10 Questions with ... Bobby Gale

BRIEF CAREER SYNOPSIS:

• 1970-72 - WGAL/Windsor (Patterson Collegiate Radio station I created)
• 1971-72 - CBE/Windsor ("Saturday Rap" regular guest)
• 1972-73 - CJOM (88FM)/Windsor (a.k.a. CIMX) (weekends 6-MIdnight)
• 1973/74 - CSRW/Windsor - (University of Windsor)(a.k.a. CJAM FM) (Swing)
• 1975 - CJOM (88FM)/Windsor (Returned) (AMD/swing)
• 1975 - WWWW (W4) Detroit (swing)
• 1976-77 - CHIQ (Stereo 94)/Winnipeg (Evenings/Middays)
• 1977/79 - CHOM FM Montreal (MD/Afternoon Drive)
• 1979-80 - Q107/Toronto (Afternoon Drive/Evenings)
• 1980-91 - PolyGram Regional Promo Manager (Toronto)
• 1992-Present - Plug (MUSIC) Inc./Toronto - National Indie Radio Promo

1) What led you to a career in the music business?

I'm a music junkie. Essentially, I was nurtured by a mother who was like an older sister. She bought all the latest vinyl, and we faithfully watched Bandstand, Sullivan, Lloyd Thaxton, Shindig, Hullabaloo, etc. daily or weekly. Radio (Top 40: CKLW/WKNR/CHLO) quickly became a great source of many new songs and artists. My mother dated radio guys; some I now realize were/became legends. I knew as I entered my teens radio would be my ticket to ride (especially to get out of Windsor!) I did everything within my power to make radio my career. But I have to add that it was my burning desire to turn everyone onto music that made this pursuit to be on-air relentless.

2) What's been the most significant change in the business since you've been in it?

Technology. I think it just keeps getting better & better. Steve Jobs and Apple rocks my world daily. I only wish that the multi-national record industry had gotten a better handle on controlling file sharing and piracy much sooner."

3) Who were your early radio mentors/influences/believers?

Tom Clay, Leon Russell, Bryan Ferry, Iggy Pop, J. Robert Wood, Deano Day, Dave Loncao, Steve Harris, Doug Thistle, Jerry Goodwin, Paul Christy, Dan Carlisle, Mark Parenteau, Foody, Nat Morris, Terry Nutt, Gary Slaight, Ross Davies, Jim Waters, John Parikhal, Andy Kim, Les Sole, Paul Nathan, Bill Androsiuk, Gary Christian, Bob Mackowycz, Bob Lefsetz, Bob Ansell, and Vladymir Rogov.

4) Please tell us about your radio career and how you segued into music promotion?

My career began by creating doorways and relationships...when CKWW-FM Windsor decided to follow the move to flip FM's from Elevator Music to Prog Rock, I was already fully in touch with that "format" thanks to WABX Detroit. When Dave Loncao (now Nickelback's hitman!) was setting up the (formerly CKWW-FM) CJOM library in 1970, I was hangin' around, and was asked if he/they could borrow several of my albums to quickly build the library. Try to imagine how special that was for a teenager and radio wannabe! It seems surreal this many years later.

5) What is your perspective on the Canadian Content requirements of radio in Canada?

It clearly ensures that brilliant Canadian music creators are heard domestically. However, it should be emphasized that much like it is in the good ol' USA, if it doesn't have the substance of what becomes widely or internationally appealing, CANCON requirements won't make a dif' (or give dreck a voice)."

6) How does Canadian radio and television differ from the American media?

Canadian media is largely driven and influenced by what succeeds in the US. More and more of the radio chains here are mirroring the Clear Channel paradigm, it would seem. In other words, one central programmer with stations across the country replicates the same playlist. With TV, our prime time hits (and in some successful cases (i.e. Canadian Idol = American Idol) are the same. "Glee," "Dancing With The Stars," etc. are what we watch and what sells advertising in Canada."

7) How have music file sharing services affected the way you market your music?

It just makes it easier and offers more references points towards a developing success story. File sharing puts the tracks in the hands of those who can expose and brand, music, and artists quicker and more effectively.

8) Please describe the best or worst promotion you've ever been part of?

There were many. But one of my fondest memories was when John Mellencamp opened for the Beach Boys at a football field in London/Ontario...and he left in a rage (the fabled show where he merely lobbed the drum kit into the audience in rebel discontent. No one was injured) because he felt it was an inappropriate bill. He vowed to return to do a free show...and incredibly he did. I was responsible for choosing which station would present and it was actually (at John's request) based on how they commented on-air the night it all went down. John and I listened en route to his private flight out of town. As you might imagine, it ultimately cost us with the competing station (tons of libraries LOL!) However, he did return, the presenting outlet chose a strip club that was even refurbished for the event with tickets available only by listening and winning. It was the setting for purportedly the very first live rendering of "Pink Houses." It was a magical night on many levels.

9) What do you feel is the most valuable research tool that radio should be paying more attention to?

It would seem that all data is suspect these days to a certain degree. Especially as we learn of those in business who offer to fabricate "hits" or impressions on MySpace and Facebook, etc. I think the modern programmer needs to be in touch with as many aspects of buzz building as possible. But at the end of the day they still need to ask themselves, does the record fit? Does it sound compatible and offer appeal for a significant segment of the target audience? The tool, in effect could very well be the trusted promo man with a summary of all that's happening.

10) What advice would you have for younger, less experienced music promoters?

As Tom Clay told me (verbatim) years ago as a child (LOL) "Don't let anybody tell you you can't make it." Seriously, know and harness your inherent strengths while developing new ones and be the best you can be in all other facets of life. Finally, just be pleasant and genuine.

1) Who are some of the artist you worked to radio early in your career and what are you working now?

There have been many. The ones that immediately come to mind are Roxy Music, Tears For Fears, ABC, The Everly Brothers, Millie Jackson, Donovan, Dire Straits, Orchestral Maneuvers, The Moody Blues, John Mellencamp, Def Leppard, Bauhaus, Simple Minds, New Order, Johnny Cash, Van Morrison, and Run DMC. The joys of working for a multi-national!

On an indie level, City & Colour, Randy Bachman, Matthew Good, 54-40, Esthero, Junkhouse, TPOH, Rusty, Moist, AOF, Luba, GQ, Xquisite (Melanie Fiona)...and many more. I'm very excited about American based Jeremy Thurber and Abused Romance successes unfolding here. Luke Doucet is causing an impressive stir across North America currently. Lola Spriggs did well there and made us proud. There have been several others making 2010 one of my fave years roster wise.

2) What's been your most rewarding project to work?

In the last 10 years it would be launching City & Colour in 2005 and branding it to become a platinum seller here (100,000+) with his (a.k.a. Dallas Green) debut. Not to mention a Top 10 rock radio hit was extremely gratifying.

3) Would you ever go back to radio?

I have guested many, many times during my 11 years at Polygram and since running my indie promotion firm. I actually did a memorable all night stint at 102.1 The Edge T.O. in 1988 (and I got paid!) That reaffirmed I still had it. I went looking briefly after I left Polygram thinking it was time again, but I quickly realized my greater value and role as someone trusted to bring radio's attention to records and artists that mattered.

4) Records sales are down for a seventh consecutive year. What can be done about this?

It's become more of a give and take industry. More bonusing, enticements, and incentives. We must give to grow consumer loyalty. And we must drive (remind) consumers to buy digital files wherever possible. Pardon the rhetoric, but in many ways, the current malaise is payback for charging too much and providing little relevant content over the last 30 years.

5) What is it about our industry that keeps you wanting to do it for a living?

I love music and radio and I know I have the capacity and way with all to realize continued success stories for the next wave. I also appreciate that these times we're working in are far more challenging. It really drives one to go beyond your last achievement.