But it's not quite as easy as that. The reality of artist and repertoire (A&R) work means listening to demos from unknowns all day in the hope of finding someone who might actually be able to play.

It also means going to fledgling groups' woeful live sets in pub basements, surrounded by their adoring family and friends.

It's about picking an act with potential and pitching it to your record company bosses, who give you a measly sum for development, and then watching the talent squabble and end up back at square one. You're only as good as your last singer's sales.

A&R people are at the same time the most popular and most hated face of the music industry. They are wanted and needed by any group trying to make a name for itself, yet cursed when they don't show up to a gig or return a call. They are also the money men, demonised for telling newbies to cut their hair or lose 10lbs for the right image.

Comfort in sound If you still think A&R sounds like your thing, you'll need several skills. Firstly, a good marketing sense, so you can sell your stars to the record label and then the world. A flair for negotiation will come in handy when you want to get contracts and cash from the company or for stopping the drummer and bassist from splitting up the band.

A&R professionals need excellent communication skills for coping with the talent, management, label, legal department, studio staff, press and public all at once. And, most importantly, they must have a longstanding love of music.

You must be able to show your dedication. Being a DJ, managing or being in a band, working in a venue or record shop and writing CD and gig reviews are all good ways to demonstrate your passion.