[Chapter 34: Considerations for the Debut Album]
Orlando Records.
In a spacious conference room, the three key executives of Orlando Records were gathered for a meeting.
"...With only two songs, it's not really suitable for a full-length album, and even for an EP, it's a stretch."
Since Michael Jackson's rise from a brilliant newcomer to the world's biggest pop icon, Frank was now fully intent on launching the next MJ.
Orlando's path to fame closely resembled Jackson's early career.
With his looks, the influence of Madonna, and support from the top, Orlando's rise was even faster than MJ's at the same stage.
Lately, many entertainment outlets had crowned Frank as the "King of Agents."
Some eager reporters even went interviewing the founder of CAA, Michael Ovitz, who, upset about losing the title, reminded them that he was the original "King of Agents."
Of course, there were also media voices dismissing Frank's abilities, claiming he was just lucky -- first by discovering Jackson, and then Orlando. They argued that anyone would manage these stars just as well. This made Frank both annoyed and determined to prove himself, doubling down on his work.
He had initially planned to transition toward acting in Hollywood, but these days, he refocused his energy on Orlando.
"Generally, an EP should have at least three tracks, and a full album ideally has eight or more," Frank stated. "So, Orlando, if you want an EP, you'll need to record at least one more song, even though honestly, these two tracks are outstanding."
Frank shrugged. "Even if you release them as singles, I'm confident they'll sell massively."
The two songs, Just the Way You Are and Counting Stars, were already on Frank's radar.
The first was a classic pop love song, sweet and universally appealing. Even though critics often didn't rate them highly, love songs always sold well to broad audiences, no matter the era or country.
Counting Stars, however, was another ground-breaking track from Orlando.
It was pop rock -- but not the usual screaming, rowdy stuff. It was a rare slow rock song boldly featuring acoustic guitar, a staple instrument of country folk music.
Frank even suspected that after Counting Stars dropped, some critics and media would label it "country rock."
After all, Orlando was the originator of "country hip-hop," a totally fresh fusion.
Anytime someone experimented with innovative music, people were quick to dub them a pioneer or the father of new genres.
Because of Counting Stars, Frank already had a marketing angle planned: "Country hip-hop, country rock -- these are all Orlando Keller's creations!"
What did that prove?
It proved that although the country music community had essentially kicked Orlando out of the "country" club, he was actually the true country music aficionado and innovator.
Otherwise, how could both Counting Stars and Old Town Road -- two huge hits with country influences -- be attributed to him?
No other country artist had this kind of range and talent.
If Orlando could create another high-quality, quintessential country track, this narrative would be rock solid.
Country music circles would then have a real dilemma: If they accepted Orlando, they'd be eating crow after all their previous harsh criticisms -- a major blow to their credibility. But if they rejected him, they'd look like fools among country music fans, who saw Orlando as both innovative and authentic, elevating the genre to new heights.
And both songs were top-tier in quality.
In the eyes of Seymour, another top executive and part of Orlando Records' leadership trio, these songs were in the same league as Old Town Road -- perhaps lacking only a bit in buzz since that song stirred racial discussions.
But regardless, they were definitely capable of landing at least a top-three spot on the Billboard singles chart, if not number one.
Now Orlando was considering putting them together as an EP.
Frank supported the idea but also said they could be released as separate singles.
More experienced and professional, Seymour offered his advice.
"Orlando, while releasing them as singles is great," Seymour said, "you really need a proper album. You having these two high-quality songs on your debut album will boost its sales significantly. A successful debut album with strong sales, critical acclaim, and even legendary status can hugely impact your income, fame, and standing in the industry. Orlando, I think you should write at least one or two more new songs and put out an EP as your debut."
That afternoon, the main topic of their meeting was Orlando's new music.
He already had Counting Stars and Just the Way You Are.
With only one song, releasing it as a single made sense.
Now that he had two top-quality songs, should he keep releasing singles separately or hold them together for an album?
Orlando was unsure which choice was better, so he asked his producers to weigh in.
"Let's go with the album," Orlando said decisively.
As the leader of Orlando Records' executive trio, he made the final call.
"Like Seymour said, as a singer, I need to release an album."
Seymour smiled, and Frank just shrugged.
"As for new songs..."
That obviously depended on the Awakening.
By now, Orlando had started to understand how to harness the Awakening a bit more.
He noticed that when he was emotionally charged and immersed in a creative mood, the Awakening would trigger more frequently.
For example, Old Town Road came to him shortly after he was reborn, when he was still figuring out his powers.
Most people around him were caught up in shady hustling, and him being under a black gang boss, Orlando found himself thinking that if he'd lived 200 years ago...
That's how Old Town Road's inspiration struck.
And not to mention Just the Way You Are and Counting Stars.
Just the Way You Are was inspired by how touched he felt by Daisy -- the song was sweet and heartfelt.
Counting Stars came to him while holding Madonna during his sage-like moments, gazing at the rare starry Manhattan sky through floor-to-ceiling windows.
"I'll gather more inspiration and try to write two more songs," Orlando said.
He planned to actively trigger the Awakening, rather than wait passively, because relying solely on it was too slow.
Though every song it gave him was top notch!
Seymour and Frank were thrilled to hear this. Both earned commissions -- one from sales, the other from company shares. They both wanted Orlando to keep blazing and stay at the top forever.
The impromptu meeting ended.
---
As the trio chatted and stepped into the hallway, Orlando noticed dusk was falling over Manhattan.
His assistant Diana approached, and he casually asked, "Diana, what's next on my schedule?"
"Boss, at 6:15, you have to join Frankie Crocker on Bronx Radio for a hip-hop discussion show."
"Frankie Crocker?" Orlando frowned; he hadn't heard of him.
"I set this up for you," she replied.
Right then Frank jumped in: "Frankie Crocker is the most influential radio DJ in the Bronx. He actually coined the term 'urban' for black music. The Bronx Radio Station is one of New York's most important stations and one of the birthplaces of hip-hop culture."
"The black community really loves you. They see you as a white guy with a redemption story -- and importantly, you have some black heritage. Many of them consider you one of their own.
Warner's sales data shows black consumers purchase your records and videos at rates over 80% higher than typical white artists. That's a huge advantage, and we need to protect it," Frank explained.
Orlando nodded, understanding this was about winning over the black audience.
While their social and political status wasn't at the very top, their cultural influence -- especially before the rise of LGBT+ activism -- was enormous.
Boosting sales and politically correct credentials couldn't hurt.
Though the Bronx was his original neighborhood, it was a rough place.
Besides the bodyguards Orlando already hired, Frank called in more people and even personally accompanied Orlando to the Bronx radio studio for the show.
*****
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