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Here’s a “testimonial” spot that tells a story, taps into real emotion, and is completely believable:

My only criticism: The tag at the end of the radio commercial needs a better delivery.

The advertisement’s producer, Rod Schwartz, responded:

“Based on your exposure just to the spot in question, I can’t argue with you. It was the first in a series of commercials produced over a period of several months for the client. And the blame falls more on me, as her coach, than on the talent in question.

“The tag at the end was read by the doc’s nurse, whose performance improved with time and practice.”

Rod sent me the second spot in the series, and indeed the nurse’s VO performance already was noticeably better:

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JOHN FROST RADIO IMAGING: Sex Addicts Anonymous

John Frost KROQ frostbytesFrom radio imaging genius John Frost.

If when you click on the “play” button above you are not able to view the video, please use this alternate video player.

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RADIO ADVERTISING RECALL REPORT

radio advertising study

A Loyal Reader forwarded an e-mail from his station’s consulting firm:

“Dan — Have you seen this? I would like to get your opinion on it before I can report back to the boss with my recommendations.”

The consulting firm had summarized what it felt were the study’s key points:

“More words are better than fewer words, all else being equal.”

“More brand mentions are better, especially early in the copy.”

“Straight voice and ‘sing and sell’ techniques were weak.”

“Simply duplicating a TV soundtrack was weak.”

“Ads of 45 seconds or more in length were more effective.”

In addition to the consultant’s summary, I read the entire original report. While in no way attacking the report, I don’t see much that can be used.

Most of it refers to very old studies of questionable validity.

And they refer to “recall,” not effectiveness. Those two terms are not interchangeable.

More words are better than fewer words, all else being equal.

The problem with that statement is: “All else” never is equal.

You might say, for example, “More words are better than fewer words, assuming the two versions are equal in dramatic impact.”

But often to make a greater dramatic impact, you need to use fewer words.

More brand mentions are better, especially early in the copy.

Again, that’s just to try to get people to “recall” the brand.

That doesn’t mean they’re at all motivated to buy it.

Frequently mentioning the brand name early in the copy, however, usually does scream to the listener, “This message is all about us! It has nothing to do with you! Carry on with your life as we continue to babble about ourselves.”

Straight voice and “sing and sell” techniques were weak.

If by “straight voice” they mean an “announcer” delivering an announcer-ish reading, I agree.

But does “straight voice” include one person talking directly to the listener in a compelling, relevant manner?

Simply duplicating a TV soundtrack was weak.

I agree completely.

Ads of 45 seconds or more in length were more effective.

…which is why I teach, “The more you tell, the more you sell.”

Frankly, I really don’t see where any of this merits a meeting in your station. But you’ve asked for my opinion, so there it is.

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JOHN RECORDS LANDECKER: Forsaking College for Radio

Guest Blogger:  JOHN RECORDS LANDECKER

John Landecker WLS WIBG radio

John Records Landecker

1969: I was attending Michigan State University. I was a husband and a father. During the day I went to class and at night worked at WILS, an AM station in Lansing, Michigan.

I was not aware of it, but two MSU students, Dave Albery and Jim Donahue, had taped one of my shows and sent it a friend of theirs, Mike Rivers — who did afternoons at the #1 rock station in Detroit, CKLW.

Jim and Dave loved radio. They knew the Bill Drake format backwards and forwards. I don’t know how they did it, but they had the studio hotline numbers to Drake stations all over the country.

CKLW was not a Drake station, but it was run by a Drake devotee, Paul Drew.

Paul Drew left CKLW for a job at WIBG in Philadelphia. He took Mike Rivers with him. WIBG had an opening. Rivers gave Drew the tape of my show.

I was sitting in my married housing apartment one day and got a call: “Paul Drew is going to call you tomorrow about a job in Philadelphia.”

He did, and I flew to Philadelphia for an interview….

Before going forward, I need to set the scene. I am the son of a college professor. At the time, my mother and father were in Germany; my father was lecturing there. My younger brother was going to school in Switzerland.

If I took this job, I would be DROPPING OUT OF COLLEGE. This is something the son of a college professor does not do!

But it was a job in market #4.

I consulted with my instructors at MSU. I was a senior and it was pointed out that this is exactly the job I would want upon graduation.

I also consulted my in-laws — graduates of M.I.T. and Vasser. It was decided I would take the job.

So I left my family behind and went ahead to Philadelphia to get situated. When I got there I found out that my name had been changed to “Scott Walker.”

There was a manual to read and learn about the format. It was overwhelming. I could not grasp it.

I was making mistakes on the air. I botched a countdown. It was a nightmare.

I remember being in my motel room and bursting into tears. I had dropped out of college. I was moving my young family. Panic set in. What had I done??

Paul Drew was one of those PDs who controlled every aspect of the station. He always wore an earphone with a transistor radio wherever he went.

There was a Bat Phone in the studio. When it rang, a spotlight went off directly in your face. The joke was that all the WIBG jocks had sunburn on the right sides of their faces.

Somehow I survived. Paul could have fired me, but he didn’t.

I was hired to do 9 – midnight but I was shifted to midnight to 6am, six nights a week. After I was deemed format worthy, I was shifted to noon to 3.

Then something happened that changed my career forever. The station was sold to Buckley broadcasting. The late Rick Buckley became the general manager.

Paul Drew invited me over to his apartment. “Scott” he said, “what do you want to do now?” I told him I wanted to go back on the air as John Records Landecker.

He told me I would never be a success using that name and I should go to a medium market and get it out of my system.

He did say that as far as his format was concerned, he could have used six Scott Walkers. He was very nice to me.

Next I met with Rick Buckley and the PD, Jack Reynolds. I told them my history and that I wanted to be John Records Landecker again. They said okay!

I was told I would do 10pm – 2am and would follow someone named Joey Reynolds.

Boy, was that an eye-opener. Joey is the most talented radio personality I have ever worked with.

The format was wide open. What followed was just amazing. We were out of our minds. No idea was off limits.

Eventually Joey left and I moved to 6 – 10 at night. There was a radio war with WFIL. My direct competition was George Michael. It was an absolute blast.

I’ve been told that WFIL wanted to get me out of town. WLS/Chicago wanted a new night jock. They were an ABC station, as was WABC/New York. So WLS talked to WABC. WABC talked to WFIL. They learned about me.

On their recommendation, WLS flew their PD, Mike McCormick, to Philadelphia to check me out. He went back to Chicago and offered me a job. I guess you know I took it.

Later I received a hand written note from Paul Drew. It said, “I guess what I needed was six John Records Landeckers.”

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FREE Q&A TELESEMINAR WITH GARY BURBANK

 

Earl Pitts, Gilbert Gnarley, Sports or Consequences, WLW Cincinnati radio

Gary Burbank at WAKY, When He Ruled The Louisville Airwaves (the first time)

Gary Burbank is the most talented radio personality I’ve ever heard.

I’ve convinced him to join me in a live teleseminar, during which he’ll answer your best questions about radio comedy, radio characters, radio careers.

Before we can schedule the free teleseminar, I need to find out what questions you want me to ask him.

Ask your question here.

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