volume 16, issue 39 media® - worldradiohistory.com...1999/09/25 · music media® september 25,...

MusicMedia®

SEPTEMBER 25, 1999

Volume 16, Issue 39

£3.95 Lutricia McNeal zooms 15places up the EuropeanRadio Top 50 this week, aswell as amassing the biggestincrease in chart points onthe Border Breakers' chartwith 365 Days (CNR).

we taller to ra4E31_1_ oca.M&M chart toppers this week

Eurochart Hot 100 SinglesLOU BEGAMambo No.5

(Lautstark/BMG)

European Top 100 AlbumsWHITNEY HOUSTONMy Love Is Your Love

(Arista)

European Radio Top 50CHRISTINA AGUILERA

Genie In A Bottle(RCA)

Inside M&M this week

NAB IN FOCUSIn the first of two special reportson this year's NAB Radio Showheld at the start of this month inOrlando, Jon Heasman reports onthe matters most concerningAmerican programmers. Page 6.

WORLD CLASSFrom Gracelandto Buena VistaSocial Club, worldmusic has followeda diverse and quietly successfulpath over the last 10 years. Buthas the Cuban roots albumbrought world music back into thelimelight for good? Page 8-10.

JOIN THE CLUB"Club music is the new pop music,"

picking up inpopularity all overEurope. M&Mcharts the region-al success of dancemusic's genres,hybrids and subgenres. Page 14.

Upbeat Larsen reportsUniversal progressby Emmanuel Legrand

LONDON - Now that the mergerbetween Universal and PolyGram hasbeen fully completed, the newly -inte-grated company is living up to its man-tle as undisputed market leader.

That was the message conveyed byUniversal Music's top management toover 150 executives from 58 territorieswho gathered at the Hotel Ritz Carlton

in San Francisco on September 7-9 forthe company's inaugural global meeting.

The event included a series ofspeeches on the company's present andfuture strategies from UniversalMusic's chairman/CEO Doug Morris,Universal Music International chair-man and CEO Jorgen Larsen, andEdgar Bronfman Jr., chief executive ofUniversal's parent company Seagram.

A previous meeting was held earlier

this year inJanuary, butdidn't includeall the compa-ny's executives.This time,head of regions, company managingdirectors and managers of' labels werealso present. "It was the first time thatall the MDs from all the countries

continued on page 25

Introducing Spain's 'station for Europeby Howell Llewellyn

MADRID - Europa FM, Spain's newestmusic radio network, launched on Sep-tember 13 with a firm commitment tocreate a truly pan-European sound.

"Music radio in Spain is dominatedby Spanish and Anglo-Saxon product,"says Daniel Llag-iierri, deputy directorof programming at Europa FM's par-

ent company Onda Cero Radio (OCR)."But we are going to target the largeforeign communities from other Euro-pean countries which have taken upresidency in Spain by playing musicfrom Germany, Holland, France andother territories."

Llagtierri enthuses about his radi-cal plans: "We want to revitalise the


French full -service station RTLhas launched a new ad campaignhighlighting the amount of "sub-stance" in its news and music pro-gramming on the station comparedwith its "lighter" rivals. The sta-tion is also tightening its playlistfor the autumn (see story, page 3).

M&M launchesdance Top 40LONDON - Music & Media this weekintroduces a new weekly Top 40 pan-European dance chart, following anagreement with German -based com-pany MIS -Music Information Ser-vices, which compiles the chart.

The European Dance Traxx com-bines clubplay and sales data from 15different European countries, sourcedfrom national charts compilers suchas CIN in the UK and respected club -play services. A more detailed descrip-tion of the chart's methodology can be


Programmers'sweet dream:Eurythmics returnby Christian Lorenz

LONDON - Europe's radio program-mers have welcomed back the Euryth-,mics with open arms, testifying thatthey are sounding just as fresh on thebrink of the millennium as they did intheir mid -'80s heyday.

Dave Stewart and Annie Lennox re-formed the Eurythmics at the begin-ning of the year while rehearsing fortheir guest performance at the 1999Brit Awards. They were honoured witha Brits lifetime achievement award atthe ceremony in February.

Their new single I Saved The WorldToday (RCA/BMG), will be released inmost European territories on October 4,and is already whipping up enthusiasmwithin the radio community.

Walter Schmich, music director atMunich -based CHR station Bayern 3describes the Eurythmics as "theheroes of the '80s. Everybody here is


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NEWS

MusicMedia.Call M&M on:

tel (+44) 171 822 8302fax (+44) 171 242 9138

For direct lines dial +44 171 822,followed by the required extension

Publisher: Ron Betist (ext. 8312)Editor in chief: Emmanuel Legrand (8318)Director of operations: Kate Leech (8307)

EditorialDeputy editor: Jon Heasman (8316)News editor: Lucy Aitken (8311)Features/specials editor: Terry Heath (8317)Music business/talent editor: Christian Lorenz(8319)

Charts 8c researchCharts editor: Rani Cairo (8313)Charts researchers: Menno Visser (8322),Siri Stavenes (8321)

ProductionProduction manager: Jonathan Crouch (8314)

Correspondents:Austria: Susan L. Schuhmayer - (43) 1 334 9608Belgium: Marc Maes - (32) 3 568 8082ClassicaUjazz: Terry Berne - (34) 9 3458 3791Dance Grooves: Gary Smith - (34) 9 3488 2180Denmark: Charles Ferro - (45) 3391 9156France: Remi Bouton (radio and music business)- (33) 1 4586 8466; Cecile Tbsseyre (artist profiles)- (33) 1 4909 0896Germany: Gesa Birnkraut (Hamburg) - (49) 410145930; Ed Meza (Berlin) - (49) 30 423 9782Italy: Mark Dezzani - (39) 0184 292 824The Netherlands: Robbert Tilli - (31) 20-672 2566Norway: Kai Lofthus - (47) 918 21 208Spain: Howell Llewellyn - (34) 9 1593 2429;Sweden: Fredrik Nilsson - (46) 8 735 9750

ScaIes and MarketingInternational sales director:Ron Betist (UK, USA) - (31) 299 420274;mobile: (31) 653 194133Sales executives: Igor Rooselaar (Benelux;Scandinavia) - (31) 299 420274Francois Millet/Christophe Chiappa (France) -(33) 145 49 29 33Beth Dell'Isola (US Radio) - (1) 770 831 4585;Lidia Bonguardo (Italy, Spain, Greece,Portugal) - (39) 031570056; Olav Bjerke(Germany) - (49) 221 868005.

Sales & marketing co-ordinator:Claudia Engel (8315)European circulation promotion manager:Paul Brigden (8305)Accounts assistant: Christopher Barrett(8303)Office manager: Linda Nash (8308)

Music & Media50 - 51 Bedford Row, London WC1R 4LRUNITED KINGDOM

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ISSN : 1385-612

© 1999 by BPI Communications Inc.All rights reserved. No part of this publicationmay be reproduced, stored in any retrieval system,or transmitted, in any form or by any means,electronic, mechanical, photocopying, recording,or otherwise, without the prior written permissionof the publisher.

Billboard Music Group

President: Howard LanderVice presidents: Howard Appelbaum, MarieGombert, Irwin Kornfeld, Karen Oertley, KenSchlager, Joellen Sommer, Adam White

BPI CorrimuniccaticansChairman: Gerald S. HobbsPresident & CEO: John B. Babcock, Jr.Executive vice-presidents: Mark Dacey, Robert J.Dowling,Howard LanderSenior vice-presidents: Georgina Challis, PaulCurran, Ann Haire, Rosalee Lovett, Craig ReissVice-president: Glenn HeffernanChairman Emeritus: W.D. Littleford

Upfrontby Emmanuel Legrand, Music & Media editor -in -chief

If dance has become the pop music of the '90s, as someclaim, maybe it's because the genre has become increas-ingly popular in Europe, and is now appreciated by awider audience than ever.

An unknown 12 inch on a white label given to 500 DJs atthe Amsterdam Dance Event or at Miami's Winter Confer-ence tentatively makes its club debut, and then, a few weekslater, it's all over the place. Such was the success enjoyedlast year by Stardust's Music Sounds Better With You.

Tracks with a touch of trance or techno, a burst of bigbeat, or a dash of drum'n'bass have been spicing up chartsand playlists throughout Europe for months. There havebeen some unexpected crossover hits-Armand Van Helden'sYou Don't Know Me (TK) or Bob Marley Vs. FunkstarDeluxe's Sun Is Shining, to name but a few-some tradi-tional Eurodance acts (Modern Talking), an Italian revival(Eiffel 65, Ann Lee) and the usual novelty act (Lou Bega).

While in the US dance music is ghettoised on radio; inEurope it is a genre in its own right. Radio stations suchas Kiss 100 in London and Fun Radio in Paris operatespecific dance formats, and there has been a much wideracceptance of the genre by mainstream stations (check outthe current playlists of London's Capital FM or Spain'sLos 40 Principales).

As dance tracks keep lyrics to a minimum, or are rarelyin national languages, they are not restricted by culturalboundaries and travel well within Europe. Programmersall around Europe are constantly on the prowl for the lat-est dance music developments,eager to catch up with what's big onthe dancefloor.

The introduction in this week'sMusic & Media of the first pan-European dance chart reflects thegrowing significance of dance as adominant musical genre, andacknowledges the need for a globaltool to spot new trends. For labelsand stations alike, music will mostcertainly sound better with it.

RTL tightens music policyby Remi Bouton

PARIS - The famously wide musicalscope of French full -service networkRTL might be narrowing just a little.

The station is reducing its weeklyplaylist-one of the biggest inEurope-from 120 to 100 titles. "Whatwe play will now have more impact asa result of increasingthe spins, particular-ly for new talent,"says RTL artisticand music directorAlain Tibolla.

"Before we madethis decision, somenew talents wereaired only once aweek. Under the newsystem, we will playfewer new titles but we will play whatwe do select two or three times aweek," he adds. The highest rotationat the moment on the station is stillextremely light-six times a week forestablished acts.

Tibolla says: "I have alreadyinformed some record companies[about the change]. If they are wor-

ried about RTL becoming slightlymore narrow, they should consolethemselves with the fact that, whenwe do support a new act, we can do itproperly."

According to RTL VP and pro-gramming manager Philippe Labro,revenues at CLT-UFA's French opera-tions are up 21% on the first eight

months of1999 com-pared withthe sameperiod in1998. "Onthe whole,we aredoing well,particular-ly at RTL.These good

figures are also the result of bringingour sales house IP inside CLT-UFA,"he adds.

Labro is optimistic about RTL'sfuture going into the next millenni-um. "We have been France's leadingnetwork for almost 18 years, andtoday we still have a clear lead. Fullservice stations as a whole have sta-

Sony Music Europe chairman Paul Russell (far left) is pictured withtwo of the artists who performed at Sony's European Marketing Meet-ing in London on September 14. With Russell (l -r) are Shakira, MacyGray and Shakira's producer Emilio Estefan.

bilised their loss-es comparedwith the musicnetworks."

However, theRTL audience

is getting older, according to Medi-ametrie. The French ratings institutenow calculates that over half of RTL'slisteners are over 50, whereas only14.7% are 15-34. Mediametrie now sur-veys 11-15 year olds (M&M, June 26),but the results for this demographicare not included in the official pub-lished figures. If they were, accordingto one source, CHR network NRJwould be snapping hard at RTL's heels.

Internet in -siteNetAid

www netaid org

This ambitious event should capturethe public's imagination. On October9, overlapping concerts in New York,London and Geneva will be netcastthanks to a partnership betweenCisco Systems and the UnitedNations Development Programme inaid of eradicating poverty. NetAid'shome site includes informationabout the people, organisations andtechnology involved in the undertak-ing. Relevant music videos, inter-view clips and press conferences-including the site's launch by NelsonMandela, Tony Blair and BillClinton-can be viewed. There's alsolinks with performing artists suchas Wyclef Jean with Bono, Bon Jovi,Puff Daddy, Sting, Zucchero, DavidBowie, The Eurythmics and GeorgeMichael. The BBC will broadcastNetAid in the UK and US syndicatorRadio Express will distribute a radiofeed. Other negotiations for broad-cast media are in progress.

Chris Marlowe

MUSIC & MEDIA 0 SEPTEMBER 25, 1999AmericanRadioHistory.Com

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ON THE BEATSONY, UNIVERSAL, EMI LINK UP ON DISTRIBUTIONSTOCKHOLM - Sony Music, Universal and EMI are toco-operate on distribution in the Swedish and Norwe-gian markets. The joint venture, based in Boras, isexpected to be operational from April 2000. "The [distri-bution] centre will run on a commercial basis and will bethe biggest of its kind in Europe," says EMI Swedenfinancial director Kaj Nyman Boras, in south west Swe-den, was chosen as a location due to its good infrastruc-ture and proximity to Oslo and Stockholm.

GLR REPORT PROPOSES NEWS/TALK FORMAT

LONDON - As predicted in Music & Media last month(M&M, August 28) UK public broadcaster the BBC is setto significantly reduce the amount of music aired on itsAOR/talk station for London, BBC GLR. A year -longinvestigation by regional BBC south east executives intohow well its TV and radio services are serving audiencesin south east England has concluded that GLR should,according to BBC director of regions Mark Thompson,become "a speech -led news and information service." The

BBC is also planning tochange the station's nameto reflect the proposed

changes, which are subject to a public consultationprocess concluding October 13. A "Save GLR" campaignis being organised by Lynne Sims, a former member ofthe station's advisory council.

B B GLR 94.9FM

XFM MAKES SCHEDULE CHANGES

LONDON - Alternative rock station 104.9 Xfm/Londonhas introduced some new shows and air talent followingAndrew Phillips' recent appointment as programme con-

troller. Tim Lovejoy, who presents SkyTV's Soccer AM with Xfm breakfastteam member Helen Chamberlain, getsmid -mornings (Mon-Thurs) in place ofJeff Young, who has departed the sta-tion. Friday's mid -morning slot will behosted by another TV presenter, Chan-nel 4's Dermot O'Leary. MTV2 presen-ter Zane Lowe joins to present the Sun-day afternoon chart show, while a new

weekend late show, called "Chill Out Room" will starnewcomer Natasha.

MOVING CHAIRSLONDON - Sara Silver hasbeen named vice-president,European marketing for BMGEntertainment Internation-al. Silver replaces Freddie deWall, who was appointed man-aging director of BMG Denmarkearlier this year. She startsimmediately and will report toRichard Griffiths in London.She was VP marketing Colum-bia at Sony Music Europe.Former IFPI director general/C00 Nic Garnett is totake a senior VP post at InterTrust Technologies, theUS company developing digital rights management sys-tems for the music industry.Former Tfm/Stockton and Red Dragon FM/Cardiffprogrammer Mark Franklin has joined The WirelessCompany's The Wave 96.5/Blackpool as programmedirector.Dave Massey, former creative and internationaldirector of British label Hit & Run Music, has launchedpublishing company Walk On The Wild Side.BRUSSELS - Werner Faes has left his A&R positionat the Arcade Music Company to become A&R andpromotion manager with ARS Productions. Mean-while, Jean Bosiers, an A&R director with Arcade, hasbeen named general manager of advertising companySaatchi & Saatchi.OSLO - Commercial radio group P4 has announced theappointment of Anne Jortveit as programme directorof its Norwegian AC operation P4 Radio Hele Norge.Jortveit has previously been a news presenter with P4.

TV, Internet ventures for Europe 1by Remi Bouton

PARIS - Hot on the heels ofNRJ and CLT-UFA, Europe 1Communication is the latestFrench media group toannounce an on-line musicretail presence.

"Our parent company[Lagardere] is among themain Internet and multimediaplayers in France," says Fred-eric Schlesinger, managingdirector of Europe l's net-works Europe 2 and RFM. "Weare working on the develop-ment of a musical portal to belaunched within two months,in synergy with Europe l'sradio stations."

At the same time Europe l'sgold network RFM is enteringthe satellite TV arena in a dealwith broadcast group ABsat.ABsat has terminated its pre-vious contract with the NRJGroup which was providingoldies music channel NostalgieTV. ABsat CEO Claude Berda

explains: "We have signed afive year deal with Europe 1Communication and hope towork closely to seeif there are anyother opportunitiesfor further brandlink -ups."

Schlesingersays that RFM TVwill identify close-ly with the radiostation, targetingan adult audiencewith music videos,concerts, news,artist interviewsplus old clips fromthe BBC TV showTop Of The Pops.

Both RFM and Europe l'sother music network-rythmicAC outlet Europe 2-are ripefor expansion, according toSchlesinger. In addition toincreasing audience figures,Europe 2's revenues are up25% to more than Ffr 500 mil-lion (euros 76 million) in the

Jean-Pierre Millet

past six months, while RFM'srevenues have increased by35% to Ffr 400 million

There willalso be someminor changesin music policyat the twonetworks, with

, Europe 2'" playing slightly

more musicthan before, andRFM playing alittle less. "Ifyou have a littleless music and alittle more talkyou bring morewarmth to the

station," explains RFM deputyprogramme manager NicolasLespaules.

From this autumn, themusic on RFM will be "moreattuned to targeting the 40year olds of year 2000,"according to programme man-ager Jean-Pierre Millet.

Face-lift for German Hot ACsby Gesa Birnkraut

HAMBURG - Two Hot AC sta-tions in Germany-Mannheim'sRadio Regenbogen and RadioHamburg-have tweaked theirschedules for the autumn.

Changes at Radio Regenbo-gen include a show givingexposure to new music, "Lustand Laster", in which listen-ers are invited to select theirfavourite track from threenew releases played every daybetween 14.00 and 15.00. Thewinning track will be added tothe station's playlist eachweek and also included in Fri-day's Top 10 show.

However, the new musicinitiative is not a result ofthe record industry's recentappeals for German radio toplay more new material. "Weplanned this long before thediscussions between radio and

music industry started at Pop-Komm," explains RadioRegenbogen programmingand managing director KlausSchunk.

Head of music at RadioHamburg, Marzel Becker, hasadjusted the station's sched-ules to accommodate threelonger daily shows instead ofthe previous four. Becker isgiving up his own three-hourdaily show to allow an extrahour each for John Ment atbreakfast, Birgit Hahn'slunchtime programme andJan Bastick's drivetime slot.

It is hoped that the changeswill lead to a more consistentstation sound, as well as giv-ing Becker more time to con-centrate on his music pro-gramming duties. "But as faras our daytime music policy isconcerned, nothing is going tochange," says Becker.

David Cousins, a former member of '70s rock act TheStrawbs and chairman/launch director of local full -ser-vice station Radio Victory/Portsmouth in the UK, is pic-tured with Boy George (right) ahead of the station's offi-cial launch on September 19. Boy George's syndicateddance show, produced by Wise Buddah Radio, will air onVictory every Saturday evening.

Rocket FM incyberspaceby Johan Lindstrom

STOCKHOLM - Stockholmrock broadcaster Rocket 95.3intends to bring the rest of the

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world closer to Swedish rockvia its new Internet site atwww.rocket.fm.

"We're predicting that com-puter technology and high-speed Internet access will con-tinue to expand rapidly, sothat listening to Internet radiowill become increasingly com-mon," comments Eric Paglia,who launched Rocket twoyears ago.

Paglia hopes to increaseRocket's broadcasting to 24hours a day on the Internet-at the moment, the stationbroadcasts 21 hours a week inEnglish on a Stockholm com-munity radio station.

Adds Paglia: "Rocket.FMplans to exploit its position asa music radio station andreach those people who havegrown cynical towards tradi-tional radio as it exists today."


- NEWS

Dutch domestic music specialists uniteby Robbert Tilli

HILVERSUM - The Dutch musicindustry is anticipating a strongerradio presence for domestic repertoirefollowing the merger of nationalrepertoire stations Holland's Glorieand Radio Nationaal.

Radio Nationaal was launched in1998 by Rini Schreijenberg, managingdirector of Dutch pop label Koch MM,with the aim of securing more airplayfor domestic product. Koch MM's ros-ter includes the likes of Frans Bauerand Marianne Weber.

Holland's Glorie is owned by Dutchcompany Strengholt. In July thisyear, Luxembourg -based pan-Euro-pean broadcaster SBS bought 50% ofStrengholt's flagship station, NordzeeFM (M&M, July 31), but Holland'sGlorie remained wholly -owned byStrengholt. The latter station was set

up as a domestic music specialist lastyear when Nordzee FM (then calledRadio Nordzee Nationaal) swappedits "Dutch music only" playlist policyfor a mix of domestic and internation-al material.

"Contrary to what was recentlyrumoured in the Dutch press, Schrei-jenberg isn't buying Holland's Glorie,"explains a Noordzee FM source. "As amatter of fact Strengholt is keepingan interest in the station." The bal-ance of shares in the merged stationhas not been disclosed, however.

Schreijenberg says he is increas-ingly concerned by the dwindling air-play possibilities for local music onpublic AC/MOR station Radio 2. "It's ashame that Dutch radio listenersdon't have stations playing this typeof music," he says. "People pay theirradio licence fee but get nothing inreturn on public stations. Excluding

the new talent which we play, thereare no outlets anymore."

Frits van Swoll, A&R/product man-ager at Dino Music-the home of,among others, Ruth Jacott and Andrevan Duin-says: "Clearer radio for-mats are better for both the listenersand the industry. Now we finallyknow where we can place our Dutch -language material."

The holding company for the newmerged station is to be calledUnDosTres. Employing a 10 -strongteam, it will be based in Hilversumand broadcast on both new AM andexisting cable FM frequencies. EdwardNeefs, UnDosTres general manager,comments: "We're working out whichname we will broadcast under andwhen exactly we can begin broadcast-ing. For the moment we're awaiting[planning] permission to build a trans-mitter, which should be imminent."

Universal Music Publishing Group (UMPG) signs saxophonist BoneyJames to an exclusive worldwide music publishing deal. Pictured at thesigning are (1-r): Robert Allen, senior director, business affairs, UMPG;Betsy Anthony-Brodey, vice-president, talent acquisition, UMPG; RoannaGillespie, creative director, UMPG; and Bob Oppenheim, Esquire. Seated(1-r): David Renzer, worldwide president, UMPG and Boney James.

NRJ appointsNordic chiefby Johan Lindstrom

STOCKHOLM - Jay Supovitz hasbeen appointed new managing direc-tor of NRJ Sweden, in a role whichwill also give him responsibility forthe Nordic Region as a whole.

Supovitz will supervise the manag-ing directors heading up the NRJ sta-tions in Helsinki and Oslo, and says:"This is a great opportunity to takethe NRJ brand and our operations toa higher level of efficiency and exper-tise. There are many challenges toface as we develop the industry inthese countries. This managementfocus will allow us to face those chal-langes in a convincing manner."

Supovitz has been NRJ France'sinternational sales manager since lastNovember, and has 16 years of radioexperience gained in his native US. InSweden, Supovitz sees strengtheningthe sales department as his mosturgent task. "My priorities for Swedenare many, but first on the list isrecruiting a sales director andexpanding our local and national salesteams," he reveals.

Miami spice for European programmersThe decline in teenage radio listen-ing, the threat posed by Internet -onlyradio and the surge of popularity for aharder classic rock format will beamong the topics to be discussed atthis year's Billboard/Airplay MonitorRadio Seminar & Awards.

Taking place between October 7-9at the Fontainebleau Hilton in MiamiBeach, other hot topics on the agendawill include the continuing evolutionof the AC format, the recent success oflatin crossover music and the new"Generation Y" stations in the USwhich are blending dance with rhyth-mic rock.

The seminar, which is overtly

geared towards music programmingrather than the radio industry moregenerally, provides a perfect opportu-nity for European programmers to

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keep fully abreast of the latest cut-ting -edge trends in US music radio.

There will be a chance to attendWHYI (Y100)/Miami's summer con-cert, featuring Enrique Iglesias,Melissa Etheridge and Shaggy, aswell as WEDR/Miami's Jamzfest,with Ginuwine, Blaque, Naughty By

Nature, LL Cool J and 702.The gathering will also feature the

annual Billboard/Airplay MonitorRadio Awards and banquet. Hostedjointly by WMRQ/Hartford morningshow host and infamous Twisted Sis-ter front man Dee Snider and ABCRadio's Doug Banks, the awardsrecognise America's top program-mers, air personalities and syndicat-ed programmes. Further details are available fromBillboard's Michele Quigley on (+1) 212536 5002. A full schedule of events canbe accessed at www.billboard.com/events/radio. Registration for radioattendees is $99 (euros 103).

-trchcDfhsecretsEik Frederiksen,

Programme director, The Voice(Denmark)

What was your first break in theradio business? Doing kids' radiofor the local public broadcaster whenI was 14.

What has been the highlight ofyour career? Turning The Voicefrom free -form radio into structuredhit radio from 1994 onwards.

What makes you mad? When peo-ple I trust let me down.

What other career would youhave liked to follow? Creatingcomic books-I still have pipedreams about it.

What radio stations do you listento most? Lots of Internet radio,rival stations and primitive, grass-roots radio.

Who do you most admire withinthe industry? [UK presenters]Chris Evans and Dr. Fox.

When was the last time youbought a record and what wasit? In London in November, Ry Cood-er's Buena Vista Social Club.

Describe the radio business inthree words. Demanding. Unpre-dictable. Fun.

How do you relax? Readingcomics, playing football, playingwith my son.

What's been your greatestregret? Not taking a year out totravel the world, listening to radio.Also, I regret not getting an educa-tion in radio in the US.

What's the best piece of adviceyou've ever been given? You can'tdo it all yourself-you must some-times rely on others.

What's the best gig you've everattended? U2 in Copenhagen twoyears ago.

What's your favourite all-timesingle and album? What a FoolBelieves by the Doobie Brothers andPrefab Sprout's From Langley Parkto Memphis.

How would you like to be remem-bered?As someone who knows howto laugh when it's all over.

Interview by Charles Ferro


RADIO ACTIVE

NAB '99: Views from OrlandoThe annual NAB Radio Showalways provides an excel-lent opportunity for Euro-pean programmers tocheck out and catch upwith what's happening inmusic radio stateside. Thevenue this year was theOrange CountyConvention Centrein Orlando, Florida.In the first of a spe-cial two-part NABreview, Jon Heas-man reports onsome of the highlights.

There seemed to be more than aslight quiver of apprehensionamongst the domestic attendeesat this year's NAB, despite thecurrent healthy financial state

of US radio.Even international visitors did not

have to look far for the source of thosefears. The affect of the industry'srecent consolidation in terms of jobsand the pressure to deliver ever-increasing profits to justify large sta-tion price tags; the threat fromnew Internet -only and satellite radioservices; the possible introduction(being proposed by US regulator theFCC) of low power "community" sta-tions on FM; and concern that theever -longer duration of commercialbreaks (spot loads) is driving audi-ences away from radio.

The fact that, post -consolidation,US radio is now (many would argue) aslave to Wall Street was emphasisedduring one of the Radio Show's open-ing panels on music research. JoeGallagher of Aritaur Communications.aid that, in such an environment,there is absolutely "no point in takingunnecessary risks. Find out what thelisteners want and play it. Don't try toguess!"

Comfort blanketGallagher added that research notonly gives programmers "security andcomfort" in their own everyday work,but helps reassure station ownersabout the basis of their programmedirector's knowledge.

Indeed, with ever more interactionbetween programming, sales and mar-keting departments, concrete researchevidence (as opposed to a program-mer's gut feel) can provide everyone ata station with the necessary confi-dence in the overall strategy. "Musicresearch is now crucial component ofall parts of station operations,"claimed panellist Dan Hayden, ofPathfinder Consulting and Research.

Ironically, there was a consensusthat the extensive use of musicresearch means that choice of music is

no longer the most critical element inprogramming a station. As Tom Kelly,of Kelly Music Research, noted: "Theplaying field has now levelled, becauseeveryone uses [music] research. It'snow what's between the records that'simportant."

Automatic for the presenterIn the consolidated US radio world, in

which ownersare trying to

And in the case of a station whoseshows are being voice tracked by a pre-senter from a different market, howmuch control can that PD effectivelyexercise over those presenters, whomay be accountable to five or six dif-ferent programmers in total.

There are also a number of practicaland logistical problems with voicetracked shows. For instance, the paneldebated a number of ways of how todeal with listeners' phone calls when a

NilEXHIBITS

Attendees flock to the opening of the NAB Radio Show exhibition hall

maximise the returns on their heftyinvestments, automation systemsallowing presenters to voice trackmusic shows (rather than presentingthem live) are becoming more andmore prevalent.

It's now commonplace at US sta-tions for DJs to present a four or fivehour live show each day on the stationat which they are based, and thenvoice track one, two or even moredaily shows for stations owned by thesame group but broadcast in differentmarkets. Presenters can also voice-track weekend shows so that they canbe on air seven days a week whileonly having to work weekdays.

In a panel entitled "How to stayhigh touch in a high tech world" pro-grammers agreed that voice trackingis helping to get around radio's air tal-ent shortage, particularly at smallerstations owned by the big groups.

Voice tracking is enabling smallstations to air the kind of talent thatthey could have previously onlydreamt about. Equally, high -calibretalent can be kept for longer in thesmaller markets if the station is ableto offer the presenter the chance ofpresenting voice tracked shows forother stations in the group (and there-fore offer more money plus exposurein other markets).

Bye bye freelancersAn advantage of voice tracking for pro-grammers is that with fewer presen-ters hosting more shows, the need forweekend freelancers is eliminated, sothey can spend more time coaching afew key talents. The flip side of this,however, is that it means fewer off-peak or depping slots are availablethrough which new talent can emerge.

voice tracked show is on the air.Cumulus Broadcasting's Mike

Cushman, who has experimentedwith a variety of ideas, admitted: "Wefound the best way is to put phones onhold so that they [the listeners] get anengaged tone when they call."Another potential difficulty isextreme weather conditions, althoughmost stations using the technologyhave devised systems involving keep-ing local staff members on pagers dur-ing voice -tracked hours to ensurethat, if required, "live" presentationcould be quickly resumed at fairlyshort notice.

Qualitative vs quantitativeOne of the most entertaining sessionsproved to be on station production, or"Imaging versus positioning."

All three panellists, WFLA/Tampa'sEric Chase, Clear Channel's MikeMadrigal, Rick Stacy of KQKS/Denverplus moderator Jimmy Steal ofKPWR/Los Angeles, argued the casefor the use of "qualitative" sweepersand promos that entertain and relateto an audience on an emotional level,rather than "quantitative" positioningstatements such as "Today's BestMusic" or "The Station That Plays 10In A Row" which are merely factual."In virtually every market, the top twostations are the ones that people havemade an emotional connection with,"noted Steal.

Clear Channel's Mike Madrigalacknowledged that straplines andpositioning statements were to someextent a necessary evil for stations."Slogans are like wallpaper," helamented, "but at least you can try andmake it cool wallpaper!" He recom-mended selling a lifestyle rather than

a precise musical position-use astrapline such as "Welcome To TheParty," rather than, say, "The ClassicRock Station That Really Rocks."

Madrigal also appealed to program-mers to "dumb up" rather than down."Don't talk down to dumb listeners-italienates the smart ones, and thedumb listeners are too dumb to knowthe difference!" Chase said that "imag-ing should be more aggressive than theformat. It should jump out and scareyou occasionally."

There was a consensus that theuse of humour was the really criticalkey in achieving that elusive emotion-al connection with the audience. Inparticular, argued Chase, stationsmust broadcast promos and sweeperswith a knowing wink to their listen-ers. "You must let the audience knowthat you 'get' it," he said. "The audi-ence want to feel part of a club, to getthe 'in' jokes."

Morning mattersStaying with humour, a panel of pre-senters billed as "Today's NewMorning stars" agreed-when theyweren't trying to out shock -jock eachother-with KHKS/Dallas presenterKid Kraddick's sentiment that beingyourself on the radio is the "singlehardest thing to do" in the medium.

There was some debate over exactlyhow far this "honesty" philosophyshould be taken, or how much a pre-senter should "give" of themselves.Jamie White of Los Angeles' KYSR, forexample, revealed that she had recent-ly told her listeners about a lesbianexperience she had, while Sheri Lynch(from the WLNK/Charlotte-basednationally syndicated Bob & Sheri

eri Lynch (top) and

cey of the syndicatVo& Sheri morniMov

morning show) had shared the pain ofher divorce with her audience.

Warning against the dangers ofartificially "creating" characters to suita station's target demographic, Whitesaid it is important to "define who youare, not who your audience are." Thepanel agreed, however, that mostmorning show hosts inevitably (andnecessarily) tend to end up an "exag-gerated cartoon version of who theyreally are." Next week: In part two of our NABRadio Show review, M&M reports onthe Format Forums that took place,looking at the latest developments inCHR, oldies, AC and rock.

MUSIC MEDIA 0 SEPTEMBER 2 5 , 1 9 9 9AmericanRadioHistory.Com

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WORLD MUSIC SPOTLIGHT

Life after Buena Vista?World music is riding thecrest of a wave. Led byBuena Vista Social Club,awareness of this musichas never been higher.But will the trend last?Terry Berne and RemiBouton report on thegenre's most recentdevelopments.

"The live scene is veryhealthy, with a dozen big

festivals. Yet, the mediaand particularly

radio stations are notinterested in this sector."

- Christian Mousset,

Buena Vista Social Club, theacclaimed Grammy -winningCuban roots music album fea-turing Ry Cooder and a collec-tion of Cuba's legendary musi-

cal pioneers, released by UK indielabel World Circuit, has sold morethan a million copies internationallysince its release in 1997 and is cur-rently at No.1 in the album charts inboth Germany and Italy.

But for world music, the mainquestion thesedays is "whatwill life be likeafter BuenaVista SocialClub?" Shouldit be seen asthe confirma-tion of worldmusic as aviable genre?Or is it one ofthose anom-alies that themusic industrytosses up peri-odically via acombination oftiming, promotional savvy and luck?

After all, the genre has had itsshare of genuine hits since its emer-gence as a serious force in the mid -'80s in the wake of Paul Simon'sgroundbreaking album Graceland,inspired by the music of SouthAfrica's townships. Successes includealbums by the likes of Juan LuisGuerra, Zap Mama, The Gypsy Kings,Salif Keita, Ali Farka Tout* TheChieftains, Nusrat Fateh Ali Khan,Angelique Kidjo and Youssou N'Dour(whose duet with Neneh Cherry 7Seconds reached number one on theEuropean airplay Top 50 inSeptember of 1994).

The strength of world music canalso be seen with the development ofWomex, the trade fair dedicated to all

forms of world, roots,and folk music. Aftersojourns in Brussels,Marseilles andStockholm, Womex,returns October 28-31 to Berlin, where itwas first created asan offshoot of theBerlin IndependenceDays in 1994.Featuring confer-ences and concerts,Womex has becomethe most importantmeeting of its kind,and organisersexpect more than a1,000 delegates thisyear.

founder of the Festival Musiques Metisses Another sign ofthe genre's health is

the survival and growing success ofveteran world music labels like RealWorld. Perhaps the genre's most icon-ic brand name, it celebrated its 10thanniversary in July, and its globalsales to date are upward of three mil-

lion units of some 80 titles, includingthe currently popular Afro -CeltSound System.

Common languageMore recently, Cameroon singer Wesenjoyed a long chart life in Music &Media's Eurochart Hot 100, with astay of more than a year of his singleAlane. Signed to Sony Music France'simprint Saint George, Wes told Music& Media last year that he believed

that "music isKhaled the only remaining

common languageon earth," addingthat "melodiescan move peopleeven when theydon't understandthe language."

Sony MusicFrance deputymanaging directorOlivier Montfortsays Wes' successechoes that ofanother SonyMusic act, RickyMartin, who

achieved cross -border sales and air-play in Spanish. Says Montfort: "Itreally proves you can achieve pan-European success with a song playedin a language other than English. It isa sign that things are changing and Ifind it quite encouraging."

France is one of the crossroads forworld music, partly due to its rela-tionship with former colonies. Thegenre regularly features in Frenchcharts, withcrossover actssuch as Wes orKhadja Nin, orthrough musicfrom one of themultiple eth-nic communi-ties living inFrance.

"France isan importantprovider ofworld music.'says ChristianMousset, whofounded theFestivalMusiquesMetisses 24 years ago. It specialisesin jazz and world music, and attracts40-50,000 people to the city ofAngouleme. "France has a commonhistory with west and north Africaand these are strong communitieswithin France," he says.

The most visible example of thisinfluence is the explosion of rai, themusic genre born in Algeria thatcounts among its most prominent rep-resentatives, Khaled, Faudel andCheb Mami. West Africa is also a reli-able provider of world music artistswho either reside in France (ManuDibango, Wes, Mory Kante) or useFrance to build their career (YoussouN'Dour or Cesaria Evora from Cape-

Cesaria Evora

Verde, who is signed to BMG France).Mousset points to the rise of the

genre as a fully fledged industry, withits own growing circuit of festivals,radio programmes, specialised media,retail interest, a plethora of newlabels, and a growing roster of inter-nationally renowned artists.

Lack of media supportWorld music has enjoyed some growthin France, according to a surveyundertaken by Zone Franche, a non-profit association whose aim is toreinforce networking within theFrench-speaking world music com-munity. Gildas Lefeuvre, who con-ducted the research, admits there hasbeen an increasing number of worldmusic acts in the French charts dur-ing the past two years, but says that

it has a lot to do withsummer marketingoperations launchedby labels in partner-ship with nationalTV channels. Actssuch as Wes orKhadja Nin (BMG)benefited from thesecampaigns.

"The definition ofthe genre is moreand more open, andnow ranges from tra-ditional music toworld mix and TV -backed products, soit is difficult to pre-dict if the trend will

last," says Lefeuvre."Clearly France is active in the

field, but media outlets are not play-ing the game," laments Mousset. "Thelive scene is very healthy, with a dozenbig festivals. Yet the media-and par-ticularly radio stations-are not inter-ested in this sector, except for [Paris -based free -form station] Radio Novaand [international public broadcaster]RFI, but these are marginal. Besides,there are no TV shows and no spe-cialised magazines since the failure ofthe monthly title World."

Spain continues to be a strongsource of world music repertoire, withthe multi -platinum (500,000 and ris-ing in Spain) celtic worldbeat hybrid


IT'S A SMALL WORLD AFTER ALL...

1. 2 the NightOTTMAR LIEBERT

From the Higher Octave albumNouveau Flamenco

2. El Dulcerito LlegoCUBA L.A.

From the Narada albumCuba L.A.

3. One Passion DanceSHAHIN & SEPEHR

From the Higher Octave albumWorld Café

4. Strawberry BedsGAELIC STORM

From the album OmTown albumHerding Cats

5. Jackie Coleman's/ Bag of Spuds /Bird in the BushJOHN WHELAN

From the Narada albumCome to Dance

6. Rattle and BurnJESSE COOK

From the Narada albumVertigo

Look for the Higher Octave & Narada "Music for a New Millennium" Mid -priceCampaign featuring the best in Jazz, World, New Age and Vocals by David Lanz,David Arkenstone, Michael Jones, James McCarty, Osamu Kitajima andChris Camozzi among others. Available in stores 27 September.

,POTTEDOGLE

7. Mon Petit Canon(My Pistol)

THE CAJUN ALL STARS

From the Narada albumChez Les Cajuns

8. Dance (Azii'sh)DOUGLAS SPOTTED EAGLE

From the Higher Octave albumVoices

9. The PromiseVAS

From the Narada albumOfferings

10. Greek CharmERIC FERNANDEZ

From the Higher Octave albumMagic Gipsy

Music & Media Samplerfeaturing tracks from

Higher Octave and Narada


WORLD nil( SPOTLIGHTAmadou et Mariam

Tierra de Nadie, from Austrian artistHevia (EMI), released worldwide asNo Man's Land.

One of the most significant albumsso far this year is Os Amores' Libres(RCA), the second release fromGalician piper Carlos Nunez, whichfuses celtic airs with flamenco, NorthAfrican, and Romanian gypsy music.The album, which took two years tocomplete and spans 10 countries, fea-tures an impressive list of guestartists, including Mike Scott of TheWaterboys, Israeli singer Noa,Spanish guitar legend Sabicas, vari-ous Chieftains, Jackson Browne(singing in Galician) and SimonEmmerson of the Afro -Celts.

Escape the ghettoThough world music is mostly anindie game, the majors are starting topay it more attention. They eithercreate their own world musicimprints or sign distribution dealswith established labels, as is the casewith Warner and David Byrne'sLuaka Bop.

Universal imprint Emarcy hasbeen particularly active on the worldmusic front lately, with releases byseveral important or emerging artists("emerging" is an extremely relativeterm, as most world music artists arealready well known in their home ter-ritories). Singer Eleftheria Arvanitaki,a platinum seller in her nativeGreece, Portugese singer AmeliaMuge and Malian couple Amadou etMariam are three artists whose inter-national launch is being handled byEmarcy. Amadou et Mariam's newalbum Tje Ni Mousso is due out thisautumn on Emarcy.

The most prominent recent entryinto the field is Wicklow Records, ajoint venture between The Chieftain'sPaddy Moloney and BMG Classics.The label has just released interna-tionally acclaimed Finnish group

Varttina's sev-enth album,Vihma, as wellas two BillLaswell projects,Imaginary Cubaand Nagual Site.The avant -worldbeat producerwill release aseries of CDs forthe label. EMI'sHemisphereseries, overseenby GeraldSeligman,continues toproduce highquality themed

compilations based mainlyon the label's vast archive oflocally recorded material.

"The world music market is defi-nitely growing steadily," saysRykodisc Europe sales and marketingdirector Andy Childs. "There are morerecords, more variety, more visibility

at retail, and marketing has becomemore sophisticated."

One irony of World Music's growthis that now retail is now dedicatingsufficient space and promotion to it,artists want to break out of the thosesame sections, now housing all sortsof product, from purely ethnic to wild-ly eclectic.

" "Certain artists do want to movebeyond the world music ghetto to abigger market," concurs Childs. "It'snot good enough just to have youralbum racked in those sections. Youneed profile."

Not all artists have the potential todo that of course. He cites BaabaMaal's 1998 Palm Pictures releaseNomad Soul as an example of analbum aimed at commercial radio,and the new Kulanjan collaborationbetween popular bluesman Taj Mahaland Malian kora master ToumaniDiabate, on Hannibal Records, as anexample of an album concept that willattract a public beyond the confines ofa typical world music production.

A world of indies"World music is trendier than it wasfive years ago," asserts PhilippaMorgan, specialties buyer for UK's100 -strong HMV chain. She is clearon the role of retail in the genre'sgrowth. "I think it's successful now asa result of the attention we've paid it,rather than the other way around-that we're paying it proper attention

now that it's popular."As for the increase in world music

labels and product, she declares: "Ithink the competition will be quite goodfor world music, because before theestablished labels, with some notableexceptions, were a bit complacentbecause there weren't many of them.It's also good that the music has crossedover into lots of other styles-ambientor dance, for example."

Narada director of European mar-keting Jaap Hoitingh sees the influ-ence of world music expanding into allcorners of popular music, but findsthe confusion in retail world musicbins a hindrance. "New instrumentalmusic has entered a phase where ituses all sorts of influences. Theappearance of new labels also showsthe growing interest in the music," henotes, "but the problem is that it's allmixed together with purely ethnicmusic in the record stores."

Narada features two world musicimprints: Narada World, which focus-es on modern music with ethnic influ-

ences, and Narada WorldSelect, which presents uniqueworld music performances indeluxe format. The label castsits net wide. Cuba L.A. is anexceptional, percussive latinjazz tribute to that city's Cubanlegacy; Chez Cajun from theCajun All -Stars unites some ofLouisiana's best players for aromp through the funkyFrench -flavoured style; whilethe duo Vas explores an originalapproach to Indian and MiddleEastern vocal and instrumentalmusic.

Newcomer Siam Records iscommitted to bringing the high-est technical standards to an

exacting repertoire of world musictitles, including the richly texturedNew Jakarta Ensemble'sCommonality, which brings westernclassical forms to bear on Indonesiantraditional instrumental and vocalmusic, creating a complex and haunt-ing sound new to world music. Or the

"There is a marketout there for non -mainstream music...It just needs to beeducated anddirected."- Andy Childs,

European sales and marketing

director, Rykodisc

pulsing and melodic Afro -pop of SanBonan, from South African bassistBakithi Kumalo, whose bubbling fret-less bass on Graceland became one ofthe world's most identifiable sound sig-natures.

"There are relatively few promo-tional and marketing opportunitiesavailable for this music," commentsSiam GM Frank Hendricks. "Thispresents labels like Siam with theopportunity to develop very non-tra-ditional marketing and promotionaltechniques so as to reach consumers,and they are far more grass -rootsoriented."

Growing AwarenessHendricks is in two minds on whetherthe genre is helped by occasional hitrecords: "The impact at retail is amixed bag. On one hand, the successof some world music titles definitelycreates a positive environment bydrawing attention to the genre atretail. However, most world musictitles are released on indie labels, andwe still have to compete with themajors for shelf space through retailprogrammes which are expensive. Tothat end, I think that e -commerce willhelp to level the playing fields in time,by giving us the opportunity to reachcustomers directly."

Manuela Ostrolenk, CEO of indielabel Arion, founded in 1962 and moreknown for its classical music output,says there is a change in the marketwith more aggressive action frommajor companies. "Big hits make thecompetition sharper," she says."Artists become more demanding, ithas an impact on costs, and itbecomes more difficult for indies likeus to produce world music."

However, Ostrolenk saysawareness for world musicproducts is growing. "Whilewe were using classical musicas the cherry on the cake inorder to sell our world cata-logue to international distrib-utors, today we use our worldmusic catalogue to help theexport of our classical musiccatalogue."

For world music labels, thesuccess of Buena Vista SocialClub pushes the boundaries ofworld music and proves thatthere is a larger public for thisgenre, providing audiencescan be exposed to the music."What we need is a BuenaVista Social Club for everycountry's music," musesRyko disc's Childs. "That'sbeen important in exposingpeople to Cuban music, but

I don't think it's necessarily openedthe floodgates. The wider issue,however, is that there is a market outthere for non -mainstream music.It just needs to be educated anddirected."

MUSIC & MEDIA SEPTEMBER 25, 1999AmericanRadioHistory.Com

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ARTISTS & MUSIC

Strictly house hits homeby Christian Lorenz

What has the smooth house of Ultra Nate'sFound A Cure and the searing gospel of LoveJourney feat. Latanza Waters' So Glad in com-mon? Both sport the red -brick logo of NewYork's Strictly Rhythm label.

Celebrating its 10th anniversary this year,the label has a reputation in Europe for quali-ty vocal house tunes. As the only US dance

indie to run a fully-fledged Europeanoffice-established in1994 in London-Strictly Rhythm ben-efits from the loyaldeep house scene thisside of the Atlantic."Some 75% of ourbusiness is done inEurope," reflects labelmanager EuropePhil Cheeseman."Typically, peoplehere look to us for US

product. Most of our records start to grow inthe UK club market before crossing over intoother territories. The only ever US -led title Ican remember is Set U Free by Miami -basedduo Planet Soul."

Last year Strictly Rhythm co-foundersMark Finkelstein and Gladys Pizarro securedexclusive distribution agreements with TonyHumphries' Yellorange label and RogerSanchez' R-Senal Records. This summer theyclinched deals with Peter Rauhofer's Star, DJPierre's DJP, Mark Picchioti's blueplate andFull Intention's D -Tension imprints.

Together these labels easily account formore than 30% of any deep house DJ's set.Take Danish DJ Martin Ottersen, betterknown as Funkstar De Luxe. "I'm into the USsound and labels like Strictly Rhythm orYellorange," says the man who is riding highwith his re -mix of Bob Marley's Sun Is Shining(Hypnotic/edel).

"Many people say the Strictly sound is NewYork Garage," comments Cheeseman, "butthat's only one side of the coin. Right from thebeginning we did things like DJ Pierre's wildpitch stuff (Photon Inc.'s Generate Power,1991) as well as, say, Josh Wink's Higher StateOf Consciousness in 1995."

Roger Sanchez, DJ Pierre, Masters At Workand Armand van Helden all got their careers

off the ground with a hit on Strictly Rhythm.The label's hottest artist at the moment isDuane Harden, the voice and co -writer behindVan Helden's smash hit You Don't Know Me(ffrr) andPowerhouse'sWhat U Need(StrictlyRhythm). Acomputerengineer bybackground,Harden'sbreak in the music industry is quite unusual.

"I grew up in Savannah, Georgia," saysHarden. "I guess you could say I was intogospel. It wasn't until I went off to college in`89 at Boston University that I discoveredwhat house music was."

He met Van Helden in Boston. "He was aDJ at the Loft and me and my friend Kelvinused to go there and sing along to the vocals.Armand approached me and said he thought Icould sing. I told him he was crazy. We've beenfriends since then."

As an artist who left the dancefloor only ayear ago-You Don't Know Me was his record-ing debut-Harden harbours strong views onthe industry. "I think that it's remixes whichwill stop dance music from becoming larger inthe future," he predicts. "The consumer musthave something to sing along to. If you removethis element it is hard to identify with a track.Also I think that sampling one word or linefrom the original lyric is a discredit to theartist."

Harden's debut album is to be released byStrictly in January 2000. "An album helpsdefine to the consumer who the artist is," heexplains. "I think it will be a mixture of pop,dance, and R&B-representative of both USand European styles."

European ADE for danceby Christian Lorenz

More intimate than, say, Miami's WinterMusic Conference, the Amsterdam DanceEvent (ADE) serves as a European platformfor dance labels, publishers, managers,producers and DJs to network.

This year, prolific UK DJ andrecording artist Carl Cox is con-firmed to give the keynotespeech at the ADE which willtake place from October 7-9.Organised by export bureauConamus and authors' rightsorganisation Buma, ADE willattract some 800 delegates this yearand will take place at the Felix Meritistheatre. The event offers panels on the rootsof dance, on digital music distribution as wellas Internet radio. Separate territory focus

meetings on the US and the Benelux coun-tries promise to look at distribution andlicensing issues in those markets.

The live programme includes sets by inter-national DJ's such as DJ Sneak (US),

Dillinja & Lemon D (UK) andFrancois Kevorkian (US) next to

local talent such as FerryCorsten and Robert Smit. As inthe previous year, theEuropean Broadcasting Union(EBU) will record the VIP Clubnight @ the Amsterdam Dance

Event and offer the feed to itsmembers for live or delayed

broadcast.More names and details on the

ADE night program can be obtained fromthe ADE website http://www.amsterdam-dance.nl.

EDcincgroovesby Gary Smith

KRAFTWERKYFollowing the electro-influ-enced sound that cropped upmore than a few times on hisprevious album Freak FunkAmerican artist LukeSlater's latest single AllExhale (Novamute/ UK) onceagain recalls the analogueelectronic sounds of the1980's. With a vocoder/chorusriff highly reminiscent of Kraftwerk, fizzing drummachines and dreamy, percussion -laden interludes, thetrack is spirited and evocative in equal measure.

LUKESLATER

LL EXHALE

WATCH THIS TUNEThe Discoking's Gotta Have House (Celebrative/Holland) hitshard and just keeps getting harder over the nextsix minutes. A playful pastiche on Giorgio Moroder'sproduction style the tune borrows heavily from disco actssuch as Sylvester, Lipps Inc., Donna Summer. It endsup as a true original though, by combining hard beats withwell -placed chords, time -stretched voices, trancey breaks anda falsetto vocal. Magnificent and already picking up hugedancefloor support in the Benelux countries and the UK.

SPIKYFull of punky fun, Brassy's I Can't Wait (Wiiija/UK), is, asone would expect from a label that was previously a bas-tion of the Camden guitar band scene, uncompromisingand only tokenly part of the dance area. With a backingthat falls somewhere between grungy hip hop and big beatplus lyrics that are cute and funny, the chorus is disarm-ingly sweet. A genuinely different sound that marriesmutant pop with humour and freshness.

GRUNGYDownbeat grunginess from UK rapper Maxim on My Web(XL Recordings/UK). The voice is a little rough around theedges, like Tricky's, but musically Maxim has a similarapproach to Barry Adamson. Using melodramatic brassriffs and minor chords he adds a sense of menace toan urbane monologue. Top marks for the music andattitude but the lack of a chorus relegates this track to thespecialist zone.

BETTER LATE THAN NEVERAfter crafting Casual Sub (Burning Spear) (FX/Denmark),one of the biggest tunes of 1997, Danish duo E.T.A. arefinally back with a four -track album sampler. The two anda half years since the emergence of Casual Sub have been,to say the least, packed with incident. An erased hard diskput the already tortuous recording process back by severalmonths, then E.T.A. were roped in to co -produce Infernal'sVoodoo Cowboy album and found themselves playing a notinsignificant number of gigs and parties.

Now it's here, the four -track sampler promises greatthings from the much anticipated E.TA. album NoSmoking. The opening track Blurred is a 1960's homage,all sizzling Hammond organ, wah-wah guitar and delicatefemale vocals superbly counterpointed by a robotic vocoderchorus. Ayia Nara, provisionally slated as the first single,again takes a 1960's soul feel and then adds Abfahrt'sNosie Katzmann doing a sinister monologue about...club-bing! The remaining tracks are equally impressing: Thethumpy, riffy Massive Stoned brings in a rock element andsamples Hitchcock being interviewed about his childhood.

All new releases, biographies and photographs for con-sideration for inclusion in the Dance Grooves columnshould be sent direct to: Gary Smith, c/o. Roger de Lluria45 -3° -2, 08009 Barcelona, Spain.

MUSIC & MEDIA SEPTEMBER 25, 1999AmericanRadioHistory.Com

DA IC MILIG .J

Charting Europe's new dance mapFew genres are as confus-ing or as contradictory asdance music. An ever-changing range of regionaltastes, sub -genres andhybrids underlie what has

undoubtedlybecome THE

pop music ofthe late '90s.Gary Smithmaps outthe currentEuropeanscene.

As with mostthings Euro-pean, the northsouth divideseems alive and

well at first sight in thedance music arena.

The split in recent timeshas developed with thechillier climes of the UK,Benelux, Germany andScandinavia devoted to allthings trance, while thesouthern regions have pre-ferred their beats a bitmore funky with housemusic on an all time high.

However, things arenever that simple and acase in point is in France,the one nation where northand south truly mingle.Despite what many maythink of the frosty citizensof its capital city, Scorpio'sinternational A&R manag-er Tony Alexandre says:"France is, in tempera-ment, a latin country.Trance doesn't work here."

And a glanceat the Frenchcharts, whereEiffel 65's Blue(Bliss Corpor-ation) is Top 5seems to confirmAlexandre'sstatement. WithMoloko's Sing ItBack (Echo) andPhats & Small'sFeel Good (Mult-iply) also climb-ing the Frenchsingles chart,house musicrules. It also,occasionally,starts there.

"We were thefirst station [inFrance] to pick

up on Eiffel 65," says SamZniber, scheduling directorof Paris -based dance net-work Fun Radio. "It was onthe playlist in May. Thefeedback from the website

and phone-ins was immedi-ate and very strong."

New sound on the riseWith a playlist that isroughly 50/50 dance andR'n'B, Fun needs to uncov-er the hits before they hap-pen, and Zniber is tippingPaul Johnson's Get GetDown (Time Records), SunIs Shining by Bob Marleyvs. Funkstar Deluxe (ClubTools) and The Night -crawlers' Never Knew LoveLike This (Riverhorse) asupcoming breakers.

There is, he states, anew movement developing."In a general sense trancewith vocals will continue tobe very strong but a newsound, vocal disco/housewith trance breaks, is onthe rise."

A&R manager atLondon -based Manifesto,Ben Cherrill, agrees."Tracks with the energy oftrance but with a bit more

funk, like DJJean's TheLaunch (BlueRecords), arestarting to dowell," he notes."A paralleltrend is thatquality vocal -based housefrom the US ismaking acomeback.Those cleanerproduction val-ues are goodfor radio."

Cherrillcites B With U

by Junior Sanchez feat.Dajae (Rsenal) as beingindicative of this newtransatlantic trend. But heis also sanguine about thechances of individualtracks receiving airplay."The sheer volume oftrance releases has made ithard for labels becauseradio cannot play them all,"says Cherrill. "But some-times it all falls together."

Big trance hit?The Awakening by York(Adrenalin) is on the B -Listat UK public CHR stationBBC Radio 1 FM threeweeks before release and isshaping up to be perhapsthe last big trance hit of theyear. Manifesto are also torelease the album Shine byThe Space Brothers thismonth while Yomanda'sSynth & Strings, a 200,000seller in the UK, is just outin Europe.

While it is tempting tolump the UK and Germanytogether due to theirshared love of trance,things are not that simple."The bombastic trancesound, as typified by DJSakin & Friends' ProtectYour Mind and Dragonfly(Intercord), which is verydifferent to ATB and UKtrance in general, has beenhuge here but is now fadingaway," says ThomasKlauke, A&R manager atStuttgart -based Intercordlabel, which is also thehome of Blue Nature. "Atthe same time radio is play-ing more home grown hiphop and R&B, which is cut-ting down the potential forcrossover club hits."

As for the general fate ofdance music in Germany,Klauke is cautious, butultimately not terribly opti-mistic. "Eiffel 65 andWamdue Project are on theradio," he says, "becausethey are very catchy tracks.The reduction of dancevideos on [German musicTV channel] Viva, fromaround three out of 10 toone out of 10, alongside alack of radio airplay ispolarising the scene. It hasto be either very pop ortotally underground."

Common denominatorFor some labels, Copen-hagen -based FX included,radio is simply not in theframe as a promotionaltool. "We don't even presentour records to radio,"admits FX promotion man-ager Peter Skovsted. "Weprefer to work tracksthrough the clubs and sendoui acts out on tour."

It is not that Skovstedhas any problem withDanish radio and its atti-tude to dance, but radio is,as in many countries, arather conservative, adver-tising -led medium that isalso restricted by its geo-graphical range. "The lawin Denmark limits stationsto a maximum of 160 wattsbroadcast power, whichputs pressure on the pro-grammers to go for thecommon denominator inpursuit of their limitedaudiences," he says.

Commercial CHR sta-tion The Voice is, however,a big supporter of dancewith three influentialshows. "Jakob Lund's after-noon mix show is the mostimportant," says Skovsted,"but Morten Trost and L.P.

Stovring are influential too.Other stations follow theirlead."

Despite not using radio,FX has produced a steadystream of material thatgoes over well in the clubs.Two to watch are Krystal'sBurning Flame, which fea-tures a vocal by Abfahrt'sNosie Katzmann-and isalready being hammeredby Paul Oakenfold-plusETA's debut album NoSmoking.

Fresh energyIn. Holland, Rob Bouhuis,MD of United Recordingssays radio is vital to thecommercial success of Dutchdance producers. They are,however, caught in thehorns of a dilemma: "Beforeconsidering a track, radioasks if it's selling, but itwon't sell without radio playand retailers won't stock thetrack without a Top 100entry. To get that you needradio plays!" he says.

Despite this, Unitedscored big with Put YourHands Up by the Black &White Brothers, but onlyafter applying extra mus-cle. "You need power to geton the radio and you need adance smash on [CHR-/dance station] Radio 538 toget a hit," Bouhuis states."So you have to hire outsidepromotion, which doesn'talways work."

Italy is refreshingly dif-ferent. There radio DJspay attention to what clubjocks are spinning andplay the tracks on theradio. "There are certainclub DJs," says EnergyRecords head of A&RAlvaro Ugolini, "such asNino Scarico at Club RadioLondra in Rome, Massim-ino at Peter Pan in Riminiand Stefano Gambarelli atVilla de la Rosa in Riminiwho are very upfront.They really do influenceplaylists."

Currently riding high inthe Eurochart Hot 100 withAnn Lee's 2 Times (X -Energy), Ugolini feels thatItaly has now recoveredfrom its mid -'90s slump."Eiffel 65, Ann Lee andEclipse are all Italian pro-ductions," he says, "and theremix of the WamdueProject track was done byMas Collective fromRimini. Italian music is ona real high at the moment.I don't say 'dance music'because these days clubmusic is pop music."

MUSIC & MEDIA eD SEPTEMBER 25, 1999AmericanRadioHistory.Com

CHART

Dance BeatThe European Top 40 Dance Traxx, which is pub-lished for the first time this week in Music &Media, combines two different types of dancecharts: clubplay charts (based on DJs' feedback)and dance sales charts.

These charts are sourced by MIS, the Germancompany which compiles the European Top 40Dance Traxx, from different established providersof national dance charts. "This method was cho-sen because we didn't want to create dozens ofnew dance charts in European countries," ex-plains Harald Roth, owner of MIS.

All in all, the European dance chart is basedon 22 different component charts that collectivelyinclude data from more than 1,800 DJ reportersand some 300 specialist stores.

The overall weighting of clubplay and salescharts is based on a ratio of 2/1. However, theclubplay/sales ratio of individual tracks on thechart can differ from this overall ratio, as individ-ual tracks do not necessarily become available inthe shops when being played in clubs.

Readers can identify countries where thetracks are being played ("CP") or selling ("S") withthe percentage of clubplay and retail detailed foreach track.

Each country is weighted according to itsmarket size, based on IFPI statistics. MIS hasadded an additional weighting factor, reflectingthe influence of some markets, plus a specificweighting factor influenced by the country's po-tential of producing cross borders hits. "It's eas-ier to reach a certain rank on some nationaldance charts that are compiled from only a sam-ple of a few dozen [clubs or DJs] reporting,rather than with those compiled using hundredsof reporters," explains Roth. "We decided to takethis into account to make sure that tracks cannotend up on the European Top 100 with only asmall number of reporters."

The Dance Traxx is based on the informationfrom the following clubplay (CP) and specialistdance sales (S) sources: UK=United Kingdom:Music Week Club Chart (CP), CIN Dance Singles(S); Au=Austria: Deejay Top 4ty (CP); D=Ger-many: DDC Deutsche Dance Charts (CP+S); E=Spain: Deejay magazine Technics Top 50 (CP);H=Holland: IDP Dance Board 50 (CP), StichtingMega Charts/Dance Trends (S); Cz=Czech Rep.:Czech Dance Chart (CP+S); B=Belgium: IDPsBelgian Dance Chart(CP), Ultratop 40 Dance (S);Hun=Hungary: XinJOY Club Chart (CP);F=France: Extra Club Musibox System (CP),Maxi Dance (S) Thierry Savignac/MusiboxFrance; I=Italy: Media Italian Top 30 ClubCarts/Musica e Dischi (CP), Canali Vendita Mix(S); S=Sweden/N=Norway/Fi=Finland: DeeJayPromotions Swedish, Norwegian, Finnish DanceChart (all CP); Dk=Denmark: M&I Servicedancechart.dk (CP); Pol=Poland: Top 30 DanceChart (CP), DJ Promotion/DMC DJ Top 50 (S).

EUROPEAN DANCE TRAXX EllCompiled by Music Information Services, Langenzenner Str. 10, D-90513 Zirndorf, Germany, phone & fax +49 (0)911 602681

ThisWeek

LastWeek

WeeksCharted

TITLE Original LabelMist Clubplay & Dance Sales Combined Reports Charted - BPM

PeakCO

1 2 9 0- FEEL GOOD *** NO.1 *** [1st week] MultiplyPhats & Small CP(73%): DSDkNFilAuFBCzPolHun / S(27%): DHBFCzPoI - 130 1U.K.2 1 17 BLUE (DA BA DEE) Skooby (Bliss Co.)Eiffel 65 CP(83%): DHSDkNFiAuFBCzE / S(17%): DECzPol -128 1Italy3 3 10 * THE GROOVE I HAVE (GET GET DOWN) MoodyPaul Johnson CP(75%): UkDIFBE / S(25%): DHBF - 127 3USA4 9 2 0 SUN IS SHINING *** Top Overall Mover/Top Clubplay Mover *** Hypnotic/edelBob Marley Vs. Funkstar Deluxe CP(74%): UkDSDkNB / S(26%): DHBI - 129 4Jam/Dk5 4 9 0 SEPTEMBER '99 Columbia/INCredible

Earth, Wind & Fire CP(75%): DHSDkNFiAuBPolE / S(25%): DHBFPoI - 1293

USA6 7 15 * MAMBO NO. 5 Lautstark (BMG)

Lou Bega CP(75%): SDkNFiAuFCzE / S(25%): FCzPoll - 126D

7 5 27 TURN AROUND Boo (Multiply)Phats & Small present Mutant Disco CP(88%): HSDkNFiAuFCz / S(12%): FCz - 131

1

U.K.

8 6 21 2 TIMES X -EnergyAnn Lee CP(91%): UkHSDkNAuFCzHun / S(9%): FCz - 1294

U.K.

9 8 12 SUNSHINE & HAPPINESSNerio's Dubwork feat. Darryl Pandy Reshape (Spotsound)CP(75%): UkDFBL / S(25%): OF - 124 7Italy6

USA1013 39 * KING OF MY CASTLE Strictly Rhythm

Wamdue Project CP(97%): SDkNFiAuCzPolE / S(3%): Cz - 125

11 11 17 SING IT BACK EchoMoloko CP(65%): UkSNFiIAuFPoI / S(35%): UkF - 1243

U.K.

12 14 9 AFTER LOVE Gang GoBlank & Jones CP(84%): DHIHun / S(16%): D - 137 12D13 10 18 KILLER Kontor (Urban)ATB CP(89%): HSDkNFiICzHun / S(11%): FCzPoI - 133 3D14 41 26 * BETTER OFF ALONE Violent Rec. (Zomba)DJ Jurgen (Alice Deejay) CP(71%): SDkNFiFHun / S(29%): Ukl - 137 14H15 12 6 RENDEZ-VU XL RecordingsBasement Jaxx CP(73%): DNFiIAuE / S(27%): UkD - 125 12U.K.16 16 11 SYNTH & STRINGS ManifestoYomanda CP(66%): UkDSDkNPolE / S(34%): UkHB - 138 11U.K.17 21 5 * MY LOVE IS YOUR LOVE AristaWhitney Houston CP(96%): SDkFiAuPolE / S(4%): Pol - 134 17USA18 19 19 WHAT U NEED Strictly RhythmPowerhouse feat. Duane Harden CP(85%): SNFiFHun / S(15%): F - 127 2USA19 27 4 - FIVE FATHOMS VirginEverything But The Girl CP: UkDDklAuE -r 131 19U.K.20 20 14 HEY BOY HEY GIRL VirginThe Chemical Brothers CP(95%): SFilAuCzHun / S(5%): Cz - 127 8U.K.21 26 23 * THE LAUNCH *** Top Dance Sales Mover *** Mo'Bizz (Digidance)DJ Jean CP(49%): UkIF / S(51%): UkF - 13-7 2H22 15 11 IF YOU HAD MY LOVE Work Group USAJennifer Lopez CP(96%): SDkFiAuFE / S(4%): Pol - 94 3Puer.23 17 19 SALTWATER XtravaganzaChicane feat. Maire Brennan CP(68%): AuBE / S(32%): Uk - 131 7U.K.24 62 3 * DON'T GO '99 MuteYazoo CP: SDkNAuPol - 126 24U.K.25 24 5 *- HORNY HORNSPerfect Phase 2 -PlayCP(72%): DH / S(28%): H - 139 24H26 29 2 0 COMMUNICATIONMarioBXR (Media)Piu' CP(77%): DI / S(23%): D - 137 26Italy27 45 2 0 I NEVER KNEWRoger Sanchez R-Senal (Strictly Rhythm)CP: Ukl - 126 27USA28 55 2 B WITH UJunior Sanchez feat. Dajae R-Senal (Strictly Rhythm)CP: Uk 28USA29 22 10 OPEN YOUR EYES SuperflyNalin & Kane CP(74%): DNBE / S(26%): DB - 134 6D30 18 14 WE'RE GOING TO IBIZA! Breakin` Records (Zomba)Vengaboys CP(70%): SDkNFCz / S(30%): FCzPol - 138 3H31 30 31 * DON'T STOP Kontor (Urban )ATB CP(83%): UkF / S(17%): F - 135 6D32 25 3 TOGETHER '99Talla Vs. Taucher Sony Dance DivisionCP(63%): DI / S(37%): D - 138 25D33 34 14 0 WILD WILD WESTWill Smith feat. Dru Hill & Kool Moe Dee ColumbiaCP(92%): SDkAuFCz / S(8%): CzPol - 106 7USA34 43 6 * THE FUNKY NIPPLES E.P. Milk & Sugar

Lost 'N' Alive CP(79%): D / S(21%): D - 12634D

35 69 2 0. GOTT TANZTEDJ Taylor + F.L.O.W.Plaque (Tolle Tone)CP(64%): DAu / S(36%): D - 141 35Au36 42 14 0. EMBARGO!Embargo! Discobox/ClockworkCP(60%): F / S(40%): F - 135 36F37 64 2 .0

-.HEART OF ASIA UnderdogWatergate CP(76%): D / S(24%): D - 138

37D

38 37 6 STOP THE ROCK Stealth Sonic RecordingsApollo Four Forty CP: DFiIAuEHun - 138 22U.K.39 40 6 I ROCK Kosmo (BMG)Tom Novy feat. Virginia CP(63%): DAu / S(37%): D - 136 27D40 23 14 BOMBA! House Nation (Dance Street)666 CP(59%): F / S(41%): F - 134. 14D

Peak=peak position CO = artist's country of origin CP(%): countries/S(%): countries describes the ClubPlay vs Salesratio of charted countries Bold type country letters = chart entry BPM = beats per minute (if known) * indicates a point

increase of 100% or more; * indicates an increase in points © Copyright 1999 by M.I.S., all rights reserved.

AmsterdamDanceEvent7/8/9 October 1999

DISCUSSIONSPanels and meetings on importantdance music issues.

NETWORKINGNetworking lounge and extendedseparate business meeting room.

SHOWCASESShowcases and performances inthe best clubs in Amsterdam.

PROMOTIONExtensive media coverage. Over800 music business professionals.

Late registrationDfl 400,- (approx Euro 180) cash only

Daypass (only acces to the day program)Dfl 200,- Wpm, Euro 90) cash only

Amsterdam Dance EventPO Box 9291200 AX HilversumThe NetherlandsTel: +31 35 621 8748Fax: +31 35 621 2750Email: [email protected]: www.amsterdam-dance.n1

EUROPE'S MAIN DANCE MUSIC CONFERENCE

MUSIC & MEDIA CD SEPTEMBER 2 5 , 1 9 9 9


SALES

week 39/99 Eurochart Hot 100° Singles

0

TITLE! '5 ARTIST

original label (publisher)

Mambo No. 5 A_B.DKFIN.F.D.GRE.I.R.L.LNL.N.E.S.CH.UKHUN.0 1 20 Lou Bega - Lautstark IBMG (Peer Music)countries

charted

Blue AB.DKFIN.F.D.IRL.LIVL.N.E.S.CH.UKHUN.2 2 17 Eiffel 65 - Bliss Co. (Copyright Control)A.B.DKFIN.D.LNLIV.S.CH.UKGenie In A Bottle0 5 5 Christina Aguilera - RCA (EMI I Appletree)

My Love Is Your LOW/LB-DKR DGRE.NL.N.S.CH.U7C.HUN® 3 13 Whitney Houston - Arista (Sony I ATV I EMI)

***** SALES BREAKER *****-

* We're Going To Ibiza A.DK.F.D.IRLNL.NS.CH.UK22 15 Vengaboys - Violent/ Various (Violent I Peer Music)Bailamos ILDK.F.D.GRE.DIL.I.NL.NES.CILUKHUN.0 4 14 Enrique Iglesias - Universal (Rive-Droite/Warner Chappell)If You Had My Love A.B.DE.F.D.GRE.IRLINL.E.S.CH.UKHUN.

C) 6 13 Jennifer Lopez - Work1Columbia (Sony ATV I EMI I CC)AB.DICF.D.IRL.NL.N.E.S.CLLUK0 2 Times8 15 Ann Lee - X -Energy (Energy Music, Off Limits)

Wild Wild West A.B.DKED.GRE.IRLLNL.E.S.CH.UK.HUN.9 7 12 Will Smith - Columbia (Various)

Summer Son0 13 5 Texas - Mercury (EMI I Anxious I Universal)

# When You Say Nothing At All AB.DKDIRLIVL.N.S.CH.UK10 7 Ronan Keating - Polydor (MI Universal 1 Scarlett Moon1BMG)Tomber La Chemise

14 15 Zebda - Barclay (Not Listed)

B.F.NL.

Unpretty A.B.FIND.IRL.LNL.N.S.CH.UK.HUN.0 12 5 TLC - LaFace/Arista (Crypton I EMI I Grung Girl)The Launch IRL.UK

14 11 2 DJ Jean - Mo'Bizz I Digidance (IMN I Basart I Minder)

Kiss Me ARD.INL.S.CH.15 15 17Sixpence None The Richer - SquintlElektra (Squint/My So Called Music)

King Of My Castle ADKDIV.S.CH.16 9 33 Wamdue Project - Airplane (Copyright Control)

,4 MickeyLW. Lolly - Polydor (BMG)

IRL.UK

®Mi Chico Latino A.RD.IRL.LS.CH.UK20 4 Geri Halliwell - EMI I EMI (EMI I 19 I BMG)

That Don't Impress Me Much ARDIRUNLEHMCHEIN19 19 22 Shania Twain - Mercury (MCAI PolyGram)

TITLEARTIST

N 2 original label (publisher)

countriescharted

Together34 31 2 DJ Bobo - Metrovinyl I EAMS (Not Listed)

AD.CH.

Afrika ShoxLeftfield - Higher Ground (Various)

UK

@Mit Dir

37 8 Freundeskreis - Columbia (BMG Ufa)ARCH.

Jamais Loin De Toi28 13 Laam - DLA I EMI (Warner Chappell)

B.F.

Bills Bills Bills38 36 8 Destiny's Child - Columbia (Various)

B.D.IRL.IVL.S.CH.UK.

040 Moving - Parlophone (EMI) IR.L.N1..UK.I've Got You

40 30 2 Martine McCutcheon - Innocent (Various)IRL.UK

0 Along Comes Mary32 13 Bloodhound Gang - Interscope (Rondor) A.D.CH.Sate San

42 40 8 Ofasia - Une Musique (Not Listed)

® Du 'rragst Keine Liebe In Dir47 4 Echt - Edel (EMI)AD.CH.

Feel Good62 6 Phats & Small - Multiply (Various)

B.F.D.IVL.CH.UK

Mon Ange57 5 Nathalie Cardone - Columbia (Not Listed)

F.

The Kids Aren't All Right46 35 2 The Offspring - Columbia (EMI)

B.HILLIVLS UK

Turn Around B.F.D.CH.47 38 25 Phats & Small - Multiply (BMG /Warner Chappell( Apesch)

@Alter Plus Haut

83 3 Tina Arena - Columbia (Not Listed)F.

Daddy Cool '9949 42 3 Boney M - Hansa (Far I Intro)

B.F.D.GRES.

There She GoesSixpence None The Richer - Squint! Elektra (Go! Discs)

UK.

La Playa45 4 La Clinique - Virgin (Not Listed)

F

0 ,,, Summer GirlsLKI. Lyte Funkie Ones - LogiclArista (Dow Tone 1 BEY 1 Transcontinental)If Ya Gettin' Down B.DKD.GRKIRLLIVL.E.S.CH.UK.0 17 8 Five - RCA (MCAIPolyGram /Windswept Pacificl Sony ATV)

@Tut Ne M'as Pas Laisse Le Temps

18 15 David Hallyday - Mercury (Maritza /Warner Chappell I Atletico)

B.F.

If I Let You Go B.DKFIN.D.IRL.NI,.N.S.UK22 24 5 Westlife - RCA (BMG I Grantsville I Zomba)Om> Iodheotad Touch

Bloodhound Gang - Interscope (Rondor)A.D.CH.

0 Sing It Back27 4 Moloko - Echo (Chrysalis) B.RD.IRLIVLCH.UK.Friends Forever UK

124SP ThlInderblIgS - 1st Avenue/ Epic (1st Avenue( Warner Chappell)

Sometimes B.F.D.IRLNL.S.CELUKHUN.26 23 14 Britney Spears - Jive ((Zomba I BMW

# Better Off Alone B.D.IRL.LNS.UK.29 8 DJ Jurgen - Violent I Various (Peer Music /Various)Livin' La Vida Loca .BED.GRE.IRL.LIVLS.CH. UK29 21 20 Ricky Martin - Columbia (Various)

Fasterharderscooter41 5 Scooter - Club Tools/Edel (Loop Dance I Hanseatic)

0 Mucho Mambo16 3 Shaft - Wonderboy (Chrysalis) IRL.UKBeautiful Stranger B.RD.GRE.I.NL.E.CH.UKHUN.

31 26 15 Madonna - Maverick /Warner Bros. (Warner Chappell1Rondor)Un Jour Viendra

34 3 Johnny Hallyday - Mercury (Not Listed)B.F.

® La Manivelle33 6 Wazoo - Une Musique (Not Listed)

@The Road Ahead58 6 City To City - EMI (Not Listed)

B.NL.

Forever Tonight D.CH.Christian Wunderlich & H - Ariola (Not Listed)

@ Burning Down The House B.FIN.NL.N.S.LOP Tom Jones & The Cardigans - V2 (Not Listed)

0 Where My Girls At?74 7 702 - Motown (Various) D.NL.S.CH.# Mamma Mia39 19 Abba Teens - Stockholm (Bocu) B.NL.S.UK.O I Never Knew Love Like This52 Organiz' - Jam Productions I AMC (Not Listed)

1sSaltwater" Chicane - Xtravaganza (Various)

B.D.GRE.NL.CH.

Guilty. Conscience60 48 6 - Interscope (EMI 'Various)D.IRL.NL.S.UK

@ 12On Ne S'Aimera Plus

46 Larusso - EMI (Not Listed)

Papa Chico0 60 11 Jamalak - M6 Int. (Not Listed) F.Drinking In L.A.IRL.UKBran Van 3000 - Capitol (Kaligram I Audiogram)

4:1\ Summertime Of Our Lives25 2 Al - Columbia (EMI)

UK

P.E. 200043 5 Puff Daddy - Puff Daddy (EMI/Various)

DORE.NL.CH.

Super Trouper66 51 6 Abba Teens - Stockholm' Polydor (Bocu)DKNL.N.S.

Stop The Rock67 55 4 Apollo 440 - Epic (Reverb I Universal)

D.IRL.LE.UK

©BPI Communications Inc

8

TITLErt 1. ARTISTc. 2 original label (publisher)

countriescharted

Mamboleo68 64 11 Loona - MCA (Copyright Control)

A.D.CH.

0rs, Red Sun RisingLa,' Lost Witness - Sound Of Ministry (Complete) UKBomba

64 5 666 - Dance Street (Not Listed)

O Summertime50 3 Another Level - Northwestside (Various)IRL.UK.HUN.

Everything Will FlowO LEV Suede - Nude /Nude (Universal)

FIN. UK

O0Brand New Day

100 2 Sting - A&M (EMI /Magnetic)FIND.LNL.CH.

Iris70 4 Goo Goo Dolls -Hollywood (Scrap Metal /Virgin IEMBDIRL NL.

Les Marseillais75 66 Charly & Lulu - M6 Int. (Not Listed)

F

0 Simbaleo" 5 Mr. President - WEA (Warner Chappell) AD.CH.# Profit In Peace61 3 Ocean Colour Scene - Island (Universal) IRL.UK0 Don't StopIZI> ATB - Kontor (Not Listed) B.F.

All'N My Grill71 2 Missy Elliott & MC Solaar - Elektra (Not Listed)

Ist Nicht Der Richtige65 4 Ricky & Laura - East West (Sony ATV)

D.CH.

Je Sais Pas Jouer68 7 Pierpoljak - Barclay (EMI)

F.

0 T'Es Zinzin87 23 DJ Xam - Latitude (Not Listed) B.F.0 Every Day, Every Moment" 2 Agnelli & Nelson - Xtravaganza (Notting Hill) IRL.UK.0 1st Man In Space114P All Seeing I - MT (Universal) UK® No Scrubs

FGRE.LCH.

56 25 TLC - LaFace I Arista (EMI /Windswept Pacific)

78Vivre Pour Le Meilleur B.FJohnny Hallyday - Mercury (Maritza (Warner Chappell I Atletico)

I Feel Lonely D.CH.HUN.87 73 12 Sasha - WEA (Mick I BMG Ufa I Hafenklang)

Au Nom De La Rose88 84 22 Moos - Mercury (Not Listed)

®Bu Gece77 6 Tarkan - Istanbul Plak (Not Listed)

e Rigga Ding Dong Song AD.CH.90-63 15 Passion Fruit - Epic (BMG Ufa I Warner Chappell)

3I Wouldn't Believe Your RadioStereophonics - V2 (Universal)

IRL.UK..

92 82 4 Jacko1 Wat

Radiosr EMI (Not Listed)

A.CH.

93 72 41999Binary Finary - Positiva (Ard I R&E)UK

0 From The Heart85 15 Another Level - Northwestside (EMI) B.D.NL.S.0 Gott Tanzte A.D.LOor DJ Taylor & Plow - Musica I Musica (Not Listed)0 All Or Nothing80 14 Cher - WEA (Rive-Droite I Warner Chappell) FCH.

Just Another Day86 Sko - Vogue (Not Listed)

F

0, Ich Leb' Fiir DichMir Sabrina Setlur - 3P I Epic (Not Listed)

D.CH.

I Got A GirlLe4, Lou Bega - Lautstark I BMG (Not Listed)

A.FIN.D.IRL.

The Heart Of The OceanLA? Mythos & DJ Cosmo - Club Tools/Edel (EMI)

B.F.

A = Ansbia, B= E Jahan,c E=Crech Rebublic, DE= 0camark,FIN = Mend, F =France D =Gennenx ML =Ireland, I= Only,HUN=Huagary, NL =Netherland, N=Naramy P. Portugal, E Sprig Sr Sweden. CH =Switzerland, UK v lloitedKingdam

0 = SALES MOVER ailk =NEW ENTRY a> .RE-ENTRY

singles

tr.**** SALES BREAKER ..**.tr indicates the single registering the biggest increase in chart points.The Eurochart Hot 100 Singles is compiled by Music & Media and based on the following national singles sales charts, CIN (UK), Ireland; Full chartserviZeby Media Control GmbH 0049-7221-366201 (Germany); SNEP/IFOP Tite-Live (France),

usica E Dischi/Mario De Luigi, albums: Fimi-Nielsen (Italy): Stichting Mega Top 100 (Holland); Stichting Promuvi (Belgium), GLF/IFPI (Sweden); UPI/Nielsen Marketing Research (Denmark); VG (Norway); ALEF MB/AFYVE (Spain); YLE 2 Radiomafia/IFPI (Finland); Austria Ibp 30 (Austria);Full chart service by Media Control AG 0041-61-4455(Sluerland)i IPSOS/Mahasz-IFPI (Hungary) IFPI (Czech Republic). COPT Communications RV.

MUSIC & MEDIA ED SEPTEMBER 25, 1 9 9 9AmericanRadioHistory.Com

SALES

week 39/99 European Top 100 Albums ©BPI Communications Inc-$ ii i ARTIST countries

N '1 TITLE charted4 erl Ei original label

4 4 4 ARTIST$ $ B countries 1 "t4 i ARTIST countries- ' '5' TITLE chartedgi° '8_, TITLE . charted $ a.'-I ',, 6 . .

:5 j 5 original label 7F, ,..% q original labelWhitney Houston ARDKFIN.F.D.GRE.HILNL.S.CHUKRUN

1 44 My Love Is Your Love -Arista 0The Divine Comedy IRL.UK. arii..m Christian Wunderlich D.CH.

WI 22 2 A Secret History - Setanta 7:).. ID> Real Go

volume 16, issue 39 media® - worldradiohistory.com...1999/09/25 · music media® september 25,...

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