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. ...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."
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.
...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."
As the music industry's "pay-for-play" scandal deepens, the big five record labels try to crush the expanding power of the dreaded indie promoters. Record and radio insiders report that several major record companies have quietly introduced new payment schemes for the influential middlemen known as independent promoters, or indies, who peddle songs to radio. Concerned about the runaway costs of indie promotion, which by some estimates costs the music industry more than $150 million annually, label executives say they're determined to return some fiscal sanity to a process that to most outsiders does not appear sane. For artists, it's virtually impossible to land significant FM commercial radio airplay today without paying indies. Each single shipped to radio can cost hundreds of thousands of dollars to promote. According to one indie who requested anonymity, RCA Records recently notified him that in order to get credit -- and pay -- for a radio station that has added one of the label's new singles, the station now has to play the song at least 50 times over a six-week period. Spins during the overnight shifts, when few people are listening, don't count toward the quota.
As the music industry's "pay-for-play" scandal deepens, the big five record labels try to crush the expanding power of the dreaded indie promoters.
For artists, it's virtually impossible to land significant FM commercial radio airplay today without paying indies. Each single shipped to radio can cost hundreds of thousands of dollars to promote.
According to one indie who requested anonymity, RCA Records recently notified him that in order to get credit -- and pay -- for a radio station that has added one of the label's new singles, the station now has to play the song at least 50 times over a six-week period. Spins during the overnight shifts, when few people are listening, don't count toward the quota.
Once a hush-hush topic rarely discussed even within the music industry, "pay-for-play," the costly system by which record companies pay independent promoters to get songs on the radio, has now become a hot-button political issue. Some members of Congress are talking about holding hearings and offering legislation in hopes of tearing down the entrenched pay-for-play system. Not only does pay-for-play cost the music industry approximately $150 million each year, it virtually shuts off access to commercial FM radio for artists or record companies who can't or won't spend hundreds of thousands of dollars to promote a new single. Inside the industry, the veil has also been lifted; an entire panel discussion devoted to indie promotion is being put together for the radio industry's largest annual convention this fall. Meanwhile, ABC's "20/20" ran a prime-time segment on pay-for-play, and even the New York Times and the Wall Street Journal have introduced the topic to their readers.
Once a hush-hush topic rarely discussed even within the music industry, "pay-for-play," the costly system by which record companies pay independent promoters to get songs on the radio, has now become a hot-button political issue.
Some members of Congress are talking about holding hearings and offering legislation in hopes of tearing down the entrenched pay-for-play system. Not only does pay-for-play cost the music industry approximately $150 million each year, it virtually shuts off access to commercial FM radio for artists or record companies who can't or won't spend hundreds of thousands of dollars to promote a new single. Inside the industry, the veil has also been lifted; an entire panel discussion devoted to indie promotion is being put together for the radio industry's largest annual convention this fall. Meanwhile, ABC's "20/20" ran a prime-time segment on pay-for-play, and even the New York Times and the Wall Street Journal have introduced the topic to their readers.
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