Dear listeners,
One of my absolute favorite albums released during my recent break from this newsletter is “Headlights” by Philadelphia rocker Alex G. This album is a wonderfully eclectic and alluringly strange listen. I almost described Alex as an indie rocker, but that’s not quite accurate anymore; “Headlights” marks his first record since signing with RCA. This places “Headlights” firmly within a musical tradition I’ve always found incredibly intriguing: the major-label debut.
A major-label debut signifies that an artist has already captivated audiences with music released on a smaller independent label (and Alex certainly fits this description, with “Headlights” being his tenth album). Now, they’ve embraced greater ambition and a larger budget. Of course, this move sometimes comes with the dreaded accusation of being a — shudder — sellout. However, thanks to evolving generational perspectives and the challenging economics of streaming, that term doesn’t carry the same sting it did in the 90s.
Alex G cleverly plays with these stereotypes throughout “Headlights.” He wryly mutters, “Hoping I can make it through to April on whatever’s left of all this label cash,” on the laid-back “Real Thing.” Yet, don’t expect obvious radio hits from this album. Longtime fans will likely find comfort in its familiar oddness, which echoes the spirit of indie artists turned major-label pioneers like Sonic Youth, R.E.M., and Nirvana, who successfully brought their unique sounds to a broader (and certainly more expensive) platform.
All these influential bands make an appearance on today’s curated playlist, a celebration of the exhilarating crossroads that is the major-label debut. So, grab your fanciest pen, sign that imaginary contract, and let’s embrace the ‘sellout’ journey together!
When you’re a star, I know that you’ll fix everything,
Lindsay
Listen along while you read.
1. Alex G: “Afterlife”
With its deep percussion and bright, chiming mandolin, this first single from “Headlights” immediately reveals a punchier, more polished sound compared to Alex G’s earlier, collage-like lo-fi compositions. Yet, the track is still rich with his signature off-kilter touches, including surreal lyrics and the distinctive, equine-like neighs that bridge the chorus and verse.
▶ Listen on Spotify, Apple Music or YouTube
2. Pixies: “Debaser”
In the best possible way, Pixies’ 1988 debut LP “Surfer Rosa” sounded as though it was recorded in a damp, possibly haunted sewer—a testament to the late, great producer Steve Albini’s magic. For their 1989 follow-up “Doolittle,” the first Pixies record distributed by Elektra, the band and producer Gil Norton aimed for a cleaner, brighter, and poppier sound, while still maintaining plenty of their signature weirdness. Without getting too ‘High Fidelity’ about it, this “Doolittle” opening track is easily one of the greatest Side One Track Ones of all time.
▶ Listen on Spotify, Apple Music or YouTube
3. Sonic Youth: “Kool Thing”
The acclaimed art-rock band Sonic Youth was dissatisfied with how the now-defunct independent label Enigma Records handled the promotion and distribution of their 1988 masterpiece “Daydream Nation.” When it was time for a follow-up, they transitioned to Geffen Records’ newly established subsidiary, DGC. Sonic Youth, known for their artistic integrity, signing with a major label sent significant ripples through the alternative rock world. Despite their 1990 album “Goo” being their most accessible to date, they skillfully injected plenty of subversive ideas into the mainstream.
▶ Listen on Spotify, Apple Music or YouTube
4. R.E.M.: “Orange Crush”
Another monumental step in underground rock’s journey toward the mainstream was R.E.M.’s signing with Warner Bros. before their 1988 breakthrough album, “Green.” While the album featured a few somewhat ironic (and commercially successful) bids for a big pop hit, such as the cheerful “Stand” and the cheekily titled “Pop Song 89,” the band didn’t shy away from more politically charged material. A prime example is the militant yet melodic “Orange Crush,” which was inspired by the Vietnam War.
▶ Listen on Spotify, Apple Music or YouTube
5. Modest Mouse: “Tiny Cities Made of Ashes”
Although the Portland band Modest Mouse wouldn’t truly become a household name until their infectious 2004 hit “Float On,” their first release on Epic Records was the aptly epic and existentially themed 2000 album “The Moon and Antarctica.” I revisited “The Moon and Antarctica” this summer and found it still holds up incredibly well! I was reminded how much I adore this yelpy, bass-driven track, which sounds a bit like a frustrated Tom Waits song trying to learn how to line dance.
▶ Listen on Spotify, Apple Music or YouTube
6. Elliott Smith: “Waltz #2 (XO)”
After receiving an Oscar nomination for “Miss Misery,” the poignant song he penned for “Good Will Hunting” that brought him wider recognition, Elliott Smith signed with DreamWorks. He then recorded his lush 1998 album, “XO.” This lead single perfectly showcases the fuller, more elaborate sound that defined that release, allowing Smith to fully realize his most Beatles-esque studio aspirations.
▶ Listen on Spotify, Apple Music or YouTube
7. Green Day: “When I Come Around”
One surefire way to shrug off accusations of losing your edge? Title your major-label debut “Dookie.”
▶ Listen on Spotify, Apple Music or YouTube
8. Rilo Kiley: “Portions for Foxes”
I simply had to include this 2004 pop-rock anthem for a couple of reasons: First, the former Saddle Creek Records favorite Rilo Kiley’s move to a Warner imprint for their third album, “More Adventurous,” sparked considerable debate among my high-school friends. Second, I recently caught the band on their reunion tour, which is still ongoing, and it was absolutely fantastic.
▶ Listen on Spotify, Apple Music or YouTube
9. Yeah Yeah Yeahs: “Maps”
The art-rock trio Yeah Yeah Yeahs generated immense buzz in the early 2000s New York underground, largely due to their electrifying live shows and a raw, self-titled EP that made them seem too cool for any major-label polish. So, when the band signed with Interscope before releasing their debut LP, skepticism was high. However, their 2003 landmark album “Fever to Tell” remarkably retained the band’s raw edge while skillfully refining their sound into new, unexpected forms, exemplified by this sparse, deeply emotional, and utterly undeniable ballad.
▶ Listen on Spotify, Apple Music or YouTube
10. Nirvana: “In Bloom”
Finally, we arrive at the ultimate major-label debut: Nirvana’s genre-defining “Nevermind.” The Seattle trio transitioned from the independent label Sub Pop to David Geffen’s DGC Records in 1990. Their subsequent explosive success triggered a wave of lucrative record deals for alternative artists throughout the early and mid-90s. Some interpret this fourth and final single from “Nevermind” as Kurt Cobain’s sharp critique of the fair-weather fans that major-label attention brought: “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 puts it in his Nirvana biography, “Come As You Are,” the “brilliant irony” of “In Bloom” is how incredibly catchy it is, leading millions to sing along, regardless of understanding the lyrics’ deeper meaning.
The Amplifier Playlist
“10 Great Tracks from Major-Label Debuts” track list
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”
An embedded Spotify playlist featuring “10 Great Tracks from Major-Label Debuts”.
An embedded Apple Music playlist featuring “The Amplifier: The Ultimate Hurray for the Riff Raff Primer”.