-
10 Questions with ... (The Black) Brad Davidson
July 28, 2009
Have an opinion? Add your comment below. -
NAME:(The Black) Brad DavidsonTITLE:VP/Urban PromotionCOMPANY:Columbia RecordsBORN:July 12th, Los AngelesRAISED:Inglewood
1) What was your first job in music, records, influences?
During my senior year at Morehouse, I interned at WEA/Atlanta for Dale Hill and James Rhoades. I got to help out a little with some of the Urban promotion people in the Atlanta branch -- heavyweights like Teddy Austin and Charles Geer. That's how I was introduced to radio promo. I actually worked in the WEA shipping warehouse after I graduated, just to keep my foot in the door, and I needed to support myself when I graduated. Luckily, Atlanta was really affordable back in those days, so I was able to survive on minimum wage.
2) What made you decide on a music business career? Was there a defining moment that made you realize "this is it"?
From age 9 to about 17, I used to listen to Casey Kasem's countdown religiously --literally. It used to come on Sunday mornings in L.A. Then I read an article about Nona Hendrix and the trouble that the label was having trying to market her. That was in like 1984. It was then that I realized there were those types of jobs, and that I wanted one of them.
3) Who were some of the more influential individuals in your career as a record executive?
Parrish Johnson, India Graves, Larry Khan, Varnell Johnson, Geo Bivins, Ife Green and of course Ronnie Johnson.
4) What has been the biggest change in the industry you've experienced over the last five years and how has it impacted the way you work radio on your artists?
Fewer slots for songs and more competition. When I started in the late '80s/early '90s, there were pretty much just the major labels and Jive, Priority, Profile and Tommy Boy. Then a couple of labels like a Luke Records or Ichiban would come up with some hits. But for the most part, it was just the majors. Now there's so many artists and songs ... and radio is playing less music. Of course, the whole retail thing is completely changed. There's an entire generation of music consumers who don't believe that they're supposed to pay for music -- that's heart breaking. To not be able to walk into a record store and just look. That's what we did in high school since we really couldn't afford to buy regularly. I used to love to go into Tower Records in Westwood on Fri and Sat nights and look at all the tapes and albums that I wanted to buy. But hopefully, with all the digital delivery options that keep coming up, we can start to make up for some of the retail losses.
5) What has been the overall effect of syndication since it significantly affects the number of spins and the number of hours Urban stations have control over the music they play? Is there a problem when a syndicated show plays a song the station has not officially added?
It's not a problem in my eyes if a syndicated show plays a song that the station isn't playing. Baisden and Harvey do it all the time. The only thing that bothers me about syndication is what happens to the local personalities.
6) You have had tremendous success recently, first with Raphael Saadiq and now with Maxwell. What has been the key elements in developing these records in this tough competitive environment?
Patience! And quality music from both of those artists. And the fact that fans couldn't wait another second for Maxwell. But patience is what every artist deserves, and why so many good artists don't make it. No one wants to develop artists anymore. That takes time. Fortunately, both Maxwell and Raphael are fully-developed artists.
7) Of all the skills you have gained through the years, is there an area you'd like to improve?
How much time do we have?
8) What do you do if radio decides to play a single cut from the album that you're not working, such as what's happening right now with Maxwell?
I embrace it. That was always a good problem we used to have when working R Kelly's singles/albums. Most people probably wouldn't believe that we never even went for adds on "Seems Like You're Ready," because that's a gold for many stations to this day. The fact that stations played it because they liked it never hurt a thing.
9) What would people who think they know Brad Davidson be surprised to know about you?
How much time do you have?
10) What have been your best career moment(s)?
Getting my first internship in 1989. Getting hired by Jive in 1991. Fighting for "Torn" to be LeToya's single when I worked at Capitol, and then seeing her CD debut on the Top 200 album charts. That was Capitol's first Urban release to go #1 on the Top 200 since MC Hammer. That was a very proud moment. I had to fight everyone, except my boss Geo, to make that a single.
I'm experiencing the same thing right now with "God In Me" by Mary Mary. A lot of people tried to say it would never work at Hip-Hop radio. Everyone said Mary Mary was supposed to be relegated to Urban Adult and Gospel radio. I kept saying "This is a hip-hop song trapped in a gospel body," meaning that just because an artist is known for one type of music, doesn't mean they can't have success with other types of music and experiment with other sounds. And though the sound is different, it in no way jeopardizes their integrity as gospel singers. They're still praising HIM. Erica and Tina are extremely talented, as is their producer Warren Campbell. Plus, I didn't know until I met them last year that we went to the same high school in Inglewood. That makes it even more exciting to give them their biggest hit to date. I know they will keep changing and evolving which you can't say for many artists.
Bonus Questions
If you weren't doing record promotion, what would you like to be doing? In other words, what would be your second career choice and why?
Screenwriter, TV writer. I used to want to be a pro tennis player. All the travel probably wouldn't have worked for me, though. But that's my favorite thing in life, other than my sons and family. I'm a tennis fanatic. Love playing and watching professional tournaments.
What's your favorite reading material?
I read newspapers and magazines all the time. I need to read more books. Parrish turns me onto self-help/business advice books. I usually don't finish them. Sorry, P.
Do you feel that Urban stations should be more careful not to blindly copy formats but tailor them specifically to the age and racial make-up of their own markets?
YES! AGREED! I definitely think Urban stations should remember what their niche is and that is serving their community. With so much centralized programming, it's almost impossible for them to do that as much as they used to. I understand that the economy is kind of dictating what's happening right now, not just in radio but on the record side too. But I miss hearing and meeting local jocks when I go into a market
Do you feel that Urban stations should support new artists?
Yes. We gotta find the next stars for the format. Urban radio has always done that.
How do you feel about time buys and making artists available for station promotions?
It goes hand in hand with regards to labels branding their artists with radio and vice versa. We're each other's partners.
-
-