Six Questions: Jason Flom Looks To Future

Six Questions is an occasional Billboard feature that focuses on noteworthy industry people, ranging from senior executives to artists. This week's subject, Jason Flom, celebrates his 20th anniversary with Atlantic Records in July.
Hired as a field merchandiser trainee fresh out of high school, Flom rose to A&R executive, signing such acts as Twisted Sister, Skid Row, B-Tribe, Tori Amos, Clannad, and Collective Soul. In 1995, Flom, then a senior VP at Atlantic, launched Lava Records. In four years, the Atlantic imprint has had tremendous success with acts such as Sugar Ray, matchbox 20, Kid Rock, and the Corrs, who are the Atlantic Group's biggest sellers worldwide. Flom has just signed a new long-term deal to continue as senior VP of Atlantic Records and president of Lava.

You started at Atlantic 20 years ago, putting up posters at record stores. What did you learn then that you still carry with you?
I learned the power of a hit record. It was amazing to see how a record could react after being spun only a few times and people would come in and look for it, [while] others could be played constantly and no one would come in looking for them. I still believe that radio is the most powerful medium, followed by TV, MTV, VH1, etc., and press and then touring to some extent.
The last year has seen tremendous shifts in the music business, leading many people to believe it's a great time for indies and entrepreneurs. Did you give any thought to striking out on your own?
Obviously Lava has been on a terrific roll. I was approached by a number of different labels or to run a label or a variety of different things. I weighed the options. I have a terrific relationship with [co-chairmen/CEOs of the Atlantic Group] Val [Azzoli] and Ahmet [Ertegun] and I love my bands-that's the overriding thing. Obviously money is important, but those relationships with my artists and everyone here is how I made the decision to stay.
What are some of the rising music trends that you see?
There seems to be a return to guitar-driven rock. The reality hasn't caught up with the trend yet, but I think there is a move in that direction, as well as the rock and rap combination. Kid Rock is indicative of that . . . I rarely set out to find a particular type of artist because when you decide to sign one thing, something else walks in the door. The one exception is I really wanted to find a hard rock band, and New American Shame just kind of fell into my lap.
You worked with Edwin McCain's album for a year before it broke. Do you always plan to work every project that long?
I take my commitment to each of my artists very seriously. You have to when you have such a small roster. I have 12 acts. I don't have the luxury of being able