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Artist Gallery

004_Hellyeah.jpg, Stephanie Cabral
photograph by Stephanie Cabral

Revolver's own Stephanie Cabral was on hand to catch all the action for Hellyeah and Act of Defiance's show on September 29 at the Hard Rock Hotel in the Sioux City, Iowa! Check out the photos she captured of Hellyeah for us below–and you can also follow her on Twitter and Facebook.

060_ActOfDefiance.jpg, Stephanie Cabral
photograph by Stephanie Cabral

Revolver's own Stephanie Cabral was on hand to catch all the action for Hellyeah and Act of Defiance's show on September 29 at the Hard Rock Hotel in the Sioux City, Iowa! Check out the photos she captured of Act of Defiance for us below–and you can also follow her on Twitter and Facebook.

Blind Guardian -17.jpg, Derek Soto
photograph by Derek Soto

When it comes to music and entertainment, we familiarize ourselves with those in the spotlight and often forget about the teams of people who helped those artists get to where they are today. Munsey Ricci is a seasoned music industry veteran who has been working in radio promotions since his college years. In 1991, he launched his own company, Skateboard Marketing, where he has since worked with some of the biggest names in heavy metal such as Motörhead, Dio, Iron Maiden, Overkill, Testament, and many others. This year, Skateboard Marketing celebrated its 25th anniversary with a huge party at Webster Hall in New York City, which featured performances from Grave Digger and Blind Guardian (check out those awesome pics below). Not only were some of the biggest guns in corporate heavy metal in attendance, but even Ricci's mom showed up to rock out! In this interview with Revolver, Ricci discusses his storied career, shares tales from the road, and has some advice for musicians who are looking to get their record played on air.

REVOLVER How did you first get involved in radio promotions and how did Skateboard Marketing first come about?
MUNSEY RICCI I was in college radio; I was already working part-time for CMJ which was one of the radio trade magazines. So with all the relationships I was building with radio and records, it was something that I really fell in love with. So I decided that was what I wanted to do. It wasn't rocket science, I was good on the phones and it wasn't that hard to get something done. So I worked on my relationships and wound up at the famed Combat-In Effect Records in Hollis, Queens. Pokey from Leeway was also my supervisor, it was a great place to be when you're 20 years old. Not to mention, me and Pokey had a blast.

A year later Sony bought them and many of us were let go. So in 1989 I sat down with the national at PolyGram Records. They were the last of the major labels not to have an official metal department. I went in for an interview and looked at what needed to be done and said, "I can do this." PolyGram hired me shortly after and I put together a call list, mailing list and set up my own system on how to work stations. There was a little learning curve, but I had some of the greatest mentors teaching me the ropes. We also had a huge roster of killer bands—Mortal Sin, Onslaught, Tony MacAlpine, Vinnie Moore, Kiss, Scorpions, L.A. Guns, Mother Love Bone to name a few. It was one of the best learning experiences you can have.

When the company went through management changes many of us were let go. That's normal in the music industry, new presidents always bring in their own people. So Johnny Barbis and Sky Daniels called me into their office and said, "Here's what you do, work Indie promo for a while until you figure out your next move." So on August 12, 1991 Skateboard Marketing Ltd. was born. I really didn't call it Skateboard at the time. I was just using my name until Chris Payne from KRZQ said he'd come to NYC on his deck and we'll come up with a name for the company over pizza and beer. So I renamed it to Skateboard Marketing Ltd. Big thanks to Payne at KZRQ for that!

You've just celebrated Skateboard Marketing's 25 year anniversary. What are some challenges that you face now that weren't an issue back in 1991?
Budgets and low record sales are one of the key things that we have faced since the early 2000's. In 1998, we wouldn't think twice about spending money to fly out to a station to close an add. But it's a little different today. Instead of selling 400,000 units first week it's more like 40,000 units. So there's a big difference with how you set your budgets. But you have to look at the band and the record company. It's our job as record guys to make it happen regardless. You really have to get creative and work around things that normally wouldn't have been an issue. Luckily there's a lot of PD's and MD's [program directors and music directors] that have compassion for the music and radio is in their blood. Once you're bit, there's no turning back. Only a programmer or air staff will tell you that. It's something you have to feel and experience for yourself.

The same goes for record promotion and publicists. It's in your veins and you will have none of this I need a new career. This is what I do and it's not going to change. Artist development has become very DIY in areas. Even major labels have embraced the DIY approach in some cases. It works if it's the right formula. But as it always goes, there's no science to how it works. You have to create a promotion from an idea and roll with it. I just know I wanted to wake up with Motörhead in the morning and hit the phones.

On the contrary to that, what are some advantages that you have now in 2016 that you didn't have 25 years ago?
We've been able to establish ourselves as a driving company. It takes time to make that happen, you just have to deliver and work 70 hour weeks. But when you start and it's something new, there's always the "let's see how they do first." Today, it's not really the "let me see what happens." Record companies, artists and managers already know what we can and can't do. As an industry professional, it's very important to know your limitations. If you don't, it's a recipe for disaster. But one of the main things is to always be honest with people. That is how you'll earn your respect.

You've worked (and partied) with some major bands over the years. Tell us one of your craziest stories!
I guess it was my first major tour with PolyGram Records. It was the Yngwie Malmsteen & Ronnie James Dio tour. I went out with them to cover radio for the Northeast. After a few days on the road we had a wild party in the hotel in New Haven. A lot of drinking and a lot of people. Well, the police showed up and said we all had to leave. So we loaded out to the bus and right behind us another tour bus pulled up. It was none other than Johnny Cash. There were a few older chicks waiting for autographs. They totally looked like they were in their '60s or maybe even their '70s. I was already hammered. The cops said, "Hey, that's Johnny Cash. Let's get a photo and autograph." We were rolling on the floor. They just walked away and got photos and totally forgot about us. They even forgot to write us tickets for being loud at 4:00 a.m. It was classic!

There are tons of bands out there who are just starting out and want to know how they can get their music on the radio. What guidance can you give them?
Take your time making a record. If you feel you can do better it's because you can. Instead of taking advice from a band locally, totally look at a seasoned pro. If you need advice on guitar leads, ask Alex Skolnick [Testament, Metal Allegiance]. If you need to know how to build better drum chops, ask Dirk Verbeuren [Soilwork, Megadeth]. Need vocal advice on how to maintain longevity? Then Bobby Blitz [Overkill] is your guy. Always go to someone who has made killer records.

Also you'll need to look at production. If you've never made records before, then go to the conventions and sit in on the producer panels. Nobody knows this better than Ross Robinson or Fredrik Nordstrom. Both have a long list of credits. It costs money to sound good, but you want to make a good record that you can get radio and press. You also want to be extremely proud of what you made. You can't second guess.

One of the most important things is not to waste anyone's time. If you have the budget and are serious about it then make the call. If not, then sit tight and practice. It's all about refining your talent. But asking someone to pick their brain at a show or a BBQ is cool too. A key factor is when you leave the studio, always make radio edits for explicit tracks. The FCC has guidelines with radio. So to have them in the can from the beginning is a smart approach.

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With hundreds of thousands of dollars worth of vintage guitars serving as his backdrop, Zakk Wylde is seated on the cozy stage of the Vintage Room at Guitar Center's Hollywood, California, location. The guitar he's wielding, though, is far from old—it's one of his brand-new signature-series Wylde Audio solidbodies (the Odin model). And he's absolutely shredding on it. With no less than four 4x12 cabinets behind him, the sound is ferocious and immense.

The cabs, however, are just there for looks. None of them is actually plugged in.

In actuality, the powerful sound filling the room is coming from the tiny, boot-high Marshall practice amp at Wylde's feet (which is miked up and running through the room's modest P.A. system). As is the case with any true titan of guitar, Wylde doesn't need heavy sonic weaponry to deliver heavy tones. He gets his power and ferocity from one place and one place only—his fingers.

"How's everybody doing?" the always unpredictable guitar hero asks the small crowd in attendance after he finally stops playing. Wylde is keeping things fun and informal—very informal.

"I have a surprise for you," jokes Wylde. "After we do this and maybe a jam a little bit, we're all going out for an anal bleaching appointment on me. Bleaching is part of the music business as well."

That, of course, is not the sort of topic the roguish guitarist is actually here to address. Today, Wylde is holding his first official guitar master class, and, even by Hollywood standards, it's an exclusive affair. Aside from Guitar Center Artist Relations manager Jake Cheung (who is also the event's emcee); Michael Cirovolo (President of Schecter Guitar Research, the company that distributes Wylde's new guitars); Rob "Blasko" Nicholson (Wylde's personal manager), a few camera operators and staffers, and this journalist, there are only five attendees present—the five people Wylde has chosen to attend.

The lucky quintet—Warleyson Jose, Daniel Mahanger, Emily Hastings, Adrian Carey, and Dana Bradshaw—were among the thousands of entrants who submitted renditions of Wylde's new single, "Sleeping Dogs," in hopes of a scoring a free trip to California to hang with Mr. Wylde for special this master class. Clearly, Wylde felt their performances were the most kick-ass of the bunch. Now, they're face to face with one of their heroes, watching him blaze up and down the neck as he fills the air with white-hot blues/metal fusillades.

"Years ago, I made a list of things everyone else was doing, and consciously stopped doing those things," says Wylde when the topic of how he forged his style comes up. "I thought, 'No more whammy bar. And I'll get rid of the tapping, so I don't sound like Ed or Randy. No harmonic minor stuff or diminished runs. No sweep picking, and no arpeggios.' I did that to separate myself from everyone else. Basically, the only thing left was pentatonic scales. And when I saw my first Albert Lee video, the hybrid-picking country plucking stuff he was doing sounded so amazing, I started incorporating it into my playing as well."

Several questions about building a brand in the social media age arise. For instance, how much personal cash should a young musician sink into launching his/her band?

"If you're thinking of opening a Hooters restaurant or investing in your band, well, the restaurant might be the best bet," Wylde cautions. "The good part, though, is that as soon as you start really building your band, other people will likely step in to help, because it's already got some legs."

While the five attendees will surely cherish the day they got to watch their hero demonstrate his famous Ozzy Osbourne and Black Label Society solos mere feet from their faces—and will also surely treasure the Wylde Audio Odin model guitar and Dunlop, EMG, Monster Cable, and MXR gear they were each awarded—it is likely that it will be Wylde's optimistic life coaching they will remember most.

"Back in the day," Wylde tells them, "if you didn't get a record deal by the time you were 30 years old, it was almost like, 'The dream is over. I guess I gotta quit music and get a crummy job.' Nowadays, though, that's not the case. If you love music and you want to do it, you can make a living doing it, because you have access to social media, which Zeppelin and Sabbath never had. Back then, you only had that level of reach if you were on a major label. Young bands today are often really good at social media. For instance, check out the Black Veil Brides. They're a perfect example of how you can build things yourself, do things on your own terms, and play the music you want to play."

Though the group-bleaching appointment Wylde has promised never actually transpires, the afternoon is still a success, and Wylde is happy.

"I love showing people solos that I've done, and I'm always happy to show people scales and stuff," says Wylde after the event. "But my whole thing is, 'What if I was able to sit down with Frank Marino or John McLaughlin or Al Di Meola or any of my other heroes when I was coming up and just ask them questions about what they do?' I would have loved that. So, my favorite part of today was just hanging with everybody, talking with them."

GwarBq -Dillinger Escape Plan - IMG 10.jpg, Kevin Wilson
photograph by Kevin Wilson

Gwar, Lamb of God, August Burns Red, The Dillinger Escape Plan, and many more crushed the stage at this year's Gwar B-Q.

Revolver's own Kevin Wilson was on hand to catch all the action on August 20 in Richmond, Virginia. Check out the photos he captured for us below (of The Dillinger Escape Plan, August Burns Red, Murphy's Law, and American Nightmare)–you can also follow him on Twitter and Instagram.

Be sure to check back out our other photos of the event!

GwarBq - Lamb of God - IMG 01.jpg, Kevin Wilson
photograph by Kevin Wilson

Gwar, Lamb of God, August Burns Red, The Dillinger Escape Plan, and many more crushed the stage at this year's Gwar B-Q.

Revolver's own Kevin Wilson was on hand to catch all the action on August 20 in Richmond, Virginia. Check out the photos he captured for us below (of Lamb of God and Eyehategod with Phil Anselmo)–you can also follow him on Twitter and Instagram.
 
Be sure to check back in a few days for more photos of the event!
Gwar_2.jpg, Kevin Wilson
photograph by Kevin Wilson

Gwar, Lamb of God, August Burns Red, The Dillinger Escape Plan, and many more crushed the stage at this year's Gwar B-Q.

Revolver's own Kevin Wilson was on hand to catch all the action on August 20 in Richmond, Virginia. Check out the photos he captured for us below (of Gwar and the crowd)–you can also follow him on Twitter and Instagram.
 
Be sure to check back in a few days for more photos of the event!
DSC_5714.jpg, Stephanie Cabral
photograph by Stephanie Cabral

Revolver's own Stephanie Cabral was on hand to catch all the action for the Los Angeles stop of Summer Slaughter! Check out the photos she captured of Cannibal Corpse for us below–and you can also follow her on Twitter and Facebook.

DSC_4916.jpg, Stephanie Cabral
photograph by Stephanie Cabral

Revolver's own Stephanie Cabral was on hand to catch all the action for the Los Angeles stop of Summer Slaughter! Check out the photos she captured of Nile for us below–and you can also follow her on Twitter and Facebook.

DSC_4646.jpg, Stephanie Cabral
photograph by Stephanie Cabral

Revolver's own Stephanie Cabral was on hand to catch all the action for the Los Angeles stop of Summer Slaughter! Check out the photos she captured of Suffocation for us below–and you can also follow her on Twitter and Facebook.

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