JA 1151 c' M&M Special:Blues BouncesBack To The Future.See Page 14 - 15.

Europe's Music Radio Newsweekly. Volume 9 . Issue 7 . February 15, 1992. 3, US$ 5, ECU 4

ROCKIN' THE CAVERN - Spanish rumba band Los Rolin poses inthe rebuilt Cavern, the Liverpool club where the Beatles got their start.Some 120 Spanish fans were flown to the club by EHR net Los 40 Prin-cipales and Sony Music Spain.

'70s Disco, SoulEmerging In EuroDance Music

by Ben Lewis

While techno house continues tochart highly in Europe, severallabel executives are noticing amovement toward late '70s discoand soul in dance music.

The small, but noticeableswing toward disco/soul influence

is hardly thedeath knell oftechno. Justtake a look atthe charts: U

96's Das Boot is number 1 in Ger-many; 2 Unlimited's TwilightZone is number 3 in the UK; evenFrance has a techno hit in Plea-sure Game's Le Seigneur DesTenebres (number 17). However,an informal poll of label execu-tives reveals that they are readyinga wide variety of disco/soul-influ-

Dance1992

enced dance records this year. (Fora look at what some key labels arereleasing in their territories, seepage 18.)

Comments Circa's head ofdance promotion Rob Manley, "Ithink disco has been coming backinto the scene for a while now and[remixer Joey Negro] cementedthe disco sound in the UK."

In Belgium, where technohouse dominates the dance market,ARS head of international market-ing Doron Berenblit thinks disco/soul -influenced music could gainmarket share in the country. "Weare preparing ourselves for thenext wave of pop culture," saysBerenblit. "It will ptobably be amixture of several things, includ-ing the late '70s disco sound."

Italian dance label Energy's(continues on page 19)

DARK HORSE EMERGES AS TOP CANDIDATE

INBC Sets INR2 Pace With£4.01 Million Tender...

by Mike McGeever

Little-known Independent Na-tional Broadcasting Company(INBC) has emerged as the front-runner to win the UK's secondindependent national radio fran-chise (INR2) after submitting thehighest bid of £4.01 million (app.US$7.02 million). The bid wasmore than twice the £1.88 millionoffered by Independent MusicRadio (IMR), a 50/50 effort byTV -AM and Virgin.

So far, the Sheffield -basedgroup hasn't clearly delineated itsformatic strategy, indicating onlyso far that it plans to offerlisteners of the AM network a"pop/rocOk" approach. Observerssay it may actually turn out to becloser to soft AC than anythingelse.

Leading the consortium isMichael Mallet, a former chair-man of Yorkshire Radio Net-work, with financial backing ofLord Lewisham's White Rose

TV, a failed Yorkshire TV fran-chise bidder.

Under the 1990 BroadcastingAct, the licence will be awardedto the highest cash bid if theapplicant satisfies the Act's provi-sions of financial viability, pro-gramming and whether the appli-

cants are "fit and proper" persons.Unlike the bidding process forITV franchises in the UK, theproposal does not have to pass a"quality threshold."

If INBC is given the licence,which will be awarded sometime

(continues on page 30)

...But Insiders SayBid Is Unrealistic

Many UK radio and advertisingpundits predict INBC's hid of£4.01 million will be rejected asunsustainable by the RadioAuthority.

People familiar with the bid-ding fear a repeat of the debacleof the INRI franchise last yearwhen the non -pop licence waswon by Classic FM after the

hest bidder First NationalRadio-The Showtime Station

could not secure its financing.Steve Hyde, broadcasting

director for radio at ZenithMedia, says INBC's applicationand business plan won't stand upto scrutiny by the Authority andits financial analysts. "The bid isfar too high," he says. "If youbear in mind they will have con-siderable start-up costs and thislevy, which is very high, they

(continues on page 301

DAB, HDTV Take Centre StageAt WARC '92 Conference

by Anna Marie de la Fuente

Pristine sounds and images by theyear 2000? Over 1.500 represen-tatives of International Tele-communications Union's (ITU)166 -member countries met onFebruary 3 in Malaga, Spain, tolay the foundations towards thatobjective.

Inaugurated by Spain's QueenSophia, the historical month -long1992 World Administrative

Radio Communications (WARC'92) conference will determine thedistribution of new satellite -deliv-ered digital audio broadcasting(DAB) frequencies and high defi-nition television (HDTV) signals,as well as mobile communicationvia satellite.

In her opening remarks, ITUsecretary general Pekka Tar-janne hailed WARC '92 as themost important communications

(continues on page 30)

No. 1 in EUROPEEuropean Hit RadioMICHAEL JACKSONBlack Or White(Epic)

Coca-Cola EurochartG. MICHAEL & E. JOHNDon't Let Sun Go Down On Me(Epic)

European Top 100 AlbumsQUEENGreatest Hits II(Parlophone)

Atakesfiearsthe new single 'stay'. uk top five, video on

zsterbreaking all over europe now /0 DO

AmericanRadioHistory.Com

cfitakesfiears clisterthe new single 'stay'

uk top five

breakout rotationbbc radio one 'a' list

UNITED KINGDOMcapital fma listchiltern networka listdowntown radioa listfox fma listmetro radio groupa listpiccadilly radiob listradio broadlandb list new additionradio clydea listradio trentb listradio fortha listred rose radioa listradio luxembourgb list

GERMANYrb 4b list

HOLLANDnosa list new addition

"shakespears sister ...thePiL to bananarama's sexpistols" melody maker

V WONDay

V

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Record Piracy Jumps 61%by Miranda Watson

Record piracy in Europe cost themusic industry US$250 millionin 1990, a 61% jump, accordingto the latest report from the

International Federation of thePhonographic Industry (IFPI).Overall, global record piracyincreased 9% to US$1.2 billion.

The latest figures show thatabout 41 million units of pirated

Michael Jackson will be touringEurope in June. Speaking at apress conference in New Yorklast week. Jackson announcedthat his "Dangerous Worldtour"-sponsored by Pepsi -Cola Inter-national-will kick off in theUK, possibly at Wembley Arena.

Following the UK, Jacksonplans to tour mainland Europe(including the former East bloc),Latin America, Asia and the FarEast. For the moment, no datesare planned in the US.

All proceeds from the tourwill be donated to the "Heal TheWorld" Foundation-named aftera song on his recent Dangerousalbum-set up to support RonaldMcDonald houses, Aids fundsand hunger aid charity organiza-

lions. Jackson hopes to raise atleast US$100 million.

London -based programmesyndicator Unique Broadcastinglinked up with Satellite MediaServices for a direct relay of thepress conference to all of UK'sILR stations.

The deal with Pepsi coversmonth, it's the third time tPepsi has sponsored a Jacksontour. The 1984 US "Victory Tour"by the Jacksons was sponsoredby the soft drink manufacturer, aswas the singer's "Bad" tour in1987-88.

The announcement of the tourmarked the second phase of themarketing of Dangerous, whichhas sold 10 million copies world-wide. MB

product were sold in Europe. Thesituation has worsened in severalmajor markets, including Ger-many, where the cost to theindustry more than doubled,reaching US$81 million in 1990.Piracy costs the recording indus-try an annual US$30 million inSwitzerland, US$28 million inItaly and US$23 million in theNetherlands.

The problem is rampant ineastern Europe, accounting foran estimated 70% of the market,according to IFPI. Poland has thehighest piracy rate, with almostall of the national market domi-nated by unauthorized interna-tional repertoire. Poland has alsobecome a major exporter ofpirate cassettes to neighbouringHungary and Germany. Com-ments IPFI anti -piracy officerFunkazi Koroye, "EasternEurope is fast becoming thegateway for pirate material intothe West. The eastern border ofGermany is particularly affectedby the influx of pirate copiesfrom Poland, which has almost100% piracy. Thig is one of themain problem areas that the IFPIwill be addressing this year."

The report says that industrylosses for the decade amount to

over US$12 billion, with an esti-mated 400 million units of pirat-ed recordings being sold acrossthe world.

Although the cassette is stillthe medium employed by thepirates, with one in every fourpre-recorded cassettes an unau-thorized recording, CD piracy israpidly increasing, says the IFPI.From almost negligible figuresof CD piracy in the US in 1988,by 1990 it was estimated that 1.5million illegal CD units were onthe market.

In Europe, the story is similar,with almost two million pirateCDs hitting the market in Hol-land and an estimated 1.5 millionpirate CD units reported in Ger-many.

Says Koroye, "We are tryingto have a much more structuredapproach in our fight againstpiracy. We are getting customsorganizations across the world tohelp us. We can point out theproblems of piracy and assistthem in detecting it."

Koroye is representing theIFPI at a meeting in Brusselsnext week, which will be attend-ed by all world members of theCustoms Corporations Coun-cil.

AER Sets Agenda, Forms New Committeesby Marc Maes

"The birth of AER is long over-due. It will be good for commer-cial radio, good for listeners andgood for Europe." That's howBrian West, director of the UKAssociation of IndependentRadio Companies and presidentof the Association of EuropeanRadios (AER) described the firstgeneral assembly of the AERheld in Brussels on January 31.

In his opening address, Westexplained that policies pursued bythe AER will cover regulationsregarding advertising and copy-rights. "Advertising control is anarea of great concern. Legislatorsare showing an increasing tenden-cy to home in on certain types ofadvertising, to constrict it andeven forbid it.. Here we hope topool experiences with other asso-ciations and bodies, such as theEuropean Association of Adver-tising Associations and the

European Advertising Tripar-tite."

With regard to copyrights,West said that developments"have leaned heavily in favour ofthe rights owner." He pointed tothe UK to illustrate how the bal-ance has tipped a bit too far,adding that during a rapidlydeveloping era, legislators shouldpay more attention to the rights ofthe user.

During the meeting, the AERexecutive committee alsoappointed several workinggroups, specializing in areas suchas copyright, advertising regula-tions, technical matters and faircompetition. These groups willmonitor developments in theirrespective fields and make policyrecommendations to the execu-tive committee.

VEVORA (Belgium) presi-dent Frank Leysenis, who is incharge of the fair competitiongroup, says the major problem is

the competition between privateand public stations. "EBU [Euro-pean Broadcasting Union]members enjoy more facilities,such as antenna -power and stereofrequencies. The privates aremost often the underdogs. Wewant to eliminate the dual systemand aim for equal rights," he says."Also, the competition betweenthe privates themselves is a con-cern of ours, particularly betweenlocal and national commercialradio. Personally, I think thereshould be room for everyone. Theworking group will gather infor-mation from specialists all overEurope on these items."

Asked about his views on theAER, Benoit Sillard, directorgeneral of EHR FM net FunRadio and SRN (France) presi-dent, says, "After two years ofpreparation, we finally have afirm group to defend our commoninterests. The privates must havetheir say in the field of frequency

allocations. In France, one-thirdof all frequencies cross theFrench borders."

Association of Finnish RadioBroadcaster MD Kai Salmi,who was representing the Associ-ation of Scandinavian Broad-casters at the meeting, observes,"With EC membership for Scan-dinavia becoming a possibility(with adaption of EC directives),AER membership could help toprepare us for future EC legisla-tion."

The AER will be financed bymember subscriptions; the fee percountry is set at US$10.000.Keeping the aim of the AER inclear perspective, West says asso-ciations will not be turned away ifthey are not able to pay as muchas others. The AER currently rep-resents about 1.000 European sta-tions.

The next meeting of theAER's executive committee is setfor March 12 at its Brussels head-quarters.

Emuor

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UNITED KINGDOM

Dance Calls ForMarketing Rethink

by Stephen Leigh

Record companies are fmding ithard to make money out of dancemusic. One of the problems isthat dance acts depend on lowsingles production costs andrarely cross over to the albummarket. This puts more pressureon, and, as Sony head of danceSteve Ripley points out, "Toomany dance albums are failingbecause of an inability to sustainsuccessful singles careers."

Head of new Circa subsidiarylabel Union City RecordingsRob Manley agrees. He says,"Often artists haven't the abilityto progress beyond singles. Thepressure will be there to followup the hit and they'll buckleunder it."

But, adds Manley, the timefactor is crucial. "The mainworry about dance albums is thespeed with which the marketchanges. There will always bethat problem."

XL Records has become theUK's leading techno dance labelby being able to keep abreast ofthe fast -changing Europeandance scene. "XL tries to reflectexactly what's happening in therave scene. The idea is to put outreally good 12"s," reports XLlabel coordinator Lea Riches.

XL has released some highly suc-cessful own -label compilations-XL The 2nd Chapter went Top 10on the UK compilation chart-but will only be releasing its firstartist album in April with Prodi-gy.

Like their fellow UK Top 20rave acts, the Prodigy owe theircommercial success and albumstatus (Altern 8's debut longplayer pre -sales are estimated at70.000-80.000) to constant 'live'playing. PA's at raves havebecome the dance version of therock tour.

The dance album has becomea cause for concern with majorlabels since the decline of thesingles market, because they nowtreat 7- and 12 -inch releases aslittle more than album promo-tions, and the failure of hit singleacts to develop into album artistsmakes dance music a financialminefield. Independent labels,free of high -cost and time-con-suming bureaucracy, such asPulse 8, XL or Rhythm King,have prospered in the dance mar-ket. Says Rhythm King's jointMD Adele Nozader, "We canbreak even and sometimes makemoney on singles-the majorscan't do that."

The majors have tried to tack-le the problem by setting up sub-

sidiary, mini -labels to deal withdance, such as Union CityRecordings or London Record'sffrr. Many of these have beenput under the control of the ravescene's leading DJs, somethingthat Nozader is sceptical about."These DJ label heads may knowwhat record ravers will like, but Idon't think they'll know what willhappen on radio or what to do ifsomething isn't breaking andneeds a push."

When it comes to breakingacts from the club -led danceworld into the album market,nothing can replace what Manleycalls "attitude." He adds, "Recordcompanies are blamed for pooralbums, but we follow the artist;we can't create images."

Says Samson, "The publicthinks differently when they buyalbums. They feel they are part-ing with their money and want aquality product and a genuineartist." Hence the success ofZTT's Seal.

For the moment, record com-panies are chasing after eventsrather than creating them. How-ever, with greater investment intraditional marketing strategiesand careful attention to bandimage, they may be able to con-trol the inevitable burgeoning ofthe dance artist album.

Kiss' Dance Niche Scores Againby Mike McGeever

Anyone preparing a dance formatbid for an upcoming franchiseshould be heartened by the suc-cess of niche station KissFM/London, which has gainedaudience figures by taking musicfrom the dance floor to the air-waves.

Tony Grundy, owner of theconsultant firm CommunicateNow/Reading, describes Kiss as apioneer, as the only truly defineddance format station in the coun-try, and thinks it reflects what theindustry and advertisers will wel-come in the near future. "Kiss is agood illustration of a new breedof stations. It gives airplay tomusic that would not see the lightof day on Independent Radio for-mats."

Grundy is sure that advertisersand record companies will soonrealize that dance format stationscommand a 'young, sociallyactive' audience-ideal targets formany of their campaigns. "Thedance format is relatively new,and advertising markets haven'tcaught up yet," he says.

Grundy is confident moredance stations will surface, espe-cially in the larger metro areas."The implication is that in thenext wave of franchises, theRadio Authority will createregional rather than national sta-tions. At the moment, it is doubt-ful that a regional dance formatcould be commercially success-ful, but as stations spread overinto metropolitan areas, they aremore likely to be so."

Kiss's recent JICRAR fig-ures-up over 50% in the lastyear to a 4.3% share and aiming1.26 million listeners weekly-show that a dance format can beattractive to advertisers targeting15-24s, he argues.

"It is no longer seen as analternative buy to a EHR stationlike Capital, but as a separateforce in the market," saysGrundy. He adds, however, that adance format station like Kiss"must broaden its demographicsto include more of the 15-35s, ifit wants to increase its marketshare."

Kiss MD Gordon McNameesays big name advertisers such as

McDonalds and Pepsi see sta-tions like his as a perfect outlet."They buy numbers, and 89% ofour audience is in the 15 -34 -year -old group. That kind of targetingis more specific-it's perfect."

Have You Already Ordered

The 1992 Edition Of The Euro-

file Music Industry Directory?Tel: (+31) 20.669 1961

SUPER BOWLERS - Atlantic 252 DJ Captain Kevin Palmer (left ofcentre) presents IDK Media Team with the Long Wave Atlantic 252 TenPin Bowling Challenge Trophy, following their victory on January 29 atthe Harrow Superbowl.

Entertainment ProductionsTo Handle 'Dial Midnight'London Weekend Television hascommissioned EntertainmentProductions to handle celebrityand music content for the newlate -night programme "Dial Mid-night," starting Friday, February14. The company will be respon-sible for on -air guests and exclu-sive international interview mate-rial.

Entertainment Productionswas established on January 1 ofthis year by former TV AM exec-

utive Tony Fitz -Patrick, to ser-vice TV AM with network enter-tainment programming. Fitz -Patrick described the "Dial Mid-night" contract as "the first of anumber of promotions we will bepresenting in the future."

"Dial Midnight" producerPaul Lewis comments, "We'redelighted. Entertainment Produc-tion's international standing willensure the highest quality topcelebrity and music guests." SL

Ad Revenue Still Feels RecessionUK gross radio advertising rev-enue fell 6.8% for the third quar-ter of 1991, down to £34.1 mil-lion (US$59.7 million), comparedto the same quarter the previousyear. However, the figures wereup slightly from the second quar-ter of 1991.

AIRC spokesman JamesGalpin says, "It's the same oldstory, i.e., the recession. Theradio industry isn't failing in the

face of competition. We are suf-fering the effects of recession likeanybody else."

Galpin says results for thefourth quarter of 1991 may pointto an improvement. "From thefeedback I've been getting, I thinkthe period Oct. -Dec. 1991 wasquite healthy. Having said that, itdid follow the first of the reallybad quarters (Oct. -Dec. 1990)."

MMc

Advertising Revenue 1990-1991

Oct. -Dec. '90 Jan. -Mar. '91 Apr. -Jun. '91 Jul.-Sep.9lRevenue 35.9 27.9 34.2 34.3% Change -7 -12.5 -11.9 -6.8

Source: AIRC*Figures in £ million. % is change on previous year's quarter.

NEWS IN BRIEF

Howard New MD AtZomba

Steven Howard has been appointed MD ofZomba Music Publishers/UK. He willcontinue as MD of Zomba management.

In 1990, Howard was appointed MD ofZomba's management company, while con-tinuing as one of the directors of Zomba'smusic publishing and record interest in theUK. Commenting on Howard's new post,Zomba Group UK CEO Peter Caisleysays, "This appointment reflects Zomba'sbelief in strong links between music pub-lishing and the recording process. Steven is

an MD with a great deal of experience inall of these areas." MMc

Martin Joins GNRGreat North Radio/Newcastle (GNR) hasappointed Steve Martin as the station'snew programme controller. Martin joins theAM from sister station Metro FM/Tyne-side, where he was features producer.

Martin's first change was to add more"old gold" to the gold format. "Our new'Solid Gold Sixties' hour at 9.00 everymorning is already getting a great responsefrom the listeners," Martin claims. He

promises more changes as soon as he getshis "feet under the desk." MMc

Beach Back atAtlantic 252

Sandy Beach has returned to Ireland -basedAtlantic 252 after a 10 -month stint atRadio Luxembourg. Beach was hailed asthe youngest DJ on national radio when hejoined the station two years ago. He hasbeen offered his original 20.00-24.00 slotand will also present the Saturday 10.00-13.00 mid -morning show. MMc

4 MUSIC & MEDIA FEBRUARY 15 1992

AmericanRadioHistory.Com

SNEP, APPI Set FrenchMusic Quota Deals

by Emmanuel Legrand

Independent networks NRJ, Sky -rock and SIRTI have signed sep-

1arate agreements with industrybody SNEP and independent pro-ducers' association APPI regard-ing the share of French musicthey will broadcast. Other sta-tions are expected to follow suit.

The agreements mark the firstsignificant step since the openingof negotiations between the dif-ferent parties three months ago,and were positively welcomed byminister of culture Jack Langand SACEM MD Jean -LoupTournier.

The deals cover three mainissues: The creation of a researchorganization covering the radioand record industries, which willlook for ways of increasing air-play for Francophone songs onFM. Clear definitions of the terms"Francophone," "novelty" and"new talent." Ways of supporting new tal-ent.

Skyrock programme directorLaurent Bouneau said that indi-vidual agreements "were the mostintelligent solution for everyoneinvolved." He adds, "It is muchbetter for us to solve the problemwith the consent of each party,rather than imposing a decisionfrom above. After all, artists and

music are our main reasons forbeing in this business." He adds,"The quality of French productionhas improved during the past twoyears, so it is easier for us to playmore French products."

The differences between theindividual agreements are as fol-lows: NRJ will only implement itsdeal if it is adopted by other FMstations reaching the young -adulttarget (a condition which hascaused some tension between thenetwork and its direct competi-tors, notably Fun). It agreed tobroadcast 40% of its Francophonemusic programming with new tal-ents, and for the short-term, toprogramme a minimum of 25%Francophone songs. In addition,NRJ says that each year it willgive "special promotion" to aminimum of 20 new French acts. The Skyrock deal consists ofquotas very similar to NRJ's Meanwhile, the SIRTI deal isambitious, calling for a 35%quota of French music this year,rising to 40% in 1993. The dealalso includes a clause saying thatthe music industry will allocate a"similar proportion" of promo-tional support and information toSIRTI's members, and will createa fund to subsidize the broadcast-ing of new Francophone works.

SNEP GM Bertrand Delcrossays that the music industry willask radio regulator CSA to add a

Radio LobbyShapes Up In France

The informal radio associationVive La Radio announced newdevelopments at MIDEM lastweek. The organization, whichhas members from all types ofradio stations (AM and FM, pub-lic, commercial, national andlocal), has outlined its role as avoice for radio by setting outlong-term statutes which willallow it to pursue issues impor-tant to French radio in general.

Comments president of ViveLa Radio Benoit Sillard, "Thehoard has decided to continue theactivities of the Organization inregrouping all the professionalradio bodies. Our main goal will

be to promote radio as a whole.We will make proposals on topicsof general interest to us all, suchas the training of radio profes-sionals, the representation ofFrench radio broadcasters withinthe various European authorities,.the European DAB wavelengthplan and international relations.with similar organizations such as-,NAB." He adds that all Vive La'Radio decisions must be unani-mously accepted by the board.

Last year Vive La Radio orga-nized the first national conferenceon radio, and it is expected to be,planning a similar event this year..

EL

Have You Already Ordered The 1992 Edition

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Tel: (+31) 20.669 1961

clause to each broadcastingauthorization stating that stationsshould play a minimum of 15%French music. "That is the abso-lute minimum we want to reach,for whatever format, and webelieve it is possible." Delcrosadds that the notion of new talentcovers all acts that have notreached either two gold albums(100.000 units sold) or one plat-inum (300.000).

However, Fun GM BenoitSillard criticizes NRJ's call foracross-the-board treatment as"demagoguery."

He recalls that SNEP decidedto stop global negotiations lastSeptember in favour of individualmeetings. The SRN group ofnational FM networks of whichhe is president has ceased negoti-ating with SNEP, althoughobservers feel there is littlechance they will be able to escapean agreement now that the twoleading networks have made theirmove. "The SRN will soon makenew proposals to show our goodwill and put the music industrybefore its responsibilities," hesays.

NRJ Takes CSA ToTask In 'White Paper'

by David Roe

NRJ last week published a "whitepaper" listing proposals to theCSA concerning the modificationof Communique 34, consideredthe legal bible of the radio worldin France.

Discussions are scheduled totake place this spring regardingCommunique 34, but NRJ is thefirst radio network to make sug-gestions for change.

The paper attacks the limitsgoverning national networks'access to local publicity markets,charging it is no longer accept-able to restrict local access tonational webs in terms of affilia-tion or franchising because of thedifficult economic situation manycommercialized local stationsfind themselves in.

NRJ puts for -ward suggestionsto alleviate the situation, includ-ing allowing stations in categoryB (local independent commercialstations) to affiliate or subscribeto the programmes of a nationalnetwork; allowing stations in cat-egory D (national thematic sta-tions) to move into category C(broadcasters which have sub-scribed to a network), if neces-

sary; and allowing category E(generalist stations) onto localmarkets. The paper also calls forthe stipulation in Communique 34requiring 20Ci local programmingfor any station be changedbecause it is over -restrictive fornational thematic music stations.

The paper criticizes the CSAfor the ease with which it refusesto renew frequency attributions inany given conglomeration, sug-gests that the CSA be obliged tojustify its actions and suggestsreducing the organization'spower.

Says NRJ president Jean -Paul Bandecroux, "Our mainintention was to point out the dif-ficulties that Communique 34poses for the radio community.particularly for local radio out-lets. It has become a veritablekilling machine for them and wei,hope that in the coming months,the necessary changes will heimplemented."

The 'generalist' stations muststill put forward their proposals,but WM spokesperson Jean -Marc Veran adds. "We'll be pre-senting our ow white paper inconjunction with RMC andEurope 1."

Poor '91 Music Sales ResultsThe year 1991 was not a good yearfor the French music industry. Totalshipments reached Ffr5.6 billion(app. US$1 billion), representing anincrease of only 4.6% over 1990.According to statistics revealed byindustry body SNEP, these are theworst figures since 1985, way downon previous years' growth (35.7% in1988), and half the figure forecast atthe beginning of the year.

SNEP president Patrick Zelnikadmits the French music industryhas been hit by the recession. Nev-ertheless, he believes that a volun-tary policy by the industry will leadto better business in 1992. Ironical-ly, Zelnik's forecast for 1992 is "atleast as bad as 1991."

CDs represent the largestturnover, with 63% of total turnoveragainst 60% in 1990 and 50% in1989, but the growth rate of the for-mat is slowing down. "The CDboom is behind us, but there is stilla strong potential as only 30% ofFrench households are equippedwith CD players," said Zelnik. Ca-sette sales represent 25% of theturnover (down from 28%), whichZelnik considers "worrying." Vinylsingles and albums account for lessthan 3.5% and 1%, respectively.

National products represented49% of the total turnover, excludingclassical music, a slight increasefrom last year's 48% which, accord-

ing to SNEP, could mark "a reversetendency, especially since the endof last year was particularly strongfor national products (59% of totalsales in December)."

A total of 123 million units weresold in 1991, down 6% on the 131million in 1990 (154 million in1978). SNEP analyst Jean -YvesMirski reports this downturn isattributable to the fact people arelistening to more music, but buyingfewer pre-recorded goods.

Over 67 million CD units weresold in France, up 20% from 1990's56 million and representing 55% ofthe total units sold. Cassette salesfell from 42 to 40 million units,while sales of vinyl albums weredown to 1.2 million. (Seventy-fivemillion vinyl LP's were sold in1978 in France.)

The vinyl single continues itsdramatic slump, with less than 14

million units sold, down 45% on 27million in 1990. The only positivenews for short formats is the suc-cessful introduction of the cassettesingle launched last June and sellingthree million units, (triple the initialestimate), while CD singles soldtwo million units.

According to SNEP, the lastmonths of 1991 show the trends for1992. CDs will exceed 70% of theturnover, vinyl will fall below 2%,cassettes around 25% and videos at3%. In terms of units, vinyl will bebelow 5%, cassettes over 30% andCDs over 60%. The growth of theCD will slow down to 15%. SNEPpredicts three elements will helpincrease the consumption of record-ed music: the authorization of Sun-day trading for cultural goods, col-laboration between FM stations tohelp new talent and a music 1`Vchannel. EL

Music Shipments 1991Units (millions)

1990 1991 % Chg.Sales (Ffr million)

1990 1991 % Chg.

Singles 24.8 13.5 -45.2 349.5 194.5 -44.3LPs 6.7 1.2 -80.9 204.3 38.3 -81.2Cassettes 41.9 40.3 - 3.8 1512.7 1421.0 - 6.1CDs 56.2 67.4 +19.9 3177.2 3832.6 +20.6Music Video 1.3 1.4 + 1.0 111.9 118.0 + 5.4

Total 131.0 123.0 - 6.1 5355.6 5604.6 + 4.6

Source: SNEP

MUSIC & MEDIA FEBRUARY 15 1992 5

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G/S/A

Airplay Welcome InSwiss Singles Chart

by Miranda Watson

The major record companies inSwitzerland have welcomed thenew airplay changes to the Swisssingles chart (M&M, February 8).The new, revamped chart whichtakes radio airplay into accountfor the first time, is seen by themajors as providing a clearerimage of the singles market, aswell as encouraging different actsin the charts (see chart, page 29).

The new chart, effective Jan-uary 20, is compiled by MediaControl using the following air-play/sales ratios: For positions 21-40, the airplay/sales ratio is50%/50%; for positions 11-20, air-play will account for 25% of theweighting, with the rest going tosales; and for positions 1-10, thechart will be weighted 100% bysales.

Comments Sony MusicEntertainment's promotionsmanager Claude Bravi, "The newchart will give us a clear image ofwhat is happening as regardsradio airplay. It is a much fairersystem. Singles whichgetting into the charts before willhave a chance now."

Musikvertrieb's promotions records could have a problem.manager Reto Lazzarotto agrees."For marketing and promotion, thenew chart system is much better,"he says. "We are going to have lotsof singles in the chart whichwould not have made it before,especially middle-of-the-roadstuff, ballads and German -lan-guage songs. There are lots of sta-tions in Switzerland playing thatsort of thing and heavy airplay isgoing to count now. It's early daysyet though, so it's hard to predictexactly what will happen."

The Swiss changes now bringthe charts in line with the singlescharts in Germany.

Says Polygram Switzerlandmarketing manager Victor Pelli,"This system is working well inGermany already. I think it's anattempt to give credibility back tothe charts. The new charts are allelectronic, very high-tech; it willbe a big advantage to really knowwhat is being played on the radio."

As to whether the new systemwill change what gets into thecharts, Pelli says that it is hard totell at this stage, but that he thinksthat middle-of-the-road recordscould fare better and that dance

COLOURS - MTV Europe is giving Sony Music Germany a hand inbreaking its new act Peacock Palace. The network has put the band'ssingle "Like A Snake" on Breakout Rotation. The track is the first singlefrom the band's debut album "Adding Wings."

elit0111 V"kommt.

Media Control GM MichaelSchmich believes that the newsystem will give the charts a newdynamism, with records chartingmore quickly. He said that it willalso provide the record and radioindustries with a much more repre-sentative picture of what the Swisspublic's taste in current singlesreleases is. Schmich adds, "Bill-board has been using airplay -weighting in its singles chart foryears and the German Top 100chart has been taking radio airplayinto account since the middle of1989. Using airplay -sales ratiosgives us a more balanced view ofthe market.

Schmich, however, feels that noparticular music goure will be at adisadvantage under the new sys-tem, "I think we will see a broadspectrum of styles in the charts."He does not foresee the same situa-tion arising as in Germany, wherethe dance labels have been protest-ing about the new radio -weightedsystem, saying that dance recordshave no chance of getting into thecharts now. "The situation inSwitzerland is very different to thatin Germany," he says.

Promo Push ForSimply Red'sGerman TourWarner Music Germany isgearing up for the third part of amajor four -phase marketing cam-paign to help push sales of Sim-ply Red's latest album Stars pastthe one million sales mark (dou-ble platinum). The album is cur-rently number 6 in the nationalalbum chart.

In the third stage, the cam-paign will capitalize on the band'sGerman tour from February 20 toMarch 13, with 17 live shows,many of them already sold out.The tour will be backed by adver-tising that marketing directorBernd Dopp says is expected togenerate "great excitement."

An ad campaign is now run-ning at cinemas across Germany,with ads at showings of "JFK"and "The Addams Family," "twoof the biggest movie draws in thecountry.

The cinema campaign is beingtopped by a comprehensive,national radio campaign.

Dopp says, "We are hoping toreach double platinum with Starsin the next two months. Sales arealready past 750.000 units. Nowwe have to expand."

MW

CGD GOES EAST WEST - east west Records has taken over Italianlabel CGD, which was previously handled by Warner. east west willnow be representing CGD's repertoire including hit artists UmbertoTozzi, Adriano Celentano, Pino Daniele, Raf and Paolo Conte. Pictured(l -r) are: head of radio promo Detlev Lauschke, MD Jurgen Otterstein,head of promo Elfi Kuster, Alda Dury-Gandini (international director ofCGD), Ha* Zingsheim (sales), CGD marketing director Andrea Rossi,international artist marketing director Wolfgang Johannssen, press pro-motion manager Sabine Beyer, TIS's Jurgen Tiessen and senior productmanager Peter Bruhning.

'Das Boot' SurfacesTo Number 1 WithNo Airplay Backing

by Ellie Weinert

The techno house dance singleDas Boot by Polydor act U 96 hashit number 1 in the charts with vir-tually no airplay.

The feat is good news fordancefloor artists and producersgiven the relatively new airplayweighting to the singles charts(slots 51-100 only). The changeshave made it difficult recently forsuch repertoire to chart.

The single also has the distinc-tion of being the first number 1released in only one format. Thetrack was released only on 12"vinyl and 12" CD (New Order's12" release of Blue Mondayreached number 2). However, thesuccess is a blow to the already ail-ing sales image of the 45 rpm for-mat and to those who are fightingto keep the 7" single from extinc-tion.

Says Polydor head of progres-sive music Tim Renner, "In theearly stages the record was mostlyplayed by DT 64 and SFB 4 inBerlin and at Ni in Nuremberg.This success is proof that radio air-play charts in Germany are ananachronism. The number 1 spot isa techno track and the current

Gold For Meys Album

Reinhard Meys' benefit albumMein Apfelbaumchen has gonegold. The album has raised almostDM1 million (app. US$500.000)to help children with cancer. Meysdonated his own disc to GermanCancer Aid organizers on a recentappearance on TV programme"ARD Wunschkonzert" for auc-tion.

number 2 a heavy metal tune byNirvana, the two types of musicnot catered to by radio, but appar-ently preferred by the recordbuyer."

Publisher Rolf Moser, MD ofBavaria Sonor in Munich, says,"After the single entered at number78 we were lucky to get past the50's mark. Most radio stations justignore this type of music, just asheavy metal is completely disre-garded. Once we hit top 10, radiostations were forced to play it, butairplay is still in no relation what-soever to the chart position."

Das Boot, written by composerand jazz musician KlausDoldinger (of Passport fame), isthe theme song to the international-ly acclaimed movie of the samename which was made at theBavarian Fihn Studios. In theUS, the movie "Das Boot" (TheBoat), directed by WolfgangPetersen and starring JurgenProchnow, Herbert Grone-meyer, Uwe Ochsenknecht,Klaus Wennemann and MartinSemmelrogge, is the most suc-cessful German movie of all timesand ranks number eight on the listof top -grossing foreign movies.

U 96 is the submarine's name inthe movie, as well as pseudonymfor 24 -year -old D.J./producer AlexChristensen from Hamburg.Christensen created the techno ver-sion, which has recently beenreleased in the UK and 10 otherEuropean countries, plus HongKong, Japan, Australia and Brazil.Christensen already has the follow-up single I Wanna Be A Kennedyready for release in mid -Februaryand is currently working on analbum scheduled to be out inMarch.

6 MUSIC & MEDIA FEBRUARY 15 1992

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READER PROFILECC Music & Media is the only pan-European magazine

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me improve my station's success., ,Adam Hahne

Programme DirectorRadio SaHi

Adam Hahne began his radiocareer in 1981 as morning DJ on

a public station. Later he movedinto the music department andbegan developing new youth -oriented programming.

In 1989 Adam was named pro-gramme director of Saarland'sfirst private radio station RADIOSALU.

Within five months Radio Saki'sCHR format achieved a 21market share, ranking number 1among 14-29 demos, andnumber 2 with the 18-35s. By thespring of 1991, Radio Saki'smarket share had grown to 23%and 50% in its main target.

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ITALY

Audiradio Results SparkAnother Ratings Furor

by David Stansfield

Controversy continues over thevalue of research institute Audira-dio listening surveys. Italian music -formatted Radio Italia Solo Musi-ca Italian was placed firmly inthe top slot, according to the forth-coming Audiradio figures. But var-ious radio execs are angry at theway its research was carried out.

Grant Benson, head of musicat the highly rated wit 102.5 HitRadio network, says he is delight-ed with the strong performance forhis station, but describes the surveyitself as a bit of a disgrace. "We paygood money for a service which isnot delivered on time. But ourhands are tied and we have torespect it," he says.

Benson also notes the radicaldifference between Audiradio andrival Datamedia. Audiradio's re-sults cut some stations' figures byalmost 50%. He comments, "For itsown good, the industry should fig-ure out why one survey lists twiceas many listeners as the other.There's either a big error or some-

body's got a vested interest." How-ever, Benson says he expectedRadio Italia S.M.I. to come out ontop.

Rete 105 was dethroned for thefirst time, and compiny presidentAlberto Hazan has been ferociousin his attack on Audiradio. "I wouldlike to know how Radio ItaliaS.M.I. has an audience of 495.000in the Naples area where it can't beheard properly; how it has 300.000listeners in Rome where it can't beheard; and how Radio Deejay canregister an audience of 100.000 inSardinia when it doesn't broadcastthere."

At regional station Radio Club91/Naples, PR executive MarioCorsi agrees something is wrong."Radio Italia S.M.I. wasn't broad-casting in Naples at the time ofAudiradio's research."

Another operator in Naples,who wishes to remain anonymous,asks, "Can anyone tell me howRadio Kiss Kiss can have an audi-ence increase of 300% in the city,or how Radio Kiss Kiss Italia canimprove its previous figures by

200%? How can Radio Ibiza,launched after the Audiradio sur-vey, be listed as having an audienceof 100.000?"

Radio Italia S.M.I MD FillipoBroglia dismisses the claims ofHazan and Core, adding that suchaccusations do radio a disservice.

Audiradio first conducted80.000 telephone interviews whichincluded the question, "What sta-tion(s) did you listen to yesterday?"The question did not include sub-scriber stations, however. Thisresulted in large audience drops formost key stations, compared withlast year's survey.

Further research was carried outover a seven-day period, andweighted average daily statisticswere then worked out. Audiencefigures for the three exercises dif-fered radically, leaving stationexecutives worried about which setwould be used by advertisers.

An Audiradio spokespersonsays, "There have been bothbureaucratic and technical prob-lems, but at the end of the day, thefigures are accurate."

San Remo Song FêteHeats Up

Italy's most important showcase while 18 "young" actsfor national talent. the San RemoSong Festival, runs February 26-29 and this year will drop the for-mula of placing non -competinginternational "partners" alongsidemajor Italian contenders.

The Festival is pubcaster'sRAI TV's most lucrative broad-cast, attracting its biggest audi-ence of the year. Over 40 millionviewers were recorded at onepoint during the 1991 Festival.

Twenty-four contestants willtight for the Top Song prize,

or artistswill compete for a separate award.The international presence at theFestival will be restricted to theappearance of "super guests" oneach night.

The full line-up of competitorshas yet to be announced, butmajor artists Mariella Nava(BMG), Eugenio Finardi(WEA), Riccardo Fogli (Sony),Pierangelo Berti (DischiRicordi) and Mike Francis(BMG) are already tipped to takethe stage. DS

Elvis Booty Tips MIDEM ToAlleged Pirate Recordings

by Emmanuel Legrand

Milan -based Saar company wasrequested to close its stand atMIDEM during the Jan. 19-23conference in Cannes forallegedly trading suspectedpirated recordings.

Two members of French col -

SPAIN

Debts Force RTVE ToCut Staff

by Jeremy Sullivan

Spain's public broadcasting bodyRTVE (Radiotelevision Espanola)has requested a financial injectionof Pta47 billion (app USS460 mil-lion) to help it finance a deficit ofthat order expected for this year.

Following negotiations withthe Spanish Treasury, half of thissum is expected to be granted, butonly to finance RNE (RadioNacional de Espana) and theRTVE Orchestra and Choir.

RNE has an income of close toPta I billion a year and a budget ofPta3.6 billion. Of their stations,only Radio 5 generates incomethrough advertising.

By the end of last year, RTVEhad accumulated a debt to theTreasury of more than Pta6.6 bil-lion in unpaid taxes and socialsecurity payments, of which RNEowed just under Pta1.9 million.

Unavoidable staff cuts atRTVE have led to conflict withunions. A six-month period ofnegotiations, strikes and industrialaction finally led in late Decemberto the signing of an agreementbetween RTVE and the unionsUGT and APLI.

Workers had formed an Inter -

central Committee, dominated bythe union CC 00. which refusedto sign the agreement with RTVEmainly because it had failed toaddress the interests of the work-ers. However, CC 00 was oustedfrom the Intercentral Committeeleadership by members of UGTand APLI, whose combined mem-bership outnumbers that of CC00.

The agreement involves staffcuts of around 2.000. It requiresthat RTVE offer employment to allworkers contracted before August1991, though this may be anyposition or region considered nec-essary by RTVE. Workers havingto relocate will be compensatedaccordingly.

The agreement also involvescompulsory retirement for allworkers over 65 years of age (witha maximum compensation of PtaBmillion and voluntary retirementfor workers aged between 58 and64. Those accepting voluntaryretirement will be compensatedaccording to their age.

If after six months. 70% of therequired retirements are notachieved voluntarily. RTVE willnegotiate for forced retirement atage 63.

letting society SCPP's anti -pira-cy group demanded the compa-ny be excluded from the eventafter receiving a catalogue ofItalian company Saar Records& Tapes, in which an ElvisPresley album was reportedlyoffered for trade on a labelcalled Starlite.

Conde's RestructureShakes Up Local Industryby Anna Marie de la Fuente

The restructuring initiated bynew Sony Music MD ClaudioConde has led to a string ofdepartures since he took over lastSeptember.

The latest departure of Epichead of international A&R Adri-an Vogel sent shock wavesthrough the local industry. Insid-ers speculate it is another indica-tion Conde's changes were notsitting well with some staff mem-bers.

Vogel expresses delight athaving left the company. Hereports the contract dispute whichprompted his leaving centred onhis job description and financialterms. Before the revamp, Vogelwas A&R head for both the localand international acts of the Epiclabel. "There is no longer any.prestige in being connected with acompany that has slipped from itsdominant market share position,"declares Vogel.

Conde, however, calls thestructuring, "perfectly normal,"adding "I expected this to happenand so did top management." Hereportedly believes it is essentialto form a strong team, united by

the same principles, motivationsand philosophy. "We can't applynew policies or ideas without theconsensus of everyone," he adds."I saw that something was wrong,that something had to be done,"says Conde in reference to SonyMusic Spain's slump from the topmarket share position in 1989 toits current fourth place. Heintends to lift the company bygaining a tighter control overlocal acts, taking full advantageof Sony Music's Latin Americancatalogues and targeting thelucrative teen market. "It will takesome time; one doesn't create hit

artists overnight," says Conde.The new structure centralizes

the firm's local A&R operations,with former PolyGram A&Rdirector Jose Manuel Escolaracting as domestic A&R head forboth the CBS -Sony and Epiclabels. Marya Meyer, previouslymarketing director for the CBS -Sony label, is now the interna-tional A&R head for both labels,while Gomez Escolar reportsdirectly to Conde. The revivedposition of deputy MD is held byoperations head Albino Jimenez,who's been with the company for20 years.

Sweet Bow For Kiss Algarve

by Mike McGeever

New radio station KISS Algarve101.2 FM was scheduled to go on -air on Valentine's Day, February 14.The 24 -hour service will have anEHR format with a dance mix, aswell as Portuguese music.

Based in the resort town ofAlbufeira, the station will also fea-ture the weekly UK chart show"Master Mix," recorded live by aNew York City club DJ; and a Lon-

don dance survey. News and infor-mation bulletins will be broadcastin English and Portuguese.

KISS Algarve was founded byPaul Buick, who has a varied radiobackground from his native Eng-land, including stints at EssexRadio and Choice FM/London.

Buick's co -directors are news-paper owner Santos Lopes, who isalso MD of Publiradio, and Lib-erto Meahla, a hotel and clubowner.

8 MUSIC & MEDIA FEBRUARY 15 1992

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SCANDINAVIA

Herodes FinlandMerges With EMI

by Kari Helopaltio

Herodes Records, a well-knownFinnish independent operation,has merged into EMI Finland.The company will continue as anEMI sublabel and retain its ownidentity; former Herodes bossGabi Hakanen has been appoint-ed as head of EMI's local produc-tion.

Comments EMI MD HoboPuhakka, "We wanted Hakanento handle our local production fol-

lowing the departure of PerttiNieminen. Hakanen is just thekind of person we need at thistime.

"These two companies havehad an effective wholesale anddistribution agreement, so themerger is hardly a major sur-prise."

Coments Hakanen, "Only nowam I fully able to commit myselfto record production and artists. Idon't have to worry about billsand payments and that's a major

Warner Music Finland BowsNew Domestic ProductWarner Music Finland, in opera-tion since the summer of 1989, hasreleased its first domestic product,including singles by Liiisa Ruuska& Viluinen Koira and Kurre,plus an album by veteran poptrumpeter Jorgen Petersen.

The product is out on theWEA label and has been pressed

in Germany by Warner MusicManufacturing Europe. Themove by Warner Music FinlandOy had been anticipated for sometime. The company has been doingexceptionally well with its interna-

. tional product, reportedly triplingits market share since 1989. KRO

relief."Local acts on Herodes roster

include top names TuomariNurmio and Kauko RoyhkaCombo, plus an array of lesser -known local talent. The Herodessound studio will continue asbefore, say insiders, with empha-sis on Herodes artists.

Overall, industry observers saygetting Herodes is seen a goodmove for EMI Finland, somethingwhich is bound to boost its imageas a producer of local product.

A MUSIC & MEDIASPOTLIGHT ONSCANDINAVIAN ISSUE 15, 199

BOOK YOUR AD

Norwegian ShipmentsRise; CDs Up 69%

The general recession in themusic industry did not hit Nor-way during 1991. IFPI Norwaynoticed a nearly 10% jump intotal music shipments.

The take -off for the CD for-mat accounts for most of the leap,selling 1.795.000 more units,reaching a total sale of10.127.000 units.

Notably, LPs were downsharply, while singles saw a slightincrease. In 1991, LP sales fell41%; in December, the format

plummeted 71%. Cassettes suf-fered a modest decrease, com-pared to 1990.

Asked if people are spendingmore time on entertainmentbecause of bad times, IFPI direc-tor general SlEmund Fiskvikcomments, "I know people [with-in the industry] who have thatopinion, but I don't believe it. Thepenetration of CD players is up.In addition, we had a very goodrepertoire in 1991." KRO

Cumulative 1991

Units (thousands) Sales (Nkr million)1990 1991 % Chg. 1990 1991 % Chg.

LPs 1.856 1.102 -41% 71 46 -35%Cassedes 4.103 3.996 -3% 138 147 6%CDs 2.598 4.393 69% 172 289 68%Tot. albums 8.557 9.491 11% 381 482 27%Singles 615 636 3% 8 10 21%Total 9.172 10.127 10% 390 493 26%

Source: !FPI Norway

BENELUX

Skyrock Liege GoesOver To Top FM

byMarc Maes

Skyrock/Liege MD Michel vanStall has decided to stop broad-casting the .Skyrock AC formatand instead, will become an affili-ate of the Top FM network.

Van Stall reports he decided togo over to Top FM because he"received a good deal." Sky-rock/Liege had reportedly been ininformal 'discussions with theParis -based Skyrock network lastfall, but no firm deal had beenstruck. He adds, "We received noback-up whatsoever from Sky -rock in France, and despite effortsto break the format here, we nowfeel that without the publicity andsupport of a national network itwas impossible to succeed."

At Skyrock's headquarters inParis, promotion director HugoBergson confirms there wasnever a formal liaison betweenSkyrock/Liege and the parent net."We are aware that some stationshave been using the Skyrockname in Belgium, and though wehave never taken out any legalaction against them, this is notour way of operating a network."

Bergson added that Van Stall hadbuilt a good image for Skyrock inLiege, but there were some for-mat changes he implied wereunacceptable to the parent net,adding, "In France, all of ouraffiliates are tied to a very strictscript."

Bergson reports that furtherdevelopment of Skyrock inFrance is a priority, and thoughthe network would possibly liketo work in Belgium, he says itwill not be on a semi -amateurbasis.

The Top FM web will nowhave five stations broadcasting inFrench and one in Flemish, allaiming at the 15-35 age bracket,with a 100% hits format.

Most of the stations functionas independent associates,although two-(Mons Brusselsand French Top FM) are ownedby Brussels -based multi -mediasales house Group HMT. Theyoperate for Brussels regional TV -station Tele Bruxelles, withexclusive deals on outdoor bill-boards, press (Park Mail maga-zine) and Belgian public trans-port.

Says head of the Top FM net-work and commercial director atGroup HMT Eric Degand,"That's where our strength lies.We can support Top FM throughour other channels."

Top FM will also be introduc-ing technology which will enable70% of the network's music,advertising and jingles to be airedfrom the Brussels central studiodirectly from hard disk. "We havea very tight format, which enablesus to determine clearly whatrecords we want to broadcast.They are entered on a computersystem and all the host has infront of him is a keyboard andmonitor," adds Degand.

Alain Guyaux, head of musicat Top FM adds, "Our systemcomprises some 500 gold recordsand 70 hits. With Selector serv-ing as a basis, we have enteredfour rotation categories for thehits and we replace six to 10 titlesevery week." The Selector systemwill allow Top FM to monitorplaylists and national advertisingfrom the central studio in Brus-sels.

BRTN's 5th ChannelGet Mixed Reviews

News of BRTN's plans for acommercial station (M&M,February I) has provoked strongreactions in the Belgian broad-casting and music community,both for and against the newplans.

Virgin Benelux MD Dirk deVries is optimistic. saying, "Apartfrom the positive changes in theBelgian media landscape. I thinkthe more possibilities we offer ofpromoting our repertoire, the bet-ter it will be for the record indus-try. I'd rather see one strong mar-ket with two or three competitorsand high quality. than a monopolylike in the UK, where Radio Onehas it all. Not that I am accusingRadio 21 or Studio Brussel ofmonopolizing the situation: theyhave been instrumental in chang-ing radio in a positive way."

Polydor head of radio promo-tion Deirdre Kaustermans oh -serves. "I think it is interesting tohave an extra channel. Some peo-ple think Studio Brussel is toorock -oriented, and Radio 2 toofamily -oriented. BRTN didn'treally have an FUR station."

Head of programming for thenetwork at Flemish Radio Con-

tact Danny de Bruyn says, "Wedon't feel endangered because wehave the qualified staff to countercompetitors in Brussels. But, theanti -network decree was meant asa coup de gritce for the privatestations. Rather than encourageprivate stations, things have beenturned upside down with theintroduction of another statechannel. We will now launch aprofessional organization todefend our interests. Stations likeHit FM. Radio Antigoon andothers have been asked to join,along with Radio Contact."

At former Radio Contact sta-tion in Antwerp VRM MD StefDe Beuckelacre took issue withthe BRTN move. Said De Beuck-elacre, "I was really astonished. Itdoes what it wants just because itis the government station. Whydoes BRTN needs five channels?Profit -making surely isn't the pur-pose of a state radio. Why makeaudiences pay radio and TV taxto listen to commercials? What ismore. I think that with BRTN's iRadio 2's 46';';7 market share, yetanother operation would swampthe market, which would be fatalfor the privates." MM

10 MUSIC & MEDIA FEBRUARY 15 1992

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CHRIS W ITLEY THE 'GOOD RED ROAD' TOUR

1617SITTAi

18 UTRECHT TI VOL

19 AMSTERDAM PARADISO

21 GRONINGEN VERA

22 BREMEN SCHAUBUR

- _28 BIELEFELD KAMP-ETHALLE

THE HIGHLY ACCLAIVED ALBUM WITH THE LAW'AmericanRadioHistory.Com

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SINGLESCHICChic Mystique - Warner Brothers EHR/DPRODUCER: Bernard Edwards/Nile Rodgers

These dance pioneers return to the frontwith new classic material. Nile Rodgers'funky rhythm guitar makes this song abso-lutely irresistible. DJs, be sure your mike isturned off. Before you know it, you'll startsinging along with the chic ladies.

D.A.M.N.Da Soul's Da Rebel - Provogue D/EHRPRODUCER: Marc De Reus

Holland's premier rap group takes its sam-ples from the most unexpected records. Theintro is from Andrew Lloyd Webber'smusical Jesus Christ Super Star, while thesocially aware funky rap is recorded overGary Glitter's Do You Wanna Touch Me?

MICHAEL JACKSONRemember The Time- Epic EHR/AC/DPRODUCER: Teddy Riley/Michael Jackson

The second single from the Dangerousalbum is a danceable multi -format smash,dedicated to his mentor Diana Ross. Thebonus track, an interesting, previouslyunreleased cover version of the Beatlessong Come Together, is taken from the film"Moonwalker."

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Rutherford is currently making music undertwo guises-with Genesis, and also withhis solo outfit. Lead singer Paul Carrack'ssoulful vocals match the Motown beat ofthis tune perfectly.

GARY MOOREA Cold Day In Hell - Virgin R/EHRPRODUCER: Gary Moore

The first single of Moore's upcoming sec-ond blues album Afterhours is made in thatfamiliar Texan style brought to us by John-ny Copeland. The female backing vocalistsand the full horn blasts provide a worthychallenge to his powerful guitar work onthis uptempo blues rocker.

PRIMAL SCREAMMovin' On Up - Creation EHR/DPRODUCER: Jimmy Miller

Stones songs like Jumping Jack Flash,Sympathy For The Devil and many morespring to mind. This modern dance recordis produced by Jimmy Miller, the big manbehind such classic albums as Exile OnMain Street and Sticky Fingers.

RED HOT CHILI PEPPERSUnder The Bridge - Warner Brothers R/EHRPRODUCER: Rick Rubin

The Peppers have decided to change theirmenu. This is a slightly milder version oftheir funk rock special. The guitar riff is avariation on the theme from the Stones'Beast Of Burden, while guitarist JohnFrusciante is obviously familiar with Hen-drix' song book.

THE SCABSRobbin' The Liquor Store - PIAS R/EHR

PRODUCER: Werner Pensaert

This melodic rock song was voted third in

an informal end -of -year poll at M&M, justbehind R.E.M's Losing My Religion andNirvana's Smells Like Teen Spirit.

U96Das Boot- Polydor D/EHR -PRODUCER: Matiz/AC 16

With no significant airplay, this techno ver-sion of the theme to the movie "Das Boot"is number, one for the second consecutiveweek in Germany. It's like Kraftwerk onacid, or plain Front 242. Hit RadioN1/Nuremberg is the only German stationthat reports the song on its playlist. Com-ments head of music Cetin Yaman, "It'svery simple. Our dance -oriented station hasa very young audience. This song hasreceived very strong feedback, and is atnumber one in our listeners chart. Since ithas a good melody, more hit stations couldplay it, but maybe they think they will scareoff the older listeners."

STEVIE RAY VAUGHAN & DOUBLETROUBLE

ktiooRouRLE THC SKY IS CRYING

The Sky Is Crying - Epic R/EHR

PRODUCER: Stevie Ray Vaughan/Double

Trouble/Richard Mullen

The King has gone but SRV will never beforgotten. The title track of his posthu-mously -released album is a cover versionof the Elmore James classic, with StevieRay's unmistakable wailing guitar sound.

ALBUMSBIG JOE LOUIS & HIS BLUESKINGSThe Stars In The Sky- Tramp R/ACPRODUCER: Mike Vernon

Most blues bands stick to rather flat copiesof well-known hits, but here's one that real-ly takes the trouble to cover obscure bluesgreats. They also add to the repertoire, withtracks like the rocking blues Trouble AtYour Door and the slow blues MarriedWoman. Guitarist Big Joe Louis's playing isrockabilly-influenced in a blues setting.Harmonica player Little George Suerefgives the music a Little Walter Jacobstouch, which will keep up the interest forthe purists. Veteran producer Vernon holdsthe perfect balance between vocals andinstruments.

JOANNA CONNORBelieve Ill - Stomp/Line

PRODUCER: Joanna Connor/Jerry Del

Giudice/Michael Rasfeld

Imagine a combination of Etta James onvocals and Buddy Guy on sizzling guitar,and you have an idea of this performer'sextroardinary talent. On songs such asFreddie Kings's Texas Flyer and RobertCray's Playing In The Dirt, she displays agrit and power seldom heard on the Chica-go scene today. If the playing on her ownsong He's Mine is any indication, her futurein the blues is assured.

R/AC

MARK FORD WITH THE ROBBENFORD BAND

Ford Band -Blue Roclelt/CrossCut R/AC/EHRPRODUCER: Patrick Ford/Mark Ford

Here is a family musical line-up whichlooks interesting. Brother Robben isalready quite popular in the (jazz) rock fra-ternity, since he played on Dylan's UnderThe Red Sky album. Now, he and his bandare helping brother Mark, who is shapingup as an ear -blistering harmonica player,with music that is both rough (On TheRoad Again), or smooth (Heart Breakin'Blues).

NEW TALENT

DIGITAL BOYThis Is Mutha F"*ker - Flying (Italy)

PRODUCER: Luca Pretolesi

This is for those who want a totallystripped down techno house record. Toothers, the buzzing sound will seem asappealing as their alarm clock in themorning, but that won't bother hard coretechno addicts. They're awake all nightlong anyway. Contact Annamaria Ciril-lo at tel: (+39) 81.762 8278; fax: 81.7628279.

SOS FENGEROn Holiday- Genlyd (LP) (Denmark)

PRODUCER: Billy Cross/Sris Fenger

This collection of torch songs will find awarm welcome on late night AC formatshows. The mood of this album issummed up in the word "Holiday." Con-tact Jesper Bay at tel: (+45) 8614 9700;fax: 8614 9707.

THE JACK OF HEARTSFavourite Pet- Munich (LP) (HOLLAND)

PRODUCER: Steve Katz

The third album by this Amsterdam -based rock band is more proof of the fer-tile Dutch rock scene. Their melancholicpop monument Here I Am should hang inthe "Hall of Fame" between Cyndi Lau -per's True Colors and Metallica's TheUnforgiven. Contact Ben Mattijssen attel: (+31) 8389.19377; fax: 8389.16588.

MEDFORD SLIM BANDToo Much Is Never Enough - Tramp (LP) (Holland)

PRODUCER: Paul Duvivie

This half Belgian/half American rhythm'n' blues outfit'have got a groove going.Pay special attention to the exceptionallygifted harmonica player Lazy Lew Beck-ers, who makes the funky track Keep OnMovin' smoulder even more. ContactPaul Duvivie at tel: (+31) 20.679 4503.

PAUL GILBERTTribute To Jimi Hendrix- MG! Records

PRODUCER: Horst Polland/Andreas Vahsen

Paul Gilbert of Mr. Big fame pays homageto the universal guitarist. The recordingswere made by the Hessischer Rundfunk atthe Frankfurt Jazz Festival last year. Gilbertplays with respect and sensitivity, creatingsomething more than just some Hendrixcovers. The original live recording-with-out bass guitar, which was added later inthe studio-is good to listen to as a purecelebration of electric guitar music.

LITTLE JIMMY KING& THE MEMPHIS SOUL SUVIVORSLittle Jimmy King & The Memphis Soul Survivors -

Bullseye R/AC/EHRPRODUCER: Ron Levy

Born Manuel Gales, this "adopted grand-son" of Albert King is one of black blues'high hopes for the future. Youngest brotherEric surprised the music world with a rockalbum last year, and now it's Jimmy's turnwith more traditional blues. The Vaughan-esque guitar sound fits well in a blues -rocksurroundings. His vocals have a nice lazyswing, comparable to the likes of LouRawls and Bill Withers. Born Again is themost accessible track for the EHR format.

ROBERT WARD

ROBERT

AR[I&kJ ThE

ALL-STA

FEAR NO

EVIL

SitY.PN

Fear No Evil - Black Top/Silvertone R/AC/EHRPRODUCER: George Porter, Jr.

Call it what you want-soulful blues orbluesy soul. What else can you expect froma founding member of the Ohio Playersand session guitarist on many Motownrecordings. The Stax-influenced soul soundis surprising, considering his musical back-ground. His scratchy rhythm guitar is veryreminiscent of Eddie Hinton, while thesolos are in the same style as Steve Crop-per's. The title track is powerful enough toappeal to those EHR programmers whowere embracing Robert Cray a few yearsago.

NOWLIN' WOLFChess Box - MCA

PRODUCER: Willie Dixon

A vital and highly recommended 3 -CDboxed set containing 71 recordings, includ-ing 19 rare takes. Spiced with entertaininginterviews ("Howlin Wolf Talks"!), it fea-tures the man with the most ominous voicein blues history on the set with hits likeEvil, Spoonful and Wang Dang Doodle andon lesser known gems like The Wolf Is AtYour Door and Saddle My Pony. Essential!

Singles and albums featured in New Releases are listed alphabetically. Each record is recommended for format or programme suitability. Abbreviations used include: EHR, AC, R(Rock), D (Dance), C (Country), J(Jazz), EZ (Easy Listening), NAC (New Adult Contemporary), A (Alternative) and M (Metal). Records mentioned in New Talent are by acts signed to independent labels for which license and/or publishing rights areavailable, except as noted. Please send your samples to Robbert Tilli/Machgiel Bakker, PO Box 9027, 1006 AA Amsterdam, Holland.

12 MUSIC & MEDIA FEBRUARY 15 1992AmericanRadioHistory.Com

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UNITED KINGDOM

Shakespears Sister

Signed to London. Publisher: Island/Virgin/SBK/BMG. Management: Steve Blackwell/JamelWylie/London. New album: Hormonally Yours, to be

released simultaneously on Februaryacross Europe. New single: Stay, released on January13; currently, it is at number 12 in the UK.At presstime, it's the highest new entry in

17

the Coca-Cola Eurochart Hot 100 Sin-gles at number 47. Recorded at various studios in London,L.A. and France. Producer: Shakespears Sister/AlanMoulder/Chris Thomas. Marketing: A billboard and in-storeposter campaign has been set up. The visu-als follow the design of the album cover,with photography by French Jean -Bap-tiste Mondino. London issued a specialdigi-pack version of the CD single, with acouple of old songs on the second CD. Promotion: The duo conducted somepre -promotion in Germany in December,followed by UK promo in January, includ-ing live appearances in London. On Jan-uary 21, they also performed live at thePolyGram dinner at MIDEM. In the firstweek of February, they paid promotionalvisits to Germany and the Netherlands. Concerts: A UK tour is planned forMarch, while dates on mainland Europeare scheduled for April.

"Sisters are doing it for themselves." Sinceits home-made demo for the second albumHormonally Yours sounded so good,Shakespears Sister decided to take anactive part id the production work for thefirst time and called in the help of top engi-neer Alan Moulder (of Jesus & MaryChain and Depeche Mode -fame) as co-producer. The result marks an artistic leapforward for Siobhan Fahey (ex-Bana-narama) and Marcy Detroit.

To chart or not to chart: there was nodoubt at all for London when it releasedShakespears Sister's precious ballad Stay.

It rocketed its way straight into the UKcharts. Detroit's vibrato gives the tune theethereal ambiance of classic MarianneFaithful material. Towards the end of thesong Fahey takes over with her slightlydarker voice.

The rest of the album boasts the samehigh quality. Goodbye Cruel World, thefirst single released in October, is a realpsychedelic gem. More key tracks for EHRprogrammers should be the rhythm 'n'blues -based songs I Don't Care and Emo-tional Thing, with their pounding Motownbeat. Prince influences are strong in AreWe In Love Yet, making them a good alter-native for Wendy & Lisa.

According to London internationalmanager John Reed, the current singlewas broken on radio. "Their following wasalways very image -based, but this singlewas a really 'radio driven thing'. AfterBBC Radio 1 supported it, it exploded onretail. Since then MTV Europe is aboardas well."

Apart from the BBC, 11 regional EHRstations in the UK are reporting the track.On the continent, however, things are lessrosy, and airplay on the track is still mini-mal, with only NOS/Hilversum and RB4/Bremen playlisting the song. RT

Pan -European Spotlight: Artists fea-tured have achieved Top 15 chart sta-tus in the European Top 100 Albumswithin the last five years.

National Spotlight: Artists featuredhave achieved Top 15 chart status intheir country of origin.

MUSIC & MEDIA FEBRUARY 15 1992 13

AmericanRadioHistory.Com

BLUES

Blues Rebounds In The '90sFive years ago, no one would have predictedthat one day blues veteran John Lee Hookerwould make the charts. But after youngster

Robert Cray paved the way, a new generationof consumers was ready to embrace the old

bluesman. Charting albums by Gary Mooreand Stevie Ray Vaughan are now fueling,

talks of a blues revival.

he chart success of 1989's The Healer and itsT1991 follow-up album Mr. Lucky-both outon Silvertone and both having peaked,respectively, at number 31 and number 11 in

the European Top 100 Albums-surprised Zombadirector/European operations Bert Meyer as much asanyone else.

Says Meyer, "Two years after, the first album stillhasn't run its course. It has become an absolute classicin the pop/blues format. The key to its success can easi-ly be explained by the original concept, as developed byHooker and his manager Mike Kappus of the RosebudAgency. The combination of a blues master with someof the greatest guitarists of our time, such as CarlosSantana and Bonnie Raitt, was followed up on thesecond album. We did the same for Buddy Guy'scomeback album Damn Right, I've Got The Blues byteaming him up with the likes of Jeff Beck and EricClapton.

"Admittedly, we never expected such a crossovereffect initially. But as soon as we noticed this potential,we had to reconsider our strategy and develop a propermarketing plan. In this matter, there was very goodinteraction between Hooker's management and our- John Lee Hooker

The press and radio proved to be very supportive inbreaking the The Healer. Silvertone serviced an electronicpress kit for use in TV mini -specials and other programs.Two months after its release in October 1989, the album hadalready sold 100.000 copies on the Continent alone. In Febru-ary 1990, the 160.000 mark was reached. Meanwhile, MTVEurope had started to play the video of The Healer in highrotation.

The Grammy award for I'm In The Mood, Hooker's duetwith Bonnie Raitt, was instrumental in boosting sales to212.000 units by March. The next step was a fruitful Euro-pean concert tour in July 1990, highlighted by the living leg-end's appearances at the prestigious North Sea Jazz Festivalin The Hague and at the Belgium Rhythm & Blues Festivalin Peer.

Comments Meyer, "It's amazing, but even for an artist ofhis age, touring is a must." The effect was for salesto sky -rocket from 325.000 to 425.000 copies injust four months.

In December 1991, combined sales for main-land Europe and the UK were close to 750.000units and approximately twice as much worldwide,making it the best-selling album by an originalblues artist in history.

For Virgin Records deputy head of A&R JohnWooller, the man who worked on the highly suc-cessful Gary Moore Still Got The Blues projectand the upcoming After Hours album, "It's not pureblues music anymore. It has spread into wider areasnow, to soul and rock and beyond. Thanks to themedia, Tina Turner or Dire Straits fans can relatemore to blues -rooted music these days."

Reception of the Gary Moore 1990 album wasso promising that Wooller now heads a blues -basedlabel within the Virgin group called pointblank.The home for John Lee Hooker outside Europe,other artists on the roster are Johnny Winter, Wal-ter "Wolfman" Washington, Larry McGray andDanish singer Sanne.

Two interesting forthcoming releases on thepointblank label are albums by Pops Staples (from

(continues on page 15)

J. L. HOOKER

MR. LUCKY llow-upepic

albumand fo

to 'Thenewler'. features

AlbertThe

der, RobertCray,

Collins,Ry Coo

Van Morrison,Carlos Santana,

Johnny Winterand a host

of other

special guests.Already

500.000

copiessold in Europe.

DAMN RIGHTI'VE

GOT THEBLUES

After hissold -out

Europeantour,

check outthe stunning

album

featuringguest appearances

by

Eric Clapton,left Beck

and Mark

Knopfler.Includes

the singles

'MustangSally' and

'Where'sThe

Next OneComing

from'. Buddy

Guy will tourEurope again

this

summer.Nearing

200.000sales

in Europe.

ROBERT WARD

FEAR NOEVIL

FormerlyMotown

session

guitaristand co-founder

of the

Ohio Players,Robert

Ward

releaseshis first album

in 20

years. fromstinging blues

to

tender RaB,his guitar

playing

shimmerswith powerful

resonance.

Distributed by mg-iN.71

14 MUSIC & MEDIA FEBRUARY 15 1992

AmericanRadioHistory.Com

BLUES

gospel/soul band the Staples Singers) and John Hanunond,the latter produced by J.J. Cale.

Wooller points out that radio is quite sympathetic towardsblues in Europe, but in order to get any airplay in the US, areal marketing campaign is needed. "If there's no moneybehind the record, they don't play it. They have to feel thatthere's a real commitment."

The third recent blues hit is late great guitarist Stevie Ray

"Admittedly, we neverexpected such acrossover effect initially[with Buddy Guy]. But assoon as we noticed thispotential, we had toreconsider our strategyand develop a propermarketing plan. "- Zomba director/European

operations Bert Meyer

Buddy Guy

Vaughan's The Sky Is Crying album, released in late 1991posthumously. Sony Music international marketing managerMonica Marin says, "Since touring was impossible, wemailed out a special 20 -track compilation promo CD to spe-cialized radio stations and the press. For the video of the titletrack, we took retrospective images out of old footage andput the music on top."

The whole concept was a sincere attempt to fulfilldemand. "It's all new music which he left unreleased. Thealbum has done really well so far, selling close to 200.000copies across Europe, which is highly exceptional for thistype of music. Vaughan is a real best seller for us. The situa-tion is comparable to the Freddie Mercury effect. There wasan immediate reaction after the release, probably because themedia had a story to tell."

Another ace for Epic is Jimmie Vaughan's former bandthe Fabulous Thunderbirds, who are currently on an exten-sive European tour promoting their latest album Walk ThatWalk, Talk That Talk.

Whereas blues is originally black music, white bands likethe T -Birds have become the face of modern blues, a factalso observed by Paul Duvivie, founder of Amsterdam -basedspecialized label Tramp Records. "After the decline of theChess label, black blues took a back seat. The problem is thata lot of the big names in blues died, and the 'B -artists' tookover. Somehow, apart from a few artists such as Robert

In MemonumWillie Dixon. the great blues musician and songwriter,died last week at the age of 74. Dixon is best known forpenning many of the most durable classics in the bluesrepertoire, including Back Door Man, Spoon/al, andHoochie Coochie Man. He was also a major contributorto the success of Chess Records as producer, arranger.and composer for such giants as Muddy Waters, Howl -in' Wolf and Chuck Berry. Willie Dixon recently won aGrammy for his Silvertone album Hidden Charms.

kris, \f,'ir,'

Cray, it hasn't really rejuvenated. Maybe that's why whiteblues just sounds a lot fresher at the moment."

Duvivie, who runs his own blues records shop as well,reports more teenagers checking out the blues right now."Rock bands like the Black Crowes are important catalysts.In interviews, they refer to their musical influences and thekids follow their advice. From Jimi Hendrix and Stevie RayVaughan, they end up with the big names in blues. Some-

times they even leave theshop with the most unex-pected pre -War bluesunder their arm, such asSleepy John Estes.Another reason is thatthese youngsters apparent-ly seem to listen to [alter-native pubcaster] VPRO's'Stomping' programme,"he adds.

Blues fans in the Ams-terdam region can tune into the weekly three-hourblues show "Flip, Flop, FlyAnd Cry" on local stationmArt, a fine opportunityfor Duvivie to promote his

productions. The top of the Gary Moorebill on the Tramp roster are

the unmistakably Scottish band Blues 'N' Trouble and thehalf-white/half-black Dunn Packer Band from the US.

Tramp product is distributed by Munich Records, aswell as Benelux, licensor of distinguished American labelslike Rounder and Bullseye. For MD Ben Mattijssen, theinterest in blues fluctuates. "It's a matter of ups and downs.We're clearly on a peak now. You can compare the currentsituation to the 'blues boom' in the '60s, with the first genera-tion of white blues bands, like John Mayall and the Blues -breakers or Fleetwood Mac. The labels we represent noware regarded as very high quality labels by retail. They eager-ly await new releases on both Rounder and Bullseye, becausethey know what they'll get. They have become householdnames in the business."

Top priority for Rounder in the Benelux is female bluesguitarist Rory Block. After heavy support from the nowdefunked "Op Slag Van Maandag" show on pubcaster KRO,the compilation Best Blues And Originals sold 30.000 copies.Munich is planning to release a "Volume 2" with 23 titles. Ofits own productions, the Live album by Albert Collins &Barrelhouse is a bestseller with 35.000 copies sold.

Blues connoisseur Detlev Hoegen, MD of Bremen -basedCross Cut Records-a label and a mail order company-isa bit sceptical, however, about the so-called blues revival.With 13 years of service behind him, he predicts, "From aninsider's view, it's only a short-lived phenomenon. After fouryears, the 'new blues boom' as noticed by the press is alreadyon its way down.

"Also, the interest in blues concerts in general hasn'tgrown dramatically. Okay, John Lee Hooker and Buddy Guydraw more public to their shows, but their artistic strength isnot enough to keep the interest alive. The new 'fans' don't goto the thousands of other live performances."

As a freelance DJ for Radio Bremen-with a bi-weeklyprogramme on RB 1 and a monthly four-hour show on RB4-Hoegen has an interesting opinion from a programmer'sside as well.

"When my 'pop' colleagues started to play Gary Moore,they were more or less 'pushed' into it. They didn't care if it

was blues or rock, and neither did the album buyers. Theywanted more Moore, but there was no more. So they triedMuddy Waters or James Cotton, but they found them toocrude. There's no run on obscure names at all. It's not theoriginal form of blues that is attracting, but a commercialwatered-down version. I don't believe that helps in creating anew interest in blues."

Therefore, Cross Cut definitely aims at the blues die -

Reception to the GaryMoore 1990 album wasso promising that VirginRecords deputy head ofA&R John Wooller nowheads a blues -basedlabel within the compa-ny called pointblank.

hards across the globe. Claims Hoegen, "We ship Chicagoblues back to Chicago." For the crossover market, guitaristRobber' Ford is its target man, as Ronnie Earl is for bluespurists.

For the latter category of both consumers and program-mers, the Chess back catalogue contains a wealth of trea-sures. MCA, with worldwide rights to this valuable reper-toire, recently released a three -CD boxed set by blues legendHowlin' Wolf, the fourth box in a series that consists ofMuddy Waters, Chuck Berry and Bo Diddley. KarinGhapgharan, in charge of special projects and catalogueexploitation, admits that these are collector's items, but saysregular reissues can appeal to new fans as well. "Our plan isto establish the name of the Chess label. We want people torecognize it as a high profile blues label. All the old albumswill be reissued, hopefully in their original artwork."

Robbert li/li

C\CROSSCUT RECORDSGERMANY'S LEADING MODERN BLUES LABEL

PRODUCTION SINCE 1981 MAIL ORDER

THE GREATEST IN CONTEMPORARY BLUES:

MARK & ROBBEN FORD JOHN CAMPBELL & RONNIE EARLCHARLIE MUSSELWHITE THE NIGHTHAWKS

JOHNNY HEARTSMAN JOHN MOONEY & BLUESIANATHE FORD BLUES BAND BILL CARTER & JIMMIE VAUGHAN

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ON CROSSCUT RECORDSFOR DETAILS AND FURTHER INFORMATIONS CONTACT D. HOEGEN AT

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Hendrik Jacobszstraat 12

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Telephone, Fax: (+31) 20.679 4503

Our Tramp SeriesCDILP: Snatch It Back - The Movie (TR 9903), Dynamite (TR 9904)

Dunn/Packer Band - Love Against The Wall (TR 9905)CD: Bill Stuve - Big Noise (TR9906)

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BLUES 4- BOOGIE WOOGIE + RHYTHM & BLUES + FAST SERVICE 4- LOW PRICES + FREE LISTS + IMPORT + EXPORT

MUSIC & MEDIA FEBRUARY 15 1992 15

AmericanRadioHistory.Com

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AmericanRadioHistory.Com

EUROPEAN JAZZ TOP 20 SALES MOST ALBUMS1 (1) Harry Connick Jr./Blue Light, Red Light (Columbia) 11 (10) Julian Joseph/Language Of Truth (east west) Miles Davis- Dingo [Warner Brothers]2 (2) Al Dimeola/Kiss My Axe (Tomato) 12 (14) Laura Fygi/Introducing (Polydor) Charlie Haden- Dreamkeeper [DIW]345

(4)(3)(5)

Keith Jarret/The CureMiles Davis/Michel Legrand/DingoMiles Davis/Kind Of Blue

(ECM)

(Warner Brothers)

(Columbia)

131415

(11)(-)(-)

Buddy Guy/Damn Right I Got The BluesMiles Davis/TutuElla Fitzgerald/Sings Cole Porter Vol 1&2

(Silvertone)

(Warner Brothers)

(Verve)

Gene Harris- Black & Blue [Concord]Billie Holi