The Golden Ears of A&R
Record label pro offers advice on getting signed
By Josh Bashara

Getting paid to listen to music all day might seem like the perfect job to some people. Well, actually, most people. But this coveted career is known only to a select few; a rare breed who go by the title of “A&R” representatives, employed by record labels to scout out new talent and develop that talent into something record labels can sell.

"Sometimes I do have to pinch myself because they actually pay me for my taste and opinions on music," says Steve Robertson, Director of A&R for Atlantic Records. "Just like any other profession, though, it's a lot more work and less glamorous than it seems when you actually start doing it. It's really time consuming."

The title A&R stands for "Artist and Repertoire." In other words, it means being a talent scout. Robertson says there's more to it than just that, though.

"I scout for talent, sign them, work with them on developing their songs and push them to write," he tells the MPB from his office in Florida. "Then I hire the producer, mixer, mastering engineer...it's just taking raw talent and developing them, so that we can make the best record possible."

Even after an album is recorded and Robertson has seen his discovery come alive, there's still a little more work to be done. Part of his job even involves a bit of forward-thinking marketing.

"It's up to me to take the finished record to the label and explain to them the vision," he admits. "Who is this band, and who is the audience? From that point on, I'm still involved on creative decisions with the band, but I also do a lot less of it because my job is to find the next thing and make more records."

Heralded by AMG (All Music Guide) as an "A&R king," Robertson has a reputation throughout the music business of being one of the top in his field. Growing up in the Midwest, he was a music fan since his pre-teen years and fondly remembers looking up to his oldest brother, a disc jockey on a local rock station.

"The thing that really blew my mind and got me way in to rock music was seeing the movie version of The Who's Tommy when I was 10," he says. "My brother gave us free tickets from the radio station, and I went not knowing what it was or what to expect. When I saw Elton John in those 3-foot-high boots singing 'Pinball Wizard,' I was a goner."

Like his brother, Robertson went on to become a successful DJ at WJRR in Orlando. He got his job at Atlantic after realizing the potential of yet-unsigned bands like Collective Soul, Seven Mary Three and Tabitha's Secret (which would later become Matchbox 20). Robertson says he gave these bands regular airplay, and when they were signed, they blew up.

One thing Robertson credits to his success is his ability to float above your typical music genres and not be pigeonholed in one music scene.

"A good A&R can listen to and identify potential in a variety of music," he says. "Just having an ear and a gut for something that can gain a large audience. There are lots of good bands out there, but it's being able to recognize greatness, as opposed to something that's just good."

And just how does he recognize that greatness?

"I can only speak for myself," Robertson says. "I am always just listening for a great voice singing great songs. I don't care if it's punk, hardcore, metal or mainstream. Your average person listens to the vocal, and they buy the record because of the voice and a hit song."

As most bands know, unlocking the door to a successful music career is no easy feat. The gatekeeper-the one who holds the key to your career-is the A&R rep. And as most musicians know, sometimes even getting A&R to listen to your demo is a battle in and of itself.

Robertson advises bands to get a well-connected lawyer or manager to put your demo in the hands of A&R. He's adamant about not paying someone upfront for these services, though. He says that lawyers make their money after you get deal, not beforehand.

"If you have neither [a lawyer or manager] and you feel like your stuff is really good, use whatever connections you can to get you music heard by A&R," he says. "It could be the guy that's been booking you into the local club that's a fan, and he may know A&R guys. But just sending your demos blindly to labels is usually a waste of time and money."

Materials sent to an A&R rep falls into one of two categories: solicited and unsolicited submissions. Robertson defines a solicited submission as one that is sent only after a band has received a request from the label to send its music. Unsolicited submissions are obviously sent in without the label's request.

Most major record labels don't accept unsolicited submissions anymore, which is why it's important to build your name up in the industry before you try to get a record deal.

"That's really the biggest thing," Robertson explains, "to go out and create a story for your band on your own. I immediately listen to demos I get from trusted sources like reputable lawyers and managers I know, or when I get word that there's a story on a band. Even if it's something as basic as the band having solid local airplay or putting on one hell of a live show."

Despite all the big-label rules and regulations, bands have been signed from unsolicited submissions, especially when it comes to independent labels. As a tip, Robertson says it's important to attach your band's name and contact info directly onto the disc, rather than solely in a separate document.

"Put all the info you think an A&R person would need on the actual CD," he warns, "because if the CD and the jewel case get separated and if the guy likes what he's hearing and grabs the CD out of the player to find out who to contact, and it's not on the CD, there's a problem."

Although rejection is a sad but concurrent theme in this business, Robertson strongly urges bands to "just keep doing it, and to be honest with yourself."