The book is essentially a time line of the history of the label, consisting of lengthy quotes from just about everyone who was involved (owners, artists, producers etc.) surrounding essays by several of the best music writers around. In the opening chapter Ertegun relates where the owners were coming from and how they got into the business. It sets the tone for the rest of the book, and sets the standard for photography too, since it contains a vast collection of black and white photographs of some of the best American artists of the time.

The early years (1947-54) are documented by Greil Marcus. This was the period when the label established its identity, which largely reflected the owners. Nat Hentoff then picks up on the label's heritage in jazz music, which included recordings of Charles Mingus, John Coltrane and Ornette Coleman and the indefatigable Ray Charles, who almost defies categorization. Will Friedwald later returns to the jazz theme, covering the mid-50's through to the mid-70's.

The third essay, by Lenny Kaye, describes how Atlantic dealt with the introduction of rock'n'roll into the American culture. Rather than just follow the trend, Atlantic continued to evolve its own musical identity. This approach was helped by cohorts like Jerry Wexler, songwriters Jerry Leiber and Mike Stoller, as well as a roster of class acts that included the Drifters, the Coasters, Chuck Willis and the aforementioned Ray Charles.

Time marched on, and the label continued to evolve, passing through its Southern Soul period, documented by Robert Gordon. This is probably the period that most people can relate to best, since this was when Otis Redding, Solomon Burke, and Rufus Thomas were all recording for the label.

The start of the shift of emphasis away from the label's roots is dealt with by Robert Christgau. Although several of the old acts were still around, there were new kids appearing on the block such as Cream, Buffalo Springfield and Led Zeppelin. Somehow, Atlantic has always managed to keep away from the worst excesses of every musical era, and maintain its musical standards. This is even true of the disco period, covered by Vince Aletti, where Atlantic had some of the classier acts around: Sister Sledge, The Tramps and Chic, to name but three. Even during "The Great Age of Excess, 1972-1986," as David Fricke's essay is called, they had Abba on board.

The final essay, Barney Hoskyns' "The Soul In The Machine" is not about soul music as such, but the soul of the label, namely the acts and styles that have kept the label going into the new millennium. Even though things in the music scene have changed so much over the lifetime of the label, it continues to evolve. This was the era that gave us the likes of The Lemonheads, Jewel and Hootie and the Blowfish.

It is hard to do justice to a book like "What'd I Say" in a short(ish) review. Suffice to say, it is a "must have" book. It is not the sort of book that you could sit down and read at one sitting, and although it fits into the "coffee table" category of books, it is probably too big and too heavy for all but the sturdiest of tables. The cost of the book is more than justified by the photographs alone. The essays and commentary simply help to complete the picture of one of the most important labels in music history.

You can now order other CDs, books, and videos from Blues On Stage in association with Amazon.com. Simply click on the logo at the left and shop! They have some of the best prices on the web and even offer some used product at lower prices.

This review is copyright © 2002 by Gordon Baxter, and Blues On Stage at: www.mnblues.com, all rights reserved. Copy, duplication or download prohibited without written permission.
For permission to use this review please send an E-mail to Ray Stiles.

You can help support this blues website by making a contribution (click on the banner below for details)