What do you think?
Rate this book
Sonic Boom
In Sonic Boom , bestselling music journalist Peter Ames Carlin captures the rollicking story of the most successful record label in the history of rock and roll, Warner Bros. Records, and the remarkable secret to its meteoric rise.
The roster of Warner Brothers Records and its subsidiary labels reads like the roster of the Rock & Roll Hall of Jimi Hendrix, the Grateful Dead, Joni Mitchell, Neil Young, James Taylor, Fleetwood Mac, the Eagles, Prince, Van Halen, Madonna, Tom Petty, R.E.M., Red Hot Chili Peppers, and dozens of others. But the most compelling figures in the Warner Bros. story are the sagacious Mo Ostin and the unlikely crew of hippies, eccentrics, and enlightened execs. Ostin and his staff transformed an out-of-touch company, revolutionized the industry, and, within just a few years, created the most successful record label in the history of the American music industry.
How did they do it? One day in 1967, the newly tapped label president Mo Ostin called his team together to share his grand he told them to stop trying to make hit records.
“Let’s just make good records and turn those into hits.”
With that, Ostin ushered in a counterintuitive model that matched the counterculture. His offbeat crew recruited outsider artists and gave them free rein, while rejecting out-of-date methods of advertising, promotion, and distribution. And even as they set new standards for in-house weirdness, the upstarts’ experiments and innovations paid off, to the tune of hundreds of legendary hit albums.
Warner Bros. Records conquered the music business by focusing on the music rather than the business. Their story is as raucous as it is inspiring―pure entertainment that also maps a route to that holy love and money.
Includes black-and-white photographs
The roster of Warner Brothers Records and its subsidiary labels reads like the roster of the Rock & Roll Hall of Jimi Hendrix, the Grateful Dead, Joni Mitchell, Neil Young, James Taylor, Fleetwood Mac, the Eagles, Prince, Van Halen, Madonna, Tom Petty, R.E.M., Red Hot Chili Peppers, and dozens of others. But the most compelling figures in the Warner Bros. story are the sagacious Mo Ostin and the unlikely crew of hippies, eccentrics, and enlightened execs. Ostin and his staff transformed an out-of-touch company, revolutionized the industry, and, within just a few years, created the most successful record label in the history of the American music industry.
How did they do it? One day in 1967, the newly tapped label president Mo Ostin called his team together to share his grand he told them to stop trying to make hit records.
“Let’s just make good records and turn those into hits.”
With that, Ostin ushered in a counterintuitive model that matched the counterculture. His offbeat crew recruited outsider artists and gave them free rein, while rejecting out-of-date methods of advertising, promotion, and distribution. And even as they set new standards for in-house weirdness, the upstarts’ experiments and innovations paid off, to the tune of hundreds of legendary hit albums.
Warner Bros. Records conquered the music business by focusing on the music rather than the business. Their story is as raucous as it is inspiring―pure entertainment that also maps a route to that holy love and money.
Includes black-and-white photographs
304 pages, Paperback
First published January 19, 2021
49 people are currently reading
1834 people want to read
Ratings & Reviews
Friends & Following
Create a free account to discover what your friends think of this book!
Community Reviews
Displaying 1 - 30 of 57 reviews
December 6, 2021
"During its peak era of 1967 through 1994, Warner Brothers Records was in both commercial AND creative teams the most successful record company in the history of the music industry. And it all began one afternoon when Mo Ostin gave the company's producers the most unexpected instruction ever uttered by a top executive in a corporate label - 'Let's stop trying to make hit records.'" -- on page 12
In the late 1950's Warner Brothers Records began as off-shoot of the famous movie studio, and at first was considered somewhat of a red-headed stepchild - sorry, to all of you ginger-tinged folks - and/or merely an afterthought to the loudmouthed and egomaniac boss Jack Warner. However, guided by the thoughtful approach and sure hand of label president and later chairman Morris 'Mo' Ostin - a most unlikely corporate music executive, but (solely on the basis of this book) who actually sounds like one of the coolest guys EVER - the L.A.-based company begin to turn a profit as the 60's bled into the 70's. How did that happen? Ostin encouraged his eclectic group of subordinates to 'go with their gut' in recruiting talent for their ever-expanding roster . . . and they were soon able to sign Jimi Hendrix, Joni Mitchell, James Taylor, Fleetwood Mac, Van Halen, Prince, Madonna, R.E.M., and the Red Hot Chili Peppers, to name only a handful of acts. Sonic Boom was a wonderfully humorous and fast-moving narrative - author Ames' easy knowledge and familiarity of rock music biz (he has written bios on Paul Simon and Bruce Springsteen) is readily evident here - detailing the WBR label's extraordinary rocket-like ascent towards mega-success, although the text's focus is more so on the corporate 'suits' (an array of former disc jockeys, advertising men, etc.) calling the shots than the musicians themselves. Still, there were a number of great anecdotes and stories included, especially the 1971 debutante-like gala thrown to introduce Alice Cooper, which has to be read to be believed.
In the late 1950's Warner Brothers Records began as off-shoot of the famous movie studio, and at first was considered somewhat of a red-headed stepchild - sorry, to all of you ginger-tinged folks - and/or merely an afterthought to the loudmouthed and egomaniac boss Jack Warner. However, guided by the thoughtful approach and sure hand of label president and later chairman Morris 'Mo' Ostin - a most unlikely corporate music executive, but (solely on the basis of this book) who actually sounds like one of the coolest guys EVER - the L.A.-based company begin to turn a profit as the 60's bled into the 70's. How did that happen? Ostin encouraged his eclectic group of subordinates to 'go with their gut' in recruiting talent for their ever-expanding roster . . . and they were soon able to sign Jimi Hendrix, Joni Mitchell, James Taylor, Fleetwood Mac, Van Halen, Prince, Madonna, R.E.M., and the Red Hot Chili Peppers, to name only a handful of acts. Sonic Boom was a wonderfully humorous and fast-moving narrative - author Ames' easy knowledge and familiarity of rock music biz (he has written bios on Paul Simon and Bruce Springsteen) is readily evident here - detailing the WBR label's extraordinary rocket-like ascent towards mega-success, although the text's focus is more so on the corporate 'suits' (an array of former disc jockeys, advertising men, etc.) calling the shots than the musicians themselves. Still, there were a number of great anecdotes and stories included, especially the 1971 debutante-like gala thrown to introduce Alice Cooper, which has to be read to be believed.
April 5, 2021
This was a fascinating and entertaining read about Warner Brothers Records ("WBR") and its history.
WBR was well ahead of its time culturally and I saw so many parallels between what it was doing in the 1960s, 1970s, and 1980s for its clients (artists) and employees that companies are still trying to adopt and emulate today. It was a culture that embraced openness, a family-like vibe, acceptance of others, genuine care for mental health, and dismissed a traditional hierarchy. It also valued quality work product over potential hits and record breaking sales. It truly amazed me that WBR had adopted a relationship with its artists that embraced creative thinking, risk taking, and above all else, quality work.
It was such a great message to show that when you value your clients (artists) and employees, everything else will fall into place. Feeling respected and appreciated led to more hit singles, gold and platinum albums, and employee and artist loyalty than anything else. The money was almost an afterthought to WBR and because of this, it didn't seem to stop flowing!
I also loved the stories Carlin shared from days where the artists hung around the WBR offices, the chairman accepted opinions about albums from people in the mailroom, and on a particularly gloomy day, someone hired monkeys to ride around on tricycles to lighten the mood. I could envision Alice Cooper's launch party and though I didn't grow up during the era for most of this music, I could still feel it in my bones through the way Carlin lovingly described how bands got together, songs and albums came about, and how WBR accepted and believed in new artists that ended up changing the entire landscape of music.
The story of WBR followed several individuals but Mo Ostin was definitely my favorite. He just felt so down to earth though a complete genius at his craft. It was also really fascinating how he sort of fell into the record business and ultimately became one of the most successful and reputable chairmen in the history of the industry.
I wish I knew more about the artists from the time when WBR was really exploding and I think for those individuals who grew up listening to this music and can remember the wild WBR ads and albums and album art, this will really be a book that is near and dear to them. Even without recognizing all the bands and artist names, I was fully captivated and enthralled with the story. It was well told, fairly well organized, and the research Carlin conducted and conveyed was impressively extensive.
If you're a music lover, particularly of musics from the 1960s through the 1980s, this is an absolute must read.
Thank you to Henry Holt for a copy of this novel.
WBR was well ahead of its time culturally and I saw so many parallels between what it was doing in the 1960s, 1970s, and 1980s for its clients (artists) and employees that companies are still trying to adopt and emulate today. It was a culture that embraced openness, a family-like vibe, acceptance of others, genuine care for mental health, and dismissed a traditional hierarchy. It also valued quality work product over potential hits and record breaking sales. It truly amazed me that WBR had adopted a relationship with its artists that embraced creative thinking, risk taking, and above all else, quality work.
It was such a great message to show that when you value your clients (artists) and employees, everything else will fall into place. Feeling respected and appreciated led to more hit singles, gold and platinum albums, and employee and artist loyalty than anything else. The money was almost an afterthought to WBR and because of this, it didn't seem to stop flowing!
I also loved the stories Carlin shared from days where the artists hung around the WBR offices, the chairman accepted opinions about albums from people in the mailroom, and on a particularly gloomy day, someone hired monkeys to ride around on tricycles to lighten the mood. I could envision Alice Cooper's launch party and though I didn't grow up during the era for most of this music, I could still feel it in my bones through the way Carlin lovingly described how bands got together, songs and albums came about, and how WBR accepted and believed in new artists that ended up changing the entire landscape of music.
The story of WBR followed several individuals but Mo Ostin was definitely my favorite. He just felt so down to earth though a complete genius at his craft. It was also really fascinating how he sort of fell into the record business and ultimately became one of the most successful and reputable chairmen in the history of the industry.
I wish I knew more about the artists from the time when WBR was really exploding and I think for those individuals who grew up listening to this music and can remember the wild WBR ads and albums and album art, this will really be a book that is near and dear to them. Even without recognizing all the bands and artist names, I was fully captivated and enthralled with the story. It was well told, fairly well organized, and the research Carlin conducted and conveyed was impressively extensive.
If you're a music lover, particularly of musics from the 1960s through the 1980s, this is an absolute must read.
Thank you to Henry Holt for a copy of this novel.
February 20, 2021
Full disclosure: I won a free ARC of this book in a Goodreads giveaway. And apparently I’ve won often enough that I can just type “Full” and then keep selecting the middle option to let the predictive text finish the sentence for me …
This is one of those books where the front cover tells you pretty much all you need to know. Carlin tells the story of Warner Bros. Records, from the label’s beginnings through to the early 90's and the departure of visionary chairman, Mo Ostin. In that time, WBR racked up an impressive number of legendary artists and recordings. Many of the defining acts of multiple eras were Warner stars. It's a legacy that's unlikely to be repeated.
Truth be told, though I have a sizable music collection, I’ve never taken special notice of the WBR label. If I were to count, I’d probably find that a significant percentage of it consists of Warner or affiliated labels though. The company is really just too large and too diverse for the label alone to mean anything to me. After reading this book, though, I definitely have great respect for their roster, an impressive array of talent by any standard.
Part of the secret of their impressive success is that they didn't sign acts based on hit-making potential. The central question was always, “Is the music good?” They were willing to nurture bands through several records with complete artistic freedom, interested more in what the critics thought than how many copies were sold. This paid off in the long run, sometimes in unexpected ways.
Another part of their success was simply being in the right place at the right time. The 60's and 70's were a time of explosive growth for rock and roll, and for the record industry in general. Warner was well-poised to catch the wave and ride it for all that they were worth. Yes, they had exceptional people and exceptional music, but they were also living in an exceptional time for the music industry. In some ways, the history of Warner through the early 90's was a perfect storm, not that that makes it any less fascinating to read about.
Peter Ames Carlin does an outstanding job with this book. He understands how music matters, and through his prose I was able to understand how, during their golden age Warner Bros. Records mattered--and still matter, really. Highly recommended!
This is one of those books where the front cover tells you pretty much all you need to know. Carlin tells the story of Warner Bros. Records, from the label’s beginnings through to the early 90's and the departure of visionary chairman, Mo Ostin. In that time, WBR racked up an impressive number of legendary artists and recordings. Many of the defining acts of multiple eras were Warner stars. It's a legacy that's unlikely to be repeated.
Truth be told, though I have a sizable music collection, I’ve never taken special notice of the WBR label. If I were to count, I’d probably find that a significant percentage of it consists of Warner or affiliated labels though. The company is really just too large and too diverse for the label alone to mean anything to me. After reading this book, though, I definitely have great respect for their roster, an impressive array of talent by any standard.
Part of the secret of their impressive success is that they didn't sign acts based on hit-making potential. The central question was always, “Is the music good?” They were willing to nurture bands through several records with complete artistic freedom, interested more in what the critics thought than how many copies were sold. This paid off in the long run, sometimes in unexpected ways.
Another part of their success was simply being in the right place at the right time. The 60's and 70's were a time of explosive growth for rock and roll, and for the record industry in general. Warner was well-poised to catch the wave and ride it for all that they were worth. Yes, they had exceptional people and exceptional music, but they were also living in an exceptional time for the music industry. In some ways, the history of Warner through the early 90's was a perfect storm, not that that makes it any less fascinating to read about.
Peter Ames Carlin does an outstanding job with this book. He understands how music matters, and through his prose I was able to understand how, during their golden age Warner Bros. Records mattered--and still matter, really. Highly recommended!
February 10, 2021
Another pop music/record company history, catnip to me. I believe I have read another book about Warner Bros. Records, or at least some chapters in a larger history because some of this was not new to me. The author did a great job with research, talking to Mo Ostin, who was there at the beginning, and other biggies. There are a lot of fun details (the early WB records were easy-listening instrumentals done by musicians who were under contract elsewhere and therefore couldn't be credited) and gossipy details (a decadent debutante coming-out ball for Alice Cooper), and we get a good sense of most of the personalities involved in WB over the years (Ostin, Joe Smith, Ted Templeton, Lenny Waronker). The structure, mostly chronological, gets a little tipsy at times, and some eras and artists are glossed over quickly--though Joni Mitchell, Fleetwood Mac and Prince get some coverage, they don't get enough. The author also usually collapses Warner and Reprise, except when he doesn't, and references get even messier later when Atlantic and Electra become part of the conglomerate. But the book is fun to read for those who already have some sense of the pop music scene of 60s and 70s, and Carlin has given me a new appreciation for how Warner and Reprise operated.
June 20, 2021
This was a quick read, well researched book about Warner Brothers Records and focusing on the time when Mo Ostin was involved (the mid-60’s to the mid-90’s). It is more a book about the business rather than the music. The artists and albums are framework, but the meat comes from the company interworkings and relationships. I learned a lot from the book.
February 1, 2021
Carlin is, among other things, the author of a highly regarded biography of Bruce Springsteen. In Sonic Boom, he tells the story of Warner Bros. Records during the Mo Ostin era.
In telling this story, the book captures a good chunk of the story of the development of the American record business in the rock era, characterized by Warner/Reprise’s move from 1950’s pop into rock. And, indeed, the Warner/Reprise labels were highly regarded for their artist-friendly style, their willingness to take chances on artists and their patient artist development approach. But the truth is that other major labels at the time each had their examples of working with artists for several albums until a breakthrough occurred. Warner wasn’t unique in that regard; the growing profitability of the rock music market allowed labels to take those chances in the late ‘60s and ‘70s. Carlin isn’t wrong in the portrait he draws of Warner, but the uniqueness of it is somewhat exaggerated.
Carlin also spends far too much time describing Warner’s quirky, creative advertisements, although much of that was for institutional or corporate advertising, rather than in support of specific records. That might be great for company image and morale, but it didn’t sell records. (Carlin does note that, in his interview with Lenny Waronker for the book, Lenny was critical of this effort.)
Carlin’s sources for the book seem to primarily be the Warner executives (most of whom are no longer with the company—dead, moved on or retired). The book would have been better and more complete, I think, if he had interviewed artists and especially other executives in the music business not in the Warner family, to get their perspectives. (He does credit artists as sources, but there’s little obvious evidence of this in the book.)
In telling this story, the book captures a good chunk of the story of the development of the American record business in the rock era, characterized by Warner/Reprise’s move from 1950’s pop into rock. And, indeed, the Warner/Reprise labels were highly regarded for their artist-friendly style, their willingness to take chances on artists and their patient artist development approach. But the truth is that other major labels at the time each had their examples of working with artists for several albums until a breakthrough occurred. Warner wasn’t unique in that regard; the growing profitability of the rock music market allowed labels to take those chances in the late ‘60s and ‘70s. Carlin isn’t wrong in the portrait he draws of Warner, but the uniqueness of it is somewhat exaggerated.
Carlin also spends far too much time describing Warner’s quirky, creative advertisements, although much of that was for institutional or corporate advertising, rather than in support of specific records. That might be great for company image and morale, but it didn’t sell records. (Carlin does note that, in his interview with Lenny Waronker for the book, Lenny was critical of this effort.)
Carlin’s sources for the book seem to primarily be the Warner executives (most of whom are no longer with the company—dead, moved on or retired). The book would have been better and more complete, I think, if he had interviewed artists and especially other executives in the music business not in the Warner family, to get their perspectives. (He does credit artists as sources, but there’s little obvious evidence of this in the book.)
June 14, 2023
I really enjoyed this one. I was blissfully unaware of Warner's spot in music history. Sure, when I was younger, I knew I owned a disproportionate number of albums on the Elektra/Asylum and Sire rosters, but I never really put it all together until this book.
Mo Ostin was obviously a freaking pioneer in any industry. As I read how he guided the company, all I could think is, this is the polar opposite of how every single corporate entity runs. This isn't just a cool book about some cool music makers and how one company elevated them, it's also an important instruction manual on how to run a business.
Hire people for their talent. Give them some space to both learn and make mistakes. Then, trust them to do what they do best. Don't restrict them, empower them.
I loved this book for the stories. I loved it for the personalities. I loved it for the musicians. But I loved it most for the message.
Mo Ostin was obviously a freaking pioneer in any industry. As I read how he guided the company, all I could think is, this is the polar opposite of how every single corporate entity runs. This isn't just a cool book about some cool music makers and how one company elevated them, it's also an important instruction manual on how to run a business.
Hire people for their talent. Give them some space to both learn and make mistakes. Then, trust them to do what they do best. Don't restrict them, empower them.
I loved this book for the stories. I loved it for the personalities. I loved it for the musicians. But I loved it most for the message.
November 17, 2021
The amazing rise and long, long run of Warner Bros. Records to the top of the heap of all record companies is laid out in detail in this thoroughly enjoyable book. Let by Mo Ostin, Warner Records put the artists first, and introduced the world to the most remarkable roster in popular music history – Jimi Hendrix, Fleetwood Mac, Madonna, Prince, REM, the Grateful Dead, Van Halen, and so many more. And to think it all started with Bob Newhart! Fans of popular music will devour this book.
January 10, 2026
This is an excellent history of a very successful record company. There are lots of interesting little stories involving famous musicians and bands, but that is not the focus. The focus is on the organization. They were successful primarily because they believed in signing talented people and letting them do their thing. They listened to their artists and did not try to "build" hit-makers.
September 9, 2020
Sonic Boom: How Warner Bros. Records Revolutionized Rock 'n' Roll by Peter Ames Carlin is that rare book that talks about the business side of the entertainment industry, in this case music recording, and makes it interesting.
I tend to enjoy books that explain how the business side of things work but I also have realistic expectations. I certainly expect to be surprised at how things really work yet I don't necessarily expect to actually want to compulsively keep turning the pages. Carlin made this both very informative and very entertaining. It probably also helps that my record buying history started in the mid-60s, so this book covers the period of time I remember well.
I won't try to retell what is in the book, I'm not sure how I would even try. I will mention a couple of things that really made the book appealing to me before I ever started it. If you're also someone who bought a fair number of records, you'll probably have a couple things of your own that will spur you on.
First, I remember getting sampler records from Warner Bros. that would usually include an artist or two I knew but the rest were new to me. Those were fun because it was a cheap and easy way to discover new music, which was the point. Some of my friends hated them but I loved them.
Second, I was/am a big Prince fan so I have always been bothered by the way the relationship between him and WB soured the first time. Even as a fan I realized that it was not as simple and straightforward as Prince made it out to be, but I also held a bit of a grudge against WB because I felt the dispute robbed listeners of several years of good music and substituted mediocre music, for which both parties are to blame.
There is a great mix of behind the scenes information as well as many of the biggest names in popular music of the last few decades of the 20th century. It made me want to go back and listen to a lot of music. Nostalgia is a powerful force!
I would recommend this to music buffs, especially rock/pop music of the late 60s on. It is a far more entertaining read than you might expect for a behind the scenes type book.
Reviewed from a copy made available by the publisher via NetGalley.
I tend to enjoy books that explain how the business side of things work but I also have realistic expectations. I certainly expect to be surprised at how things really work yet I don't necessarily expect to actually want to compulsively keep turning the pages. Carlin made this both very informative and very entertaining. It probably also helps that my record buying history started in the mid-60s, so this book covers the period of time I remember well.
I won't try to retell what is in the book, I'm not sure how I would even try. I will mention a couple of things that really made the book appealing to me before I ever started it. If you're also someone who bought a fair number of records, you'll probably have a couple things of your own that will spur you on.
First, I remember getting sampler records from Warner Bros. that would usually include an artist or two I knew but the rest were new to me. Those were fun because it was a cheap and easy way to discover new music, which was the point. Some of my friends hated them but I loved them.
Second, I was/am a big Prince fan so I have always been bothered by the way the relationship between him and WB soured the first time. Even as a fan I realized that it was not as simple and straightforward as Prince made it out to be, but I also held a bit of a grudge against WB because I felt the dispute robbed listeners of several years of good music and substituted mediocre music, for which both parties are to blame.
There is a great mix of behind the scenes information as well as many of the biggest names in popular music of the last few decades of the 20th century. It made me want to go back and listen to a lot of music. Nostalgia is a powerful force!
I would recommend this to music buffs, especially rock/pop music of the late 60s on. It is a far more entertaining read than you might expect for a behind the scenes type book.
Reviewed from a copy made available by the publisher via NetGalley.
January 21, 2021
If you are old enough to remember when vinyl records were the only choice to buy music, you, like me, will love the behind-the-scenes rock music production stories included in the excellent Sonic Boom.
In 1958, Jack Warner started Warner Bros Records to cash in on the profits that the soundtracks from his movies were making other record companies. His one rule? “No rock ‘n’ roll on my label.” That was to change less than ten years later as the label changed the trajectory of music by embracing music as an art form and not a business.
“I’m trying to stop record companies from using artists, and start artists using record companies.”
I didn’t realize how transformative Warner Bros Records was—not only to music but pop culture itself. Think of a pop or rock icon and more likely than not they worked with WBR sometime in the past. From Frank Sinatra, Joni Mitchell, The Grateful Dead, Neil Young, Fleetwood Mac, Prince, to The Red Hot Chili Peppers, every music style is included.
However, my personal favorite portion of the book was the description of how management changed over the years. Regardless of the loose dress code and extensive drug use, WBR was by the 1990s a turbulent cauldron of office politics and unreserved backstabbing. After all, running a multimillion dollar company was a zero sum game since only one person could be in charge.
If you like music, you need to read Sonic Boom. 5 stars and a favorite!
Thanks to Henry Holt & Company and NetGalley for a copy in exchange for my honest review.
In 1958, Jack Warner started Warner Bros Records to cash in on the profits that the soundtracks from his movies were making other record companies. His one rule? “No rock ‘n’ roll on my label.” That was to change less than ten years later as the label changed the trajectory of music by embracing music as an art form and not a business.
“I’m trying to stop record companies from using artists, and start artists using record companies.”
I didn’t realize how transformative Warner Bros Records was—not only to music but pop culture itself. Think of a pop or rock icon and more likely than not they worked with WBR sometime in the past. From Frank Sinatra, Joni Mitchell, The Grateful Dead, Neil Young, Fleetwood Mac, Prince, to The Red Hot Chili Peppers, every music style is included.
However, my personal favorite portion of the book was the description of how management changed over the years. Regardless of the loose dress code and extensive drug use, WBR was by the 1990s a turbulent cauldron of office politics and unreserved backstabbing. After all, running a multimillion dollar company was a zero sum game since only one person could be in charge.
If you like music, you need to read Sonic Boom. 5 stars and a favorite!
Thanks to Henry Holt & Company and NetGalley for a copy in exchange for my honest review.
July 18, 2021
This is not a book for any old music fan, such as star biographies by folks such as Clapton, Elton, Bowie and the likes. . Instead this is a look at how Warner Brothers 's /Reprise became the biggest conglomerate music company/distributor in music history.
One man made this happen-Mo Ostin-but if you asked him he would quickly point out Joe Smith and an army of hard working fun loving lucky individuals that knew, or should I say, heard, talent when it came to their ears.
As the main cog in the wheel, Ostin listened to his staff and took chances on such diverse bands bands as Alice Cooper, Hendrix, Cream, Rikki Lee Jones, Arlo Guthrie, Parliment, Prince and the Grateful Dead, along with so many others but also had a cavalcade of artists you may have never heard of had it not been for Warners gambling on their talent, fans, and buzz on the street. They took chances and an empire rich with musical treasures came our way. Love this book.
One man made this happen-Mo Ostin-but if you asked him he would quickly point out Joe Smith and an army of hard working fun loving lucky individuals that knew, or should I say, heard, talent when it came to their ears.
As the main cog in the wheel, Ostin listened to his staff and took chances on such diverse bands bands as Alice Cooper, Hendrix, Cream, Rikki Lee Jones, Arlo Guthrie, Parliment, Prince and the Grateful Dead, along with so many others but also had a cavalcade of artists you may have never heard of had it not been for Warners gambling on their talent, fans, and buzz on the street. They took chances and an empire rich with musical treasures came our way. Love this book.
February 8, 2021
I received an advance reading copy of this book, for free, through Goodreads First Reads program in exchange for my honest review.
Peter Ames Carlin’s Sonic Boom: The Impossible Rise of Warner Bros. Records From Hendrix to Fleetwood Mac to Madonna to Prince is a detailed look at the inner workings of the record industry. Warner Bros. Records was founded in the late 1950s as an offshoot of the legendary Warner Bros. film studio. The goal was to distribute the studios’ film soundtracks and produce recordings by Warner contract players such as Tab Hunter.
The label struggled for nearly a decade; losing money until visionary record executive Mo Ostin took over and changed the company’s culture. Ostin’s outside the box thinking turned the company around, and made Warner Bros. Records the most successful record label for the next quarter century.
Prior to Ostin’s arrival, the company philosophy was to look at the hits other record labels had, and then try to emulate them. Ostin’s strategy for success was an unorthodox one: stop trying to make hit records! Instead, he encouraged the artists to focus on simply creating good albums, which would then later be turned into hits.
The paradigm shift was seismic and Warner Bros. Records would reign as the top record label from 1967 to 1994. During that time, the company’s roster featured some of the biggest musical acts of all time. The Grateful Dead, James Taylor, Fleetwood Mac, Van Halen, Tom Petty, Prince, Madonna, R.E.M., and the Red Hot Chili Peppers were just a handful of artists to record for Warner Bros.
Through interviews with the major players, including the Mo Ostin, Carlin delivers the definitive account of Warner Bros. Records reign atop the music industry. Sonic Boom is a quick and interesting read. Anyone interested in the record industry, how it works, and what goes on behind-the-scenes should definitely pick up a copy.
Peter Ames Carlin’s Sonic Boom: The Impossible Rise of Warner Bros. Records From Hendrix to Fleetwood Mac to Madonna to Prince is a detailed look at the inner workings of the record industry. Warner Bros. Records was founded in the late 1950s as an offshoot of the legendary Warner Bros. film studio. The goal was to distribute the studios’ film soundtracks and produce recordings by Warner contract players such as Tab Hunter.
The label struggled for nearly a decade; losing money until visionary record executive Mo Ostin took over and changed the company’s culture. Ostin’s outside the box thinking turned the company around, and made Warner Bros. Records the most successful record label for the next quarter century.
Prior to Ostin’s arrival, the company philosophy was to look at the hits other record labels had, and then try to emulate them. Ostin’s strategy for success was an unorthodox one: stop trying to make hit records! Instead, he encouraged the artists to focus on simply creating good albums, which would then later be turned into hits.
The paradigm shift was seismic and Warner Bros. Records would reign as the top record label from 1967 to 1994. During that time, the company’s roster featured some of the biggest musical acts of all time. The Grateful Dead, James Taylor, Fleetwood Mac, Van Halen, Tom Petty, Prince, Madonna, R.E.M., and the Red Hot Chili Peppers were just a handful of artists to record for Warner Bros.
Through interviews with the major players, including the Mo Ostin, Carlin delivers the definitive account of Warner Bros. Records reign atop the music industry. Sonic Boom is a quick and interesting read. Anyone interested in the record industry, how it works, and what goes on behind-the-scenes should definitely pick up a copy.
October 22, 2022
The closer I got to the end, the more it felt like a Mo Ostin hagiography. And the final chapters confirmed it. Also: I was lured into reading it because of the front cover references to Madonna and Prince, but both are minor footnotes.
Having said that, I learned a lot about the origins of the label, especially that it hadn’t always been (as I’d long assumed) just another branch of a massively successful organization from the start.
There are very few references to the competition, and the means that all industry players used to *make* the hits in the 70s and 80s. The reference to Clapton’s “Unplugged” success coming at the time it did serves the corporate rug-pulling story he intended, but it sets aside (if everything in that retelling is true) the machinations that ensured Clapton’s album and single would be hits. That—whatever it took—would have told me a lot more about the business of music than 200 pages of “just go do.”
And saying in one or two paragraphs that Ostin was a master negotiator who got what he wanted despite anything anyone could say to him makes no sense when every story about the company investing any amount of money in any project involved him basically shrugging and saying, “sure, whatever.” So which is to be believed?
I’m grateful for what I learned here but perhaps I’m interested now in a more far-reaching (incorporating more of the competition, big and small) and yet minutely detailed (payola) description of the industry then, one that can either support or refute the claims in Danen’s “Hit Men.”
Having said that, I learned a lot about the origins of the label, especially that it hadn’t always been (as I’d long assumed) just another branch of a massively successful organization from the start.
There are very few references to the competition, and the means that all industry players used to *make* the hits in the 70s and 80s. The reference to Clapton’s “Unplugged” success coming at the time it did serves the corporate rug-pulling story he intended, but it sets aside (if everything in that retelling is true) the machinations that ensured Clapton’s album and single would be hits. That—whatever it took—would have told me a lot more about the business of music than 200 pages of “just go do.”
And saying in one or two paragraphs that Ostin was a master negotiator who got what he wanted despite anything anyone could say to him makes no sense when every story about the company investing any amount of money in any project involved him basically shrugging and saying, “sure, whatever.” So which is to be believed?
I’m grateful for what I learned here but perhaps I’m interested now in a more far-reaching (incorporating more of the competition, big and small) and yet minutely detailed (payola) description of the industry then, one that can either support or refute the claims in Danen’s “Hit Men.”
February 13, 2021
Interesting book for music fans, especially those of a certain age.
Although the book says it's about the rise of Warner Brothers Records, it's really about Mo Ostin, the longtime head of the company. The author was able to get the usually tight lipped Ostin to discuss his past, and the through line of the story runs parallel with Mr. Ostin's rise through the ranks. The heavy focus of the book is the 60's and 70's. Much of the 80's (Madonna, Prince (who grew to hate his record company) and REM get relatively short shift.
The author introduces a number of people who were early and/or central figures in the rise of Warner Brothers Records, but their storylines are abandoned. I was forced to hit Google to see what became of several of these individuals. An additional chapter or two tying off those stories and careers would have been helpful.
Carlin is a good writer - I've read his books on Simon, Springsteen and McCartney. The Springsteen book may have been the best one of the lot, but is unfortunately largely forgotten now that Bruce wrote his beast of an autobiography. Carlin's work here is solid - he can move between music criticism, business jargon, and biography with ease.
Recommended for music fans who wonder who the people were on the label or the liner notes of their favorite 70's albums. Other casual fans may want to pass this one by.
Although the book says it's about the rise of Warner Brothers Records, it's really about Mo Ostin, the longtime head of the company. The author was able to get the usually tight lipped Ostin to discuss his past, and the through line of the story runs parallel with Mr. Ostin's rise through the ranks. The heavy focus of the book is the 60's and 70's. Much of the 80's (Madonna, Prince (who grew to hate his record company) and REM get relatively short shift.
The author introduces a number of people who were early and/or central figures in the rise of Warner Brothers Records, but their storylines are abandoned. I was forced to hit Google to see what became of several of these individuals. An additional chapter or two tying off those stories and careers would have been helpful.
Carlin is a good writer - I've read his books on Simon, Springsteen and McCartney. The Springsteen book may have been the best one of the lot, but is unfortunately largely forgotten now that Bruce wrote his beast of an autobiography. Carlin's work here is solid - he can move between music criticism, business jargon, and biography with ease.
Recommended for music fans who wonder who the people were on the label or the liner notes of their favorite 70's albums. Other casual fans may want to pass this one by.
September 28, 2023
The book starts out with the author smoking a joint and isolating before listening to Van Dyke Parks' Song Cycle, hoping that this time he will be able to fully appreciate it.
(That album is apparently legendary -- I had not heard of it previously -- but also legendarily weird. Listening to it now, I think Carlin was trying too hard. It's unconventional and experimental, and that's okay, but a lot of those albums you love is how much you enjoy them or how much they resonate with you, and experimental ones don't always hit that way.)
Anyway, that kind of set the tone, where any time the writing gets overly effusive or something seems to trail off weirdly, I wondered if it was the grass. There is certainly plenty of drug use popping up with the artists and executives anyway, not just with the Grateful Dead.
The book gives a lot of interesting information and is well-sourced, but it also wasn't particularly enjoyable or resonate. It wasn't bad, but I'm not going to try harder to make sure I get it.
I had a different books about Warner Music on my reading list, but ended up reading this one because the author is local and I am familiar with him for his covering television in The Oregonian. I like him fine, but we personally do not vibe.
Maybe it's the grass.
(That album is apparently legendary -- I had not heard of it previously -- but also legendarily weird. Listening to it now, I think Carlin was trying too hard. It's unconventional and experimental, and that's okay, but a lot of those albums you love is how much you enjoy them or how much they resonate with you, and experimental ones don't always hit that way.)
Anyway, that kind of set the tone, where any time the writing gets overly effusive or something seems to trail off weirdly, I wondered if it was the grass. There is certainly plenty of drug use popping up with the artists and executives anyway, not just with the Grateful Dead.
The book gives a lot of interesting information and is well-sourced, but it also wasn't particularly enjoyable or resonate. It wasn't bad, but I'm not going to try harder to make sure I get it.
I had a different books about Warner Music on my reading list, but ended up reading this one because the author is local and I am familiar with him for his covering television in The Oregonian. I like him fine, but we personally do not vibe.
Maybe it's the grass.
February 14, 2021
My thanks to NetGalley for an advanced copy of this book.
Peter Ames Carlin's Sonic Boom: How Warner Bros. Records Revolutionized Rock 'n' Roll is a profile/biography of the record label under the leadership of No Latin, an important person in music and record label history, which soon becomes clear. The book describes both the art and the artists curated and cultivated by the label where music was first, the money could and sometimes did not was something for later. Ames covers every aspect of the business, from recording, production, marketing even the making of the LPs and their distribution. Plus his interviews give voice to many of those who saw, created , schemes to get ahead, or just a better deal for themselves. Its truly amazing a label like this existed,and each page is full of interesting facts, comments and ideas on art and its creation. An excellent book for both fans and serious musicphile.
Peter Ames Carlin's Sonic Boom: How Warner Bros. Records Revolutionized Rock 'n' Roll is a profile/biography of the record label under the leadership of No Latin, an important person in music and record label history, which soon becomes clear. The book describes both the art and the artists curated and cultivated by the label where music was first, the money could and sometimes did not was something for later. Ames covers every aspect of the business, from recording, production, marketing even the making of the LPs and their distribution. Plus his interviews give voice to many of those who saw, created , schemes to get ahead, or just a better deal for themselves. Its truly amazing a label like this existed,and each page is full of interesting facts, comments and ideas on art and its creation. An excellent book for both fans and serious musicphile.
August 11, 2022
An interesting story of how a group of men and women also, were told to go with their gut when finding new talent. All of them thought out of the box and though many would at times think that maybe, just maybe it would be a risk they went ahead and signed an artist. Be it Jimmi Hendrix, Joni Mitchell, James Taylor Fleetwood Mac, The Eagles, even Van Halen, Prince, Madonna many others as well. During this time I was buying records, and vinyl but I really never paid attention to the labels until much later when I really started collecting albums, but many of the artists that were talked about in this book I listened to and or bought their records. Finding out the back story was and is just an added bonus for me. Of course, some of the artists myself and others did not need advertising we would just buy the next album. Finding out about that side was a plus as well, I found this to be a very fascinating book with plenty of information. I received this book from Netgalley.com
October 27, 2025
Sonic Boom is a high voltage chronicle of creativity, risk, and rebellion at the heart of the music industry’s most influential record label. Peter Ames Carlin brings the history of Warner Bros. Records to life with the same pulse and passion that powered its iconic roster from Hendrix and Fleetwood Mac to Madonna and Prince.
Carlin captures the spirit of Mo Ostin’s visionary leadership and the unconventional approach that transformed Warner Bros. from a struggling imprint into a cultural powerhouse. Through vivid storytelling, insider anecdotes, and thoughtful analysis, Sonic Boom reveals how a label that defied the traditional music business model ended up redefining it entirely.
More than a music history, this book is a portrait of artistic trust, innovation, and the delicate balance between creative freedom and commercial success. Carlin doesn’t just tell the story of an era he captures its rhythm.
Carlin captures the spirit of Mo Ostin’s visionary leadership and the unconventional approach that transformed Warner Bros. from a struggling imprint into a cultural powerhouse. Through vivid storytelling, insider anecdotes, and thoughtful analysis, Sonic Boom reveals how a label that defied the traditional music business model ended up redefining it entirely.
More than a music history, this book is a portrait of artistic trust, innovation, and the delicate balance between creative freedom and commercial success. Carlin doesn’t just tell the story of an era he captures its rhythm.
February 9, 2024
Having recently reread Marvel Comics: The Secret History of Marvel Comics I was struck by the many similarities between the story or Warner Bros. Records and Marvel, from how Stan Lee's "Bullpen Bulletins" shared the same language and style as Warner's 60's artist disparaging advertisements to how both companies were a seemingly creative free-for-alls until corporate overlords prioritized profit over creativity as the '80s moved toward the '00s.
The book is thoroughly researched and full of minutia so it may not be for everyone. Personally I found the story quite interesting and was impressed by all record labels such as Sire, Island and Atlantic that I had no idea fell under the WBR banner.
The book is thoroughly researched and full of minutia so it may not be for everyone. Personally I found the story quite interesting and was impressed by all record labels such as Sire, Island and Atlantic that I had no idea fell under the WBR banner.
August 18, 2022
"Sonic Boom" is a breezy hagiography of Warner Brothers Records, primarily under the direction of Mo Ostin. Carlin's story is largely dictated by the executives (Ostin, Joe Smith, Lenny Waronker, etc) who serve as his primary sources. In Carlin's telling, Warner Brothers was a latter-day musical Eden, until outside corporate interlopers screwed it all up by forcing out Ostin. Time and again, Carlin smooths over rough edges as Warner moves from triumph to triumph. Near the end, he allows that maybe Warners was not as enlightened with women, and maybe some people here and there were not treated fairly (Seymour Stein, for example). Overall, this was an entertaining read, but nothing I think I will return to in the future.
July 25, 2025
Sonic Boom is an amazing book. I had been waiting since the mid-1970s to hear about the whole story of the earlier days of Warner Bros Records ever since my 11-year-old self had bought the first Loss Leader sampler double LP (1969’s Song Book.) From that I became hooked on the whole Warner Bros Records story/vibe/attitude/eclecticism. Warner Bros Records and their Loss Leader samplers did more to form my lifetime musical tastes than anything else. I loved the fact that the book extensively covered their approach to marketing because that was a huge draw for me--they made me personally feel like part of their journey to make incredible music available, as opposed to just focusing on making hit records. Such a treat to have this book.
March 29, 2023
Although the author (at times) 'over-writes' he was able to capture the flair and feeling of the late sixties and early seventies Pop music boom with authority and factual details. It is a fascinating story and well worth the read - another historic tale of what happens when someone's ego meddles with something that isn't broken. Like Ron White says, 'you can't fix stupid.'
As for the subtitle of the book, you will not find the definitive history of Hendrix, Fleetwood Mac, Madonna, or Prince here. You will only read some (small) details of how they were incorporated into Warner Brother's Records and how they were allowed to become the stars that they eventually became.
As for the subtitle of the book, you will not find the definitive history of Hendrix, Fleetwood Mac, Madonna, or Prince here. You will only read some (small) details of how they were incorporated into Warner Brother's Records and how they were allowed to become the stars that they eventually became.
October 9, 2024
Serviceable history and surprising insights. Not the best writer: sometimes formulaic, and sometimes verging on awkward if not groan-inducing stylistic overreach. Strangely less was said about these last 20-25 years—essentially since the rise of Napster and the upending of the music business they helped create and lead. Nonetheless worth reading for musicians, dedicated supporters of musicians' artistic integrity, and certainly anyone now in the music biz looking to appreciate a historic grounding of how business was once built on genuine respect for Artistry and Culture—without which no music executive or conglomerate could even exist.
October 25, 2021
What a great book on the reason Warner Brother Records was so bad ass - back in the day. They signed up 90+ acts in the 1967-1971 time frame. These folks enjoined with Frank Sinatra's Reprise Records to make music history. The bad news if it was only for Frank -they would have missed the point and the boat. Warner Bros left the music move them. The gave The Grateful Dead 3 three to wonder around. That music is still a gold mine today. The lesson to be learned is great hits follow great music. Make great music. Back the artist long-term.
June 8, 2022
Odd book from this author because he usually writes more details. It was well constructed by starting with Van Dyke Parks. I had to look for the album. For a long history with areas that could be a book in itself, it hits the high points.
Warner Brothers Records wouldn’t record Rock N roll, but did jazz and novelty. Under novelty, they branched out till they recorded several genres and rock.
Jack Warner, Frank Sinatra’s history with the label are given a lot of space. Mo Ostin is a huge reason for a lot of the success.
I learned a lot, not in detail but a lot of touches.
Warner Brothers Records wouldn’t record Rock N roll, but did jazz and novelty. Under novelty, they branched out till they recorded several genres and rock.
Jack Warner, Frank Sinatra’s history with the label are given a lot of space. Mo Ostin is a huge reason for a lot of the success.
I learned a lot, not in detail but a lot of touches.
December 29, 2020
History of Warner Brothers Records. I found out things I did not know had anything to do with this company. Nicely presented with information about artists. It was fun to read about artist I had forgot started on this label. Good book for any music buff. Thanks to Netgalley, the author and the publisher for the arc of this book in return for my honest review. Receiving the book in this manner had no bearing on this review. Recommended.
February 5, 2021
Almost a career biography of Mo Ostin the legendary chairman of Warner Records and a paen to the golden era of popular music . One for students of popular music but I found it strangely unsatisfying - a bit like having a very good starter in a restaurant only to find there is no main course . I felt that the book could have been twice the length and got under the surface a bit more and in the end seemed a bit like a chronological human equivalent of a discography
April 8, 2021
Totally entertaining. As a business book, it’ll probably tell you more what you shouldn’t do than should, but back in the seventies, it worked somehow. As a kid, I remember my particular fascination with the Loss Leaders advertised on WB liner sleeves-if only I had $2 and a stamp back then, I would have had them all. Fascinating look at marketing, and music, and as Joni put it, ‘the star-making machinery.’
August 27, 2021
(2 1/2). This book gives a really fun look at how Mo Ostin and his crew created an amazing record company. The concept of favoring the music and the artists over the immediate need for profit, and having it all work out so fabulously flies in the face of corporate policy in the most delightful way. If you are a music nut or a modernist music history enthusiast this is pretty much a must read piece. The details and events will bore many, but for those interested, it is pure candy. Fun stuff.
Displaying 1 - 30 of 57 reviews