10 Questions with ... Munsey Ricci

1. What made you want to get into the music business and who were some of your early mentors?

I was kind of young, my sister had some old Who and Zeppelin albums around. But it wasn’t until I listened to Black Sabbath is when it really hit me. I was blown away and fell in love with the heavy sludgy sound and blazing guitar riffs. When you’re 12 years old and hear that it's a total mind twist. It made me want to buy a guitar and learn everything Iommi wrote. That's what really put the hook in me. It wasn't until I discovered Diamond Head, UFO and Pentagram is when it's all about the fast and heavy really kicked in. After hearing the NWOBHM thrash wave it became a life set for me. The bands were just amazing, Especially the Bay Area thrash scene.

2. What was your first promo job and give us a rundown of the labels and positions you held before forming Skateboard Marketing?

I was in college and landed a part time gig at CMJ Media. I put the magazine together and wrote sporadic reviews on records. I was also MD/PD for my college station WQCC. It wasn't long until I landed a gig at Combat-In Effect Records in Hollis, Queens. It was the home to a lot of the bands I was really into. Megadeth & Death were Combat bands before they signed with other labels. Pokey from Leeway was my supervisor, and it was a really cool place to be. I learned the ropes in 1987 there. It wasn't until 1989 when PolyGram Records was the last major label without a metal department. They had a monster roster including Warlock, Onslaught, Mortal Sin, Mother Love Bone, Kiss, and Yngwie Malmsteen. I created the first metal department for Mercury & Polydor. It really wasn't that hard, all you needed was a list and get on the phones and put together a system. I also had David Leach, Dave Loncao and Tim Hyde as mentors to teach me the ropes and how to work the charts. Looking back it was one of the best places to be when you're in your early 20s.

3. You worked at PolyGram as Director of National Metal Promotion for a few years and had quite a roster of metal bands. What are some of the best highlights of your time with PolyGram?

There was nothing like a major label in the late 80's and early 90's. We had budgets as well as record sales. Almost everything we put out was certified gold or platinum. Plus you had the pleasure of working with Kiss and the Scorpions. Every night I'd be sitting in Drew Murray or Brenda Romano's office picking their brains on how to do this. But the absolute best was my first tour. Joe Riccitelli came down from Boston to do national. He and Leach called me in the office and asked me to cover the Northeast for the Yngwie tour. I had to go on the road with the guys for a week and cover the meet and greets with WHJY, WBCN, WGIR and a few other stations. He said meet the tour bus tomorrow at the Parker Meridian Hotel, go home and pack and don't be late. Bus call was 9:00 AM. That was the Ronnie James Dio/Yngwie Eclipse tour in 1990. Later that year I was awarded my first gold plaque for “Cocked And Loaded” by L.A. Guns. Those were two milestones that were amazing to me.

4. You started your own company Skateboard Marketing 30 years ago this month. Congratulations on this achievement. What prompted you to start your own biz all those years ago?

A. There were a lot of changes going on, PolyGram Label Group had Polydor and Mercury became a separate company. The staff were getting cut, so I sat down with Johnny Barbis and Sky Daniels one night, they said, "Work Indie" because I think you're really going to like doing it. So they gave me a few records to work and Skateboard Marketing Ltd. was born. Our roster was pretty simple ..L.A. Guns, The Almighty, Yngwie and a few others. The following year Atlantic hired us on Overkill and Savatage. Capital EMI hired us on a few records and in 1993 we picked up Black Sabbath and Motorhead. By 1995/96 we had Iron Maiden, Judas Priest and select artists on Geffen, Elektra, Warner Bros and Columbia/ Epic. Especially the name of the company. We were nameless until a marathon conversation with Chris Payne from Reno. He said he'd skate on his deck to New York and we'll come up with a name. As I hung up the phone it hit me. Skateboard Marketing, it kind of stuck so I filed for trademark and charter then rolled with it. I set up my living room and part of my kitchen as an office in my old apartment. Then hired John La Rosa from WRHU FM part time.

5. I understand that since Skateboard’s inception, you have worked the entire spectrum of radio from syndicated and satellite to commercial and college radio. How has that philosophy worked for you?

A. When you focus on specialty formats it's very niche. In artist development it's for all artists. Whether it's a heritage or new developing band. There's always a new audience and fanbase to tap into. You just need to know where it lives and make it happen. Syndicated metal and active rock shows, as well as commercial stations with specialty shows have a huge reach. You target your audience with simply a few spins. It’s also essential for active rock that there's a story. You can't break a band without building the story first. This philosophy worked in 1989 at PolyGram Records and it still works today. It's just the approach and fanbase is a little different. You are also dealing with a new breed of bands, and the format has progressed so you progress with it. Some college stations like WSOU have a big cume. Within these parameters you have smaller stations with a loyal listener base. It's those fans that you want to reach. Not only to help sell a show in the market but to help Soundscan. It's all part of the puzzle that you need to put together.

6. After 30 years with Skateboard, the company’s roster has ranged from the smallest to the biggest heavy metal and hard rock bands. Who are some of the bands you’ve worked with and proud of?

A: Some of our staple roster is Testament, Motorhead, Soilwork, Exodus, Slayer, Overkill, Doro, BLS & Opeth. Many of the heritage metal acts that have been at it for years. We have handled them since the 90s. We are North American representation for Napalm Records, Nuclear Blast USA, Singerman Entertainment and Niji Entertainment for Ronnie James Dio catalogue. We do a lot of records for eOne, Century Media and Prosthetc. too. We also have a lot of newer bands such as Black Crown Initiate, Carnifex, Avatar and Osiah. We started with Machine Head five years ago. As a Machine Head fan, it felt good to be part of the Machine Head family.

7. Tell us some of the bands you are working with now and how these bands are progressing?

A. Now we have the new Monster Magnet, While She Sleeps, Veil Of Maya, Bewitcher, At the Gates and August Burns Red and Motorhead. It's pretty solid as we have been able to lock in top 10 on both the NACC and Metal Contraband Charts. We are just a little anxious for touring to start up again. Our entire roster has been sitting home doing nothing and it's putting a serious damper on everything.

8. After doing this for the last 30 years you must have a wide view perspective of Rock Radio. What’s your take on the format in 2021?

It's important as with artist development that active rock and metal work hand in hand. Active rock is driven by Mediabase and BDS and metal is driven by spins to the Metal Contraband chart and top 10's to the NACC chart. You have to start at commercial as well as college stations to build the fanbase and create something from nothing. For all the syndicated shows such as Full Metal Jackie and Jose for Sirius/XM Liquid Metal. Plus all the commercial stations that are Mediabase. This helps drive a record up the charts not only for Mediabase but for Metal Contraband as well. It's all a tie in with making it happen all the way around. If you lose sight of getting that done it's never a good thing. Plus it's a good thing that some active stations spike Motorhead on the overnights. That doesn't suck!

9. You’ve been in the record promotion business for a long time. What are the most important tools/resources you use to stay on top of the Rock and Metal formats' growth and constant daily changes?

It's mainly my relationships, I have them and I use them. It's one of the most important tools you can have. It’s also your contacts and how you organize the info that you relay to Radio and Records. It's not rocket science at all. As any experienced promotion guy will tell you, use what you have and figure out a way to make it happen.

10. Finally, as you celebrate 30 years, are there any special events planned for this year?

A. Yes.. we are looking to do something as we did with our 25th five years ago. We'd idealistically like to have the private 3 hour open bar and VIP event. Then open doors and have a massive show. We are looking at the late Fall. But my biggest fear is locking something in and everything gets shut down again. Or even worse the venue we lock in closes it's doors and we lose our deposit. There's a lot of variables to look at and Covid isn't helping us at all. So at worst then we would do something in 2022 and label it as our 30th +1. Now that's taking it to 11 if we had to. Regardless there's going to be a big party and show and a lot of hangovers the next day!