The Industry According To….Jeffrey Naumann, Jeffrey Naumann Promotion

Thank you for checking out ‘The Industry According To’. This series runs each Tuesday, and features radio and record industry executives, managers, programmers, talent, artists, and professionals from all areas of the business world. To be considered as a future guest, email me at keithblackboxgroup@gmail.com.

Today we hear from one of the OGs from the label and artist promotion side of the industry, Jeffrey Naumann.

Jeffrey was working records before many in today’s circles were born. He’s witnessed everything from payola to backstage brawls, knows how the past has shaped today, and has some thoughts on what’s coming next.

Before we dive in, Jeffrey has been less vocal lately, as he spends most of his time being the caregiver for his wife, Klavdiya. They’ve set-up a GoFundMe to help cover the big costs, so if you’ve ever crossed paths with Jeffrey, as most have, he’d appreciate anything you can do to help. Here’s the link to the GoFundMe page.

Culture Movers: Then & Now

Keith: You worked records when radio moved culture, not just playlists. What did radio understand about the audiences in the ‘80s and ‘90s that today’s industry has forgotten?

Jeffrey: Phone requests for songs. More listener participation. Creative promotions were a big part of both radio and records. Not anymore. Radio took more chances on “controversial songs like “I Touch Myself” Divinyls, “Walk on the Wild Side” Lou Reed. Too many lyrical edits. I had a programmer say he needs the word “ass” removed. The culture is too politically correct now but music isn’t designed to be politically correct, especially Rock. Songs about what is happening now will probably not get airplay because they may offend someone. And you know what I mean.

Payola

Keith: It’s no secret, back in the day if a label wanted to have a #1 on its hands, it would cost a lot. Payola was very much “the thing” for a long stretch of history. While you probably never made it to that dance, what is the craziest payola story you remember hearing about — a demand, an arrangement for airplay, etc.?

Jeffrey: Too many stories to list. Here are a couple. A programmer told my female promotion director — “if you want me to add “Candy” by Iggy Pop, show me your t**s.” She called me in tears. I told her to hire a stripper and play the song during her “dance”. The record was added. I was also asked by a programmer to buy him a 3-piece suit for an add. I hate this part of this business.

Today’s Airplay Chart

Keith: How important are today’s airplay charts, and why?

Jeffrey: Unfortunately, the only chart that is left that most pay attention to is Medibase. Much of the chart is based on overnight airplay. Some stations like Octane might jack up the rotation of a song to get it familiar, then back it down to a normal rotation. This might show up as a spin drop and many chart watchers might think the record is over and drop it.

The same might happen if a station does specialty programing and doesn’t play currents during the week. Same result. Because of all the variables that factor into today’s chart, I think your ears, gut, and knowing what your audience wants and likes are the best charts.

Physical to Digital to Streaming

Keith: You’ve seen the models for music sales and artist compensation change — from vinyl to cassettes, DVDs to single downloads, and streams. Which “new model at the time” was most overhyped… and has streaming just changed everything?

Jeffrey: I don’t think any of these physical models were overhyped because they were the state of the art at their time. Vinyl has made a huge return in popularity. I think streaming has reduced people to just listening to songs and not the body of work from a full album. Concept Albums like Tommy, Quadrophenia, Dark Side of the Moon etc. might never happen in today’s music listening habits. 

Access or Survival

Keith: For labels, hiring independent promoters used to ensure PD access and a chart position (if the song was good enough). How has the role of independent promoter changed today that most outsiders never see or understand?

Jeffrey: Most of the independent promotion people were successful record execs when they were at labels. Independent promoters that last and succeed are true veterans with deep knowledge of the business and radio promotion itself, along with strong relationships that were cultivated over years of mutually beneficial work. And those are the keys, “relationships” and “experience.” There are fewer PDs and fewer label reps – so getting airplay is more difficult. It takes someone with experience…someone who can actually get a PD to answer the phone or respond to an email and take a song seriously.

Labels vs. Independents

Keith: You’ve worked both inside that walls of major-labels and also as an outside warrior on the independent front. What’s the most common non-deliverable promise labels tell artists — and what’s the biggest misbelief artists eventually learn?

Jeffrey: I have always been painfully honest with artists and set realistic expectations when taking a song to radio. For example, Lenny Kravitz was very frustrated with the results of radio support. I told him to give me a straight-ahead rock song without the funk, horns etc. He came into my office a few months later with a cassette of a new song. It was “Are You Gonna Go My Way.”  I was blown away by this track and replied to Lenny “that’s what I wanted and believe that it’s is a number 1 rock song.”  It went to #1.

His follow up from his next album was the song “Rock and Roll is Dead”. Ugh. I was asked in a marketing meeting my thoughts. I replied, “I don’t think this is a hit.” They were not happy with my response. I said I’d make sure this gets played everywhere. The week it went to Rock radio, it was #1 most added and by the way, it got more in one week than any other song that whole year. Four or five weeks later, I got a call from the PD of KUPD. He said he was dropping the song. He went on to say, not only is this the worst testing song I’m playing but it is worst testing song we have ever played at KUPD. Wow, I was right.

As other stations got their research, it was the same story. The record was dropped everywhere. Lenny called and said I was the one person at the Label and management that was right. A promotion person’s real job is to get enough of radio to play it to determine if it’s truly a hit – because they aren’t all hits.

The Gatekeepers of Past & Present

Keith: Every era had its gatekeepers. It was once just the PDs, then it was RVPs or SVPS, now it’s algorithms. Which system was hardest to break into, and how hard is it to make a career on today’s model?

Jeffrey: When I started in the music business Radio and Record people did this for their passion with music. DJs were very involved with their listeners and were live every day. Radio was a joy. Jocks were stars, sharing their passion every time they spoke on air. Now our business is very different. Most DJ’s are voice tracked with very little connection, not putting listeners on the air, not airing callers with requests.

The Labels for the most part have eliminated their promotion field jobs. Instead, they hire an independent like me. I still look at myself as a promotion man. I certainly don’t claim stations and I don’t work differently now than when I worked for labels. So many of the same problems still exist, we’re just trying to get through different gates but with far less people, and each of them doing more jobs

What Data Matters Most

Keith: You see all the data; you know the marketing campaigns and synch placements that are coming. When you’re working a record or song you believe in — what data point or story do you think truly means the most?

Jeffrey: For me, it can be several things, but it comes down to getting someone curious enough to listen to the whole song, not just up to the chorus, and not just once – a few times. Even the biggest hits often take 2 or 3 full listens to sink in. I don’t BS people, I shoot straight and I have to gather the information, whatever it is, and find ways to get programmers curious enough to really listen to the song.

Hits & Misses

Keith: I don’t expect you to name names, but you’ve worked thousands of songs in your day.  What percentage of them — going in — did you know had very little chance of breaking big, but you had to do your best anyway?

Jeffrey: We have all had that problem. I like to keep my credibility and not over hype songs I might not believe in. I’ll try to get a lot of opinions on the music, and push for tests on songs. My job is to get airplay so the audience can give their feedback. The PD and I can both like or dislike a song, but the broader audience will determine what breaks big or not, as long as we let them hear it.

Keith: Is there a song or two that you thought wouldn’t go anywhere that surprised you and is still around and kicking today?

Jeffrey: Lenny Kravitz “Fly Away,” I was wrong on that one.

What’s next?

Keith: You’re exposed to so many up-and-coming artists. Do you see some legit superstars on the horizon we should know about?

Jeffrey: Dayseeker comes to mind, I’d keep an eye on them. I work a lot of bands with huge potential, like The Haunt, Velvet Chains, Dead Sugar, Lines of Loyalty, Lylvc,to name a few. They have strong early success as baby bands. I hope they are the stars of the future.

The Uncomfortable Truth

Keith: What’s the thing about today’s music industry that no one wants to say out loud — but everyone in the room knows is true?

Jeffrey: Bought airplay. Many of the big radio groups do national programming for their stations. All markets are different and the PD should make the decision about what would  work best. The cost of running a campaign to maximize the record is absolutely fu*k*d.

The One Story

Keith: Before you go, what’s your best must tell story: success, nightmare, or pure madness.

Jeffrey: Success story: Mister Mister “Broken Wings” – I was the only person at RCA that heard this as a smash. With a lot of passion and hard work getting airplay the song got PHONES everywhere it was played, every time it was played, and RCA finally said, maybe Naumann is right. They started working the song. It went to #1. The follow up, “Kyrie” also went to #1. The album went Platinum.

Worst nightmare: Lou “Happy face” Reed. I always loved his music. When RCS resigned Lou, he immediately sued them for counting the miserable Metal Machine Music as a single record. There were 4 sides of white noise. Maybe the worst album of all time. RCA had no interest in working Lou Reed. I found a song called “I Love You Susann.” Again, I went out and locked my market up on this song. My present was to spend a day taking Lou to radio.

My first stop was KROQ with Jed the Fish. There were fans in the lobby looking to meet him and get his autograph. There was a girl with a pictorial book she wanted him to sign. I showed Lou some pictures, including his Rock N Roll Animal album which was the first time I ever saw him live. What a GREAT show and band. He pulled me aside and said, “Don’t ever show me a picture of my past again”.

The day didn’t get better. He was a true sour puss. I was so disappointed that day putting Lou Reeds music back on the radio. Thankless prick.

Pure Madness: Taking Bruce Cockburn and his band to a Denver restaurant and getting into a food fight. Much like the 3 Stooges episode.

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