Grading the New Labels

How did all those new new record labels do in 1992?

The Twin Towers of the ‘90s Generation are Atlantic-distributed Interscope and Warner Bros.-affiliated Def American. Both benefited during the year from savvy A&R; moves, imaginative marketing and a pair of street-wise producers-turned-top executives: Interscope’s Jimmy Iovine and Def American’s Rick Rubin.

Marky Mark and Gerardo got Interscope on the map in 1991, but flopped with ’92 follow-ups. Still, the company showed that it is prepared for the long haul, with solid signings of two bands everybody wanted: Nine Inch Nails and Helmet. It’s also building a rap presence through a deal with gangsta rapper Dr. Dre.

Def American had a lackluster follow-up album from the Black Crowes, but hit paydirt with rapper Sir Mix-A-Lot. With former Triad agent and “Lollapalooza” co-creator Marc Geiger on board to scout alternative rock acts, Rubin is trolling the techno waters for a new generation of hitmakers.

Irving Azoff’s Giant Records (also part of Warner Bros.) has strong holdover sales from its Color Me Badd album, but continues to flounder. Azoff has hired a ton of big-name execs, but a woefully weak A&R; department hasn’t produced any artists for them to work.

In what surely gives new meaning to the phrase shameless exploitation, Disney-owned and Elektra-distributed Hollywood Records put out six Queen packages, including two forgettable Freddie Mercury solo outings.

Most of the other new labels were barely a blip on the radar screen, except for Zoo Records (BMG), which turned a few heads with Matthew Sweet, and Morgan Creek Records (PLG), which produced a successful “Last of the Mohicans” soundtrack.