10 Questions with ... Gary Jay

1. What made you want to get into the music business and what was your first job?

In 1976, a seven-year-old me convinced my mother to buy a copy of KISS 'Destroyer' (on vinyl) at our local Gimbel's department store, pretty much cuz they looked like comic-book superheroes on the album cover ... and once I got it home and put it on my little Fisher-Price record player, the minute the needle hit the grooves, I was smitten. This began my lifelong obsession with music ... listening to it, collecting it, and loving it.

As an only-child, raised by a single, working mom, music got me through a lot of lonely times. Growing up in Philadelphia which had two great Rock radio stations (WMMR and the now-defunct WYSP), I had a transistor AM/FM radio, and I would stay up late in bed listening to it, getting schooled early on in AC/DC, The Who, Led Zeppelin, The Police, Van Halen, The Cars, Lynyrd Skynyrd ... y'know, back when it wasn't yet Classic Rock, it was just 'Rock.'

I started seeing live concerts in the early 80s -- everyone from Jackson Browne, to Asia, Devo, Talking Heads, Sammy Hagar, Sparks, AC/DC, Aerosmith ... plus, all of the bands from the Philly music scene who, lucky for me, would play the all-ages clubs that I could get into ... Cinderella, The Hooters, Tommy Conwell, and the late, great Robert Hazard & The Heroes ... and this is when I really got bitten by the bug.

I knew that I wanted to be in the music business before I graduated high school, although I wasn't sure quite how. I ran my college radio station ("The mighty 17-watt flamethrower, WRRC!") and interned at Columbia Records, and I began working records at Paul Yeskel's AIM Marketing in New Jersey within a month of graduating college in 1991.

2. You spent quite a few years doing Rock Promotion at TVT. Tell us about those years and some of the bands you worked with.

Working for TVT was, mostly, a terrific experience for a number of years, perhaps not all 10 of 'em, but I got to learn on the job, to an extent. As a national rep, I was able to travel the U.S. and build relationships with a number of astute and inspiring radio programmers, and really get a clearer understanding of how radio really works, and also build a firm grasp on what makes for great radio, in all different regions of the country. I look at those years as being able to take what Paul (Yeskel) instilled in me about developing a promotion person's work-ethic, and apply it towards plugging some exceptional, albeit often envelope-pushing, records.

We had our hands in everything from Active Rock, AAA and Alternative records, even the Mortal Kombat and Blade film soundtracks (that went Platinum and Gold) ... and while there was a lot of, shall we say, challenging artists on the TVT roster, there was also Sevendust's legendary first four albums, Gravity Kills' "Guilty" single, Default's "Wasting My Time", Nothingface, Guided By Voices, XTC ... those records were seminal, and important ... they've stood the test of time, and I was very fortunate to be part of the team promoting 'em ... and I'm very proud of those accomplishments to this day.

3. After years working in Rock Promotion for TVT and Rykodisc, in 2007 you formed Land Shark Promotion Studio. What is the primary business model for the company ... promotions, consulting, artist management or all of the above?

Well, initially, Land Shark was just me, it was what I was gonna do until I figured out what the "next step" was in my career ... turns out, Land Shark was the next step. I then aspired to model Land Shark in the mold of AIM Marketing -- as a full-service boutique firm where labels, artists, and band managers could secure a full spectrum of label services, from Radio Promotion to Video Promotion, Publicity/P.R., etc.. I wanted Land Shark to be the company that, as a label rep, I wished I could hire -- staffed with self-starters ... self-motivated, tough rockers who'd sweat blood for them on a daily basis, and never, ever just "phone it in." Once I began building a team here with those types of extraordinary individuals, and we began to really impact the projects we were working, and add some very-obvious value to them, I knew that we were onto something.

4. Do you have any certain criteria for taking on a promotion project?

More than anything, it has to inspire us -- if we don't believe in it ... then, we can 't expect anyone else to, either. It's like trying to sell a car that you know is a lemon ... long-term, it doesn't work, and you're a fucking jerk if you try and pass it off like it's street-ready. We want to work with the best of the best -- otherwise, it's not worth our time, and tying our reputation and brand to.

As far as criteria, we look at a lot of different metrics before agreeing to take on a project -- we want to vet the process in much the same way a savvy radio PD/MD would -- we have to ask what does the band have going on their own, before we try and push 'em to radio? Do they have solid management, and booking? Are they a touring/working band, or are they merely "weekend warriors" at best? What's their work-ethic like? Do they have, and maintain a strong presence and substantial social media footprint? What's their fan base like in their hometown, as well as in other markets?

... and certainly, we will ask ourselves if we believe that we can add value to what they're already doing ... and if we can, and we feel that we can inspire other people to engage in the act, then we're ready to take the next step forward.

WDHA's Terrie Carr, Gary and Joe Satriani

5. How was the experience going from working for a label to working for yourself?

Honestly, it has been both the scariest and the most satisfying thing I've ever done, professionally. While I ain't gonna lie ... I do, sometimes, miss the safety and security of a weekly paycheck, (not to mention some health benefits, a paid vacation, an expense account, etc.)... it's been said that the real magic happens when you leave your comfort zone, and there's a real truth in that ... building the Land Shark brand over the past 10 years has been incredibly rewarding and seeing artists go from "hometown heroes" to national acts, with careers and longevity remains fulfilling ... and I suppose that I hope it's what I'll be remembered for, after I'm gone. I'd like to think that Land Shark has already made a lasting impression on these artists, and maybe even a modest one on the business, as a whole ... certainly, that's something we can continue to strive for in our second decade.

I also credit the players I surround myself with, my fellow Sharks took the company from a very stressed, one-man show to what it is now -- and I hope that they know how important each of them are to me, without question, but more importantly to the artists that we support, to the radio stations they work with, and in seeing the vision of the company through year after year. The paradigm here is not a solo act, it's not about me, and it never will be ... it's about what we can do when we put our collective efforts together. Teamwork makes the dream work, and while that's beyond cliche', it's also not without merit.

6. Your company seems to focus on all aspects of Rock promotion from Active Rock to Mainstream and Classic Rock. How do you effectively work in all three of these distinct formats?

Actually, it's four, we always keep ourselves involved in the Modern Rock radio world, as well. I miss the days when there was substantial cross-pollenization of music at radio from one format to the next ... a hit is a hit is a hit ... and great music transcends formats. We very much want to be part of breaking down those barriers once again.

Music is motivation -- and we're doing our best to help radio programmers curate a playlist of songs each week that captivates, inspires, and moves your ass at the same time. I like to think that we have both an understanding, and an appreciation for what they do, and it's part of how we earn their trust. We respect their process, and their vision, and hope that we always have something on our agenda that can somehow assimilate into that.

Working with Classic Rock is also an unapologetic labor of love for us, these artists are iconic ... and we make every effort to treat them with the dignity they've earned and we let them know how proud we are to help continue to develop their legacy to the next generation.

7. You've done Rock promotion at a high level for years. What's your take on the current state of Rock radio?

I am probably a little too vocal about it, but I have a strong disbelief in, and distaste for, the incredibly-antiquated methodology we live and die by in radio, be it callout research, diaries, or PPM meters. What inspires me are the programmers who trust their guts and are willing to follow their own instincts, above all else.

Certainly, there are meaningful metrics to consider when a programmer is evaluating a record, and we understand all too well the incredibly delicate, high-wire balancing act they have to do to maintain market share, garner ratings and listenership, and accrue revenue -- business is business. But in my experience, over-thinking anything usually leads to stagnation -- paralysis by analysis, if you will. It's too much research and not enough cojones. The true ground-breakers in any business are willing to take (calculated) risks, and are willing to put their neck in the noose and have the courage of their convictions -- sometimes they're right and sometimes they're wrong (but more often than not, they're right).

I won't name names, for fear I'll accidentally omit someone, but those PD/MDs (and they know who they are) are what will continue to keep radio relevant, fresh, and vital here in the 21st century. In the era of streaming audio and Bluetooth-capability in your car, there's no need for a tired jukebox playing the crusty classics all day long -- the magic of radio remains wooing you in with the familiar, and then seamlessly turning you on to something new That moment of discovery is what it's all about.

Slash and Gary

8. Who are some of the artists you're currently working with?

You know me, Ken, I'm always happy to talk about our clients here...and we're involved in some pretty amazing stuff right now. Musically, the new WHILE SHE SLEEPS, PALISADES, and NORTHLANE singles we're about to drop are simply outstanding...I love SYLAR and anything that we can do to further their career, I'm proud and pleased to do, wait 'til people really see these guys live at Rock On The Range and Carolina Rebellion next month - Jayden, their frontman, is a bona-fide STAR, and this entire record is a revelation. I'm thrilled that we've been able to help LETTERS FROM THE FIRE achieve their biggest, and most-successful radio song ever, the juice there is totally worth the squeeze...the new MOTIONLESS IN WHITE single and A DAY TO REMEMBER's new one are probably the best songs that each band ever delivered to radio...and while we've got a lot of work to do, they 100% deserve that push...BEARTOOTH is another breaking act that we've worked with since their inception, and helping Joe and Red Bull realize their potential is both a joy, and an honor. We are very bullish on BASEMENT and MANAFEST, as well...and for Classic Rockers, lucky us, there's a new CHEAP TRICK, and a new DEEP PURPLE record in 2017 - and we're as proud as can be to represent these living-legends at Rock radio. I mean, wouldn't you be??

9. This month marks the 10th anniversary of Land Shark. Congrats on that achievement. What are some of the key reasons why Land Shark continues to Rock?

Well, once again, I'm gonna put my people here first. A chain is only as strong as its weakest link ... fortunately for me, Land Shark has always had some very strong motherfucking links. They help light the fire, and then pour gasoline on it, and I want to give them the credit they deserve.

Beyond that, I think it's a lot of what we discussed earlier -- we are all truly passionate about what we do. It's more than just showing up to work every day, it's about staying late, and making that extra phone call, even when you wanna go outside and maybe enjoy some sunshine ... it's continuing to push, even when you're having a bad day and maybe you feel like banging your head against a brick wall. What's that old fortune cookie quote? "Dripping water hollows out stone, not through force but persistence" ... or something like that. I take pride that our clients -- both past and present -- tell me they feel like they get their money's worth every day. We want to win, sure, who doesn't, more than that, though, we make it a point to show up and do everything in our power to contribute towards that win every day, and that's how we maintain sustainability.

Since we began in 2007, we have been fortunate to discover and share some astounding new artists with radio: Chickenfoot, Bring Me The Horizon, Five Finger Death Punch, and most-recently, Starset ... playing a role in the early development of these acts, and then watching them blossom and achieve Gold and even Platinum success is a source of joy, and a major impetus for us to keep on keeping on into our next decade.

10. Finally, can you give us some of the new artists and projects we can look forward to hearing from Land Shark?

Well, Ken, we've certainly got a few gems in our back pockets ... but, we're gonna wait for the calendar to turn a little before we unleash these beasts ... we try and be forward-thinking, and we do plan pretty far ahead, so please know that we've got some stellar new releases slated for Q3 and Q4 of the year...but, in the interest of focusing on the tasks at hand, we're gonna keep those close to the vest, for now. Believe me when I tell you, though, you ain't seen nothin' yet.