Volume 15, Issue 33 Mediae - WorldRadioHistory.Com...1998/08/15 · Music Mediae AUGUST 15, 1998...

MusicMediae

AUGUST 15, 1998

Volume 15, Issue 33

£3.95DM11FFR35

US$7Da11.50

Precious metal: TheCons, stars of the recentIFPI Platinum Europeshow, return to the Top10 of the European Top100 albums chartwe talk to radio

M&M chart toppers this week

t 100 SinglesMICHEL

ODB & MYAtto Supasta

European Radio TDES'REE

Life(Sony S2)

Inside M&M this week

GERMANY IN FOCUSAs the European music industrygathers in Cologne for Popkomm.,M&M looks at the success in theGerman market of domestic hiphop acts and at the pressure build-ing for a reform of public and com-mercial radio in Germany.Pages 13-17

THE SYNDICATION GAMEIn a four -page special, M&M looksat the growth of syndicated radioprogramming in Europe as playersin seek competitive edge in anincreasingly service -rich environ-ment. Pages 6-9

FOLK'S NEW FACE?Eliza Carthy, part ofthe U.K.'s first fami-ly of folk music, rep-resents the feistyyoung face of Eng-lish folk; she's notthe type to "sitaround in tiny clubswearing an Aransweater," as shetells M&M. Page 10

Italian stations faceroyalties demandsby Mark Dezzani

MILAN - Enzo Mazza, secretary gen-eral of Italian music industry associa-tion FIMI, has confirmed that a newpublic company will be launched onJanuary 1 1999 with the purpose ofcollecting and distributing performingrights payments.

The decision to form the new compa-

ny was first announced by FIMI at itsJune 30 annual general meeting (M&MJuly 11). It will be owned directly by thecountry's participating major and inde-pendent record labels. "The new body'sshares will be available to any Europeanrecord company," says Mazza.

He acknowledges that neitherFIMI, nor Italy's independent labels

continued on page 29

)ny Music etainmenwhale."

Sony Muwt

Tina Arena's In Deep, one of the best selling albums of 1998 in her nativeAustralia, will be released in Europe through Sony Music on October 12,preceded on September 28 by her single with Mark Anthony, I Want ToSpend My Lifetime Loving You (from the U.S. hit movie The Mask Of Zorro).Pictured with Arena at the recent Sony Music Entertainment (SME) con-vention in Miami (1 to r): Mel Ilberman, chairman, Sony Music Internation-al; Denis Handlin, chairman, Sony Music Australia; Bob Bowlin, president,SMI; and Paul Russell, president, SME Europe.

German youth targetedby Ed Meza

BERLIN - AC/oldies/full service broad-caster FR 1 in the city of Frieburg, andnew AC station Sky Radio/l3aden-Baden are planning joint developmentof a youth -oriented station, aimed at a12-21 year -old demographic.

In September, Sky Radio (unrelatedto the Murdoch empire) and FR 1 willlaunch a youth -oriented pilot pro-gramme on Friday and Saturdayevenings. According to Christian Fri-etsch, Sky's general manager, while thestations will broadcast joint program -


Listeners dropat BBC Radio 1by Mike McGeever

LONDON - National U.K CHR net-work BBC Radio l's haemorrhage of lis-teners continued in the second quarterof 1998, according to RAJAR/RSL lis-tening figures released at presstime.

Overall, weekly listening to R1 wasdown 363,000 lis-teners to about9.4 million. Com-pared to the pre-

vious quarter, R1 lost 264,000 listenersduring the 06:30-09:30 slot; its break-fast audience for the period was justshy of 4.4m listeners.

However, the second quarter was more encouraging for commercialradio, which took its highest ever totalshare of listening audience -51.1 per-cent of the market.


WEA seeks amillion Mariasby Christian Lorenz

HAMBURG - RadioMaria may be getting amixed reception fromGerman stations, butWEA still expects a mil-lion record buyers totune in...

Warner Music's Ger-man affiliate WEA ispredicting that RadioMaria, the new albumfrom Marius Muller-Westernhagen, willbe one of its biggest releases this yearwhen it hits stores on August 17.

The label expects to sell over one mil-lion copies of Radio Maria before "we


1

my favorite mistake

the long awaited new single my favorite mistaketaken from the forthcoming album

AmericanRadioHistory.Com

alisha s atticTHE EVOCATIVE FIRST sinGLE FROM THE FORTHCOMirIG ALBUM ILLuminil


EWS

Musicediw.Media.Call M&M on:

tel (+44) 171 323 6686fax (+44) 171 323 2314/16

Editorial!Editor in chief: Emmanuel LegrandManaging editor: Tom FergusonNews editor: Jonathan HeasmanFeatures/specials: Terry HeathMusic business/talent editor: Christian LorenzProgramming editor: Mike McGeever

CI ictrts 84. rsedraCharts editor: Raill CairoCharts researchers: Menno Visser,Siri Stavenes

ProductionProduction manager: Jonathan CrouchDesigner: Dominic Salmon

Correspondents:Austria: Susan L. Schuhmayer - (43) 1 334 9608Belgium: Marc Maes - (32) 3 568 8082Classical/jazz: Terry Berne -(34)9 3458 3791Czech Republic: Michele Legge -(42) 2 248 75000Dance Grooves: Gary Smith -(34)9 3488 2180Denmark: Charles Ferro - (45) 3391 9156France: Remi Bouton (radio and musicbusiness) - (33) 1 4586 8466; Cecile Tesseyre(artist profiles) - (33) 1 4909 0896Germany: Ed Meza (radio) - (49) 4239782Greece: Cosmas Develegas - (30) 935 65641Italy: Mark Dezzani - (39) 184 292 824The Netherlands: Robbert Tilli - (31) 20-672 2566Norway: Kai Lofthus - (47) 918 21 208Spain: Howell Llewellyn -(34)9 1593 2429;Sweden: Keith Foster - (46) 8 366 228

Soles cane! MarketingDirector of advertising sales:Christine ChinettiInternational sales director:Ron Betist (UK, USA) - (31) 299 420274;mobile: (31) 653 194133Sales executives: Christine Chinetti (G/S/A) -(44) 171 323 6686; Igor Rooselaar (Benelux;Scandinavia) - (31) 299 420274Francois Millet (France) - (33) 145 49 29 33Beth Dell'Isola (US Radio) - (1) 770 908 8373;Lidia Bonguardo (Italy, Spain, Greece,Portugal) - (39) 362 54 44 24.Acting sales & marketing co-ordinator:Yvonne AkpovetaInternational circulation director:Tim FreemanEuropean circulation promotionmanager: Paul BrigdenCirculation assistant: Dan GennoeFinancial controller: Kate LeechAccounts assistant: Christopher BarrettOffice manager: Linda Nash

Music & Media23 Ridgmount St, London WC1E 7AHUNITED KINGDOMPhone numbers : (44) 171 323 6686, (44)01858 435326 (subscriptions)Fax numbers : (44) 171 323 2314 (editorial)(44) 171 631 0428 (sales), (44) 01858 432164

Subscription rates :United Kingdom UK£160 ; Germany DM399;Benelux Dfl 397 ; Rest of Europe US$ 269; USA/Canada US$ 275; Rest of the world US$ 275Printed by:Headley Brothers Ltd, Queens Road, Ashford,Kent TN24 8HH

ISSN : 1385-612© 1998 by BPI Communications Inc.All rights reserved. No part of this publicationmay be reproduced, stored in any retrievalsystem, or transmitted, in any form or by anymeans, electronic, mechanical, photocopying,recording, or otherwise, without the priorwritten permission of the publisher.

Mood lkfuec Gem)President: Howard LanderSenior VP/general counsel:Georgina ChallisVice presidents: Irwin Kornfeld, KarenOertley, Adam WhiteDirector of strategic development:Ken SchlagerBusiness manager: Joellen SommerBPI Corrir-r-lunicciticinsChairmen: Gerald S. HobbsPresident & CEO: John H. Babcock, Jr.Executive vice-presidents: Mark Dacey, Robert J. Dowling,

Howard LanderSenior vice-presidents: Georgina Challis, Paul Curran, Am

Haire, Rosalee Lovett, Craig Reiss

Vice-president: Glenn HeffernanChairman Emeritus: W.D. Littleford

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

So after EMI and "UniGram," things are moving at BMG.Last week's announcement that Strauss Zelnick would

add the rest of the world to his current U.S. responsibilitieswithin BMG Entertainment-outranking current BMGEntertainment International CEO Rudi Gassner ill the BMGhierarchy-marks more than just a bloodless "palace coup."

Gassner, who previously had a direct line of reporting toBMG Entertainment chairman Michael Dornemann, nowreports to Zelnick-who himself reports to Dornemann. Theword from BMG HQ in New York is that "nothing will changeat the international level," and Gassner, who recentlyrenewed his contract, will operate on the same playing fieldas he's been used to.

The key question will be how Zelnick and Gassner togeth-er take BMG into the 21st century. The level of understand-ing between them will be crucial for the company's future;what's behind these changes is the future shape of BMG.

By appointing an American to run its global music opera-tions, BMG's German parent Bertelsmann clearly showswhere its priorities lie. Behind the decision is Bertelsmann'sresponse to the Universal/PolyGram situation and the fightfor the top market position.

Bertelsmann is a family -owned company and its manage-ment culture is geared towards two goals: profitability andthe need to be No.1 in the businesses it's in. With the music

business, where it ranks fourth, BMG has to look at severaloptions for growth.

Two schools of ideas are dominant among observers.One is that, because the music industry is becoming a no -growth business, Bertelsmann will be tempted to sell itsmusic division to concentrate on areas which are eithermore lucrative or where it is more dominant (TV, press,publishing, multimedia).

The other is that, because it's so eager to become No.1,Bertlesmann will do whatever's required to get there, be it byacquisition or strategic partnerships. In recent months, it hasshown that when conditions require, it can move either way.Bertelsmann has proven it can put big money on the tablewhen needed (Random House) or surrender exclusive controlfor a bigger slice of the cake, as when they merged theiraudiovisual division UFA with media group CLT.

Rumour in New York has it that Bertelsmann might betempted to float its music division-so installing an Americanchief executive to court Wall Street makes sense. It might alsobe worth bearing in mind that, when asked in M&M recentlywhether BMG was interested in acquiring EMI, Gassner'sanswer was: "No, because we would have to go public imme-diately." But what if BMG went public first...?

Some observers even go so faras to suggest that Bertelsmanncould well link with Sony orWarner to merge their music divi-sions under a single roof, withequal shares and control. That, ifit happens, would be a true revo-lution in the industry-potentiallythe bloodiest yet.

VT4 looks to Flandersby Mark Maes works and cable radio, gives few other

opportunities for national commercialBRUSSELS - The Belgian division of stations. Because the FM wavebandU.K.-based commercial TV station was not suitable for our plans, we wentVT4-SBS is eyeing the Flemish for other solutions."radio market. VT4 got round the Flemish restric-

VT4-SBS has gone on air with a tions by renting airtime on an emptyweek of trial broadcasts on the 1071 France Inter frequency. "We had trialKhz AM frequency, circumventing broadcasts between July 28 and AugustFlemish media minister Van Rompuy's 2," says Rentmeesters, "to see whethercontention that the FM dial is over- we want to go ahead. We are taking intocrowded. The move follows liberalisa- consideration that, in the near future,tion of radio regulation in a recent technology will allow digital AM trans -decree passed by the Flemish parlia- missions. We want to evaluate on ament (M&M July 11). long-term basis."

Pan -European TV operator SBS Rentmeesters claims digital AM will(Scandinavian Broadcast Systems) con- be more cost-effective than FM, withtrols a number of radio stations, mainly less powerful transmitters. Noting thatin Scandinavia, with outlets such as SBS's Scandinavian radio output couldVoice Radio, Classica Stockholm, Radio be relayed to the Flemish outlet, heCity Malmo and Radio City Goteborg. adds: "Although we haven't decided on

VT4-SBS spokesman Roland a name or format, the trial broadcastsRentmeesters explains: "The intention carried no speech and were based on ato go ahead with radio in Flanders has Selector -driven programme consistingalways been part of [our] policy, but the mainly of easy listening and back -new decree, although it allows net- ground music."

Dutch CHR/dance formatted Radio 538 is boost-ing its profile in Greater Rotterdam and the sur-rounding region with a poster campaign, backed

with live broad-casts featuringlocal R&B andhip hop actsfrom Rotterdam'sEuromast to-wer-suitablycustomised, aspictured. Theaim is to bringthe station'sreach in the area,currently at 4percent, up to itsnational reach of7.6 percent.

Niche channelsfor MTV EuropeLONDON - One year after launching amajor localisation of its channels,MTV Networks Europe (MTVNE) is toenter niche broadcasting, writesEmmanuel Legrand.

In 1999, the company, which alreadyoperates MTV, VH-1 and M2 in Europe,will launch three new music channels,whose musical output will reflect specif-ic niches such as dance, indie rock and"pure" pop music. A project coordinatoris expected to be appointed soon, underthe supervision of MTVNE presidentand chief executive Brent Hansen.

The MTV branded channels, as yetun-named, will be supported by adver-tising and subscription, with musicvideo -based content and special empha-sis on graphics. It is almost certain VJswill present some programmes. A com-pany spokesperson says the choice ofgenres is based "on research into whatdigital providers are looking for and onopportunities for these genres to haveappeal in their own right."

The channels will be broadcast fromLondon to satellite and cable operators;Hansen says distribution deals are"solidly in place." Initially, the channelswill launch on BSkyB's U.K/Irelanddigital satellite platform, due to debutby the end of 1998. According to MTV,distribution of the channels will not belimited to the UK and Ireland; "MTV islooking at anywhere [in Europe] wherewe can secure proper distribution."

Comments Hansen in a statement:'The channels will complement MTV,VH-1 and M2, in that they will concen-trate entirely on specific music genresand be scheduled in a competitive fash-ion to MTV, VH-1 and M2. From 1999,MTV will be providing a total of sixmusic channels, covering all aspects ofmusic programing."

MUSIC & MEDIA 0 AUGUST 15, 1998AmericanRadioHistory.Com

NEWS

Open mikeJan HoogesteijnSupervisor, Kink FM

In the wake of therecent changes atDutch national CHRstation Radio 3FM(M&M, August 8)which saw alternativemusic outlet VPRO'sprogrammingswitched to eveningslots, similarly -format-

ted cable station KinkFM-owned by Dutchbroadcast group

Veronica-is hoping for amajor audience boost.

Q: Does Kink FM now have anopportunity to fill a gap in theDutch radio market?A: The changes at Radio 3FM make it alot easier for us to attract listeners. Forexample, 3FM had the opportunity tocover the Lowlands [new music] festi-val extensively, but chose not to. So weare advertising on Veronica TV thatKink FM will be covering the whole fes-tival. We will also launch a Kink FMlate night television magazine pro-gramme in October on Veronica TV,with live music and alternative videos.

Q: Kink FM played continuous

presenters are back during theevening hours. Can't alternativeradio live without presenters?A: I think you must find the right bal-ance. People like continuous music pro-gramming during the day, as shown bythe success of [soft AC station] SkyRadio. We publish our playlists viaVeronica teletext and via our website.In September, we will extend our liveprogramming with specialist shows,such as ska and hip hop.

Q: Don't poor listener figures at[London's alternative rock station]Xfm demonstrate that this formatsimply doesn't work in Europe?A: An alternative format needs time tobecome established. That means moneyand patience from investors. I actuallywent to London to check out Xfm, whenour shareholder CLT was also still oneof their shareholders. But London is atotally different market. I stronglybelieve in the alternative format, butyou've got to have the right tools to dothe job. For us, the big issue is to get aterrestrial FM frequency. At themoment, I compare broadcasting on thecable system with trying to sell goodsthrough a half -shuttered window.That's an enormous handicap.

Q: The Dutch government's fre-quency auction takes place in 2000;does Kink FM stand a chance?A: Bidding for frequencies will be thestupidest thing that could happen;Look what happened in Sweden.Diversity will be lost. It would be a bet-ter idea to make diversity themain criterion.

Interview by Menno Visser

Half -year figures put Dion on topby Terry Heath

LONDON - Celine Dion was the out-standing singles and albums artistacross Europe's charts during thefirst six months of 1998.

The Sony singer's two albums-Let's Talk About Love and FallingInto You (Epic/Columbia)-and sin-gles-The Reason and My Heart WillGo On (Epic/Columbia)-contributingto her clean sweep of top singles and

January -June 1998Top albums artists

Celine Dion/Lets Talk About Love;Falling IntoYou (Epic/Columbia)Soundlrack/James Homer/Titanic (Sony Classical)Madonna/Ray Of Light (Maverick/Sire)Aqua Aquarium (Universal)Eros Ramazzotti/Eros (DDD/BMG)The Verve/Urban Hymns (Hut/Virgin)Spice Girts/Spiceworld, Spice (Virgin)Natalie Imbruglia/Lett Of The Middle (RCA)Backstreet Boys/Backstreet's Back (Jive)

0 Era/Era (Mercury)1 All Saints/All Saints (London)2 Eric Clapton/Pilgrim (Duck/Reprise)3 Enya/ Paint The Sky With Stars (WEA)4 Massive Attack/Mezzanine (Circa/Virgin)5 The Corns/Talk On Corners (143/Lava/Atlantic)6 Modem Talking/Back For Good (Hansa/BMG)7 Pearl Jam/ Yield (Epic)8 Robbie Williams/Life Thru A Lens (Chrysalis)9 Falco/Greatest Hits 1; Out Of The Dark (Into

The Light); The Hit -Singles (EMI)20 Bryan Adams/Unplugged (A&M)

Top singles artists1 Celine Dion/The Reason; My Heart Will Go On

(Epic/Columbia)

April -June 1998Top albums artists

1 Soundtrack/James Homer/Titanic(Sony Classical)

2 Madonna/Ray Of Light (Maverick/Sire)3 Celine Dion/Let's Talk About Love

(Epic/Columbia)4 Massive Attack/Mezzanine (Circa /Virgin)5 Andrea Bocelli/Romanza Aria-The Opera

Album (Sugar/Philips)6 Modem Taking/Back For Good (Hansa/BMG)7 Savage Garden/Savage Garden

(Columbia)8 Eros Ramazzotfi/Eros (DDD/BMG)9 Simply Red/Blue (East West)10 The Verve/Urban Hymns (HutNirgin)11 All Saints/All Saints (London)12 Lighthouse Family/Postcards From Heaven;

Ocean Drive (Wild Card/Polydor)13 Natalie Imbrugfici/Leff Of The Middle (RCA)14 Falco/Out Of The Dark (Into The Light); The

Hit -Singles (EMI)15 Ricky Martin/ Vuelve (Tristar/Columbia)16 Spice Girls/ Spicewortd (Virgin)17 Era/Era (Mercury)

albums artist honours for the firsthalf of the year, although Dion yield-ed to James Horner and Madonna inthe second quarter's top albumartists chart.

According to statistics compiledfrom the M&M Eurochart Hot 100Singles and European Top 100Albums listings, the main Europeansuccess story was Denmark's Aqua,whose debut album Aquarium pro-pelled them to fourth slot in the first

2 Aqua/Barbie Girl; Doctor Jones; Turn BackTime; My Oh My (Universal)

3 Run DMC vs. Jason Nevins/it's Like That, It'sTricky (Profile/Smile Communications)

4 Janet Jackson/ Together Again; Got Til it'sGone; I Get Lonely; Go Deep (Virgin)

5 Madonna/Frozen; Ray Of Light (Maverick/Sire)6 Natalie Imbruglia/ Torn; Big Mistake; Wishing I

Was There (RCA)7 All Saints/Never Ever; I Know Where It's At;

Under The Bridge/Lady Marmalade (London)8 Spice Girls/ Too Much; Spice Up Your Life; Stop

(Virgin)9 Savage Garden/To The Moon And Back Truly

Madly Deeply (Columbia)10 Wes/ Alone (Saint George/Sony)11 Robbie Williams/Ange/s; Let Me Entertain You

(Chrysalis)12 Backstreet Boys/As Long As You Love Me;

Everybody (Backstreet's Back); All I Have ToGive (Jive)

13 Ricky Martin/ Te Extrano, Te Olvido, Te Arno; LaCopa De La Vida (Tristar/Columbia)

14 Andrea Bocelli & Helene Segara/ Vivo Per Lei(Polydor)

15 Will Smilh/Just Cruisin'; Men In Black; Geffin'Jiggy With It (Columbia)

16 Elton John/Something About The Way YouLook./Candle In The Wind 1997; Recover YourSoul (Rocket/Mercury)

17 Sash!/Stayla Primavera (X -It)18 Lighthouse Family/High (Polydor/Wildcard)

18 The Cons/Talk On Corners(143/Lava/Atlantic)

19 Herbert Gronemeyer/Bleibt Mes Anders(EMI Electrola)

20 Garbage/Version 2.0 (Mushroom)

Top singles artists1 Celine Dion/My Heart Will Go On

(Epic/Columbia)2 Madonna/Frozen; Ray Of Light (Maverick/Sire)3 Run DMC vs. Jason Nevins/Ws Like That; It's

Tricky (Profile/Smile Communications)4 Savage Garden/Truly Madly Deeply

(Columbia)5 Ricky Martin/La Copa De La Vida

(Tristar/Columbia)6 All Saints/Never Ever; Under The

Bndge/Lady Marmalade (London)7 Aqua/My Oh My; Doctor Jones; Barbie Girt

Turn Back Time (Universal)8 The Tamperer Feat. Maya/Feel It (Jive/Time)9 Janet Jackson/Together Again; I Get

Lonely; Go Deep (Virgin)10 Sash!/La Primavera (X -It)

half artists' chart, and whose roster ofsingles releases brought them intosecond place behind the all -conquer-ing Dion in the singles artists chartfor the same period.

The figures are based on cumulativepoints collected by artists' and labels'charted products during the period sur-veyed. The Eurochart Hot 100 andEuropean Top 100 Albums listings arecompiled from the national sales chartsof 18 European countries.

19 Eros Ramazzotti & Tina Turner/Case Della Vita(DDD/BMG)

20 Sweetbox/Everything's Gonna Be Alright(RCA)

11 Natalie Imbruglia/ Torn; Big Mistake; WishingI Was There (RCA)

12 Lighthouse Family/High (Wild Card/Polydor)13 Die Arzte/Ein Schwein Namens Maenner

(Hot Action/Motor)14 Falco/Out Of The Dark (Into The Light)

(EMI Electrola)15 Wes/Alane (Saint George/Sony)16 Eros Ramazzotti & Tina Turner/

Case Della Vita (DDD/BMG)17 Spice Girls/Stop; Too Much (Virgin)18 Modem Talking/You're My Heart, You're My

Soul (Hansa/BMG)19 Robbie Williams/Angels; Let Me Entertain

You (Chrysalis)20 K-Ci & Jojo/All My Life (MCA)

Edel to float for international growthby Wolfgang SpahrBillboard German bureau chief

HAMBURG - Leading German inde-pendent production/distribution com-pany edel music AG will be floating 30percent of its capital on the FrankfurtStock Exchange market before the endof the year.

Speaking at a press conference inHamburg, edel founder, chief executiveand current sole shareholder MichaelHaentjes confirmed his goal is to usethe proceeds of the flotation to financedomestic and international expansion.Haentjes plans to boost his company'sinternational market share-currentlyestimated at 0.3 percent in the coun-

tries where edel isactive-to its same levelas on the German mar-ket -3 percent.

Haentjes plans toachieve this goal by set-ting up new licencing anddistribution deals, devel-oping its roster of inter-national artists, enteringnew distribution chan-nels such as the Internetand getting into areas such as TV pro-duction which offer potential syner-gies with the music business.

Haentjes projects revenues of over$138.9 million for 1998, up from$114.8m in 1997, with a profit rate

over 10 percent. "The companyperformed well in the first halfof the year, with revenues andearnings well up," saidHaentjes. It remains unclearat this stage how much thecompany will be valued at.

Created 12 years ago as amail-order soundtracks com-pany in Germany, edel nowhas operations in the U.K.,France, Italy, Spain,

Scandinavia and in the USA andemploys 446 people worldwide. Itsroster includes acts such as AaronCarter, Bliimchen, Scooter andJennifer Paige, whose single Crush isa Top 10 hit in the U.S.A.


NEWS

France to study 'price-fixing'by Remi Bouton

PARIS - In response to a callfrom French independent labels'organisation UPFI, FinanceMinister Dominique Strauss -Kahn and Culture MinisterCatherine Trautmann havejointly signed a letter of intentwhich calls for an in-depth studyon the feasibility-and conse-quences-of a fixed -pricing poli-cy on recorded music.

The question of a fixed priceon records imposed by labels asopposed to the current regimewhere retailers can set any pricethey want, providing the recorddoes not sell below its wholesaleprice plus taxes-was formallypresented by UPFI at the begin-ning of the summer. It is seen asa measure to help small retailersrestore their margins.

Although Trautmann mayhave been sympathetic to theissue, she still had to convinceher finance colleague.Dominique Chavigny, adviser tothe Culture Minister on musicissues, says: "This is an impor-tant step forward because, evenif Mrs. Trautmann was alreadyconvinced [of the need for themeasure] for cultural reasons,the finance minister has finallyagreed to work with us. Thismission, conducted by both min-

istries, has its roots in the hugeconcentration of the market (60percent of all records are sold inhypermarkets), in lobbying byindie labels and the will of theCulture ministry."

One civil servant from eachministry will be appointed shortlyto oversee the study. They willreport by the end of 1998. Themission's goals include: estimat-ing the current level of concentra-tion at retail by category (new/cat-alogue, etc); defining consumerexpectationsover the dis-tribution of"cultural"products andreviewing thestate of musi-cal output for

the past five years, especially ofnew talent. The report will alsoexamine the effects of fixed priceson retail and labels in the contextof European trans -shipment regu-lations and the development ofon-line distribution.

A source close to the Cultureministry insists: "The Ministry

of Finance will never accept theidea of a fixed price; it would bevery difficult to defend in thecurrent EU context." However,the source adds that Traut-mann has not ruled -out beingable to convince her colleague"to accept instead the notion ofa minimum [sales] margin on arecord... This measure shouldnot conflict with EU directives."

While UPFI has welcomedthe move, French labels' bodySNEP-which includes the

majors-is divided on theissue. SNEP general manag-er Herve Rony, says: "Theproblem is that experiencedprofessionals have differentideas on this question." It isunderstood that PolyGramand Sony Music, who jointlyaccount for close to 60 per-cent of the French market,are against the measure but

other major companies agree onthe need to ease concentrationin the market.

According to an industrysource: "As the industry is reallydivided about the pricing ques-tion, setting a minimum margincould be the concensus solution."

Rony says SNEP has commis-sioned a marketing study onpricing from research companyErnst & Young; it will beunveiled in "a couple of weeks."

Norway's P4 lands Pole positionby Kai R. Lofthus

OSLO - Norwegian commer-cial radio conglomerate P4 isadding Poland to its interna-tional network of radio sta-tions, with plans to launch anew regional CHR stationthere in September.

P4, listed on the Oslo StockExchange, currently owns anational AC -station in Norway,two local AC/jazz-stations inCape Town and Durban, and aclassical station in Budapest.

The company is also presentlylooking to establish itself in theCzech Republic, although noagreements have yet beenreached there.

P4 has now acquired therights to operate and sell adver-tising for Warsaw -based stationRozgtosnia Harcerska, alth-ough the latter will remain 100percent owned by the PolishScout Union. P4 director offinance, Frank Bjordal, tellsM&M that the estimated cost ofthe agreement is Nkr3.8 million

Internet in -site Billiehttp //c3.vmg co uk/billie/

This amusingsite is part ofthe successfulcampaign Vir-gin/Innocenthas used tolaunch Billie.Visitors candownload vid-eos and thecurrent single, subscribe to an e-mail list or read aboutBillie's plans for the near future. One nice touch is week-ly "letters" from the artist to her friend Debs, a cute wayof presenting news and biographical information. It's alsoworth noting the site requires only a basic level of com-puter capabilities, a pertinent design decision consider-ing the target audience. Chris Marlowe

tet4 411-1number I!!!

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($0.5m), Nkr2.3m of it a loanfrom P4 to the station. SomeNkrlm has been spent on tech-nical equipment. The PolishScout Union will receive a max-imum of 10 percent of annualprofits; the rest will go to P4.

The total advertising marketin Poland totalled Nkr6.5 bil-lion in 1996, and is expected toreach Nkr12.3bn by 2000.Radio's share, estimated atNkr585m in 1996, is expectedto grow to Nkrl.2bn in 2000."Our ambition is to establishourselves in these marketswhile the price [of acquisition]is still reasonable. The competi-tion is fierce, but since the Pol-ish ad market is growing, wesee good possibilities to makesome money there," says P4president Svein Larsen.

Rozgtosnia Harcerskareaches five million listeners insix of Poland's largest cities:Warsaw, Gdansk, Gdynia, Poz-nan, Rzeszow and Wroclaw. P4international programmedirector Mary Crouch, who hasalso supervised the formattingof P4's other stations, isalready in the process of re -for-matting the Polish station tocover a variety of pop and rockmusic for the 16-30 age demo-graphic, including newsand entertainment.

01\1 T/ II Bl AlSEPTEMBER RELEASE FOR BB's SPANISH STROLLMADRID - Spain's premierflamenco/blues guitarist, RaimundoAmador, is to release a live album inSeptember taken from his July 22 per-formance with his idol, blues giant BBKing. The gig, recorded in front of20,000 fans at Madrid's Las Ventasbullring, also featured other leadingSpanish artists, including EnriqueMorente, Juan Perro (ex -Radio Futura), Kiko Veneno,Remedios Amaya, and La Negra. The album, on UniversalMusic Hispania, will be called Noche De Flamenco Y Blues,and include a version of Jimi Hendrix 's Little Wing.

RADIO 21 JUMPS ON WORLD MUSIC 1RAINANTWERP - The organisers of the 23rd SFINKS WorldMusic festival (Antwerp/Boechout July 30 -Aug 2) conclud-ed a deal with French language station Radio 21 to promotethe festival in the south of Belgium. In addition to publici-ty spots, Radio 21 featured interviews and on -site -broad-casts plus a special edition of the station's world music pro-gramme Cadanse on August 1 between 20.00 and mid-night. The SFINKS festival is mainland Europe's biggestWorld Music event; artists appearing this year includedJorge Ben, Nenes, Isabel Bayon and Susana Baca.

MTV HAS ITS DAY IN ITALYBOLOGNA - Celebrating their first anniversary onnational terrestrial distribution 23 hours a day via ReteA, MTV Italy will hold an MTV Day concert in Bologna'sArena Parco Nord on September 18. The free concert willfeature Italian alternative/emerging artists including:99 Posse, Blindosbara, Bluvertigo, Elisa, Mau Mau,Marlene Kuntz, Neffa, Prozac + and Ustmamo. A capac-ity crowd of 25,000 is expected, with live coverage onMTV Italy/Rete A from 16.00.

HEINEKEN FUELS DUTCH DANCERSROITERDAM - The second Heineken Dance Parade (theDutch answer to Berlin's yearly Love Parade) takes placeon August 15. The biggest free open-air dance event in theNetherlands, it will be held in the centre of Rotterdam.Heineken breweries has committed to a three year spon-sorship deal; last year, the event attracted 100,000 visitors.

MOVING CHAIRSCOLOGNE - Elmar Giglinger has been named pro-gramme manager at adult -oriented music TV channel Viva2. Giglinger, who formerly edited the broadcaster's Bits &Pieces news segments, takes over from Willi Jansen, wholeft in June after five years at both Viva and Viva 2.LAREN - The Zomba Music Group hasappointed Martin Dodd (pictured) seniorvice president/A&R Europe, based inLaren, the Netherlands. Although hisresponsibilities will mainly be withZomba's record division, Dodd will also beinvolved with the company's music pub-lishing activities.MHAN - Riccardo Usuelli has been appointed MTVItaly's head of marketing and brand management. At thesame time, Paola Ugazzi has been appointed head of MTVItaly's Press Office, replacing Stefania Lazzarone. Usuel-li and Ugazzi both come from Universal Music Italywhere they were head of promotions and press respective-ly. Head of radio promotions Enrico Leonardelli has nowmoved from Columbia/Sony Music Italy to become headof promotions at Universal. Andreas Abu Khalilreplaces Leonardelli at Columbia/Sony.COPENHAGEN - Hans Otto Bisgaard, head of program-ming at Danish satellite/cable station Radio 2, has joinedTV production company Metronome Production. Bis-gaard joined R2 when it went on the air early last year.Prior to that he hosted radio and TV programmes for theDanish Broadcasting Corporation.BRUSSELS - Wim Coryn is to join Sony Music Belgiumas marketing director on August 17. He formerly headedthe Special Marketing department at Polygram Belgium.


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PECIA1 FEATURE

Syndication: piThe syndication of radio programming in Europe is a growing mar-ket, as players in an allegedly talent -starved industry seek corn-petitive edge in an increasingly service -rich environment. Europeinitially took its lead from the more experienced U.S. market, butrealisation that U.S. parameters do not translate directly to theEuropean market soon led to the development of a sophisticatedhome industry. Terry Heath talks to companies from both sides ofthe Atlantic about the current state of syndication in Europe, andhow the market is likely to develop in the next few years.

0 ne important reason whyradio syndication exists,according to U.K. syndi-cator Wise Buddah'smanaging directorStephen Mulholland, "is to provide toradio stations that which they couldnot feasibly make themselves." Headds: "In my view that boils down tothree key assets: talent, formats andevents. Or to view it another way, con-tent, content and content."

In a radio market as culturallydiverse-and as multilingual-asEurope, the precise tailoring of contentto station requirements is the para-mount skill. It's also a skill in which-until recently-European practition-ers would have claimed an edge overtheir U.S. competitors. So, does a"them and us" attitude still linger?

Marina Riester, General Managerof Berlin -based On Air Syndicationwhich serves radio stations through-out Europe, says: "I think most U.S.companies still have a hard timeunderstanding the European mar-kets. In many cases, you still feel theattitude 'what works here (in theU.S.) works everywhere.' "

Language, Riester insisits, is animportant factor. "Many U.S. compa-nies think it is no problem forEuropean radio stations to air anEnglish language programme," shesays. Whilst this may be true forsome European outlets, "for most itdefinitively isn't. Stations want theirown language-in some countriesand parts of Europe even their own

specific dialect-on the air."

Different perceptionsRiester also identifies a fundamentaldifference in audience perceptionbetween the U.S. and Europe.

"Syndication," she says, "is a nor-mal word in everybody's language [inthe U.S.]. People on the street knowwhat a syndicated programme is, it'smentioned on air, and it's known thata specific chart show, for example, isaired on 'x' number of stations.European radio stations tend to keepup the illusion that every single partof their programme is produced inhouse, by their own producers, withtheir own hosts."

However, Riester acknowledges:"Some U.S. companies with moreinsight into the European marketshave started to do joint ventures orcooperate in other ways withEuropean syndicators.

"That way, they are able to com-bine their strengths-good program-ming and promotion ideas, access to avariety of sources, long experience inthe business-with the strengths ofthe European companies-deepunderstanding of their local markets,the ability to adapt to language andculture, the ability to judge what'simportant for European countries andwhat isn't."

On Air Syndication itself has ahistory of co -production with U.S.-based companies, and currentlyworks with ABC Radio Internationalon the daily news service, TheEntertainment Report, in which ABCdelivers the U.S. content and givesaccess to big American events such asthe Oscars and the Grammies, On Air

"The careful balance ofsheer power of contentand ability to deliver opti-mally is rapidly becomingmore important"

Pascal Grierson,Unique Broadcasting

MUSIC & MEDIA 0 -AUGUST 15, 1998AmericanRadioHistory.Com

SPECIAL FEATURE

NT of radio's `grande illusion?'supplies European content and lan-guage versions, and both maintaincontacts with radio stations aroundthe world.

Working together?Pascal Grierson of UniqueBroadcasting agrees that: "TheEuropeans are accepting theAmericans as pure practitioners now,as opposed to the preachers they havebeen labelled as in the past.

"European broadcasters," he adds,"will continue to benefit considerablyfrom the constantly changing U.S.market, although European marketsare starting to change at a fasterrate." Unique, says Grierson, "hasalways championed merging extensivehome grown European experiencewith U.S. know-how," and citesUnique's International EntertainmentNews Service which uses U.K. andU.S. resources to provide "an allencompassing resource for stations."

It would be pointless, he adds, tocompete with U.S. syndicator SWNetworks' wealth of material "which ourclients can have access to through us."

SW Networks' president and CEO,Dan Forth, asserts: "There doesn'tseem to be a 'them versus us' attitudein the syndication marketplace."

However, he concedes that "U.S. syn-dicators who rely completely on U.S.-based presenters as U.S. 'canned'music shows certainly run into road-blocks [in Europe].

"The important thing," Forth con-cludes, "is to work with the Europeancommunity. We have melded well.This may be partly because we arepart of a global company (Sony) withU.S.-based resources."

Christopher DiMatteo of U.S. com-pany Radio Express reinforces thecooperative, market -specific, attitude."Radio Express is like the UnitedNations. We speak many languages,travel extensively, have lived outsidethe U.S. for long periods of time."

Success, DiMatteo contends, comesfrom an "ability to relate on personaland business levels," adding that"good radio ideas work anywhere themarket conditions allow them to."Those conditions, he agrees, maynecessitate programming being trans-lated and co -produced in local lan-guages and styles.

Current needsThe questio arises: can specific syndi-cation needs be identified in such adiverse marketplace as Europe?

"The separate European markets

are pretty different if you go intodetail," says On -Air's Riester, "but ofcourse, all stations need good, freshprogramming and promotion ideas.

"Programming is the basic need,although more and more stations playmore and more music and less specialprogramming, the latter being whatsyndicators can deliver best. The moredeveloped and competitive a marketgets," Riester adds, "the more impor-tant it becomes to generate new pro-motion ideas. Promotions-like pro-gramming-can be syndicated veryeffectively as regards the basic idea,the infrastructure and the costs."

Current needs, according toRiester, include "special programmingsuch as concerts, chart shows, maga-zine -type shows, features, but also`raw material' stations can use fortheir own production, such as inter-views, clips, and so on."

Importantly, Riester says, "For mostof the markets and most of the sta-tions-except some very big privatenetworks and some public stations-the programmes have to be financed,that is, pre -sponsored. Most of the sta-tions can't or don't want to afford to payfor syndicated programming any more.

"Syndicators have to bring sponsorsor barter clients, which can be difficult

"U.S. syndi-cators whorely com-pletely on U.S. 'canned'music shows run intoroadblocks in Europe"

Dan Forth,SW Networks

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SPECIAL FEATURE

Wise Buddah's Stephen Mullholland

(left) and MD Mark Goodier

level, but operate country by country,often with different campaigns and dif-ferent targets."

Brand promotion"European radio stations face increas-ing competition," declares WiseBuddah's Mulholland.

"Entrenched public broadcastersare on the run, and commercial play-ers face audience cannibalisation, soanything which provides an edge andan opportunity around which to pro-mote on air, is key." He cites live eventsand access to key talent, "aroundwhich a wall of exclusivity can be built.In a sense, we are trying to provideclients with an opportunity to share inthe brand values of, say, the [U.Kindustry show] Brit Awards."

Unique's Grierson agrees "theemphasis is on 'live' events and exclu-sives," but, he warns: "The quality ofthe audio we provide must be equal toour recorded programming."

Entertainment news, according toGrierson, "is also now becoming aproduct radio stations are spending alot more time and money on." Citingthe sophistication of ISDN, liquidaudio feeds via e mail and satellitedelivery, means "stations are demand-ing a more sophisticated and cost-effective approach to receiving mater-ial. So overall," he concludes, "thecareful balance of sheer power of con-tent and ability to deliver optimally israpidly becoming more important inservicing the needs of the market."

The view from SW Networks' DanForth is that: "There seems to be littleappetite for pre-packaged pro-grammes [such as] countdown shows.However, information and service -ori-ented products have strong appeal.European broadcasters are very com-fortable with using a U.S.-based com-pany as a 'resource,' especially if theproduct is customised to fit the specif-ic market or region. Adaptability isthe key."

Stepping back from current syndi-cation needs, Radio Express'sDiMatteo asserts that any radio sta-tion's general needs are "to pro-gramme and promote in order to cre-ate and cultivate an image, to build anaudience and, for commercial stations,to connect listeners to advertisers.

"Syndicated programming," hesays, "amongst all a programmer's

"The challenges go far deeper than lan-guage. It's a quasi -cultural challenge, ofgetting under the skin of a particular ter-ritory, understanding what makes it tick"

Stephen Mulholland,Wise Buddah

tools, is a strong image, audience andrevenue builder."

Differences and difficultiesThe problems in creating programmingwhich will work across a diverse mar-ket can be summed up in a list of dif-ferences between Europe's constituentcountries. Marina Riester checks themoff as: "Differences in language, cultureand tradition, sense of humour, taste,legal regulation, economic potential."

Mulholland concurs, saying: "Thechallenges go far deeper than lan-guage. It's a quasi -cultural challenge,of getting under the skin of a particu-lar territory and understanding inti-mately what makes it tick.

"Another challenge," he adds, "is in`versioning' product and developing aproduction style that is likely to haveappeal across many frontiers. There aremany requests for station -specific ver-sions, versions in English, versionswithout a host, versions as kits of parts."

Those demands can be met to alarge extent by the use of digital tech-nology, believes Mulholland, and WiseBuddah is one of the companies whichsees substantial investment in technol-ogy as the way forward. Going all -digi-tal in its production suites "will makemultiple versioning much easier in thefuture, to the very highest quality."

Digital technology also figureslargely in Unique's planning. "As acompany based in the U.K.," saysGrierson, "Unique is already active inthe research and development of pro-gramming that will cater for theemergence of DAB (Digital AudioBroadcasting) in Europe. However,"he adds, "each market operates at adifferent pace. A lot of markets stilldon't have ISDN, for instance, andDAB is not even on the agenda yet."

This, believes Grierson, "will makethe standardisation of programmingopportunities (with its resulting cost -efficiency for all) quite challenging."

Niche opportunitiesIf language is identified as the stum-bling -block to many syndication pro-jects, there are still niche opportuni-ties which rely on programming witha minimal language element.

For example, London -based clubMinistry of Sound, now branded anddeveloped as an international "cul-ture movement," works with produc-

tion company Somethin' Else to pro-duce a radio package which can bebroadcast anywhere in the world withminimal customisation.

The package is based on recordingsof internationally known DJs (in theclub sense of music mixers) playing atthe club being made available to radiostations. "The fact that there is no pre-senter and the show doesn't rely on lan-guage," says Ministry of Soundspokesperson Bryony Richardson,"means that it's able to cross interna-tional borders. There is always a cap-tive young audience, and it doesn'tmake any difference if it, broadcast inChina, Russia or wherever."

However, such opportunities rely ona perceived international culture-such as "club culture"-and a musicgenre which evokes it non -verbally.

Future potentialAsked whether there is still scope fordevelopment of the European market,most syndicators agree that there isplenty of room to expand.

"But," warns On Air's Riester, "achange of mind has to take place inorder to prepare more ground, and thismainly on the part of advertisers andtheir agencies. I assume most of the sta-tions know about syndicated pro-grammes and concepts, and the benefitsthey can bring, but many advertisersand agencies [need] educating on thebenefits and proper use of radio, whichis still seen as the 'unloved child'-notas fancy and prestigious as television,nor as touchable and collectable as aprint ad."

Riester adds: "Many agencies whichknow about syndication tend to thinkof syndicators as their 'natural ene-mies,' who want to take away the com-mission they receive for just bookingradio spots for their clients.

"Many advertisers," she concludes,"work together with a handful of differ-ent agencies-one for creative con-cepts, one for booking, one for below -the -line activities, maybe also one forradio syndication-and don't manageto make them work together effective-ly. Instead, everyone tries to protect hisown field. -

"Syndicated radio concepts can bevery effective, especially if they can beintegrated into bigger multi -mediaconcepts and use cross promotion pos-sibilities with print, television, inter -

net and events. This way they createadded value for advertisers and forthe radio stations."

Mulholland concurs that "the mar-ket is still substantial," but warns itneeds players "who understand andhave embraced the inevitability ofDigital. We are bullish on the futureand will be part of it," he adds,"rather than clinging to a faded andjaded '80s mentality."

DAB's implications are "massive,"he asserts, "particularly in territorieswhere competition and consolidationare already entrenched. The prospectof an increased number of services,and a talent pool which looks more likea talent puddle, means stations willrely on syndicating their own productand talent to their own networks orpart -networks. Syndicators who canexploit these increased opportunitiesfor ever -scarce talent, whilst having aneye on the multimedia possibilities,will be in the ascendant."

The prospects for drawing in big-ger advertisers and sponsors with theadvent of digital technology also lookbright, according to Unique'sGrierson. "Multi -national brands willstart to take a keener interest in whatremains one of the most cost-effectivecommunications media, especiallywith the advent of DAB.Programming which incorporatesinteractivity with the Internet alsorepresents enormous potential,"he continues.

"The development of pan-Europeansponsorship within the syndication busi-ness is a vital aspect of the industry if weare to move it forward significantly."

ON AIRYNDICATIO

' European radio stationstend to keep up the illusionthat every single part oftheir programme is pro-duced in house, by theirown producers, with theirown hosts"

Marina Riester,On Air Syndication


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ARTISTS &

IDscincg rcpc)vsby Gary Smith

RESURRECTION SHUFFLEA dreamy, spaced -out tune with a pop arrangement, Csilla'sEurobeat-driven Play With The Voice (Dream Beat/Italy), hasbeen around since 1994, when it was remixed by Paul VanDyk. The new versions of the track now include two radioedits, of which Dutch DJ Joost Van Bellen's is the most air-wave -friendly. The combination of Csilla's extraordinaryvoice, a well -paced arrangement plus a clutch of strong clubmixes (the Phil Fuldner Extension is excellent) make this apotential crossover smash.

SAYER IT AIN'T SOTrying to add something new to the definitive '70s discovibe of Leo Sayer's You Make Me Feel Like Dancing soundslike a recipe for disaster. However, the version by GrooveCorporation (The Brothers Organisation/U.K.) succeeds byrespectfully leaving large chunks of the original intact. Abass -heavy production and a light-hearted rap sit pleas-antly enough alongside the original. A second chartappearance perhaps?

HAVE FUN WITH YOUR BODYA furiously busy bassline, laidback piano and dramatic stringsweeps on Body Work's Work Your Body (SpezialMusic/Germany) plus a cute chorus just about qualifies thistrack as pop/dance. Strictly speaking a genuine "fun" record,Work Your Body bumps and grinds like a winner and is guar-anteed to put a smile on the most jaded of faces.

TRUE STORY OF DRUM'N'BASSWhile the new wisdom dictates that drum'n'bass is dead,reduced to a supporting role in ice-cream commercials and

sports programme links, thetruth is that-in the righthands-the form still hasmuch to offer. Such is the casewith DJ Krust whose TrueStories/Cold War (Talkin'Loud/U.K.) features lite-industrial texture, some ja7.7-noodling and a mean andmoody chord sequence. Thatmay not seem like a particu-larly attractive proposition,but the result is pleasinglyintelligent, satisfying stuff.

BLISS MARKS MORRIS' RETURNLondon -based DJ/Producer Mixmaster Morris, contemporarymusicologist and longstanding champion of all that's on oraround the cutting edge, is about to release his first album forNinja Tune following a long spell with ambient/experimentalimprint Rising High. The appropriately titled It's TomorrowAlready, due for late September release, is to be preceded byan August 24 single, Nepalese Bliss.

Despite his reputation for being wacky and uncommercial,Morris' latest music is by far his most approachable work todate. "It's quite upbeat with some really strong tunes," saysNinja Times promoter Vez. "We did some blind testing on peo-ple who are in no way part of the electronic music scene andthey loved it. So there might be a wider audience for his lat-est material."

Although, according to Vez, the single is merely a trailerfor the album, Ninja Tune, having charted Coldcut's Beats +Pieces last year, have wisely included a radio edit just incase this thoroughly deserving artist is on the verge ofgreater acceptance.

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 deLluria 45 -3° -2, 08009 Barcelona, Spain.

Carthy's Rice on the boilby Nigel Williamson

The surprise success of ElizaCarthy in finding a place on theshort-list for the annual U.K.Technics Mercury Music Prizealongside The Verve and RobbieWilliams is the latest landmarkin the career of Britain's firstfamily of folk music.

Two years ago, Carthy was atthe Mercury awards dinnerwhen her mother, folk singerNorma Waterson, was runner-up to Pulp for the U.K. critics' prize, beatingBlur and Oasis into the bargain. Next monthWaterson will be in the audience to see if herdaughter can go one better.

Carthy, shortlisted for the twin album setRed Rice (Topic), represents the feisty youngface of English folk, with a mission to drag themusic into the 1990's. "If you don't want toreach a wider audience and prefer to sitaround in tiny clubs wearing an Aran sweater

that's fine," comments Carthy."I simply can't do that, becauseI'm a contemporary person."

Mike Harding, the presenterof BBC Radio 2's Folk On Twoshow, which recently recorded asession with Eliza, says "she'sgot bags of personality andthere's no reason why sheshouldn't crossover to [BBCCHR station] Radio One as well.Getting on the Mercury short-list is a boost not just for her butfor folk music in general."

Red Rice breaks out of the folk canon bymixing traditional fiddle tunes and folk bal-lads with elements of drum'n'bass and reggae.More than just playing with 'trendy' ideas,Carthy says she sees close links between tra-ditional folk and modern dance music. "Bothgenres are very democratic, a music of thepeople. I like the idea of [young kids] having[record players] in their bedrooms so that any-body can make music."

Partisan group risingby Christian Lorenz

Six months after its first release, London -basedindie label Partisan has a string of album pro-jects in the pipeline-and a potential Top 40 hitup its sleeve.

with One LittleIndian Records last November (Music & Media,January 31), Partisan has a busy releaseschedule lined up for this autumn, including alabel compilation of output from DJ Pulse'sinfluential Creative Wax imprint on September1, a Banaczech EP-the first taste of theirupcoming album-on October 12 and Foul PlayProduction's single Risk on 16 November. Risk,the label's first full vocal tune, features thepowerful R&B voice of Shereen on a strongtune which will also be available in a specialradio edit.

"Like most of our artists [Foul Play] are localkids from a [housing] estate, down with the lat-est trends and serious about their music," saysPartisan's Gavin Newman, who was recently

appointed to the post of A&Rdirector, following the departureof Simon-Colebrooke.

The act are currently work-ing on a full-length Foul Playalbum, which will lead a seriesof album releases early nextyear by artists such as DeepBlue-a.k.a. Partisan art direc-tor Sean O'Keeffe-Banaczech and Total Science.

In Europe, drum'n'bass is slowly taking holdin Switzerland, "especially on the snowboardingscene," Germany and Italy, according toNewman. "Artists outside the U.K can now com-pete in creativity and production standards withthe scene here," he observes.

View To The Future (Germany), Unity (Italy)and Dune (Canada) are among the acts to havecaught Newman's ear, and which might soonappear on Partisan or related labels. 'There's aniche for drum'n'bass in every market," he adds,looking forward to a strong international base forthe former U.K sound.

Cyrius: a star is born?by Cecile Tesseyre

The urge to trace back his Latin roots ledFrench singer Cyrius to Cuba-a journey intomusic which lasted 18 months, documented inthe 12 songs of his debut album La Banda(RueBleue/Scalen).

Born of Spanish parents in the Algeriantown of Tlemcen, Cyrius Martinez grew up inthe Parisian subburb of Argenteuil. Havingbeen brought up to the sounds of Latin music,Cyrius wanted to trace his family's favouriteCuban tunes from the 1940's back to Santiagode Cuba, and to breath new life into the songs.

In Santiago, Cyrius hooked up with localartists such as El Cuartero Patria, El SeptetoTurquino, acclaimed vocal group El Orfeon andLa Banda, the town's eminent brass band. Afterreturning to Paris in the autumn of 1997, heteamed up with long-standing friend PhilippeEidel and with Orchestre National de Jazz celloplayer Vincent Courtois, who contributed someof the arrangements.

Writingmost of hisFrench lyricshimself,Cyrius calledin Frenchauthor BorisBergman topen the textfor his firstsingle LaBanda de San-tiago, an adaptation of Maria Teresa Vera's clas-sic habanera Veinte Anos from the 1940's.

Although La Banda is Cyrius' recordingdebut, his infatuation with music goes back along way. He is an established composer for thetheatre stage, having worked with directorssuch as Ariane Mouchkine and Peter Brook.

The album and La Banda de Santiago havereceived a warm welcome from AC stationsRTL, France Inter, and FIP; Cyrius is current-ly on tour in France.

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GERMANY IN FOCUS

Altered states: radio's road forward?Pressure is building for a reform of public and commercial radio inGermany-a country where each federal state has its own regu-latory authority, and for historical reasons truly national networksremain underdeveloped. Ed Meza reviews the present state ofradio in Germany, its importance to the music industry, and thepriorities facing those who must now respond to demands forgreater nationwide broadcasting opportunities.

German radio is on theverge of significantchange, according to localindustry practitionersand observers. Growing

competition and rapid technologicalinnovation are forcing the pace of dis-cussion about commercial and publicradio, and insiders are betting that areform of the country's broadcastinglaws will come soon.

At first glance, Germany's radiolandscape-with its array of state-wide,regional and local commercial and pub-lic stations throughout the country-appears frac-tured and con-fusing. Likemany things inGermany, it hasits roots in thecountry's pasthistory. JosephGoebbels' state -sanctioned use of German radio forpolitical propaganda during Nazi ruleresulted in a post -1945 federal law pro-hibiting radio broadcasting on a nation-al level, to ensure that such abusewould not occur again.

Ten independent regional publicbroadcasters around the country pro-vide local coverage, as well as supply-ing programming to national broad-caster ARD, a conglomerate of thesestate broadcasters. Other "national"broadcasters such as Deutsche Welleand Deutschland Radio have individ-ual agreements with each federalstate. Commercial broadcasting,which began in the 1980s, is con-trolled by separate radio regulators ineach state.

More freedom?Competition between public and com-mercial broadcasters has been grow-ing steadily in recent times.

Calls for public broadcasters tomerge have recently sparked demandsfrom commercial stations for the free-dom to move across state borders.Government support of technologicalinnovation, particularly DAB, has alsoangered commercial broadcasters, whosay they cannot compete with the com-paratively bottomless coffers of the pub-lic broadcasters, who augment theirincome from radio and television licencefees with advertising revenue.

The disparity in the size and wealthof the country's regional public broad-casters has led many in the industry tocall for more mergers, in order to savemoney and increase efficiency.

Most of Germany's public broadcast-ers represent regions comprising morethan one state. MDR, for example, cov-ers Saxony, Saxony-Anhalt and

"If mergers between publicbroadcasters take place,commercial broadcasters willdemand the same right"

Akos Vida, media consultant

Thuringia. Smaller public broadcasterssuch as SFB-which covers thecity/state of Berlin-clearly cannotcompete financially with powerhouseslike MDR, WDR and the recentlymerged SWR unless they join forceswith other similarly disadvantaged sta-tions. To date, however, SFB has resist-ed calls for a merger with public stationORB in neighbouring Brandenburg.

As Munich -based media consultantAkos Vida points out: "If mergersbetween public broadcasters takeplace, which is increasingly likely,commercial broadcasters will demand

the sameright to forminterstatenetworks."

In theface of grow-ing competi-tion, com-mercial

broadcasters have lashed out at publicbroadcasters, accusing them of misus-ing radio and TV fees and advertisingrevenue to directly compete with com-mercial stations.

DAB investmentFor commercial stations, competitionwith public broadcasters doesn't sim-ply end with programming matters.

According to media consultantVida, the country's politicians havebeen pushing DAB technology onbehalf of German electronics compa-nies. While the technology is far tooexpensive for commercial broadcast-ers to invest in, most of the well -financed public broadcasters havestarted DAB pilot projects around thecountry with the blessing of local gov-ernments.

"The government is really behindDAB technology. They want to get atechnological edge over the Japanese.But there's very little informationabout Digital Broadcasting amongthe public; most people don't evenknow what DAB is," says Vida.

Indeed, representatives of commer-cial broadcasting in Germany havesaid they will not invest in DAB tech-nology without government subsidies.

Indie labels benefithi recent years, public broadcasters inGermany have also been developingvery popular youth -oriented stationssuch as NDRs N -Joy, SFB and ORB'sjoint station Radio Fritz and WDR'sEins Live.

Commercial broadcasters, in oan-while, have shied away from str. htyouth -oriented programming for thesimple reason that young listeners donot make up an economically viable

audience. As aresult, the pub-lic broadcast-ers havebecome themain outlet forthe country'ssmaller inde-pendent labels.

Raikwho managesthe Berlin -based indepen-dent label Kitty -Yo withpartner Patrick Wagner,says stations such asRadio Eins in Berlinand Eins Live in Cologne (NorthRhine-Westphalia) have been instru-mental in getting the label's recordson the air. "Our music is quite varied,but it doesn't necessarily have massappeal and it would therefore be diffi-cult to get it played on most commer-cial stations," says Holzel.

Kitty-Yo's acts play everythingfrom trip -hop and drum'n'bass tojazzy electronic sounds and alterna-tive rock-material mostly confinedto evening programming on the publicbroadcasters' evening shows. Holzelsays that airplay has helped spark aninterest in German -language music.

"Three years ago people would say:`Great music, but re -do the vocals inEnglish.' Now some of our bands-forexample Laub and Go Plus-areexporting well and it doesn't matterthat they have German vocals."

Radio EinsMusic DirectorPeter Radszuhnsays: "I reallybelieve in sup-porting yourlocal artist.We've had a real-ly positiveresponse fromlisteners whotune in to ourspecial indiemusic shows,and not justfrom musicgeeks or otherartists, but from regular listeners.

"There is a lot of good talent inBerlin. We play these local artistsbecause they are good. We wouldn'tplay the music if it were shit."

While Radio Eins is first and fore-most a pop/rock station, the broad-caster's wide range of programmingcontent not only gives programmersand announcers adiverse selection, butalso offers recordcompanies an oppor-tunity to play lots ofrecords you wouldnever hear on com-mercial broadcasters,says Radszuhn.

"Most AC commer-cial stations in townhave a playlist ofabout 400 titles,where we have 5,000

Raik Holzel

and Patrick Wagner

songs in rotation. That's abig difference."

Restricted by formats?Whilst Annette Rost fromEMI Electrola's promotiondepartment agrees thatRadio Eins' range of program-ming is impressively broad,she points out that manypublic broadcasters today areas strictly formatted as their

commercial rivals.Nevertheless, Rost

insists that both publicand commercial radiohave very significant roles

to play for record companies: radioreaches a much wider audience thanmusic TV channels.

Despite the narrowness of someformats, Rost says the radio landscapein Germany remains quite diverse."There are stations for just aboutevery kind of music in Germany,whether it's dance, hip -hop, pop,Schlager or jazz. There,was even onestation totally devoted to electronicmusic, but they eventually had tochange their programming. It's natu-rally easier for format -compatibletitles to get into the charts than themusic played on niche broadcasters."

kitty -yoMI ID(I)

Airplay dealsAmong commercial broadcasters, ACand schlager/oldies are the predomi-nant formats in Germany.

Regardless of whether they areserving top 40 tastes or specialistaudiences, most stations inGermany pay "subscriptions" tomajor labels for example, Berlin-Brandenburg's state-wide schlagerbroadcaster Spreeradio has con-tracts with Polydor, EMI Electrolaand BMG Ariola, and the station'splaylist is mostly made up of farefrom those three labels.

Spreeradio music directorChristina Krowas says the dealbenefits the station because it gives

Spreeradio exclusive interview rightsto artists, and they regularly receivethe latest releases from the recordcompanies. "New schlager artists alsobenefit because debut releases arealso included in our subscription, sothey end up getting regular play."

Despite competition from SFB'sSchlager station Berlin 88.8,Spreeradio benefited from a generallack of traditional German pop andeasy listening fare in the city when itwent on air three years ago, according

to Krowas. "Berlin is themost competitive radiomarket in the country. Thispie has now really beensliced up. Our biggestadvantage here was thatwe filled a niche withGerman -language music,"she says.

SPREERADIO105,5


GERMANY IN FOCUS

German hip hop: it's in theGerman hip hop culture issending out positive growthsignals in a market which hashad to tighten its belt follow-ing the waning of theEurodance boom. Here,Christian Lorenz analyses theimpact of the domestic actswho are spearheading atrend with real commercialpotential within Germanyand beyond.

German hip hop has hadits ups and downs sinceit went "overground" inthe early '90s, but 1998has been widely hailed

as the year when the genre finallybroke through.

Dominated for a long time by "fun"lyrics and pop -oriented production,the genre is now more mature, andboasts a wide range of exponents,from street-cred German -languageacts like Freundeskreis, to Englishlanguage chart -oriented projects withexport potential such as NYCC.

"Until six or seven months ago,there weren't many German hip hoprecords on the market which wouldhave fitted our format," says FrankNordmann, head of music at Berlin -based urban/black music station JamFM. "A lot of the material lacked lyri-cal content-with nonsense/fun lyricsdominating the scene-and produc-tion quality. Now the situation haschanged completely."

Growing up in publicLong established acts such asStuttgart's Die Fantastischen Vierhave now offer "excellent lyrics with areal message, and production whicheasily keeps up with U.S. standards,"according to Nordmann.

"There has been an influx of actswho are deeply rooted in credibility:Freundeskreis [signed to DieFantastischen Vier's own label FourMusic] for instance, which havechanged the scene for the better."

Several acts who launched theircareers with "fun rap" records haveswitched to serious lyrics. "TakeBurger Lars Dietrich," addsNordmann. "The most recent single,Ein Ganzes Jahr (East West), is thefirst track by Dietrich we ever put onour playlist, because it has lyrics witha deeper meaning."

That comment begs the question ofwhether lyrics need to say somethingmeaningful if German language rapis to be successful. For dedicated hiphop fans, the answer seems to be aresounding "yes."

Available via cable in mostGerman states, Jam FM is the bestestablished black music station in thecountry, with an hourly reach of60,000 listeners, according toNordmann. the station has two targetgroups, 16-22 year old hip hop fans

and 25-28 year old R&B connoisseurs.A typical representative of that firstgroup would be what Nordmanndescribes as a "lifestyle -oriented, verytrend conscious individual; at theyounger end of that group, our listen-ers prefer German language material."Whatever his/her language preference,for that listener, "a song has to be spot-on in terms of production and lyrics,"Nordmann concludes.

Fast track for chart hitsThat "content plus quality" discussion isnot as academic as it may at first sound.

Fun rap certainly gave the localscene its first major exposure, butconsumer tastes have changed since.With U.S. hip hop and R&B acts exer-cising a firm hold on the German sin-gles and album charts, local artistsare having to cater for a more sophis-ticated audience than in the past.

Another-possibly faster-route topop stardom is to aim for the growinggap between hip hop and R&B on oneside, and contemporary dance musicon the other. German teenagers lovethe tough, streetwise style of U.S.acts, but they also like to dance, andtheir preferred rhythms are fasterthan those provided by U.S. produc-ers. Local producers are increasinglycombine hip hop elements withstraight 4/4 beats and English lyricsinto new styles such as "hip house"and "street pop."

Hamburg -based break dance crewNew York City Connection (NYCC)were the first German rap act to scorea Top 25 hit abroad in April-and inthe tough U.K market at that-withtheir cover of the Beastie Boys' FightFor Your Right (To Party). Their soundcould be classed as hip house: astraight 4/4 beat, rap and a bit of rockguitar, not unlike U.S. DJ JasonNevins' hit re -make of Run DMC's It'sLike That.

Epic MD Jorg Hacker, who firstpicked up It's Like That for theGerman market, believes the hiphouse sound of classic hip hop rhymesover contemporary house beats hasreal album potential. "Jason hasstarted a whole new trend," explainsHacker. "Hip hop is widely perceivedas a very 'cool' genre, but nobody in a[German] mainstream club can danceto it."

With standard dance tracks inEurope being faster than their U.S.

counterparts, Hacker believes that"you need more than 120 bpm [beatsper minute] to appeal to the clubaudience over here."

Jochen Rausch, music director atGerman CHR broadcaster Eins Livein Cologne, also notes: "Two-thirds ofthe 60 titles in our weekly playlist arerap or hip hop tracks. Sometimes,that's almost a bit too much..." Hiphouse a la Nevins, he feels, stands outfrom the crowd, because it's "halfwaybetween hip hop and dance."

Pick and mixNYCC-Phil (22), Domenic (20) andChris (16)-are true children of themedia age, with their iconoclastic mixof black/white, European/American,rock/rap cultures.

Nowhere is this more obvious thanin their choice of covers on their debutalbum Greatest Hits, released on June 8in the G/S/A region, where AC/DC'sHighway To Hell and Queen's We WillRock You sit comfortably next to LLCool J's I Need Love.

Nevins and NYCC have establishedhip house as a genre on the market, andsince then, German producers havebeen perfecting the art of blending theimagery of U.S. hip hop artists withfour -to -the -floor rhythms and catchychoruses. A generation on fromEurodance, young Germans throwshapes like extras in a Notorious B.I.Gor Wu Tang video, and are "rippin' thisshit" (to quote from C -Block's BrokenWings) big time. Welcome to the world of"street pop."

C -Block and their debut albumKeepin' It Real (MAAD/Warner),released on April 20, exemplify thegenre. Their first single, EternalGrace, came out on December 8 lastyear and went gold in Germany withmore than 250,000 units sold. The fol-low-up, Broken Wings, was a GermanTop 40 hit, and other acts-notablyBMG signing 4 The Cause-followed.

Street pop hits chartsThe first act to give credence to thebelief that we might be witnessingthe birth of a new hit formula isPappa Bear.

Cherish, the cover of Kool & TheGang's 1985 hit by Universal act JuneBollocks, a.k.a. Pappa Bear, was oneof the major continental Europeanhits in the winter of 1997/98, withsales of 700,000 singles in Germany

II 11 LeThe New Music Showcasene,)

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11VI TALENT SPOTLIGHTAMPHIBIANS

The Amphibians' Mg hack to when vocals were key. melodies integral and lyrics came from the heart. Their music has hens recognized by ASCAP

and Billboard, they took 1st a 2nd prizes in Musicians Network's 17 Song Contest and immediately captured our own coveted Artist Of The week

spot. To quote lion Oixon, NEM/Smithereens producer: ,... a wonderful hand that's going to he around torever.

Genre: Alternative Rock Frit Bradley, NJ Seeing: Publishing / Management

FOR DETAILS ABOUT THIS AND OTHER UP AND COMING ARTIST'S ',AGM U5 p illf IN W. bill boa r dta lentnet.comThe Bilboarantometis. hademak of BRCansnunicoargia. ostal,leAmedonderlicenortuproiont Net inc., ArilWandbiterli.rittlien MIXOpottr1i9laarObroPowaotiMpOisa1ebteasetervellise0 Mood


-GERMANY IN NW

(culture) mixalone. Produced bylent Aris andToni Cottura-the team behind streetpop forerunner, Echo Award -winningrapper Nana, the single also estab-lished Bollocks as a star in Australia(gold with 35,000 units sold) andNew Zealand (platinum, with 15,000units sold).

In March, When The Rain BeginsTo Fall, Papa Bear's cover of JermaineJackson and Pia Zadora's 1984 hit,made the Top 30 of M&M's EurochartHot 100. The album What's MyName?, released on May 25, featuresboth hits and spent seven weeks inthe German Top 100 album charts.

Another German artist with thepotential to become a true Europeanplayer is Young Deenay. Barely 19, theaccomplished rapper had a Top 5 hit inGermany with Walk On By-not theBacharach standard-which has soldnearly 500,000 singles to date.Deenay's parents emigrated from Malito Germany and she speaks fluentBambara (the dialect of the Dogontribe) and French as well as Germanand English.

With her natural rhyming skills, itseems as if Deenay could easily rap inany of those languages and come upwith a hit. Her debut album, Birth(WEA-released on May 25), containstracks such as Je Vlens D'Afriquewhich surely pointing towards a

potential international career. Themusic is high quality, smooth FMBwith European-style-i.e. faster-beats, and is written and produced byGerman production team Michael B.and Pomez di Lorenzo, who previouslylaunched German -language rap actDer Wolf into the charts.

Is R&B next?With German hip hop product enjoy-ing this unprecedented success, thestage could be set for the curtain torise on a new German style-B&B.

Among those who are heraldingthe arrival of just such a genre areproducers Moses Pelham andThomas Hofmann in Frankfurt,whose 3P label's artist rosterincludes the likes of Sabrina Setlurand Xavier Naidoo. Setlur is one ofGermany's most successful femalesolo artists, and Naidoo is beingwidely tipped for stardom ahead ofthe release of his album debut NichtVon Dieser Welt (Epic), due August 4.

Despite those signs, hpowever"German soul" is still in its embryon-ic stages, says Nordmann. "Soulmusic and R&B," he insists, "arelinked to very specific musical andlyrical patterns in our heads, and aslong as these patterns are around,German language 'soul' will soundmore like schlager than R&B!"

KCinzelis TunnelVision looks sharp

Meet the next bigthing... If skate-boarding is asmuch "Old Skool"as hip hop, thennobody packs asmuch of bothscenes into hismusic as Kiel -based newcomerBarry Kunzel.

His English lan-guage album debut,Tunnel Vision-onGerman indie YoMama Records-buzzes with the adrenalinrush of skating on sun -bakedtarmac, and is jam-packedwith samples and referencesto classic soul and hip hop grooves.

Released on July 6, Tunnel Visionswims musically between breakbeatsand Jonathan Richman, betweenelectronica and Beck. It's an awesomemixture which "does not fit the cur-rent Zeitgeist, yet might become thenext big thing just because of its 'mis-fit' character," suggests Yo Mamahead of marketing Marcel Ewald.

German retail chain WOM tookstraight away to the odd new kid onthe block, and wants to sponsor aKunzel tour this autumn, according

to Ewald. For its part, the label ispresenting Kunzel at Popkomm.,where he plays on August 15 alongwith German hip hop stars FettesBrot and Fiinf Sterne De Luxe.

Yo Mama recently signed a jointventure deal with Sony Music, whichopens Sony's international SINE net-work to the Hamburg -based indie.First reactions from abroad to Kunzelhave been positive, with SINE partnerlabels in the U.K and an Italian indie"showing strong interest in the album,"according to Ewald.

Men -TaitThe shooting star of 1998.Only 19 -years -old, herdebut single wasTop 10 in GermanyAustria andSwitzerlandwith releaseall overEurope.New album'out uow.

'sashesDebut singlea chart smash.Already a teen idoland star of the teen press,with an album in the works.

//ViaOne of thetest new hip -hop actsin Germany with an impressiveinternational reputation. First album for

in November.

lotte oMulti -talentedmusician, produ-cer and perfor-mer with whim-sical Germanlyrics and a madpanache. New

m just out.

see you astand P-3 1-41 hall 13

and http://www.wea.de

fl

MELLOW BAGCrossover to mainstream

with Top 20 single,*Tabula Rasa'.

Albumcoming

up.

Birmingham'sdub masters

return this fallwith a state-of-the-

art album for the21st Century.

JLTasty and melodic electronic

music made in Germany.Charts for both single and

current album.

IP!the artist development company.- WEA RECORDS A DIVISION OF

WARNER MUSIC GERMANY 0 A- WARNER MUSIC GROUP COMPANY

MUSIC & MEDIA CD AUGUST 15, 1998AmericanRadioHistory.Com

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lionel nchie time

Me/taw

a PolyGram company

the new single and title track of the album

`98 European Tour

`time' produced by James Anthony Carmichael and Lionel Richie.Management- John Reid, Melanie Greene, and David Croke!:

Rotterdam, AHOY

4/11 Frankfurt, FESTHALLE

5/11 Hamburg, SPORTHALLE

6/11 Berlin, ICC

9/11 Oslo, SPEKTRUM

10/11 Copenhagen, FORUM

13/11 London, WEMBLEY ARENA

14/11 London, WEMBLEY ARENA

17/11 Birmingham, NEC

20/11 Brussels, FOREST NATIONAL

24/11 Cologne, NEW ARENA

25/11 Munich, OLYMPIAHALLE

26/11 Zurich, HALLENSTADIUM

28/11 Manchester, NYNEX ARENA

30/11 Newcastle, TELEWEST ARENA

1/12 Glasgow, S.E.C.C.

3/12 Paris, BERCY

4/12 Amneville, GALAXIE

6/12 Marseille, LE DOME

7/12 Lyon, TONY GARNIER

8/12 Toulouse, ZENITH

11/12 Rome, dALAEUR*

12/12 Florence, PALASPORT*

14/12 Milan, FORUM*

15/12 Wels, BOSCHHALLE

16/12 Vienna, STADTHALLE

* On sale September 1st


week 33/98 Eurochart Hot lOU® Singles

SALES

©BPI Communications Inc.

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countriescharted

TITLE! 15 ARTIST

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Ghetto Supastar A.B.DKF.D.IREINL.N.S.CILUK1 9 Pres Michel feat. 0DB & Mya - Interscope (Alley Gadlfly IJoe P)

Freak Me IRE.NL.S.UK34 29 5 Another Level - Northwestside (EMI I Warner -Chappell 'Windswept Pacific) 0111 BabyPigBumps - Delirious (Ensign I BMG)

UK

The Boy Is Mine A.B.DKF.D.IRE.NL.NS.CH.UK®2 10 Brandy & Monica - Atlantic (EMI IBran-Bran1Fanwas Henchi)

Bye35 Bye35 9 Bye35 - S.M.A.L.L. (BMG)BF Feel It B.DKEGRE.IRE.S.HUN69 40 24 The Tamperer Feat. Maya - Jive I Time (Mi-Jac Siggy 'Warner Chappell)

***** SALES BREAKER *****® Come With Me AliFINIPAGRILIRENLICELCHIN

Paff Daddy feat. Jimmy Page -Epic Mow Chappell/BWIllematkahle)

38 3 You're The One That I WantA.IRE.NL.CH.UK

' John Travolta & Olivia Newton -John - Polydor (Warner Chappell) Pure Morning14* Placebo - Hut 'Virgin (Famous)UK

Because We Want To'` Billie - Innocent !Virgin (Chrysalis)

IRKS. UK

Viva Forever A.B.F.D.GRE.IRELNL.S.CH.UK.HUN5 3 Spice Girls - Virgin (Windswept Pacific I PolyGram)

A.B.D.IRE.NL.N.S.CH31 7

IntergalacticBeagle Boys Grand Royal( Capitol (Brooklyn Dust (PolyGram (Soul Urchin! Skyvieun

Life3 8 Des'ree -Sony S2 (Sony ATVA-131. OF gamEidni17 N E

S CH UK.HUN Carnavaleraan 41 7 Havana Delirio - Island (Not Listed)

71 57 2

72 65 6

73 45 9

Strange GlueCatatonia - Blanco Y Negro (Sony ATV)

UK

Happy PeopleMr. President - WEA (Hanseatic 'Warner Chappell)

A.D.CII

Three Lions '98 D.UKBaddiel/Skinner/Lightning Seeds - Epic (Various)

La Copa De La Vida AB.DKF.D.GRE.I.NL.N.S.CH64 20 Ricky Martin TrWtor (Columbia (Draw Cornelius IDesmophobia PolyGram Calico) 10

I Can't Help Myself91 2 Lucid - London (Sony ATV)

UK

0 Bailando AD.CH8 7 Loona - Motor (PolyGram) High AB.D.LNLCHa 43 32 Lighthouse Family Polydor I Wildcard (PolyGram)Deep Menace

LKW. D Menace - Inferno (EMI)

Love Parade 199875 75 5 Dr. Motte & Westbam - Low Spirit/RCA (BMG Ufa)

UK

La Tribu De Dana8 7 13 Manau - Polydor (BMG)B.F Stranded AD.IRE.NL.S.CILHUN

42 30 12 Lutricia McNeal - Siljemark ICNI? I Wildstar (Peer I MCA I Arcade)With This Ring Let Me Go

76 82 6 Molella & Phil Jay - Time (Not Listed)

0 Immortality11 8 Celine Dion feat. The Bee Gees - Ep0 t. No Matter What

Boyzone - Polydor (Not Listed)0 12

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Music Sounds Better With You F I53 2 Stardust - Rout !Virgin (Zomba I Delabel I Daft I EMI)

Amur A La Mexicana44 42 7 Thalia - Virgin (Not Listed)B.F

I Know Enough (I Don't Get Enough)'147

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Theaudience - Mercury (Rondor I Sugar Free)

Turn Back Time AB.D.NL.CH.HUN78 66 13 Aqua - Universal (MCA)Save Tonight A.F.D.IRE.CH.UK

11 Eagle -Eye Cherry - Superstudiol Polydor (Diesel2lWarner Chappell) 48Be Careful" Sparkle feat. R. Kelly - Jive (Zomba)

D.NL.UK Let The Music Heal Your Soul D.NL.N.CH79 51 11 Bravo All Stars - Edel (Petersongs 'Warner Chappell I Alex C. I EMI)

Yakalelo B.F12 13 12 Nomads - Une Musique (Not Listed) @

I'm Still Waitin' A.D.CH61 4 Sasha feat. Young Deenay - WEA (Click I BMG Ufa)

Charanga80 77 3 Cubaila - Une Musique (Not Listed)

You're My Heart, You're My Soul B.F.D.ORE.S.CH.HUN015 20 Modern Talking - Hansa (Warner Chappell) 47Belle

5" Daniel Lavoie - Pomme /Sony (Not Listed)Mas Que Nada

81 70 3 Echobeatz - Eternal IWEA (Peermusic)IRE.NL.UK

Deeper Underground IRE.E.UKlig to 3- Jamiroquai - Sony S2 (EMI)

Ein Schwein Namens Maenner AD.CH48 39 17 Die Arzte - Hot Action /Motor (Urlaub I PMS)Turn It Up (Remix)/Fire It Up AB.D.CH

59 18 Busta Rhymes - Elektra (MCA 'Warner Chappell I Rondor)

C'Est La Vie A.KD.IRE.NL.NS.UK.HUN10 B*witched. Glow Worm (Epic (Chrysalis (PolyGram I Sgarfixe 'Bucks IBMG)

I Will Survive2 Hermes House Band - Xplo/Scorpio (PolyGram)

No Tengo Dinero A.D.LCH15 Los Umbrellos - Flex I EMI -Medley 'Virgin (EMI)

# De Bestemming52 5 Marco Borsato - Polydor (Not Listed) B.NL0 Kung Fu Fighting B.DEFIRE.S76 12 Bus Stop feat. Carl Douglas - All Around The World (Edition Correa! Bucks)

Up And Down B.F.D.CH51 48 6 Vengaboys - Violent I Jive (Violent I Peermusic)

83 Water VerveAD.NL

74 6 Mark Van Dale With Enrico - Club Tools (ABECO I EMI 'Essex BMG)

0 We

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