Majors Vs. Minors Part 1: The Formula
by Bert Caradine

If I were to write out two columns on paper (call them a “Go To” Guide), the determinate being separated by broad generalizations according to genres of music, under “Majors”, I’d list “Pop” artists (Britney, American Idol, boy bands), hip/hop (hardcore, gangsta, thug), mainstream urban (Brandy, Usher), crossover/Top 40 dance (Basement Jaxx, Chemical Bros.), as well as your varying brands of mainstream rock (Velvet Revolver, U2, Incubus, Blink 182). ‘Minors’ would represent everything else.

Back when the industry was flushed with profits from the CD boom of the early 1990’s, the total annual titles released during that period (easily twice the number released in 2004), would overflow what’s left of the record retail bins still in business. Suffice it to say, at no other time in the modern music era was it easier to score a major label record deal.

During my time at Warner, I had the opportunity to observe one of the best radio promotion staffs in the business. Their formula was to sign a bunch of bands, throw their records at the wall – and whatever stuck, that’s what they worked.

Problem is, the formula caught on and has deviated little in its present use – except there’s now far fewer releases., which has given birth to what I call “The Burn Factor.” To demonstrate, I’d like to cite the total U.S. Album sales of the first four Atlantic Record releases by Hootie and the Blowfish:

Cracked Rear View (1994) 16 Million	Fairweather Johnson (1996) 3 Million
Musical Chairs (1998) 1 Million	Smothered and Covered (2000) 438,000

The argument that these sales figures reflect the merits of their content, ignores the fact that music has become just another disposable pop culture brand name, who’s worth is at the mercy of the disloyal, fickle consumer.

This is the same highly coveted music consumer that can turn a 6 million-unit seller, into a 16 million-unit seller.

I can detail the merits of independent labels/distribution (and even indie label distribution through a major), at some length later. But I think it’s important to point out the biggest pothole awaiting any artist at the majors, and the enormity of the expectations awaiting you.

The odds are against any notion of building a catalog at the majors in this day and age. Think of five artists with major hits in the last decade, of which you’re familiar with their catalog. Now, go to a record store and count how many of their studio releases are still available. Sales of even 300,000 to 400,000 units are not viewed upon as deserving of a re-up these days, unless there is a clear potential to reach the 7-figure threshold.

Am I employing intentional scare tactics here? Damn right, I am. The majors are a proven crapshoot, and I’ve seen too many great artists burned in the process. There is a way to prepare oneself for such a leap, a subject matter for another day.