10 Questions with ... Angelo Scrobe
January 24, 2012
BRIEF CAREER SYNOPSIS:
During college, did tour management duties for hardcore bands, Madball, H20, Murphy's Law, Merauder and Skarhead. From there went on to Artemis, Aim Strategies, S.I.N. and Strategic Artist Management, and currently at EMI Music.
1. What made you want to get into the music business? Early mentors? First job?
I started an internship at Roadrunner Records (marketing and publicity) during my junior year in college, and I was immediately sold ... marketing music for a living, building a serious CD collection, going to shows on regular basis, hanging with artists, blasting loud music in your office, and able to wear jeans and a T-shirt to work. It was a no-brainer! I was also very lucky to cross paths with great mentors -- Daniel Glass, Vince Pellegrino, Paul Yeskel and Johnny Barbis. I continue to be fortunate today working with an all-star team of Greg Thompson, Bill Carroll, Howard Petruziello, Ray Gmeiner, Dan Connelly, along with the rest of the solid Capitol/EMI team! My first paid gig was an assistant to Daniel Glass and Danny Goldberg at Artemis; from there things took off pretty quick for me!
2. Too many records, too few slots. What data seems to be most important to you when jockeying for an open slot on a radio station and why? Ticket sales? Tour info? Prior success? Retail? Other stations?
Solid relationships with your stations and communicating with them regularly about your records. Despite the heavy focus radio puts on PPM these days, and other research tools, relationships still do matter. It's important to know what gives a record a real shot with your stations, and understand each other's goals. Sales and digital downloads are a great indicator along with any impressive stories about your artists in the radio station's markets.
3. It seems that set-up is more important now than ever. What do you do to inspire your staff for success in the field on a daily basis with the amount of material that recording companies are releasing in today's market place?
Today's field staff is extremely busier than ever, so it's important to supply them the stories, information and tools on a daily basis; keeping each other in the loop. You have to make sure you're there at any moment to back them up. They're out on the road everyday knocking down doors so our artists get heard ... and kicking ass!
4. Who do you consider the current tastemakers in the Rock world?
Any programmer who still gets excited about new music, and puts the record in rotation with their gut instinct! Thankfully there are a bunch still out there despite the consolidations and syndicated programming. I put the spotlight on Uncle Ray Gmeiner (Yo Ray!) and rhe Capitol Music Team for the outstanding, long-term campaigns with Adelitas Way, Alter Bridge, Saving Abel, Sick Puppies and more in the past year!
5. It has become apparent that in this research-driven time, records are taking much longer to "test." How do you go about making sure that your record will be given a fair shot?
Commitment, patience and passion! You have to stay driven and be on top of radio chiseling their ears. You can never take for granted that a programmer is up to date with your records; they're multi-tasking two to three roles now. When someone says, "No" ... I'm even more determined to get the green light!
6. Every promotion person has a record close to their heart that for one reason or another never broke through, "The One That Got Away"..... What is your "One That Got Away" -- and what did you learn from that record?
Oh yeah, coming from an indie background, there were many ... I've lost track. Unfortunately, records take much, much longer to research, and artist development is needed. Between radio and record downsizing, we are both moving at a faster pace at times to meet our numbers.
7. What are the most important tools/resources you use to stay on top of the rock formats' growth and constant daily changes?
The usual data ... BDS, Mediabase, Soundscan and, of course, All Access! Streaming radio stations in different markets -- and I can't go a day without the in-depth knowledge from the Capitol Music Team and some of my programming buddies. I am constantly looking to accumulate knowledge to be a better promotion person,
8. The lost art of artist development. What do you do to ensure your artist is building a career as opposed to just breaking a song? And does it even matter anymore?
Artist development is a must. EMI Music understands this, and is not looking for the instant gratification. A lot of time is spent with artists and their management to assure we are taking the right steps in all areas before we launch. We think about the long-term for our artists, and the right choices when we go out to radio. It's also important that the artist is engaging with radio, and winning new fans each day.
9. Are you finding that today's "baby" bands are getting a fair shot at radio and, more importantly, are they being given the airplay they need to break through to the masses and be recognized?
At Rock radio you have to pay attention to timing in your plan, be dedicated, and be in it for the long haul. Playlists are tight and few slots open up, so you have to be aware of your competition, especially when core Rock artists are impacting. You have to be relentless to get the "baby band" in rotation, and making sure the station sticks with the record. Having the band committed to doing promo is key. Sirius XM has become a great outlet for upcoming bands to get their music heard by the public.
10. What is the strangest record you ever worked and what ended up happening to the band?
Khia "My Neck, My Back (Lick It)" at Artemis Records. It was a novelty record that took off at Rhythmic, Urban and Pop. A few years ago, I saw her on a VH-1 Reality show, "Miss Rap Supreme."
What is the best live show you have seen this year?
In 2011, it was Foo Fighters. Dave Grohl and crew never disappoint. I am predicting Roger Water's "The Wall" live tour will be one the best live shows for me in 2012.
When you're not rockin' out what other music do you enjoy outside your "format"?
Besides all things Rock, including Alternative, I enjoy listening to Blues, Jazz, Hip-Hop and Dance/Electronic.
What was the first album or single you purchased on your own?
Michael Jackson "Thriller"