By Bernard Baur By most accounts, it is a leaner and meaner music business today. Executives talk of smaller recording contracts, tighter budgets and saner expectations as they search for artists with “star power” and “great songs,” hopefully both in one “package.” But this often faceless ”music industry” is also made up of human beings, each with a style and outlook that is uniquely their own. The insights and opinions given by the prominent talent scouts in the following Music Connection interviews is the kind of inside information that’s absolutely invaluable when you are attempting to get them interested in your music.

JON SIDEL Director, A&R V2 Music 323-512-0060 Experience: 10 years Acts: The White Stripes, Crystal Method, Grandaddy

A&R POSITION

I started out in the nightclub and bar business. And every time I came across a hot act, I tried to convince labels to sign them and hire me for A&R. I had lots of meetings, but no luck. I eventually formed my own indie label, and some of the acts on my roster got attention from the majors, because they were so unique. V2 finally offered me an A&R job and I signed Grandaddy to them.

THE UPSIDE TO ‘03

Everyone focuses on all the problems digital piracy caused and the bad news surrounding sales, but I saw more new bands that were exciting and fresher than I’ve ever seen before. Artists, who were trying new things, incorporating different styles and pushing the envelope. I believe that’s great news for music in general. At V2 that’s exactly what we look for, because cookie-cutter bands don’t appeal to us. As for the industry –– we may not be finished with the worst of it yet, but there’s definitely light at the end of the tunnel.

HAS A&R CHANGED

There’s been a dramatic change. Budgets are not what they used to be and we have to find ways to make records for less money. We also have to make better records with stronger songs. The biggest adjustment is that artists will have to do more with less, and I don’t think that’s a bad thing. Before, too many acts received recording budgets larger than they really needed. It put a lot of pressure on artists and they didn’t always do their best work. I’ve noticed that fat budgets and lots of time don’t always get the best results. In fact, some of the best albums I’ve heard were recorded in a week on a small budget.

CHOOSING ARTISTS

I start with a “List of Rules” and then bend them to go with my gut. You have to factor in what’s going on at the label and in the music scene. For me, the most important aspect, aside from songs, is star power. It is essential. Without it, you won’t get very far. I also look for dedication and a willingness to sacrifice. If an act meets those requirements, I try to visualize how all the elements can come together –– and, if they do, whether or not the potential fan base will buy CDs.

FULLY DEVELOPED ACTS

I’ve definitely seen more successful DIY acts than at any other time, and that promotes serious label attention. You know, if an independent act has sold 10,000 CDs, they’re kickin’ ass! But even levels lower than that, say 1,000 to 3,000 in sales, could generate our interest. It depends on the region, the market, the act’s live shows and what resources they had available. If an act is super successful, they may not even need a label, unless they want greater distribution, wider exposure and additional resources.

JAYMES FOSTER-LEVY VP, A&R 143 / Warner Bros. 818-953-3730 Experience: 20 years Acts: Beth Hart, Josh Groban, Kristy Starling, soundtracks

A&R POSITION

I started out in publishing, working with Quincy Jones and at Geffen Music. When (award-winning producer) David Foster formed 143 Records, he asked me to help coordinate a Christmas album. We worked well together and the project was successful enough that he hired me to do A&R. Now I report directly to Tom Whalley (CEO of Warner Bros.). I still work a lot in the publishing area and tend to gravitate towards commercial pop.

THE UPSIDE TO ’03

The problems the industry experienced last year opened the door for more mature artists –– acts that may have been making records and selling a fair amount, but weren’t on a major label. The circumstances gave us more freedom to sign artists who are left-of-center –– not your usual mainstream pop stars –– but rather those that might appeal to an older audience. The field has broadened and, at least at this label, allows for artist development, which is one of the things I love most about this job of mine. It’s very gratifying to help an artist grow creatively as well as professionally.

CHOOSING ARTISTS

I like artists who are unique. They have to have something special going on to get my interest. Charisma and star power are absolutely necessary and, in fact, can sometimes be more important than the songs. You can always find great songs that an act can do. My background in publishing helps with that aspect.

Otherwise, I tend to look for artists who are dedicated and hard working. Of course, if an act already has it all together, that’s great. But I rarely see that to the extent it needs to be at a major label level.

SOUNDTRACK PLACEMENT

Anything an act accomplishes is a good thing, and soundtracks can be very meaningful. I’m currently working with an act called the Conti Brothers, and the first thing we did was get a song placed on the Haunted Mansion soundtrack. In fact, lots of artists have their first release on a soundtrack.

It’s a place to start and it gives the public an awareness of the act. That way you can create a story that generates name recognition and gives you something to build on. And, likewise, artists can use the same process to get industry attention.

AFTER SIGNING

They should work as hard as the record company does for them. It’s also important that they have a good team – management, lawyer and an agent – that can work well with the label. They should take full part in their career, but still be able to take guidance. They don’t have to have all the answers, but they should be willing to discuss everything and open enough to try something new.

Artists must realize that A&R are the liaisons between them and the label. We coordinate the marketing plan, and how they’re marketed is critical to success. In fact, after development, it’s probably the most important area that we have to deal with.

JEFF BLUE VP, A&R Interscope Records 310-865-8088 Experience: 10 years Acts: Linkin Park, Macy Gray, Korn

A&R POSITION

I started in this industry by writing for Music Connection magazine. After that, I had a variety of jobs, the most significant being with Zomba Music. From there I went to Warner Bros. as A&R, and now I’m with Interscope. When I worked at Zomba I learned how important developing an act was. And that’s something I stress with every act I’m interested in. I’ll work with them as much as I can to get them ready. You know, I saw Linkin Park at their second gig, and worked with them for years before signing them.

INDUSTRY’S CHANGES

There’s more pressure on us now, and we have to focus on working with artists who can make better records. We need to record stronger songs and less filler, or people just won’t buy albums. And, really, why should they if there are only one or two good songs on it? I’ve always strived to make an album full of great songs and, as a result, most of the acts I’ve worked with have sold well.

NEW TRENDS

I never followed musical trends because I don’t hear genres –– I only hear songs. They can be rock, pop, hip-hop or emo, it doesn’t matter. They just have to be great. At the end of the day, it all comes down to the music and whether or not people will buy it. In fact, trying to create a trend or catch one can lead you in the wrong direction. I never approach my job thinking that I have to do a certain type of music. It’s whatever the artist does best, and as long as it’s real and appeals to enough people, that’s what we work on.

CHOOSING ARTISTS

I’m a little different than most A&R in that I usually start with a development deal. But I don’t just give acts money and tell them to go record a few songs. I like working with baby bands in every facet of their art –– from songwriting and production to imaging and live performances. What gets my attention, initially, and what’s critical to me, is they have to have credibility or it doesn’t matter how good the songs are. If they inspire me, I’ll find the time to go to rehearsals, studios and gigs. I don’t take vacations –– I work creatively with artists and do whatever it takes to make a career. Over the past nine months, I’ve signed four acts to development deals and one to a record deal. That’s about average for me.

MAJOR ISSUES FOR ‘04

It seems like every month a new batch of issues come up. From an A&R perspective, it’s simple –– we have to make better records.

PETE GIBERGA Sr. Director, A&R Epic Records 310-449-2520 Experience: 12 years Acts: Social Distortion, Mike Ness, Vendetta Red

A&R POSITION

I started out working in promotions at Time Bomb Records. Later, I was given the opportunity to work with a couple of acts, and then I was promoted to A&R. From then on, that was my job. One of the best experiences I ever had was working with Mike Ness. He’s a brilliant songwriter and one of the top artists today. I learned a lot working with him.

THE COMPLETE PACKAGE

DIY acts have come back in a big way. Before, artists used to simply go for the deal –– a sort of “zero to hero” approach –– and that almost always involved unrealistic expectations. Now, we see acts that are more of a complete package. They’ve got a nice following, sold a decent amount of records, and maybe have a tour or two behind them. They know what it takes to be successful. We’re not starting from ground zero anymore, and A&R has a better idea of what an act can do. With a label behind them, these acts can expand their coverage on a global basis and multiply sales beyond what they could do alone.

MORE CREATIVE DEALS?

Yes, acts can now exert significant leverage during negotiations. When an act brings a list of ac-complishments to the negotiation table, they can ask for concessions and get premiums for all the work they did. If they have a large fan base, sold a lot of records, got airplay, song placements, or anything that brought them to the at-tention of the public, they can use that to their advantage. Acts that have done the most can get a very good deal. Some even do a joint-venture with the label.

IMPORTANCE OF A TEAM

It’s paramount for artists to have a good team around them. They don’t necessarily need everyone in place before they’re offered a deal, but it is preferable to have a professional representing the artist when approaching labels. When the record is ready for release, though, you definitely need a strong team. Artists need someone who can deal with the label and every department in it –– especially promotions and marketing. Success is not just the label’s responsibility. It’s a joint effort between the artist and the record company.

A PLACE FOR ALL MUSIC

Today, the field is wide open and there’s a place for all types of music. Rock will always be strong, but we’re also seeing a lot of blended genres that are very interesting. In fact, that’s one of the most exciting things about A&R nowadays. We’re not limited to one or two genres. At this label, we can work with any type of music we want to, as long as it’s viable and can sell records.