Some Crow While Others Just Kvetch : Companies that are plugged in to the newest artists are the ones that fare best in the latest edition of Record Company Scorecard.

You can debate all you want about what is valued more in pop music--image or craft, melody or rhythm, physical beauty or artistic vision. But here’s the one common denominator in today’s pop world: change.

Of the year’s 25 best-selling albums (as of Dec. 12), guess how many were made by artists whom pop fans would have recognized just five years ago? Two: Salt-N-Pepa and Pink Floyd are the only “veterans.”

Even Mariah Carey, who sells so many records you’d think she’d been around forever, didn’t surface until 1990, making her a veritable old-timer next to such ’95 hit-makers as Ace of Base, Counting Crows, Boyz II Men, Green Day, Candlebox, Warren G and Offspring, an Orange County-based indie band who proved that you don’t need a major record label to go triple platinum.

This dramatic influx of new talent is just one reason why the record industry had one of its most profitable years ever--and why its most successful companies are the ones with A&R; staffs best equipped to spot gifted young artists. In the early ‘90s, the rush was on to sign established free-agent superstars. But why pay a premium if an unknown artist can rocket from nowhere to No. 1? Seeing how quickly Nirvana and Pearl Jam emerged as mega-platinum pop icons, high-rolling record labels engaged in an unprecedented series of bidding wars for new talent, paying upward of $1 million to sign young rock contenders.

There’s plenty of money to go around, thanks to the increasing popularity of the CD format, which provides record labels with a considerably higher profit margin on each purchase. With the industry adding a dollar to its superstar CD prices, the result is a huge boom in revenues, with domestic sales approaching the $11-billion mark by year’s end, up nearly 10% from last year.

For a more complete picture of the year’s ups and downs, Pop Eye offers its annual Record Company Scorecard, which analyzes the 1994 performance of the industry’s major companies--and picks each company’s artists to watch in 1995. The evaluations are based on SoundScan sales estimates and interviews with key industry figures, who evaluated companies on both image and performance.

BMG

Arista: Forget about that $70 million-plus NBA contract Anfernee Hardaway signed this year. If you want to see a b-i-i-i-g contract, wait till you see what Clive Davis will get to stay at Arista, which is as hot as any company in the business. Most of Davis’ acts are critical featherweights, but they’re heavyweights on the charts, where both Ace of Base and Toni Braxton enjoyed huge records, while holdover albums from Alan Jackson and Whitney Houston remained top sellers. Other big releases included Crash Test Dummies and Kenny G’s Christmas album, which hit No. 1 and is still going strong. Coming attractions: a new label with Offspring manager Jim Guerinot, a Houston hits package and new albums from Annie Lennox and Taylor Dayne.

RCA: At this label, “Dumb and Dumber” isn’t just the name of a new soundtrack album. It’s bad enough when a label’s only success is a soundtrack (“Reality Bites”), but what really hurts is that RCA passed on a chance to sign “Reality” songstress Lisa Loeb, putting the label on the signing-war sidelines when Loeb’s single “Stay (I Missed You)” became a huge hit. After signing ZZ Top to a $30-million deal, the label’s first ‘Top album fizzled. Is it any wonder that months after sending Joe Galante back to Nashville the label can’t find anyone to take its top job? 1995 picks: the Dave Matthews Band and rappers Tha Alkaholiks.

MCA

Geffen: For any other label, it would’ve been a disastrous year: Kurt Cobain commits suicide, Aerosmith and Don Henley defect to rival labels and Guns N’ Roses, beset by inner turmoil, seems to have lost its sure-thing status. But Geffen has always had a knack for reinventing itself. President Ed Rosenblatt brought in a new crop of baby A&R; execs who won more bidding wars than any other label, signing such promising acts as Veruca Salt, Elastica and Jawbreaker. With Counting Crows ending the year with SoundScan’s biggest-selling rock album and Hole coming on strong, the label’s future looks bright. Trade of the Year: Don Henley (last solo album: 1989) for the Eagles’ “Hell Freezes Over,” which debuted at No. 1. Coming attractions: Lisa Loeb, Elastica and Roots.

MCA: No one moves country music like MCA, where Nashville darlings like Reba McEntire and Vince Gill enjoyed continued success this year, with the emergence of the Mavericks making up for a disappointing outing from Lyle Lovett. Sales were slower on the black music side, with only Uptown’s Mary J. Blige now emerging as a platinum contender. Despite some promising sales by Live, MCA is not considered a factor in the rock arena: The label’s reissued Jimi Hendrix albums sold more than 1 million copies (though a pending legal battle over ownership looms) and it had success with its “Rhythm Country & Blues” project, but career building is still a major MCA weakness. ’95 projects include alternative bands the Nixons and Dimestore Hoods.

PolyGram

A&M;: It was a good year here, thanks to patient artist development, which paid big dividends for Sheryl Crow and the Gin Blossoms as well as for Soundgarden, who had one of the year’s top-selling CDs. On the black music front, A&M;’s Perspective label has been a bust, but Barry White, of all people, surfaced as a chart contender at year’s end. The only nagging question: Can A&M; keep its focus while releasing 60-plus albums next year (up from 35 this year)? Priorities for ’95 include a new Aaron Neville release as well as albums from alternative acts Monster Magnet and Dishwalla.

Island: With Chris Blackwell actively involved with the label again, Island had a solid year, enjoying a big breakthrough with Melissa Etheridge while continuing its pop success with Salt-N-Pepa and the Cranberries. Sales were also strong at newly acquired Def Jam, which hit rap paydirt with a huge record from Warren G and is riding high now with Method Man. Coming attractions: Stereo MC’s, LL Cool J and PJ Harvey.

Mercury: It was a dreary year at Mercury, which remains a label in decline, especially in terms of attracting promising rock talent. The label’s top brass deserves credit for making Vanessa Williams a pop star while recasting Jon Bon Jovi, with some success, as a Rod Stewart-type pop singer. But until it beefs up a weak A&R; staff, it will have to survive on sales from such aging artists as Def Leppard and John Mellencamp. Due in ‘95: new albums from Def Leppard, INXS and Rusted Root.

Motown: The big story--the only story--is Boyz II Men’s “II,” which hasn’t left the Top 10 since late August, giving the label its biggest hit since . . . the last Boyz II Men album. For ‘95: Stevie Wonder.

Sony

Columbia: The industry’s well-oiled hits machine delivered again this year--but some signs of rust were showing. The label’s mega-stars hit their marks, with big sales from Mariah Carey, Pink Floyd and Michael Bolton. But the label didn’t break a rock band all year, contenting itself with strong sales from Alice in Chains and hip-hop newcomer Da Brat, who made up for rap rookie Nas’ sluggish debut. To remedy matters, Columbia is launching a West Coast label with industry vets Jeff Ayeroff and Jordan Harris, who will absorb the alternative-oriented Chaos label. Priorities in ’95 include singer Jeff Buckley and hip-hopstress Dionne Farris, plus new albums from Soul Asylum and Bruce Springsteen.

Epic: In an industry full of self-promoters, it’s nice to see Epic’s self-effacing chairman Dave Glew enjoying a triumphant year. You couldn’t ask for a better balanced label, with a monster rock band in Pearl Jam, mainstream pop from Celine Dion, Luther Vandross and Babyface, alternative pop from the Indigo Girls and gangsta-rap from MC Eiht. Top that off with a big year from Epic Soundtrax, which hit home runs with “Forrest Gump” and “Philadelphia.” Even with a weak outing from the Spin Doctors, Epic’s A&R; signing coups portend a healthy future. ’95 priorities include Brit faves Oasis, songstress Des’ree and Rage Against the Machine.

Thorn-EMI

Capitol: The Tower raked in money through shrewd marketing of its deep catalogue, which provided re-packaged Beatles albums (and a “Live at the BBC” collection) and a Frank Sinatra duets sequel. Label mainstay Bonnie Raitt had solid sales, as did the Beastie Boys, whose Grand Royal label brought in newcomers Luscious Jackson. But Gary Gersh’s fabled A&R; skills have produced few results, with Capitol losing to Geffen and Interscope in the year’s big new-talent bidding wars. Insiders say that Gersh might nab more new talent if he had more autonomy from EMI Group chief finance officer Terry Santisi. Key ’95 projects include R&B; songstress Rachelle Ferrell and rockers Triple Fast Action.

EMI Record Group: Out with the old president (Daniel Glass) in with the new (Davitt Sigerson). Few are betting it will make any difference at a label with such a spotty track record. The strength of EMI Records Group chairman Charles Koppelman (whose domain also includes Liberty and Capitol, where he was instrumental in both the “BBC” package and the Sinatra duets) is promoting records, not building careers. The image of EMI, which includes his old SBK label, is still one of a label that runs up huge marketing bills and concocts controversial stunts (the latest a Garth Brooks-McDonald’s tie-in) while once-promising artists like Arrested Development and Sinead O’Connor fall off the radar screen. Key in ‘95: R&B; singer-producer D’Angelo and super-model Milla.

Virgin: The Rolling Stones did whatever it took (including a beer ad) to sell records, joining Smashing Pumpkins, Janet Jackson and Enigma as the label’s big success stories. The label also joined the gangsta-rap world with Scarface, which arrived via Rap-A-Lot Records. Virgin’s new-band signings were hampered, however, by turmoil between label president Phil Quartararo and executive vice president Nancy Berry (wife of Virgin CEO Ken Berry), prompting a her-or-me ultimatum before Quartararo won a vote of confidence. Coming attractions: indie faves Royal Trux, L.A. cow-punks Geraldine Fibbers and hip-hop soulsters Massive Attack.

Time Warner

American: A disaster. With a bomb from Sir Mix-a-Lot and a woeful start for Black Crowes’ much-touted “Amorica,” the label didn’t have any of the year’s Top 200 albums. Memo to label chief Rick Rubin: Stop moonlighting as a record producer and focus on your own company. ’95 priorities include Pete Droge, Danzig and the Jayhawks.

Atlantic: It was a good year for the label’s mainstream stars, thanks to huge sales from Stone Temple Pilots, All-4-One and John Michael Montgomery, plus strong showings from Tori Amos and Collective Soul. The label had less luck with its crop of critic darlings (Liz Phair, Juliana Hatfield and the Lemonheads), who couldn’t match their modest past sales. Meanwhile the much-heralded Page-Plant reunion album is fading fast, hindered by a steep $19.98 list price. Outgoing label chief Danny Goldberg gave the label an image infusion; now it’s up to new president Val Azzoli to provide some substance. ’95 projects include Hootie & the Blowfish, Brandy and Bettie Serveert.

Elektra/East West: The label’s artist-oriented image took a beating this year, first with the forced exit of chairman Bob Krasnow, then with a nasty tussle between his corporate chiefs and Metallica, the label’s top act. Chairman Sylvia Rhone inherits the label’s rich artist roster, which delivered a big pop album from Anita Baker and had a strong showing with its 10,000 Maniacs “Unplugged” album. Unfortunately, the label’s costly Motley Crue re-signing has been a bust while Keith Sweat and Pantera couldn’t equal previous sales highs. Good news: Artist-oriented exec Seymour Stein arrives as president. ’95 projects include Natalie Merchant, the Cure and Better Than Ezra.

Giant: Just why Warner Music is considering renewing its deal with Giant is a mystery to some who’ve perused this label’s current artist roster (though a Don Henley-Eagles signing might give the label added commercial clout). Outside of speciality projects like the Eagles tribute album “Common Threads,” Giant has little besides Big Head Todd & the Monsters (who had a weak second album) and country crooner Clay Walker. On deck: Green Apple Quick Step and Christopher Williams.

Interscope: You must be doing something right if you’re about to sell your company for a whopping $300-million-plus. Critics say the ‘Scope wildly overpays for new bands, but while other new labels have struggled, Jimmy Iovine and Ted Field’s company has flourished, enjoying huge sales from Death Row bad boys Snoop Doggy Dogg and Dr. Dre (who also produced the soundtrack hits “Above the Rim” and “Murder Was the Case”). Nine Inch Nails’ Trent Reznor also emerged as the year’s alternative-rock icon. On the down side, Tom Jones has been an expensive flop so far, and 4 Non Blondes has broken up. Coming attractions: R&B; singer Xavier, Brit-rockers Bush and rap newcomer Jewell.

Warner Bros: It’s hard to imagine anyone ousting the top brass of a more successful company. With hits flying from all directions, chairman Mo Ostin and president Lenny Waronker exit in style, dominating the charts with hits from both established artists like R.E.M., Eric Clapton and Tom Petty as well as newcomers Green Day and Candlebox, the latter the product of a savvy label deal with Madonna, who managed decent sales of her own. Warners even made progress in black pop, with big records from Tevin Campbell and Seal, while breaking country artist David Ball. The biggest downer: career-threatening nuttiness from not-so-fresh Prince. On deck: Red Hot Chili Peppers, Belly and the Flaming Lips.

Best of the Rest

Offspring’s punk energy put Epitaph Records on the map, outselling every new major-label alternative artist except Green Day. . . . Tim McGraw had the biggest country record of the year on Curb Records, which moves to the Atlantic Group next year. . . . R. Kelly had a big year for Jive Records, a joint venture with BMG. . . . New Age instrumentalist Yanni was a huge seller for Private Music. . . . Ice Cube had another strong year at Priority. . . . Coolio was a big hit for Tommy Boy. . . . And rappers Bone Thugs-N-Harmony had the biggest sales at Ruthless Records.

Chuck Philips and Steve Hochman contributed to this article.