Building A New Label
Establishing Arista’s Identity
Arista Records initially gained a reputation as a pop label, largely due to the monumental success of Barry Manilow. However, Clive Davis envisioned Arista as a comprehensive major label, similar to Columbia Records, with a diverse portfolio spanning pop, progressive rock, R&B, and more. This vision required aggressive signings across all genres to establish Arista as a serious player in the music industry.
Melissa Manchester: Balancing Artistry and Hits
Melissa Manchester was one of the artists Clive retained from Bell Records. Despite her talent and expressive vocal range, her career plateaued after her initial success with “Midnight Blue” (1975). Clive encouraged her to record outside material, a suggestion Melissa resisted, as she saw herself as a songwriter akin to Joni Mitchell or Bonnie Raitt.
Clive ultimately convinced her to record “Don’t Cry Out Loud” and “You Should Hear How She Talks About You,” which became Top 10 hits. The latter earned Melissa a Grammy Award in 1983. However, Melissa disliked both songs, reflecting ongoing tension between Clive’s commercial instincts and her artistic vision.
Eric Carmen: Transitioning from Rock to Pop
Eric Carmen, formerly of the Raspberries, signed with Arista after impressing Clive with his piano performance of “All by Myself.” His 1975 debut solo album featured the hit singles “All by Myself” (number two) and “Never Gonna Fall in Love Again” (number eleven), establishing him as a pop artist. Despite initial success, Eric struggled to return to rock radio and resisted Clive’s suggestion to co-write with others, leading to a plateau in his career.
Bay City Rollers: A Pop Phenomenon
The Bay City Rollers, a Scottish boy band, became a sensation in the U.S. under Clive’s guidance. Clive selected “Saturday Night” as their breakout single, arranging a prime-time TV performance on Saturday Night Live with Howard Cosell. The single reached number one, sparking Rollermania. Hits like “Money Honey” and “I Only Want to Be With You” followed, cementing their status as pop icons in the mid-1970s.
The Outlaws: Establishing Arista’s Rock Credibility
The Outlaws, a Southern rock band from Florida, became the first rock act signed to Arista. Their 1975 debut album featured “There Goes Another Love Song,” which cracked the Top 40, and “Green Grass and High Tides,” a rock radio staple. The band’s consistent output over seven years helped Arista gain credibility in the rock genre.
The Alan Parsons Project: A Progressive Rock Success
The Alan Parsons Project brought a progressive, conceptual edge to Arista. Their albums, including I Robot and Eye in the Sky, achieved platinum and gold certifications despite the duo’s refusal to tour or promote traditionally. Clive leaned into their mystique, treating their releases like cinematic events, which resonated with the era’s fascination with science fiction and conceptual art.
Other Early Signings: Wins and Challenges
- Funky Kings and The Alpha Band: Despite high hopes and critical acclaim, these acts failed to produce breakout hits.
- Loudon Wainwright III: Signed to both Columbia and Arista, Loudon’s preference for acoustic settings over rock band arrangements limited his mainstream appeal.
- Eric Andersen: Though a respected folk artist, Eric’s Arista releases lacked the radio-friendly hits needed for major success.
The One Who Got Away: Tom Petty
Clive faced a pivotal decision when legal complications forced Shelter Records to offer either Tom Petty or Dwight Twilley to Arista. Clive chose Twilley, who had an existing hit, but was unable to sustain his success. Petty, meanwhile, went on to become a rock legend.
Facts from the Narrative
Pop Hits Foundation: Early successes with Barry Manilow, Melissa Manchester (“Midnight Blue,” “Don’t Cry Out Loud”), and Eric Carmen (“All by Myself”) established Arista as a significant player in pop music.
Rollermania: The Bay City Rollers’ “Saturday Night” became Arista’s first number-one single, sparking a pop culture phenomenon.
Rock Presence: The Outlaws brought credibility to Arista’s rock roster, with “There Goes Another Love Song” and “Green Grass and High Tides” achieving lasting success.
Progressive Innovation: The Alan Parsons Project’s conceptual albums (I Robot, Eye in the Sky) achieved multiplatinum sales despite the group’s unconventional approach.
Missed Opportunity: Arista passed on Tom Petty, prioritizing Dwight Twilley, whose career faltered despite early promise.
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