THE LONG ANSWER

Technically speaking, the term "A&R" is defined as "artists and repertoire"... which bascally doesn't mean shit.  It's just a fancy way of saying "your personal go-to person".

 

If you're an artist, they're your invisible everything.  That is, if they're any good at their job.  A bad A&R can make you feel like an instrument being played by the label; a good A&R can help you become a one man (or woman) army of knowledge and further your career by simply redirecting the way you envision the relationship beween artistry and marketing.

 

If I lost you with that, just keep making beats in your bedroom and recording in your closet.  There's nothing wrong with scratching that artistic itch.  But if you're trying to make any semblance of a career out of your musical craft then you better get used to learning more about what's going on around you.  But back to the topic.

 

Your A&R should be able to answer your questions about whatever is relevant to your project.  And if they don't already know the answer, they should be doing whatever is in their power to go find out.  Because the more you know, the more you know.. you know?  And the more they know, the better they can help you get shit done.

 

Are they a personal assistant or manager-type?  Yes, but no.  They're the

bridge between your project and the label.  They've got your best interest

at heart and truly want your project to be the best that it can, but within the

parameters that the label will be able to work with when it's all wrapped up.

 

The more you listen to (and actually consider) their guidance and advice, the easier it will be for you to get what you told them you want to get.  If you constantly fight against their insight, you're fighting against your own productivity.  So be sure to have a solid, trusting relationship with your A&R.

 

I do speak from experience on both sides of this fence, but don't take my word for it.  I've had the pleasure of asking an actual A&R a few questions to really clear things up and hear it from the horse's mouth.

 

Below is an interview with the A&R Director at Keep Records in Las Vegas, Nevada; Julia Pasillas.  Below, she describes in further detail what it means to actually be an A&R:

 

Q:  What does it mean to be an A&R?
A:  Well, for me it really just means listening to the artists you're working with.  If you listen, you learn.  Pretty simple.  Traditionally an A&R is the line of communication between the artist and the label, but I enjoy the challenge of learning my artists well enough that I can anticipate what they want before they know what they want.  I'll try to ask the questions I sense they're too scared to ask, or feel out if they're not happy with the way a project is going.  It's fun work and I've always been inspired by musicians anyway.  I'm not [an artist] so this is my way of being involved.  I get to be right in the middle of the creative process and help these kids get their work
out to the world.  Winning!

 

Q:  What are some examples of an artist being too timid or polite to speak up about something?
A:  It's funny because these are ARTISTS.  They know exactly what they want their work to sound and look like, but once an "all-powerful" label gets involved sometimes they suddenly have no opinion!  That can be dangerous because the art is what we are all here for anyway.  I like to try to sniff out those moments and provoke some conversation out of the artist. Sometimes
someone from the label will present them with album artwork, or an idea for a promotional campaign, or an update on a track we're working on; and if I smell any fake enthusiasm I'll ask the artist things like, "Is this the way you imagined it looking?  Is this an idea that you're excited about?  Is this sending the message you wanted?"  It all comes back to how well you've got your artists figured out.

 

Q:  What about cases where an artist has too much input?
A:  This does happen.  I'm really lucky I work for Keep Records in this case because we don't do too many exclusive contracts.  Usually the artist has [already] created something great and we come along and do what we can to let the world know about it.  However, when I get the feeling [an] artist is too close to the project to see that some changes could make it great, you gotta hear the artist out and then present them with your alternative and reason why this move is better for THEIR brand, not necessarily the labels.  The artist has got to trust that you're not there to make a buck off of them, which is damn near impossible to begin with.  These working relationships really rely on trust and balance.  If you have that with your artist, more often than not, they'll [understand] what you're trying to tell them.  And sometimes I've pushed an idea through that I wasn't super fond of, but as an A&R you have to be able to tell the difference.  Is this artist just too close to the project to see that this shit is NO BUENO, or does this artist [simply] know their fans better than I do?