What are some of the record labels you’ve worked for?
I’ve worked for Columbia, TVT, MCA, and Tommy Boy, just to name a few.
How did you break into the game and begin to work for the major labels?
I started as a DJ. In 1990, I left WPGC, and although there have always been mixshows, it was a station that created the commercial mixshow format. I had a Saturday 7-midnight, fully Arbitron rated show in D.C. We went from number 22 to number 1 in the market in two and half years. After it went number 1, they put shows like mine on 40 different stations including New York’s Hot 97. From that background, I was brought in by the majors to manage DJs.
How are DJs perceived by labels?
DJs are perceived as entry level people to some labels. My first job was being a DJ. DJs are my specialty. I feel that DJs are on the cutting edge and are the doorway to the industry. The key to breaking a record is to take it from the streets to the mixshows to create a buzz. DJs are extremely important in developing an artists’ career from the beginning.
Why does it seem as if there is little difference between many of today’s DJs?
The problem is lately, there aren’t a lot of DJs breaking music. They are playing the same records waiting for someone else to break them. When I was coming up as a DJ in the early 80’s, we would try to break styles from others to find what was different and cover up the records so you couldn’t see what we were playing and couldn’t play the same record. Today, DJs are playing records that are only on the videos. DJs today are being constrained by their PDs, consultants, and playlists. Radio won’t let DJs be DJs.
Why is it important for a DJ to learn about the world outside of the booth?
A DJ should know what the PD knows, learn what he learns, and then you’ll have a better of understanding of where he’s coming from. You should learn about quarter hours, BDS, Arbitron and ratings so you have more power. Today, most DJs are lazy and just want a show to tell their friends and family. It’s not like it was ten years ago. BDS and Soundscan have affected the playlists. If a record was hot, we played it and weren’t concerned with BDS. Labels today are more concerned with first week numbers. Labels need to understand that just because you’re getting spin, that doesn’t mean that you’re going to have sales. You can have 1,000 spins on an overnight, but it doesn’t mean that you’re going to reach a large audience. Take the Lumidee [“Uh-Oh”] record, for example, that came out on Universal. It was one of the most played records last summer and had over 6-8,000 spins a week, but in the end it only sold about 30,000 records. So that proves that radio alone doesn’t have the impact. You must have a hot record on the streets through the DJ. When I was on TVT and promoted the Lil Jon “Bia Bia” record, we worked that song for ten months! That’s why TVT is successful, because they take time with their artists.
So what is the best way for a record label or an artist to utilize radio?
Why run to the radio straight from the studio before there is a solid base? All radio cares about is their listener base and Arbiton ratings. Get the record hot in the streets first, so when they do take it to radio, they look like geniuses. That’s how it used to be. Now A&Rs take the records straight from the studio to the air, then when the record doesn’t test well because nobody has heard of it, the station pulls it off of the air. Plus, radio never goes back on a record because they feel like, “You tricked me once and the record’s not hot.” When a record takes the time to become hot, they won’t believe it because they tried it already and don’t want to be wrong. Radio is about playing commercials, they don’t care about the music because they make their money through commercials. If the same song that’s played keeps you listening, then they’ll continue to play it. Radio is used to discover records already hot, not break records.
Do you see any artists that are hot on the horizon?
In Orlando, I really like Apollo Kreed. Down in Miami, I think that Jacki-O is one hit away from being a superstar. She has a tight flow and she’s got the body to back up all of her sexy-style lyrics. And Cipha, I think he’s set to become the next don of reggae music. His voice is incredible.
So what projects are you currently working on?
Right now, I’ve started my own marketing, promotions, and production company that’s called Sir Charles Entertainment Productions, LLC. Having my own company allows me to have more of a neutral position to better help achieve a common goal. Today, people have sold out on originality in exchange for a quick turnover. Back in the 80’s, we were original, but it seems like the industry works on a twenty year rotation. What was hot twenty years ago is beginning to resurface now. I’m looking for the new trends that will come from the streets. I’m doing this to be a pioneer and innovator, not just to do it. Plus, I also have a live hip-hop/R&B mixshow on Music Choice through Direct TV and Digital Cable that reaches a customer base of over 35 million listeners.
What’s the best way for someone to get in contact with you?
They can email me at SirCD@aol.com or call me at 201-816-8607.
- Keith “1st Prophet” Kennedy,
keith@tjsdjs.com
