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Erik Baker the Artists and repertoire (Erik Baker the A&R) is the division of a record label that is responsible for talent scouting and overseeing the artistic development of recording artists. It also acts as a liaison between artists and the record label.

My History

Where it all started..

Erik Baker is a American music industry professional best known for his work as an A&R Consultant, Personal Manager and Record Promoter. Having held positions as National Promotion Director and V.P. of Promotion for affiliates of Universal Music Group, Warner Music Group and Atlantic Records from 2006 2008. Erik was the GM for Arsenal Records and independent record label owned and operated by current Island Def Jam Music Group Senior Executive Max Gousse from 2008-2009. Erik's most noteable credits as an independent promoter were with rock artists Breaking Benjamin, Three Days Grace, Flyleaf, Skillet and Shinedown, and country artists Montgomery Gentry, Trace Adkins and Rascal Flats. Other noteable credits are BoA's 2008 debut single "Eat You Up" and R&B legend Jon B's top ten single "Ooh So Sexy". CAREER Born on July 22, 1979, Erik Craig Baker is a Florida native who began a career in the music industry as a concert and nightlife promoter in the mid 90's in Tampa, FL. He was a staple in the dance music scene in Florida working alongside fellow promoters such as Regis Gillespie and Dave Mirski (MARZ). They were the pioneers of the Florida late night dance music scene. In 1999 while Mentored by current Idaho Center General Manager, Craig Baltzer, Erik and concert industry veteran Fred John formed Global Productions, a florida based concert production company. Global produced major outdoor festivals including "Suwanee River Country" and "Country Hits" as well as multiple arena concerts from 1999-2001. In the early 2001 Erik, who was known for having relationships with regional program and music directors, was hired on by radio executive Steve Hilton who quickly turned his attention to transforming Erik into a record promoter. That same year Erik began promoting a series of country records as an independent promoter for EBM Radio and Media Promotion. From 2003-2005 Erik worked in rock record promotion for EBM before moving on to his position as National Promotion Director.

Since then Erik has held several positions in record promotion from Rock to Urban. Erik became a shareholder and stayed as a consultant with EBM Radio and Media Promotion until Fall of 2009 when T.OZ Entertainment owned by Ozz Saturne' acquired the company and hired Baker as a senior executive, running day to day operations including overseeing development, promotion, management and booking of artists. Erik is currently venturing into the world of Television and Film with T.OZ Entertainment, according to his personal website. Erik also states he has several show considerations at BET and A&E. T.OZ's first reality show "First In" aired this season on BET.

What My Job Consist of

Finding talent

The A&R division is responsible for discovering 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 may have formerly been either musicians, music journalists or record producers.

An A&R executive is often 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. The actual contract negotiations will typically be carried out by rival entertainment lawyers hired by the musician's manager and the record company.

A&R executives rely mostly on the word of mouth of trusted associates, critics and business contacts. They also tend to favor bands that play in the same city that the record company is located. Contrary to popular belief, their decisions are rarely based on unsolicited demo tapes sent by musicians. (However, major labels outside the United States and various independent labels may accept demos.)

Overseeing the recording process

The A&R division oversees the recording process. This includes helping the artist to find the right record producer, scheduling time in a recording studio and advising the artist on all aspects of making a high quality recording. They work with the artist to choose the best songs (i.e.repertoire) to record. For artists who do not write their own music, they will assist in finding songs and songwriters. A&R executives maintain contact with their counterparts at music publishing companies to get new songs and material from songwriters and producers.

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 tracks need to be re-recorded. A key issue is whether the album has a single: a particular track which can be used to market the record on the radio. The industry cliche, "I don't hear a single!" is a reference to this process.

Assisting with marketing and promotion

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.

Recent changes

See also: Music industry in the 21st century

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. In the wake of declining record sales, a large number of A&R staffers have been let go. It is not clear whether A&R executives will continue to shape the future of musical tastes the way they have in the past.

External links

• A&R Interviews - Database of interviews with A&R people

References

• Albini, Steve (1993), "The Problem with Music", The Baffler, no. 5, Chicago: Thomas Frank, ISSN 1059-9789, OCLC 24838556, archived from the original on 2007-09-28, also archived from the dead Baffler site. (Reprinted in Maximum RocknRoll #133 (June 1994) and later various websites.)
• Knopper, Steve (2009), Appetite for self-destruction : the spectacular crash of the record industry in the digital age, New York: Free Press, ISBN 1416552154
• Krasilovsky, M. William; Shemel, Sidney; Gross, John M.; Feinstein, Jonathan (2007), This Business of Music (10th ed.), Billboard Books, ISBN 0-8230-7729-2
• Kusek, David; Leonhard, Gerd (2005), The future of music : manifesto for the digital music revolution, Boston: Berklee Press, ISBN 0876390599
• Prial, Dunstan (2006), The producer : John Hammond and the soul of American music, New York: Farrar, Straus and Giroux, ISBN 0-374-11304-1
• Shoemer, Karen (October 30, 1992), "Some Alternative Boundaries Fall", New York Times{{citation}}: CS1 maint: date and year (link)
• Weissman, Dick (2003), The music business : career opportunities and self-defense, New York: Three Rivers Press, ISBN 0609810138