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| From | "Michael Bennett" <mrhonorama@hotmail.com> |
| Subject | Singles and stuff... |
| Date | Sun, 16 Mar 2003 10:35:38 -0600 |
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The other day on VH1 Classics, I saw the video for Franke and the Knockout's
"Sweetheart" -- the video was laughable, particularly singer Bobby Previte's
hair, which looked like the mullet equivalent of the plastic hair Devo wore
circa NEW TRADITIONALISTS.
The song? I forgot what a great hook the song has -- excellent mid-tempo
balladry. I'd love to hear Robbie Rist take a run at it, with his
50-megaton voice.
This got me thinking about top 40 artists from the late-'70s/early-'80s.
Your Toby Beaus, Point Blanks, Peter McCanns and others. I think I'm
correct in presuming that it still cost some $ to get records played on the
radio, whether it be payola, independent promotion, or whatever. And I'm
wondering what struck major labels that it was worth some buckage to push
"Angel Baby" or "Nicole" or "Do You Wanna Make Love?".
Compared to many of the artists on the top 40 today, however, it seems that
at least there was a prospect that a Toby Beau or Point Blank might turn
into a consistent hitmaker, or at least a respectable album act. Whereas
today, so much money seems to be put into singles acts to sell albums,
because the majors have killed the single.
Which brings two questions to my mind --
1. At what point did singles no longer become (according to the majors)
profitable? And is this less true in smaller countries, where the amount of
promotional $ to sales is less (and in some cases much less, when most radio
is run through the government)?
2. What allowed smaller labels to compete in the top 40 market when I was
growing up? How could Malaco have a hit with Dorothy Moore's great soul
tune "Misty Blue" or Starbuck to have 2 top 40 hits on two relatively small
labels (Private Stock and I forgot the other label). Just less $ being
thrown around? Pre-consulting radio, and PDs having more say? Other
factors that I'm not thinking about?
I'm also wondering if the same factors that go into pop and rock airplay
nowadays are as important (or perhaps more important) in urban and country
formats. I would think in urban radio that small labels have more of a
chance, but don't have the slightest amount of evidence to back that up.
Mike Bennett
NP: Three Dog Night -- BEST OF
Record reviews and more at http://fufkin.com
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