As Vice President of A&R for Sony Music Nashville, Jim Catino has been instrumental in the signing and development of many country artists with Sony Music Nashville’s four labels – BNA, Columbia, RCA, and Arista Nashville.  Catino is currently responsible for the day to day A&R for such stars as Brad Paisley, Chris Young, Chuck Wicks, and Jerrod Niemann. He has been with the company since 2001.

 

For seven years prior, Catino’s previous experience in the music business included posts at DreamWorks Music Publishing, Giant Records, and MCA Music Publishing.  At each company, he worked closely with songwriters and secured copyrights.

 

A native of Cleveland, OH, Jim Catino graduated from Belmont University in 1995 with a Bachelor of Business Administration degree in Music Business. 

Catino and his wife Molly and daughters Katy and Kelly reside in Brentwood, TN.

 

About Sony Music Nashville

Sony Music Nashville includes its four country label operations – RCA, Columbia, BNA and Arista Nashville – and Provident Music Group, one of the world’s leading Christian music companies.  Sony Music Nashville is a division of Sony Music Entertainment.

Sony Music Entertainment is a global recording company with a current roster that includes a broad array of both local artists and international superstars. The company boasts a vast catalog that comprises some of the most important recordings in history. It is home to premier record labels representing music from every genre, including American Recordings, Arista Nashville, Arista Records, Battery Records, Beach Street Records, BNA Records, Columbia Nashville, Columbia Records, Day 1, Epic Records, Essential Records, Flicker Records, J Records, Jive Records, LaFace Records, Legacy Recordings, MASTERWORKS, Polo Grounds, RCA Records, RCA Nashville, RCA Red Seal, RCA Victor, Reunion Records, Roc Nation, Sony Classical, Sony Music Latin, Star Time International, Verity Gospel Music Group, and Volcano Entertainment. Sony Music Entertainment is a wholly owned subsidiary of Sony Corporation of America. 

 

 

What is your most important job as an A & R person?

Well. first and foremost is indentifying great talent and helping them create a vision of what their projects are and service them by making that vision a reality. It starts with the artist and who they want to be. As far as artists already on the roster, it is still the same rule. They know better than anyone what their goals are, so I try to support that. I keep in mind it is not my project but their project.

 

Describe a typical day for you.

I do a lot of meetings with writers and publishers, listening to songs and listening to music and dealing directly with managers and artists and producers too. I get their feedback and try to make sure everyone is on the same page. But my roles vary from day to day. I do what it takes to get the artists what they need.

 

Who are the people that work in your department, and what are their roles?

 

 

There is myself and Lisa Ramsey Perkins, and three or four support people in the department as well. It is a group effort; we are all out there scouting talent continuously.

 

How do you go about looking for that next big star?

There isn’t one way; we are constantly surfing social networks, and we also use those things when we hear about an artist. We go to showcases constantly . . . word of mouth. There are endless tactics we use that work best for us. We try to stay on top of things and keep our eyes and ears open.

 

Do you try to establish a theme for each project?

It starts with the artist again. It’s their record, not mine, so we really try to pick their brain and make their dreams a reality by creating their vision.

 

How would you define a hit song? What do you listen for?

That is a tough question. To be honest, I feel like the consumers and listeners dictate what makes a song a hit. It is about starting with a certain reaction to a song.

 

Where do most of the songs come from that you listen to?

We’ll listen to songs from just about anyone we know. Mainly people we have working relationships established with already, but we try not to limit ourselves, and anywhere we can find a song, we find it and get it to the artist. We had a big hit for Jason Michael Carroll with an unknown writer. The song was originally heard in a coffee shop; someone got it to us, and the rest is history. But I love those kinds of stories, because I’m a part of creating a career for that unknown writer now as well. It’s cool to be a part of that process.

 

Who listens to the songs put in the drop-off box?

I listen to everything that has been put in my box. No one else listens to it but me. I can’t listen to unsolicited music for legal reasons, but if I approved it to be sent and it makes it to my box with proper coding, I listen to it.

 

If a writer wants to pitch the same song for more than one artist, how should they do this? Put the song on separate CD’s or list the artist names on one.

No only one CD is necessary. Here is how I operate. I only need to hear that song one time. If they are casting for one specific artist, I’ll find that out in the wash. I always call the writer or publisher, and I’ll say I believe this will work for so and so; if they agree, then great. Regardless of what it says, pitch for whoever; I ignore that and simply listen to the song. I honor the writer or publisher, and if they do not want a certain artist to cut the song, I won’t use it. I respect their decisions. But we all have different visions. I just listen to the song and decide on artists after I feel I have found a hit.

 

If you receive a great pop song, do you let your counterparts in L.A. and New York know about it?

Sure, of course. But my relationships over there have changed over the years. But pop is really not my area of expertise; if a stumble across a pop song I feel is relevant, I’ll forward it on, but I don’t want to be inundated with pop genre when I mainly work country.

 

How do you handle unsolicited material that is mailed or dropped-off?

We will not accept it and will not listen to it for legal reasons.

 

Do you listen to song pitches via e-mailed mp3 files?

I prefer CD’s because MP3 files will really load up your inbox when I am unable to check that, when I’m on the road, etc.

 

So you prefer CD’s?

Yes, I get through my box daily. You will know if I dig a song; I’ll call you. If you don’t hear from me, try again. I stay busy and cannot call everyone unless I’m interested in the song.

 

 

How many face to face meetings do you have with pluggers and publishers in a typical day?

As many as I can fit into a day. It’s every 30 minutes typically; it’s pretty much about music from 10 to 5, be it meetings or listening to songs. I have no set schedule, just music all day.

 

If you like a song but feel it needs changes to fit the artist, would you send it to the artist or request that the songwriter make changes first?

That’s a tough question too. I typically do not get involved with that. Only if an artist asks to make changes; then I’ll address it with the writers. But other than that, I won’t address it unless I’m asked. I just do not feel like that is my place.

 

What type of production do you think a demo should have?

I do not have a preference. If it is a good song, it’s a good song, regardless. I have found plenty of great songs in every form or fashion. But at the very least, a very good guitar/vocal.

 

How is the decision made on which songs will be singles and the amount of time between releases?

It’s  a group effort with our department, promotion, executive staff and of course Gary Overton. There are a ton of factors that dictate those kinds of decisions.

 

How do video charts translate into sales?

It just depends. It depends on the song and the video. There is no one answer for that. Video has a role in making a song. We come up with the best treatments that best represent the song and the artist.

 

What questions should we have asked you that we didn’t?

I don’t know. You were very thorough. Songs in general take on a life of their own, and I try to be as open minded as possible with everyone’s best interest at heart, and I approach each project that way.

 

Do you have certain artists you personally work with? 

Yes, there is a point person for every artist, but in general we all work as a team. However, we are assigned as a point person in case an artist has questions or needs.