Artist Survival Manual IV
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F. RADIO
1. ORDERING A REFERENCE CD MASTER
Before you leave the studio on the final day of your recording, you will want to order and pay for a "reference CD disc." It is going to be several months before your compilation single release comes out nationally. During the next few weeks and months, you are going to experience the same emotional roller coaster feelings that every artist whose ever been in the studio has experienced. You feel a "natural high" when you leave the studio and during the first few weeks after the recording, you’re O.K. But somewhere along the line you’ll begin to have these “doubts” about yourself, your career and without a copy of your project to play at local radio stations, you’ll soon get discouraged and start calling your record label every other week or so and asking the same question, “What’s happening with my career?” Let’s avoid all those phone calls and wasted effort shall we? Order a reference CD disc when you leave the studio and it’ll be ready in 10-14 working days. When it arrives, you’ll have a complete master of everything that you can take over to your local radio station and get started with local promotion and airplay. The radio station will either "cart" the songs off into a format that they can use or they will have a DAT player, compact disc automation unit or some form of using the reference CD you bring them. Most radio stations today have a extremely fast computer that will copy the CD into their play list in just a few minutes.
Artist's Name,
Leave a cassette copy of the song, your promotional kit, and picture along with a business card at the station with the program director or musical director. Let them review the song to see if it can be added as an “extra” on their play list. Only the Program Director, Musical Director, or General Manager can give the O.K. to play a new single on their station. So don’t start worrying individual disc jockey’s with your record until it clears the management of the station, or it won’t get any airplay at all.
Radio stations are not going to play a cassette version, or a vinyl 45 rpm record on a new artist. They are only going to play a “reference CD” an R-DAT master or a finished CD that’s from your record label.
That finished CD must have the songwriter and publisher credits on the disc in order for them to play it at radio.
Remember to keep your master reference CD with you when you leave and be sure that you give the program director all of the information on the songs that they need to comply with Federal guidelines for radio stations. They will need the following information to play your songs:
Name Of The Song
Songwriter or songwriters
Songwriter’s performance society
Name of the publisher
Publisher's Performance Society
Get this information together and print it up
on the back of your new business cards like
this:
Single Release Title Here
Artist Name Here
Publisher/BMI/ASCAP/SESAC/
Written by Songwriter/BMI/ASCAP/SESAC/
Record No.
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Be sure you explain that you’re not expecting this radio station to do anything except review the song and if they approve the song to give it a try. Don’t pressure these radio stations, because if you get them turned off to you as an artist you won’t get in that station again with your product. If this is a Syndicated Top-30 station, they cannot play your song, period so stop asking. These stations only play artists that have a song in the Top-30 playlist of Billboard Magazine.
If your local station decides they do want to play the song, then be satisfied with “light” rotation in the beginning and let the public call the station and request the song be played more. Do not have all of your friends or especially your relatives start calling these stations and ask them to play their “son’s new song,” or their “daughter’s new song.” That will kill the record for sure. A record has got to have a “natural” life on the radio apart from your relatives that think you’re the only recording artist in the world. Now that’s the way to approach your local station in the time between your recording in Nashville and your nationally distributed single record. Get very involved in accomplishing all of the other things that I’ve written about in this book previously so that in about four months you can show your local radio station that the song has not only “life in the State” but also now that the single has been distributed nationally you’re getting recognition nationally. It is essential that you show your local radio station in a few months that the record has “life nationally in the charts.” If you don’t, then they are going to tell you that the “life” or the record is over and stop playing you locally.
Now that I’ve answered that question, let’s get an education in the overall picture at radio and what it will look like in the future. Let’s do that with the heading of "Radio Is The Key!" And, for the country music artist, radio is the key. Without radio stations, there won’t be any superstars in the future, so you had better support your local radio station with a passion. Without local radio stations to find and play new artists, the future of our business will be clouded by big money interests owning and controlling the development of all new artists. They already own and control the development of 85% of the industry as we know it today. Be sure that you express intense loyalty to radio locally. Get businesses to support radio stations with their advertising dollars and when they spend money at radio and make it strong, then all of us who love “country music” will continue to enjoy the greatest music on earth.
Ask yourself this question? Why is country music one of the largest radio formats in the world today? It didn’t used to be. When I came to Nashville there were less than 300 radio stations nationally that even played country music. Since 1989 there has been an increase in the number of people who listen to country radio in the millions. In the early 1960’s there were less than 100 stations that played country music and now there are some 2000 stations that program country music around the world.
The reason that country music has grown to become so popular is simply this. Violent and repulsive music killed rock radio. Who wants to listen to some stupid song with lyrics so filthy and degrading to women that you wouldn’t play it for any reason. Let’s not forget that record labels in their stupidity took rock radio in this direction. A few years back, there was a record released on a label to rock radio that contained nothing but the following lyric…”kill the m…………f…………, kill your mother… m………………f……………, you’re a m………f…………!" That type of record has literally killed radio formats that at one time were extremely strong. I don’t want my children listening to that type station, and I’m certainly not going to purchase and pay my hard-earned money for a piece of trash like that.
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So, what has happened in radio is a reflection of the country’s opinions nationally. People are tired of filthy lyrics that degrade their parents, degrade healthy sexual relationships, and are so full of bloody violence that you can’t listen to the station for 30 minutes without getting nauseated. I like the fact that country radio has cleaned up their act and are getting positive songs in the number one position. No one really wants to hear negative, cryin’ in your beer, negative songs anymore either. Country radio has been really smart in the last few years, and with the skill and marketing direction that the CMA has given this radio format, it is destined to become even bigger in the future. So,. If you’re a songwriter, remember that radio wants to play nationally oriented songs that appeal to a wide audience and have a positive message.
RADIO BOOKS
R - Radio stations are unique and vastly different from each other!
First let me acquaint those of you who don’t know with some radio
terminology that is so important in your approach to these stations. Radio is divided
into the following categories:
1. Top-30 Syndicated Radio with a playlist of 30 records
2. Top-40 Billboard reporters
3. Top-40 Radio & Records Reporters
4. Top-50 Gavin Report Reporters
5. Top-100 American Country Radio reporters
6. Top-150 Pacers Country Radio Network reporters
7. Top-250 Independent Radio Stations that comprise approximately 2000 total radio stations that play country music
Before you go off in all directions and make the people at your local level really furious,
find out what type of station you’re dealing with, what trade magazine they report to, and what rating this particular station has. Where do you find out this information? You get this information from the CMA RADIO DIRECTORY. It is published each and every year and every country station in the United States with a listing of phone numbers, fax numbers, addresses, etc is in this directory. All of the mailing labels for all of the stations can be ordered directly from the CMA suppliers in Madison, Tennessee for the low cost of $75.00. This wonderful service that is supplied to every CMA member throughout the year will give you the entire list of every reporter station, who they report to, what their format is and everything you ever wanted to know about country radio. The GMA (Gospel Music Association) provides the same service for Gospel stations. The address to write to for the CMA directory is as follows:
CMA COUNTRY RADIO DIRECTORY
One Music Circle South
Nashville, TN 37203
615-244-2940 (main)
615-726-0314 (fax)
$25.00 for members
$75.00 for non-members
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Please don’t call and bother these people with a lot of first time questions. Take the time to really educate yourself first. Get the book and examine it thoroughly and if you have any questions, call our office on our 800 number and let us help you before you bother the people at the CMA. These sweet, wonderful people have enough to deal with on a daily basis without explaining the same things over and over again to a thousand different people.
2. LABEL ORDERS FOR STATIONS
The address to write to and get your labels is as follows:
CMA RADIO LISTS
Mailing Labels, Reporter Stations, and Non-Reporter Stations
Box 1479
Madison, TN 37116
800-248-4242
615-865-1525
Let’s explain the different types of stations. Each radio station has a different wattage with some having as little as 500 watts of power and some having 100,000 watts of power. There are two types of radio stations, AM stations and FM stations and they can be found on different frequencies of your radio. Some of these stations are on the air 24 hours a day, and some are on the air during the daylight hours only. Most all of the radio stations nationally are classified non-reporting stations. In other words they do not report to the various trade magazines that classify artists and chart records nationally. You can get your new songs almost always played on these nonreporter stations.
What about the radio stations that do report? They are listed in a group of radio stations referred to as the “radio reporter panel.” The total number of radio stations that report to the various trade magazines is approximately 480 stations. These larger more highly visible stations in major metropolitan areas govern the sales and careers of today’s superstars. There are less than 200 Billboard markets in the United States and they account for over 90% of the sales figures in country music. Believe me, you are not going to be able to get your record played on those stations. So forget it. There is a methodology that is very simple in getting records played. You start with the breaker market stations first and get your record played on a local, and state level. If you start seeing a large number of radio stations in the radio panel adding your record into their play lists, then you’re going to have a hit record and need a Billboard promotion team to track the record for the trade magazines. Don’t worry about competing with Garth Brooks and Vince Gill until you’ve got your record played on at least some of the breaker market stations.
Your track record at radio is very important to the major labels who see newcomers and sign them based on the “total package.” So follow the instructions in this book to the letter if you want to successfully chart your first record. Every major recording artist that’s out there today started on a small independent label and got exposure through the breaker markets, developed a true fan following and later signed with a major label that launched their careers on an even greater scale. Everybody’s got to start somewhere!
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A - Always go through the program director to get your single played!
There are simple rules to follow in soliciting radio airplay. You always follow the chain of command. At a radio station they will always have a program director and music director that reviews all of the music that comes into the station. Radio stations receive an average of 10,000 single records mailed to their addresses each and every year. Obviously they are going to listen and play the artists that overwhelm them with great attitudes and show a lot of gratitude. Dr. Robert Schuller is famous for a sermon entitled, the "Attitude Of Gratitude." Without that at the radio station, they aren’t every going to play the new artist. The bigger reporter stations can make an exception to their rules in the play list and ad a local artist if they add him as an “extra” on the playlist and play him occasionally.
D - Do not have your friends and relatives “gang up on” the local radio adio station with phone requests.
There’s nothing that will turn off a radio station staff like your grandma
your aunt, and your girlfriend calling them 100 times a day requesting your song. Let the request line take it’s normal course with the airplay and let the record have a “long natural life” at radio. A number one Billboard record will only get 22-23 weeks of airplay nationally. If you’ve gotten one week of airplay its more than 60,000 other records have gotten that got tossed in the trash.
If someone calls the radio station and they say they don’t have a copy of the single record, what do you do? YOU FURNISH THEM WITH ANOTHER COPY! Yes, your record label mailed that station a copy and they pitched it in the trash along with hundreds of others records that they don’t intend to play. A radio station is not obligated to you or the label to even consider playing your record. Radio can play whatever they want to play. So, handle yourself with dignity and class in all of these situations. If they say they don’t have it, then get the name of the program director, write him a nice note, sent him your picture, promo kit and another copy of the single record to review. You may have to do this ten times before he even knows who you are, but persistence and kindness works with people. Try it and you’ll see.
Preparing radio for the release of your record is so important. Get your little press kit and post cards done up during the time you’re waiting for the single to be manufactured by your record label and spend a solid four months preparing the ground for the release of the record. When the song gets to radio, they will know who you are and what the name of the song is that is going to be released and they will be much more likely to give it a try if you’ve done your homework. Just follow the monthly guidelines that are included in this book and you’ll have successful airplay at all of the levels of radio, locally, state-wide and nationally.
I - Independent radio promotion firms. Do I need to hire a tracking service for my record? That’s a great question and should be addressed just a couple of weeks prior to the release of the record nationally. The way you know to hire an independent tracking firm is if you’re getting good substantial recognition from local radio stations and if you are getting ads at the national level. I’m going to spend an entire chapter on “independent record promotion” in the next section, so I’ll just try to give you an overview of what they do here.
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How does my record get into the national charts? Charting methodology is different at each and every trade magazine in country music. Each station is "weighted"
according to the wattage, the number of hours they play country music and their ranking by arbitron as to how many listeners they have. That station is assigned so many points by the trade magazine to whom they report. Each position on their play list is ranked and given so much weight in the overall ranking of each performer who has a record on their play list. If the radio station has "hot phones" on the record then it’s ranked with a heavier number of points. Records are classified as either having a "bullet" or not having a “bullet.” A bullet is term that indicates the song is receiving strong upward movement in the charts and requests are very strong for the new song. Once a record loses it’s bullet, the song dies and drops off the charts. Each new single is ranked against all of the other product out there that’s being released. If Vince Gill’s latest single overtakes your record in the charts and literally mows you over in it’s climb to number one, then your record will lose its bullet and drop off the charts. This is referred to as “killing a record” with another record.
Whether the song is in “light, medium, or heavy” rotation assigns another set of points to that particular release. It is the full time job of your record label promotion people to call only on their record products. They cannot by law use any tactic to manipulate the charts or increase your airplay over another artist on their own label much less all of the other artists on other labels that they are trying to compete with. It is a "criminal offense" for a record label employee to cause any radio station to play a record of any kind through gifts, money, or inducements. That means that your record label people are going to be calling radio and asking them to see if the latest disc, number 1106 for example, arrived at the station and if they are playing any record label product. That’s as far as they can go legally. The reason artist’s hire their own "independent radio promotion" people and contract them for the "life of the record" is so that these independent contractors can call radio and ask specifically about a single record and a single artist. While a label is forbidden to try to get one of their male artists on their roster played over another, the individual artist can hire their own promotional people and get specific numbers on their records every week. This is something that every artist who breaks into the higher chart numbers is going to have. They are going to have hired independent promotion people to track their records each and every week.
O - Overwhelm the radio stations that play your records with thank you’s!
If a new artist doesn’t show appreciation to radio for the airplay that they are getting, then you can be assured that they won’t get any in the future. A list of the breaker markets that can play your record will be provided in the index of this book. Each and every radio station on that list should receive a notice from you the new artist that your record is coming out and to watch for it. The a follow-up thank you post card will keep them playing the record and a later follow-up to show them where the song is on the national charts will be helpful in getting the station to keep the single on the play list for a certain number of weeks. After a song has been out there 23-28 weeks you’ve got to release another record because the “life of the record” on radio is just a short time.
I - Increase your radio airplay locally and at the state level with products that the radio station can give away to your fans. I never cease to be astonished at the artists that think some angel is just going to sweep down and make them a star. Stars are made, they are not born! You’ve got to work at getting airplay. If you have complimentary cassettes and CD’s to give away to fans inthe local area, then you’re going to get a lot of airplay. If you have T-shirts, or other promotional items to give away on the radio, then make arrangements with the disc jockeys at the station to give these items away to people who call the station and request your single record. Publicity and promotion are the keys to making you what you want to be. It’s not just a great song, a great producer, a great record label, but it’s great publicity and promotion that get you going.
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S - Sales of your product will commence with the give aways on radio!
People call and ask us all the time how to get their products sold in the stores. You won’t
get any sales until you "create a demand" for those products. Any Blockbuster Music store will help your sell your products if you can show them a demand. Any Media Play Store, Tower Records store or even a local “mom and pop” operation will display and sell your products if there’s a demand for them. To create a demand in the local area, then you’ll have to get airplay and promote your newest product with promotional give-away items. You can rack as many as 25-30 CD’s or cassettes in any local music store on consignment. They will furnish you the space, if you’ll furnish the store with the product. When the product is sold, the store should keep 50% of the retail price of the product and you should receive 50% of the retail product price back. Sometimes these smaller operators will want 60% of the retail price and give you 40%. Each and every operation will have it’s own rules to go by. And each and every piece of product must conform to the Uniform Code and guidelines for retail product established by the various music retailers.
T - Trade magazine coverage is essential to breaking a record!
The reason that each artist wants to have a very professionally designed promotional package is so that when they send this to the various trade magazines, the the trade magazines will respond with positive reviews of the songs and their positive reviews will cause more radio stations to ad the record. Please notice the trade magazines that do not ever publicize the new "unsigned" artist. These publications are a waste of time and money. There is one magazine publication in Nashville that is so vicious to newcomers and even to some of the major label acts with their reviews that I’m really surprised that they are still in business. Now why should you send a record to this trade publication? You know that everything they are going to say about you and your song is going to be literally designed to chew up and spit out the new artist. Spend your subscription money somewhere else. If you’d like a list of those publications that are on the PACERS (Professional Association of Country Entertainers Radio Surveys) condemned publication list, you can get that list from our office. These are magazines that are disapproved by AIRA (Academy Of Independent Recording Artists) as having nothing good to say about any newcomer or independent artist period. Those magazines and publications we can do without in this business. I get really tired of seeing these so called "god’s of review" take out their "butcher the new artist" knives and go for the throat of every new person who’s trying to get a start in Nashville. These publications have been often referred to as "juice" publications for their attitude toward the independent labels and all of the newer artists in our business. They have been banned from the list of approved publications on the PACERS internet information network.
Again, your product should be submitted to the trade magazines and marked "Attention Music Editor." The entire package will get reviewed and usually get space in the magazine if the material is professional and the letter is sent to the right person. It takes about 30-45 days for the trade magazines to respond back after the material has been sent in. Keep your data list of media outlets in country music and continue to send these people your follow-up news releases until you start getting their attention. You may not get any coverage with your first mailings, but in time, they will see that you’re serious about your career and will give you the recognition and coverage you deserve.
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Even the “juice” publications will eventually give in and
give you your just due in time. Just remember when it comes to spending your advertising dollars in the trade magazines, which magazines treated you with disrespect in the early years. The magazines that were cooperative and helpful and even gave you one line of coverage that was positive, then spend your money there. You don’t have to blow up at the trade magazines that are arrogant, intolerant, heavily in debt up to their ears and on the verge of collapse. Just don’t spend your money there and in a few months, they’ll be out of business. Remember the "feeding frenzy" section. Those magazines that exhibit the rare qualities found in the great white sharks will eventually fly around at ever increasing speeds in ever diminishing circles until they disintegrate into their own arrogance.
H - Heap praise upon everyone who helps you in this business!
Let’s say that you want to get to the A & R director of a major label. Ever try to get that accomplished? The major labels in Nashville and everywhere else have got their rosters full. They do not want to talk to you or anyone associated with you no matter how good you are or how much money you have. They could care less about new artists. They have millions of dollars and they can sign whomever they please. If you don’t believe me, then try getting one of the major label executives here in Nashville on the phone. The receptionist will laugh until she cries at your feeble attempts to get noticed there. It’s easier to talk to the PRESIDENT of the UNITED STATES or a Senator than a label executive. WHY IS THAT? Because of the number of “wanna be’s” which is a term you will hear many times in our business
is in the millions.
On an average day, at our management company we have over 350 requests, calls, and packages that arrive each and every day during the “low” season. During the "high" season, it’s worse. We have about 500 packages a day arriving during the winter months when people are shut up inside and “cabin fever” makes them reach out and contact more people during those months. If you think we are deluged with packages, you ought to see a major label. They have a full time mail person that stamps "Return To Sender"on those packages all day long. They don’t even accept packages sent to the major labels anymore unless you have a code number on the outside and the codes change each and every day.
When you find people who are willing to help you, you certainly don’t want to lose their goodwill. I can personally tell you from experience that if you ever lose the goodwill of the people who are nice enough to help you in Nashville, there won’t be another group to take their place. Music Row is a very small little community and word travels very fast. So remember from the start of your career that you need to literally heap praise on everyone of those people who are going out of their way to direct you and give you advice for free. You could hire an entertainment attorney for advice like one of my clients did and the retainer they charged to discuss the first chapter of this book, this exact book in fact with the client was $25,000 up front. Then all they told the client was to read this book from cover to cover and come back and they would discuss the next steps.
E - Excellent radio product will get played!
Years ago, JIM REEVES made the statement that you can’t keep a hit record from becoming a hit record no matter how hard you try. He said, that if there’s cream in the barrel, it will rise to the top. I fully believe that. So often, new artist’s get discouraged too quickly. They don’t realize the time line for getting a career off the ground is approximately 2 years in development at a development label, two years in development at a major label, and success within 7-9 years.
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Most of the artist’s that I know need a major dose of patience to start out with. You can’t look around and feel like everybody else is getting ahead of you either. You have to patiently set goals and accomplish them and go back reaffirm the goals you didn’t accomplish and work harder and smarter. If you have great material, great production, and a great total package, you will be successful in the music business just like any other business. Ask any other professional how long it took them in college, how long it took them to get their practice open, an how long it took them to show a profit. You won’t be so discouraged after that.
What makes excellent product? You can’t just be good to compete in this business. You’ve got to be great. You’ve got to sing great, look great, move great on stage. You’ve got to have great organization, great pictures, great publicity, and promotion or you aren’t going very far. These are the realities of the business. If you can’t accept that, then don’t get in the business. It’s a competitive jungle of song-eating animals out there. So don’t expect to become king of the song jungle overnight. Your songs had better have outstanding and exceptional hook lines and conform to radio’s commercial requirements. Read the copyrighted article on the type of song that gets to number one in the charts that’s included with this book. That will give you a guide to the right type of product.
K - Keep consistent over a long period of time and you’ll get recognized.
If you‘re going to have a long life in the music business, then you will have to be consistent and release at least one new single record to radio per year, publicize and promote your career patiently and consistently. Sometimes recognition doesn’t come overnight. Sometimes the race is to the sure not to the swift or strong. You can take comfort that 53% of all of the marriages consummated this year will end in divorce because the partners gave up on each other. Over 65 % of second and third marriages will end in divorce. Why is that? We live in an automatic age. We have microwave ovens that fix our food fast, we have cars that go fast, we have pagers, we have computers, and we want everything fast, fast, fast. Why does it take an artist so long to get established? In this automated age where everything is so fast, relationships are not made fast. It takes a lot of time to build a relationship, only a moment to destroy one, and a great deal of patience and effort to keep one. Maybe you want a micro-waved career in the music business that’s over before it starts, but I certainly don’t. I want people who are patient and not easily discouraged. Your relationship with your producer and record label is really very much like a marriage. Take very good care of that relationship because in the record business the selections for re-marriage are few and far between.
You can kill a record a lot easier than you can chart one. You pay minimum wage employees with sledge hammers to tear down a building that you paid an architect hundreds of thousands of dollars to design and build. It takes no intelligence to mess something up. A child can do that. It takes a lot of genius to keep things beautiful together for a long time. Work on it, and you’ll be surprised that the things you work the hardest for usually happen for you. You can tear down a building in just a moment with a few conveniently placed dynamite charges. It takes months and sometimes years to build a great historical building but only a few minutes to destroy them. The same principles work in your music life and personal life. So build your relationships wisely and keep them over the years.
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E - Eliminate the negative critical people around you.
You cannot grow in an atmosphere of negativity as an artist. Sometimes
the people around you will be very critical and negative. Remember that the big dogs run with their own kind. And, if you run with negative people long enough, they will literally pull you down to their level though emotional blackmail, constant weight that you’re having to carry that saps the life out of you, and their attitudes will be so discouraging that you can’t see the light of day for trying to look through their negative viewpoint.
Get rid of negative influences in your life and get on to making great music. Don’t let personal relationships stop you in your search for the brass ring. You may have to change partners but you won’t have to change your goals that you’ve set. Not all of the future will be without incident, but one thing about it, circumstances can either make you stronger and give you more determination or they can put you in the graveyard along with all the other broken buried dreams of people who quit. Don’t be afraid to say, "I made a mistake." I failed and need to change directions. I need a new image, I need to sing different material, or I need a new direction in my life.
Y - Yes, you can have a hit record in your lifetime!
If a guy like Claude King can have a hit on Wolverton Mountain, then you ought to be able to have about a hundred hit records. The things that stop most of the artist on their way to the top are often referred to as the 3 D’s. They are drugs, drinking, and divorce. Those three words equal devastation to your music career. Yes the life of an entertainer is difficult. Travel on the road in a bus 300 days out of the year, stay in hotels until all the rooms look the same, eat in greasy restaurants and pay out money to your road crew, your accountant, the government, your musicians, your office staff, your lawyer, your agent, your manager, and your ex and it will get real tiresome after a while.
So don’t say I didn’t warn you ahead of time that the road to the top is paved with good intentions and thousands who didn’t make it. If you’re willing to give it a try, then you’re a special kind of person that has a lot of courage. Help is on the way if you’re signed to a label that will give you the moral encouragement and support that you need. Let’s get into the next chapter and you’ll see that it is promotion that truly makes you the superstar that you want to be. But first, let’s review the things that we’ve learned about radio.
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Radio Is The Key!
R - Radio Stations are unique and vastly different
A - Always go through the program director at the station
D - Do not gang up on the radio station with phone calls
I - Independent Radio Promotion is essential
O - Overwhelm radio with thank you’s.
I - Increase you airplay with promotional give-aways
S - Sales of record product begin with great promotion
T - Trade magazine coverage is essential to a music care
H - Heap praise upon everyone who is helping you
E - Excellent radio product will get airplay!
K - Keep consistent!
E - Eliminate any negative influences around you
Y - Yes, you can have a hit record!
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