Music style definitions.
It is true.
I know you all will laugh, but have a good listen to some of her previous songs. She works with very good musicians.
Give "Slave" a try
[edit] Up to today I haven't heared anything more about this, so I doubt they will collaborate...
<font size=-1>[ This Message was edited by: at0mic on 2004-03-08 04:19 ]</font>
I know you all will laugh, but have a good listen to some of her previous songs. She works with very good musicians.
Give "Slave" a try
[edit] Up to today I haven't heared anything more about this, so I doubt they will collaborate...
<font size=-1>[ This Message was edited by: at0mic on 2004-03-08 04:19 ]</font>
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paulrmartin
- Posts: 2445
- Joined: Sun May 20, 2001 4:00 pm
- Location: Montreal, Canada
I think pop music is like fast food. A lot of people like it but I don't know why. It isn't musical enough it's more show, hype and payola or something akin to payola. I'm not saying all pop is bad or that it has no value but surely we need more music education in schools and good music doesn't have to be classical or jazz. I think we can learn a lot from tradition eastern music.... ie music that wasn't created primarily to make money. I think money tends to ruin almost everything good.
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paulrmartin
- Posts: 2445
- Joined: Sun May 20, 2001 4:00 pm
- Location: Montreal, Canada
"hype and payola or something akin to payola"
Now you've hit on something, Braincell.
Although Payola is supposed to have disappeared, can someone explain why all the radio stations in Montreal play the exact same songs at the almost exact same time?
It looks to me like record companies buy radio time(like commercial spots)to have their product on the air. There is virtually NO ROOM for new comers in the Pop business.
Now you've hit on something, Braincell.
Although Payola is supposed to have disappeared, can someone explain why all the radio stations in Montreal play the exact same songs at the almost exact same time?
It looks to me like record companies buy radio time(like commercial spots)to have their product on the air. There is virtually NO ROOM for new comers in the Pop business.
Are we listening?..
Is Clear Channel selling hit singles?
Insiders suggest that the broadcasting giant gave an obscure singer major airplay to promote its pricey new market-research program.
- - - - - - - - - - - -
By Eric Boehlert
June 25, 2002 | Is radio airplay sacred? Senior executives at Clear Channel insist it is. Facing accusations that the radio and concert giant uses its song playlists to reward its friends and punish its enemies, Clear Channel programmers deny they would ever tamper with what goes out over the airwaves in order to make a buck. Record company insiders aren't so sure, and they point to episodes like the one involving pop/soul singer Eagle-Eye Cherry.
Last fall, when MCA Records was trying to launch a new single from the promising Cherry, the label turned to Clear Channel for help. Thanks to 1996 legislation that radically deregulated the radio industry, Clear Channel, with more than 1,200 radio stations nationwide, has become America's largest broadcaster. It's also become the most important and controversial gatekeeper in the music business today. "You cannot have a hit record without Clear Channel," explains one record company chief.
MCA came calling specifically because Clear Channel had recently unveiled a new market-research program called PD Perceptual. With an unprecedented lineup of radio stations under its control, operating in every conceivable format, Clear Channel was looking for ways to gather information from its stations and sell that data to record companies. Designed to gauge early reaction from its programmers to new singles, the PD Perceptual program would poll its radio stations on behalf of record companies, for a price: $20,000 per song.
To promote PD Perceptual, Clear Channel reportedly offered the major labels a free test drive of the system. MCA promptly submitted Cherry's "Feels So Right" to find out whether the song was a hit. Cherry, the son of late jazz trumpeter Don Cherry, needed the help. In 1998 he had managed a minor Top-40 hit with "Save the Night." But the likable singer-songwriter hadn't reached "TRL" status, where radio programmers would automatically notice (and play) his latest release. Without blanket radio airplay it's almost impossible to launch a hit single, or sustain a career, in the music business today.
Unique gift ideas from A&E and The History Channel!
Even more dauntingly, Cherry's new single was released during the fourth quarter of 2001, a time of year when superstar artists typically ship new CDs in hopes of riding holiday shopping to platinum status. That meant the small number of open slots radio stations have to add new singles each week would most likely be taken.
Worse yet, Cherry's album was turning out to be a commercial failure, selling just 1,200 copies each week in November, while platinum-selling acts might move that many units in a single hour. For radio programmers looking for evidence that a new single has momentum, that an artist cannot be ignored, and that fans are clamoring to hear a particular song, sluggish CD sales can doom any release.
Yet despite those difficult odds, during its first week of release more Top-40 stations added "Feels So Right" to their playlists than almost any other single in the country. Cherry scooped up more playlists that week than Janet Jackson, Jay-Z, Linkin Park or Nelly, who all had new singles vying for airplay. And who, combined, sold more than 10 million albums last year.
Which radio network was Cherry's biggest supporter? Clear Channel. According to an industry source familiar with airplay logs, Clear Channel's support for Eagle-Eye Cherry dwarfed the airplay that other major radio station group owners, such as Infinity, Entercom, Cumulus or Bonneville, gave the single. None of those station groups seemed impressed by the Cherry song, and all stayed away. Yet nearly half of Clear Channel's Top-40 stations were spinning the single generously, an average of 10 times each week.
Clear Channel's early advocacy struck some in the radio business as odd, since the company is not known for championing young, untested acts. More often, the conservative Clear Channel programmers wait for other stations to pick the hits and then add them to their own playlists.
The question being asked was whether Clear Channel was rewarding Cherry because MCA had submitted "Feels So Right" for a tryout of PD Perceptual. After all, with dozens of new singles released each week to radio's various rock, country and R&B music formats, PD Perceptual program, if successful, could generate millions of dollars in new revenue each year for Clear Channel.
One radio source, who requested anonymity, insists a clear quid pro quo was in play: "They were trying to show labels: If you play ball with us, you get adds [on radio playlists]. Clear Channel appeared to be putting pressure, particularly on their smaller stations, to add a record that was in PD Perceptual." The source says that Clear Channel programmers told him they were strongly encouraged to play the Cherry single, even though "nobody thought this song was a hit."
Clear Channel Radio CEO Randy Michaels dismisses the accusation as "insulting and offensive." He insists that the company only plays songs listeners want to hear, as determined by extensive research and testing. Craig Lambert, head of radio promotion at MCA, could not be reached for comment.
salon.com
- - - - - - - - - - - -
About the writer
Eric Boehlert is a senior writer at Salon.
Insiders suggest that the broadcasting giant gave an obscure singer major airplay to promote its pricey new market-research program.
- - - - - - - - - - - -
By Eric Boehlert
June 25, 2002 | Is radio airplay sacred? Senior executives at Clear Channel insist it is. Facing accusations that the radio and concert giant uses its song playlists to reward its friends and punish its enemies, Clear Channel programmers deny they would ever tamper with what goes out over the airwaves in order to make a buck. Record company insiders aren't so sure, and they point to episodes like the one involving pop/soul singer Eagle-Eye Cherry.
Last fall, when MCA Records was trying to launch a new single from the promising Cherry, the label turned to Clear Channel for help. Thanks to 1996 legislation that radically deregulated the radio industry, Clear Channel, with more than 1,200 radio stations nationwide, has become America's largest broadcaster. It's also become the most important and controversial gatekeeper in the music business today. "You cannot have a hit record without Clear Channel," explains one record company chief.
MCA came calling specifically because Clear Channel had recently unveiled a new market-research program called PD Perceptual. With an unprecedented lineup of radio stations under its control, operating in every conceivable format, Clear Channel was looking for ways to gather information from its stations and sell that data to record companies. Designed to gauge early reaction from its programmers to new singles, the PD Perceptual program would poll its radio stations on behalf of record companies, for a price: $20,000 per song.
To promote PD Perceptual, Clear Channel reportedly offered the major labels a free test drive of the system. MCA promptly submitted Cherry's "Feels So Right" to find out whether the song was a hit. Cherry, the son of late jazz trumpeter Don Cherry, needed the help. In 1998 he had managed a minor Top-40 hit with "Save the Night." But the likable singer-songwriter hadn't reached "TRL" status, where radio programmers would automatically notice (and play) his latest release. Without blanket radio airplay it's almost impossible to launch a hit single, or sustain a career, in the music business today.
Unique gift ideas from A&E and The History Channel!
Even more dauntingly, Cherry's new single was released during the fourth quarter of 2001, a time of year when superstar artists typically ship new CDs in hopes of riding holiday shopping to platinum status. That meant the small number of open slots radio stations have to add new singles each week would most likely be taken.
Worse yet, Cherry's album was turning out to be a commercial failure, selling just 1,200 copies each week in November, while platinum-selling acts might move that many units in a single hour. For radio programmers looking for evidence that a new single has momentum, that an artist cannot be ignored, and that fans are clamoring to hear a particular song, sluggish CD sales can doom any release.
Yet despite those difficult odds, during its first week of release more Top-40 stations added "Feels So Right" to their playlists than almost any other single in the country. Cherry scooped up more playlists that week than Janet Jackson, Jay-Z, Linkin Park or Nelly, who all had new singles vying for airplay. And who, combined, sold more than 10 million albums last year.
Which radio network was Cherry's biggest supporter? Clear Channel. According to an industry source familiar with airplay logs, Clear Channel's support for Eagle-Eye Cherry dwarfed the airplay that other major radio station group owners, such as Infinity, Entercom, Cumulus or Bonneville, gave the single. None of those station groups seemed impressed by the Cherry song, and all stayed away. Yet nearly half of Clear Channel's Top-40 stations were spinning the single generously, an average of 10 times each week.
Clear Channel's early advocacy struck some in the radio business as odd, since the company is not known for championing young, untested acts. More often, the conservative Clear Channel programmers wait for other stations to pick the hits and then add them to their own playlists.
The question being asked was whether Clear Channel was rewarding Cherry because MCA had submitted "Feels So Right" for a tryout of PD Perceptual. After all, with dozens of new singles released each week to radio's various rock, country and R&B music formats, PD Perceptual program, if successful, could generate millions of dollars in new revenue each year for Clear Channel.
One radio source, who requested anonymity, insists a clear quid pro quo was in play: "They were trying to show labels: If you play ball with us, you get adds [on radio playlists]. Clear Channel appeared to be putting pressure, particularly on their smaller stations, to add a record that was in PD Perceptual." The source says that Clear Channel programmers told him they were strongly encouraged to play the Cherry single, even though "nobody thought this song was a hit."
Clear Channel Radio CEO Randy Michaels dismisses the accusation as "insulting and offensive." He insists that the company only plays songs listeners want to hear, as determined by extensive research and testing. Craig Lambert, head of radio promotion at MCA, could not be reached for comment.
salon.com
- - - - - - - - - - - -
About the writer
Eric Boehlert is a senior writer at Salon.
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paulrmartin
- Posts: 2445
- Joined: Sun May 20, 2001 4:00 pm
- Location: Montreal, Canada
"Clear Channel Radio CEO Randy Michaels insists that the company only plays songs listeners want to hear, as determined by extensive research and testing."
Those who were polled, raise your hand!
I think that polling and market study business is bullshit. I have never met anybody who was asked about possible playlists.
Really! Aren't you all tired of hearing the same boring Celine Dion song over and over for 40 weeks until they pull out the next one?
Those who were polled, raise your hand!
I think that polling and market study business is bullshit. I have never met anybody who was asked about possible playlists.
Really! Aren't you all tired of hearing the same boring Celine Dion song over and over for 40 weeks until they pull out the next one?
Are we listening?..
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paulrmartin
- Posts: 2445
- Joined: Sun May 20, 2001 4:00 pm
- Location: Montreal, Canada
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ontik
- Posts: 149
- Joined: Mon Oct 29, 2001 4:00 pm
- Location: Me Mum's Moot? Where u from? (Australia)
On personal style, when listening I like what is commonly known as Breaks or Breakbeats, some 2 step some Drum & Bass som Hip Hop and this is usually "88 style" hip hop.
These are all similar sounds and the boundaries are very blurry, most tracks are inclined to cross into 2 or more territories.
The basic premises here is for 'Light' music with the exception of Drum & Bass. Often kinda cheezy (but not that fuckin Bexter women) for the sake of being more 'fun' on a dancefloor. It doesn't take itself too seriously.
The styles are usually heavy on samples with lots of turntable effects an percussive changes (different loops used) and anything goes from Hammonds to megabassy Moogish sounds and sometimes together.
ON THE TOPIC OF POP:::::
I was dissapointed and bemused by to find out how the US pop charts worked. This confirms that it contorlled and not indicative of what is truly 'popular'.
The chart placings come from not record sales (which for my mind IS the indicator) but from air time as well.
And of course airtime can be bought can't it? Therefore chart places can be bought and th whole fuckin show is a sham.
It not a chart, its big spenders list and a joke.
Sadly there is nothing surpising about this happening in the US. But how did anyone actually let this happen in the first place?
Here in Australia there would be uproar from the music community if corporations started trying to fuck with the voting and the players would vote with ther feet.
Here it is still a lottery. Cheap songs go number 1 whilst companies bet fortunes on artists that just don't float.
I've seen it happen. A good friend was a promoter who now runs his own label. His greatest success to date is Groove Armada. He bought the rights to a piece o' shit song in the early 90's called 'Sucker DJ' (to the theme of "I Dream of Genie") for a measly $500AUS and it wen't #1
How funny.
Other Aussies here might be aware of miss Vanessa Amerossi. She's been backed to the hilt without a #1 and couldn't buy an ARIA
She's like a young female Farnsey. Very popular with the church groups
Not even 2 cents worth here people. Shit, I couldn't give it away...
These are all similar sounds and the boundaries are very blurry, most tracks are inclined to cross into 2 or more territories.
The basic premises here is for 'Light' music with the exception of Drum & Bass. Often kinda cheezy (but not that fuckin Bexter women) for the sake of being more 'fun' on a dancefloor. It doesn't take itself too seriously.
The styles are usually heavy on samples with lots of turntable effects an percussive changes (different loops used) and anything goes from Hammonds to megabassy Moogish sounds and sometimes together.
ON THE TOPIC OF POP:::::
I was dissapointed and bemused by to find out how the US pop charts worked. This confirms that it contorlled and not indicative of what is truly 'popular'.
The chart placings come from not record sales (which for my mind IS the indicator) but from air time as well.
And of course airtime can be bought can't it? Therefore chart places can be bought and th whole fuckin show is a sham.
It not a chart, its big spenders list and a joke.
Sadly there is nothing surpising about this happening in the US. But how did anyone actually let this happen in the first place?
Here in Australia there would be uproar from the music community if corporations started trying to fuck with the voting and the players would vote with ther feet.
Here it is still a lottery. Cheap songs go number 1 whilst companies bet fortunes on artists that just don't float.
I've seen it happen. A good friend was a promoter who now runs his own label. His greatest success to date is Groove Armada. He bought the rights to a piece o' shit song in the early 90's called 'Sucker DJ' (to the theme of "I Dream of Genie") for a measly $500AUS and it wen't #1
How funny.
Other Aussies here might be aware of miss Vanessa Amerossi. She's been backed to the hilt without a #1 and couldn't buy an ARIA
She's like a young female Farnsey. Very popular with the church groups
Not even 2 cents worth here people. Shit, I couldn't give it away...
ontiK.
"If I have to explain, you won't understand."
"If I have to explain, you won't understand."
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Herr Voigt
- Posts: 624
- Joined: Sun Jan 06, 2002 4:00 pm
- Location: germany, east
Well, 99,99% of all pop is fast food, is industry, is forgotten after 3 days or 2 years, but a few of pearls will be for ever.
We know these older pearls like "Imagine", "Bridge Over Troubled Water" or "Stairway To Heaven", but who knows what remains from the current music? I hope there will be something.
Btw, 200 years ago they wrote fast food too, and nobody knows it today. And if they exhume such a piece, you hear it and forget it. It's normally!!!
We know these older pearls like "Imagine", "Bridge Over Troubled Water" or "Stairway To Heaven", but who knows what remains from the current music? I hope there will be something.
Btw, 200 years ago they wrote fast food too, and nobody knows it today. And if they exhume such a piece, you hear it and forget it. It's normally!!!
