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mbrown603
Sea Post King


chasd00 wrote:
I stumbled on a hardrock band called FlyLeaf and have been listening to their cd. I recently mentioned it to a coworker and she said she hears them all the time on the radio and loves their song "I'm so Sick". The song isn't bad but it's nothing spectacular either.

I'm trying to figure out why they get regular airplay and not Eisley. I think Marvelous Things or maybe Telescope Eyes is the Eisley analog to Flyleaf's tune yet never received regular airplay. Is the hardrock genre just that much more popular?

I gave up on radio years ago and think it's largely irrelevent now but I don't understand how some new songs play over and over on the radio while other equally good songs don't. It even goes beyond Eisley, what plays on the radio and what doesn't just seems totally arbitrary to me. Anyone have any clues?


You are in Dallas & KDGE has morphed from an alternative rock station to a heavy metal station since 97.1 The Eagle went off the air. Any band willing to put the guitars at 11 & scream into a mike gets on the Edge these days. If Eisley wants to get on the radio they will probably need to get on Mix 102.9.
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McKenzies
Vintage Newbie


how many "indie" bands really get radio play? I really don't know, because I never listen to the radio.

I really have wondered, why don't any Eisley songs get radio play. I mean, there are for sure people that listen to the radio that would like them. Why shouldn't they get the chance?
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Mystic210
Laughing Citizen


I'm still into my conspiracy theories. Though I guess its not just a theory but the fact of "paying for playing" that a lot of record companies/radio stations participate in. Some songs/groups get a following or DJ backing and then become hits but it also seems like songs are pushed on us until we are conditioned to like it from a variety of different sources (I'm thinking like those songs Verizon tries to promote, I hear it on a commerical one day and the next its the number one download in itunes, and then on the radio). I know I definitely got conditioned to a few songs (thought it was crap at first, but it was catchy enough for me to begin to like it.)

I think Eisley definitely had some songs that were unique enough yet still radio friendly. Who knows why they weren't released/properly promoted. Besides having a little luck or good timing, I see artists having to "sell out" to whatever formula is hot at the moment in order to get major radio play. I want them to get big but I hope they maintain their uniqueness too (I think they will). I see them being one of those groups like Deathcab where they may not be rotated on the radio once every hour, but everyone knows who they are or at least knows their name.
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McKenzies
Vintage Newbie


I don't understand why a song has to be "radio friendly". If people will like it, they will like it. Does "radio friendly" mean catchy?
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boone
Vintage Newbie


McKenzies wrote:
I don't understand why a song has to be "radio friendly". If people will like it, they will like it. Does "radio friendly" mean catchy?

It's a buzzword. Phrase.

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Meggers
Vintage Newbie


Flyleaf is all over MTV and MTV2 as part of their Discover & Download program. That may have something to do with it. Maybe Eisley could get involved in that, and maybe that might help with radio.
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Pantheon4
Vintage Newbie


Meggers wrote:
Flyleaf is all over MTV and MTV2 as part of their Discover & Download program. That may have something to do with it. Maybe Eisley could get involved in that, and maybe that might help with radio.


Like someone else (probably) said in this thread, I think that Eisley would have more luck with VH1's "Artists You Ought To Know".

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Kayci
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I'd rather never hear Eisley on the radio than have them conform to fit the phrase "radio friendly.."
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Last edited by Kayci on Fri Jun 09, 2006 7:16 am; edited 1 time in total
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chasd00
it's pronounced "chasdew"


boone wrote:
Agreed. Eisley could be a pretty big VH1 draw at least if the label knew how to present them.

I don't see what's so hard about marketing Eisley. I know there has to be something hard about it otherwise it'd be done. How come they aren't all over mtv or vh1? The music is just as good and fresh as flyleaf just a different genre... i'm beginning to think it's just the style of music is hard to market. Marketing Eisley, as a band, seems like a no brainer to me.

ps as far as Flyleaf songs go, So I Thought my second favorite with Cassie being my favorite.

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Mystic210
Laughing Citizen


boone wrote:
McKenzies wrote:
I don't understand why a song has to be "radio friendly". If people will like it, they will like it. Does "radio friendly" mean catchy?

It's a buzzword. Phrase.


Um....maybe I meant catchy? But also fitting a certain formula perhaps?

A song doesn't HAVE to be "radio friendly" to be good. But you have to admit that most of the songs on the typical "popular" neighborhood radio station have a sound, a very similar style that fits into a particular genre that one can put a label on. So I was going along more with that line. But yeah just a phrase I used late that night when I was typing it. Very Happy
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treetops12
Vintage Newbie


I'm e-mailing a request for an Eisley song to this local radio station who calls itself "mix 106.5" , but I guess what they meant was a mix of poppy music and nothing else. Luckily Eisley can fit into that category.
I wonder if they even have Room Noises?

This is the kind of stuff they play:
http://todaysbestmix.com/skin/blurb.php?sectionId=184&contentId=101309

I requested Telescope Eyes. Everyone should email a request for it because I know people listening will like it and then maybe they'll play it more.


mmartinez@kezr.com

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boyd
Eisleyoid


This is why I love Eilsey fans so much.... topics like these followed by
intellegient, thoughtful, thought provoking comments/questions. Thanks
Chad and fellow opinionators.

I keep trying to learn more and more about radio... the various formats,
bands that get airplay, labels that push them and why... Honestly, it"s still
largely a mystery.

I can approach the topic based on what i know about Eisley's situation and
what I've learned from people that really know. I'm just afraid it would turn
into one of my novels. Here's my crude understanding...

Labels

Decision makers who determine the outcome for radio for bands:

• The Radio guy at the label
• Dept heads who oversee a specific band: Marketing, A&R, Sales, etc.
• President of the label

They all get together and discuss a.) is there a single, b.) which format to
go after c.) how much to spend pushing


In the case of Eisley, Phil Costello, is (was) the radio heavy - presiding over
all radio accounts at Warner Reprise. I just learned from researching on
line that he's GONE - resigned 5/18. hmm.

My understanding from discussions about Eisley's potential tunes and
radioplay: (they said:) Rock radio is a guy dominated market. Girlish
bands generally get pulverized... In other words, even if you "push"
(spend money), it's likely not to make it... chart... stay on top... thus, you
waste your money.

BTW. Labels pay separate companies for the most part to push...
"promoters" as such, pay money - contribute to radio promotions, etc...
as long as it isn't apparent that those dollars apply directly to a certain
band, they get away with it (loopholes). But it is true that labels can
certainly pay directly to play songs on the radio... but have so say: "paid
for by Arista or WB or whoever". dig? But make no mistake - labels pay
hundreds of thousands to "push" their bands radio songs if they feel certain
they'll get a "hit single".

It's my understanding that this trend is in jeapordy as many of the radio
stations - especially "ALT ROCK" stations are dying. No joke. Many of the
big stations in NY, LA, Chicago... all over the US are dead; gone... or they
changed formats to ethnic stations or whatever/wherever the biggest
void was in their market.

That leaves "POP Radio" as the biggest go to market. Say, for
example, Alt Rock radio was (i think) reaching or reaches 8 million, POP
radio reaches 18 million. That's why bands like Yellowcard, Sum41...and so
many are HUGE. It's also why so many bands try to write "POP songs".
That's why so many bands get accused of "sellling out"... but think about
it; Look at "Maroon 5". Those 2 hits are STILL in rotation. They get paid
every time it's played. Those songs might be in rotation for 20 more years
on Pop radio. Get the picture? Why are bands like -even Head Automatica
and many many more writing POP songs? (I actually like their new record a
lot and it's not always a situation of selll out... case in point, Eisley loves
their ethereal poppish tunes and so do you guys) But make no mistake - if
Green Day's record wouldn't have gone to POP radio... they wouldn't have
been able to sell out STADIUMS on their last record.

What constitutes a HIT SINGLE? I don't know!! I am clueless. But
labels "push" and certain songs "chart" on "Billboard"... and then there's
this self-perpetuating rise to the top as advertisers and stations make
assumptions that these are the best, most popular songs... thus creating
"HITS". Media and press and fans all play into it, of course. How does "Fall
Out Boy" get so freaking huge overnight? POP radio... followed by front
page press in the trade's... followed by fickle fans who believe the
latest trendy band is for them. (no insult to Fall Out Boy if you
are fans... but that "hit" on the radio irritates me to no end! Other songs off
their record are far less annoying... even catchier and way better in my
opinion)

BY THE WAY I know for a fact that a top VIP at a major label:
believes that POP radio is the biggest marketing tool followed by "internet"..
not even other radio formats...

Anyway, it was WB's opinion based on some research and feedback they
received from "RADIO" (no. they actually send out the pre-release disk to
station programmers... they do get feedback) was that Telescope Eyes
probably had no chance... I don't know about the others. I supposed they
calculated the risk and determined to pass. I am still glad.... YES. I am glad
Eisley didn't end up on radio on their first record. At their young, tender
age, they were, instead allowed to tour, tour, tour... gain respect, respect,
respect.... pick up FANS, FANS, FANs... and now tons and tons of other
bands love them. Was it the way to get BIG.... FAST? Nope. It was a way to
grow. And growth is the key word. Had they spent hundreds of thousands
of dollars... the band would be further in debt to the label, and the label
would have a sour taste in their mouth for the next best gamble... What if
T.E.'s wouldn't have charted... good money after bad... creating a bad
economic vibe... lost interest from WB... less faith in the next radio
opportunity. I dunno. I know there were other great songs. Who knows. It's
to late to worry about it now. "Room Noises" is in the past.

If Eisley gets a song on the radio NOW, it could be productive...
not damaging. Could it happen? There are a few amazingly suspicious radio
songs brewing... you guys heard the early, pre-produced version of
them...but I'm not banking on Eisley reaching POP radio.

That's the US. In the UK, it's a different story:

They still base everything off the "CD Single". That is... bands release "CD
Singles" on the radio over there... kids go buy it in stores and projections
and airplay are based on the success of this strange product (literally... it's
a cd in stores with one song on it).

I'm tired of rambling. I know nothing really... but it's a little information to
toss into the mix. I have so many thoughts and opinions on all of this... I
could write a book called, "The Stupid Ramblings and Music Industry
Suppositions of the Boid Void - An Opinion-Spewing Dork".

I have opinions on other bands... their journeys, successes, failures... their
records, why they failed, why some succeeded... for example, Death Cab
has a model career. The stakes are higher now than 2 records ago, but
they're in a better place financially. Their next record is important... but
what "next record" from a band isn't important? Records determine the rise
and fall of bands. What do you think of Keene's new record? Are you tired
of the press that "Panic of the Disco" is getting? Which bands are in danger
of being "over-branded"... are we sick of modern (rock) music? Where is
Eisley in the mix of all this? What is a "myspace" band? What is "real" and
what is...just another myspace band? What's happening to labels? Indies?
Who's being empowered? How is the internet changing the industry? What's
the plight of radio? At what point do we realize that every fan is also in a
band? These questions and more are the ones I ponder.

I knew it.... another monologue.

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jonthewallflower
Laughing Citizen


Boyd...you're amazing, thank you for your awesome rants...this is why I love these forums...interesting topics, with intellingent forum member posts...and incredible insight into the minds behind and a part of the band!
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mbrown603
Sea Post King


Boyd, you guys should walk into the 93.1 Mix studio in Tyler every day until they start playing something by Eisley. If Anna Nalick can get heavy rotation on the Mix format, I know Eisley can. The bonus of getting the local Mix channel on board is that the Dallas Mix 102.9 channel runs the same playlist at the same time. When I drive from Dallas to Tyler (which I do most weekends) I can cut between the two stations & they are both playing the same song about 30 seconds apart. But the Tyler station does have local on-air talent. So there are local humans to beg, plead, insist. Be relentless. They'll never know what hit them.
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treetops12
Vintage Newbie


Boyd, we love your monologues. You have a way with words Very Happy

And you SHOULD write a book about the music industry. Tons of people would agree with you. It would be a bestseller Cool

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