Interview with Cornelius Harrington- A&R Assistant Atlantic Records

On The Come Up – by J Hatch

If you ask a room full of successful record label or industry execs how they started, many if not all, will raise their hand and say ‘as an intern’. The position of an intern can do a lot for you, while some may only learn how to carry a lot of coffee at once without dropping , others (if focused and determined) can gain a solid and steady growing career full of achievements and accolades. One individual climbing up the music industry ladder at a refreshing pace is Cornelius Harrington, A&R assistant to Brian Berger at Atlantic Records. Relocating to NYC recently from North Carolina, Cornelius has his ear to the streets (and the internet) on a daily basis. Whether it’s a showcase, networking event or scouring MySpace for that next star producer or artist, he will always have game face on awaiting that call from the higher ups.

Hey Cornelius, thanks for taking time out to speak with us, for the record what’s your title at Atlantic Records?
Wassup, iStandard, what it do and your welcome on taking the time out to speak with you guys. ANYTIME. I work as an A&R Assistant to Brian Berger.

Thanks and we greatly appreciate that, give the readers some background on yourself and how you got into the position.
I’ve pretty much always had a love for music all my life. I really believe I was just an artsy type of guy from artwork to eventually falling in love with music. I was raised in the south so I had a lot of church and gospel influences which somewhat helped give me a better ear for notes, keys, and live instrumentation from what I was brought up around.

While in college, I took a position for the radio station and started with a hip-hop/r&b show which I did once a week. We weren’t allowed to play top 40 radio or artists within the past two years. So, you could actually say I was being an A&R before I even came to Atlantic b/c I was not going to have a whack radio show. I researched and tried to find all the new and upcoming national and local hits. Just like many college students, I was searching for a career and started researching music internships. I came to Atlantic and I have been here ever since. Hard work and listening were key steps in getting me where I am today. I wanted to have the jobs of those guys working around me and even today that’s what I strive for.

Sounds motivating Cornelius, what are some of the current projects are you currently assisting on in terms of production and overall administrative coordination?
Right now, I’m currently working with Brian Berger on the Maino “If Tomorrow Comes” album. We’ve pretty much wrapped the album up but still have a month or so to close. So if you guys have some heat. We’re still looking to bring the best material to this album. I’m looking to have something on the next Juvenile album and a few more if possible. In the A&R dept. at Atlantic, I feel we really work together when needed to ensure that each artist has the best chance of having the most success possible.

It’s interesting because Don and I always say there is a new wave of A&Rs on the rise, we have interviewed 2 (Dre McKenzie from G-Unit and Reality from SRC/Universal) thus far and it seems like you guys have a grasp on what the ‘new’ music industry is all about. What are your honest beliefs on where the game was, is and is going?
Man, “Where the game was” is classic. I really think it will be hard for a lot of new artists to really bring what we had in the 90’s and the early 2000’s. However, it’s up to the younger generation of A&R’s and older executives to work together on getting the best material out to this generation and that of a few years past. Things have really changed but its all about having a good mesh of material on an album. I don’t care what anyone says but I believe Lil Wayne’s “The Carter III” brings that. There is something on there for everyone. The music game is going wherever we take it. If the industry pushes BS: We will have BS in the music industry. If we push good albums and talented artists: That’s what we will have. I won’t name in this interview the majority of talented artists who don’t get that publicity which they should have. The difference between the good artists of the past and the talented artists of today is that many of the past artists had HUGE singles which propelled so many consumers to buy albums and eventually listen to the artist. One thing to remember though is you should always love the artist more than your music because consumers will buy albums regardless of what’s on the album if they really love the artist. A solid fan base means a lot in today’s industry. I’d rather find an artist with a couple 100,000 solid fans than an artist who even reaches the TOP 100 because that fan base will last a lot longer than that one hit.

I am sure you’ll get some mp3’s directly after our readers check out this interview, Maino’s record ‘Hi Hater’ is a definite problem in the clubs. Now when working for a Brian Berger or a Walter Randolph I’m sure there is an expectation to find the best music possible for the various projects, where do you start when on the hunt for hits? Is there a formula or is it all about timing?
Well, I can’t say that it’s a formula other than reaching out to the most talented producers, writers, and artists that we are associated with. Every A&R should have a go to guy when it comes to delivering a hit, but you should always be on the lookout for new and up and coming talent. I feel that it’s about networking with the most musically inclined people. Some of my best friends outside of the music industry know just as much if not more than I do about artists and we tend to all learn from one another. I like to surround myself around these folks within the industry. One thing that I do know is that a hit doesn’t have to come from someone who’s already in the industry. You have to find patience in listening to beat CD’s, searching MySpace, attending showcases, and any other places where you could find the best music. Also, it’s about the chemistry that you get when you work with an artist, producer, and writer. This is what ultimately gives you a better project.

Great segue into my next question because we have spoken many times about today’s technology and how MySpace has helped artist promote themselves, how do you as an A&R utilize the music oriented sites to your advantage? Any success stories?
I’m an online connoisseur when it comes to digital research from blogs, MySpace, and other sites. The internet is like a physical region in itself. Example: If you go to Texas, you’re going to learn what screw and syrup are. If you travel from state to state, everyone is going to have the newest and best thing. So you still have to follow the trends when you’re online. Example, when I moved to NY, I hadn’t even heard “Ballin” by Jim Jones yet considering I was coming from South Carolina, but I saw the song so many times on NY MySpace pages and eventually figured that it was a big record in this region. You can find the same trends on MySpace and other sites specifically when it comes to artists. I saw Soulja Boy when he was on MySpace before his deal, The Heisman Boyz, and so forth, but I can’t say that I have had any personal success stories yet. I do wish much success to those artists I’ve found and who are doing they thing. Some things just don’t work out for person who wants to sign an artist. That’s just how the industry goes. You have to want to work with the artist that you sign coming from an A&R standpoint.

You’re definitely someone who keeps their ear to the streets, judging showcases, speaking on panels, actively networking with producers and artists and always taking time out to provide knowledge for those on the come up, with all that being said, do you feel that A&Rs get criticized for being lazy or not finding good talent offensive and how would you respond to that statement if someone was to say that to you?

1. Well I would first say that every A&R doesn’t have signing power. Our job is to present that to the executives above us unless you have signing power, make a good point for signing the artist and hope that they get signed.
2. At the end of the day, I don’t think too many A&R’s really get offended because we have to do a job. A&R’s sometimes are the first to get hired and the first to get fired. If signing you is going be the decision between whether I have a successful career or not; I’ll take my chances on the artist I feel I can win with. If anything, artists get offended by how we respond. I respect every artist with the intent to help them further their careers. I don’t have to hate on music. Today you just don’t have to listen to anything you like.
3. It’s also offensive only in the sense of that we cannot sign everyone and we’re criticized if we don’t sign someone. If you’re that hot, I promise you don’t have to come sit with an A&R. We will come fly out and sit with you. I think a lot of new artists talk more than they listen. If they would listen and get there buzz up and just because they have local fans or groupies who salute them every show. It doesn’t mean that the rest of the world will love them nationally or internationally. Major record labels are a business and intend on signing the best talent possible. Its like if you don’t make it to the NBA, go semi-pro, international, or just give it up. It’s not for everyone and I don’t think every artist realizes that.

Good advice, so what new producers have caught your attention recently?
Cory Bold & Lu Balz; These are some new producers that I’m cool with and I’m sure they’re going to be the next wave of new producers to get a lot more placements. It pretty much just depends on what sound you’re looking for and when it comes to Top 40; they’re next.

Ok we got to look out for those guys the, tell us though, what kind of direction would you give a new producer with talent but limited contacts in the game?
I would tell them to work with new artists and writers and build from there. Eventually your music will spread on a local scene and far beyond. Mannie Fresh took Cash Money to a new level and even himself. The best producers to me have built their own talent of artists and eventually took over the music game. When your music speaks for itself; your name will surely follow behind. Every smart industry person is wondering who made that hit whenever they first heard it.

What’s next on the plate for you Cornelius, do you have any goals for the music game?
I’m really in the process of just marketing and making a name for myself. Cornelius Harrington is about to become a brand. I really just want to get a few Grammy’s and hold an executive seat within a major label. I want to be the A&R behind the next BIG star. Everyone has their own level of success and mine is to just be happy and do what I love. “Love what you do and do what you love”

No doubt, that’s definitely a motto to live by, any shouts or plugs?
I want give a big shout to iStandard; Don Di Napoli and J Hatch. I just want to thank you guys for giving me an opportunity to be a part of everything that you guys are involved in. I really appreciate it. I want to say thanks to Brian Berger & Walter Randolph for keeping the kid in NY and teaching me the skills to take it to the next level. Private Stock Worldwide is the next big thing. Be on the lookout. Thanks to everyone at Atlantic that I roll with and all the producers, artists, and writers who make my job easier.

Thanks for your time.