JAY PROZAC

 

JAY PROZAC

You have a long and storied history in the pop punk scene. When and where did it all begin? When did you start playing music, and when did you realize that pop punk would be your chosen path?

I discovered punk rock in 1993/1994 at 18 years old. It was right after high school. I was pretty much on my own, being exposed with BMX and skate videos and the 94' mainstream explosion of Green Day, Rancid, Bad Religion and The Offspring. Underground music was foreign and non existent to me up to this point. Something drew me in and resonated with this fast, aggressive, energetic "new to me" music in these video soundtracks and the world and lifestyle I was heading into. As I began searching for the bands in these videos...the purchase of NOFX "White Trash" was my turning point, where I went  "Holy shit! What is this and why does no one know about it?! It's awesome!" Can't play This Song On The Radio was so anthmetic and basically opened my eyes to a world beyond MTV. That's when I joined the club, the secret society, unknowingly to me the impact it would have on my life to come. I immediately began digging into the past with GD, Rancid, Descendents, Ramones, Op Ivy, Pennywise and so forth... finding a whole world that ran hand in hand with my BMX life and internal chemistry. Within the next couple years I started going to shows and finding more and more bands and styles like Less Than Jake, MxPx, Voodoo Glowskulls, Face To Face, Sloppy Seconds, The Pist, AAA and soon Screeching Weasel, MTX & The Queers...total game changers...and truly falling for Lookout Records and a new and tighter connect with the music that truly set my path. Punk compilations were vital...and my first few were so impactful...Punk-O-Rama, Punk USA, Fat Music/Survival Of and Punk Uprisings. At this point, I had never had inspiration to play music and was strictly a fan that found attachment and connect and fun in this world of music. I began quickly digging into the lore, history and the local and even less known bands...and made many friends along the way to learn from and go to shows with...both in BMX and punk in general. I was falling really hard for the poppy punk of that time, the Ramones world, the oldies inspired, the fast, wild and catchy. Many of my friends were into crusty/street punk and old school hardcore and oi...and I've spent much time in that world and also enjoy that side of it. In late 1996 - 1997 I began writing lyrics, just for fun. I remember clearly at one point listening to the Nobodys in my car and saying to myself that singing in a band might be really fun and if this guy can do it, why I couldn't I? At this point I was obsessed with Recess Records, Honest Dons, Go-Kart Records, Hopeless, Mutant Pop and several other labels and comps featuring snotty poppy punk rock...discovering bands like Boris The Sprinkler, Mcrackins, Automatics, Connie Dungs, Teen Idols, Vndictives and the list goes on. Anyway, it's the end of 1997 and my good friend Martys hardcore punk band The Strikers were looking for a singer. Marty urged me along, and after talking with them, I was gonna try it out. Right around this same time, christmas of 1997, and before trying out, I was at a local show spot called Daddy-o's where I always noticed this kid wearing Weasel/Queers shirts at the shows. I decided this night to talk with him over the apparent Lookout bands connection. His name was Eli. He was 16 or 17. As we talked, he mentioned he was looking to start a band. He played guitar and had a drummer friend. I told him I was writing lyrics and could maybe sing. We seemed to dig the same types of bands...and he was floored when I told him I saw Teen Idols a month earlier. A week later, the first week of January 1998, we got together, him on guitar, me trying to sing, and we tried to play Teen Idols: Porno Shop, The Cretins: Strawberry Trees and Blanks 77: Party Train. This was the day it truly began...and within the next couple weeks or so...we had a full band. I knew nothing about being in a band or what it was like beyond being a fan...and no idea what would come. As for the 90s pop punk path? I think it was just in my blood...and it was trying to get out from the start. All the band had some influence in It, but we certainly varied in different directions too.

Did you always​ aspire to be a songwriter? What was your process for learning to write your own material? When did you first begin recording your own songs, and how did you accomplish that?

Honestly, I had never really had any aspiration to play, write or be involved in music in any way other than a fan and listener until 3 or 4 years after high school in 1996/1997. It just sorta happened. The first few months and first release of my first band, The GrandPrixx, the band would write music and I would write lyrics and we mashed it together. I never really wrote with a melody, just words in a basic rhyming structure. I was inspired by the Nobody's, Queers and early Screeching Weasel with my lyrical approach... and it probably shows....haha! I wrote funny, blatant, juvenile and spur of the moment about specific scenarios and people and situations...and it usually came together fast with no time to think about it. I had no stake in it really, no thoughts many people would even hear it or care, or what having these recorded forever would be like. I just wrote it as it was...for better or worse. It was just super fun and exciting. Within months, mid 1998, I began putting more thought, growth and emotion into writing lyrics and began writing with melodies in mind. This is when I started learning basic guitar so I could translate these melodies to music. Game changer for sure. As for recording my own music, The GrandPrixx went into the studio about 4 months after we formed, spring 1998, and recorded our 11 song debut cassette...with Jim Fogarty, a local producer with whom I still work with to this day, and Adam D of the band Aftershock, later to become Killswitch Engage. I'm not sure who set this up and how we wind up there?! I didn't know anyone really at this point concerning this stuff. We recorded and mixed 11 songs in 15 hours for $300!

The Grandprixx​ was an interesting band - very fast, snotty, catchy pop punk and a strong Mutant Pop vibe. When you formed that band, was there a desire to stand out by focusing on fast pop punk? You also released​ a full-length cd that remains an extremely rare release - can you tell us about that recording? What are the chances of me ever coming across a copy? I've been searching for years!

Well, there are 2 eras of the band. The 1998 - 1999 version is the original line up and half the bands existence. My overall favorite time with the Prixx. Our beginnings were more raw and aggressive than how we ended. I don't think we set out for a specific sound as a band. It was just a mix of all of us and what came out is what came out. The speed thing just happened. Martys hardcore style of drumming certainly pushed that. The Mutant Pop world was definitely a huge influence to Eli and I... and we eventually weaseled into that scene. We did a split 7" with MP band Pro-Teens and had splits lined up with Dirt Bike Annie and The Peabodys that never happened. Marty left on drums in Sept 1999. We took a hiatus and came back spring of 2000 with a trip to Sonic Iguana and our new drummer Ali, Eli's childhood friend. The speed thing at this point certainly was enforced...and my vocals got more high end and whiny and losing that aggressive/hardcore side in vocals and the music. Band dynamics changed too and I was becoming the main musical songwriter and push of the band. I felt from 2000 - 2001 I was in a growth spurt with all things music, while the band itself was kind of falling apart, becoming divided. Drive Me Crazy, our full length album on Fork In Hand Records (Big D and The Kids Table) was recorded by Matt (The Gamits) at the end of our last touring stint at 8 Houses Down in Denver, CO in August 2001. Art was done by our friend Dave Spodie. We were friends with the Nobodys and Ali had lived and jammed with those guys for awhile. That was our connect to go to Colorado to record. We all went our own ways from the studio sessions and got back together in Dec/Jan...unknowingly playing what would be our last few shows, a live on the radio set at Boston's WFNX to promote Drive Me Crazy and record out final and unfinished demos. Our release show was at a skate park in Jan 2002. Place got raided by the cops and the show was shut down before it began. Something over not having a proper license. It was a packed show that didn't happen. We sold CDs in the parking lot. Eli left for Cali the next day to go back to school and we wouldn't get back together in the spring of 2002....where we broke up. Unfortunately that album carries a lot of unpleasant memories and bittersweet feelings for me...mixed in with the good one's. I'm proud of it, but despise it at the same time. It carries a lot of emotional baggage. We never played a show on it. 1000 copies were pressed and we had like 200 or so and the label dealt with the rest. In 2005 or so, I had gotten like 50 to 100 copies from Fork In Hand...the last of what the label had, and I sold or gave them away until they were gone. If I ever run into an extra copy, I'll try and send it your way!

When you formed The Prozacs, did you have a goal of creating a more "traditional" pop punk sound? And did you go straight into recording "Thanks For Nothing"? I remember seeing that cover and thinking to myself, "Wow this is the most pop punk looking cover art I've ever seen!"

My idea was to have a side project to stay active as The Prixx were only active during college breaks and losing it's charm for me. My thought process was to "not" sound like The Prixx...Ha! I wasn't looking to abandon The Prixx though and was saving must of my energy and more thoughtful lyrics for that. Yes, that more traditional pop punk sound and cliche song topics were the desire with The Prozacs at the start. Also having fun with a new band and learning to play guitar and sing. My heavy influences at the time going into this were The Yum Yums, MTX, The Proms, The Invalids, The Mopes and Riverdales. Having Dave on vocals as well helped make it different too. It was about 8 months, a couple line up changes and The Prixx breaking up around April/May 2002 for Dave and I decided to go full force with The Prozacs. We demoed 16 songs in June/July with Colin on bass and solidified the lineup with Marty (original Prixx drummer) joining on drums in September 2002... one year after initially starting the band. We recorded "Thanks For Nothing" in November 2002. Looking back, it really was back to back with The GrandPrixx album. A couple of my songs on "Thanks" were written during the "Drive Me Crazy" era of The Prixx (Doing Nothing & Get Away) but never introduced to the band. Go-Kart was written with the original Prixx line up in 1999 but was basically rejected...but I always loved it and restructured it for The Prozacs. That cover art...haha! It was my first attempt at creating an album layout and I was just learning to make flyers and stuff on the computer. A friend drew the character and explosion for me and I created the rest in Microsoft picture it! Totally going for that "pop punk" vibe and leather jackets. I cringe at that cover now! Have always thought it would be cool to have one of my rad illustrater friends do an updated version.

The Prozacs maintained a steady release schedule right from the beginning. Was that your intention all along? And what is your studio arrangement? One thing that has always impressed me is that you always commit to official studio recordings and professional packaging for your releases. Art, production, and overall vibes have always been very official.

I loved the way bands like Screeching Weasel, Mcrackins, The Queers, Boris The Sprinkler and so on released so much so often in the 90s...and that was my personal inspiration and motivation. It's not easy and I don't force writing. I just intend to record and release when I do. I've been to so many studios over the years and have many relationships with awesome engineers and producers. Jim Fogarty at Zing Recording (Killswitch Engage/All That Remains/Unearth) has been the most consistent in my music life with recording/producing and mastering. He's touched nearly everything I've done in one way or another. Karl Ourand at Plummers Mine & Clay Neely at Black Coffee Sound have also racked in several Prozacs recordings...and in more recent years my main engineer/producer is Angelo Quaglia at AQ Creative Production Studios (a stroried history in hip hop/R&B) and most of my mastering and Stiletto Bombs first recording is with Mark Alan Miller at Sonelab (Dinosour Jr/Pixies). Each engineer and session has it's own arrangements and all that from the way things are done and costs. The songs are very important to me. They are the whole reason I do what I do. It's the part of all this that will be documented forever...like a tattoo...that I put all my emotions and heart into. They deserve to be the best they can be...and I go to great lengths and sacrifice to properly preserve these into finished pieces of art that I'm happy and proud of. It's worth it most of the time...ha! The art and packaging is just as important to me and is all a part of a finished project. I strive for a particular quality because it's what I personally desire...and work within my abilities and means...and of the talented and amazing people I get to work with. It's how I wish to express and present my life's work to the potential listeners. I also feel that with all the sacrifice and support my family, friend and fans give me...they deserve the best I am capable of. Thank you Grim for acknowledging this.

Can you tell us about your prior endorsement deal with Daisy Rock guitars? I always that that was a cool thing - very pop punk, too. Also the models you played looked badass! How did you link up with them, and what were the terms of your endorsement?

Daisy Rock! I was very honored to have that endorsement...and the Rock Candy Custom Special is a badass guitar! I used it on a few Prozacs recordings and played it fairly exclusivly in 2007 - 2009. I give 100% credit to Christy Darlington and Jay Dee (Johnie 3 / Jagger Holly) for that. They were both endorsed and urged me to go for it and put in a good word. It was a straight up deal. I got one free guitar and then 50% of anything else I wanted after that. Just asked that I play it and use in promo material. They were very cool to work with.

Along your journey of being the frontman of The Prozacs, you also became a father of two boys and have maintained multiple roles of musician, family man, husband, father, etc. Can you talk about that balance, the challenges, and how you've managed to keep going despite the struggles?

To be brutally honest, It's not easy. Not at all. I can't claim to be good at it or always make the right choices. My music life is in the category of my family and job...and not many in my life and music understand this. It's not a thing I do, but a vital part of who I am. It's important. It's necessary. It's continuesly riddled with guilt and selfishness as much as it is with inspiration and heart. There is an insatiable thirst and fire inside me that I continue to act on. These songs are a detailed diary of my life and emotions...and within that...the power of music...it can speak to others too...and that's important. I've managed to keep going with the help and support of so many wonderful and talented friends and musicians. I've managed to keep going most importantly because of the immeasurable love, support and sacrifices of my wife and children.

You've also embarked on several side project ventures, including your J Prozac solo project. What was your motivation to branch off and do these other projects? Which of the projects have been your favorites so far? Which ones do you intend to continue, and were any designed to be "one-off" projects?

It just kind of happened naturally at a time The Prozacs were really dragging. A circumstance of several scenarios. Rather than seeking out new members again to keep it moving, I decided to do a one off studio project on the side to keep busy and creative and relieve some of the material that was sitting and waiting to come out. I worked in times that had no conflict with The Prozacs, primarily with my engineer Clay Neely, who was also drumming and playing other parts, on what became "Here Is My Heart". I was very particular with the songs I was choosing and writing for this. Not that I was trying to write differently than I normally do, but was choosing not to include songs with certain aspects of my style and lyrics I felt were typical at the core The Prozacs. I expanded on ideas that I otherwise may have never explored deeper. The process put me mentally outside my own box I had created over the years with The Prozacs, which helped me grow as songwriter and musician...and gain confidence in what I'm capable of. It opened me up to studio writing and collaborating as well...and trying new things...like the Doubtfire project and remote projects. Won't say it made everything easier though, as it's caused some riffs and tensions in my musical life as much as it has given me choices and opportunities. The hardest thing for me with my music life is settling in with "the collective capability" of a band. Had I been that way in the past...The Prozacs and I would never have done all that it has. The sacrifices to push thru are immense, but I've always tried to maintain a band asthtetic  at whatever the personal price...and with whoever is involved. Some members have contributed considerably, while others took advantage of my drive to pick up slack to reach my own goals. I've tried every which way over the years to keep myself and the band moving and happy...as well as my bandmates...but that's not easy or even possible all the time. Solo and studio projects, multiple bands, rotating members and alternate versions of The Prozacs. For me, everything is generally Prozacs first. That is my main artery...and I feel comfortable that most all my output fits in that realm...and it all connects and intertwines musically, lyrically and by the heart of it. Most of my other ventures since 2012 resulted outside the capability of the current Prozacs of the time and and/or were attempts to move on new. It's also me committing to my bandmates rather than stepping over them or replacing. At this stage in life, I'm more concerned with having musicians involved that have heart, friendship, understanding, flexibility and respect for the mission, values and integrity that playing in my world of music is built upon...more so than bodies to keeping the machine moving. Been there, done that, don't want it anymore. There are plenty of challenges still, but there's greater comfort in knowing that who's here is because of wholesome reasons and that makes it worth the fight. My personal abilities, drive and music life is much bigger than any group/band or person I create with it has been able to keep up with. That's not a bad thing...just reality. Not everyone is comfortable with or supportive of me moving at my potential though...and some take offense not being involved in things...even when it's due to their own inability. I got sick of commiting to people that would not commit to me or the band. I deserve pushing my creativity to its potential though and have finally owned it. At the end...The Prozacs remains a band in whatever firm because I choose to...with the people in it...not because I have to. The current lineup is out of my favorites ever. It's hard to choose a favorite project. Stiletto Bomb was an attempt at ending The Prozacs. It was the current Prozacs material Jimmy and I were working on, seen through the lens of a very different line up and influences. The first era of this band is one of my favorite moments. Plus singing with my wife is amazing.

What was the experience like for the Doubtfire project? You went to Canada to record that album, right? Pretty impressive! I imagine nowadays there'd be some way to remotely collaborate, but you really went for it. How was it working with Bil McCrackin, and what did you learn from that experience?

This came right in the middle of working on my solo album and The Prozacs in turbulent times. It was an amazing experience and one of the most fun times I've ever had making a record! Bil and I became friends after McRackins released an album on Cheapskate Records...The Prozacs long standing label. We did a split 7" together in 2009. In 2012/2013 we started discussing writing a couple tunes together...and then that idea turned into an album. We both wrote 5 original songs, music only, and sent demos remotely to each other. I wrote lyrics and melodies to his songs...and he to mine...and we each picked a cover to do. Then in the summer of 2013, I flew to Vancouver and spent a week at Bils studio and with his family, to record the album! Getting to meet and hang with all the Mcrackins was so awesome. They are one of my favorite bands since before I ever played music. Bil is mega talented and so nice. It was an honor to work together. We spent a lot of hours on that album and I'm so proud of it. He pushed my vocals and harmonies in all new ways that have influenced all my music since. I'm sure we could have pulled it off remote, but nothing beats the authenticity and experience of being in the studio together. The Doubtfire name was Bils idea...and Ole O'Brian killed it with the art!

You've worked with several different labels throughout your music career - how has the artist/label relationship changed from your point of view now that we're in an era where physical copies of albums are viewed as redundant by many who've embraced digital streaming, bandcamp, etc.? What's the ideal arrangement for you, and what is most important for you as an artist working with labels in the digital age?

First, I wanna say that, in no way, do I take for granted all the wonderful people and labels that have taken the time, money and chance to invest and believe in the musical ventures I've been involved in. Thank you. Every last one of you. From 1998 - 2010, The GrandPrixx and The Prozacs were very fortunate to have labels willing to press, release and promote our music. It's amazing really. Those years, everything was pressed at 1000 copies at a time. There was still plenty of print advertising and people buying physical releases. I generally kept close relationships with the labels and tried to do my part as a band. CDR/Short runs have changed the game and of coarse digital streaming and all that. The way things were for me personally with label/artist deals has never really been the same as back then. Nothing on the labels as people or the integrity, just times are different. There seems to be a lot more short run/on demand releases...and much more multiple label and artist collaborating on releases...and straight up digital releases. Crowd funding and all that kind of became a thing too. My personal experiences in the last decade have been from self releasing, labels and bands splitting costs and duties or self releasing under the umbrella of a label/distributor with help in promotions. I can't speak for how it works for everyone these days. There is a whole be set of issues with rights and exclusivness in digital platforms. The biggest thing is that these days, is much easier and accessible for the artist...given they have the drive...to do almost all that a label can do on their own. My ideal scenario? I like working hand in hand with a label and being involved in that community. Of coarse it's nice when a label picks up pressing costs and puts some stake into it there...and together work on promoting it. I still feel fortunate that there are lots of labels at all levels pushing and supporting in every way possible...and that many of them wanna work with my music in whatever capacity. Thank you for that.

Looking back on everything you've accomplished so far, do you feel proud of your catalog and your experiences creating so many albums? Do you still have the same passion to continue at the same pace? What other goals do you have, or "bucket list" items as a musician?

Yes...I'm proud of pretty much all of it...every step of the way...and of everyone I've done it with. It still amazes me each and every time. I still get excited, emotional and have the fire inside. Anything that I might not be as happy with, I try to learn from. I've been doing it for so so long that many aspects of it have just become ritual, habit, natural and process...but I'm still pushed with desire. Bucket lists? Ha! Other than releasing a 10" and a picture disc?! I just want to continue...and remain in the ever revolving circle.

What are your feelings about the current pop punk community? Over the years do you feel it's become more positive overall? How do you see yourself within the context of the scene - do you feel supported and appreciated? As a fixture of the community, do you feel like you've been able to guide or mentor other bands who want to follow your example?

The current community is such a huge mix of our hero's and veterans...the middle aged guys like me...and the younger bands and fans still wetting their feet...all connected. In this day and age it's so easy to connect with pretty much anyone at any level and all around the world. It's pretty amazing. There is always going to be snobs and clicks and fairweather and going thru the phases types...but we have so many choices and places to go full of great people. It's hard to say if things are more positive or not...but it's all more accessible than ever...and there's so much more. I feel like so many of the elder statesmen of the punk rock world have taken the social media platforms to their advantage and are giving the younger generations stories, insight, experiences they otherwise would never have access to...and getting in touch with t hier audiences. It's giving a direct and real life to it all. Shows how deep this is and how real it is. Seeing our hero's adapt in new ways of creativity with these platforms that are here for the taking. I feel like this era has been detrimental to many of the old-school ethos sand experiences...but is also giving hope and inspiration for some to come back around in new ways, adapt and learn, because it's in their hearts, as they can see that people are listening. It's exciting seeing things come full circle...and seeing the torch bearers. As for my self in the scene, I don't really know. My feelings are half dependent on the situation and where I am. I often feel like a small fish in a big sea. Sometimes the other way around. I get treated like someone really special...then the next minute I'm another nameless face. It's perspective...and it goes both ways. I know I'm extremely lucky, thankful and appreciative of this world of music and those in it. I know I've left a mark with people though, maybe inspired or was there for them in music and words... like others have been to me. These things are special and should be treated as so. I feel much support and appreciation...truly. I don't know how it why...but It's amazing. How wide spread? Does it really matter? What matters is acknowledging the ones that are there...cause really, no one has to care at all. The fact that even one person might care, connect, feel affected makes it worth it...and it,should start with yourself first. I help and guide whenever I can...and grateful for all those that have done the same for me. We are all real. We are all people first. Equal in humanity.

Personal anecdote: The Prozacs were one of the bands that gave me a sense that I could do my own band. I saw a YouTube video of you guys playing an outdoor fest in Mass. and it looked so fun. I basically used your example as the template for The Sprains, and that experience led me to where I am now. Thank you Jay!

This means so much Grim. I remember the day clearly when I recieved your letter and demo...from a college kid with a dream. I guess you answered your own question by now...and honored you wrote to me...and the friendship we have. I'm proud to see all you've done and are doing with music, family and life...but I'm not surprised. You inspire. Thank you my friend...and thank you all out there that are in this thing with us.