Word: rca
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Think of Peter Pan as a TV salesman, and in that regard, this show was one of the most successful ever broadcast. One of the first color specials, it reached as many as 65 million homes. NBC, then owned by RCA, had no small interest in moving its expensive new color TVs, and Pan was a two-hour, $400,000 commercial for the glories of color. People gathered at the homes of neighbors who had "color" to watch. They were not disappointed. "Surely there must be fairy dust from coast to coast this morning," raved a critic...
With control of J's heavily urban roster and RCA's diverse slate--which includes the Dave Matthews Band, Christina Aguilera, the Strokes and Foo Fighters--Davis is again the most high-profile executive in the business. Still, he insists, "my job now is the same as ever. That is, deliver transcendent talent." In title, Davis is RCA's president of artist and repertoire; in reality he is too famous to scout talent (the competition circles at the sight of him), and as even he reluctantly admits, he's too old to be going out every night. Since his move...
...grace, Davis was given seed money to start J Records, where in a short time he piloted Alicia Keys to five Grammys and 10 million worldwide album sales. In November 2002 slumping BMG decided that perhaps Davis was still vigorous enough to lead both J and its RCA label; BMG bought out Davis' share in J for a reported $50 million and named him chairman of the new RCA Music Group...
...Male or female, man or child, he sounds great on the early RCA sides. The record company brass was frantic that Elvis' first session produced only "Heartbreak Hotel," a slow 12-bar blues. But he knew that - with a verse requiring some robust tenor work, a chorus in the "lonely" baritone register and a cool segue allowing for sexy filigree work - the song would be a swell showcase. He also knew its melodrama and eroticism in the song, because he'd been there when he performed...
...recruit when he entered the Sun Records studio in Memphis in late 1954, Elvis learned enough so that, when he joined RCA, he was soon the de facto producer of his own sessions. Steve Sholes was RCA's A&R representative, but, as Phillips insisted to Guralnick: "He was NOT a producer. Steve was just at every session, and he kept his fucking mouth shut." Sholes would propose songs, and Elvis would dispose. In 1957 Leiber and Stoller, the L.A.-based singer-songwriters whose "Hound Dog" and "Jailhouse Rock" would be prime Presley calling cards, took over as producers. Stoller...