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COUNTRY, POP ARTISTS JOIN FORCES FOR
COMPASSION INTERNATIONAL BENEFIT AT MERCY LOUNGE DEC 2
Artists Carter’s Chord, Julie Roberts, Bryan White, Blaine Larsen, Rob Blackledge, Mica Roberts, Trailer Choir, Canaan Smith, Charmaine, Natalie Hemby and other special guests perform at Nashville music club to raise funds and awareness for Compassion International’s Global Food Crisis Fund.
On Wednesday, December 2 at 7:30 pm, many of Nashville’s country and pop artists will perform at Music City’s Mercy Lounge, with the goal of raising funds and awareness for the Global Food Crisis Fund, an initiative of Compassion International, a leading Christian child advocacy ministry. Tickets for the 18-and-over benefit are $10 in advance and at the door; all proceeds from the benefit will go towards assisting children and families affected by the global crisis, specifically in the most needed areas of the world where Compassion serves (see below for links for more information).
Artists scheduled to appear include Carter’s Chord, Julie Roberts, Bryan White, Blaine Larsen, Rob Blackledge, Mica Roberts, Trailer Choir, Charmaine, Natalie Hemby, Buck Johnson, Regie Hamm and other special guests. Radio veterans Tony Randall and Kris Rochester from the new national syndicated morning show “Tony and Kris in the Morning” will host the event.
Organizing the Dec. 2 event is Nashville music industry consultant Mike Severson, who does Artist and Radio Relations for Compassion International. “We have taken several of these artists on Compassion trips to see the work being done to rescue children from poverty and give them hope,” said Severson. “Every artist upon return wanted to do something relevant to make a direct impact on the lives of the world’s most vulnerable. As we began to talk about long term strategies, there was an overwhelming consensus to put their passion and talent to immediate use in a way that will not only help those in critical need, but also raise awareness of that need. That’s what this show is all about.”
“Compassion has been involved within the music industry for over 30 years and now is forming partnerships within the country and pop formats,” Severson continued. “Artists have such a powerful voice and Compassion provides a platform where they can truly make a life changing impact whether it is through our holistic Child Development Program or one of our intervention programs such as the Global Food Crisis Fund.”
For more information about the Mercy Lounge Benefit on Dec. 2, please contact Mike Severson at mikeseverson@comcast.net.
Tickets are available online and can be purchased here: http://www.ticketweb.com/t3/sale/SaleEventDetail?dispatch=loadSelectionData&eventId=603975
For more information about the venue, Mercy Lounge: www.mercylounge.com.
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Compassion International exists as a Christian child advocacy ministry that releases children from economic, social, spiritual, and physical poverty and enables them to become responsible, fulfilled adults. Founded by the Rev. Everett Swanson in 1952, Compassion began providing Korean War orphans with food, shelter, education and health care. Today, Compassion helps more than 1 million children in 26 countries. Go to www.compassion.com for more information.
When I first started really getting into country music Steve Wariner was leading the way as one of my favorites. I recently saw him at the CMA radio broadcasts and under my breath said “Wow, there’s Steve Wariner!”. He is still at it creating artistic and critically acclaimed music, with his latest project being a tribute album to the late and great Chet Atkins. So, to give a salute to both amazing artists, here are two special Throwback Thursday videos…..
Artists Lend A Hand To Good Causes
Pictured on a trip to Guatemala on behalf of Compassion International (l-r): Carter’s Chord’s Joanna and Emily Robertson, recording artist Rob Blackledge, Carter’s Chord’s Becky Robertson and country music artist Megan Mullins.
Carter’s Chord joined fellow artists Megan Mullins and Rob Blackledge, and media professionals on a September trip to Guatemala on behalf of Compassion International, a child development ministry working to release the world’s poorest kids from poverty.
From MUSIC ROW. See the complete article here. Photo: Mike Severson
I was at the gym this morning getting a workout on the bicycle. I plugged in my headphones to listen to one of the five television channels available to those in the facility. My choices were a Wall Street news show, the Golf Channel, the Today Show, a country music video channel, and an investment program. What? No ESPN?! Unbelievable! I was too busy peddling to ask the staff to change one of the channels, plus I figured I needed to catch up on my music videos. The decision was made.
While on the stationary bike I saw five videos amongst promos and advertising. All currents and all on the charts at the moment (one may be considered a recurrent). As a fan of music and a radio listener I was incredibly disappointed. Besides each video bringing an element of over dramatization, the songs were below average radio fodder. Each single was from a major label, around mid-tempo, had unoriginal lyrics, overdone themes, and predictable melody. They also had a nice hooks in the chorus and that’s all that really matters because they probably are testing well for radio stations. The lowest common denominator typically wins and real music lovers lose because Nashville will continue to release the songs that they think will test well for radio stations across the board. And then the time will come when radio will say, “Why isn’t Nashville sending us anything extraordinary?” The industry cycle feeds itself.
What happened to edgy? What’s wrong with passion and polarizing? When did going with your gut become so passe’? Taking a chance…..what’s that? Seems like there is less and less of that going on every day for a number of reasons.
Don’t get me wrong, there is still amazing music being released from an array of strong artists by labels. We are also fortunate to have the star power of Taylor Swift, Carrie Underwood, George Strait, Keith Urban, Darius Rucker, and Kenny Chesney among others. Still, a substantial amount of singles are background music designed to do exactly what radio needs them to do. Be unstylish, non-offending wallpaper. Don’t turn that dial! TSL! PPM! Familiarity! It’s okay if they all sound the same.
Take the new single from Radney Foster for example. Think it’s too out of center? Maybe, but that is exactly where our format gets its energy and relevancy from. Or what about the songs and artists that are “too country”? The heck you say! Perhaps out of center the other direction, but they are the foundation and lifeblood of our format. So thanks to Lee Ann Womack and those like her.
It’s always frustrating to know that the majority of listeners will never hear ground-breaking, original, and beautiful music that is being written, performed, and recorded by immensely talented artists. Unless of course they go to one of the numerous online options that offer discovery and personal playlists. There are, thankfully, exceptions in the radio world who push the musical envelope and you stations know who you are.
I realize this is a battle that has been going on for a long time and will continue to be fought and discussed. Like the exercise bike I ride that doesn’t go anywhere. It does grow tiring to be sure and everyone has an entitled opinion, but at the end of this day I’ll take exceptional music over mass mediocrity any day.
I recently did a 10 Questions feature with All Access and it is being featured on their site this week. I’m re-posting it here, not to be self serving, but to continue to highlight the amazing work Compassion is doing and the way we are connecting with country artists, radio, and industry partners. This is the time to impact the world.
If you have a question that I did not get asked here, then please feel free to contact me.
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NAME: Mike Severson
TITLE: Artist & Radio Relations for Country format
COMPANY: Compassion International
BORN: Cedar Rapids, Iowa
RAISED: Inola, Oklahoma
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Please outline your career so far:
1988 – 1994 Radio (KWEN and KCKI in Tulsa, OK)
1994 – 2002 MCA Nashville
2003 – 2004 All Access Music
2004 – 2005 Rounder Records
2005 – 2008 Midas Records
2008 – present Compassion International & Freelance Consulting/Promotion/Marketing
1. Last time we spoke with you was 2005 and you were working for Rounder Records. Catch us up on what has been going on in your life for the past few years.
Wow, it’s been too long since we have spoken! I went from Rounder directly to being hired by Bob Reeves as we helped launch Midas Records in early 2006. Worked some great music and artists, but the roller coaster ride ended in July 2008. From there I had a short stint at another indie label and most recently was hired by Compassion International this past December as their consultant in the Country format.
2. Tell us what Compassion International is and a little bit about the company’s history and focus.
Compassion International is a Christian child development ministry dedicated to helping children in need around the world through one-on-one sponsorships. Compassion’s programs help release children from poverty and enable them to become responsible, fulfilled adults. They offer educational opportunities, health care and health-related instruction, nutrition, life-skills training, social activity, and spiritual growth. As for the history, Compassion was founded in 1952 and now serves over 1 million children in 26 countries around the world. The organization is also involved in other critical areas of need including, but not limited to, disease prevention, fighting hunger, clean water projects, disaster relief, HIV/AIDS initiatives, and the global food crisis. You can check out more at www.compassion.com.
3. What exactly is your role with Compassion?
I am essentially artist and radio relations for the Country format. I am currently educating and forming relationships with artists and radio stations that are interested in partnering with Compassion on a world-wide basis. I will then be the Country point person for those artists and stations for strategic planning and implementation.
4. Compassion International has been pretty visible in the Christian music format for a while now, correct? What made the company decide to move into the Country format as well?
It just feels like a natural progression. The two formats share an enormous amount of listeners, target demos, and there is a foundational element of Faith in our format. Country artists, radio, listeners, and fans have huge hearts as well and there is incredible opportunity to make an impact on children around the world while letting our format shine beyond our preconceived borders and notions. The bottom line though is that I believe Country music can have a life changing impact on the lives of hundreds of thousands of children around the globe.
5. You have been working this job for about six months now, what has the response been from the Country music community?
I am thrilled at the response and the interest. There are so many artists, radio stations, and industry professionals that are looking to connect with an organization who is involved with fighting extreme poverty and where they can make a direct impact on a child in need. Sometimes it is difficult to know what organization to support and identify where the money is actually going. But when they see how Compassion does not indiscriminately throw money at a problem, but through direct one-on-one sponsorships is lifting kids and families out of deep poverty, it gives them an opportunity to see that the monthly contribution from the sponsor is truly helping their specific child. It also is a plus that Compassion has a 30+ year history in the music industry and knows how to build relationships and connect the dots. That’s huge.
6. You recently had the opportunity to visit El Salvador with Valory Music Co. group Emerson Drive. Tell us about that experience.
Compassion actively takes artists and radio folks who are interested in a partnership on actual trips. Typically a 3-4 day journey to Central or South America, although Africa and India are possible for those who want to dive into at least a week-long trip. Spence Smith (Compassion artist rep) and I were excited to take the Emerson Drive guys down to Central America to get a first hand experience of what Compassion is all about and see the work they do. We visited a few of the 150 Compassion programs within the heart of the communities in El Salvador. We met the children, staff, volunteers, and the families of some of the kids. The band also had the opportunity to walk the streets and visit the homes of families in these impoverished communities who live in the midst of brutal circumstances that we in the States cannot imagine. Since I was already friends with the guys in the band, I knew they had big hearts, but seeing all of this with their own eyes really made it hit home. They can now communicate what they have experienced, what Compassion actively does to change lives, and how people can get involved.
7. How can radio stations and Country artists partner with Compassion?
There are a number of ways artists can partner through incentive programs, fan clubs, social networking, live shows, CD inserts, text campaigns, and countless other relevant ways. Radio had the opportunity to partner through special events as KKGO/Los Angeles did last September. Compassion has worked with over 350 radio stations in various campaigns and combined that experience with the passion of PD Tonya Campos to set up a full day event to help find sponsors for waiting children. Tonya took a trip to Nicaragua where she met her own sponsored child and also recorded video and audio content for the event. See some of that here. The results were so successful and powerful that they have booked another event for early 2010. Compassion provides a detailed turn-key tool kit and also is willing to offer extra revenue and compensation opportunities for participating stations. It’s a complete win for everyone involved. It’s also a very flexible model for each individual station based on their market and needs. Other opportunities could involve active web content to not only drive traffic to the site, but also generate non-traditional revenue.
8. I know you have been involved with Compassion for quite some time as a sponsor, but what made you want to take that step and work for the company? You must have had a strong belief in the company and in the people involved in Country music to make the change.
I have sponsored a child from Brazil for 6 years. During that time we have written to one another and sent photos back and forth. She draws and colors pictures for me that I can hang up in our home. When I look at her photo I know that my monthly donation is going to help her get an education, medical attention, nutrition, and social and spiritual development. Things she would never have without my help. I’ve seen so many examples of kids who came into the program with no hope of life to graduating high school and college. I investigated how Compassion operates and how consistently high it is rated with the charity watchdog groups. Plus having artists I know and respect giving their support was a factor as well. When I started talking with the people at Compassion about the potential move into Country I wanted to help out however I could. I believe in this amazing organization more than I have believed in any record I have worked. I love the music industry and this community, but I also was at a place where I desired to make an impact on lives of those in severe poverty and suffering. I’ve never seen an organization do it better than Compassion.
9. What exciting things do you have coming up with Compassion within the Country music community in the near future?
Many ideas and plans are in the works. Obviously taking artists and radio who are interested in partnering with Compassion on trips to see first hand the work Compassion does. We are taking the model that is working successfully for KKGO and calling on other stations to join in this worldwide impact of children and families. There are artists who are excited about partnering with Compassion and we are talking with them about how they want to be involved since the possibilities are endless. Compassion is excellent at the aspect of relationship and helping to design something that works for each music industry partner whether it is in our sponsorship or child development programs or cause specific like HIV/AIDS, malaria, clean water, and global food crisis initiatives.
10. If you could pick any artist in Country music involved with Compassion, who would you chose?
Obviously I would love to have any artist that has a heart for this and is interested in what Compassion is doing. Each and every artist has something special to offer through their music, personality, passion, and experience. For obvious reasons artists like Carrie Underwood, Brad Paisley, Keith Urban, Kenny Chesney, Rascal Flatts, and Taylor Swift come to mind. Their fan base alone could make an unimaginable impact on the lives of tens of thousands of children in deep poverty. Country radio has that same enormous potential.
Bonus Questions
1. To go from record label promotion person to working for a non-profit Christian agency must be quite a leap. What skills that you learned as a promo guy have come in handy in your new job?
It may appear to be a leap from the surface, but I’m still the same person. I came into this business because I had a passion for artists and music, not necessarily to be a label rep. That passion continues even stronger today as I combine it with a purpose to be involved in something relevant that positively impacts and transforms lives.
2. You have been on two Compassion trips now, right? Where have you been and where are you planning to go next?
I traveled to Honduras in February, El Salvador in March, and Ghana is in the works for August. Guatemala has just been confirmed for September 3-6 with Tonya Campos, Carter’s Chord, Megan Mullins, pop artist Rob Blackledge, and any other radio station or artist that is interested in exploring a partnership. Africa is being tossed around for December or January as well. We are also open to designing trips around artist’s schedules who are sincerely interested in making the journey. Any takers? It will blow you away.
The following article from Business Week is a very telling sign. Is there any reason not to believe that artist management is now in the drivers seat for the music industry? A place where 360 deals are a natural part of the entertainment landscape and where the business of touring and sponsorships can thrive. All that will be left for some of them to add is in house promotion/marketing/new media. Then once the current artist deals are fulfilled at labels, look out.
Posted by: Jon Fine
TicketMaster Entertainment CEO Irving Azoff, appearing at News Corp’s annual All Things Digital conference in Carlsbad, California, proved an interesting and free-speaking interviewee. Although, churlish as it may be, he was much more interesting and free-speaking about the macroeconomics of the music industry than on the specifics of his company—and its proposed merger with LiveNation Inc.—and the criticisms lobbed at it. (I’ve hit one such lob myself.)
“Recorded music is more a marketing tool than a revenue source” for acts now, said Azoff, who also still manages the likes of The Eagles, Neil Diamond, and Christina Aguilera. His storied career, and well-earned reputation as one of the fiercest and savviest managers in the business, took flight with the Eagles, back in the Seventies when both Azoff and his artists were significantly more mustachioed and bushy-haired than they are today.
They also had a much easier time making a dollar back then. Today,“recorded music is down to less than 6%” of major musical acts’ revenues, he divulged. To put this in its proper perspective, consider that such income once was such acts’ “biggest revenue source,” he added.
Much of what Azoff said pointed to a view of music revolving around the live music experience. This, obviously, plays into his wheelhouse as one overseeing business interests so dependent on concerts. Still, his logic is convincing, and the examples he cited concerning what he called the “demonetization” of the music business were striking.
Artists walk in to his office, Azoff said, “who used to make $300,000 to $500,000 a year in royalties [from selling recordings]. And now that’s diminished to less than $50,000” a year. This means, unsurprisingly, “the creative side” of the music business is “very anxious” about the changes that have swept this landscape.
His answer, as cringe-inducing is it may be to artistic types uncomfortable with the ways of business, is understanding the branding and promotional value of music. He cited new deals like his client Aguilera working with Procter and Gamble to launch a line of fragrances.
A glimmer of hope for his old-school artists: While Azoff said CD sales have been declining alarmingly, and especially back-catalog CD sales, that business “appears to be bottoming out.” And, he added, “I don’t think the CD will go away totally.”
Compare all this candor to the following exchange regarding TicketMaster and its proposed merger with LiveNation:
Interviewer Kara Swisher: How do you answer criticisms that [the merger] creates this behemoth.
Azoff: We think everything we do revolves around what’s good fir the artist and what’s good for the fan.As Swisher pointed out, songwriter-cum-secular-saint Bruce Springsteen, among others, strongly objects to this view. But Azoff said that Springsteen was “uninformed” about what his company did.
Artist Shaun Groves posted this piece on his web site blog. It’s some good stuff that every artist needs to read and understand. I appreciate him allowing me to re-post.
The management company that represented icons Michael W. Smith and Amy Grant for ages just folded.
The Gospel Music Association is letting people go.
Their Gospel Music Week was a ghost town this April, with major artists no longer taking a break from touring to participate in it.
Speaking of tours – they’re losing money – big money – which means production companies are going down too.
Some say technology will save the day. Lots of artists are going on-line to blogs, twitter, facebook, etc because of this optimism. But this new technology is not the magic bullet some claim it to be. The bullet that works best hasn’t changed – it’s just changed hands.
The music business is about relationship. And now it’s the artist’s turn to have one.
Success in the music business once hinged on only a handful of relationships: a publicist and a magazine, a salesman and a bookstore, a radio promoter and a radio station, a booking guy and a promoter, an artist and a manager, a writer and a publisher. If all these relationships were working, if all parties’ interests were respected and pursued, if no personalities collided to the point of impeding progress, then the project or artist they were tied to would succeed (from a business standpoint.)
Relationship is still king.
Starting a blog, hopping on Twitter, launching a Facebook fan page – these are not cure-alls because they aren’t a relationship any more than buying a basketball is spending quality time with my son.
These technologies can foster relationships. But not without a lot of personal investment and intentionality from an artist.
This is a big shift in thinking for artists, especially at the top levels of this industry. Artists aren’t accustomed to being so accessible, accountable and out of control. Artists are accustomed to being in front of audiences that care about what they do, audiences they know are fans and they keep in the seats for a couple hours by charging a ticket price. But on-line, where spending time with an artist is free, anybody can wander into the crowd, boo, change the subject, or walk out. And they will.
Also, artists are used to hiring people to handle their relationships for them. That’s at least 90% of what a manager does. Labels congratulate and critique through a manager, for instance, who adds his own diplomatic spin to every word so the artist’s feelings aren’t hurt and the relationship is preserved. Not so on-line. Someone can be hired to hit the “publish” button on a blog post that gets e-mailed over, invite people to a Facebook event and even write to people for an artist and signed their name (it happens), but no one can convincingly be the artist every day in post after post or interact with commenters regularly. Artists can’t hire anyone to be them 24/7 and the internet demands those kind of hours.
Lastly, labels are used to creating and maintaining the image of an artist: focussing and filtering, controlling who can and can’t have access, and how much, when and where. There’s one official bio and one fact sheet carefully crafted in a record company office and then parroted by every media outlet. That’s not possible on-line. And that’s distressing, fatal even, if an artist has nothing to say or, worse, has lots to say about things that don’t matter to anyone but them. Hair products, high priced jeans and guitar pedals aren’t all that interesting to folks with real jobs. The public is now discovering through an artist’s blog what publicists have known for quite some time and expertly covered up: This guy’s just a singer. And that’s no basis for a relationship.
If the music industry dies it won’t be because everything changed. It will be because artists didn’t. Artists today have to – no, we get to – do what the rest of the industry and human race has been doing for eons: We get to be real human beings spending time with other real human beings. There’s no shortcut for that.
The Man was afraid to tell us artists this before: It was never about our music. And it’s not about new technology now. It’s always been about people. All that matters is.
I was thinking about musical artists who are completely uncompromising in their art form, but are simultaneously trying to score big hits on the chart. That’s a tough road to travel. Decisions typically have to be made either to stick to your art for arts sake guns or target yourself commercially. There are some rare and wonderful cases where art and commerce actually sync up and the artist can enjoy the best of both worlds.
I don’t believe in selling yourself out and compromising your music so much that the process of creating music and performing isn’t enjoyable any longer. However, I also feel that if you’d really like to get out of the coffee house obscurity and have a desire to play the big houses, you need to lighten up and stop taking yourself so seriously. It’s not rocket science or finding a cure for cancer.
Just like anything, you need balance. Don’t sell your soul on one side, but don’t be a raging fundamentalist on the other. Neither ends up being any fun.
Rascal Flatts new album “Unstoppable” sold 351,000 in its initial week. It debuts at #1 in the Billboard Top 200 and is the trio’s fifth consecutive studio album to debut in the top five. The most interesting number and the one we should be dissecting is the 58,000 copies that were sold digitally, making it the week’s #1 Digital Album. That is about 16% of total sales.
While retail and big box sales are critical today, the more important future strategy should be working on growing the 16% to catch up with the ever increasing numbers in total digital sales occurring within the industry.
Another interesting note is the rare occurrence that Country artists have debuted at #1 for two consecutive weeks (Keith Urban last week). Jason Aldean also gets kudos for first week sales of his sophomore album at #4 in the Top 200 with 109,000 units sold.
So all news is not bad news, but the ACM’s, Swift, Urban, and Flatts have certainly help prop things up.
The 44th annual Academy of Country Music Awards are being held in Las Vegas on Sunday night, April 5th at the MGM Grand.
I know my artist, radio, and industry friends are having a large time in Vegas and are preparing for the big night, but mostly looking forward to the after parties. This I know for sure.
As we prepare to discover the winners, here are a few ACM tidbits in advance…..
Presenters announced for the show include Jason Aldean, Dierks Bentley, Billy Ray Cyrus, Jamie Foxx, Jennifer Love Hewitt, Jack Ingram, Martina McBride, Matthew McConaughey, Marisa Miller, Kellie Pickler, Rascal Flatts, Darius Rucker and Blake Shelton will present at this year’s show.
Brad Paisley won in his fourth ACM Video of the Year award for “Waitin’ On A Woman.” Paisley also nabbed his third Vocal Event of the Year trophy for his guitar-dueling duet with Keith Urban, “Start A Band.” These two awards were announced recently and will be handed out at the show.
Merle Haggard, Harlan Howard, Dolly Parton, Jerry Reed, Kenny Rogers, Randy Travis, Hank Williams Jr., David Young and Beer For My Horseshave been selected to receive Academy of Country Music Special Awards this year, which are voted on by the ACM Board of Directors and are only awarded during years when the Board of Directors feels there are clear and deserving candidates.
Fan voting for both the ACM Entertainer of the Year and Top New Artist is now live at www.VoteACM.com. Visit today to cast your ballot, then watch on Sunday, April 5 on CBS to see who takes home the trophies!
Julianne Hough, Jake Owen and Zac Brown Band have been named Top New Female Vocalist, Top New Male Vocalist and Top New Vocal Duo or Group, respectively. The three winners are now considered nominees for the Top New Artist award. VOTE NOW!
The multi-talented Reba McEntire will host the live broadcast and will mark McEntire’s 11th time as host. She says the ACM Awards hold a special place in her heart. “It was my first award show that I was nominated for in 1981, the Top New Female Vocalist of the Year,” Reba recalls. “I didn’t win it-Terri Gibbs got it that year–but I was nominated! It holds lots of great memories for me.
The Compassion International trip to El Salvador was another amazing and overwhelming view into the lives of children and families being impacted and changed. Emerson Drive had the opportunity to see it all first hand and bring smiles to the faces of hundreds of kids.
The first Compassion project we visited was just outside of San Salvador in the forested communities of Reparto Santa Elana and San Martin. Upon our arrival we were greeted by all of the children who were in lines on each side of us. As we walked down the middle between them, they were singing, clapping their hands, giving us hugs, and shaking our hands. It is something evident in each Compassion project I have visited – the anticipation and joy they have in making us feel welcome. They love to have visitors and do all they can to bring smiles to our faces even though we are there for them.
The kids performed a presentation for us full of music and dancing. We then broke off into three groups for an hour or so where all of us played soccer, worked on art projects, or sang songs. I tried to get involved with all three at different times. The boys and girls were so incredible. We then served them lunch, took a group photo, and said our goodbyes. Hugs of course too.
Following the visit to the Compassion project, our travel group took a walk to one of the homes in the neighborhood. A single mom and her five children, two of which were in the project we visitied. The photos below communicate their circumstances better than I could in writing. This was a home of deep rooted poverty, but Compassion was helping provide food, education, activities, and medical care to the entire family. This in turn brings hope…..and the hope a future.
The second project visit day was in the Pacific Coast community of Puerto de La Libertad, home to approximately 40,000 residents. When the bus pulled up outside of this Compassion project we could hear the children singing and clapping inside the auditorium. They were ready for us. The Emerson Drive guys walked in and it was like they were at a sold out show as the crowd of kids exploded in cheers. They weren’t cheering because they knew anything about the band or country music. They just knew that people with Compassion were there to meet them and to visit their project. They were honoring us exactly like the other projects do and it overwhelms.
The first thing these kids did for us was set up a band on stage. Singers, guitars, drums, keyboard….the works. They then proceeded to play several songs and commence church. It was a moving display of their appreciation for us and their devotion to God. Authentic and undefiled.
Our crew then visited each classroom where the children were participating – computer, cosmotology, educational classes, music, and seemstressing. Compassion not only provides school resources and instruction, but gives the kids an opportunity to learn a trade in the event they don’t make it to college. In either case a way out of poverty and incredibly difficult circumstances. It also keeps them off very dangerous gang filled streets where the influence to join is strong.
Our visit to families in their homes followed and we saw more of the same suffering. Severely impoverished neighborhoods with families living in one or two rooms. One of the homes consisted of three families in three rooms. Multiple children in one bed with their parent(s) in another. No running water, open sewage in streams and ditches, and unreliable electricity. Also the constant fear of brutal gang activity in their communities.
In each of the home visits we asked the children if they had the letters their Compassion sponsor has written them and they knew right where the papers were. With smiles on their faces they proudly retrieve them from safe keeping and show us the letters and photos of the individual or family that sponsors them. It is a relationship they cherish and are thankful for because they know it is because of their sponsors support that they are able to attend the Compassion project. The one place they can dream about what they want to be when they grow up, to get a healthy meal, and find the support they need in critical areas of their young lives.
The emotions stay ripe and fluctuate between the harshness of poverty and the joys of hope. Not only being present to see it, but to smell, taste, touch, and hear what these children and families experience on a daily basis. And the holistic way in which Compassion International works within countries, communities, and churches to lift children out of poverty and give them the real opportunity to break the cycle and thrive. To help them attain a high school and, in some cases, a college education. Something they and their families would never have dreamed possible.
This is what we saw and the results will reverberate. There will be a story about Emerson Drive’s experience in a forthcoming issue of Country Weekly. They will also be talking about it in the weeks and months to come because these are things we are compelled to tell. I look forward to partnering with the guys from the band. They have big hearts and are great men to know, not to mention incredibly talented artists.
We will have more news soon about artists who are partnering with Compassion in various ways. Country music is full of artists and professionals who love to help local charities, but also see the big picture when it comes to a world in critical need. I continue to look forward with passion to help align those with a desire to help to having a genuine life changing impact on child.
For more photos of the trip please go to HERE.
The 9513 has a feature entitled “Your Take” which asks their readers particular questions regarding the country format. Following is a sampling of the latest queries. There are some interesting answers.
Tomorrow morning I leave for Honduras with a group from Compassion International. We will be traveling there to tour a couple of the projects Compassion has set up. We’ll visit the children and families who are being directly helped by their Compassion sponsors and witness the impact that personal relationship has on releasing the grip of poverty in their lives. There are also plans to walk through some of the neighborhoods where I know we will find roots of deep poverty. How deep I can only guess, but that is part of the reason for going. To see it with my own eyes and let it sink into my skin.
I have witnessed desperate poverty in Africa. Gotten to know and cried over street kids and orphans who are its innocent victims. Seen the ravage results of AIDS, genocide, severe malnutrition, parasites, malaria, and other diseases. Incredible situations you will never find in the United States. Poverty in our country is nothing at all compared to developing countries around the world. If you have never seen it, it would shock you. And we all need to be shocked.
I’m going to witness more of it over the next few days, but I will also see the hope and restoration that Compassion gives children and families. Not only to provide for their needs, but to give them the genuine opportunity to break out of the poverty that has held them captive through the monthly support of individual sponsors. Over one million children around the world are being lifted up and out of their circumstances.
I look forward to reporting back from the trip and sharing how the country music community can link with this amazing organization and make a massive impact on the lives of countless other children. Compassion International has a long and rich history within the music industry and there is incredible opportunity for artists, radio, media, and industry professionals to partner along and get involved. It is a very critical time to reach out to a world in need and Compassion knows how to connect the dots and make it happen.
For those of you involved in the country music business, you can get more information here. The rest of you can get further info on Compassion International here.
We’re just getting started, so check back for more updates. Please contact me with any questions you might have.
Often videos do not add anything to the single you hear on the radio. Many times they can even ruin a vision you have already created from the lyric or the feel of the song. You want a video to enhance the music, not to detract or distract.
This is an example of enhancing. Jamie O’Neal’s “Like A Woman”:
From All Access Music Group:
1720 ENTERTAINMENT/NASHVILLE Regional Promotions MIKE SEVERSON has joined forces with COMPASSION INTERNATIONAL to serve as their Country Format Consultant on a part-time basis. COMPASSION is a Christian child advocacy ministry that seeks to find one-on-one sponsorships of children in severely impoverished nations. Currently, over one million children are receiving food, medical care, education and shelter because of their sponsors.
In his new role, SEVERSON will be working to recruit radio stations and artists to serve as advocates for COMPASSION and to get the word out to listeners and fans. MT. WILSON BROADCASTING Country KKGO/LOS ANGELES was the first Country station to partner with COMPASSION by holding a radiothon last SEPTEMBER where 250 listeners signed up to sponsor children. PD TONYA CAMPOS visited NICARAGUA last year and learned firsthand of the devastation and the desperation. Read more about her trip here.
To learn more about COMPASSION INTERNATIONAL visit www.compassion.com. To find out how your station or artist can help contact SEVERSON at mikeseverson@comcast.net.
Tired of reading critics favorites, so I’m listing my own personal Best Of 2008 just for kicks. In no particular order randomness ensues…..and I know I’m forgetting a few.
Best Musical Groups of 2008: Chasen, MuteMath, Lady Antebellum, Emerson Drive, Daughtry, Whiskey Falls, Paramore, The SteelDrivers, Finger Eleven
Best Female Musical Artists of 2008: Alison Krauss, Bethany Dillon, Leona Lewis, Leigh Nash, Sara Bareiles, Joey Martin (Joey & Rory), Lee Ann Womack, Francesca Battistelli
Best Male Musical Artists of 2008: Andrea Bocelli, Brandon Heath, Dan Tyminski, Jack Johnson, David Cook, John Mayer
Best Live Show of 2008: MuteMath, Keith Urban, Nickel Creek, Here Come the Mummies
Best Live Show on Film: U2 3D
Best Music Video: MuteMath “Typical”, David Ford “Go To Hell”, Luke Bryan “Country Man”
Best DVD Release: Billy Joel “The Stranger: 30th Anniversary”
Best Advocate Artist (who can actually bring people and politicians together to get things done rather than making them even more divided as most artists do): Bono
Best Christmas music artists: Harry Connick Jr., Amy Grant, Celine Dion, Bing Crosby, Dean Martin, Vince Gill, Vince Guaraldi, Nat King Cole, Andrea Bocelli, Mariah Carey, Trisha Yearwood. For me, that’s the best the holiday season has to offer.
Best new Christmas song of 2008: Sara McLaughlin had a solid holiday CD and Chris Rice’s “Peace On Earth” was the best new Christmas single I heard. There weren’t that many.
Music I’m Looking forward to in 2009: Fiction Family (John Foreman and Sean Watkins? From two of my favorite groups? Duh, I’m in!), Mute Math (new music!), The Massacoustics (always – no matter the incarnation), Michelle Branch (anticipating some great solo stuff), Natalie Hemby (stellar singer/songwriter), Gloriana (have been a fan of Rachel Reneirt for a while now)
Billboard has rolled out all the top artists, tracks, albums, box scores, and more for 2008. They also have listed the Top 10 albums of the year from critics and fans. Get your year end list addiction on HERE.
Top Country Albums Titles
1 LONG ROAD OUT OF EDEN
Eagles ERC
2 TAYLOR SWIFT
Taylor Swift Big Machine
3 CARNIVAL RIDE
Carrie Underwood 19/Arista/Arista Nashville/RMG/RMG/SBN
4 THE ULTIMATE HITS
Garth Brooks Pearl
5 STILL FEELS GOOD
Rascal Flatts Lyric Street/Hollywood
6 LOVE ON THE INSIDE
Sugarland Mercury/UMGN
7 ENJOY THE RIDE
Sugarland Mercury/UMGN
8 RAISING SAND
Robert Plant / Alison Krauss Rounder
9 JUST WHO I AM: POETS & PIRATES
Kenny Chesney BNA/SBN
10 REBA DUETS
Reba McEntire MCA Nashville/UMGN
11 GREATEST HITS
Keith Urban Capitol Nashville
12 TROUBADOUR
George Strait MCA Nashville/UMGN
13 FEARLESS
Taylor Swift Big Machine
14 GOOD TIME
Alan Jackson Arista Nashville/SBN
15 AMERICAN MAN: GREATEST HITS VOLUME II
Trace Adkins Capitol Nashville
16 22 MORE HITS
George Strait MCA Nashville/UMGN
17 5TH GEAR
Brad Paisley Arista Nashville/SBN
18 35 BIGGEST HITS
Toby Keith Show Dog Nashville/UMe
19 SOME HEARTS
Carrie Underwood 19/Arista/Arista Nashville/RMG
20 EVERYTHING IS FINE
Josh Turner MCA Nashville/UMGN
21 LUCKY OLD SUN
Kenny Chesney Blue Chair/BNA/SBN
22 CRAZY EX-GIRLFRIEND
Miranda Lambert Columbia/SBN
23 SUNSET MAN
James Otto Raybaw/Warner Bros./WRN
24 LIVING HARD
Gary Allan MCA Nashville/UMGN
25 LADY ANTEBELLUM
Lady Antebellum Capitol Nashville
The following is a from the Lefsetz blog about forming a tribe of fans and giving them what they want. That is, if the artist wants a career and for it to be about the music.
The key is to do it differently, and lead.
Railing against P2P, complaining that your music is being stolen, putting FBI stickers on your CDs, none of this enhances your bond with your fans, none of it adds members to your tribe. Think about the tribe first! The label’s tribe is the stockholders, not the music listeners. Do not associate your interests with theirs.
If it doesn’t bring people closer, if it doesn’t satiate and inspire your fans, forget about it.
Example. Playing the “American Music Awards”. You think you’re reaching a whole new audience. But maybe your fans think you’re selling out. Don’t worry about the untold masses. If they’re interested in you, it will only be briefly. If you’re good, your fans will spread the word and convert those who might watch the AMAs who are interested.
Just because there’s a paycheck involved, that doesn’t excuse you. You must think how your fans will react.
You must lead the fans. You do this by constantly creating great music, and playing it live. These are the core precepts. Everything else is gravy. If people can’t get it by hearing your music, via a recording or live, then you’ve got to go back into development.
Start with a little. Blow on the flame to ignite the kindling. Then put progressively bigger logs on the fire. Once you’ve got a bonfire going, it won’t go out overnight.
This is not how it’s been done in the last twenty years. It’s been about getting a ton of logs, throwing gasoline on them and then lighting a match. But fire builders will tell you that oftentimes, this strategy doesn’t work. It’s much harder to get a log to burn than a twig. If a fire starts weak, it can be blown out. It costs a lot to construct a pile of giant logs, just to drag them into place. You’re locked into this plan, you usually only have one chance. Whereas if you start off small, you can see what develops and go where your audience leads you.
I was recently thinking about legendary Country artists that have little significance in today’s Country music world or in the pop culture at large. They certainly have respect and have been influences on culture, but they have either been shut out of today’s world or have purposefully decided not to participate. It happens.
Then there are others who still have weight and significance in what is happening today. How does that happen and who decides? Some of it is hard work on the road, a great marketing, publishing or publicity team, and a new vision of how they can fit themselves into what’s going on now. Sometimes it is random fortune too.
That leads me to The Bellamy Brothers. They currently have a big hit in the U.K., but not from a new song, but rather “Let Your Love Flow” which they originally released in 1976. It is one of the best “feel good” songs ever recorded and someone took advantage of that fact and licensed the track for a television ad in the United Kingdom. The single is rising up the UK charts 30 years after it was a hit and they have a new found fame. A whole new generation is discovering the Bellamy’s.
The ad is for a credit card company. I don’t feel good about credit card companies. I actually hate credit card companies for a multitude of reasons. They are evil. But I do like this advert.
To me the real winners of any awards show are the artists who can consistently pull off great performances or who bring something incredible to the program.
My winners this year: George Strait, Keith Urban, Miranda Lambert, Kid Rock, Lady Antebellum, Darius Rucker, Carrie Underwood, and Reba’s short solo with B&D.
The rest were okay and a couple were downright awful.
I wonder sometimes that what appears to be the best thing the country format has going on right now may simultaneously be the worst thing for its future.
I would have loved to seen artists like Alison Krauss and Union Station, Lee Ann Womack, Pat Green, Josh Turner, and Vince Gill perform. Artists who bring an authentic country roots flavor to the mix. And where the heck were the legends? Are we just too ashamed of the pioneers and influences anymore? Were they sitting in the upper level of the Somet? Yeah yeah, I know – Ratings.
I did think it was cool to see John Anderson on stage with Strait.
It seems Mary Kay knows who the core Country demo is. Can’t say that about everyone.
Overall it was a pretty decent show with loads of performances. The big award winners were almost identical to last year, so that made the presentation segments uneventful.
Here is the rundown of the 2008 Country Music Association prizes:
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Entertainer of the Year: Kenny Chesney
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Male Vocalist of the Year: Brad Paisley
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Female Vocalist of the Year: Carrie Underwood
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Song of the Year: “Stay,” Jennifer Nettles
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Album of the Year: “Troubadour,” George Strait
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Music Video of the Year: “Waitin’ on a Woman,” Brad Paisley featuring Andy Griffith
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Music Event: Robert Plant and Alison Krauss
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Vocal Group of the Year: Rascal Flatts
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New Artist of the Year: Lady Antebellum
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Single of the Year: “I Saw God Today,” George Strait
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Vocal Duo of the Year: Sugarland
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Musician of the Year: Mac McAnally
Congrats to all of them and the nominees.
When you think about the month of March what automatically comes to your mind? Spring? “Et tu, Brute?”, Mardi Gras? National Poison Prevention Week? St. Patricks Day? How about Rissi Palmer Month?!
The 2009 Chevy and CMA Country Music Calendar is off the press and ready for your wall. This highly anticipated edition featuring Rissi can be found in the following publications:
NASCAR Illustrated (on sale November 23)
Progressive Farmer (on sale November 10/31)
Country Weekly (on sale 10/20)
People (on sale 11/7)
The combined circulation of those publications is close to 3 million readers!
The calendars will also be handed out to participating Premiere Radio CMA remote stations, at auto shows, NASCAR races and other key Chevy events throughout 2009.
Also, this year marks debut of digital interactive format of Chevy calendar that will be housed on cmt.com. It will provide additional photos and Behind-the-Scenes footage filmed at the photo shoot.
For more details on what else is happening with Rissi go to www.rissipalmer.com.
I’ve been talking with artists, managers, and booking agents about how gas prices are impacting artists tours, as those costs have tripled within the last 10 years. Working musicians are feeling the economic impact and it is changing the way they are doing business. From travel, to scheduling, to equipment……many smaller touring acts must make adjustments or hang it up.
Austin360.com has an article on bands dealing with the economics of being on the road.
Jakomi at the The Music Void has an interesting and informative post about the issue of artists and music revenue being robbed by ISP’s. Many business, technological, ethical, artistic, and legislative questions abound. Read the article HERE.
Have you ever received an email from a friend that says something like, “Hey, I want you to check out this great band.” Even though it’s a friends recommendation, skeptisim instantly sets in. Party because of working in the music business with spin doctors and hype machines and party because of personal musical tastes.
I had a friend that sent me one of those emails several months ago and he really wanted to know what I thought of the band and because I love music and can be quite opinionated in regards to it, I relented. I loved what I indirectly discovered.
Eyes Around was one of those musicial artists I heard once and was instantly into. From the very first track “The Maze” to “Cautionary Tale” to “Another Source of Light”, I was hooked. I have yet to see them live, but plan to do so when our schedules match up.
It was a good lesson for us. Number One: Listen to friends; Number Two: Always be open to new music since you never know what you will find. The Music Advisory will take that sound advice and give you some of our own - check out this great band here.
I want to expand upon the “Kiss of Death” blog from a couple weeks ago, specifically regarding artists and songwriters.
When I was at MCA Records I remember a particular artist who had been successful in the past and was trying to expand his commercial fortune. That plan included getting songs on the radio so we could build a larger fan base. The problem is that this person wanted to cut his own songs without the help of co-writers and he definitely would not use outside cuts. He was creating great art, but with very little radio and commercial appeal. I’m sure he was fine with that, but I wondered why we were spending money trying to take him to radio when we knew it didn’t have a chance for broad based acceptance. I always thought he should have swallowed the pride a bit and partnered with other talented songwriters.
Or what about the successful songwriter who then wants to move on to be a successful recording artist? My first questions is always, “Why would you want to do that?”. Why give up a private life and family time to go on the road? Especially if your songwriting career is providing you a great living. Is it the desire for fame? You can never be famous enough, and if you are, you wish you hadn’t been. It is an elusive chase. Is it the desire to perform in front of people? Then do writer’s nights or play locally. Why go through all of the pain and torture of trying to become a top recording artist when you have the dream job of a being a successful songwriter? I’ve never understood it.
That brings me to George Strait. He is an example of knowing what you are good at and what you aren’t. He knows he’s not a songwriter, but he is a master at picking songs that suit his voice and his style. George knows what he is good at and it has paid off.
That would be my advice to artists – utilize your strengths and don’t try to be anything you are not. Love what you do and don’t be in this for the fame. Authenticity goes a long way.
Chasen is a band I was turned onto in February after their first single cracked the charts and their debut album was set to be released. I immediately gravitated to their fresh sound and found half a dozen tracks that I thought were stellar. They are a recently successful Contemporary Christian act, but they could easily be heard over multiple formats because of the quality of their work. In much of the same way that Switchfoot made the impacting move across genres, so could this band eventually if they wanted to.
Lead singer/songwriter Chasen Callahan, guitarist Evan Silver and drummer Aaron Lord recorded their own independent project and it eventually found its way into the hands of OMG, a new indie label in Greenville, South Carolina.
Their debut album, Shine Through the Stars, was released in April and was produced by Noel Golden, whose credits include Matchbox Twenty, Edwin McCain, and Lee Ann Womack.
Where so many bands fall short because they are banal and one dimensional, Chasen successfully finds relevance and distinctiveness. The Music Advisory highly recommends.
A very good friend of mine, who is an artist, recently told me that there are two phrases that are the kiss of death for an artist trying to be commercially successful. I found truth in them based on my own experience in working with many different acts.
One: “I won’t write with anyone else.” These are artists that refuse to work with co-writers or accept great songs from outside sources. Very rarely will they have success, or if they do, will they remain successful. Singer/ songwriters like Alan Jackson are the rare exception.
Two: “I’ve recorded the album I’ve always wanted to make.” Which usually means they did indeed make it for themselves and nobody else. That can be great for arts sake, but not typically for commercial appeal. Unless the style and taste of the artist is exactly what the public is searching for. Again, very rare. This phrase can also be heard from artists who are on the way down or just don’t care as much about making music for the lowest common denominator any longer.
I think my friend was on to something. Can you think of phrases from artists, record labels, songwriters and other industry folks that usually are the “Kiss of Death”?
The Lefsetz Letter makes a compelling case for releasing and selling singles rather than complete albums. Here’s an excerpt:
“But you don’t give them ten more tracks… You give them a dribbling of killers. So they end up becoming fans of the act, not the track.
Everything you know is wrong. The train has jumped the track. The slate has been wiped clean. The old era is over. The Internet and iPod have changed everything. Now you’re only one of thousands of tracks. You’ve got to make it into a listener’s pantheon, or be deleted. How good are you?
New bands… One track only. Maybe you’ll get radio play, good luck. But even so, if it’s that good, people will trade it. And, if you get no traction, you can go back to the drawing board at a much lower price. In the old wave system, you cut an unsuccessful album and you’re over. Today, have a stiff single and you go back to the studio!”
Read his entire argument here and let me know what you think.
I’d like to see the ratio and breakdown of recently successful acts from record labels. A comparison of brand new artists that no one has heard of to artists that have been lifted off one of the following: American Idol, Nashville Star, Dancing With The Stars, MySpace, from another format, through Muzik Mafia, or from independent labels.
Where are the new star acts that can say they were actually scouted and discovered by a major label? Like when an A&R rep would be on the road and hear the buzz about an incredible artist, who they went to see, and then brought to Nashville to showcase and sign?
Yes, it still happens on occasion, but it seems so rare and sometimes more accidental than anything else.
Has allowing television, the Internet, publishers, and indie labels do the ground work for them made most major labels complacent or has the business of finding acts changed?
Sure social networks and YouTube has made discovery easier and more cost effective, but I have to think there is plenty of pure amazing talent out there that didn’t audition for a television show and doesn’t have the time or means to market themselves full time on the Internet.
Let’s find them. For all of our sake.
Debut of the Adam Gregory video for “Crazy Days”. Directed by Wes Edwards. Check out more information on his web site www.adamgregory.com.
Directed by Wes Edwards
I did not attend SXSW this year. Decided I had better things to do with my time. However, I did try to keep up with it as much as possible through a few informative blogs including ArtsBeat and Austin Music Source. Check them out if you want the rundown.
……without reading about the dilemmas of the music industry. On two separate flights (American & Northwest), in two different flight magazines. The first is an American Way article on the problematic future of the music business. The second is from NEA World Travler on how former artists are taking their personal experience into the ever changing music business world. Both good reads. Without the peanuts though.
10 Questions with … Mike Severson
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NAME:Mike Severson
POSITION:Director of Promotion
LABEL:Rounder
BORN:Cedar Rapids, Iowa
RAISED:Inola, Oklahoma
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Brief Career Synopsis:
KNGX – Claremore, OK 1984 – 1986
KWPR – Claremore, OK 1985 – 1986
KWEN (K95FM) – Tulsa, OK 1989 – 1992
KCKI (KICK 99) – Tulsa, OK 1992 – 1993
MCA Records – Director of Promotion 1994 – 2002
All Access Music Group – Christian Format Editor 2003
Rounder Records – Director of Promotion 2004 – present
Photographer 2002 – present www.seversonphotography.com
KWPR – Claremore, OK 1985 – 1986
KWEN (K95FM) – Tulsa, OK 1989 – 1992
KCKI (KICK 99) – Tulsa, OK 1992 – 1993
MCA Records – Director of Promotion 1994 – 2002
All Access Music Group – Christian Format Editor 2003
Rounder Records – Director of Promotion 2004 – present
Photographer 2002 – present www.seversonphotography.com
1. Go back in time. With the state of the industry today and knowing what you know now, would you still have chosen your same career path in the Music Industry? And, would you recommend a younger sibling to make a career in the Music Industry?
Being involved in the music industry and with creative people was the goal I had since graduating high school. I have always believed that you must do what you love and are passionate about. I was geared toward radio and music. Working in radio fed that desire even more, which is why I left that end of the business to move to Nashville. I don’t think there is much I’d do over again, except that I would definitely be more intentional in discerning and developing other passions and outlets earlier than I have….. because you never know how long your ride will last. And it’s just nice to have a diversion from the noise. As such, my advice to a sibling, or to anyone for that matter, is to live out of your heart and do what you love, but don’t be deceived by your career or let it define who you are as a person. And find other interests as well that will help you grow and enjoy life.
2. In our highly competitive music field, where it seems more and more that every artist needs something special to get paid attention too, how do you position your self, and your label, to get YOUR artists the shot they need?
With more limited resources as an independent label, you really have to have the product at hand and that’s what I love about Rounder. They have a well deserved reputation of being about the music and I can’t think of a better way to position myself and the label. It’s foundational. Personally, I need to be more than just a promotion rep by also taking on more of an artist development role through marketing, retail and touring.
3. You are the remaining survivor on a remote tropical island with no chance for rescue. You have a CD/DVD player with endless power. What five CD’s are a “must” to have with you? What five movies?
I can’t have my iPod?? Oh, alright then…..currently I’d say: CD’s: Sixpence None The Richer “Best Of”, Sons of the Desert “Change”, Mute Math “Reset”, Dean Martin “The Capitol Years” and Evanescence “Fallen”MOVIES: The Matrix, Braveheart, Lord of the Rings (set), Cinderella Man & Band of Brothers (set)
4. Do you think that showcases, artist visits and conference room concerts are all viable in getting new acts introduced to radio?
It’s all relative to the artist. Are they vibrant in those situations? Do they have the right personality match for conference rooms? Are they shy or introverted? Can they effectively impact a typical showcase crowd? The promotion of an artist should be best utilized where that particular artist shines the brightest and where their strengths lie.
5. In your opinion, how has the slowness of the chart hurt the format, and what would you like to see done to speed it up, if in fact that’s something that should happen?
Where it has hurt most is obviously with new and developing artists. One of the problems is the songs that sludge along and make little or no impact in the marketplace. Some songs do take time and are worth every week they make their trek up the chart. Others are just taking up space and that’s the point when labels should make the decision to bail and go with the next single. The chart has seemed to speed up a bit over the last few years, but I’d like to see it move and rotate quicker because there are so many great artists and songs in this town that deserve to be heard. A faster chart makes the format more appealing.
6. Has the consolidation of radio made the job of promotion harder or easier? Explain why?
More difficult. In comparing it to years past, I find that personal relationships don’t have as much bearing on business as they once did. As radio became more corporate, local programmers had either less to do with adding songs due to outside sources or their list of legitimate currents dropped significantly.
7. How do you handle it when a programmer tells you that your single is too country or too pop?
Well, in my current experience with Rounder, I have yet to get the “too pop” excuse! That seems a little more reasonable than “too country” or “too bluegrass” which is often times used because of a particular instrument in the mix accused of making it “too”. I cite examples of the very same instrument in 10 other current songs on the chart and on their radio stations. Our format is a wonderful mix of variety, that when programmed correctly, will blend and balance enormously well. Many times we fight the programming in the middle concept which does no one any good if we want the country format to grow and succeed.
8. In your opinion, does the use of callout research help to determine “real” records?
It’s all determined by who is at the other end of that testing. Are you testing just your hard core? Or are you testing your part-time and potential listeners? And is your testing subject to strong analysis? If used for the growth of listening audience and the format, then it’s reasonable. Otherwise it’s just a way to horde what you already have. And another thing…..what is our definition of a “real” record? Is it a Top 10 song that tests well, sells nothing, sounds like everything else and is safe…..or is it the song that sells extremely strong, ignites passion in listeners and stands out on the air? That’s where research can kill us.
9. How do you handle stations that have to get a “Green Light” from an outside source before adding or converting a record? (i.e. Consultant, Brand Manger, Format Capitan or Group Programmer)
You definitely attempt to shore up local programmers to become a fan of your record. The more allies you have from individual stations, the more bearing it should have on those outside sources who are paying attention.
10. If you had the opportunity to work any act/artist from the past, present or future who would it be?
I’ve been blessed to work with amazing artists & great people who I would still include on that list – George Strait, Reba, Olivia Newton John and currently Alison Krauss & Union Station……can it get any better than that?! But it would have been amazing to work the Beatles and be a part of their explosion all over the world….also the early years of Heart which was my favorite band growing up in the 70s and early 80s…..and Amy Grant who is one of the nicest and most genuine recording artists I’ve ever encountered.
Bonus Questions
What is the first artist you ever worked to radio?
I believe it was The Mavericks, Vince Gill, Trisha Yearwood, George Strait, Reba, and David Lee Murphy. Marty Stuart and Mark Chesnutt may have been in that initial mix as well.
What are your favorite books?
John Eldredge “Wild At Heart” & “Waking The Dead”, Peter Jenkins “Walk Across America” and just about anything from C.S. Lewis.
Best road story?
So many! I have some good stories with the Mavericks, but another that is at the top is when the George Strait tour was kicking off in St. Louis. I arrived in town the night before to hang with the band, but I just missed them. George and Erv walked into the lobby of the hotel on their way out and ask if I want to go gambling for a while. I thought it was a trick question at first, but they were serious. It was something like 6 hours later and George was having a very good night at the blackjack table. I was done, but he gave me chips to play at the high limit table with him, which in all probability he regretted! We finally got off the “boat” and took a cab back to the hotel, but not before we made a stop at the White Castle drive through where George bought Erv & I dinner….um……I mean breakfast!
