” that Lee and Gillen started to disagree over the direction the band was taking. The label wanted hit songs. The label wanted songs written to a strict radio formula. Ray Gillen apparently had songs that suited what the label was looking for. Those frustrations came to a head when Jake E. Lee accused Ray Gillen of going behind his back to the record company in a revealing Kerrang interview. In the end, Atlantic broke the band up and then dropped them when they went chasing the grunge dollars.
Atlantic has a history of extorting hard rock and metal bands. Testament, Skid Row, P.O.D, Mr Big, Taproot, Savatage, The Cult, Kix, Kings X and Queensryche are other bands that come to mind.
“In This Moment” will be next. Their music is a niche style and that style has a niche audience. For them to cross over, they really need to diverge from their style. Their most recent album “Blood” has moved over 250,000 units. For a metal band, that is a great result. For Century Media that is a great result. For Atlantic, that is not a great result, especially when you are on a label that has Bruno Mars, who has sold over 58 million singles. Especially when you are on a label that has Shinedown who are a multi-platinum selling band.