Published: Tuesday - October 30, 2007
Words by Maya "The Brasilianaire" Medena
Conrad Dimanche (Photo: Bad Boy)
When you think of Bad Boy, you associate figureheads like the Notorious B.I.G. and Diddy. That is on the outside of the CD. When you open it up, however, and read the credits, you'll see a consistent name appearing time and time again and that name is Conrad Dimanche.
Being with Bad Boy Records founder, Diddy, from the early stages of eminence, Dimanche learned the complete operations of the music business from the ground up. Today, he is the only A&R at his label with a roster of 20 artists to supervise. Dimanche contributed to the success of the late Notorious B.I.G., Yung Joc and Danity Kane to name just a few of the notches under his belt. He incessantly proves his adaptability and aptitude to apply his expertise to an assortment of artists, in various genres of music; yet maintaining separate sounds at the same time.
His formula for survival is simple: perseverance and patience. Dimanche discloses some of his secrets to his reputable success and encourages young entrepreneurs to use all possible resources to achieve goals. He puts us onto some online resources that he uses on a day-to-day basis. No, not Myspace, but Dimanche explains his fastidious attraction to the newly famed, producer website PMPWorldwide.com and how he takes benefit in the internet and incorporates his findings into the blueprint of running a successful A&R department. He shares his words of wisdom on how to get in the game and stay in it.
BallerStatus.com: How did you get your start in the game?
Conrad Dimanche: I got started out as a manager. My first client was a DJ. His name was Willie Master D Life. He went onto DJ for Ja Rule and Ashanti. I'm a business man at heart. Entrepreneur at heart. I have a family business. A barber shop. I started throwing parties to promote the business because there was a club next door. From there I had some small successes with other artists. I found myself shopping music for the industry. I was doing some things, but it was really nothing. I heard about Puff's internship and all the internships. And that's really the best way to get in the game. Harve Pierre, who's the president of Bad Boy now, is from Queens. I'm from Queens. He used to run with my brothers, so when I saw him -- he was over at RCA -- I asked him for an internship. He couldn't use me while he was there, but then when Puff asked him to run the A&R department here [Bad Boy Records] we bumped into each other at a producer's house and he asked me if I still wanted the internship. Started as an intern. Grinded and hard work.
BallerStatus.com: How old were you when you were an intern because I think some people think there's an age limit on that position?
Conrad Dimanche: I don't think it's ever too late. I think it's where your mind is at. I was 25 as an intern with two kids. A lot of interns start a lot younger, so it was a lot harder for me with a family making absolutely no money. I had a job making 30,000 that I had to quit because I couldn't balance out both the hours and I wanted to put in more hours as an intern. That's where my passion was and I never was able to do the 9-5 thing. I was never built for that. Even being here, I have several businesses that I run. And I saw the flexibility of the music industry and sky's the limit.
BallerStatus.com: What type of pressure do you have working with such an intense person like Puffy?
Conrad Dimanche: Well there's definitely a lot of pressure. But being an A&R, doing the music, is the gas of the label. So I have the responsibility of pumping premium gas into the car at all times. You know, so that is definitely pressure. And I'm the only A&R here with a roster of 20 artists. I'm the one that has to deliver most of the music for all the artists and continue to put out hit music. Really the main pressure is having to keep up with him [Diddy].
BallerStatus.com: The last five years have been merciless for many label executives. You've been one of the few that have managed to maintain your position in the game and further your achievements. What would you say is your secret to success?
Conrad Dimanche: Um, definitely work ethic. And it's the way I was trained and brought up here at Bad Boy. Puff is very hands on with the music. Understanding music, understanding Puff and what great records are. Most A&R's don't understand music. I'm rarely in the office, I'm always here [Daddy's House]. Having in-depth knowledge of how to make timeless albums from scratch, that's something that's dear to me and it took me years to get here. Once you're in the system, it's hard for another A&R to come here and do what I do. Because it's not just about reading artists' BDS reports; it's really about knowing how to micro-manage the sound and that's what I do.
BallerStatus.com: You have an extensive history in hip-hop, is it a challenge for you to work with pop groups like Danity Kane, Cassie or Dream?
Conrad Dimanche: Not really. Not really. Maybe five years ago it would've been challenging, but something I continue to do is broaden my music knowledge, overall. I'm going out and buying all different kinds of CDs just to broaden my horizons as far as different sounds and different feelings. As an A&R, being able to flip from Danity Kane to Elephant Man to 8Ball & MJG to Gorilla Zoe to Yung Joc back to Aasim who's an East Coast dude, it's just about understanding the music and understanding the overall market.
BallerStatus.com: How do you plan to detonate the groups that you have signed that don't have the buzz from MTV or the streets?
Conrad Dimanche: There's an overall frustration on what's going on with the business as a whole and what's going on with radio. It's a great opportunity and advantage when you have the help of MTV to catapult an artist's career. It makes it a lot easier as far as marketing and promotions go. It's really a grass roots thing and it comes down to great music. Great music organically grows on its own and people gravitate towards it. So that's the only thing, making great music so as long as we can do that, I don't think we'll ever have a problem.
BallerStatus.com: I remember bumping into Aasim a few years ago when he first got signed. He is definitely one of your more lyrical MCs. Why is it that someone like Yung Joc took precedence over an artist with seniority?
Conrad Dimanche: Well, you really have to ignite a fire. Not to say Aasim is just sitting around, but the reality of it is we do have 20 artists here and there is a time for everything. We don't rush out any project and that's coupled with what's going on with the movement in the South. Radio does gravitate towards it. But with the Yung Joc situation in particular, they broke that record on their own. The label had no choice but to move on it. I heard a similar situation happened with Jeezy where he really went out and did his thing and got himself hot. So when you get to that point and radio picks up your record, the label really has to kick in. You can't sit around and wait for the label in today's market.
BallerStatus.com: With the state of CD sales and labels condensing, do think that A&R-ing is a missing factor in developing an artist and that pre-packaged deals are the preferred method of delivery?
Conrad Dimanche: Pre-packaged is one thing, but the complete package is another. We came close to the complete package with Joc, but there was a good amount of work to do as far as completing the album. "It's Goin' Down" was just one song, so there was still the dotting the I's and crossing the T's. A&R-ing is changing. We still have to go in. We still have to put the "Bad Boy" touch on it.
BallerStatus.com: You mentioned that you are the only A&R at Bad Boy. Why does it seem as if the A&R position is becoming extinct?
Conrad Dimanche: I don't think it's becoming extinct. But I just think a lot of labels are looking for those "fast food," ready-made deals.
BallerStatus.com: How do you allocate your time to your team of 20 acts and still keep your performance level first-rate and not run yourself dry?
Conrad Dimanche: Well again, one of my keys to success is juggling everything. Everyone gets the attention that they need. Although, thank God we aren't putting all 20 artists out in the same year. So even though the artist may be on the shelf, I still stay in contact with all them and the productions teams. Most labels have three artists to every A&R. My management game is just really serious.
BallerStatus.com: Is their a reason that you are the only A&R here? Are you really that good?
Conrad Dimanche: Well, apparently (laughs). I'm a really a humble dude. If I was dropping the ball or couldn't handle things, I think someone would've stopped me a long time ago, but I would love some help. There's budget constraints and things like that though. I would love to have three dudes working under me...
BallerStatus.com: Why they have to be dudes for?
Conrad Dimanche: Excuse me. You're so right. Three other people, I won't even say working under me, but working with me. But yeah, again there are budget constraints.
BallerStatus.com: Have you ever chased a group solely off their BDS spins or buzz?
Conrad Dimanche: I definitely look into groups with buzz. It will peak my interest, but you have to have music to support. We're not looking to sign ringtone artists. We want franchise artists that we can get multiple albums from and have long careers. The whole point of our company is to build catalogs. Timeless music and sh-- that's gonna sell 15 years from now is our goal.
BallerStatus.com: It seems like a lot of Bad Boy artists like Black Rob, Shyne, and G-Dep have had hard times making follow up albums -- due to obstacles like catching a case. Is it frustrating to build up an artist only to see their fire fizzle out from inescapable consequences?
Conrad Dimanche: It is frustrating because honestly, it's a lot of work to build em up to that point. It is what it is, that's life. It's not every artist -- there are the guys that manage to keep their heads straight.
BallerStatus.com: Bad Boy is often referred to as "the Shelf" because it seems as if there has been a pattern of signing artists and not doing much with them like eight year veteran Cheri Dennis. Why is that?
Conrad Dimanche: We don't have that many artists signed at this moment. 20 artists isn't a lot for any record label. Some people get signed and things don't work out, but I think we're doing pretty good as far as our ratio of artist we put out against other labels and the success we have with our projects. As far as albums that come out, we always go gold or platinum. And Sean, Mr. Combs, is always under the microscope, so we have to put out quality product.
BallerStatus.com: Do you feel like your home at Warner/Atlantic does your label justice?
Conrad Dimanche: Absolutely. I love the team.
BallerStatus.com: Was there any distress between Bad Boy employees and Warner employees when you guys signed since positions were in jeopardy with the merge?
Conrad Dimanche: No. Absolutely not. We were all excited about it. It was a change for the best.
BallerStatus.com: Why is it that one of your flagship artists, Yung Joc, is having such a hard time matching previous success with this sophomore album?
Conrad Dimanche: Everyone's having a hard time with record sales -- even Jay-Z. What 50 and Kanye just did, they had close to 80% sales drops and it's just the reality of the business. It is what it is until something changes in terms of the system and how the consumer gets the music and we learn how to totally monetize it and operate accordingly, then that's just what it's gonna be. There's not one artist right now, not one hot rapper, that's having great sales. Six years ago if you went a million in the fist week that would mean you'd go at least eight million, domestically. In terms of Kanye, he's barely going to go over 2 million records. That's a drastic change in the sales pattern. It's f---ing the game up right now and we're all trying to figure it out and keep our head's above water. I don't' think Yung Joc sales were due to the quality of his album because this album was better then the first one to me. "Coffee Shop" wasn't as big as "It's Goin' Down," but even if he had that huge success with the first single; the sales would still not be that different.
BallerStatus.com: What is the typical day for you like?
Conrad Dimanche: Being an A&R I handle all aspects of album production from creative to administrative things. Basic day is meeting with producers; I'm heavy on the phone, meeting with writers, being with the artist in the studio, and being with the engineers and producers. I'll be behind the boards, in and out of every room. Meeting with people, negotiating with producers. I do all the scheduling, budgeting. I'm making sure their sessions are hot.
I micro-manage everything. I make sure they don't sit around in the studio all day, wasting time and money. I also try to make my job easier with technology. A lot of people complain about technology, but it's good to have a Myspace.com because it's helpful to be able to look at an artist in North Dakota. Then it's also good for the marketing of artists, in terms of getting friends up and views up. Also, I use this site PMPWorldwide.com, it's a producer website. So you got a lot of hot producers -- both established, big producers and brand new, up-and-coming hot dudes. So I take advantage of stuff like that to make my job easier and better. I try to dig into Myspace and spend time searching for artists. I don't have to waste time bringing the artist in here since Myspace lets me look at them and check their stats beforehand. Both are good places to keep up to date with everything. In the morning, I log onto PMPWorldwide.com and see who the hot producers are.
BallerStatus.com: What is your future in the game? Where do you see yourself?
Conrad Dimanche: My love is always been business. That's what excites me. I love the music business. I love turning a dollar into two. Just branching out in different businesses. I want my own companies to be successful.
BallerStatus.com: Being an A&R, do you know how to produce music?
Conrad Dimanche: I don't make beats, but I produce like Puffy produces. I can tell a producer when a high hat is wrong, as well as a writer if a melody isn't right or a concept isn't there, that's how I produce. I executive produce albums. I have co-production on certain songs that I really dug deep into. But I executive produce mostly.
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