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10 Questions with ... Joe Redmond
January 10, 2006
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NAME:Joe RedmondTITLE:Manager of Northeast PromotionLABEL:Warner Bros. NashvilleREGION:NortheastBORN:DeRidder, LA (1963)RAISED:Alexandria, LA
1. In our highly competitive music field, where it seems more and more that every artist needs something special to get paid attention too, how do you position your self, and your label, to get YOUR artists the shot they need?
The bottom-line is: they must have talent. Beyond that, Warner Bros. has done a tremendous job working the print media, the TV media and shows, non-traditional routes, etc. Big & Rich, as an example, have been in almost every magazine and newspaper in print, on almost every TV network and show on the air, and their live shows are amazing. We broke new ground with "This Is Shannon Brown," an AOL web-series. It was the first in ANY music format for AOL. It was a six-part "day in the life" series from producing her demo album, getting signed at Warner Bros., filming the video, performing for the CRB, etc. The list goes on. It's NOT "instead of radio"...it's all to make it LESS risky for radio to endorse a new artist/song.
2. What is the first thing you do when getting into the office every day? And the last thing before leaving?
I check spins on Mediabase...first AND last thing.
3. In a perfect world if you could eliminate "Pay For Play" how would you accomplish it? And, if not why?
It doesn't really matter. Tell me what the rules are, and I'll win within those rules.
4. What would you say is the toughest region in the country to work Country music today?
The Northeast, of course. We have very few "starter stations" in the Northeast, anymore. It's a victory when a song gets added and/or converted.
5. Do you think that showcases, artist visits and conference room concerts are all viable in getting new acts introduced to radio?
Absolutely. We need to get the decision-makers in front of our artists. Most programmers agree that their radio station isn't their "personal jukebox," but, half the battle is won if THEY like the act. It's also easier to sell an artist who can perform (musically and personality-wise) comfortably, confidently and competently in those situations. Get an artist one-on-one with a decision-maker and let them "bond." It makes our jobs, as promoters, MUCH easier.
6. In your opinion does syndication contribute in a positive or negative way to how he charts are compiled?
Positive. A number of Programmers say, "Oh...those spins came from syndication, so, we're not really playing it." Yes, you are. You choose to air that program (whatever it may be), so, yes you ARE playing it. You endorse that show...so, by extension, you endorse those songs. Spins are spins...wherever they come from. Many Programmers "want to see chart action" before committing to a song, so, syndication spins may move a record up the chart...thus, bringing a Programmer to make a positive decision regarding that song.
7. What is the strangest request you've ever had to get an add?
I refuse to go into too much detail, because you may be able to figure out who it was...so, all I'll say is that it concerned a gerbil and duct tape.
8. How do you handle it when a programmer tells you that your single is too country or too pop?
Too country? What format is this, again? Too pop? We blurred and broadened the edges of country vs. pop with Big & Rich (and Cowboy Troy). CMT pairs Country Stars with Pop Stars...and it sounds GOOD! We have to grow, we have to reinvent ourselves, we have to bring the P2s and P3s BACK to the format. Stagnation in this business is death. Case in point: 17 stations added the new Bon Jovi record this week (11/28/05). As John and Big Kenny say, "It's Country Music WITHOUT Prejudice!"
9. In your opinion, does the use of callout research help to determine "real" records?
In my opinion, no. Think about it - after a full day's work (probably 10-12 hours), you may have "after-work activities" that you have to attend, so, by the time you get home, you just want to eat and relax. Chances are you have MORE work to do for the next day to get ahead of the rush. So, if someone doesn't have anything better to do on a weeknight than answer a phone and spend 10-20 minutes with a researcher...do you really WANT that person's opinion? Harry Beckwith said it best: "Research supports mediocre ideas and kills great ones."
10. How do you handle stations that have to get a "Green Light" from an outside source before adding or converting a record? (i.e. Consultant, Brand Manger, Format Capitan or Group Programmer)
The same way I handle any other station. For the most part, these are very intelligent individuals who know what will work in their market and on their radio station. So, I have to get THEIR opinions and comments to be positive for my artist/my song whether an "outside source" approves it or not.
Bonus Questions
What is the first artist you ever worked to radio?
Rick Trevino "She Can't Say I Didn't Try" on Columbia. I was an Indie with Marco Promotion. (It went #1...and I'm back working with Rick on Warner Bros. Life is good!)
What is your favorite road meal?
I'm on a quest to find the best French Toast in America. Granted, my research is limited to the Northeast. (So far, The Desmond in Albany, NY wins with their "Ten Broek Toast.")
Do you hate talking on the phone when you're not working?
Not really. It's what I do. One of my favorite stories is hanging up the phone one night and my wife asking, "Who was that?" I reply, "It was a wrong number." She said, "But, you were on the phone for 20 MINUTES!" I said, "Yeah...but, they were really nice!" I'll talk to anyone, anytime. I never met an answering machine I didn't like!
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