10 Questions with ... David C. Linton

NAME:David C. Linton TITLE:EVP Urban Promotions MARKET:Atlanta, GA COMPANY:CO5 Music BORN:Brooklyn, NY RAISED:Queens, NY

Please outline your radio career so far.

* Educated at two historically Black Universities, Shaw University, (B.A.), Raleigh, N.C. and North Carolina Central University (M.A), Durham N.C. I worked in academia for a number of years; among my former students are B.J.Murphy and WHUR's Traci Latrelle, both whom I trained in radio broadcasting/production.

* Former GM/PD at WSHA-FM, and GM of WRVS-FM.

* Created the communications department and radio station (WRVS-FM) at Elizabeth City State University.

* Alvin Stowe (OM Radio-One Charlotte) gave me my first radio job when he started WDUR, Durham. I also spent sometime in television at then ABC-Affiliate WRAL-TV, Raleigh, NC

Brought into the record business by Ernie Singleton and Ray Harris, first as Southwest Regional, then West Coast Regional at Warner Bros., and later promoted to National Director/R&B Promotions at Reprise Records.

* In 1992 became VP/Promotions at Polygram Label Group (now Island/Def Jam), then recruited by Jean Riggins and Clive Davis to become VP/ R&B Promotions at Aristia Records.

* In 1999 we put Capitol Records back in the Urban business after a seven-year absence as SVP R&B Promotions & Marketing.

* Most recently, providing various consulting services to independent artists/labels, before accepting the position at CO5 Music.

1) What was your first job? Early influences?

First job was stock boy at a small dept. store in Queens. My first paying radio job was at WDUR with Alvin Stowe in 1979. Early influence from an industry perspective came from Frankie Crocker and Hank Spann. Every day at 2p (Hank Spann) and 4p (Frankie Crocker), I was near a radio or taping their shows. I still have some Crocker Shows on tape I listen too; he brought sophistication to Black radio.

2) What led you to a career in music? Was there a defining moment that made you realize "this is it?"

To be honest, I was led to a career in music by a college professor, who was building the Communication Dept. at Shaw University. I was originally a business major. They had a radio station and I felt this is my chance to be "Frankie Jr.," as my classmates from NY called me. I knew this was it when the phones lit up after playing a music sweep and the callers said, "I love the flow of music you play." I also had great timing and the way I hit the post when front-announcing or back-announcing a song. I knew this was it. Then I became a "campus star" and I was on my way!

3) What was the first record/CD you purchased?

The first "album" I bought was by The Temptations. I was a big fan of The Tempts. David Ruffin was so cool! It was the "I Wish It Would Rain" album. I first saw them at the RKO Al-Bee in Brooklyn.

4) Where do you see the industry and yourself five years from now?

I see the industry further streamlined and much more nimble to respond to consumer's demands. Digital will definitely be the way music is delivered to audiences. However, I still feel radio will remain a big factor. It still gives you the most mass coverage than any other delivery medium. Five years from now I still expect to be involved in music, but moreso in a capacity where I can help preserve our rich history and prepare future generations for careers in this industry, as public speaker and or returning to my academic roots with 20+ years as an industry insider. I've even considered returning to radio as a talk show host.

5) What is your favorite type of radio station or format and why?

I still love radio any format where personality is alive! I've always been a fan of Urban and Top 40, growing up on WWRL, WBLS and WABC in New York. Although, right now living in Atlanta, I really love what Radio One is doing with Talk radio. Musically, radio is too homogenous, and as a music lover I find it rather boring. May not be the smartest thing to say, but its how I feel.

6) What format does not exist that should? Would it work?

Not sure if it could stand alone as a format, but I think Urban radio particularly needs to find a spot for early hip-hop/rap music. As a member of hip-hop's first generation, I'd love to hear Biz Markie, West Street Mob, Big Daddy Kane, Public Enemy, Salt N-Pepa and others on the radio. If not as an entire format, definitely incorporated more into the Urban Adult format. I also think that Mainstream Urban should utilize this music more, too. Remember, Urban radio's resistance to rap music gave way to the so-called "Crossover" and later "Rhythmic Crossover" formats. Don't let history repeat itself.

7) What's your take on current music? Is it as good as six months ago, better, or about the same?

That's a loaded question. I think there are moments of brilliance, as it always has been. The question is how many songs are being released that will be memorable and even provide real catalogue revenue for labels, producers and the artist. From that perspective, I would say not that much.

8) What's the most rewarding and encouraging part of your present position and why?

Well, it's too early to tell, but for 1) I get a chance to build something, which I always enjoy; 2) I get to work with some very business-savvy individuals who created a company I had envisioned years ago, but could get no takers; and 3) it gives the little guy, (artists, labels) a chance to compete on a major label level.

9) Tell us what you would change to make the relationship between radio and the record industry better.

This is a question which has been posed since I attended my first music convention back in 1980. For the record side (especially the majors), reduce the number of releases. For the radio, expand playlists. Those are the easy answers. The truth is we still have to realize we need each other now more so than ever before. On both sides, the "suits" have screwed up the business with the hunger or bigger profits in short order (instant gratification). It's like we are reliving the "Me 1980s" all over again. However, the recent buyback of stock by some radio conglomerates, and going private again indicates there's another shift in the wind. The relationship was always fine; it just had its bumps, as most relationships do.

10) How do you feel about Urban radio still wanting to wait for the results of callout research before they would be willing to add a record they already hear and like?

I think research has a place, especially with listeners being more diverse and educated, but to rely totally on it is a major mistake. I always thought -and I still do -- that what gave Urban radio an edge over its competitors was its ability to pick hits, whether due to a PD's or MD's instincts of what's good, or see the reaction to those they played the song for; whether sitting in music meeting or seeing how the public reacted when they saw the response at a club, etc. That's because they knew their audience.

One thing I learned from great programmers like Frankie, yourself and others is it's not only important what you played, but how you played and what was going on in between the records. Everyone is playing the same songs, but it's the how, what and where in between the songs that separates the winners from the losers. I think the push for research was used as a ploy to close the gap between Urban radio's lead over its competitors, especially, as some consultants got into the Urban mix...Did I say that?

Is there such a thing as a "disposable artist?"

I don't think there is anything as disposable artists, because those are human beings. However, forgettable performances or songs, there are plenty of those.

How do you account for the fact that the Urban departments of some labels have been so successful -- while others have failed?

First of all, it comes down to the music. Secondly, the resources and personnel to get the job done. One of the reasons Jive Records and Arista Records historically were so successful was they had small rosters, but quality music. I chose those two companies, as examples because their "batting averages" I would bet be are very high. They are/were great teams, which were given the resources to get the job done and very little second guessing by the higher-ups.

L.A. Reid is having great success because he has great ears, good music and a good team. There is a difference between music you love to hear and music you want to own. Those companies put out music you want to own on a more consistent basis. However, it all comes in cycles.