The Role of Radio Charts and The Songwriter
On October 26th the Singing News Magazine dropped dozens of charting stations from their charting list. They have reduced their charting stations to 75 in an effort to more accurately present a relevant industry chart in their publication.
Whether you believe this to be a positive move or a negative one, the result for all songwriters is the same. We have to tighten our belts, and write better songs. There a are less than half the charting stations that there used to be. That means for your song to do well on radio, it almost has to be recorded by an established major label artist. And it must receive major airplay at these particular 75 stations.
This will greatly reduce the amount of non label artists charting a new song. And unfortunately for new writers, non label artists may be the only one's cutting your songs at this time.
But that doesn't mean you can't still carve out a place for yourself in the industry. It does mean that is going to be much more difficult to get your songs charted. Some of these 75 stations may very well chart an independent artist singing an unknown songwriter's tune. But it is not likely that many of them will chart it very high. And with fewer stations charting, the chances of that kind of a song charting on enough stations to make a top 40 list, are very slim.
The Singing News has formed the new Singing News Chart Advisory Committee. Two members of the Singing News staff, 9 record promoters and label presidents make up this committee. There is also one artist on the committee. The Singing News stated in a letter to radio stations that this new committee is building a new list of charting stations from scratch. The Advisory Committee has chosen to apportion the new charting stations by state, based on the number of concerts in the state, and the number of Singing News subscribers in the state.
These new charting stations will remain secret, as they have been in the past. If they ever let the word get out as to who these charting stations are, then every independent artist, songwriter, and record label would know just who to target with promotional items and phone calls. The last time I checked, there were about 600 stations currently programming Southern Gospel music. Now the entire industry is represented by these 75 elite stations.
I know that there are other respectable charts in the Southern Gospel industry who still use a much larger base of charting stations, but let's face it, the Singing News chart is the one that the record labels, talent agencies, and concert promoters watch. You can have a top ten song on three other national charts, but if you have not charted in the top 10 in the Singing News, then it is generally not even recognized as a legitimate hit.
Nothing has changed for the charting system in terms of airplay. The charting stations may be playing your song the same number of times that they play their #20 song, or even their #1 song. But if they do not write your song's name on the top twenty chart that they turn in to the Singing News, then the song has earned zero charting points.
The good news is that BMI and ASCAP still pay performance royalties according to the number of times the song was played, and not charting position. SESAC royalty distribution does follow radio charts, unlike BMI and ASCAP.
Now the question arises as to which plays a greater role in generating sales. Is it charting position, or airplay? That debate could go on and on for a long time between industry professionals, and still not come up with an absolute answer. In my opinion, charting position does help generate bookings for an artist. And since the majority of sales in the Southern Gospel industry is done across the product table at an artist's concerts, then it stands to reason that the higher charting groups will sell more product.
Unfortunately for the Southern Gospel songwriter, most professional label artists do not pay royalties on their table sales. They expect the record company to do that. The record company expects the artist to do it, since they have purchased their product at wholesale prices. Most artist's attitude is that the record company pays royalties on retail sales and internet downloads, therefore the royalties have been paid. But my educated guess is that Southern Gospel songwriters are receiving royalties on less than 40% of what is sold at concerts.
I learned about this problem in our industry over 15 years ago from the vice president of a major record label. And still, it has not been addressed in the industry. Perhaps that is because there is no Songwriters Union, and never will be. It is illegal for songwriters to form a union. It was made illegal in the early 20th century when songwriters received Copyright protection under the law. Most songwriters are just thrilled to finally get their songs recorded. Most writers I know are just thankful for whatever does come in financially.
As a professional writer, I know that I am going to have to step up to the plate and write better songs than I ever have. The stakes are much higher now. The available charting stations are much fewer, and there is a much smaller chance of landing a hit than there used to be.
Until next time, keep on writing!
Daryl Williams
http://www.darylwilliamstrio.net
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Written: 11/01/2007 
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The Songwriter
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