Tuesday, June 17, 2008

Selling THE MUSIC

One of the biggest complaints on radio that we constantly see in focus groups, listener panels, and just talking with the audience in passing is 'it's the same list of songs over and over.' We've all heard it and for the most part just thrown up our hands over this BIG issue with the audience.

We've all done the math and know that the minute we expand the playlist the ratings fall off as the audience can't keep up with the depth of the playlist. If we don't play the top testing current hits 20 or 30 times a week the audience's time spent with the station won't allow them to hear them enough to become familiar. The ratings consistently show that the bigger the list the harder it is to attract large enough cume to deliver a competitive share.

It's all translated by the audience as tight corporate playlists that don't challenge them or match what they can now carry around on any MP3 player.

We've faced this before. Many of you may not have been around at the time. Back in the early 70s top 40 radio ruled the world and was mostly on AM. As FM was building one of the cornerstones was the 'progressive rock' and early AOR formats.

Most of the AM - Top 40 stations had playlists of around 100 songs. At some the top song of the week was played every hour at the top of the hour. It truly was the same songs over and over. The top 40 DJs talked over the music with hyped up voices, on air gimmicks and a bunch of one liner jokes in some cases.

The complaints we heard as FM was launching on radio programming are not much different than what we hear today. As rock radio planted it's seed there were 4 rules:
  • The DJs pick the music
  • No talking over the songs
  • No Hyped up voices - be laid back and just talk to the audience
  • Blend the music together with segues and fewer interruptions in the hour.

While the FM rock audience didn't seem that big at first it grew as more and more got FM radios and by 1980 FM Rock radio had evolved to race past most of those top 40 stations and built a bond with the boomer audience. Yes we did build a controlled library with card systems and did play the hot current songs in a rotation over the day. But, the perception that the DJs picked the songs was still central to the format.

As music scheduling systems came about the jocks were taken out of the music selection process and pretty soon they were more used to sell liners, billboards, and maybe toss in a little audience interaction on the phones.

What would happen if we brought the air staff back into the music selection process now?

We've all watched the launch of the "Jack" formats and their positioning statement - Playing Whatever We Want (or something close). Often the first adaptors for the Jack stations come from an audience that remembers the day when the jocks picked the songs. We often found in the early research that it was Classic Rock and Rock listeners that jumped on the Jack stations and cited the positioning as a key reason to try the station. Of course most of them didn't stick around when they played ABBA and other train wrecks trying to prove their point. Also not having jocks on the Jack formats made you wonder - who is the WE in playing Whatever WE Want.

Is there a way to get the air staff more into the music? We all know there is and it's time to start experimenting. We all know that the listening 'math' won't allow a jock free for all, but just going around with the air staff sounding clueless and totally uninvolved in the music isn't working either. There's a middle ground here that need some exploration.

Wednesday, June 04, 2008

A Lesson From WKRP


All of us in Radio have laughed hard at WKRP over the years. The bumbling GM, the sexy receptionist, the geeky news guy, the sold out sales guy and the jocks trying so hard to be cool. In typical sit-com structure the jokes and stories all revolved around the personal problems of the characters. It was all about their lives within the halls of the radio station. We rarly saw any interaction with the audience. Once in a while we'd get a caller on the air and a few storylines showcased contests or concerts but that was about it.


Part of the plot of course is that WKRP was a losing radio station. It sat at the bottom of the ratings and we can only imagine that it was also at the bottom in revenue. We never got to see a budget meeting - I don't think they had a budget. KRP did climb to 6th in the ratings in one of the eposides in the final season. But, the humor and drama came from the characters within the building.


Perhaps WKRP could have been a winner if the team had been paying attention more to the audience than how much office space Les Nessman had or who Jennifer was dating this week.


But that wouldn't have been funny. KRP is not real it's a sitcom.


How much effort and time is spent in your building with the internal drama? Could spending all that effort on the audience drama be more productive?