According To Marty Martel The article written by Anita Wadhwani of The Tennessean newspaper is another great explanation of what is wrong with the country music industry. Her article will follow Martey editorial. Although Marty believes that Anita is a great writer and always has her homework completed when she writes her articles, he also have some thoughts on the reasons country music is slowing down to a crawl when it comes to radio play and record sales.
The radio execs and record labels have been the cause in the decrease of sales of country music, because there is less great material being recorded by artists who are really great artists. We are besieged with a grouping of artists who are being hyped to country radio by the radio promoters from the major record labels, and the major record labels are the cause of what radio plays today. Just read what “Country Radio DJ’s & Station Managers” are saying at this seminar. It you want to read illiteracy, then you will see why country radio is where it is today. Many DJ’s who come from other genre’s who know nothing of the history of country music, and evidently don’t care to learn before they play the music.
Country Radio is so politically orientated for jockeying position on the charts, you would not believe what goes on behind closed doors, and the problem is, none of us can prove it. Record labels are victims of what they give to radio to play, and radio has the power to close the door on any artist or song that they do not want to play. There are hit records that are never heard because radio will not play what is great, they play what they are paid to play. Why is Vince Gill’s music not being played by country radio stations. Where have the Aaron Tippin’s, Joe Diffie’s, Lori Morgan’s, Pam Tillis, etc. gone. It seems they have been banned from country radio in today’s market. I would like to hear their reasoning, and you can bet it will be some lame excuse for a reason.
We all know that a #1 in today’s country market makes the artist and their management raise their touring fee to rip off the buyers and venue’s because no one really knows who they are with one #1 record, (if it was really a #1 record) or was it just hyped to #1. Most of the newer artists are not worth what they think they are worth. The artists has to pay his band, road manager, personal manager, talent agency, and whatever other greedy hands are being held out to collect their piece of the pie. A fan base is an artists’ livelihood for life, and without it they are here and gone, and most of the artists of today are here and gone. Go back to the days of Garth, Alan Jackson, George Jones, Jean Shepard, Reba, Kitty Wells, etc. That is what you call a fan base. Now these artists of today are more interested in a stage show that cost an arm and a leg, contract riders that are so stupid and expensive and have drained money from all buyers and venues, ego trips that will cost them their careers, and the list goes on and on.
The only log jam that is found is country radio is the log jam that radio has made, and now with this new electronic age, they are finding that the fans no longer need radio to find the music they like. Fan now can listen to new music, by new artists, that radio and record labels have failed to take notice of. Most of the new indie artists are finding new fans, new venues to play, and not having to put up with record label politics on what they release, when they release, and they do not have to worry about how long a major label will stick with them if their first CD does not have platinum sales. A new artist with a good website, can gain popularity in a short time, find working venue’s as they progress with new fans, high merchandise sales with their music, and they are able to build a fan base with no interference from a record label who holds all of the trump cards on each of their artists. The proof is Toby Keith and his own record label. He has surrounded himself with people that he knows are honest and know the record business. They know how to promote and market an artist and to get their music played. A FAN BASE IS WHAT MAKES SUCCESS, AND THAT WILL NEVER CHANGE.
So I say to Radio Execs and Record Labels, “if you think times are lean now and you are facing a log jam,” you are all in for a rude awakening, because it is not going to get any better, it will only get worse. This problem could have been alleviated years ago if there would not have been so much greed in corporate ownership of radio stations, and if record labels would have listened to the fans. If anyone thinks that the old word “payola” is just a word, think again. It has never left our industry. I hate to see country music at one of its lowest points of interest in its history, but when we can get rid of the rock programmers and DJ’s who know nothing about country music, then country music can breathe with new life, but as it is now, it looks and sounds like the music industry is breathing with the aid of a life support system, and the only way for country music to survive is to keep the true country music fans and find a way to bring new fans to our music. It would be good if we could clean the slate of all of the greed in country music, in fact in all genre’s, but that is impossible.
Please read the following article by Anita Wadhwani.
Marty Martel© March 4, 2012
Radio execs cope with smaller, leaner industry Music exports from Nashville
could face logjam if air play gets too controlled, contrived
by Anita Wadhwani-Tennessean
Country radio DJs and station managers wrapped up their four-day annual convention here Friday, taking a sobering look at challenges facing an industry that serves as a key gatekeeper to Nashville’s chief cultural export. From the auto industry’s redesign of dashboards that some think de-emphasizes radio to increased corporate ownership and layoffs of on-air personalities, country radio is a smaller, leaner and tougher business than it used to be.More than 2,100 participants and several hundred media representatives attended Country Radio Seminar at the Nashville Convention Center this year, up 10 percent from attendance in 2011 as the industry tries to figure out how to regroup after declining ad revenues and a rise in competition from digital music sources.
Corporate takeovers have resulted in odd-couple scenarios of rock radio executives suddenly being placed in charge of community country radio stations, sometimes in smaller cities.That has led to a few culture clashes, former rock programmers said during a panel with the tongue-in-cheek title “Are These Country People Freakin Nuts? Looking at Country From a Different Perspective.” When maverick rock programmers have tried to make changes, such as asking beloved DJs to stop talking so much or to get rid of the station’s beloved weather jingle, the reactions have sometimes been rocky. “When I took the weather off the air, you’d think I had declared war,” said Mark Adams, vice president for programming at CBS Radio, who took over country station KILT in Houston two years ago. “I was, like, ‘Nobody cares. You can look outside.’ ”
More important for Nashville’s country recording industry, those programmers said they’ve grown skeptical of major country music record labels’ efforts to interest them in hit songs that turn out to have little lasting value for their radio audiences. “A large number of country hits aren’t on the charts six months later,” said Mike Preston, program director of country station KKWF in Seattle. True hit songs — singer Adele’s, for example — should have more lasting value than that, he said. Acquiescing to requests by big record labels to play certain songs gets the songs to climb the charts because the ratings are based, in part, on the number of times songs get played on the radio. But that has ultimately made radio managers feel they’re being manipulated, programmers said.The label pitches to radio often turn out to be more about choreographing a chart topper, rather than the reality of music that attracts and keeps fans, Adams said. “It’s label manipulation,” Adams said. “It has no bearing on reality. People say if Artist X has a No. 1 song, that’s X amount more dollars they can charge on tour. That’s OK, but it has nothing to do with my station.”
At another panel discussion, auto industry and radio executives talked about the future of listening to music in cars, where FM and AM radio once reigned as the chief entertainment option.Now, auto designers are crafting dashboards that allow drivers to go to Internet radio and a variety of other apps. Some dashboards even give drivers the option of playing Angry Birds (the digital strategy game of daring birds) on their dash — not just a competitive disadvantage with radio, but a possible danger to other drivers. “The question is, is radio just going to be another app” for drivers? said John Ousby, CEO of vTuner, which provides Internet radio services to the consumer electronics industry. Despite those challenges, the problem of maintaining an uninterrupted Internet connection on the road keeps most music listeners tuned into traditional radio as they drive, said Michelle Avary, founding member of the Advanced Technology Department at Toyota.
Country Radio Seminar is Nashville’s third-biggest country music industry gathering, after the CMA Festival and the CMA Awards. The annual gathering returns to Nashville next February.
Article Supplied By Marty Martel
NASA models using data from the Solar Terrestrial Relations Observatory (STEREO) and the Solar Heliospheric Observatory (SOHO) have now provided more information about the two Coronal Mass Ejections (CME) associated with the two March 6 flares.
Such a CME could result in a severe geomagnetic storm, causing aurora at low latitudes,
with possible disruption to:
– high frequency radio communication
– global positioning systems (GPS)
– power grids.
The models also predict that the leading edge of the first CME will reach Earth at about 1:25 AM EST on the morning of March 8 (plus or minus 7 hours) and the event may last 3 days.
The first CME is traveling faster than 1300 miles per second; the second more than 1100 miles per second.
NASA’s models predict that the CMEs will impact both Earth and Mars, as well as pass by several NASA spacecraft
MUSTANG SALLY HOT IN EUROPE: Mustang Sally will be appearing in Zurich, Switzerland March 16 & 17, 2012 as part of the Schutzenhaus Albisgutli Festival. Their popularity continues to grow with each trip to Europe. We hope that if you are in the area that you will take the time to go and see this fabulous group of ladies perform, and treat yourself to one of best shows you will ever see. Seeing is believing and I promise you that you will become a fan of Mustang Sally’s if you do that. Mustang Sally is the hottest group to ever come out of Nashville and the country music industry, and now are in negotiations with a new record label.
They are available for interviews, and if you will contact this office for interest in meeting the group while they are in Zurich, I will see that your names will be included on the guest list.
Do not miss a great opportunity to see Mustang Sally in a live performance. If you are interested in an interview with the girls, please contact me and I will set up a date and time for a phone interview.
Schützenhaus Albisgütli Festival – Zurich, Switzerland
DATE(S) OF ENGAGEMENT:
March 16th & March 17th 8:00pm.
March 18th 9:30am
For bookings, contact Acts Nashville (Eddie) firstname.lastname@example.org or call (615) 254-8600
“Mustang Sally” new single “Rippin Up Dixie”
will be available for free download by next week on
Wildhorse Entertainment for their fans and Dj’s worldwide
For all media request contact the following contact:
Marty Martel Ph.(615) 822-6713 Fx.(615) 824-3830