A career as an artist and repertoire representative is unique and exciting.
But what exactly does an A and R rep do?
"We talent search for new artists and try to find a home for them," says
rep Scott Patterson.
"Since we're a consulting firm, I work with different major and indie labels,
which gives me a good insight into what each label represents. I'm also starting
up two labels next year and have been contracted by two labels."
Patterson is located in Haledon, New Jersey. Not only does his company
find and develop musical talent suitable for placement in major or independent
record companies, but it also provides promotion, marketing and distribution
services for record companies.
"This is more like a hands-on job, and I hire people with a communications
background and a desire to be in this industry," says Patterson. And it's
important to be near a major city such as New York City or Los Angeles.
"Being near the cities is very important. You can find A and R people all
over, but if you want to deal directly with the majors, you need to be in
the cities," says Patterson.
There are pros and cons to the work. "The pros are great parties and lots
of traveling. It's more of a lifestyle than a job. The cons are low pay to
start, and long hours," says Patterson. "If you don't love music and can't
handle creative people, stay away. Dealing with artists can be a bit crazy."
Between 1985 and 1992, Chris Black played in a band that released several
records. It seemed a natural progression to go into the business aspect of
music. As a rep, Black has been able to share his practical experience with
new bands.
"The underground scene operates a little differently from the major commercial
industry. I don't go out looking for star material -- the hair, clothes, dance
moves. Those things certainly help, but they're not the first things I look
for.
"I want good people who play good music. Their ability to play their instruments,
rock out live and pursue common goals with a high level of commitment and
enthusiasm are far more important to me than their ability to sing a Celine
Dion cover.
"When I see a band that enjoys being on stage, that has a certain presence,
I start thinking about the possibilities of working with them. But it's not
enough that I want to work with them. There must be at least 50 percent reciprocation,"
says Black.
To Black, the most exciting aspect of the career is discovering new talent.
"I guess the thing all A and R scouts share is the rush of discovering
a great band that no one else has, and then getting them to work with you.
There's nothing hard about scouting for bands. You just have to go to a lot
of shows, listen to a lot of demos and follow up on leads that people give
you."
Black offers this advice to anyone considering the career. "Only the biggest
major labels have people whose sole job is to scout. In the indie community,
the A and R rep is also the publicist, mailroom clerk, marketing rep, booking
agent and janitor.
"It's a development process of taking a very green band and leading them
through the system to where they headline their tours, have an ever-increasing
fan base, sell an ever-increasing number of records and have
all our common goals realized. Never wear a suit or a ponytail."
Rep Blair Purda is always searching for great bands. "We're always on the
lookout for bands we like and might consider releasing, primarily in the indie
pop and punk genres.
"At this level, many labels start up because people have friends making
great music. Some of our representatives represent the best bands in [town].
Others just send us a tape and it's love at first listen."