New artists sustain reggaeton's appeal

MIAMI (Billboard) - Less than a year ago, Rakim & Ken-Y were fighting for space on "El Draft," a compilation of up-and-coming reggaeton acts.

Today, the pair's debut album, "Masterpiece: Nuestra Obra Maestra" (Pina/Universal Music Latino), has already shipped more than 100,000 copies just two months after its release.

Despite some industry skepticism that the Puerto Rican-sourced rap offshoot is driven solely by Daddy Yankee and Don Omar with no heirs apparent, Rakim & Ken-Y are one of four new reggaeton acts whose debuts have entered Billboard's Top Latin Albums chart in the top 10 during the last six months.

These artists aren't selling Daddy Yankee numbers yet, but for the U.S. Latin music realm -- where breaking acts is notoriously difficult -- labels have garnered sales for new reggaeton acts at a much faster rate than they tend to for regional Mexican or pop acts, whose debuts rarely enter the Billboard Latin sales chart.

"We're witnessing a natural process," says Lorenzo Braun, VP of marketing/A&R for Sony BMG's urban division. "First, you see explosive growth. Then a bit of uncertainty. Then there is a leveling of the genre, and you start to see new acts."

The major labels are also getting into reggaeton in a big way. For a genre that rose to prominence on the backs of artists marketing themselves, most new reggaeton acts are in some way affiliated with major labels, either as direct signings or via joint ventures or licensing deals.

Last year, for example, Universal Music Group launched Machete Music. That label's biggest success story so far is Wisin & Yandel, who made history earlier this year by placing four tracks simultaneously in the top 10 of Billboard's Hot Latin Songs chart -- an accomplishment helped along by major-label marketing muscle.

That kind of push makes a difference, says Fido, one half of Alexis & Fido, whose album "The Pitbulls," on Sony BMG, debuted at No. 4 in December. "The fact that people in Los Angeles, for example, know that we exist, is thanks to the work of our label and their distribution."

Tito "El Bambino" (formerly of Hector & Tito), signed directly with a major, EMI Televisa, precisely because the label had no major reggaeton experience. "They were a new label with different ideas and I had a new concept," says Tito, whose album contains 20 tracks and includes plenty of pop and R&B.

EMI Televisa execs say that from the onset, they wanted to work Tito just as they would a pop act.

"From the way he looks to the music he makes, he was the most (obvious) to make a cross over into pop music," EMI Televisa senior VP of creative Adrian Posse says.

Rakim & Ken-Y are also being marketed to the pop world.

"Beyond the musical credibility they have as a reggaeton act, they have a certain look," says Walter Kolm, senior VP of marketing for Universal Music Latino.

As a result, the duo's first video is not the typical reggaeton video full of practically naked girls, but instead, has a storyline and more clean-cut images.

In order to generate a stronger bond between the duo and its fans, Kolm says, the label has taken the pair to smaller meet-and-greets, developed the fan club and online presence -- especially on MySpace -- and is discussing a high school tour.

This marriage of the standard pop promotion at which major labels excel, and the street marketing and live performances germane to the genre, is driving sales, Braun says.

Reuters/Billboard

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