Cold River Records Expands Promo Team; Dandy In Dual Roles

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Jim Dandy

Cold River Records has hired independent promoter Jim Dandy to share national promotion duties with Jeff Davis. Dandy, who formerly served as Regional Promotion Director for Quarterback Records and as PD of KOUL, will handle the Midwest, West and Southwest, while Davis will focus on Central, East and Southeast.

“We have worked with Jim for the past two years and his passion for our artist, Katie Armiger, is infectious,” remarked Cold River Head Pete O’Heeron. “Jim’s energy and creativity will be such a great addition to our staff, and he will hit the ground running.”

As part of the organizational changes, Kates Robinson will be shifting to a radio support role, taking on more day-to-day artist management responsibilities. Cold River is also adding radio promotion veteran Staci Schane in a new radio promotion position. Nancy Tunick continues in her role as consultant/advisor to the radio promotion team.

Dandy can be reached at  jim@coldriverrecords.com or 615-483-4250. Schane can be reached at staci@coldriverrecords.com or 817-219-3389.

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Updated: Jim Dandy is also working with Aria Records to promote artist Todd O’Neill’s new single, “Somethin’ With Some Attitude.” The announcement was made today (7/19) by Aria Records’ Barbara Farkas. Dandy can also be reached at jimdandy@jimdandypromotions.com.

Weekly Chart Report (7/16/10)

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Jason Meadows stopped by KWEY/Weatherford, OK to promote his new single, "You Ain't Never Been To Texas," from his forthcoming EP. (L-R): Meadows and KWEY PD Vanessa Valli.

SPIN ZONE
In an exciting chart day showdown, Blake Shelton’s “All About Tonight” manages the rare trick of ousting a newer single from the No. 1 position. Of course, it didn’t hurt Blake’s odds that his single picked up almost 200 spins in one chart cycle. The previous No. 1, “I’m In” by Keith Urban, slips to No. 2 despite a gain of 92 spins. Still, that song has only been charting for 10 weeks and could very well reclaim the top spot.

The speed of Keith Urban’s latest is echoed in other areas of the chart. Inside the top 10 are two eight-week-old singles—Lady Antebellum’s “Our Kind of Love” at No. 7, and Billy Currington’s “Pretty Good At Drinkin’ Beer” at No. 9. Through the 20s are Toby Keith’s “Trailerhood” only six weeks old, Justin Moore’s “How I Got To Be This Way” at eight weeks, The Band Perry’s “If I Die Young” at seven weeks, Darius Rucker’s “Come Back Song” at three, and Eric Church’s “Smoke A Little Smoke” at five.

Though we’re in the middle of summer Kenny Chesney’s “The Boys of Fall” made a huge impression on programmers, who spun it enough in its first reporting week to get a No. 49 debut and a gain of 565 spins. Reba’s latest, “Turn On The Radio” debuted a mere two spins behind Chesney at No. 50. Train’s Top 40 smash “Hey, Soul Sister” is still waiting to really catch fire, but the BigChampagne Internet Chart (link below) this week might give us a glimpse of things to come. On that chart, “Hey, Soul Sister” is currently hanging at No. 2, right behind Carrie Underwood’s “Undo It.”

RADIO NEWS
Congratulations to KITX/Hugo, OK PD Will Payne and wife Brandi on the birth of their son Hayes Burgess on Monday 7/12. Hayes weighed in at 8.86 pounds, and both baby and mother are doing well. Send congratulations to papa Will at will@k955.com.

Frozen Playlists: WYVY, KJAM, WDHR, KITX, WTRS, KYEZ, KSED

Upcoming Singles
July 19
Chris Young/Voices/RCA
Joe Nichols/The Shape I’m In/Show Dog – Universal
David Adam Byrnes/Sweet Distraction/Better Angels
Reba/Turn On The Radio/Starstruck/Valory

July 26
Miranda Lambert/Only Prettier/Columbia
Sugarland/Stuck Like Glue/Mercury
Matt Kennon/You Can Still Wear White/BamaJam

•  •  •  •  •

New On The Chart—Debuting This Week
Artist/song/label — chart pos.
Kenny Chesney/The Boys Of Fall/BNA — 49
Reba/Turn On The Radio/Starstruck/Valory — 50
Katie Armiger/Leaving Home/Cold River — 70
Braden Gray/I’m Not Hungover/ATP Records — 71
Danny Gokey/I Will Not Say Goodbye/19 Recordings/RCA — 73
Hoss Howard/Dirt Road/Legends And Lyrics — 76
Veronica Ballestrini/Don’t Say/Timbob — 79
Sonny Marshall/Wanna Be Like Him/Eddie One Records — 80

Greatest Spin Increase
Artist/song/label — spin+
Kenny Chesney/The Boys Of Fall/BNA — 565
George Strait/The Breath You Take/MCA — 465
Darius Rucker/Come Back Song/Capitol — 401
Reba/Turn On The Radio/Starstruck/Valory — 343
Lady Antebellum/Our Kind Of Love/Capitol — 317

On Deck—Soon To Be Charting
Artist/song/label — spins
Martin Ramey/Twisted/Curb — 207
Chuck Wicks/Hold That Thought/RCA — 206
Blackberry Smoke/Good One Comin’ On/BamaJam — 205
David Bradley/Soak It Up/Gecko Music — 205
Amber Hayes/C’Mon/Funl Music — 201

Two Week Most Added*
Artist/song/label — New adds
Kenny Chesney/The Boys Of Fall/BNA — 41
Reba/Turn On The Radio/Starstruck/Valory — 28
George Strait/The Breath You Take/MCA — 26
Katie Armiger/Leaving Home/Cold River — 14
Darius Rucker/Come Back Song/Capitol — 13
Joe Nichols/The Shape I’m In/Show Dog – Universal — 11

UMG artist Josh Turner stopped by the CMT studios to chat with Cody Alan about his new single “All Over Me.” (L-R): MCA VP/Promo Van Haze, Turner, Alan, and UMG VP/Radio Mktg. Katie Dean.

Bucky Covington visited WPOC/Baltimore to announce his appearance on their upcoming “Sunday In The Country” show in September. (L-R): Laurie DeYoung (Mornings), Covington, PD Meg Stevens and MD Justin Cole.

Shelton Stages Online/Dance Club Contest

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Blake Shelton fans now have a unique online/dance club contest which will offer them a chance to win free downloads and autographed Shelton memorabilia. Dubbed The “All About Tonight” Come-On Contest, to highlight Shelton’s debut single from his forthcoming Six Pak release, All About Tonight, due out Aug. 10, the challenge is about Shelton fans sharing their best pick-up lines. Fans call a special hotline 615-942-0746 to record their best lines and Shelton reviews them each week. All callers receive a free download link for “All About Tonight” and winning entries are announced on Blake’s Tuesday Take Six Webisodes. Winners also receive a Reprise Records prize pack containing autographed items and more.

“The ‘All About Tonight’ Come-On Contest is a unique effort to involve fans at the club level, built around Blake’s well-known sense of humor and active fan base,” says Kelli Cashiola, VP of Brand Management, Warner Music Nashville.

As part of the dance venue promotions, clubs are hosting their own in-house “All About Tonight” Come-On Contests in August. Club-goers will have the opportunity to deliver their favorite pick-up lines in front of a live audience, who will then vote on the best submission for a chance to win an official prize pack.  Details of the club contests vary from venue to venue.

The contest, organized by Marco Club Connection and held in more than 200 Country dance venues across the country, was originally geared toward club patrons, but exploded in popularity when Shelton began posting about it on Twitter and Facebook. Warner Music Nashville subsequently expanded the contest so that online fans could participate through the singer’s official website http://www.blakeshelton.com. For more info or to embed a widget visit MarcoClubConnection.com.

Syncs Help Sony/ATV Fight Slump

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Sony/ATV Music Publishing Nashville Pres./CEO Troy Tomlinson

This week’s announcement that Treehouse Records was being folded into Stroudavarious Records was the latest in a string of label changes which also included the shuttering of Lyric Street and Golden Music. In the changing environment, publishers like Sony/ATV are turning efforts to alternative income streams.

It’s not hard to calculate how the drastic drop in album sales is hurting publishers. Sony/ATV Nashville Pres./CEO Troy Tomlinson explains the chain reaction like this: “Fewer labels equals fewer artists which equals fewer albums being made, with fewer cuts and therefore fewer singles.”

In the wake of dwindling singles and sales—traditionally the biggest money makers—Sony/ATV is focusing more efforts on sync licensing as a growing income booster. Tomlinson has been building the then one-man department since he stepped into his current role about five years ago. “Now we have five people in the Nashville office who are responsible for TV, film, and commercials, as well as pitching songs for merchandising opportunities, lyric reprint opportunities, and overall marketing of our songs in more non-traditional ways,” he explains. “We’re fortunate that the Sony/ATV New York and L.A. offices work all day every day with our Nashville office. Once the makers of the film or commercial determine they need a country song to help convey their message, then I have New York or L.A. working immediately with the Nashville team to make our very best pitches for that spot.”

Tomlinson is also keeping an eye out for other burgeoning revenue streams, such as the proliferation of mobile devices. “As more people determine that they want it all in a mobile device, that has to ultimately provide us with opportunities for growth,” he says.

While music outlets and distribution methods are shifting, Tomlinson says the focus remains the same as always. “At the end of the day, we try lots of different things to stimulate revenue, but at the base of all of those, you still have to begin with a great song. You have to trust that the very best songs will be released and move people, which will result in income for the writers and publishers.”

Tomlinson relies on his passion for great music to maintain a positive outlook, but admits the current climate is bleak. “Even with all the things that we’re doing to generate more or new revenue, it won’t in any way in the near future offset what we have lost with regard to physical mechanicals. But, you can either adhere to the notion that the sky is falling, or you can make the very best of what opportunities come your way. We are blessed that we are still in a business that puts out a product that people want. And people want music more than ever, and have easier access to it than ever—although there are still obstacles to work out—I believe that in the long run it will be a positive for publishers and songwriters.”

Diverse Pathways To Artist Success

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Nancy Tunick

The country music landscape continues to rotate like the sleeve on a kaleidoscope with each twist yielding unexpected consequences. Through it all artists, big and small, continue to find ways to establish and nourish their careers. And those journeys can take various shape and form based upon the goals of everyone involved.

Indie and small label closures feel like they have been accelerating (i.e. Golden, Treehouse, Universal South, Lyric Street), but the shuttering has not slowed the march of new artists. Instead of waiting for label deals, many of these newcomers arrive self-contained as the CEOs of their own corporation, a simplified, but all inclusive 360 deal.

MusicRow spoke with Jerry Duncan, Owner of Jerry Duncan Promotions and Nancy Tunick, who co-owns GrassRoots Promotions with Teresa Johnston to find out what trends they are seeing and their expectations for the latter half of 2010.

“There is so much good indie music,” says Tunick. “It has raised the playing field to a new level. The environment is now crowded and competitive, but also exceptional as far as content for programmers is concerned. I see a huge difference in the number of artists on their own producing amazing music as compared to 3 or 5 years ago. Artists with their own virtual label get absolute control of branding themselves to consumers. The smaller label situation can also be positive, but fewer exist because they are based upon economies of scale that are similar to majors. Running a label with multiple artists requires significant staff and therefore revenue to support that overhead. Alternatively, being self-funded or having an investor means you don’t have to sell as much product or create as much revenue. You are your own industry and can lean on a variety of revenue streams. It’s easier to build ROI (return on investment) if you are the CEO of you, then you have the ultimate 360 deal.”

Jerry Duncan

“I don’t believe the label closings are indicative of a trend,” argues Duncan. “Looking back over the years there has always been a high turnover of indie labels. Ultimately 90-95% close. Actually, now is a really good time for indies because there are new opportunities. For example, the Internet, which allows all artists to easily sell music online and offers so many ways for fans to discover that new music. But to compete requires having a good plan. Look at some of the success stories: Average Joe has sold over a quarter million albums on Colt Ford and sold a lot on Brantley Gilbert already. Zac Brown broke through on an indie label. Broken Bow is a major force as a label now and they started as an independent. Jaron & the Long Road To Love started as an indie before getting picked up by a major. True, the odds are against you (as they always are) with independents, and breaking an artist takes more money and time than newcomers generally realize. You have to be in it for the long haul.”

According to Tunick there are two basic pathways. “The self-contained artist may not require the same level of success as those at a larger label because they have different ROI needs,” she says. “If an act is getting booking, merch, publishing and other revenue streams and not limited to just having a Top 10 single, then success can be defined much more broadly than just having a Top 10 record at radio. There are artists I consider ‘Country’s Middle Class’ that aren’t making millions, but are doing what they love, and presenting the gift of their music to others. They don’t have to deliver pizza or wait tables. So that is one scale for success. The Taylor Swift type of major label success is much rarer when you are on your own label mostly because you don’t have major market leverage. Success in the larger label arena is mostly about having a major market radio hit. Generally, when it does happen to an indie it is because the content is reactive.

“The indie example of the year was Jaron,” Tunick continues, “and that was a super reactive record. We worked with him while he was independent before he went to Big Machine. Each time that record was played a hundred people called. Reactive songs are in a different category than music generally. If an artist comes to me and says their goal is a major market top ten hit then my answer is, ‘Find a song that is going to be reactive. Not just excellent—reactive.'”

Duncan notes country’s march in the direction of becoming a singles based format and sees it also empowering smaller artists. “People download the songs they like and don’t have to commit to a full album,” says Duncan. “That is advantageous for independents, who no longer have to live or die on their ability to get on the shelves at Wal-Mart, a feat that was always difficult. For consumers, it also means that instead of waiting to hear several songs on the radio before taking the leap to buy an entire album—a process that can take 12 months or more, they can buy the track they already love. And if a consumer likes one song and buys it then certainly they are a candidate for buying the entire album down the road. Downloads have changed industry economics and consumer behavior.”

Tunick realizes that various segments of the country industry have yet to recognize and perhaps fully embrace the rising middle class. “Some may be slow catching up to the idea that indie artists on their own labels or smaller labels can be true marketplace competitors,” she says. “Everything is not gauged on whether there is a Top 10 major market hit. These artists have national fan bases and are supporting themselves and other people via their touring. Some existing organizations are designed to only support what they have known in the past, which is big stars, and aren’t used to dealing with the recently introduced artist middle class. I’m hoping those parts of our industry will catch up.”

DISClaimer Single Reviews (7/14/10)

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It’s Duo Day!

All three of our top contenders this week are teams of two. If your taste runs to authentic, nostalgic country music I urge you to seek out Keeping Up Appearances by Texas-based label-mates Amber Digby and Justin Trevino. It does my heart good to hear that somebody is still making music this pure and fine.

Our DisCovery Award goes to a pair that also has ties to tradition. Their discoverer and co-producer is none other than Mel Tillis. Ronny McKinley and Jody Beggs wrote all of the songs on their By the Fire CD—individually, together or with other collaborators—and the results are impressive. Give McKinley and Beggs a prize.

The Disc of the Day goes to the husband-wife duo Thompson Square. And while you’re presenting it, congratulate Keifer and Shawna on finding such a cool little song.

JASON MEADOWS/You Ain’t Never Been To Texas
Writer: Roger Springer/Tony Ramey; Producer: none listed; Publisher: Red Cape/ole/Cherry Lane, ASCAP; JM (www.jasonmeadows.com)
—Believe it or not, it is a ballad that is against the Theory of Evolution. “If you don’t believe in God/You ain’t never been to Texas” is the refrain. I know this is going to come as a shock to him, but Charles Darwin was a Believer, as are many who espouse his thesis. I have a suggestion, the next time you get sick with the flu, have them give you a medicine that treats the version of the virus that infected people 100 years ago, rather than the evolved virus that is active today. Good luck with that.

REBA/Turn On The Radio
Writer: J.P. Twang/Mark Oakley/Claire Oakley; Producer: Dann Huff; Publisher: Ten Ten/REM/The Loving Company/Charie Amour, ASCAP; Valory Music/Starstruck
—He’s a no-good mistreater, and this grinding-guitar rocker tells him just where to get off. Don’t bother “Twittering until your fingers bleed,” because she’s not responding. Instead, he can listen to the radio in his Chevy truck and hear the songs that speak her mind.

SANDY KASTEL/Indiana Rain
Writer: Sandy Kastel; Producer: Ron Aniello; Publisher: Silk and Satin, BMI; Silk and Satin (www.sandykastel.com)
—He’s died, it’s raining, and she’s crying at night. It is well written and produced, but there’s nothing particularly “country” about her vocal.

JOSH GRACIN/Cover Girl
Writer: Josh Gracin/Brad Tursi; Producer: Kevin Murphy & Josh Gracin; Publisher: Beautiful Monkey/Francis Lock, BMI/ASCAP; Average Joe (CDX) (www.joshgracin.com)
—He is such a fine and true vocalist, so it’s a shame to hear him drowning in this busy, cluttered, overly amped and junky rock track. Pass.

THOMPSON SQUARE/Are You Gonna Kiss Me Or Not
Writer: Jim Collins/David Lee Murphy; Producer: New Voice Entertainment; Publisher: Sexy Tractor/Big Loud Bucks/Hope-N-Cal/Cal IV/Old Desperados/N2D/Carol Vincent, BMI/ASCAP; Stoney Creek (CDX) (www.thompsonsquare.com)
—He is pondering making a move, when she startles him by taking the initiative. Their courtship progresses until the wedding day. After their vows are taken, it’s his turn to ask the same question. Very cute. Very bopping. Very catchy. So nice I played it twice.

GRETCHEN WILSON/Work Hard, Play Harder
Writer: Gretchen Wilson/Vicky McGehee/John Rich/Chris & Rich Robinson; Producer: John Rich, Gretchen Wilson & Blake Chancey; Publisher: none listed, ASCAP/BMI; Redneck (track) (www.gretchenwilson.com)
—I know I’m a little late getting to this, but nobody sent me a review copy so I had to track it down and buy the CD. By the way, I found a copy at the Fontanel gift shop and highly recommend this newly opened and tour-worthy mansion, its amphitheater, its trails in the woods and its excellent restaurant. In any case, Gretchen remains a tremendous singer, as at ease with a heartbreaker as she is with a blue-collar rocker like this. Come to think of it, I’m proud and glad to spend money on a first-class indie project like I Got Your Country Right Here.

GREG HANNA/What Kind Of Love Are You On
Writer: Greg Hanna/David Lee Murphy/Kim Tribble; Producer: Buddy Cannon & David Kalmusky; Publisher: Hannamania/Old Desperados/N2D/Little Kings/Calhoun Enterprises, SOCAN/ASCAP/SESAC; Pheromone (track) (www.greghanna.com)
—Celebratory. The track bubbles with excitement, the melody soars and his singing is sensational. Well worth your spins.

U.S. SENATOR ROBERT BYRD/There’s More Pretty Girls Than One
Writer: none listed; Producer: Barry Poss; Publisher: none listed; County (track)
—West Virginia Senator Robert Byrd recorded his Mountain Fiddler album for County Records in 1977. In the wake of the death of the longest serving U.S. congressman in history at age 92 on June 28, the label has reissued it. It is exactly what its title says it is, an Appalachian collection. This was his favorite track on it, showcasing both his rustic old-time fiddling and his soulful mountaineer voice. No wonder he got guest spots on both the Opry and Hee Haw. If you loved O Brother, buy this at once.

McKINLEY & BEGGS/Too Many Horses
Writer: Ronny McKinley/Monty Savitz; Producer: Mel Tillis & Sonny Tillis; Publisher: none listed; Radio (track) (www.mckinleyandbegg.com)
—Hall of Famer Mel Tillis discovered this team of singer-songwriters in Florida. The first single from the duo’s By the Fire CD is a rolling rodeo tune with plenty of steel, a potent bass line, keyboard tickling, plenty of western atmosphere and a lead vocal that is loaded with heart.

AMBER DIGBY & JUSTIN TREVINO/Keeping Up Appearances
Writer: Liz Anderson; Producer: Justin Trevino & Amber Digby; Publisher: Sony-ATV, BMI; Heart of Texas (track) (www.heartoftexascountry.com)
—With a roster that includes Darrell McCall, Curtis Potter, Georgette Jones, Tony Booth and more solid stylists, Heart of Country Records has become a bulwark and shining light for True Country Music. Two of its leading vocalists have teamed up for a duet CD with this classic as its title tune. Originated in 1967 by Lynn Anderson and Jerry Lane, it’s a harmonized shuffle that will have you grinning from ear to ear. Both Amber and Justin sing their faces off throughout the collection, which boasts remakes of great songs by the likes of Hank Cochran, Porter Wagoner, Buck Owens, George Jones, Boudleaux Bryant, Harlan Howard and other titans. The next time somebody says, “They don’t make country like they used to,” refer them straight to this.

Weekly Chart Report 7/09/10

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RADIO NEWS
West Texas Broadcasting’s KKCN/San Angelo, TX has named DK Pierce for music and programming duties, following the departures of Alex Hart and Tracy Scott. Pierce comes to the station from KOMG/Springfield, MO and he also spent time with KTST in Oklahoma City. Call times are Tuesdays from 10-12 central and you can reach him at dkpierce@westtexasbroadcasting.com.

Top: James Otto (center) visits with Kay Manley (L) and Dave Kelly (R) of WGKX before his show in Memphis for "KIX on Beale." Bottom: (L-R): KSCS/Dallas PD Chris Huff and Frankie Ballard.

SPIN ZONE
Keith Urban’s “I’m In” arrived at No. 1 last week after only eight weeks on the CountryBreakout chart, and maintains its hold on the top spot for a second consecutive week with a gain of 101 spins. Most of the Top 10 records, in fact, are younger than 20 weeks. While it’s not uncommon for a song to move quickly up the chart, it is pretty rare to see one reach No. 1 in 10 weeks or less. Not surprisingly, this isn’t Urban’s first time to achieve this feat: “Kiss A Girl,” “Tonight I Wanna Cry,” and “Days Go By” were all 10 week-or-less trips to No. 1.

Another superstar who has managed quick runs to No. 1 is Toby Keith, who has two No. 1 singles (“She Never Cried In Front Of Me,” “As Good As I Once Was”) under the 10 week mark, and at least six more that made it in 11 or 12. His latest, “Trailerhood” might be another, considering its rise to No. 25 in five weeks. Others with multiple fast-rising No. 1s include Lady Antebellum (current single “Our Kind Of Love” is No. 8 after seven weeks), Rascal Flatts, Garth Brooks and George Strait.

Taylor Swift’s “Love Story” and Carrie Underwood’s “Jesus Take The Wheel” are tied for the fastest rising female single in chart history at nine weeks, followed by Faith Hill’s “Mississippi Girl” and Gretchen Wilson’s “Redneck Woman” at 10 weeks. Hill’s husband Tim McGraw is the current chart record-holder, as his world-conquering “Live Like You Were Dying” rocketed to No. 1 in seven short weeks.

Biggest debut of the week goes to George Strait’s “The Breath You Take” which lands at No. 52. Others making first appearances include Darren Kozelsky’s “Somebody Find Me A Preacher” (No. 66), Joe Nichols’ “The Shape I’m In” (No. 69), Randy Rogers Band’s “Too Late For Goodbye” (No. 71), and Chelsea Field’s “Things I Should’ve Said” (No. 74).

Along with our new chart download format this week, we have expanded the chart to include 80 titles. As a result, Charlie Allen, James Wesley, Sean Hogan, The Springs, and Nathan Lee Jackson all get first week recognition.

Frozen Playlists: KBOE, KJAM, KYKX, WDHR, WHWK

Upcoming Singles: Going For Adds
July 12
Stealing Angels/He Better Be Dead/Skyville/Nine North
Thompson Square/Are You Gonna Kiss Me Or Not/Stoney Creek
George Strait/The Breath You Take/MCA
Jessie James/Boys In The Summer/Mercury
Train/Hey, Soul Sister/Columbia/BNA

July 19
Chris Young/Voices/RCA
Joe Nichols/The Shape I’m In/Show Dog – Universal
David Adam Byrnes/Sweet Distraction/Better Angels

•  •  •  •  •

New On The Chart—Debuting This Week
Artist/song/label — chart pos.
George Strait/The Breath You Take/MCA — 52
Darren Kozelsky/Somebody Find Me a Preacher/Major 7th/Spinville — 66
Joe Nichols/The Shape I’m In/Show Dog – Universal — 69
Randy Rogers Band/Too Late For Goodbye/MCA — 71
Chelsea Field/Things I Should Have Said/Moxy Records — 74
Charlie Allen/Grandpa’s Recipe/River Run — 76
James Wesley/Real/Broken Bow — 77
Sean Hogan/Suck It Up/Lakeland Heart — 78
The Springs/Summer All Year Long/CFC — 79
Nathan Lee Jackson/Inside — 80

Greatest Spin Increase
Artist/song/label — spin+
Darius Rucker/Come Back Song/Capitol — 342
George Strait/The Breath You Take/MCA — 300
Toby Keith/Trailerhood/Show Dog – Universal — 268
Billy Currington/Pretty Good At Drinkin’ Beer/Mercury — 264
The Band Perry/If I Die Young/Republic Nashville — 257

On Deck—Soon To Be Charting
Artist/song/label — spins
Reba/Turn On The Radio/Starstruck/Valory — 220
Braden Gray/I’m Not Hungover/ATP Records — 218
Sonny Marshall/Wanna Be Like Him/Eddie One Records — 199
Chuck Wicks/Hold That Thought/RCA — 182
Jimmy White and Jonell Mosser/Just What I Need/Tone Box Records — 182

Two Week Most Added*
Artist/song/label — New adds
George Strait/The Breath You Take/MCA — 23
Reba/Turn On The Radio/Valory — 18
Joe Nichols/The Shape I’m In/Show Dog – Universal — 16
Darius Rucker/Come Back Song/Capitol — 16
Total adds rec’d over two weeks

Putting Secondary Radio First

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Diane Richey-Haupt

“In general what I’ve been seeing with some of the secondary stations,” says Diane Richey-Haupt, Owner of Diane Richey Promotions, “is different layers in the market. Many of the stations we deal with in an Activator or Indicator situation are highly consulted which makes it tough. On the MusicRow panel we find the stations are not as affected by consolidation, although it is true they are being asked to do more now than they did a few years ago. Thankfully, the stations remain passionate about listening to new music. New artists are having success and MusicRow seems to be popping them out ahead of where they come in on the Billboard or MediaBase charts. People/stations there are listening and making room for new music.”

“Right now I’m noticing the speed of the MusicRow chart has picked up and that is a good thing,” says Rick Kelly, VP Radio Marketing Marco Promotions. “On this week’s chart the average age of a record in the Top 5 is 14-15 weeks, probably because they are all really big acts and/or reactive records. But everything on the chart seems reasonably young and there are very few 40-week records. We are also seeing an interesting and heartening mix of independent and baby acts. The major heritage acts and superstars are still well represented, but the chart shows diversity.”

Rick Kelly

Songs played on major market radio are largely monitored while the smaller market station reports are submitted directly by programmers. “They are two different animals in a lot of ways,” says Kelly. “With a non-monitored chart, particularly a projected spin chart like MR, things seem to pick up steam more quickly. By the same token, on monitored charts, records that still appear to be growing can lose bullets. A song can have adds and positive spins, but be down in audience. People tend to have a knee jerk reaction and stay away from a record if it is un-bulleted, even though it might be growing or at least maintaining. Sometimes that microscope on every impression is not indicative of the health of a record.”

Richey-Haupt has championed secondary radio since forming her firm 25 years ago, but notes that, “living in a non-monitored world,” can present situations from time to time. Recently she found a few stations that possibly weren’t reporting some of the superstar artists they were playing. “It’s almost with an attitude of, ‘if they don’t call me then they don’t care,” she says. “I can’t imagine having a great sounding station and not playing some of these superstar artists–whether they call them or not.”

“There may be some stations out there under reporting for some reason,” says Kelly. “I haven’t encountered any. Maybe they don’t pay attention to some records because those records are not being brought to their attention.”

But Richey-Haupt asserts the good far outweighs the problems. “There’s only a handful of negative out there compared with a whole boatload of wonderful. The secondaries are where you find hugely passionate people that often have listened to the record even before you ask them about it.”

Kelly sums the attraction of secondary radio. “For an indie or a small label to succeed at monitored radio now seems to be a Herculean and near impossible task,” he says. “The secondary arena has been getting more crowded with people trying to break there because they realize how monumentally expensive it is when trying to break at the majors. It’s definitely easier to make inroads at secondary radio than mainstream.”

Sirius/XM Reports Subscriber Growth

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Sirius XM announced Wednesday (7/7) that their second-quarter subscriber additions have pushed their total subscriber base to over 19.5 million listeners. That represents a 1.1 million increase from last year, well above Wall Street predictions. The company subsequently raised its 2010 forecast for subscriber growth by nearly 50 percent, sending shares 6 percent higher. Sirius shares, which are up 67 percent this year, gained 6 cents to close at $1.

According to David Joyce, an analyst at Miller Tabak, much of that growth can be attributed to “continued strong auto sales.” Thanks in part to that automotive rebound,  Sirius said it added 583,249 subscribers after losing 185,999 a year earlier. The Sirius figure marks a net add-on of 754,690 during the first half, an impressive turnaround from a net loss of 590,421 during the same period in 2009. Close to two-thirds of all new cars sold in the US are equipped with satellite radio. In the most recent quarter, Sirius said nearly 47 percent of new car owners opted to continue paying for subscriptions following an initial trial period. That’s up slightly from 44 percent a year earlier.

“The further improvement in our guidance reflects the attractiveness of satellite radio but maintains a cautious outlook for continued improvement in the economy,” explained Sirius XM CEO Mel Karmazin.

Recording Academy Amends “Best New Artist” Rules

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Blame it on Lady Gaga. In the wake of the flamboyant pop star’s exclusion from its Best New Artist category at this year’s 52nd annual Grammy Awards, the Recording Academy has changed its rules to allow for leeway for artists previously nominated in the category. The changes will be in place for the upcoming 53rd annual Grammy Awards, which are set for Feb. 13.

Although Lady Gaga was certainly one of last year’s most popular new artists, she was ineligible for the best new artist nomination because her hit, “Just Dance” had been nominated in 2008 in the best dance recording category, before her career exploded with her debut release, The Fame. The rules state that previous Grammy nominees can’t be nominated for best new artist.

“There will be some changes so that particular situation won’t repeat itself,” said Recording Academy President Neil Portnow after Gaga’s headline-generating exclusion from the category.

The rule changes for 2011 will allow acts in a similar situation to be considered for best new artist, provided the act or group did not win a Grammy.

“More and more, the first release of a new artist is as a featured artist on someone else’s album, or the new artist may release a single long before the release of his/her/their entire first album,” the Recording Academy explained in a statement. “By current rules, if the other artist’s album or the new artist’s single receives a nomination, the new artist may never have the opportunity to compete in the best new artist category.”

“Every year, we diligently examine our awards process to ensure that it remains relevant within the current musical landscape,” Portnow said. “These eligibility amendments recognize present trends in music, and our Board of Trustees continues to demonstrate its dedication to keeping the Recording Academy a pertinent and responsive organization in our dynamic music community.”