10 Questions with ... Joe Redmond

NAME:Joe Redmond TITLE:National Director of Promotion COMPANY:Cupit Records LOCATION:All BORN:DeRidder, LA RAISED:Alexandria, LA

Please outline your radio career so far:

Radio- KDBS/Alexandria, KRRV/Alexandria, WSLG/Gonzales, WIBR/Baton Rouge and WKJN/Baton Rouge. Then I moved to "this side of the industry" in Nashville for Marco Promotions, Imprint Records, Young-Olsen Promotions, SFX Broadcasting, Mediabase, Warner Bros., and Cupit Records. (There was a year where I left the industry and got my realtor's license, but that's another story for another day.)

1. Go back in time. With the state of the industry today and knowing what you know now, would you still have chosen your same career path in the Music Industry? And, would you recommend a younger sibling to make a career in the Music Industry?

Not entirely. I got my start in promotion and was able to move to Nashville through that avenue, but I think I would have found a way to get into A&R. I am a believer that the A&R and Promotion departments should work hand-in-hand. Promotion is on the front line and in the trenches, they are in touch with the current mindset of radio, they know what they can get played and what will be a "work record" for them. That said, I would very much like to be in the A&R department to give Promotion the weapons they need to win the fight.

2. You are the remaining survivor on a remote tropical island with no chance for rescue. You have a CD/DVD player with endless power. What five CD's are a "must" to have with you? What five movies?

Oooooh, tough question.

CD'S:
The Best of James Taylor - Volume I
The Warren Brothers' "Cold, Cruel World"
Boston's debut album "Boston"
Jackson Browne's "Runnin' On Empty"
Billy Joel's "The Essential Billy Joel"

MOVIES: The American President, A Few Good Men, The Last Boy Scout, Payback, and Sneakers.

3. What would you say is the toughest region in the country to work Country music today?

I don't know that any one region is the toughest. They are all difficult, as there are very few starter stations anymore. With each label defining their regions differently, I don't feel that is a fair way to categorize the grouping of stations. I have to ask each day, which regional has the toughest hills to climb, be it stations, mindsets, routes, promotions, etc and look at it that way. Very often, I hear radio say, "We play the hits, and we don't make them." That's a sad commentary these days. It's true, but it's sad. Where is the next generation of stars coming from? American Idol? Nashville Star? CMT? GAC? MySpace.com? The visual medium is incredibly strong, but the last time I checked, radio doesn't have a visual aspect.

4. In your opinion, what do you think of so many stations putting too many songs in Daypart only categories, some with no daytime spins at all? Any solutions?

Daypart only categories? No. No daytime spins at all? Yes, it's an issue. Solutions? No. I don't want to assume to speak for a Programmer that is wearing five or six different hats, and each one is responsible for generating revenue. But, there has to be a win-win situation somewhere in the mix. No names, but I once heard a VP/Promotion talking to a Radio Programmer who wanted a free show from a new duo and the VP said, "unless they play at 4am during some 3rd shift at a factory nobody's going to know WHO THEY ARE!" How telling is that? When we ask for test spins, the main thrust is during daylight hours. I'm not asking for morning drive but how about middays?

5. Has the consolidation of radio made the job of promotion harder or easier? Explain why.

I think consolidation of radio has provided a double-edged sword.

Even though each programmer thinks for themselves and knows what is best for their market, in the grand scheme of things, they all have to "pull in the same general direction" for the company. Therefore we have fewer people to talk with, fewer people to convince to play and/or test a song. Do we think they don't talk with each other? Of course they don and if something works for one, do you not think they share those ideas, songs and concepts with others in their group? Consolidation leads to fewer individuals making programming decisions and more people now following the advice or lead of a handful of decision-makers. Those fewer individuals are responsible for more stations now and the "cookie-cutter method" continues. The demands of their time are now even more stretched, so when do they have quality time to listen to music or hold proper music meetings? They continue being stretched so thin and end up "playing it safe" because what they program is what they see the most. Notice I said see, not necessarily hear. When constantly focused on the bottom line without creating a long-term healthy balance, eventually you find your time and human resources stretched to the limit because upper management continues to drain the resources out from under you like promotion budgets, equipment, on-air talent, programming, etc. (That last sentence didn't have anything to do with the question you asked, but, I have empathy for the programmer and needed to say it.)

6. In this the day of many labels releasing just one or two singles on an artist in order to see how it does before actually investing in a complete project ... what do you feel this practice does to your creditability with programmers?

I think it is a terrible waste of talent and very often, that works detrimentally to your credibility. There I've said it. Yes, I know there are budgets to consider. Yes, I know there's development plans to consider. Yes, I know there are artists in-line behind them waiting for their chance. But, if you believe and invest in an artist, then believe and invest in them! Very often, we hear from programmers that there isn't any passion in the music anymore, well allow them to stay around long enough to build passion in an artist and their music.

7. What do you do in preparation for making your weekly radio calls?

I gather all the information I can each morning. (I check spins on Mediabase, read all the day's news on All Access, check stations' websites for new and on-going promotions, personnel and/or shift changes, etc.) Then, I dive headfirst into the fray!

8. What is the first thing you do when getting into the office every day? And the last thing before leaving?

See the question above, the same, gather information and then join the battle!

9. In a perfect world if you could eliminate "Pay For Play" how would you accomplish it? And, if not why?

I would not eliminate it. It is very naive to think that there is a level playing field out there. There isn't. So, you bring it back to the top of the table and it's survival of the fittest. (Granted, I say that when I don't have direct control of budgets and the cost of doing business is skyrocketing!) But, let's be honest, with all the posturing done in the last few years about "Pay For Play" and "to think that a song got played because something of value was given for the spins," the public has always had a way to control that- it's called an "ON/OFF" button! If the ratings were hurt in any way, radio wouldn't participate, because a drop in ratings affects revenue, and thus, their job-security. There. Solved.

10. In your opinion, how has the slowness of the chart hurt the format, and what would you like to see done to speed it up, if in fact that's something that should happen?

I don't think it has hurt the format. In fact, I wouldn't object to it being even slower. Wait. Before you gather the townspeople with their torches and pitchforks, please let me explain. It goes back to hearing about a lack of passion in our artists and their music today. We run songs up and down the charts in 16 weeks. Remember when a song was around 23 weeks or more? That allowed the time needed for listeners to garner passion for an artist and/or for a song. In the last couple of years, Josh Turner comes to mind. (You'll have to ask Royce, but I think he set the record for the number of weeks on the chart!) Look at him now! He was around long enough for the public to hear him and see him and learn about him. Look up the definition of passion: "The state of being acted upon or affected by something external."

1. What did you want to be when you were growing up?

A priest or a drummer. Nope, I didn't do either one. I got into this business at odds with both.

2. Name a record person, not on your label, that you really admire?

Gator Michaels. He gets it. 'nuff said.

3. What is you favorite CRS moment?

After hours, probably two years ago, about 3am in the Warner Bros. Suite, David Haley told his "Orange Bazooka" story. ASK HIM ABOUT IT!