https:\/\/rss.com\/podcasts\/kenny-dentons-there-ain-t-no-rules-in-rock-n-roll-stories-from-my-45-years-in-the-music-industry\/?_gl=1*6rldie*_gcl_aw*R0NMLjE3ODUyNTI5OTkuQ2p3S0NBandwcUhUQmhBY0Vpd0FqMkFmdXRXMG85ZTN2OXh4MDlreF8wRXY4X2kxSjA5NVowSmJrMWdhOHQtd2V0S1hncTI5ajMtbHdSb0NOSVlRQXZEX0J3RQ..*_gcl_au*MTg2MDcwMTI1OC4xNzgzNjE4MzEx<\/a><\/p>\n\n\n\nFinding an A&R Person.<\/h2>\n\n\n\n Finding an A&R person in any record company, who believes in your product as much as you do, is a rare commodity to say the least. <\/p>\n\n\n\n
I have never heard of any artist being signed to a label on their first approach to a label. <\/p>\n\n\n\n
George Martin and EMI, like every other label at that time, had previously turned down The Beatles. <\/p>\n\n\n\n
When Brian Epstein approached Martin again, he convinced him that if he signed the band, with his record shop connections, he could guarantee he could fix a chart entry.<\/p>\n\n\n\n
Although \u201cLove Me Do\u201d only reached number seventeen in the UK chart, Epstein had kept his word.<\/p>\n\n\n\n
Finding Someone Who Believes.<\/h2>\n\n\n\n Between the years 1978 and 1979, I had spent around \u00a315000 of my own money, recording an album with an artist whom I truly believed in.<\/p>\n\n\n\n
I tried various record companies, but sadly I could not find anyone who shared my enthusiasm for the product. That was until I ran into my old friend and once manager, Dave Meyers.<\/p>\n\n\n\n
Meyers listened to the album and loved it; he was surprised that I was unable to create any record company interest. <\/p>\n\n\n\n
I told him so far everyone had turned it down.<\/p>\n\n\n\n
He told me, <\/p>\n\n\n\n
“You must be going about it the wrong way; give me six weeks and I\u2019ll get you a deal and get your money back.”<\/p>\n\n\n\n
Even though I knew Dave was a bit of a bullshitter, he had a charm that was irresistible, a real-life Svengali.<\/p>\n\n\n\n
Anyone that had ever been involved with him, would tell you the same.<\/p>\n\n\n\n
I must admit that the thought of any reimbursement of my investment and a release for the product sounded very attractive.<\/p>\n\n\n\n
Now, the Split.<\/h2>\n\n\n\n Meyers set about explaining how he would go about getting the deal. <\/p>\n\n\n\n
His immediate investment would be in the region of three to four thousand pounds.<\/p>\n\n\n\n
Once we had received an advance from a record company, he wanted his money back first, my investment would be repaid second and then the artist would receive his payment.<\/p>\n\n\n\n
All other profits after that from sales would be split; half to the artist, the remainder being split equally between Dave and me, in perpetuity.<\/p>\n\n\n\n
How the Deal Would be Achieved.<\/h2>\n\n\n\n Dave would arrange meetings with all the A&R departments heads every PolyGram Record<\/em> company throughout Europe.<\/p>\n\n\n\nHe would start in France, then on to Belgium, Holland, Spain until all had been visited.<\/p>\n\n\n\n
The journey would end with a meeting with the MD, Mr. Odo von Stein, the head Of Deutsche Grammophon and PolyGram in Germany.<\/p>\n\n\n\n
At each of the previous meetings along the way, he played one or two tracks from the album, then left a cassette copy of the entire album for them to listen to at their leisure.<\/p>\n\n\n\n
Crucially he would tell them that Odo, in Germany, loved the album and he would be contacting them soon for their reaction.<\/p>\n\n\n\n
Clinching the deal.<\/h2>\n\n\n\n Dave set off on his journey, visiting each country, playing the A&R heads the songs and finally arriving in Germany for his meeting with Odo von Stein.<\/p>\n\n\n\n
He played the tunes to Odo then cleverly told him that every European PolyGram <\/em>Company wanted to sign this artist and on that basis that he was looking for a very substantial deal.<\/p>\n\n\n\nMeyers urged Odo to listen to the whole album then telex (the old fasioned email) all of the European offices and ask for their reaction to this product.<\/p>\n\n\n\n
Meyers then arranged a second meeting in a few week’s time, giving Odo time to contact the various PolyGram territories. <\/p>\n\n\n\n
Odo did as Meyers suggested and contacted his A&R departements throughout Europe<\/p>\n\n\n\n
As they had already been told that Odo loved the album they were desperate not to offend the head of their organization.<\/p>\n\n\n\n
Every A&R department, without exception, telexed Odo back with an in-depth review, saying they thought the album was sensational and that they wanted to release it as soon as possible.<\/p>\n\n\n\n
Finalising the deal.<\/h2>\n\n\n\n Dave returned to Germany for his second meeting with Odo to negotiate the deal.<\/p>\n\n\n\n
Meyers had asked me to call him whilst his meeting with Odo was taking place.<\/p>\n\n\n\n
I was to pretend to be Clive Davis the President of Arista Records in <\/em>New York. I was to beg him not to sign the album to PolyGram as Arista would offer him a much better deal. <\/p>\n\n\n\nIt was a petrifying concept, but plucked up the courage to ring Odo\u2019s office.<\/p>\n\n\n\n
With an awful fake American accent, I demanded the secretary interrupt the meeting and let me speak to Dave immediately.<\/p>\n\n\n\n
To my total surprise the next voice I heard on the phone was Meyers.<\/p>\n\n\n\n
He did all the talking sounding like he was in a conversation with Clive Davis, ending with,<\/p>\n\n\n\n
\u201cI am sorry Clive, PolyGram <\/em>adore this artist but should we not conclude a deal with PolyGram today, I will get back to you right away.”<\/p>\n\n\n\nWhen the call was over, Meyers told Odo how desperate Arista were to have the album. <\/p>\n\n\n\n
He explained that Clive had phoned his London office to talk about a deal and was informed that negotiations were already taking place in Germany, hence the call. <\/p>\n\n\n\n
Odo, now desperate not to miss out and lose the album to the ficticious Clive Davis, offered $150,000 for a world-wide deal.<\/p>\n\n\n\n
Meyers managed to negotiate up the advance up to $200,000 and managed to keep the rights for the USA.<\/p>\n\n\n\n
An audacious plan that he played to perfection.<\/p>\n\n\n\n
<\/p>\n\n\n\n
<\/span>\n
Sign There Sign Now <\/p>\n<\/div><\/div>\n\n\n\n
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