Several famous A&R gaffes were made during this era. In the early 1960s, the major labels continued to display conservative tendencies in their A&R practices. The payola scandal of the late 1950s was in many ways a means of compensating for A&R deficiencies at the majors. (e.g., RCA's purchase of Presley's contract from Sun). Major labels began using the independent labels to do A&R work, purchasing artist contracts from small labels Major labels eventually realized that their conservative A&R practices were eroding their market share. ![]() King, Howlin' Wolf, Elvis Presley, Johnny Cash, and Jerry Lee Lewis. Phillips' discoveries alone read like a "who's who" list of early R&B and rock. Several of the noteworthy independent record companies of the 1950s were headed by astute A&R men, like Ahmet Ertegun (Atlantic) Leonard Chess (Chess) and Sam Phillips (Sun), who eagerly sought talent among blacks and the Southern whites. These biases, which often hinged on old-fashioned notions of race, class, and region, permitted upstart companies to exploit the growing teen market for R&B and rock n' roll. In most instances, the chief executives' personal biases and tastes conditioned company A&R strategies. Until the early 1960s, top executives at record companies substantially controlled day-to-day A&R functions. In the 1950s, many new record companies emerged with aggressive and visionary A&R strategies. In the post war years, Hammond discovered among others Aretha Franklin, Bob Dylan, Bruce Springsteen, and Stevie Ray Vaughn. He is credited with crafting the early careers of Billie Holiday, Benny Goodman, and Count Basie in the 1930s. John Hammond, who worked many years for Columbia Records, likewise had an impressive string of successes. Peer's A&R strategies were emulated by other A&R men like Frank Walker and Art Satherly, both of whom would eventually play significant roles in the development of country and western music. Subsequent field recording expeditions into the South were immediately organized and among the artists soon signed to Peer's Southern Music Company were Jimmie Rodgers and the Carter Family, the twin foundational pillars of country music. While looking to make field recordings of gospel in the South, Peer reluctantly recorded "Fiddlin"' John Carson, whose record yielded a surprise hit in 1927. Peer was the first record company man to recognize, albeit by sheer luck, the economic value of Southern and Appalachian music. A significant early figure in the history of A&R was Ralph Peer. Some of the most astounding A&R work was done before World War II. A&R men also occasionally functioned as promoters, helping with the "grooming" of acts for the stage or broadcast performances. After signing acts to contracts, A&R men accompanied musicians into the studio, helping them to craft a record. First, the A&R man would scout the clubs, bars, and juke joints of the country to find new talent for his record company. ![]() The great A&R men of the pre-rock era were multitalented. A few of the more legendary A&R men have become famous in their own right, joining the ranks of rock n' roll's most exclusive social cliques. ![]() Several notable record company executives, especially Sun's Sam Phillips and Atlantic's Ahmet Ertegun, established their professional reputations as A&R men. Those with "good ears" are likely to be promoted to a leadership position in the industry. The ability to recognize which acts will be successful is critical to the survival of all record companies, but it is a rare talent. Since the 1960s though, A&R has become increasingly synonymous with "talent scouting." A&R is one of the most coveted positions in the recording industry, but it may also be the most difficult. During the early decades of the recording industry, A&R men (there were very few women) were responsible for many stages in the production of recorded music. Artist and Repertoire (A&R) representatives count among the great, unseen heroes of the recording industry.
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