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By Thaddaeus Thompson
WHAT TO LOOK FOR IN A MANAGER
When there is a shortlist of managers demonstrating a positive interest in them, artist should consider the following points:
1. How experienced is the manager?
2. How successful has he been (and has that success been in a similar field)?
3. How long has he worked in the music industry, and in what different capacities?
4. Does he have a good reputation and what are his reputed strengths?
5. Is he primarily a business manager or a creative manager?
6. How long has he managed any other artists with whom he is involved (the artist should try and talk to those other artists)?
7. Does the manager have the type of personality that the artist is looking for? (Is he the aggressive type or perhaps more diplomatic?)
8. Where is the manager based? What back-up is available? What kind of office facilities does he have?
9. How much time will he be able to spend on the artist's affairs?
10. How convinced does he seem of the artist's talent?
11. How extensive are his contacts in the industry?
12. Does he have experience of the industry outside America? For example, does he have contacts in Europe?
13. Does he have good negotiating skills?
14 Will he or his staff be able to deal with the details efficiently (i.e., returning phone calls, dealing with correspondence, maintaining proper financial records etc.)?
15. If the artist already has a recording or publishing deal, does the manager have any history of dealing with the companies concerned?
And, if so, what do the key personnel at those companies think of him.
The Artist Manager:
A&R executives prefer to deal with managers rather than artists when it comes to negotiating deals, and often the artist will benefit from the additional validity brought to his project by the involvement of a respected manager. - International Management Forum.
If the artist does not seek a good manager's services before negotiating record deals, it can complicate the manager's job, if he or she intends to get one later. Often, a management contract will have a provision allowing the manager to operate using his own strategy.
Generally, the sooner an artist engages a manager the better. Nevertheless, we recommend that artist act carefully when deciding on a manager.
The relationship between manager and artist must be personal. This call for caution as it is with all such relationships.
There are three variety of managers, namely:
A. The fat shadows -- who dictate what you have to do.
B. The backbenchers -- they rely on your command.
C. The in between -- they are in between the "Fat Shadows" and "Backbenchers."
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MAKING THE DECISION
An artist should adopt a thorough and professional approach to the selection process, but ultimately he must rely on his own judgment in determining whether or not the relationship would be an effective and successful one.
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