| Naah, I don’t like that.
|
| (Well, try just putting a, even if it takes a hair more time,
|
| putting a little bit more… little rise thing on your exit.)
|
| (Track 13…)
|
| This announcement from the producers of this record contains
|
| important information for radio program directors, and is not for broadcast.
|
| The first cut on this record has been cross-format-focused for
|
| airplay success. |
| As you well know, a record must break on radio in order to actually provide a living for the artists involved. |
| Up until now, you’ve
|
| had to make these record-breaking decisions on your own, relying only on perplexing intangibilities like taste and intuition.
|
| But now, there’s a better way.
|
| The cut that follows is the product of newly-developed
|
| compositional techniques, based on state-of-the-art marketing analysis
|
| technology. |
| This cut has been analytically designed to break on radio. |
| And
|
| it will, sooner or later.
|
| For the station that breaks it first, the benefits are obvious. |
| You
|
| lead the pack. |
| Yes, no matter what share of this crazy market you do business in, no other release is going to satisfy your corporation’s
|
| current idea of good radio like this one. |
| On this cut, we’re working
|
| together, on the same wavelength, in scientific harmony.
|
| But remember, this cut is const
|
| ructed for multi-market-breaking
|
| NOW. |
| Don’t waste valuable research with needless delay. |
| We’ve done the hard
|
| work of insuring your success; |
| the final step is up to you.
|
| SPECIAL DESIGNER SONG FOLLOWS IN 5. 4. 3. 2. 1. |