The president of the Junos and Canadian Academy of Recording Arts and Sciences has had a storied career in the music biz. As a talent scout at Universal, Allan Reid discovered mega-talents like Jann Arden and Sam Roberts. Reid will be front and centre at this year's Juno Awards. Here he shares some of the secrets to his success, including why Oprah makes an ideal bedmate.
The 'you can't fake it' factor
One of my ongoing mantras to artists has always been that it has to be about the song – you can dress things up, you can do whatever you want, but all the marketing in the world won't work if the song isn't there. And then after the song, it's about finding that "it" factor. It's that extra little thing that makes you fall in love with them and want to get to know them, follow them around. It's not a tangible thing. I remember meeting Sam Roberts for the first time and there was just something about him. Sure, he was a great-looking guy, but it was more than that. I remember meeting Jann Arden. Jann was my very first signing. Here she was – 29 years old – this was the time of Janet Jackson and Madonna and she didn't fit that mould, but there was something about her and how real she was. Being real doesn't mean you can't be a dancing pop band. If you believe in what you're doing and you find an audience, all the power to you. Just because a 13-year-old girl likes something, doesn't mean it's not worthy.
If you don't feel it, don't fake it
When I brought an artist into Universal, my job was to be the champion of that person, and it's hard to get everyone to buy in if you yourself have not. I was on an industry panel years ago and there was an artist there who had sent me a demo years ago and I had passed on it. He stood up and accused me of only signing artists that I like, and I said to him, "You're absolutely right. You don't want to sign with me if I don't love your music. If I don't love your music then I won't fight for your music. Sure I might try to capitalize on you for a record, and then have to drop you, but that's not the relationship that I want." For me, signing an artist was like entering into a marriage – you want to have that initial passion there, and you don't want it to end in divorce.
Marry your Oprah
One of the best pieces of advice I would offer anyone is marry your best friend. Kim [Stockwood] has been such a sounding board for me over the course of my career, she convinced me to quit my job as the general manager of MapleMusic. It was a fantastic company, but I found the pressure to deliver units more than artists was tough. I wasn't enjoying it any more and my wife, who is an artist, could see that I wasn't happy. She could see that I was grinding myself down and she said, "Just quit." I was worried – I had a mortgage, kids, responsibility, but Kim said to me, "You have built a great reputation in this industry, so have faith in that. No one knows you want to do something different. As soon as you tell people that, the phone will ring." Kim is Oprah, she's Maya Angelou; she's saying the universe will have a new path for you. I'm all about logic and numbers; I'm Spock.
Any job can be entry level
When I was 16, I met the manager of the new local radio station. I went in for a tour and it was like the Holy Grail – just banks and banks full of vinyl. I knew I had to work there so I went back a week later in my tweed jacket and leather tie and asked him for a job. He said I was a little young to work in radio. A week later I got a call from another guy at the station. He said, "I hear you're looking for a job." I said, "Yeah," and he said, "Do you mow lawns?" I was the best lawnmower ever. Within two weeks I became this guy's assistant, next thing I'm driving the station van around, I'm doing every joe job you can imagine at the radio station, and by the time I was 18 and finished high school, I was the music director. It was just a matter of getting in there, even if that meant mowing lawns.
This interview has been condensed and edited by Courtney Shea.