Phillip Rauls 70's pics with Atlantic Records # 7

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Photo 7 Page reveals a hastened period of Phillip's career when his profile could be summarized by a wacky cliche that he coined; "I'm just an international jet-setting swinging playboy bachelor record executive, cool, calm, sophisticated, suave and debonair photo bum." offers Phillip. As demonstrated by those obvious comments, it was definitely a time that he took nothing serious.

As the road-circus continues, below are a series of Phillip's favorite photographs that are sometimes revealing and candid. Also displayed are classic memorabilia and collectables that were accumulated somewhere on the concert trail during the mid-1970's. Photos subject to copyright protection.


In 1971 "Love The One You're With" by Stephen Stills peaked at #4 in Billboard Singles Chart. This classic song on Atlantic became the national anthem for the free-wheeling Love Generation.

"Each college concert Stills would wear a different football jersey provided by the local team." says Phillip. "The gesture was well received by university crowds as Stephen Stills played his ass-off for supportive students."

Traveling on tour in YES's private Lear Jet had it's distinct advantages...

Such as prepairing herbal tea maybe?

The band's custom-calligraphed logo was produced by famed artist Roger Dean who also canvassed numerous YES album covers. Plus, documented in the noted book "The Authorised Biography of YES" Phillip Rauls was credited with being instrumential in the establishment of the band's early success in the U.S.

By the early 1970's, YES was a major concert draw throughout the world. As members of the band evolved in the early stages, a patched-together photo saved the day. This Atlantic press photo captured the nucleus of band members for years to follow. (L-R) Chris Squire, Jon Anderson, Rick Wakeman, Alan White and Steve Howe.

YES drummer Alan White watches cautiously as producer Eddie Offord horse-plays with a leather whip. Never one to be without a toy and with a great sense of humor, Eddie Offord carried a duck-caller on his belt holster and would often sound-off loud "Quacks" between songs from his seat located at the mixing board at YES concerts.

The "Close To The Edge" album by YES was their crowning achievement and stands up as their finest work. The U.S tour supporting this album featured The Eagles as opening act. As you might suspect, the tour kept an Atlantic promo guy very busy whereas both bands came-up with chart busting albums that established their careers.

YES's superb soundman Eddie Offord displays a baloon image of himself created by Phillip for this demented (c) photo. On the serious side, Eddie Offord was highly-respected sound technician and brillantly produced several key YES LP's while also producing Emerson, Lake and Palmer albums as well. His work captured the Progressive Rock movement in it's infancy.

Phillip Rauls captures a self portrait at the top of a stairwell mirror located at the Royal Sonesta Hotel in New Orleans, 1973. The Crescent City was a playground for many of Atlantic's rock bands.

The Eagles released their first album on Asylum Records distrubuted by Atlantic. But get this: Their first major concert tour was performing as the opening act for headliners YES. Talk about a contrast of styles but the tour was a smashing success nevertheless. It appeared that The Eagles sailed into stardom by this monumental debut tour. (photo source unknown)

YES and The Eagles joined together for a single concert tour was perhaps the greatest combination of a concert package ever scheduled.

Pictured here is an early Eagles press photo from Asylum Records when the band was a foursome.

Up-and-coming record industry mogul David Geffen (R) launched Asylum Records thru a distribution deal with Atlantic Records. Upon that accord Phillip was assigned to promote and tour with Asylum's newly signed artists: The Eagles, Jackson Brown, Jo Jo Gunne, Judee Sill, J.D. Souther, Batdorf & Rodney, David Blue and Joni Mitchell. Above standing left next to Asylum Records president David Geffen is The Eagles drummer Don Henley.

"Saturate Before Using" by Jackson Brown was the next album and tour scheduled for Phillip to partake. But this tour was scheduled for Jackson Brown to open for another Asylum artist, Joni Mitchell, whereas she was hyper-sensitive to being over shadowed by a newcomer.

Meanwhile, former Memphian and member of The Mar-Keys, Don Nix, releases a new LP on Shelter Records.

The infamous Don Nix received the dubious honor of being recognized in Playboy Magazine's "Bubbling Under Esquire Magazine's Hot 100." In hip-terms that meant the top 100 folks in the Pop World. Or something like that. See Nix top left-2nd photo.

By the mid-70's Playboy Magazine was the top selling publication. Plus, their centerfold inserts made excellent wall covering for the bachelor pad.

Beatle George Harrison recruited Don Nix to assemble the vocal choir for the legendary Concert For Bangladesh.

In 1972, Phillip was assigned to tour and provide label support of new-comer Bette Midler. Media interviews poured-in on this campy sexpot singer whose piano accompanist was Barry Manilow.

The Atlantic Records promotion staff even had their own company football team known as "The Heavies." Phillip is pictured seated-center with football in hand. (double-click to enlarge)

The Atlantic Atco Cotillion Asylum News Bulletin announces Phillip's promotion as Atlantic's Southeastern Region Promotional Manager combined with the dual responsibility of Artist Relations Manager of the Southern Region (dated June 12, 1972).

1971 was a historic year for Atlantic; the company signed the world's greatest rock band, The Rolling Stones. Out of that alliance came two major albums, "Sticky Fingers" and "Exile On Main Street."

Pop artist Andy Warhol designed the Rolling Stones' logo and "Sticky Fingers" album cover.

The Rolling Stones' American tour that year was the most publicized, most photographed and most written about concert tour of the entire era. (photo source Don Kirshner Productions)

Ah yes, the hits just keep on coming. Here's a photograph from Phillip of a billboard on Sunset Strip announcing the release of The Rolling Stones "Exile On Main Street" album. Just like many of their songs, the artwork caused much controversy.

"Exile On Main Street" was a platinum selling album on Atlantic Records and yielded the hits "Tumbling Dice" and "Happy." The album was recorded in the residence of Keith Richards basement located in France with assistance of the Rolling Stones mobile recording unit. The album was produced by Jimmy Miller with additional portions later completed in L.A.

Atlantic Records executive Mario "Big M" Medious was the industry's first promotion man to call upon and promote records at FM Radio when it was referred to as Underground Radio. Years later it became mainstream when officially being renamed as Album Rock, Album Radio and Album Oriented Rock (aka AOR).

Originally Atlantic Records home office was located at 1841 Broadway in New York City until it moved in 1973-74 to Rockefeller Plaza as a part of the Warner Communications Group.

The Atlantic executive brass from the New York office board a bus in front of the Le Meridien Hotel in Paris in the early 1970's. (L-R) Mark Shulman, Derek Sutton, Shelly Vogel, Dave Glew and Bob Kornhouser (partially hidden). Atlantic Records celebrated a very successful year with a convention held there.

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