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WaterTower Music, Warner Bros.' in-house music label, was launched in January 2010 as a reimagining and rebranding of New Line Records to create music assets as diverse as the films, television shows and interactive games they support. 

Housed on the Burbank lot, in the offices occupied by Warner Bros. Records during its heyday in the 1960s, the WaterTower Music team works to discover the most compelling music possible to broaden consumers' awareness of a brand or project on a visceral level. They believe the right music can engage a consumer's imagination in an entirely different way than a commercial or billboard. A truly successful soundtrack is one that inspires fans to invest both in the music itself and in the film, television or interactive content on which it's based. 

Each project requires involvement, creative input and collaboration between music supervisors, composers, directors, producers, musicians and the WaterTower team. Being located on the lot in Burbank allows the team to easily and efficiently communicate with colleagues across any Warner Bros. division. 

From comedies to dramas, action adventures and everything in between, the talented and resourceful team at WaterTower Music helps make sure that Warner Bros.' projects sound as good as they look.

Jackson Browne is not only a pivotal figure in the artistic history of Elektra/Asylum – remaining with the label for a remarkable 30 years – but the very existence of Asylum Records was a direct result of his exceptional talent. When artist manager David Geffen was initially unsuccessful in securing a recording deal for the L.A.-based singer/songwriter, he turned to his mentor, Atlantic Records founder Ahmet Ertegun – who suggested that if he truly believed in Browne, he should start his own label as a joint venture with Atlantic. Founded in 1971, Asylum’s earliest releases included Browne’s self-titled debut (1972), followed by For Everyman (1973) and Late For The Sky (1974).
Meanwhile, at the urging of Elektra’s departing founder Jac Holzman, Warner Communications turned to Geffen to lead Elektra, and Browne – along with his friends the Eagles and Linda Ronstadt – became part of the newly merged Elektra/Asylum. It was a fitting turn of events, since Browne’s links with Elektra went back half a dozen years. In 1967, he had signed a publishing deal with Nina Music, a division of Elektra named after Holzman’s then-wife. Browne’s songs were recorded by such artists as Tom Rush and then-girlfriend Nico, and during a brief stint in New York he played in Tim Buckley’s backing band.

Although Browne’s first three albums had been critically acclaimed and commercially successful, he was still not selling as many records as Elektra thought he could. In 1976, it was The Pretender that finally brought Jackson to a wider, deeper audience, with the title track and “Here Come Those Tears Again” among the highlights. Jackson’s introspective examinations of life “caught between the longing for love and the struggle for the legal tender” resonated everywhere. His next release, the 7-times platinum Running on Empty (1977) became his best-selling album, and his role as an iconic artist of his generation was forever cemented. Browne remained with the label until 2002, having charted a rare three-decade career with the first label that had signed him.

Recording Artist - Stream My Music FREE Pandora - Spotify - AppleMusic- Soundcloud Inquiries:cameronairborne@gmail.com

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