|
What
are A&R People Looking For? (Appendix 1)
By David Hooper (email via IndieBiz.com)
I recently sat down with my database and contacted several
A&R people
for an article I was writing. I only had one main question,
“What is it that
gets your attention?”
The responses were so good that I decided to publish every
one of them
in their entirety. What you see here is exactly what I got
back either via
email or heard via phone.
Please note that literally hundreds of interviews took place
and this
appendix is one of many available. Visit www.indiebiz.com
for the latest
downloads from this series as well as other series on what
publishers,
film supervisors, and music attorneys are looking for.
I think you’ll find many of the results from my interviews
surprising...and
in a good way!
A&R staff are often labeled as people who are only looking
for sales
figures and have real interest in the actual product. Is that
true? Take a
look at the verbatim comments below and judge for yourself!
Virgin Records has established itself as a creative haven
for artists through
its reputation for developing and nurturing interesting, cutting-edge
talent.
When looking at potential signings, we not only consider the
taste of the
current market, but also whether or not an artist will develop
successfully
once the marketplace has evolved beyond current trends. While
the current
marketplace certainly dictates a high premium on image, we
like to balance
that with a real artistry and taste, and develop “career
artists” as opposed to
cashing in on the current trends. -
Ray Cooper, Co-President, Virgin
Records America
Basically I listen to the songs looking for something compelling,
hooky,
lyrically touching or universally appealing. Obviously having
the raw
talent to convey those special elements of the song is a MAJOR
plus. With
the tremendous cost per artist (i.e.: advance, recording budget,
marketing,
tour support, video commitment, indie promotion and in some
cases
marketing etc...) of doing business these days has major labels
looking to
maximize their chance of success which is why things are so
"research"
driven these days. An artist creating a story (sales, radio
play, sold out loca lshows etc...) is much more likely to
attract the serious attention of a major
label in this climate though true talent and apparent "hit"
songs still count
for a lot. - Leigh Lust, Director
of A&R, Elektra Entertainment
I
think these days there are so many people out there trying
to get the
attention of various decision makers in the music industry.
The waters are
very muddy at this point and sometimes it's hard to figure
out which way to
throw my attention. Everyone has something to pitch--how much
of it is
really worthwhile to MCA Nashville and myself in the end?
Anyone who's
serious should either come recommended through someone I respect,
or
have a really good angle that's going to make me stand and
take notice. Of
course, incredible artistry and songs will rise to the top--that
hasn't stopped
happening. - Shane Barrett, Manager
of A&R, MCA Nashville
First off I have to become aware of the band. That could
be through my own
homework of reading record and live reviews, scanning radio
play lists for
their support of an unsigned band or a tip off from people
I know and respect
such as musicians, journalists, producers, friends in other
labels, lawyers,
managers, road crew etc etc. More often than not it will be
a combination of
both - I’ll read something about a band and their name
will stick in my mind
and chances are if I don’t follow it up then and there
someone will mention
them to me or I will read about them again somewhere else
- very Celestine
Prophecy!
Upon listening to a tape for the first time I listen for something
to draw me in
- a great song or a unique voice, if I like it I will immediately
track down the
band to ask if they have any live dates coming up. Upon seeing
them live for
the first time again I need them to draw me in with their
presence - my
definition of a truly great performance is that the band should
want to inspire
you to start a band or join the very band you are watching.
I truly don’t expect the band to be polished - just to
find the raw talent in
the band and their songwriting is enough. - Veronica
Gretton, Director of
A&R, Radioactive Records
When auditioning an artist for potential signing I look
for one thing basically:
ORIGINALITY. Whether it's on a tape, CD, or 'live' performance
- an original
musical "voice" (meaning instrument as well) is
the key essential.
Compositional skills, live appeal, etc. are obviously important
as well. There's
no substitute for real musical talent. All the rest is marketing
bullshit and
hype. - Bruce Lundvall, President,
Blue Note/Capital Records
I
don't need fancy packaging or elaborate demos. I listen for
hits. - Shante
Paige, Director of A&R, Motown/Universal
What gets my attention is what I call “professional
heart.” What I mean is,
when an artist cares enough about his/her/their image and
music that they
know how to package their persona/look/performance/product
in an
authentic and comprehensive way (no matter what the style
is) without
too much or too little hype, I naturally get drawn in. Exuding
confidence is at
the core zen of this concept and yet there is no need to OVERsell.
Personally,
when I go through the multitudes of submissions at Songs.com,
I'll get really
excited when I find an artist's FABULOUS website or STUNNING
press kit and
I'll get really bummed and kind of a low level of angry when
their music is half
baked. I feel gypped. Spend the production money on the MUSIC!!!
I get a lot
more excited about coming across great music that needs better
packaging.
By the same token,but the flip side of the coin, a blank cover
with just a
name is better than a bad home photo (unless the concept of
the album is
bad home photos and its not yours). I'm sorry to say, but
I've gotten to the
point where I won't even listen to a sound clip from a website
that looks like
a complete mess, or the photo choice is atrocious. I've wasted
enough time
venturing into sloppy sites where I gave the artist the benefit
of the doubt
only to be burned to trust my judgment. Also, WRITE CLEARLY
AND PUT
CONTACT INFO ON EVERY PIECE OF MATERIAL YOU PRODUCE!!! I can't
help
you if I can't reach you.
And another pet peeve: In a press kit, CONDENSE and EDIT your
press
cuttings! Save your effort and money! We don't need 25 full
length copied
articles from the same hometown newspaper! We don't even need
25 full
length articles of the most glowing articles from Rolling
Stone! Excerpts and
cut outs are fine. And for god's sake DO NOT send the original
copy of an
award you've received! And NEVER I mean NEVER make up an award
or say
that you've won something you haven't. Embellish and focus
on praise
you've received but don't lie. People know.
And another thing, the worst thing you can do is harbor resentment
at
someone who says no. There are going to be a ton of “nos.”
Frankly I'm
baffled by how some of the music that is revered in today's
world gets the
acclaim it does, but always remember that art is 100% subjective.
If YOU
like it, it's good and chances are somewhere there is a whole
group of
people who will love it, and it may take a while to find them...Do
not send out
something to represent you that you yourself don't like however
because
that will just eat at you. - Mia
Adams, Artist Development, Songs.com
We
always consider if there is something else we have on our
label that may
be similar to the artist we are considering. We also look
for artists and
production companies that have the hunger to push for BDS
spins or sales in
their home town (backyard). - Tina
M. Davis, Senior Vice President, Def Jam
We are looking for great talent, charisma, vocal ability,
songs and an intense
ambition to succeed.
Nothing grabs my attention more than a stand out song coupled
with a great
distinctive voice. - David Massey,
Executive VP, Sony Music
The main thing that I look for, is something fresh (not
a clone of someone
else). I look for "real" artistry....nothing contrived.
I also, dig artists who are
self contained, and are clever lyricists. In the Gospel market,
it is critically
important that outside of raw talent, that the artist truly
has a ministry, and
communicates this ministry with conviction and integrity.
Your live concert
presentation is also critically important in Gospel music.
Image also has
become increasingly important in Gospel music, so this area
is also
something that aspiring artists should pay attention to. The
artist does not
have to be a beauty queen/king, but should have a fresh sense
of style.
I believe in the old adage, that "real" artists
cannot be created by a record
company, either you just "have it" or you don't.
- Tara Griggs-Magee,
Vice-President, Verity Records
I am looking for magic. First and foremost is the music
great. Does the
band/singer have their shit together. Are they in debt up
to there ears. Do
they really really want it. If they are selling cd's that's
great. it doesn't always
meant that the music is great. I have to really like the people
in the band and
want to work with them. and vice versa. also do i think i
can really help them.
everyone who works at aware has a total say in who we sign
as well. also is
it something we will be able to do well with at Columbia records.
we want to
succeed with every band we work with. -
Gregg Latterman, President,
Aware Records
The one thing I always tell people when I'm asked or on
panels, and it
sounds, flip, but it's 1000% true is: be amazing. If you are
truly amazing we
will find you. There is no way, U2, REM, Smashing Pumpkins,
Josh Rouse,
etc., etc. would not get signed. If you are doing something
that stands out
you will get noticed - it doesn't matter if you're in NYC
or in Bosnia. The net(pun intended) is spread so wide at this
point that you can really be
anywhere and get noticed.
Once you're noticed, what closes the deal for me is if you
have a good
infrastructure and if I'm not starting from scratch. It's
very hard to
take a band from zero sales to 20k-50k. Ideally, the artist/band
has a
constituency and fan base and has maybe self released a few
records so they
understand the business side a little. Basically, the more
you bring to a label,
the less the label can take from you.
Last thing: take the damn shrink-wrap off the CDs before you
submit
them!!! - George Howard, A&R
Manager, Rykodisc
I
simply like to release music that I like. In a demo, I don't
care about sound
quality or popularity/image of the musicians. I don't need
pictures or bios---
just a tape or CD. I give a listen to any music submitted
to me. - Greg Ginn,
President, SST Records
Cutting Records is always looking for sales, image, songs,
raw talent. More
importantly we are looking a sound that is compatible to today's
feel (but a
touch of new sound) and making the artist with more unique
than any other
acts currently in the market. - Aldo
Marin, Vice-President, Cutting
Records, Inc.
Nothing gets my attention faster than proven success. Many
bands/artists
show up with no experience at all. They are waiting for a
record company to
come along and make them famous. REAL artists/bands aren't
waiting on
anyone. They're out there making noise. That's what makes
me take a
second look. - Dean Diehl, Reunion/Provident
Music Group
What it takes to get my attention...
I like artists who have a vision and who
are unique. I look for musicians who are doing things that
are somehow
provocative or outside the mainstream. I look for artists
who know who they
are and know who their audience is. I like artists who don't
care about what
everybody else is doing and make the music that they feel.
The ability to
stand out in the marketplace is important to me. Currently
I work with
Queens of the Stone Age, Monster Magnet, Patty Griffin and
Eleven. I think
all of my artists have the above qualities and I'd like to
find more who are
just as important and captivating. What it takes to succeed
in today's marketplace... I suppose that's something I grapple
with everyday. It's all about connecting with the
consumer on some level. Whether it's through a great song,
a great record,
a great video, a great live show. It helps if you have all
of those things, but
I'm not sure what the sure fire equation is, otherwise I would
be a lot more
successful! I don't think musicians should take into account
the
marketplace, I think they should make music that is real to
them. Otherwise
it's all formula and phony. - Debbie
Southwood-Smith, A&R,
Interscope/Universal Music
First
and foremost, I look for at least one standout quality that
will separate
an artist from the crowd. If this quality does not exist,
the chances are that
the artist will not “cut through the clutter” and
will get lost in the vast
numbers of new artists constantly being presented to the public
every day. I
apply the same criteria to all genres of music. Launching
a new artist, if done
correctly, is a very expensive undertaking for a record company
and
everything must be looked into in the evaluation process,
instead of later in a
Marketing meeting , to give your artist an edge over the competition.
- Steve
Lunt, VP A&R, Jive Records
David Hooper is the founder of the music business resource,
IndieBiz.com (http://www.indiebiz.com/), and Kathode Ray Music
(http://www.kathoderaymusic.com/), an artist development organization
specializing in promotion and marketing of independent musicians
and bands. He is known for combining traditional music business
knowledge with the guerrilla marketing necessary for independent
bands to compete. He has worked in the past with Lords of
Acid, Marcy Playground,and bush. Current clients include Confederate
Fagg and Dresscode.
VISIT www.indiebiz.com TODAY FOR:
* MORE MUSIC BUSINESS EBOOKS
* FREE PROMOTION TIPS NEWSLETTER
* 34,000 INDUSTRY CONTACT DATABASE
* ONE ON ONE, MARKETING STRATEGY HELP
SEE FINAL PAGE FOR DEMO SUBMISSION INFORMATION!
KATHODE
RAY MUSIC
DEMO SUBMISSION FORM
David Hooper of Kathode Ray Music will be happy to personally
look over
your promotional package and listen to your music in order
to better
explain to you how the features of IndieBiz.com can help you
with your
career in the music business.
Please note that we receive hundreds of requests to review
music every
month and David is often out of town doing consulting or speaking
at
various music conferences. Therefore, we ask that you do what
you can
to make the review process as smooth as possible.
Please use the following instructions when submitting your
information to us.
DO:
1. If you want us to listen to your music, it needs to be
in mp3 format.
2. Go to our online submission and fill it out completely.
It contains
information we need to understand your music business needs.
DO NOT:
1. Send physical packages to us. We are only interested in
your music
and your music business promotion and marketing goals. This
can be
done via the Internet.
2. Call or email to see if we've received your submission
form. It's here
and we're getting to it as quickly as possible.
PLEASE NOTE:
Our business is to help you get more people to your shows,
sell more
CDs, and make more money in the music business. We do not
critique the
music itself and only listen to it for promotion and marketing
purposes.
|
