Artists and repertoire

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Finding talent[edit]

The A&R division of a record label is responsible for finding new recording artists and bringing them to the record company. They are expected to understand the current tastes of the market and to be able to find artists that will be commercially successful. For this reason, A&R people are often young and many are musicians, music journalists or record producers.[1]

An A&R executive is authorized to offer a record contract, often in the form of a "deal memo": a short informal document that establishes a business relationship between the recording artist and the record company.[1] The actual contract negotiations will typically be carried out by rival entertainment lawyers hired by the musician's manager and the record company.[2]

A&R executives rely mostly on the word of mouth of trusted associates, critics and business contacts, rather than unsolicited demo tapes.[3] They also tend to favor the bands that play in the same city as the record label's offices.[3]

Overseeing the recording process[edit]


As the record nears completion, the A&R department works closely with the artist to determine if the record is acceptable to the record company. This may include suggesting that new songs need to be written or that some album tracks need re-recording. A key issue is whether the album has a single: a particular track which can be used to market the record on radio. As Tom Petty sang in "Into the great wide open", the industry cliché, "I don't hear a single!", refers to this process.

Assisting with marketing and promotion[edit]

Once the record is completed, the A&R department (with assistance from marketing, promotion and the artist) chooses a single to help promote the record.

History and influence[edit]

The tastes of particular A&R executives have influenced the course of music history. A&R man John H. Hammond discovered Billie Holiday, Bob Dylan, Aretha Franklin and Bruce Springsteen. Hammond's colleagues were initially skeptical of these artists because none of them appeared to be creating "commercial" music. However, Hammond's instincts proved to be correct and these artists went on to sell hundreds of millions of records.[4] Geffen Records' Gary Gersh signed the band Nirvana at a time when alternative rock music was not considered commercial.[5] Gersh was able to convince his co-workers to push the record in spite of their misgivings.[6] In cases like these, A&R people have radically changed the direction of popular musical tastes and introduced large numbers of people to new sounds.

However, this kind of prescience is the exception, rather than the rule. Historically, A&R executives have tended to sign new artists that fit into recent trends and who resemble acts that are currently successful. For example, Columbia Records' A&R man in the 1950s, Mitch Miller, favored traditional pop singers like Guy Mitchell and Patti Page, and rejected early rock-'n'-rollers Elvis Presley and Buddy Holly. In contrast, Columbia Records' producer and A&R man, John Hammond, signed talent like Bob Dylan, Billie Holiday, Pete Seeger, and others.

This trend following mindset has caused several waves of narrowly defined genres leading to a perception of triteness, including teen pop (1998–2001), alternative rock (1993–1996), hair metal (1986–1991) and disco (1976–1978). Trend following can be counter-productive, since it has often led to a backlash. Towards the end of each wave record companies have found themselves faced with enormous losses as consumers' tastes changed. For example, at the end of the disco boom in 1978, millions of records were returned by record retailers, causing a deep recession in the music business that lasted until 1982, when Michael Jackson's Thriller finally brought the public back into record stores in large numbers.[7]



Regional variations[edit]

According to Rhythm King Records and Lizard King Records founder Martin Heath, the A&R community in the UK is more integrated than it is in the US, being very London-centric and encompassing a relatively small number of people.[9] "If scouts are chasing a band, you’ll see the same thirty people in one room. You get a herd mentality in the UK, but also some very diverse signings as well," he said in an interview with HitQuarters.[9] Heath believes that in the USA it is more typical for A&R to wait until a band is established – having attracted other offers or achieved a level of sales – before taking action, a technique which often works out as being more expensive.[9]

Recent changes[edit]

New forms of digital distribution have changed the relationship between consumers and the music they choose. Gerd Leonhard and others argue that the wide selection of music on digital services has allowed music consumers to bypass the traditional role of A&R.[10] In the wake of declining record sales, a large number of A&R staffers have been terminated.[11] It is unclear whether A&R executives will shape the future of musical tastes as they have in the past.


  1. ^ a b Albini 1993.
  2. ^ Krasolvsky et al. 2007.
  3. ^ a b Weissman 2003, p. 25.
  4. ^ Prial 2006.
  5. ^ Sheomer 1992.
  6. ^ Goldberg 2009, p. 179-180.
  10. ^ Kusek & Leonhard 2005.
  11. ^ Knopper 2009, pp. 220–221.


  • Albini, Steve (1993), "The Problem with Music", The Baffler (Chicago: Thomas Frank) (5)  (Reprinted in Maximum RocknRoll No. 133 (June 1994) and later various websites.)
  • Krasilovsky, M. William; Shemel, Sidney; Gross, John M.; Feinstein, Jonathan, This Business of Music (10th ed.), Billboard Books, ISBN 0823077292 

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