A&R now is very different from when I first started in Korea. There are some things I was a little worried about when A&R classes or lectures were first introduced a few years ago. How well can this part be taught? There are many aspects of A&R that need to be learned through experience. Won't they be disappointed coming in after learning something like that? Hello, I am part of CJ ENM's Music Content Business Division, Music Division. My name is James Rhee, and I am head of the A&R team. Nice to meet you. I worked with actor and singer-artist Jamie Foxx at his studio when I first started out as an engineer. After that, I continued to work around LA at large and small venues as a monitoring engineer or front house engineer. While continuing to work in this direction, I wanted to expand myself further at a time when K-POP was on the rise. Since in the U.S. I worked in music, I thought that if I learned Korean business,

I could do well as a middleman. That's why I need to learn about Korea. So I made up my mind and came to Korea. I also worked in rookie development. I worked at a company that fostered solo female artists. I also played a role in selling songs by foreign composers in Korea. I sold several songs in Korea. The song that I remember is from Cho Yong-pil’s Bounce album. I remember the part where I was able to sell about two songs by British composers. Star Empire was where I started working as an A&R. VOS, Jewelry, ZE:A, and 9muses. In a way, my full-fledged A&R career began there. Because I came from America. I didn't know anyone in Korea and I had no connections. I think it was a great company to get to know people. It is thanks to that company that I am now able to speak Korean so well. There was a new female sister duo called Wable.

Following that, I managed Spica and SG Wannabe. After that, it was Eric Nam. After that, it was Wanna One. I learned a lot back then because it was my first time with an idol who received universal love like this. There were a lot of things I had to get used to very quickly, things I had to learn, and things I had to progress through. So, there were a lot of people who had to work together and integrate. Speaking of some fun parts, in collaboration with Mnet, Girls Planet, Boys Planet, SWF, our team is in charge of all new music needed for these shows. For example, SMF. Although we are also doing the business side of things, we are collaborating with the music directors to work on new music. For the music, we work on the musical direction and sound aspects of songs that need to be released. First of all, I think A&Rs have an immediate respect for composers. Honestly, it is a symbiosis.

I think we help each other, and we go together. Each company and each A&R deals with composers and does business with different methods. We are trying our best to bring out the creativity of composers. Still, I get the feeling that the songs written by writers who communicate with us a lot in the meantime are the ones that are chosen the most. This isn't just a matter of being close or not. Even if you are not close, the more you ask questions to us, you know what direction the company is heading and what direction the artist wants to go, the artist wants to go. The more information you know, you can apply that and integrate it, creating more synergy. Which leads to creating good music. It certainly seems like we get to work a lot with producers who communicate a lot with us. This is something I always say wherever I go. A&R, as everyone knows, is Artist & Repertoire. It can also be Artist & Relations from my perspective because I am always in the middle.

I need to communicate better than anyone else, and I put a lot of emphasis on that aspect of my work. In addition to the composers with whom I communicate directly, nearby there were a lot of related departments or other companies. So I was careful with every single word I chose. It is very simple. In the end, if you want to be treated well, treat people how you want to be treated. I'm trying to treat people like this. No matter who they are, doesn't matter if they are younger or older, being respectful is something I've just carried with me since I was young. I went around a lot and met a lot of people. Even when you met me twice, three times, or even four times. People think that person is always like that. I think the word spread. And that's when your reputation starts to form. I think you need to meet a lot of people to make your reputation. A lot of people talk about MBTI. I am an I (Introvert).

In the end, I think it's through experience. I can do this interview now because I have done interviews before. I think that is why I am here today. In the end, it is through experience. You can't communicate well from the beginning. But to communicate well even if you can't speak well. If you are willing to listen to what the other person is trying to say and imply. Even if you lack speaking skills. If you try and gain experience. At some point, you will think, Oh, I'm good at talking too? Oh, I thought I would never be good at speaking. I think you can reach the point of doing well. There are some things I was a little worried about when A&R classes or lectures were first introduced a few years ago. I thought, How well can this be taught? There are many aspects of A&R that need to be learned through experience. Won't they be disappointed coming in after learning something like that? Can they endure this?

I was worried about these things. Recently, as these areas have been developed more, I know that the curriculum has become much deeper, and many good classes have been created, so I think that the A&R field is also continuously improving. Just because you are an A&R doesn't mean you can control everything from the beginning or know everything about music. No matter what, you have to start from the beginning and put in that much effort. You have to experience what you want to do and express, so you can express your thoughts you want later. As I keep mentioning, it is a very difficult position as a middleman and someone who must always communicate. If you can endure it well, at the end, you will be able to showcase to the public the musical development you imagine and the musical direction you want to crossover. You want to crossover. I think it is a really great job to pursue. I knew him as a composer. Meanwhile, I came to request a song for GFRIEND. That was our point of contact.

But before that, we always knew about each other's existence. But there was no point of contact. I came back to CJ. At that time, we needed an internal writer who would take responsibility for our music and work with us. So we would talk a lot. (And then) you came to our company. I still remember when you sent 'Glassy.' Wow, as expected. I still... I still... I remember that. It got difficult after that. When I look back on the past 2 years. There were a lot of difficult times. Also, quite a few things have improved. It has to get better, more, more. It has to get a lot better. Thank you for inviting me. Does it end like this?

로고스 선정 K-pop 최고의 A&R 제임스 팀장 인터뷰

로고스 선정 K-pop 최고의 A&R 제임스 팀장 인터뷰