Keith Naftaly

Few people have a better perspective of the radio/label "divide" than Keith Naftaly. After spending years as a highly successful programmer of legendary stations such as KMEL/San Francisco and KKBT/Los Angeles, Naftaly was recruited into the A&R world by Clive Davis. Since then, he has helped the careers of artists such as Monica, Santana, Whitney Houston, Kelly Clarkson, Luther Vandross, Brandy, Pink, Kesha, G-Eazy Sia, Zayn, Pentatonix and many more. Here, as President of A&R for RCA Records, Naftaly shares his insight on how the changing radio and digital environment is impacting artist development.

Obviously, your years in radio programming influenced your A&R perspective. Is most of what you learned in radio still relevant in A&R today?

The music my parents and older brothers played in the house when I was super-young, whether it was Bach, The Ink Spots, Ella Fitzgerald, Scott Joplin, Simon & Garfunkel, Mamas & Papas, Beach Boys, or even laidback pop like Bread and The Carpenters -- collectively it all kicked off my obsession with melody. And being a public school city kid in San Francisco, R&B was everything. Tower of Power, Earth, Wind & Fire, Stylistics, Teena Marie, Shalamar, Stevie Wonder, Con Funk Shun ... that was my daily soundtrack right there. Those combined vibes informed my radio programming style and that same love of melodic pop and R&B has played a major role in my A&R career. The 45s I used to play at junior high parties, the songs that were buzzing when I worked the request lines at KFRC, the crossover sound we built at KMEL, the vibe of Arista in the '90s, J Records in the 00s, all the way up to today's RCA ... there is definitely a consistent sound!

Any dramatic shifts along the way?

Today's hip-hop domination blows my mind. We played "The Message" and "Rapper's Delight" on KFRC, which was pretty bold for an AM Top 40. And then at KMEL, we embraced rap music and hip-hop culture with a vengeance. A Tribe Called Quest, Too Short, DJ Quik, Ice Cube -- those were core artists for us in the late '80s/early '90s. It was fresh, urgent, disruptive and rebellious being at the forefront of a movement ... and our whole squad of young, wide-eyed crusaders were all in, around the clock. Sway & Tech were crushing it with the Wake Up Show and our Summer Jam concerts became iconic. Then a few of us moved to 92.3 The Beat in L.A., just in time for The Chronic takeover when Dre, Snoop, Warren G and of course, Tupac ruled the airwaves. Clive Davis hired me in '95 to do A&R for Arista in New York, right when Bad Boy and LaFace were jumping off, so Puff, Biggie, Outkast and TLC were defining our sound at the time. But if you were to tell me then that in 2018, subscription streaming would be a massive surging force with 90% of the top 50 representing the rap genre, I would've been intrigued but would also have been like, "Nahhh, there is no way."

Has radio's evolution over years impacted your A&R perspective?

A&R, to me, has always been about developing game-changing breakthrough artists and making sure they have hit songs. If they write hits themselves, that is beautiful. If they don't, it's my team's job to find them or build them. If the artist is original, compelling, has undeniable hits, and the stars somehow align, radio will be there. That's never changed.

Has your view on what comprises a compelling artist and music changed over the years - and if so, how has it changed?

The fabricated packaged pop or R&B star is cooked. Having a distinctive vocal style, dancing skills and a few catchy songs will no longer yield success. The slick and shiny are being met with indifference and cynicism. To be a relevant artist today requires honesty and an identity that 100% represents who you actually are, alongside a point of view that is relatable, trail-blazing and unique. And because of hip-hop's ubiquity, song lyrics across all formats are telling more stories with very specific details. It's a refreshing trend that has taken the focus away from assembly line, anonymous turbo pop and TV talent show winners. There's more vulnerability and relatability in today's music, which creates a profound connection with the fans.

Do you have examples of artists who fit that description?

At RCA we have Khalid, Brockhampton, SZA, Childish Gambino, H.E.R. Maluma, and so many more who I believe tick those authenticity boxes. P!nk still sells out stadiums around the world because in addition to being an unparalleled performer, she's a legit bad-ass with a specific point of view who has remained consistently genuine. Outside of RCA, Kacey Musgraves is perfection. "Slow Burn" is my most-played song of the past year. Kendrick is genius. Bad Bunny is fire, Christine and the Queens are crazy, Frank Ocean's lyrics and melodies inspire. Though she is on a total rival label, huge props to Ariana Grande who scaled new heights with "No Tears Left To Cry" and "breathin" = both pop master classes with sincere, melancholy, nearly heartbreaking vocal performances. If you're a discerning music fan in 2018, you've hit the jackpot if you know how to maneuver all the new ways to consume music, which thankfully most kids do.

I'm sure you've read or heard about Guy Zapoleon's music cycle theory when it comes to radio. Thoughts? Does that impact your A&R mindset in any way?

Guy's the man! At KZZP he groomed a young prodigy from Tempe, AZ named Kevin Weatherly, who I hired as my MD at KMEL. I've always appreciated Guy's music cycle theory because it endorses, to quote the great Steve Rivers, banging the hits, and the fact that Top 40 is at its strongest when representing a wide variety of music. To use Guy's word, we're in a Doldrums phase currently because, with the exception of a handful of adventurous stations, there is a fear and uptightness about embracing vibrant new music that, if programmed strategically, would widen the field of what's considered pop music. Despite its critics, and they've been around for decades; radio is still a bigger-than-life juggernaut. Local flavor and personalities will always provide comfort and consistency, especially during uncertain anxious times. An on/off/scan button will always be easy-breezy to operate. And a free price point will always be irresistible. My wish would be for radio to take advantage of all that power by shifting culture in a positive way, rather than neglecting its responsibility by playing it so safe. Serve up a more delicious meal and fortify your audience! They deserve it!

How has the EDM movement and the proliferation of mixers/mixes affected not just the artists you sign, but the music they record?

Dance music will always be a unifying global force. We all need to be spiritually uplifted and, these days especially, a party-starting blast of joy and adrenaline is very much appreciated. Our two biggest DJ producers at RCA are Martin Garrix and Kygo, both of whom are constantly evolving and maturing without sacrificing their unique signature styles. Plus they're streaming beasts so everybody wins. There's a warmth to some of the biggest club records right now that's reminiscent of the timeless house classics of the '90s. Can't be mad at that. The brittle, icy, industrial instrumentals have retreated to the shadows and fringes. Thankfully the lyrics and soaring melodies are back. Calvin Harris always gets it right and can uncannily anticipate what's next. Disclosure is genius. Jax Jones consistently delivers potent gems. And we just signed Kaytranada, who is brilliant.

How has the streaming revolution influenced the way you do A&R?

Oh man, it's crazy out there! First off, there's more music than ever to discover, which is simultaneously stimulating and overwhelming. Plus the ever-shifting landscape moves with such a quickness that the process of discovering, signing and releasing music feels like the highest setting of fast-forward on your TV remote. The playing field across labels is level now because we all have access to the same data that indicates what's truly buzzing, even in its infancy. Therefore, to win at A&R today, what matters most is your taste level, your stamina, your passion, your expertise, your team, their team, and what your label can deliver and leverage for the artist to provide scale and global success, based on a partnership built on trust and mutual respect.

Do you miss radio programming?

I started programming imaginary radio stations when I was nine! I'd type up playlists in my room with the door locked. No lie, I figured this had to be some type of mental illness that required total secrecy. I had two Top 40 stations; one leaned rock and one leaned "soul." I even designed their logos and would mathematically compute the Top 100 of the year every New Year's Eve. Not only was I obsessed with radio, but I'd take the bus across town to Tower Records every weekend with my cousin and we'd buy 45s. In fact, we'd stay there for hours. It was heaven being around all that music and the design of their displays was always super rad. Music, art, design, that's my shit. I also had a knack for instinctively knowing what would become a hit. I'd physically get this chill up my right side, which still happens to this day. To say I knew what I wanted to pursue as a career at a young age would be an understatement! So do I miss radio programming? Yes, because it runs deep through my veins. I still love to hear a record with a sick intro blazing out of a top-of-the-hour ID and still cringe when there's a pre-recorded phoner accidentally playing in the middle of a song! But no, because my bond with radio is a nostalgic trip down memory lane, whereas I'm 20-plus years into an A&R career that's been a very colorful journey and is still action-packed.

How do you view your future in the business?

The music industry endured some really sketchy years. Anxious energy oozed through label hallways and meetings for a lengthy stretch. With the business finally thriving once again, there's this intoxicating optimism that's so fucking refreshing. At RCA, morale is high, music is blasting and there's lots of laughter in the building. A nerved-out, fear-based environment is finally long gone. Peter Edge defines the modern CEO: subtle yet profound, with impeccable taste and musical knowledge that is unreal. Let's give him a 10 for musical acumen. That puts me at about a 4 -- and I know my shit! I'm proud to be leading the best A&R team in the world. We encourage collaboration and kindness, which isn't a given in this business, and I learn as much from them, probably more, than they learn from me. At some point, I advanced into OG status and am cool with that. Building hits, artist careers and executive stars is my passion and the future is looking bright. Plus, to this day you can always find me curating a new playlist -- and I don't lock the door anymore.