David 'Davey Dee' Ingenloff

In the field of record promotion, David "Davey Dee" Ingenloff is a specialist who has been working Rhythmic Top 40 promotion for well over 25 years. In that time, the format has been squeezed by Mainstream Top on one side and Urban on the other, yet it still fills a need with a passionate music fan base ... and still breaks plenty of records. Here, Ingenloff explains how.

When you started your label career at Arista back in 1991, could you envision where and how your career has evolved?

It's been a long journey. When I started I was just happy to have a job out of college in the music business. I would say George Hess put me on the promotion path. He gave me a list of mix show DJs and said, "Call these guys and talk to them about our records."

You've worked at several labels over the years. Did you experience different corporate "cultures" and if so, which ones seemed to work best for you?

Starting my career at Arista for Clive Davis prepared me for the future. He had a high standard that has stayed with me to this day. Monte and Avery Lipman have that same drive to be the best.

How long have you been doing Rhythmic Top 40 promotion?

Since 1991, where I started at Arista Records promoting mix shows. In 1996, when I was at Motown, I went full-time on promoting programmers.

What about the Top 40/Rhythmic format, in terms of not just artists, but in programmer mentality, makes it unique among other formats?

It's artist and lifestyle-driven. We're the format that reacts to the changing culture quicker and has more flexibility in terms of artists.

Are there distinct Top 40/Rhythmic songs and artists, or are they essentially crossovers hits from Mainstream Top 40 and Urban?

There are songs that can lead at Rhythmic but given most markets share audience with Top 40 and Urban stations, it helps to have them supporting the records, too.

What's your take on sharing hits with those formats?

It's inevitable with a song as it gets more popular. The key is to keep the core fans happy as you gain new ones, especially in the rap space.

How has streaming impacted the way to work your records to the format?

Programmers have given more weight to streaming data over the last year with the shift in consumption. So, it's another metric to show why an artist needs to get played.

Are you spending more time promoting your records on social media ... and if so, in what ways?

We have a team that promotes social media. You must be where the people are. But if you look at my Instagram page, I'm always promoting.

How has the move of stations such as B96/Chicago, KLUC/Las Vegas, KYLD/San Francisco and Z90/San Diego to Mainstream Top 40 impacted you and the challenge of breaking hits on Rhythmic Top 40?

You just mentioned four big radio stations. I think the challenge has been with Pop-leaning records that would have moved quicker at the format in the past. Depending on the campaign, it might be better to wait to impact, or remix them to fit the current state of the format.

Is there a place for EDM on Top 40/Rhythmic -- or any music format -- outside of mix shows?

Of course, there's a few at Rhythmic and more at Pop. With EDM adding more of a rap component, it's making it more accessible.

What Republic artists are currently making the biggest impact on Top 40/Rhythmic?

In no specific order ... The Weeknd, Drake, Post Malone, Nicki Minaj. They can have multiple singes at one time and all have come up through Rhythmic.

Are you satisfied just breaking your artists on Top 40/Rhythmic, or is it your goal to cross them over to other formats as well?

It's like a relay race; you want to hand off the baton to the next guy. I don't think it serves the artist to stay in one format.

Finally, have you ever thought about doing A&R?

Full-time no, but there are no boundaries here. We're all deputy A&Rs. They gladly accept hits from everyone.