There has been a tremendous amount of activity and movement within the A&R community over the last two months. Alex Luke and Michael Howe both join Dan McCarroll’s West Coast A&R team at Capitol while writer/producer Mike Elizondo joins Rob Cavallo’s A&R team at Warner Bros. The other addition to the Warner Bros. A&R team is former Jive A&R veteran Jeff Fenster who is returning to Los Angeles after nearly two decades in New York. Two additional transplants from NYC to LA are former J/Arista Sony Executive Larry Jackson who joins Jimmy Iovine’s team at Interscope and Atlantic’s Sam Riback who moves to the LA office. Meanwhile in NY, Adonis Sutherin joins Jive, Steve Lunt exists Atlantic and Ian Dench exists Epic. Longtime Motown A&R executive Lionel ‘KK’ Rosemond leaves to join indie powerhouse label E1 while in the UK, Mercury A&R executive Thomas Haimovici leaves to join the Warner Bros.-UK team.
 
Looking back at the activity within the A&R/Record Label community this past year, only twenty-three A&R executives were hired in 2010 and only two of those (Mark Williams and Vlad Bar) had ever been in A&R executive jobs before. Compare the twenty-three hired in 2010 to the fifty-eight hired in 2009 or the eighty hired in 2007! Only ten A&R executives in 2010 (compared to fourteen in 2009) were fortunate to leave one A&R job for another. That list includes Jeff Fenster, Larry Jackson, Michael Howe, Chris Anakute, Lionel ‘KK’ Rosemond, Thomas Haimovici, Qiana Conley, Lindsey Cook, Dan McCarroll and Gary Overton (while Dan McCarroll and Gary Overton are the Presidents of Capitol and Sony Music Nashville respectively and are not A&R executives per se, we’re including them because of their leadership role in driving their label’s creative departments and Conley is included since she joins Simon Cowell’s SYCO in an A&R capacity from her creative position at Notting Hill Music Publishing).
 
Sadly, there were 40 A&R executives who exited their A&R positions in 2010 and not one of them has landed another job in the A&R field (we’re including the three Major Label Presidents who have exited from their jobs since October: Tom Whalley from Warner Bros., Amanda Ghost from Epic, and Rob Stevenson from Virgin). While forty exits from A&R in 2010 was less than the fifty-one exits in 2009, the sixty-four A&R exits in 2008 or the one-hundred, twenty nine who exited in 2007, we’re still moved by the sheer numbers and the loss of talent our industry has endured over the last several years. And as we head into 2011, it’s with a sense of sadness that for all intents & purposes EMI will most likely be sold or closed (of course, we realize we’ve been saying this for the last two years). If and when this legendary label falls, it will mean the record industry as we knew it has shrunk by 50% over the last decade. But, the reassuring and enduring aspect of the Music Industry is that it continues to be filled with visionaries, forward-thinkers and immense talent that will always find a way to prevail, inspire and entertain.

To be honest, it’s been a while since I’ve taken the time to sit down with the Major Lable A&R executives, and with good reason – those guys are replaced every few months as the labels downsize!  On the contrary, this panel had some top guys ( Max Gousse-Sr. VP A&R Island/Def Jam, Raj Jadeja-Director A&R Atlantic, Jeff Blue-A&R Consultant/Producer Jive and Michael Howe-VP A&R Downtown Records) who have weathered the storm for many years, so I took the time to head down to the Musicians Institute and listen.  If I were to sum of up the experience, it’s that NOTHING HAS TRULY CHANGED WITH THE MAJOR LABELS.  It’s the same broken record…same broken business model…same everything but now with even less time to develop a band, less money to put into marketing, less people on the team to support you, etc.  There is no doubt that these guys jobs are tough but they work super hard 24/7 to find that next breaking band with very limited time and resources.  Yet, so many people would still rather take their chances on a major label than get creative and find a way to do it themselves.  It’s a catch-22 and I know it is a very tough situation; easier said than done for sure!  So I’m sure you all have many questions so I will do my best to answer some of the key questions:

1) What is the best way to reach the MAJOR label executives?

Major label executives are not out going to see bands period!  They literally only trust high profiled lawyers, producers, agents and other key folks in the industry; that’s the same business philosophy they have had for 50+ years and look at where they are at now!!  A friend recently told me – If i was a label – I would fire everyone of these A&R guys and hire me some 15-16 year old kids who are much more in tune with what’s popular!!  I’m not in their shoes to say anything, but i would imagine its a very tough job to be true to that artist while also making money for your company – ie. the label.

2)  How do I find these top lawyers, agents and other key people?

There are numerous sources out there including the A&R registry, pollstar online, etc.  Granted, these things cost money – but business is all about investing!  Here at Out of Step, we do our best to know who is on top of their game to best help you… but with technology ever-changing the music landscape, the opportunity is now for each and everyone of you to do your own thing!

3) What are major labels looking for these days?

They are looking for “believe-ability” – that you aren’t faking this and would die for this opportunity.  They are looking for hard working people.  Like most things in life, it’s those that work smarter and harder than the next guy; it’s not about talent necessarily.  They don’t care if you write your own songs – plenty of top songwriters will write your songs for you and top producers who will produce it.  Again, these top guys cost about $50-100,000 per song minimum.  So, the question that comes from these answers then is – how the hell do stay creative and not become a puppet?  Only you can answer that…  Labels are also doing some 360 deals these days, 1 song signings and making a lot of their money in the publishing.  Towards that end, it’s the publishing that seems to save a lot of bands.  Positive news is that bands seem to be getting a 2nd chance if the 1st record doesn’t flop…but the days of 3 or 4 or 5 tries is in the past.  SAD!

If submitting to Out of Step for management, it is likely, we will have to develop you to get you “right” for that one shot with the majors, if that’s the route you want to go.

thanks,
Geoff Koboldt

Photo with Raj from Atlantic Records