[2] The actual contract negotiations will typically be carried out by rival entertainment lawyers hired by the musician's manager and the record company.
[3] A&R executives rely mostly on the word of mouth of trusted associates, critics and business contacts, rather than on unsolicited demo tapes.
[5] Gary Gersh signed the band Nirvana to David Geffen's DGC Records at a time when alternative rock music was not considered commercial.
Historically, A&R executives have tended to sign new artists who fit into recent trends and who resemble acts that are currently successful.
For example, Columbia Records' A&R man in the 1950s, Mitch Miller, favored traditional pop singers like Guy Mitchell and Patti Page, and rejected early rock-'n'-rollers Elvis Presley and Buddy Holly.
This "trend following" mindset has generated several waves of narrowly defined genres, leading to a perception of triteness, including teen pop (1998–2001), alternative rock (1993–1996), glam metal (1986–1991) and disco (1976–1978).
Towards the end of the life of each wave or trend, record companies have found themselves faced with enormous losses as consumers' tastes changed.
"[9]Hip hop group Wu-Tang Clan referenced this stereotype of the business-minded A&R executive in their single "Protect Ya Neck", metaphorically likening them to "mountain climbers".
[12] Heath believes that in the US it is more typical for A&R to wait until a band is established – having attracted other offers or achieved a level of sales – before taking action, a technique which often works out as being more expensive.