Author Archive

Commercial Positioning in the Spot Breaks

March 8th, 2018 No comments

It is an eight minute drive from my house to the gym. I’m on the way back to the house just before 7am on a weekday. KVET is in a spot break as I start the engine, it is still in the spot break when I pull into my garage. Now that’s just stupid on so many levels; too many to get into here and any argument I make is like spitting into a hurricane anyway. All the corporate-owned biggies do it. But I will take on one factor here that a local PD might be able to control.

Stupid/Ignorant Scheduling: The spot break opened with four, maybe five of those crappy barter ads in a row. One tells me how I can get rich quick flipping houses. Another is pushing a pill you can take a night when you’re hungry and instead of raiding the fridge; you swallow this pill and lose weight while you sleep. One guy slept off eight full pounds. And after this drivel, THEN comes the local advertisers. The Austin auto dealer and the Austin plumber’s spots are at the END of the friggin’ spot block. The guys who are paying the highest rate are put at the back of the bus. The local advertisers radio’s most important clients. Why treat them that way?! Local spots should be FIRST in the cluster. Isn’t that obvious to any monkey?

Is nobody at corporate radio thinking about programming anymore? This is an iHeart station, of course.


Auditorium Testing Killing Radio Innovation

January 16th, 2018 No comments

…Or, so says this guy who’s never worked in radio before. Here’s his article. He is kinda right, but mostly wrong. First off, it is not Auditorium testing that is mis-guided, it is call-out research that done the dirty deed.

Auditorium testing is an accurate and reliable polling system if: 1) it is properly conducted and 2) if the sample size is large enough. Oh, and 3) If the radio management and programming team know what to do with the data after they get it. For part one, rarely is it done well. Radio research companies do shoddy work. The only one I ever worked with that was really good was/is Larry Rosin’s Edison Research. The second tripping point is sample size. That article says the typical sample is “several hundred people.” Nope. “Several hundred” is two hundred and few stations pay for more than that. Too expensive for tight-wad Corporate Radio; they’ll pay for a hundred person sample, tops. Often, less than that. So garbage in/garbage out is the majority position.

And for the third point; Do they know what to do with the data they get? Too often, the answer is no. Here’s an example. Say the station chooses to test 400 songs in a session. That’s the max that the respondents can stand in one of these sessions. The resulting data will show have the songs will test above average, half below average. The corporate honcho or the GM will say something like, “We ain’t playin’ those songs that tested below the line.” I’ve seen it happen. I’ve seen some of the most valuable records in the station’s library dropped from airplay because “we spent thirty grand on this project and we’re damn sure gonna follow what it tells us.”


iHeart Podcasts Numbers Greatly Inflated

January 8th, 2018 No comments

James Cridland blogs and lectures around the world about all things radio, broadcast and internet. His post today (1.8.18) has this rather eye-opening number: It is theoretically possible for some podcasts to reach the top of the charts without anyone at all ever actually listening to them.

Here’s the story and report.


How Much Christmas Is Too Much Christmas?

December 6th, 2017 No comments

How much Christmas is too much Christmas? I’m one of the original play Christmas early guys; always loved programming the season, particularly since I moved over to work in the Country format about a third of the way through my career. When I got into the business shortly after the Stone Age, Top 40 radio stations didn’t begin playing Christmas music until about a week prior to the day. Only Muzak did All Christmas All The Time.

Many stations would switch to all Christmas music at 6:00 PM Christmas eve, run with it until 6:00 PM on the 25th. Very few stations continued playing seasonal music after Christmas day. As a disc jockey I was quite aware of the phone requests that continued to come in through the holiday for the Brenda Lee song, Chuck’s “Run, Rudolph Run”, Elvis’ “Blue Christmas” and those great songs from the Phil Spector Christmas album.

Shortly after I got behind the wheel as program director, I began to play Christmas music on Thanksgiving day. The GM would have asked why so early? I would’ve said something like: All the decorations are up in the stores. The muzak in those stores is all Christmas. The two days after Thanksgiving are the biggest shopping days of the year. The holiday specials are on the tv networks. People are in the spirit, looking towards it, making plans. Makes sense to get the Christmas favorites into the mix early and now.

We could tell it worked. The sales guys starting getting favorable comments from our advertisers. Christmas song requests moved to the top of my weekly request-line tallies. It wasn’t until the early 80s when I got to PD a station in a continuously measured market. Now understand, Arbitron stopped measuring the second week of December, but we could get “weeklies” see numbers from the first week of December. That sub-set of numbers was based on very few diaries and the super-small in-tab would have a very wide margin of error, but I did see a bump in the numbers for that first week of December every year. Same thing in all the following markets I worked.

It was very easy to mix seasonal songs into a Country mix because so many of the songs sounded like the could have been hit singles had they been ‘regular’ records. Indeed, Alabama’s “Angels Among Us” was a hit single; it charted TWICE; January ’94 and again in January ’95. Alan Jackson’s “Honky Tonk Christmas” and Brooks & Dunn’s “Hangin’ Round the Mistletoe” and The Tractors’ “Santa Claus Boogie”. If all those aren’t in your local Country station’s Christmas mix, the PD’s missed a trick.

I haven’t kept up with the Christmas releases on the Pop side. Maybe they’ve got a lot of songs that have hooks and have the sound and feel of many of the songs the station’s regular playlist. Good on them if they do.

Now, I say all that to say this. I’ve begun to observe some media comments, some columns, some social media posts where some folks are seemingly about to puke with it all. “Enough, already!” I don’t think it’s a movement yet and I’ve no plans to alter my Christmas formatting tactics. But with almost all markets having at least one station switch to All Christmas sometime in November, with the channels on Sirius, and with so much of it being fed to people from other sources, I do think it wise to hone-in on just the very few most-attractive, most hooky songs you have to offer. Going into the season this year, there were 50 songs on my Power Country Christmas list. I’m pulling it down to about 30. Those I judge to be the absolute best are going to get all the exposure.


“Radio has to innovate….” Part 1

September 19th, 2017 No comments

“Radio has to innovate to remain relevant as a source of music discovery.”
That’s a line from a well done research report that came across my desk this summer titled “Paradigm Shift: Why Radio Must Adapt to the Rise of Digital”. Coming from where I come from, there’s a whole bunch of directions I could go with that thought in mind. If i ever get around to it, what with all the other stuff I’m into. I talk with and coach people about this music radio thing all day, every day. And I’ve been doing music radio as a profession since I was sixteen. A long damn time, eh? Since ’64. Double damn. So, here’s one of my thought paths about the culture shift and Where Radio Is Going ?!!?

This report is proffered as a wake-up call to today’s radio operators. The ground has shifted and we’re not the primary music discovery source anymore. Kids, the biggest consumers of new music, are now getting their new music yum-yums from Spotify and YouTube. A big artist releases an entire album now, all the tracks at once. Radio has been a single-at-a-time music source. Not so much by choice as by record label marketing design. Record companies firmly resisted the idea of radio playing anything BUT the current single. I’ll give you an example.

I’ve always been known as a music director/program director/programming consultant who “took chances” on new music. What did that mean? That I’d add a new song to my station’s playlists because I thought it might be a hit. I didn’t ask the promoter “who else has added it”. I didn’t say “I’ll wait until I see some call-out research test scores.” I was the leading influence on the chart success of “Blue” by Leann Rimes, an old-fashioned Country song released in the middle of the Hot Country, boot scootin’ boogie era as the B-side of the 13 year-old’s first single. I heard it the first week of May ’96, added it Amarillo, Columbus GA, Santa Rosa CA and every program director reported back to me they were getting “INSTANT PHONES’ every time they played it. That is, listener’s calling to ask about it and request repeat plays. The next week, it went into power rotation, seven spins a day at my powerhouse station KKBQ/Houston. The week after that it went on at KPLX/Dallas. The record promotion staff absolutely luvved me, doncha’ know. Don’t misunderstand me now. I’m not saying it was me that made the song a hit. I was just on the leading edge, the first big-time guy to play it on important radio stations.

Jump back three years and there was a different story on a different hit record. “Chattahoochie” was the third single off an album released in October ’92. The Country format was hot and Alan Jackson was one of its hottest new stars. The first single was “She’s got The Rhythm (and I Got the Blues)”. Number one on the charts. The second single was the droll ballad “Tonight I Climbed The Wall”. Released the first week of January ’93, it eventually peaked at #4, but my god, there was “Chattahoochie” sitting there on the album. Anybody in Country radio at the time who didn’t recognize that record as a potential monster hit wasn’t qualified for picking music. We’d added it in Houston over the Christmas holidays and beginning in January it went into Power Current rotation. The official single at the time was the ballad, which we had in light rotation. The record label was not happy. Not at all. “What’s gonna happen to it when it becomes a single in the Spring and station in Houston has it in Recurrent rotation?! It’ll hurt Alan’s chart success. He might not get a Number One on it!!”

The come-back from radio in situations like this was usually something like “we’re not in the record selling business, we’re in the radio business.” True, on one level of course. But radio airplay certainly sold records and exclusive ownership of a hot hit was a very strong programming element. For the entire ’93 Winter Sweep (audience measurement period), KKBQ was the only Country station in the nation’s most competitive Country radio market that was playing the Song of the Year and the CMA Single of the Year. And Alan still got his #1.


How Many Currents? How Many Recurrents?

August 17th, 2017 No comments

> For a country station, how many currents would you rotate?

30 to 35, depending on the flow of product.
(i hate calling records ‘product’)

> For a country station, how many recurrents would you rotate and how far back on those recurrents would you go?
……either 19, if i’m scheduling 1 an hour
or 38, if i’m scheduling 2 an hour
with this plan, each song rotates thru the five
dayparts evenly; playing in each of the other four before
it repeats in the first one.
i keep things in Recurrent until another song
drops out of Currents and takes it’s place. i don’t
always drop the ‘oldest’ recurrent to do this.
for example keith urban’s/ Blue Ain’t Your Color is
still monstrously popular. the stats on it show it
will clearly become an all-time classic. the way
it’s going, it could stay in recurrent for a long time more.

posted 8.17.17


What Chart Do You Use?

August 17th, 2017 No comments

A station owner recently asked for and received my Country library playlists; Recurrent, Gold, Classics and Legends. He’d had some uneasiness about many of the songs he was hearing on his station; some of them just didn’t seem ‘right’. As he began updating and adjusting the library and was immediately pleased with the result, he sent an eamail asking which chart I relied on. Here’s how I answered:

for tracking top 10 performance,
i use MediaBase now. switched to it about 5 years ago.
before that, Billboard. i used the R&R chart until it

again, this is only for noting Top 10 performance,
the confirming fact that a song should be a candidate for
inclusion in the Recurrent and Gold lists in the future.
‘candidate’ because not every top 10 record makes
the cut. i hone in on Top 5 for those lists as it is
more reliable.

charts for new songs judgement/consideration are
culled from many different lists. i see what’s on
billboard and mediabase. more importantly are
the digital charts. iTunes shows what’s being bought
Youtube views are an indicator of bubbling interest.
same goes for the Shazam chart.
and the Slacker EQ chart. this one measures how long
a person listened to a track, did she listen all the way to the
end of the song, did he add it to his ‘favorites’, did
they ‘share’ it on social media.

since its debut this summer the chart to watch is:
this one is a comprehensive aggregation of sales from
all platforms.

as my sage mentor told me way way way back: the two indicators
of a record’s programming value are 1st: requests 2nd sales
and the dollar spent to buy a song is the more important of the two.

the conundrum that we can’t solve is: WHO is buying the record.
Country is primarily and Adult 35+ format.
under 30 demos are far and away more likely to buy and share
music than past-30 adults are. so that gives the charts their
present skew towards BroCountry and the Country-rap glut.
much of this is “not Country” to more mature ears, those who
are much more likely to listen to broadcast radio than ipods.
so, a Country music director needs to be careful with
acts like Dan + Shay and new guy Kane Brown, both of whom are
doing fairly well on all charts now.


Human Element Missing

June 22nd, 2017 No comments

One of the many mistakes corporate radio has made is the elimination of the live, human element from much of their broadcast day. And no, happy-talk voice-tracking is not a proper substitute. Most announcers lose something when they are voice tracking; the immediacy is gone, they’re talking “professionally” to a microphone rather than to their listener.

The golden key to listenership success is to create a personable station, a station that clearly sounds like one that has Real People putting it together. The station need not be the slickest, although consistent levels, cross fades and good processing of the audio are required. We need to sound less-automated than corporate radio. While not necessarily everything that is coming down your stream has to have a live disc jockey sitting there every moment, talking live between the records, what we must have is regularly updated personalizations, new stuff being said. Voices have to be there talking whether they be yours, a few regular announcers or voicers recorded from listeners. These things need to be freshened regularly; don’t let them get stale.

What to talk about? The one golden key, the one thing all successful radio disc jockeys have in common is: They talk about the music. Dick Clark, the most successful DJ of all time started in radio before American Bandstand. On the show, he never talked about anything that wasn’t music related. Casey Kasem, Alan Freed, my mentor Buddy Deane, same deal. They didn’t talk about politics. They didn’t tell jokes. The only opinions they expressed were positive ones; and, universally they were positive about the music they were presenting.

If you are involved in music radio, broadcast or internet, you are doing it out of your love for music and the odd, driving desire to share and present that music to other people. Everybody likes music. Most people love music. But people who are in radio love it more. That’s why we are doing this radio thing. To share the love. Communicate your interest and your love, verbally, your voice all the voices on your station. That is what will help bind listeners to your station once they find it. A successful radio station is a one-to-one companion for the listener. Sound more human and your station is more comfortable to spend a lot of time with.


BroCountry Peaked in ’14

May 31st, 2017 No comments

Here’s a Nielsen graph tracking Country listening trends. Looks like BroCountry peaked in 2014. But, it didn’t do much for the Country’s historical prime demo, 25-54. This suggests to me the mix I’ve put together for the New Country Tradition format on target for today’s marketplace.


Adding New Music – Early Lesson

March 29th, 2017 No comments

In the early years of Top 40 Radio, song rotations and music formatting were way different than what we know today. It was common for a station to play the #1 song of the week every hour. WABC in New York, the biggest Rock ‘n Roll station in the whole wide world at the time did that until the fall of ’68 when “Hey Jude” in all it’s 7 minute glory stayed #1 for nine weeks and the whole staff came near revolt.

My first PD also played a Pick Hit Of The Week every hour at :45. This was the early days of the Beatles, Stones, Animals, Dusty Springfield, Simon & Garfunkle, Motown, Mamas and Papas, so there was a lot to pick from. One week, I couldn’t find the previous week’s pick hit in the control room. I’d really liked it and asked PD Buzz who told me he’d pulled it. “Why?” “Well, not everything we like is going to be liked by listeners. What they like is the important thing. So, I play the record every hour for a week, then I pull it out and see if anybody notices.” “What?” “Well, if they like it enough they’ll notice they haven’t heard it in a while and maybe call in a request. If we get some calls for it, I’ll put it back in.” I think he then gave me a copy of the 45 to take home.

Buzz said hit stations play hit music and the two things that tell you a record has radio programming value are first, Sales and second, Requests. The phone calls come first because that’s where people find a new one they like. But you gotta pay attention to WHO is calling. Are different people calling or is it just one or two request-line junkies? If an adult called, that is more important than a teen call. Counting the requests for the songs in the playlist is important. Knowing something about who is asking for songs is equally important. My first lesson in the difference between quantitative and qualitative.

Sales are the main thing, he said. “The dollar spent to buy the record is the single most important indication that the record has radio programming value. The ones that sell big are the one’s we’ll still be playing as Oldies in the future.”

The first record promo guy I remember talking to was Moe Preskell, a legend in his trade. Short, round, bald, Jewish, cigar, a distinctive somewhat gravelly voice. A total pro at what he did. My little station in Arkansas was a Gavin Reporter, one of only about 50 at the time and, by far, the smallest of that elite club. For those on the young side, The Gavin Report was the first radio-focused trade sheet. It’s chart was where hit records were launched. There were three record stores in my town and when KOTN added one that Moe was working, he’d mail five 45’s to each of them with a note that it was getting play on the station and here were some free copies for them to have on hand if any customers came to ask. A week or two later, Moe would call the stores to see if any sold. If so, he’d then crow about it to every other station on the Gavin reporter list. And he’d begin pitching hard and heavy to larger markets nearby, Shreveport, Jackson, Memphis, Little Rock. Smart.

A few weeks back, I read an excerpt from a new book about product success in the marketplace, “Hit Makers”. It has a few paragraphs about a record promo guy who gets a station in Victoria Texas to play a new song, then he plugs into a data tracker from Slacker, the app that can listen to a few bars of any song and instantly tell you what it is. The record guy watches to see if his new song is getting Slacker’d in that little Texas town. If it is, then calls stations in Corpus Christi, San Antonio, Austin, Houston, Dallas and tells them the story: Listeners heard it. Listeners wanted to know what it was so they could hear it again. That means this may be a hit record that is good for you to be playing, too.

It’s always true. To build and maintain an audience: Play what your targeted group of listeners like. Watch for what they respond do. If they take action to hear a record again, pay attention. That action can be a request, a record sale or download, a lot of ‘shares’, or significant Slacker hits.