Hindsight is 20/20. It’s easy to judge naysayers of classic albums now that they’re well…classic. But, label executives have the painstaking responsibility of anticipating reactions to albums while they’re still in the works. While they are often right, sometimes they can be way off the mark.
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Below are three albums that labels weren’t jumping up and down for while they were being made and an analysis of why they actually worked.
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1. Desperado – Eagles
The Eagles‘ label wasn’t amused by the idea of them making a cowboy-themed record in 1973. Though their sound already had a country flair, they leaned hard into that sound with Desperado. A concept record about a wayfaring cowboy, the album lived worlds apart from their debut. Naturally, the powers that be shuddered at the idea of breaking away from what was working for the rockers.
At the time of the album’s release, the label was right. Desperado was met with middling success. Luckily, longtime friend and powerhouse singer Linda Ronstadt swooped in, covered the title track, and gave it newfound fame. The success of the band’s subsequent albums would also prompt retrospective success for the outlaw-tinged record.
We have to chalk up the slow-burning success of this record to shock. We can’t deny there is some whiplash listening to Eagles and then immediately jumping into Desperado, but that doesn’t make the latter album any less impressive. This album features some of the band’s most creative songwriting and we admire the daring move. It’s likely the leap of faith the band took in making this record that has made it such a hit. It stands out from the pack in the Eagles’ catalog, pushing it to the front of fans’ minds whenever they go on an Eagles listening spree.
2. Nevermind – Nirvana
Nirvana effectively put the rock of the ’80s to bed with Nevermind. Long gone were the days of glam metal and ostentatious performances. It was all about subtlety, blasé attitudes, and a heavy helping of angst. Despite becoming a runaway success for the group, their label (DGC Records) approached the release with reservations.
Understandably, DGC decided to treat Nevermind like any release from an alternative act. That meant limited releases in stores and limited marketing. Unbeknownst to them, the rock-loving world was itching for a change of pace. The release plan was not enough to satiate all the wanting Nirvana fans–whose numbers well exceeded the label’s expectations.
Pop culture often works on a pendulum. It swings one way only to come rushing back to the other side just as quickly. The ’80s saw a rise in flashy production and outlandish looks in an effort to appease the video generation. By the time the ’90s rolled around, rock fans were begging for the genre to be grounded. Nirvana with their candid (at times shocking) lyrics and guitar-heavy musicianship brought rock down to earth again. Though DGC never assumed the record was bad by any means, they didn’t quite recognize the tipping point in rock ‘n’ roll.
3. Pet Sounds – The Beach Boys
Brian Wilson truly hit his stride with Pet Sounds. The experimentation on the record is bar none and unarguably opened many doors for subsequent bands to walk through. That being said, The Beach Boys‘ label, Capitol Records, wasn’t sold on the idea. The label felt the music wasn’t commercial enough–particularly when compared to the group’s past work. They were somewhat right. The album’s sales didn’t exactly skyrocket, but what they created was far more valuable than instant profit.
Pet Sounds is now considered one of the most pivotal records of the ’60s. With this album, Wilson ushered in a wave of similar records. You can hear the influence of this album even today. Any band who calls upon the psychedelic spirit of the ’60s has this record to thank.
The world just wasn’t ready for this record. Though we now can appreciate what Wilson was trying to do with all those warbly guitars and lush harmonies, it was novel at the time. Songs like “God Only Knows” and “Here Today” are staggering. Because we are well versed in the vocabulary of psychedelia today, these songs seem as natural as rain. The population of people in the ’60s who hadn’t subscribed to drug culture couldn’t translate Wilson’s unique musical language.
(Photo by Michael Ochs Archives/Getty Images)
