casablanca records warner records party every day

CASABLANCA RECORDS WARNER RECORDS PARTY EVERY DAY MOVIE

On a sidenote, I wasn’t aware the Isley brothers ever recorded for Casablanca! Or Gladys Knight for that matter.

CASABLANCA RECORDS WARNER RECORDS PARTY EVERY DAY MOVIE

I still think they had some of the greatest album cover designs, most of which were done by a company called Gribbitt! This could be a very interesting movie if it’s written and cast well. Promo ad for the book that includes a killer animated commercial for the Parliament album Funkentelechy Vs.The chapter that was written about Casablanca Records in a book which I think was called “Hit Men” was a fascinating study of 1980s excess, fascinating and sad at the same time. If only modern popular music was as fun as this book. but he's the good kind of rogue, a talented and likeable guy who liked to help other fellow strivers and someone who would have been lots of fun to work with.In summation, And Party Every Day is a great from-the-horse's-mouth tale of one of schlock music's finest record labels as well as a fascinating glimpse into the last days of the record business's 'Wild West' era. Bogart still comes off as a bit of a rogue. He's honest about Bogart's failings - particularly, how his belief in the label's ballyhoo ultimately brought it all down during its final days - but he also makes an excellent case for Bogart's salesmanship, commercial instincts and willingness to take gambles on new talent and new employees. Additional juicy stories are sprinkled throughout the page count, covering everyone from Curtis Mayfield to Rodney Dangerfield.However, the most important thing Harris does in And Party Every Day is rehabilitate the popular image of Neil Bo gart. show Dance Fever from them AND produced it using a set he conned the Casablanca folks into building for a promo appearance on his talk show.

Harris's writing, assisted by Curt Gooch and Jeff Suhs, has a crisp, easy-flowing style that balances facts and gossip in an engaging manner that makes the pages turn quickly.Harris also dishes dirt in an entertaining way, including a funny story about how Merv Griffin stole the idea for the hit t.v. Hard rock/AOR buffs in particular will be happy by a decent amount of pages spent on the travails of cult-fave act Angel, a gifted act who nonetheless suffered due to having all the wrong breaks. Harris also shows how a relationship with an editor at Billboard was used as leverage to keep their product high in the charts and how their record-shipping practices with distributors could give the illusion of platinum-level sales.Additional fun is provided by detailed accounts of Casablanca acts, both successful and forgotten. He takes the reader inside the complex financial shenanigans used to keep the label afloat as they spent ostentatiously to create the illusion of wealth (example: Bogart had to use a line of credit at a Vegas casino to make one month's payroll). There are also eye-opening tales of personal excess, including depictions of how pot, coke and quaaludes were consumed like candy by Harris and everyone else who worked at the label.Suspense is maintained t hroughout the book because Harris consistently points out how the bottom could have dropped out at any moment during the label's meteoric rise. There are narrow escapes from certain doom, like an attempt to sell a pricey double-album of audio highlights from The Tonight Show that almost cripples the label. Harris keeps the pace rolling at breakneck speed as Bogart deftly sidesteps his creditors and spends money he doesn't have while building Kiss up to superstar status and discovering the likes of Parliament and the Village People. Bogart soon realizes that WB sees his upstart label as little more than a tax write-off so he disentangles himself from the parent company and goes independent. When Bogart decides to be his own man, they head to Los Angeles, where Casablanca begins as a subsidiary of Warner Brothers Records. As a result, it has a real insider's point-of-view as it walks us through the history of this infamous label, starting with Harris's days as a promo man for Bogart during his stint as the head of Buddah Records. This fast-moving chronicle was penned by Larry Harris, Neil Bogart's right-hand man during the Casablanca days (and also his cousin). and it happens to be a very entertaining read. Thankfully for Casablanca fans, And Party Every Day has risen to support the former definition.

The latter definition sticks more often, thanks to the widely read portrait of the label and its founder, Neal Bogart, in Fredric Dannen's record-label expose Hit Men. For others, it was the triumph of the vulgarians and a textbook example of show business excess run amok. For some, it was the standard-bearer of disco music and the last gasp of ballyhoo in the record biz. Casablanca Records: the name means many things to many people.

Casablanca records warner records party every day