D
drpickle
Guest
Neko Case is the best singer in Country since June Carter Cash. Why is she not on Country radio? And, what is on country radio anyway? It sure ain't country!
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K
KeithThompson
Guest
It's kinda difficult to play a Neko Case song when I've never received one from her record label, or any of the radio complilations we get. My guess is that they ain't marketing her on country radio.
As for the second part of your post...if Gretchen Wilson, Josh Turner, Joe Nichols, Brad Paisley, Jamey Johnson, Jason Aldean, Craig Morgan, George Strait, etc. aren't country, then exactly what format do they belong on?
> Neko Case is the best singer in Country since June Carter
> Cash. Why is she not on Country radio? And, what is on
> country radio anyway? It sure ain't country!
>
As for the second part of your post...if Gretchen Wilson, Josh Turner, Joe Nichols, Brad Paisley, Jamey Johnson, Jason Aldean, Craig Morgan, George Strait, etc. aren't country, then exactly what format do they belong on?
> Neko Case is the best singer in Country since June Carter
> Cash. Why is she not on Country radio? And, what is on
> country radio anyway? It sure ain't country!
>
> As for the second part of your post...if Gretchen Wilson,
> Josh Turner, Joe Nichols, Brad Paisley, Jamey Johnson, Jason
> Aldean, Craig Morgan, George Strait, etc. aren't country,
> then exactly what format do they belong on?
I'm thinking Jack.
And Big n Rich belong in a warm transmitter shack in Siberia. Exactly where they seem to be headed.
> Josh Turner, Joe Nichols, Brad Paisley, Jamey Johnson, Jason
> Aldean, Craig Morgan, George Strait, etc. aren't country,
> then exactly what format do they belong on?
I'm thinking Jack.
And Big n Rich belong in a warm transmitter shack in Siberia. Exactly where they seem to be headed.
K
KeithThompson
Guest
I guess that's why you're a part time board op (just kidding by the way).
Actually, I like Big & Rich although they are rather polarizing on the radio and I do think their "freshness" factor has worn off by now. People either love them or hate them, there's no real middle ground with them.
Here's an interesting Big & Rich stat...they're one of the bigger sellers in the "country" format but I don't think they've actually had a top-10 radio hit, so they're not really getting a whole lot of country radio airplay as compared to others like, say Craig Morgan. Big & Rich may well be this generation's version of the Kentucky Headhunters...a group that was weird and different along with being a bit controversial, and made an impression on the country music format far greater than the actual airplay they garnered.
> > As for the second part of your post...if Gretchen Wilson,
> > Josh Turner, Joe Nichols, Brad Paisley, Jamey Johnson,
> Jason
> > Aldean, Craig Morgan, George Strait, etc. aren't country,
> > then exactly what format do they belong on?
> I'm thinking Jack.
>
> And Big n Rich belong in a warm transmitter shack in
> Siberia. Exactly where they seem to be headed.
>
Actually, I like Big & Rich although they are rather polarizing on the radio and I do think their "freshness" factor has worn off by now. People either love them or hate them, there's no real middle ground with them.
Here's an interesting Big & Rich stat...they're one of the bigger sellers in the "country" format but I don't think they've actually had a top-10 radio hit, so they're not really getting a whole lot of country radio airplay as compared to others like, say Craig Morgan. Big & Rich may well be this generation's version of the Kentucky Headhunters...a group that was weird and different along with being a bit controversial, and made an impression on the country music format far greater than the actual airplay they garnered.
> > As for the second part of your post...if Gretchen Wilson,
> > Josh Turner, Joe Nichols, Brad Paisley, Jamey Johnson,
> Jason
> > Aldean, Craig Morgan, George Strait, etc. aren't country,
> > then exactly what format do they belong on?
> I'm thinking Jack.
>
> And Big n Rich belong in a warm transmitter shack in
> Siberia. Exactly where they seem to be headed.
>
B
bueller
Guest
At the country station I worked at, I went out and found the music myself, along with the Bottle Rockets, Believers, Tift Meritt, Todd Fritsch, and the Eli Young Band. What exactly do music directors do these days if they aren't finding the music worth playing?
And yes, I know, most radio stations are completely driven by charts and mainstream knowledge of their artists.. I just happen to enjoy the exceptions.
And yes, I know, most radio stations are completely driven by charts and mainstream knowledge of their artists.. I just happen to enjoy the exceptions.
K
KeithThompson
Guest
Music Director's job duties
I spend quite a bit of time listening to new music, and its the least important part of my job because what I like isn't important. It's what our listeners like that is important. I think a misconception that a lot of young music directors have is that it's their job to "educate" the audience and introduce them to all sorts of music they haven't heard before, but unless your owner has set the station up as a artistic outlet rather than a profit making business, what the listener wants to hear trumps any sort of personal bias of the music director. Whenever I listen to a new song, I'm not listening for my personal enjoyment, I'm listening asking "will our listeners like this?" Part of it is going by research, part of it is going by charts and part of it is going by gut reaction and a good music director should know how to read all three resources. Knowing what not to play is probably more important than knowing what to play. There's a lot of stuff we add than I'm not personally a fan of, but our listeners love and want to hear. That's what gets us great ratings and makes us money. Besides, anything we don't play that I like I can put in my CD player for my own personal enjoyment. That's one of the perks of being the music director.
So, what do I do as music director when I'm not listening to music? It's mostly editing music logs. After scheduling a log, I plug songs in the unscheduled slots...make sure we have a superstar artist in every quarter hour...check artist conflicts so that the same artist's songs aren't played too close together...check the gold library songs to make sure they aren't repeated during the day...check daypart conflicts to make sure that songs aren't repeating in the same hours or dayparts....check tempos so I don't have two slow songs back to back and also to plug in slower songs (which are harder to schedule) to break up a pack of fast songs...check sound codes to make sure we not doing things like playing to many drinking songs in one hour...manually scheduling certain high testing songs to make sure they get played enough...and finally crosschecking our music scheduling with that of our syndicated shows to make the transitions as seemless as possible. So I do a lot more than hit F-10 to schedule and F-9 to print, which is what I expect a lot of music directors do (of course I'm fortunate in that usually I'm not bogged down with a lot of other jobs so I can devote a couple of hours a day to editing music logs than the 15-30 minutes a day other music directors can devote to it).
It comes down to what our consultant says...a jock is on the air three or four hours a day while the music director is on the air 24 hours a day. The music is what draws in the listeners and its the music director's job to keep those listeners there as long as possible. That's what I get paid to do as music director.
> At the country station I worked at, I went out and found the
> music myself, along with the Bottle Rockets, Believers, Tift
> Meritt, Todd Fritsch, and the Eli Young Band. What exactly
> do music directors do these days if they aren't finding the
> music worth playing?
>
> And yes, I know, most radio stations are completely driven
> by charts and mainstream knowledge of their artists.. I just
> happen to enjoy the exceptions.
>
I spend quite a bit of time listening to new music, and its the least important part of my job because what I like isn't important. It's what our listeners like that is important. I think a misconception that a lot of young music directors have is that it's their job to "educate" the audience and introduce them to all sorts of music they haven't heard before, but unless your owner has set the station up as a artistic outlet rather than a profit making business, what the listener wants to hear trumps any sort of personal bias of the music director. Whenever I listen to a new song, I'm not listening for my personal enjoyment, I'm listening asking "will our listeners like this?" Part of it is going by research, part of it is going by charts and part of it is going by gut reaction and a good music director should know how to read all three resources. Knowing what not to play is probably more important than knowing what to play. There's a lot of stuff we add than I'm not personally a fan of, but our listeners love and want to hear. That's what gets us great ratings and makes us money. Besides, anything we don't play that I like I can put in my CD player for my own personal enjoyment. That's one of the perks of being the music director.
So, what do I do as music director when I'm not listening to music? It's mostly editing music logs. After scheduling a log, I plug songs in the unscheduled slots...make sure we have a superstar artist in every quarter hour...check artist conflicts so that the same artist's songs aren't played too close together...check the gold library songs to make sure they aren't repeated during the day...check daypart conflicts to make sure that songs aren't repeating in the same hours or dayparts....check tempos so I don't have two slow songs back to back and also to plug in slower songs (which are harder to schedule) to break up a pack of fast songs...check sound codes to make sure we not doing things like playing to many drinking songs in one hour...manually scheduling certain high testing songs to make sure they get played enough...and finally crosschecking our music scheduling with that of our syndicated shows to make the transitions as seemless as possible. So I do a lot more than hit F-10 to schedule and F-9 to print, which is what I expect a lot of music directors do (of course I'm fortunate in that usually I'm not bogged down with a lot of other jobs so I can devote a couple of hours a day to editing music logs than the 15-30 minutes a day other music directors can devote to it).
It comes down to what our consultant says...a jock is on the air three or four hours a day while the music director is on the air 24 hours a day. The music is what draws in the listeners and its the music director's job to keep those listeners there as long as possible. That's what I get paid to do as music director.
> At the country station I worked at, I went out and found the
> music myself, along with the Bottle Rockets, Believers, Tift
> Meritt, Todd Fritsch, and the Eli Young Band. What exactly
> do music directors do these days if they aren't finding the
> music worth playing?
>
> And yes, I know, most radio stations are completely driven
> by charts and mainstream knowledge of their artists.. I just
> happen to enjoy the exceptions.
>
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