It’s Elementree
By Josh Bashara

Some might say Joe Poindexter is a little young to be working as a big-shot A&R rep for Elementree Records, one of the most popular up-and-coming labels of the last decade.

But once you dig a little deeper into his story, it’s hard to deny that he’s earned his place in the music business—that coveted “A&R rep” title that thousands of interns all over the country dream of getting some day.

Born in Lincoln, Neb., Poindexter received his BS from University of Illinois at Urbana-Champaign, and quickly climbed the music industry ladder from music store clerk to Regional Market Representative of Columbia Records.

He later went on to work as an A&R rep for Elementree, and has worked with a variety of bands that made the leap from local stardom to national rock-star superheroes.

The Music Phone Book recently had the chance to chat with Poindexter on what makes a band “marketable,” what not to do when dealing with A&R…and what exactly does “A&R” mean, anyway?

Music Phone Book: So Joe, did you always have an interest in the music business, or did that passion come later in life?

Joe Poindexter: To be honest, I didn’t know what the music business was until my sophomore year of college. Growing up in Nebraska, I really had a limited exposure to music in general. I only knew about artists that were played on the local FM radio stations.

MPB: So what finally got you intrigued in the business?

JP: Well, in order to pay for school, I got a job at Borders Books & Music. I decided to work in the music department, where I quickly learned about record labels, distribution companies, price points, etc. I also dove into the local music scene in Champaign-Urbana, and began to book some of the local talent to play at Borders. This combined exposure boosted my initial interest in the business of music.

MPB: So what came next? How’d you go from bookstore clerk to big-shot A&R guy?

JP: During my sophomore year at the University of Illinois, I traveled down to Austin, Texas for the annual SXSW Music Festival with a band from Champaign that was playing there. I met some kind folks from Universal Music Distribution who eventually helped make me the college representative for my school. I did that for 2 years, and the relationships I made at Universal led me to Los Angeles with a job at Columbia Records.

MPB: Where you eventually landed at Elementree Records…and what is Elementree?

JP: It’s an imprint label of Geffen Records, and is owned by Jonathan Davis of the rock band Korn. While I was employed at Q Prime Management, I had made relationships by default with the other major management company in the music business, The Firm. Korn is managed by The Firm and their manager approached me about the position, and I feel fortunate to have been here for two years now.

MPB: One question everyone wants to know when they meet an A&R rep is ‘Who did you discover?’

JP: I think most people at major labels would be lying if they said they ‘discovered’ anything. There have been plenty of bands who I have passed on (unfortunately), that have eventually made a great impact on the marketplace.

Outside of the Killers and the Used (who were basically brand new acts), most of the recently successful artists (White Stripes, Fall Out Boy, All American Rejects, Mars Volta, My Chemical Romance) all had prior records out on independent labels. So if anyone is to be credited with ‘discovering’ those bands, it would be the head of the indie label who put his or her neck out on the line by paying to make a record with an unknown act.

MPB: Okay, so what exactly is ‘A&R” then? What do you do?

JP: A&R stands for ‘Artist & Repertoire,’ and although it isn’t as applicable by today’s standards, the title meant just that when the music business began in the early 1920s and 1930s. Taking Bing Crosby as a good example of one of the first successful artists in the music business; his ‘A&R guy’ was the one who found a song (the ‘repertoire’ written by someone else) that best matched Bing’s (the ‘artist’s’) voice and style. Today, A&R means you find the talent and oversee the process of the artist making an album.

MPB: So in the A&R world, what elements define a killer rep?

JP: A person who can put the business end of things second generally makes the best A&R person. Each of us working in this field is doing it for a different reason. Some are motivated by potentially making good money, and others are motivated by the opportunity to discover an artist that will make an impact for a long period of time. I’m more of the latter, and hope to be the person that gets to make records with ‘the next’ U2 or Radiohead. I make an effort to forge a personal relationship with artists I’m interested in, which in most cases puts me ahead of those that just know that they like the artist’s songs.

MPB: What advice can you give to local bands trying to make it big? Trying to get noticed by A&R?

JP: First and foremost, don’t have a goal in mind. Make music because you like to make music, regardless if it ever gets out to the masses. Make an impact on your local music scene by playing regular shows and selling your merchandise. Create a user page on MySpace.com and PureVolume.com to further increase your statistical resume. If you do these things in addition to writing great songs, I will most likely find out about you.

MPB: What are things a band should avoid doing when dealing with A&R?

JP: Do not call them or email them to ‘make sure’ they received the demo you sent. Do not send them email updates with all of the good things happening with your band. A&R people will ask you for all of that information if they are interested in pursuing things further.

MPB: What are a few elements a band should strive for in order to be ‘marketable,’ as they say in the biz?

JP: 1. Songs that can be on the radio. 2. Young and consistent look. 3. Impressive [and verifiable] sales numbers of CDs and merchandise. 4. A live show that is full of energy and captivates an audience.

MPB: A lot of A&R guys don’t accept unsolicited submissions. What can bands to in order to get solicited?

JP: Successful bands like the White Stripes, Fall Out Boy, My Chemical Romance—those bands weren’t originally concerned about getting shopped. They made strong records on small indie labels that were so good that I quickly discovered glowing press about them. That great press—combined with sales results—will eventually lead managers and lawyers (the ones who solicit music) to the bands. So my advice is to just make a great indie record and the results you are looking for will eventually come to you.

MPB: One more question; How important is the hook, and what does it take to create a strong one?

JP: The hook is essential…it’s the catchy party of a song that we all sing along to in our cars. It’s the thing that makes us want to listen to a song again, and possibly go out and buy the record. I can’t tell anyone how to write a great song, but I can tell you to make sure your songs have structure (i.e. verse, chorus, verse, chorus, bridge, chorus, etc.).