elsewhere and achieved huge success, Atlantic
finally recognized Morgan's talent and
gave him a full time position.
Morgan moved to EMI Records in 1987, originally
hired as a talent scout, but
within a month he was given four acts to
A&R when his immediate supervisor sud-
denly left the company. Having to sink or swim,
he worked on the albums of Talk
Talk (which went platinum), White Snake, Saxon,
and New Model Army (which pro-
duced four Top Forty singles). A move to
Polydor Records had him working with
Siouxsie & the Banshees, resulting in their
first Top Twenty United States hit, "Kiss
Them For Me." Morgan found he had a talent for
developing acts that other people
signed, but not such good luck convincing the
label to sign acts he discovered.
Although he brought in acts like Radio Head, PM
Dawn, and Nirvana (all of which
found success elsewhere after Polydor passed on
them), after three years Morgan was
fired "for not finding any new talent."
Questioning whether he still wanted a career in
A&R, he moved to Los Angeles for a brief
stay in 1990 to try his luck.
Shortly after returning to England, Morgan got
a call from EMI Publishing, who
had just taken over Virgin Records' song
catalog, asking if he was interested in
working for them. Released from the
responsibility to sign new acts, Morgan was able
to concentrate on what he did best: developing
talent. Ironically, as his artist signings
of the past few years will attest, he has
discovered that he also has a gift for finding
talented songwriters. His marriage to an
American woman prompted Morgan's 1995
move to EMI's New York office, where in 2000 he
was named vice president of cre-
ative, East Coast. During Morgan's tenure at
EMI, he signed Third Eye Blind, Bubba
Sparxxx, and Chumbawumba. After several years
with EMI, he left to accept a direc-
tor of creative services position with Cherry
Lane Music Publishing in New York. In
2007, he was promoted to senior director of
creative services, where he is involved in
new acquisitions, exploiting the catalog, and
helping the current roster to pursue
recording opportunities.
www.cherrylane.com
LIBRARY MANAGER · TAPE ROOM
MANAGER
JOB OVERVIEW
In this position, you manage the library of
songs and are responsible for receiving
and logging into the computer system new song
recordings and lyrics. Further duties
include ensuring the demo session master tapes
are copied and stored, overseeing the
complete music publishing library, working with
the staff who make tape copies, and
interfacing with the creative staff. A major
publisher like Sony/ATV Music may have
anywhere from 50 to 100 staff songwriters and a
catalog of between 120,000 to
250,000 songs.
User Comments Add a comment…