Dear listeners,
My recent break from this newsletter introduced me to Alex G’s incredible album, ‘Headlights,’ a truly eclectic and wonderfully strange rock record from the Philadelphia artist. It’s his first release since joining RCA, which immediately made me think about a particular musical journey I’ve always found captivating: the major-label debut.
This kind of debut implies an artist has already built a devoted following on a smaller, independent label (and Alex G, with ‘Headlights’ being his tenth album, certainly fits that description). Now, they’re stepping onto a bigger stage with larger ambitions and a much larger budget. Of course, this move sometimes comes with the dreaded accusation of ‘selling out.’ But let’s be honest, in today’s music landscape, with streaming revenue being what it is and generational attitudes shifting, that term doesn’t carry the same sting it once did in the 90s.
Alex G himself cleverly pokes fun at these stereotypes throughout ‘Headlights.’ He wryly remarks, ‘Hoping I can make it through to April on whatever’s left of all this label cash,’ on the understated track ‘Real Thing.’ Yet, you won’t find any obvious radio chart-toppers here. Longtime fans will appreciate the album’s signature comforting oddness, echoing the path forged by indie legends who transitioned to major labels, like Sonic Youth, R.E.M., and Nirvana. These pioneers masterfully infused their unique strangeness into a more expansive (and certainly more expensive) creative canvas.
Today’s playlist is a celebration of this thrilling, often precarious, moment in an artist’s career – the major-label debut. So, grab your fanciest pen, prepare to sign that hypothetical contract, and let’s embrace the ‘sellout’ journey together!
When you’re a star, I know that you’ll fix everything,
Lindsay
Listen along as we explore these pivotal tracks.
1. Alex G: “Afterlife”
The very first single from “Headlights,” “Afterlife” immediately grabs you with its deep, resonating percussion and a bright, chiming mandolin. It’s noticeably punchier and more polished than Alex G’s earlier, collage-like lo-fi works. Yet, it’s still packed with those wonderfully off-kilter details his fans love, from surreal lyrics to the high, almost equine neighs that cleverly bridge the chorus and verse.
Available on your favorite streaming platforms.
2. Pixies: “Debaser”
Pixies’ 1988 debut, “Surfer Rosa,” was recorded with a famously raw sound. But for their 1989 follow-up, “Doolittle” — their first record released by Elektra — the band teamed up with producer Gil Norton to achieve a cleaner, brighter, and more pop-friendly sound, while still maintaining their characteristic weirdness. This opening track from “Doolittle” is undeniably one of the greatest Side One Track Ones of all time.
Available on your favorite streaming platforms.
3. Sonic Youth: “Kool Thing”
The influential art-rock band Sonic Youth, after growing frustrated with the promotion of their 1988 album “Daydream Nation” by their independent label, made a significant move to Geffen Records’ subsidiary DGC. Their decision to sign with a major label sent shockwaves through the alternative rock scene, yet their 1990 album “Goo” proved to be their most accessible while still brilliantly embedding subversive ideas within the mainstream.
Available on your favorite streaming platforms.
4. R.E.M.: “Orange Crush”
Another landmark moment in the shift of underground rock toward the mainstream was R.E.M.’s signing with Warner Bros. before their 1988 album “Green.” While the album did feature some commercially successful (and somewhat ironic) attempts at pop hits like “Stand” and “Pop Song 89,” the band didn’t shy away from politically charged material. “Orange Crush,” a powerful and melodic tune inspired by the Vietnam War, is a prime example.
Available on your favorite streaming platforms.
5. Modest Mouse: “Tiny Cities Made of Ashes”
Modest Mouse became a household name with their 2004 hit “Float On,” but their journey to a major label began with the epic and introspective 2000 album “The Moon and Antarctica,” released on Epic Records. This album, which I recently rediscovered and found still absolutely holds up, features “Tiny Cities Made of Ashes” — a yelpy, bass-driven track that somehow blends the raw energy of a Tom Waits song with the frustrated attempts of learning a line dance. It’s fantastic.
Available on your favorite streaming platforms.
6. Elliott Smith: “Waltz #2 (XO)”
After gaining wider attention and an Oscar nomination for his bittersweet song “Miss Misery” from “Good Will Hunting,” Elliott Smith joined DreamWorks Records. His 1998 album, “XO,” showcased a much richer sound, allowing Smith to fully explore his most ambitious, Beatles-esque studio arrangements. This lead single beautifully captures that expansive, defining sound.
Available on your favorite streaming platforms.
7. Green Day: “When I Come Around”
Want to prove you haven’t lost your edge after signing to a major label? Just name your debut album “Dookie.” It worked for Green Day.
Available on your favorite streaming platforms.
8. Rilo Kiley: “Portions for Foxes”
I absolutely had to include this 2004 pop-rock anthem. First, Rilo Kiley’s move from Saddle Creek Records to a Warner imprint for their third album, “More Adventurous,” sparked intense discussions within my high school friend group. Second, I recently caught them on their reunion tour, and it was simply phenomenal!
Available on your favorite streaming platforms.
9. Yeah Yeah Yeahs: “Maps”
In the early 2000s, New York’s art-rock trio Yeah Yeah Yeahs exploded onto the scene with electrifying live shows and a raw, self-titled EP that made them seem too cool for any major label. So, naturally, skepticism was high when they signed with Interscope before their debut LP. However, their 2003 masterpiece “Fever to Tell” brilliantly maintained their signature edge while refining their sound into unexpected forms, delivering gut-wrenching ballads like the unforgettable “Maps.”
Available on your favorite streaming platforms.
10. Nirvana: “In Bloom”
And now, the ultimate major-label debut: Nirvana’s groundbreaking album, “Nevermind.” After moving from the independent Sub Pop label to DGC Records in 1990, this Seattle trio’s monumental success paved the way for countless alternative artists to secure lucrative record deals throughout the 90s. Some interpret “In Bloom,” the fourth single from “Nevermind,” as Kurt Cobain’s subtle jab at the mainstream, fair-weather Nirvana fans drawn in by their major-label fame: “He’s the one who likes all our pretty songs / And he likes to sing along / And he likes to shoot his gun / But he knows not what it means.” Yet, as Michael Azerrad eloquently states in his Nirvana biography, “Come As You Are,” the “brilliant irony” is that the song itself is so incredibly catchy, millions truly do sing along.
Available on your favorite streaming platforms.
The Amplifier Playlist
“10 Great Tracks from Major-Label Debuts” Tracklist:
Track 1: Alex G, “Afterlife”
Track 2: Pixies, “Debaser”
Track 3: Sonic Youth, “Kool Thing”
Track 4: R.E.M., “Orange Crush”
Track 5: Modest Mouse, “Tiny Cities Made of Ashes”
Track 6: Elliott Smith, “Waltz #2 (XO)”
Track 7: Green Day, “When I Come Around”
Track 8: Rilo Kiley, “Portions for Foxes”
Track 9: Yeah Yeah Yeahs, “Maps”
Track 10: Nirvana, “In Bloom”