even though CHR is where it is at for immediate sales and response, the song is going to have to cross over to Hot AC for increased exposure and longevity. Crush was able to be a legitimate Hot AC and AC hit. I know those formats are not as "sexy" but they have a lot of spins and ears listening, especially Hot AC. So the problem with going too dance pop and rhythmic is that it may turn off those formats.
This is really interesting, because I think the sort of artists who do amazing on HAC--Cook, Rob Thomas, The Fray, Dave Matthews, John Mayer, to name just a few--get frustrated that Top 40 these days gives them so much shorter shrift. BUT in reverse, HAC will only include 2 or 3 dance hits at a time in its top 25, and they have to be "poppy", no hip hop or club mixes. Battlefield yes, Sexy b**** no. And songs on HAC often go on to have loooong lives and get heavy spins as recurrents while many of last year's pop hits vanish from the airwaves. Looking at those specialized Idol airplay charts, you see that's what's kept Cook up there at in the top five for so long, and hugely benefits Kelly, Carrie, and Daughtry--getting played among those "best hits of the 90s and today" mixes long after release.
I worry about Allison because she has the least buzz, outside the Idol bubble appeal, media opportunities and she has a single dropping late and an album coming out after Thanksgiving.
I know. I wish they had held off to the spring for her. Three new Idol albums, in a season with new music from Carrie and Daughtry, is really tough. In 2006, the last time there were three biggish releases from one season, Elliot Yamin's came out in the spring. I realize his was indie, so they probably KNEW they couldn't compete in the holiday rush, but I think Alison would have benefited from the breathing room. Since the label was trying to get in under the holiday wire, I hope they show patience and develop her in the spring after the winter lull. Snagging her an opening spot with a fun young act would be a great idea.
As for Adam, I think all the time and care given to cover designs and other things to raise his celebrity is a mistake. Radio is still the vehicle that makes or breaks an artist, it is what drives album sales and single sales. All the other "new media" ways to get exposure is nice but it has to be coupled with a successful radio campaign. . . but the end of the year is essentially the end of November and the beginning of the "new year" is February so every artist has to be in a good position before the 2 month dark period on radio and the one month dark period on sales (Jan).
Yeah. The strategy strongly appears to be a gamble that celebrity coverage, rather then radio airplay, has been counted on to lead to a large wave of in-store purchases at holiday time: "Look, it's Adam" versus "Hey, it's that song.' With the song only on the radio a maximum of 2 to 4 weeks before holiday shopping (and no guarantees how fast it will build), it's a real long shot for radio to factor in at all.
Now, there's always the lightning in a bottle possibility in pop culture--the way Daughtry hit, with almost *no* celebrity coverage or build-up airplay, or the way Twilight, which is not *noticeably* better or much different then many similar works. But hoping for lightning is, well...
There is a pragmatic possibility, too, I think, that the management's expectations are NOT as inflated as the fans. That they want to get him released to take advantage of fan energy and the holiday, but won't panic over a modest start, planning to keep marketing him as a personality while building up a slate of moderate dance hits, getting him on tour with Lady Gaga or Katy Perry etc. If that's true, I think they've muddled their message potentially, with the OTT hype, which means moderate sales might be played in the press as a big OH NOES. They might figure it's worth it. If he hits big, amazing, if he hits just ok, they survived that with Jordin Sparks.
A final thing which I discussed on MJs: so far, 19E and RCA have pulled out all stops since early January 09 to make the "biggest star ever" case for AL. And that exposure has not moved the needle at all. The ratings were slightly down, the finale was poorly watched, iTunes downloads from the season were much less then the two Davids, the tour sold the same as last year, the first few weeks of Adam's and Kris' single sales for Time for Miracles and Live Like We're Dying are moderate. Now the constant media coverage for Adam may be cumulative, so that when it comes to make those CD purchases, it's the tipping point. Or, not. If the marketing campaign hasn't changed consumer behavior much so far, it might not start doing so now.
So much word here
even though CHR is where it is at for immediate sales and response, the song is going to have to cross over to Hot AC for increased exposure and longevity. Crush was able to be a legitimate Hot AC and AC hit. I know those formats are not as "sexy" but they have a lot of spins and ears listening, especially Hot AC. So the problem with going too dance pop and rhythmic is that it may turn off those formats.
This is really interesting, because I think the sort of artists who do amazing on HAC--Cook, Rob Thomas, The Fray, Dave Matthews, John Mayer, to name just a few--get frustrated that Top 40 these days gives them so much shorter shrift. BUT in reverse, HAC will only include 2 or 3 dance hits at a time in its top 25, and they have to be "poppy", no hip hop or club mixes. Battlefield yes, Sexy b**** no. And songs on HAC often go on to have loooong lives and get heavy spins as recurrents while many of last year's pop hits vanish from the airwaves. Looking at those specialized Idol airplay charts, you see that's what's kept Cook up there at in the top five for so long, and hugely benefits Kelly, Carrie, and Daughtry--getting played among those "best hits of the 90s and today" mixes long after release.
I worry about Allison because she has the least buzz, outside the Idol bubble appeal, media opportunities and she has a single dropping late and an album coming out after Thanksgiving.
I know. I wish they had held off to the spring for her. Three new Idol albums, in a season with new music from Carrie and Daughtry, is really tough. In 2006, the last time there were three biggish releases from one season, Elliot Yamin's came out in the spring. I realize his was indie, so they probably KNEW they couldn't compete in the holiday rush, but I think Alison would have benefited from the breathing room. Since the label was trying to get in under the holiday wire, I hope they show patience and develop her in the spring after the winter lull. Snagging her an opening spot with a fun young act would be a great idea.
As for Adam, I think all the time and care given to cover designs and other things to raise his celebrity is a mistake. Radio is still the vehicle that makes or breaks an artist, it is what drives album sales and single sales. All the other "new media" ways to get exposure is nice but it has to be coupled with a successful radio campaign. . . but the end of the year is essentially the end of November and the beginning of the "new year" is February so every artist has to be in a good position before the 2 month dark period on radio and the one month dark period on sales (Jan).
Yeah. The strategy strongly appears to be a gamble that celebrity coverage, rather then radio airplay, has been counted on to lead to a large wave of in-store purchases at holiday time: "Look, it's Adam" versus "Hey, it's that song.' With the song only on the radio a maximum of 2 to 4 weeks before holiday shopping (and no guarantees how fast it will build), it's a real long shot for radio to factor in at all.
Now, there's always the lightning in a bottle possibility in pop culture--the way Daughtry hit, with almost *no* celebrity coverage or build-up airplay, or the way Twilight, which is not *noticeably* better or much different then many similar works. But hoping for lightning is, well...
There is a pragmatic possibility, too, I think, that the management's expectations are NOT as inflated as the fans. That they want to get him released to take advantage of fan energy and the holiday, but won't panic over a modest start, planning to keep marketing him as a personality while building up a slate of moderate dance hits, getting him on tour with Lady Gaga or Katy Perry etc. If that's true, I think they've muddled their message potentially, with the OTT hype, which means moderate sales might be played in the press as a big OH NOES. They might figure it's worth it. If he hits big, amazing, if he hits just ok, they survived that with Jordin Sparks.
A final thing which I discussed on MJs: so far, 19E and RCA have pulled out all stops since early January 09 to make the "biggest star ever" case for AL. And that exposure has not moved the needle at all. The ratings were slightly down, the finale was poorly watched, iTunes downloads from the season were much less then the two Davids, the tour sold the same as last year, the first few weeks of Adam's and Kris' single sales for Time for Miracles and Live Like We're Dying are moderate. Now the constant media coverage for Adam may be cumulative, so that when it comes to make those CD purchases, it's the tipping point. Or, not. If the marketing campaign hasn't changed consumer behavior much so far, it might not start doing so now.
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kaydeecee