March 18, 2019, Issue 644 CRS Dive: Continuous Measurement by Sue Wilson Confession time: The mysterious and intimidating ratings system almost kept me from a career in programming. That may have been an unexpected reflection to have as I sat in on the CRS panel “Programming In An Always On World,” but as my radio life progressed, I realized I was not alone in that thinking. Having met many programmers along the way – and for the many who are new to programming now – understanding diary methodology and how it compares to PPM can be a challenge. As 200 diary markets begin a three-phase transition to Nielsen’s “Continuous Measurement” monthlies Jon Miller in August, the company’s Jon Miller led a Through The Looking-Class: The Country Music Hall of Fame crucial session for any programmer facing this significant methodol- Class of 2019 at this morning’s (3/18) press conference ogy change and hoping for a better handle on a slippery system ... (available here). Pictured (l-r) are Ray Stevens (Veteran Era before it’s too late. (Ed. Note: No less than iHeartMedia Chairman/ Artist), Jerry Bradley (Non-Performer) and Brooks & Dunn’s CEO Bob Pittman recently suggested that radio ratings could be Ronnie Dunn and Kix Brooks (Modern Era Artist). phased out in less than 10 years.) Poll Position: But first, a story. It was the love of music, first Big Yellow Dog Lets Music Lead and foremost, that drew me toward a career in radio. I quickly be- Conventional thinking would have Big Yellow Dog came more fascinated with the medium’s behind-the-scenes oper- Music drawing a straight line from their successful development ation over the behind-the-mic stuff. How does a station pick which of Meghan Trainor, Maren Morris and Tenille Townes to songs to play and how often? Why are some songs moved up in Logan Mize and beyond – perhaps even status as the next rotation and some moved out? Clearly those decisions made much upstart record company. of the difference between stations with good ratings that everyone After all, co-owners Kerry listened to and those with low ratings. But not being a numbers O’Neil and Carla Wal- person (heck, I chose radio because I thought it required very little lace have a label services math!), I felt alone in my understanding of ratings methodology staff and recently contracted established promotion pros to work and felt dumb asking too many questions. Mize’s single “Better Off Gone.” Conventional, however, isn’t (continued on page 6) their style. ©2019 Country Aircheck™ — All rights reserved. Sign up free at www.countryaircheck.com. Send news to [email protected] March 18, 2019 Page 4 Started 20 years ago as a publishing company, Big Yellow Dog was different from their very first signing. “Kerry brought in a truck driver who drove chickens around in a semi,” Wallace says. “Do you like this? I was like, okay.” Phil Lee was more Americana artist than songwriter. “Both of our tastes were probably with artists,” Wallace continues. “We probably didn’t realize that, as we were built to pitch songs and get cuts, but Phil wasn’t going to have songs anyone in Nashville was likely to cut.” With that proclivity noted, the company explored other outlets for music. “It helped us open the doors to film and television [sync licensing],” Wallace says. “We were able to find opportunities for music beyond these two streets, which led to finding more artists we could work with in that way.” Supplying music to Hollywood meant Big Yellow Dog was in the master recording business. “Sync took us into all different genres,” O’Neil says. “When Carla signed Meghan, there wasn’t a question about what to do. In Nashville there was no fit, but our approach wasn’t pointed only to Nashville, it was to point They Were All Yellow: Manager Charly Salvatore, O’Neil, wherever the talent was. Carla was spending weeks and weeks in BYDM’s Meaghan Campbell, Mize, Wallace and BYDM’s Kara LA building it out even though the music was mostly written here.” Wintergrass (l-r) celebrate 100 million streams for Mize’s Trainor’s signing with Epic preceded similar journeys for album Come Back Road. Morris and Townes, who also moved on from BYD development to label deals. “There was a concerted effort to sign and do do that, and that’s not what makes it work. What makes it work everything for artists,” O’Neil says. “We’d be the manager, then is a hit record and a great artist. If you’re going to succeed as an fire ourselves. We’d be the label, then fire ourselves and get indie, that’s what you have to have. That’s what we’re invested in.” them up-streamed.” Business dynamics may be working in their favor. If the tra- Like those artists, Mize has long been in the BYD fold, ditional model of adding staff to support an artist launch meant eventually signing with Arista for a time. What’s different is the eventually adding more artists to amortize those costs, perhaps company’s recent decision to work his music to radio directly. the shift away from physical product and its costs makes the stan- “The beauty of it is we can afford the time it takes for artist de- dard label product pipeline less crucial. Having an elite batting velopment, to make mistakes and find the right songs,” Wallace average probably helps, too. “From Maren to Tenille to Logan, our says. “Artists go through different phases and we’re able to move commitment to artist development is about trying to get the right when they move. We’ve worked 10 years or more with each of culture for these artists to put it all together,” O’Neil says. “And these people.” they all do it differently. We are devoted to that. This is not a one- Adds O’Neil, “Teddi Bonadies is running promotion with Skip off, it’s a continuation of what we’re doing in [multiple genres].” Bishop. That gives us seasoned veterans and the flexibility to keep “It’s about the music,” Wallace says. “It’s about believing in amping up as opportunities present themselves.” Also on the something, even if everyone else is doing project are promotion vets Heather Propper, Kim Stevens and Pat something different. We never know what’s Surnegie. Positive response on streaming services cemented the going to walk in our front door.” –Chuck Aly decision to approach radio. Typically, independent labels hope to convince programmers that their investment in airplay will lead to long-term mutual- Chart Chat ly beneficial relationships (or at least counter notions to the Double congrats to Luke Combs, Steve contrary from their competitors). “That’s the predictable messag- Hodges, Shane Allen and the Columbia ing,” O’Neil admits. “We’ve got a song we think will stick, we’re promotion team on landing a second week Luke Combs staying, we’re putting up all this money. I’ve watched businesses at No. 1 with “Beautiful Crazy.” The song is ©2019 Country Aircheck™ — All rights reserved. Sign up free at www.countryaircheck.com. Send news to [email protected] March 18, 2019 Page 6 MY TUNES: MIKE HARRIS UMG/Nashville COO Mike Harris discusses his most influential music: 1. Van Morrison’s “Have I Told You Lately”: This is my wife and I’s wedding song – how can it not be on the list? 2. Eric Church’s Mr. Misunderstood: When I was trying to decide to if I should take the job in Nashville, I had to do work on my house in Mike Harris NY. While I worked on my house, I played that album over and over and over and over. At the end of the day, I said to myself “How the fuck could I not to be part of this?” 3. The Beatles’ “In My Life”: I lost a couple of good buddies in 9/11, and that song is one of the things that always reminds me of friends lost. 4. George Strait: I was fortunate enough to get down to Tiny House Of The Rising Sun: KKBQ/Houston’s Christi Gruene Hall to see Strait’s 2017 surprise show, and I was Brooks and Cactus Jack (waving) at the station’s new Rodeo completely blown away. I’ll never forget looking around when Radio Broadcast Booth, a tiny home that housed station he played “Troubadour” and seeing every single person in the staffers during RodeoHouston. room singing along with him like George asked them to duet. 5. Bruce Springsteen’s Darkness on the Edge of Town: Ortmeier will be featured speakers during the Nashville Asso- When I was in grammar school, I went to a battle of the bands ciation of Talent Directors (NATD)’s “Breaking Artists” Speaker and the winner played “Prove It All Night.” From that point on, Series March 26 at 6pm CT at Nashville’s MA Event Space, Level I was hooked. I remember buying the album and listening to One. The event is free for NATD members; others may purchase it over and over again. Growing up in NY, I lost count of how tickets here. many times I saw Springsteen live. And, I was never disappointed. SESAC is hosting a songwriters’ night benefitingGilda’s Club • Highly-regarded song or album you’ve never heard: I Middle Tennessee April 17 at the SESAC/CMA building that might be the only New Yorker who hasn’t listened to Jay Z’s The will feature Tony Arata, Beth Nielsen Chapman and Rivers Black Album.