No stranger to the Sacramento market, The Moody Blues’ front-man Justin Hayward has been playing the K Street venue for many years and with great success. Over the course of half a century, Justin Hayward’s undeniable voice and guitar-playing abilities have made him a household name all over the globe. And while The Moody Blues’ catalog is strong enough on its own, the 77-year-old vocal maestro has released a bevy of solo albums and with great success.
The Rock & Roll Hall of Fame inductee is quite busy this year and will be touring both in the states and the United Kingdom. As luck would have it, he’s starting his 2024 US tour in Sacramento and will inevitably end his run at the Great South Bay Music Festival in Patchogue, New York on July 21. For those who’ve never seen the elder statesman of classic rock, expect an unforgettable evening of both his older and newer material.
As the writer of The Moody Blues’ most requested and respected songs including “Nights in White Satin,” “Question,” “Your Wildest Dreams,” “New Horizons,” “I Know You’re Out There Somewhere,” “Tuesday Afternoon,” “Story In Your Eyes,” and “The Voice,” Hayward’s catalog has stood the test of time selling a staggering 55 million plus records since his debut record withe the band, ‘Days Of Future Passed’ (1967).
Although the band’s many hardcore fans would argue which record was their best, every record from 1967 to 1986 achieved Gold or Platinum status. Of worthy mention was ‘Seventh Sojourn’ (1970) which reached #1 in the US but, sadly, was one of the darkest times for the group. Said late drummer Graeme Edge, “At the time of recording Seventh Sojourn, it was my least favorite album. But years later, after coming to it with fresh ears and away from all of the pressures of that time, I realized that it was really rather good!”
The Moody Blues released yet another #1 Top Billboard album in the US with fan-favorite ‘Long Distance Voyager’ (1981) that saw songs like “Gemini Dream” and “The Voice” bring even more fans into the fold.
For the uninitiated, a re-release of Justin’s ‘Nights In White Satin’ amazingly rose to #2 on the US singles chart earning Hayward one of his four well-deserved ASCAP awards. He also launched a successful solo career in 1977 with ‘Songwriter’ on Deram Records.
For those looking to hear Justin’s latest solo material, the ‘One Summer Day’ EP (2020) is a great starting point featuring the ultra-catchy “Living for Love” single.
Justin Hayward with special guest Mike Dawes plays the Crest Theatre located at 1013 K Street in Sacramento, CA. Doors open at 7pm and the show starts promptly at 8pm. Tickets start at $46.50 and can be purchased at www.crestsacramento.com. All ages are welcome. Bar and concessions are located in the lobby.
Although the origins of death metal have been disputed time and time again, there’s no arguing that Death, Possessed, and Necrophagia were pioneers in the genre. Although the latter doesn’t tour anymore following the sad and untimely death of singer Killjoy aka Frank Pucci (RIP), the other two tour to this day, although with different configurations.
Originally the project of guitarist / singer / founder Chuck Schuldiner (RIP), Death exploded onto the scene with their first album, ‘Scream Bloody Gore’ (1987). They soon followed up with six equally compelling and crushing full-lengths before their fearless leader passed away in 2001 due to cancer complications.
Death To All serves to fill the heavy void left by Schuldiner as a tribute to his songs and his fierce, unmistakable delivery. Today, the band features singer/guitarist Max Phelps (Exist, Cynic), drummer Gene Hoglan (Death, Dark Angel, ex-Testament, Dethklok, Strapping Young Lad), bassist Steve DiGiorgio (Death, Testament, ex-Sadus) and guitarist Bobby Koelble (Death).
‘The Scream of Perseverance Tour’ started at the Milwaukee Metal Fest on May 18th and will inevitably wrap up in Phoenix on June 28th. For those not paying attention, the first night find the band playing ‘Scream Bloody Gore’ in its entirety as well as classic tunes from ‘Leprosy’ and ‘Spiritual Healing.’
The second night will feature ‘The Sound of Perseverance’ as well as timeless classics from the more technically-challenged ‘Human,’ ‘Individual Thought Patterns, ‘ and ‘Symbolic.’ Additionally, they are doing a few shows dubbed ‘From First To Last’ which find the group playing a little of everything from the band’s recorded output.
We caught up with Gene Hoglan AKA The Atomic Clock to get the skinny on the upcoming East Bay shows at Cornerstone Berkeley.
Capital Chaos TV: The upcoming shows in Berkeley will be celebrating two different Death albums. What are the greatest attributes of the different drumming styles? Any harder than the other to reproduce?
Gene Hoglan: We tend to lean a little more to the technical stuff, but both albums are extremely challenging in their own right. That is especially the case trying to rehearse with and play along to ‘Scream Bloody Gore’ as I am doing my best to emulate a very young person. I was no great drummer when I was 18 and I think Chris Reifert might have been around 17, so that album poses its own challenges. There are definitely some meter issues. I had them when I was a kid, so I totally understand trying to go back and play something that is 37 years old. As a matter of fact, I believe May 25th was the 37th anniversary of ‘Scream Bloody Gore.’ It has its own challenging style because it’s more brutal and caveman-esque. There were no rules back then, so you were just trying to play as hard, fast and tight as you could. Chris did a great job and it’s a classic record. We got to see Richard Christy a couple of nights ago and that was really amazing. Richard has a completely different approach. He said, “I had some real big shoes to fill with yourself and Sean Reinert (RIP), so I just tried to do my best versions of you two.” We (all Death drummers) all went overboard on our own albums, but Richard has a very outside of the box approach to his drumming, so that makes his stuff pretty challenging. I try to pick up all the nuances and just do the best I can. I pay homage as much as I can to both guys’ styles. They’re both challenging in their own regard.
Capital Chaos TV: Your tenure in Death was legendary. Which of the records was more difficult and why?
Gene Hoglan: I wouldn’t say either were difficult. However, the actual physical recording of ‘Symbolic’ was challenging for me because I threw my back out the day before we started. I have no idea what I did. I was in the shower and bent down to get my bottle of shampoo and all of a sudden my back was out. Chuck and my drum tech at the time, Steve Good, carried me to and from the drum kit. I had one arm on one guy’s shoulders and one arm on the other’s and they would help carry me to my throne. When we were checking out songs afterwards, I had to sit in this really strange position in a chair to be comfortable. ‘Individual Thought Patterns’ was put together in about three weeks or so and we didn’t have a lot of time. I remember being really proud that we put this album together so quickly. Sometimes, I have to learn material overnight to be in the studio the next morning. Other times, I learn the songs as I’m in the studio laying tracks down. One major difference between ‘Individual Thought Patterns’ and ‘Symbolic’ was we had about nine months to put ‘Symbolic’ together. ‘Individual Thought Patterns’ sounds very rushed and kinda like a bull running through a China shop. ‘Symbolic’ had a little more polished feel and groove and sunk into the pocket a little bit more. We took quite a long time to craft the songs, hone them, work on parts, bring parts in, and toss them out.
Capital Chaos TV: Are there ever plans to re-record the records with current players?
Gene Hoglan: We haven’t really ever thought about it. We tend to consider ourselves a live entity. We are geared for playing live and touring as opposed to recording. Re-recording the songs and doing a cover album would possibly be something to consider. I wouldn’t imagine much dissension from Chuck’s family. We’re always in contact with them and want to make sure we’re always doing right by Chuck’s memory. We’re not averse to a live record, though. When we are on fire on tour and record the shows, it’s possible we could put out a live album every night because this band is so tight. Bobby, Max, and Steve are such great players and it really sounds like the original album when we listen back to the recordings.
Capital Chaos TV: Which countries had the most voracious fans?
Gene Hoglan: There are a number of great cities here in the states. Denver is psychotic! Holy moly! Denver was one of the greatest crowds in North America. You’ve also got Montreal and Vancouver as Canada always brings it. Los Angeles is always crazy and Chicago is killer. We’re in NYC right now and tonight’s show is sold out. Last night, we did ‘Scream Bloody Gore’ and then tonight we’re doing the ‘Sound of Perseverance.’ Santiago, Chile is crazy as is all of South America really. Mexico, too. Eastern Europe, Estonia, Latvia, Serbia, and Romania as well. Everywhere we go the crowds provide a built-in screaming session.
Capital Chaos TV: You use click-tracks with Dethklok. Do you find having a constant metronome takes away from the live and much looser feel associated with DTA and other projects?
Gene Hoglan: No. The click track with Dethklok is mandatory because we’re playing to the screen that’s behind us. We’ve got to make sure that every downbeat matches up with every lip flap (technical term for mouth movement) when you see Nathan Explosion singing. There are times when the click track all of a sudden, for whatever reason, just goes away. I’ve got to make sure that I’m playing tight and memorize the show file. I’m pretty good with all the contingencies that come with a show, but it’s a fun challenge and responsibility to have. Dethklok is great fun. Death To All is obviously a much looser feel live. I love when you can move around the beat each night. You can feel that extra RPMs in your system and then lean into the songs even harder. I’m always trying to maintain a pocket for the rest of the guys so they’re not coming back to me after the show asking “What the hell happened, man?” Once we start locking in to the various tempos on the early part of the tour, we’re establishing the ones that feel most comfortable with. Obviously, we can’t exactly match the album tempos, but we don’t really try to fly through them as well. Just because you can play a song at 1000 miles an hour, doesn’t mean you should.
Capital Chaos TV: Are there plans to keep DTA touring into the next decade and more?
Gene Hoglan: We love playing and jamming together and being on the road. We’re all pretty light-hearted and have a good time together. As long as there is a demand for DTA, we will try to fill it. If the crowds start going away, we certainly won’t kick a dead horse. We’re all pretty busy with our “real” gigs, so this is a side thing right now. It’s really up to the fans to ever have this become a full-time gig.
Death To All play Cornerstone located at 2367 Shattuck Avenue in Berkeley on Friday, June 21st (playing ‘Scream Blooody Gore’) and Saturday, June 22nd (playing ‘The Sound Of Perseverance’). Doors open at 7pm and things kick off at 7:30pm. Canada’s own Cryptopsy and Aggression open each night. Tickets are just $36 and can be purchased at www.cornerstoneberkeley.com. The 2-Day option is already sold out. All ages are welcome.
It’s hard to believe Miner’s Foundry have been presenting live music and with great results since 1989. And while it first opened as a business to produce molten and forged iron in 1859, the venue’s mission has been geared at hosting educational, artistic, and social gatherings as well as increasing the venue’s cultural imprint in the area.
The upcoming show with Triple Blues Music Award Winner Sue Foley is proof positive the venue still curates one of the best music calendars in the region. Foley will be showcasing her new album, ‘One Guitar Woman,’ on boutique label Stony Plain Records. Released in late March earlier this year, standout tracks include the album opener “Oh Babe It Ain’t No Lie” along with the equally compelling “Motherless Child Blues,” “La Malaguena,” and my favorite, “Freight Train.”
Other shows on Foley’s abbreviated 2024 itinerary include the Utah Blues Festival in Salt Lake City, the Chenango Blues Fest in Norwich, as well as headlining shows in Massachusetts, Pennsylvania, Connecticut, and Washington DC.
For those who haven’t heard the 12-track opus, expect some beautifully-crafted songs along with some awe-inspiring guitar picking. On her latest platter, she pays homage to blues guitar icons such as Elizabeth Cotten, Memphis Minnie, French guitarist Ida Presti, Lydia Mendoza, Maybelle Carter, Sister Rosetta Tharpe, and even Charo. Be sure to visit her Bandcamp page to stream and purchase the record at https://stonyplainrecords.bandcamp.com/album/one-guitar-woman.
We caught up with Sue in preparation for her run of shows across the US.
Rio Linda Online: How did the conversation go with your parents when you first picked up the guitar as a teenager? Any story you can tell us about your first guitar (s)?
Sue Foley: My parents weren’t surprised at all when I asked for my first guitar. We had guitars hanging all around the house as my dad played and so did my three older brothers. Guitars were part of our furniture and they were certainly a huge part of culture at the time as well. This was the era of 1970’s rock ‘n’ roll which was driven by bands like the Rolling Stones and Led Zeppelin. Guitars were everywhere.
Rio Linda Online: Any story you can tell us about your first guitar?
Sue Foley: When I asked for my own at 13, my dad picked up one that no one was playing and gave it to me. “Here’s your guitar!” I was pretty lucky as it turned out to be a nice Epiphone acoustic that I used for several years. I eventually gravitated to a hollow body electric and then to a Fender Telecaster.
Rio Linda Online: How did you initially find out about the guitar greats you’re paying tribute to? Do you think female guitarists (or any instrument, for that matter) are marginalized today?
Sue Foley: As soon as I figured out that I was going to be a guitar player, I started looking for females who played. Circling back to the culture at the time, it was like guitars were everywhere. but always in the hands of men. Every single time I would see a woman holding one or playing, I made a mental note of it. The first woman I saw play the guitar was Charo who was on so many variety shows of the day. Charo was such a great entertainer that sometimes her guitar work was overshadowed by her performances. As a young girl, she always seemed so serious and accomplished. That really made a huge impact on me. Throughout the following years, I would make a mental note every time I saw a woman play. Memphis Minnie was also a huge icon for me. By the time I was 16, I knew I was going to be a blues guitar player. At the time, there weren’t a lot of women lead electric blues guitar players. Finding Memphis Minnie’s music made a huge impression on me.
Rio Linda Online: Do you think female guitarists are marginalized today?
Sue Foley: Throughout my career, I’ve always paid attention when I see a woman play. Today, we take for granted that there are hundreds, if not thousands, of women shredding on the guitar. However, when I was starting out, there were just a few. Being a traditional artist at heart made me want to focus on the pioneers who paved the way for all of us.
Rio Linda Online: Any tracks from ‘One Guitar Woman’ (a fabulous album title, BTW) that didn’t make the 12-song record? Any of them more difficult to record than the others?
Sue Foley: We didn’t leave much on the floor to be honest. There might’ve been one or two tracks that didn’t make the grade, but not too many. The more challenging tracks were the ones that were out of my wheelhouse musically like the classical piece, “Romance in A Minor” by Nicola Paganini. That took a while to get right. I am approaching this from the perspective of a blues guitarist, so even playing stuff like Flamenco and classical is a stretch for me. However, I was really satisfied I was able to pull it off decently. In context of the whole, it all makes sense and I’m pretty happy with the outcome.
The Sue Foley One Guitar Woman Solo Show takes place at Miner’s Foundry Cultural Center located at 325 Spring Street in Nevada City on Sunday, June 23rd. Doors open at 6:30pm and the show starts promptly at 7:30pm. Tickets can be purchased for $30 at https://minersfoundry.org in advance or at the door for $35.
Buckethead’s upcoming Father’s Day show is sure to bring out countless guitar geeks as well as fans of his previous shock-rock band, Deli Creeps, a band which Mike Patton (Mr. Bungle, Faith No More) claimed “They’re so good they piss me off.” To date, he has also performed with various artists including (but not limited to) Bootsy Collins, Bill Laswell & Praxis, Les Claypool, Bernie Worrell, Iggy Pop, Serj Tankian, Mike Patton, Viggo Mortensen, Guns N’ Roses, Brain, and many more.
For those who aren’t familiar, the Buckethead character initially wore a Kentucky Fried Chicken bucket on his head covered with an orange bumper sticker that read “FUNERAL” in capital letters along with a non-descript white mask in the spirit of the Jason character from the Halloween movie series. More recently, he just wears a plain white bucket along with his trademark expressionless face covering.
The avant-garde guitarist Buckethead aka Brian Patrick Carroll has played both as a solo act and with his shock-rock band Deli Creeps all over the Sacramento valley at such varied venues such as The Crest Theatre, Harlow’s and Ace Of Spades. To say that he has a following here would be a great understatement.
Since taking on his persona, he’s been highly prolific releasing an astounding 700+ studio recordings. 650+ of those are from his Pike music series. Additionally, Buckethead has performed on over 50+ albums. Unlike other rock guitarists, he is adept at playing myriad styles including progressive metal, funk, blues, jazz, bluegrass, and everything and anything else in between. Additionally, Guitar One magazine named him one of the “Top 10 Greatest Guitar Shredders of All Time” while Guitar World claimed Carroll ushered in a new era of virtuosity.
Buckethead’s onstage character is said to have been “raised by chickens” which goes hand in hand with his “mission in life to alert the world to the ongoing chicken holocaust in fast-food joints around the globe. Aside from some killer guitar calisthenics, he is quite adept at using nun chucks and does some seriously hilarious robot-inspired dancing onstage.
Buckethead plays Quarry Park Amphitheater located at 4000 Rocklin Road in Rocklin. Gates open at 6pm and things kick off at 7pm. Tickets start at $36 and can be purchased at www.rocklin.ca.us/event/buckethead. All ages are welcome. Bring the whole family.
It’s fair season again and the city of Placerville is leading the charge this weekend with four packed days (June 13 to 17) of carnival rides, games, funnel cakes, livestock, and lots of live music options. A huge boost for the local economy and its surrounding areas, the El Dorado County Fair always delivers with a lively daily calendar.
Highlights this year include a Funnel Cake Eating Contest, Kids Big Wheel Races, Bubblegum Blowing Contest, a Wild About Monkeys & Friends animal show featuring live monkeys, Game Shows, Spinning Demonstrations, along with lots of activities in the Home Arts Building. Additionally, there will be an Interactive Family Education Zone, Kids’ Crafting, Free Train Rides, Sheep to Shawl Demonstrations, Master Food Preservers Free Tastings, Photography and Art Exhibitions, Mineral and Gems Displays, Quilt Showcases, Handicrafts, Needlework & Sewing, and Baked Goods Displays (to name but a few).
For those not in the know, the first County Fair on Placerville Dr. took place in 1939. Similarly, the first recorded Fair in El Dorado County was held in 1859 in Coloma. Until 1939, the Fair was held at various locations including Coloma, Diamond Springs and downtown Placerville.
Aside from its many distractions and attractions, also on the docket at this year’s gathering is the wonderful and awe-inspiring FMX (Freestyle Motocross) Ramp-Age Stunt Show on opening day. The presentation features 3 professional X-Games riders – Adam Jones, Javier Villegas, and Kohl Denny – all big names in the scene who deliver an amazing show replete with back-flips, big airs, and tricks sure to please any and all fair-goers.
We sat down with Adam Jones, the group’s fearless and tireless leader, to get the 411 on the show and much more.
Capital Chaos TV: Who taught you how to ride and when did you feel you were ready to compete?
Adam Jones: My dad raced cars, but was not good on bikes at all. My brother was younger than me and rode a little. My mother didn’t ride at all and neither did my friends. My dad brought home an old piece of junk motorbike one day. I started riding it around our big driveway and soon fell in love with it. He later bought me a much better bike and then we started going to the racetrack which I also fell in love with. The people at the track on the weekends soon became my group of friends. It wasn’t like my dad rode motorbikes or I had this mentor that taught me. We all learned eventually at the racetrack and I was hooked from a young age. As soon as I got on two wheels, I wanted nothing else.
Capital Chaos TV: How did you muster the guts to do your first full flip?
Adam Jones: I rode freestyle for a little bit first. When I started riding freestyle, there actually were no flips. I was a pretty skilled rider at that point and pretty good at freestyle as well. We all came to terms with the fact that the back-flip was here to stay and wasn’t going to be a passing trend and eventually got on board. I think most of us probably weren’t that excited about it at first because it looked terrifying. If you weren’t the guy out there innovating, it looked like the scariest thing in the world. When I finally wrapped my head around the idea, I started to learn how to do back-flips on bicycles into a foam pit. It took me a really long time to just learn how to lean back off a lift. In dirt bike racing, which is what I grew up doing, you never lean back off a lift. You were always central or forward. You definitely didn’t lean back the same way you do when you do a flip. It was a completely new thing to learn and took me quite a while to learn on a BMX bike. Once I figured it out, we moved up to motorbikes. I actually went to Travis Pastrana’s place one time and spent a day jumping into his pit and learning how to back-flip a dirt bike. It wasn’t until a year later before I even took it to dirt with no more back-flip foam pit attempts in between. Finally I said to myself, “Screw it. Let’s get the ramp. We’re going out and we’re doing it.” I pulled it off, but it took me about a year to get to the point where I was comfortable and no longer scared. It’s a pretty commonplace thing to do in FMX, but it was definitely a process to get there.
Capital Chaos TV: It seems like there are much better safeguards to keep riders healthy such as landing pads and inflatables. Are you seeing less and less accidents because of these measures?
Adam Jones: Yeah. The airbags are a big progression for the sport. They also cause some crashes sometimes as well. If you have a really big air and you’re going to land upside down or in a really bad way, they definitely save you. If you land a little bit weird, the airbag bounce will send you off-kilter and sometimes off and onto the flat ground. They saved a lot of riders, but there are also a lot of times you’ll crash because of one. The benefit is still net positive, though. They’ve saved thousands of lives although the number of lives lost or injured is also getting up there. Airbags make the traveling freestyle scene a little more manageable than the big and heavy metal landings we used to ride on which were extremely dangerous.
Capital Chaos TV: Who are some of your favorites in the freestyle game?
Adam Jones: Levi Sherwood was always sick although he’s been retired now for a couple of years. Levi had exceptional extension in the air and his tricks always looked good. You would never see him pull something off unless it was as clean as can possibly be. Stunts like that were a completely different thing. I grew up in the racing world and was a massive Jeremy McGrath fan. He had the smoothest and cleanest riding style. He won everything. He was also humble in victory and a true champion. Travis Pastrana used to show up at some of my races and we were fairly close to each other. Everybody around our area always looked up to Travis who is also a very humble and friendly guy. He really pushed the limits of action sports. If you were a racer or freestyler back in early 2000’s or late ’90s, everybody was a massive Pastrana fan. He was an icon for his style and his achievements alone.
Capital Chaos TV: How many riders are on your FMX roster? Do you allow them to do non-FMX events?
Adam Jones: It depends. During my FMX Ramp-Age shows, I usually have three to four riders. The guys are free to do whatever they want. I’ve been a rider for for quite a few years and I’ve participated at a lot of events. One big issue I always had with event promoters was them trying to dictate what I could and couldn’t do during my show. This is how I make money and put food on my table. I am in charge. Nowadays as a rider and show promoter, it’s my job to assemble a bunch of guys I like to work and ride with. Everybody on our team just needs to do whatever it is they do best to make their living riding dirt bikes. If a rider I use consistently is busy on a given weekend, I dig in my large pool of riders and find another guy for the event. There’s a lot of guys out there to choose from who I know personally because I’ve been around the sport for so long. However, there are absolutely no restrictions for any of my riders when it comes to riding other events. They can do whatever the hell they want.
The FMX Ramp-Age Stunt Show takes place at the El Dorado County Fair located at 100 Placerville Drive on Placerville. The show starts at 6pm in the grandstand. All ages are welcome. A separate ticket is required for admission. Advance tickets for fair are available at https://eldoradocountyfair.org.
Although it’s hard to pinpoint the origins of bluegrass music, it’s no great stretch to say the genre has enjoyed somewhat of a revival over the last 50 or so years. Once a form of music relegated to front porch-side gatherings and considered only a hillbilly pastime, bluegrass has been championed by the California Bluegrass Association, a collective whose main goal to to educate and cultivate interest in the music through its annual gatherings.
This year’s Father’s Day Festival includes three live music stages with the likes of Country Gong Bang, Sister Sadie. Rick Faris Band, Lonesome River Band, Frank Solivan and Dirty Kitchen, Paul Brown and Terri McMurray, and more. Of course, there will be camping options available as well as a youth program, workshops, square-dancing, myriad craft options, and some of the best food and beverage fare found at an outdoor festival. Topping the bill is Alison Brown, the Grammy-award-winning musician and coveted producer, who released the fabulous ‘On Banjo’ record on Compass Records back in 2023. A veritable headliner all across the US, the 61-year-old picker showcases her skills over the course of her wonderful 10-song album.
As evidenced on the lead track, “Wind The Clock,” the mood is both relaxed as it is contemplative. “Foggy Morning Breakfast” is yet another standout which finds her trading banjo licks with comedian / banjo player Steve Martin, an adept player in his own right.
Other favorites include “BanJobim (a tribute to Brazilian artist Antonio Carlos Jobim), “Old Shatterhand,” and the gorgeous “Sun And Water,” which features a bit of The Beatles’ “Here Comes The Sun.”
Accolades have already poured in for Brown, including praise from (but not limited to) CBS Sunday Morning, The Wall Street Journal, and even People magazine. Additionally, she also received the USA Artists Fellowship in Music and the Distinguished Achievement Award from the International Bluegrass Music Association (IBMA) and was the first female to both win an Instrumentalist of the Year award from the IBMA and be inducted into the American Banjo Museum’s Hall of Fame.
The California Bluegrass Association Father’s Day Festival takes place from June 13 to 17 at the Nevada County Fairgrounds located at 11228 McCourtney Road in Grass Valley. Tickets can be purchased at https://californiabluegrass.org/cbaevent/fathers-day-festival in advance or at the door for an extra charge. Single-day adult options are available from Thursday to Sunday. Adult 1-Day tickets start at $55 for a single day (Thursday) and top out at $90 (Saturday). Full festival passes are $260 for Adult non-members, $250 for Senior non-members, and $75 for teens. Children 12 and under are free but must be accompanied by a ticketed adult.
PUBLIC EYES Daryl Hall plays June 10 at the Mountain Winery in Saratoga. Photo by Stuart Berg
Radio listeners in the ’70s and ’80s would be hard pressed to have missed the pop/soul group Hall & Oates. Darlings of both FM and AM, and MTV regulars during the ’80s, the duo would eventually split with both artists releasing solo records.
Originally part of the Atlantic Records family for their first three records, which yielded the No. 1 hit “She’s Gone,” Hall & Oates had a run on RCA Records that saw them rise to the top of the charts on a consistent basis. At their new label, distributed by behemoth BMG Distribution, they would strike gold yet again with an astounding six No. 1 hits.
Today, Rock and Roll Hall of Fame inductee Daryl Hall has built himself quite a reputation as a music lover of multiple genres by producing his own show, Live at Daryl’s House, which finds the songwriter featuring myriad guests from such disparate backgrounds and genres as King Crimson’s Robert Fripp, singer/rapper/producer CeeLo Green, rock band Cheap Trick, singer/songwriter Lisa Loeb, British popster Howard Jones and more.
“It was an idea I had to use the internet for entertainment, which hadn’t really been done before,” Hall has said about the LADH series, which he started with his own money. “Hard to believe, but there wasn’t anything like it. So much has changed since then. I was kind of a pioneer. I love all the guests we’ve booked and I think we’ve gone to places, musically, that we’ve never gone to before.”
As luck would have it, the ambidextrous musician with a golden voice will return to the touring circuit with his longtime pal, Elvis Costello. For those who don’t understand the tour’s significance, it has been four decades since the two sang together on Costello’s “The Only Flame in Town” song from the 1984 Goodbye, Cruel World release.
The 22-city tour will find both Hall and Costello playing songs from their storied catalog as well as joining together for a handful of numbers. Not unlike a semi-recent tour with Todd Rundgren, it’s wholly obvious Daryl excels at pairing up with musician friends whenever possible be it live or in his studio.
And while Daryl Hall has a formidable solo catalog to choose from, judging by recent setlists, it would seem he’s bound to go heavy on the Hall & Oates material that made him a household name at his upcoming concert. Expect “Out of Touch,” “Say It Isn’t So,” “Sara Smile,” “I Can’t Go for That,” and a handful of cover surprises that change from tour to tour.
Said Hall about their package tour, which began on June 2 in Oregon and will eventually wind down on July 25 in Virginia, “It’s fantastic to be able to rekindle a musical relationship.” Added Costello about the joint venture, “We are looking forward to kicking off the show in style in the certainty that Daryl will deliver a slam-bang finish.”
Daryl Hall, Elvis Costello and the Imposters and Charlie Sexton play the Mountain Winery, 14831 Pierce Rd., Saratoga, on June 10 at 6:30pm. mountainwinery.com.
Featuring a veritable who’s who of the North Bay music scene, The 85’s are surely not your average cover band. Instead, this group of like-minded musicians add their own spin to all those rad 80’s songs you purchased originally as a 45rpm while constantly sticking to the vibe and live presentation of its original writers.
Originally formed 19 years ago, the group has been a headliner at countless venues including Bay Area clubs, private events, and outdoor festivals while paying homage to and playing a heady mix of songs from The Clash to Devo, English Beat to Eurythmics, The Fixx to Madonna, The Police to Pretenders, Journey to Prince, and much more.
For those not in the know, the band features founding members Adam “Bagel” Berkowitz (drums, vocals) and Monroe Grisman (guitar, vocals), both alumni of neighboring
Tamalpais High School in 1985. Additionally, the band is rounded out by the very capable vocal stylings of April Grisman (Eric Martin, Clarence Clemons, Irene Cara & Y&T) alongside new (er) members Steven Seydler (keyboards) and Joey DiBono (bass).
We caught up with drummer Adam Berkowitz during his downtime in between gigs to get the lowdown on their upcoming Sweetwater Music Hall show.
Pacific Sun: The 85’s must have a huge pool of songs to choose from. About how many will your Sweetwater Music Hall show feature?
Adam Berkowitz: Yes, and the song list keeps growing. It’s funny to think back when we first formed this band – a one-off for my Tamalpais High Class of ‘85 high school reunion. We picked ten tunes from our high school years and that was supposed to be it. Later that year, we put together a holiday show over Christmas at The Sweetwater and opened it up as a hometown reunion. We had to learn a couple sets of music. Once you learn about 30 tunes, you basically have a functioning band and so we kept going with it. I think we now we have about 60 songs to pull from and we keep adding new ones. For the Sweetwater show, we’ll be doing two sets which is about 25 songs. Stylistically, we cover a lot of ground so there is something for everyone but the goal is to get folks dancing.
Pacific Sun: As a drummer and background vocalist to boot, are there are songs you find more difficult than the others on the kit? What about background vocals?
Adam Berkowitz: I don’t find the songs to be particularly difficult to play, but adding vocals on top of that adds an element of complexity. When we first formed the band, prior to April joining, we all sang lead vocals. April would sit in on occasion and, after about 5 years of pleading, we were finally able to get her to officially join the band. Though April sings the majority, Monroe and I still sing lead on many of the songs. We love singing harmony parts as well. Singing and playing just adds another element of fun for us and it sounds great.
Pacific Sun: Any goals or aspirations for The 85’s in 2024 / 2025?
Adam Berkowitz: As we come up on our 20th year, I’m not sure we have any grand plans. We’ll probably just cycling in new tunes to keep it fresh. I can’t recall a specific gig that stands out, though I really love the Sweetwater holiday party we do every year around Christmas since it becomes sort of a reunion with so many old friends. We’ve played so many clubs, private events, weddings etc that they all tend to blend in together, but it really comes down to how the crowd reacts. If we have the dance floor moving and folks are singing along, it doesn’t get much better than that.
The 85’s play Sweetwater Music Hall located at 19 Corte Madera Avenue in Mill Valley. Doors open at 8pm and the show kicks off at 9pm, Friday, June 7. Tickets are $20 advance and can be purchased at www.sweetwatermusichall.com. All ages are welcome.
Los Angeles-based saxophonist extraordinaire Kamasi Washington has proven himself a veritable force in the jazz, hip-hop and R&B communities with a body of work most of his peers would kill for. Not only can Washington wield a tenor saxophone like nobody’s business, he has already drawn lofty comparisons to such greats as Albert Ayler and even John Coltrane.
Rather than sticking to a style that has worked in the past, Washington’s latest record – ‘Fearless Movement’ – is much, much more than a smart play on words. Elegantly arranged and exquisitely presented, this latest 12-song platter showcases a musician unafraid to stretch the boundaries of contemporary jazz. Taking subtle and possibly not-so-subtle cues from Weather Report, Return To Forever, Mahavishnu Orchestra, Chick Corea, and even Herbie Hancock, the collection is anything but dated or derivative.
Standout tracks – to name just a few – include “Computer Love” and the lovely “Asha The First” featuring bassist Thundercat which, oddly enough, took shape during his daughter’s first piano tinklings. Also of worthy mention is the meandering and purposely spacious “Dream State” featuring Andre 3000 of Outkast fame and my favorite, “Garden State.”
Said Washington about his latest record which is sure to incite multiple body movements upon first listen, “Dance is movement and expression, and in a way it’s the same thing as music—expressing your spirit through your body. That’s what this album is pushing.”
On a slightly more morbid note, Washington also addresses life and his own eventual and inescapable death. “My mortality became more apparent to me, but also my immortality—realizing that my daughter is going to live on and see things that I’m never going to see. I had to become comfortable with this, and that affected the music that I was making” said Kamasi.
As luck would have it, Sacramento will be blessed with yet another Kamasi Washington gathering. And while the largely major market tour already started in early May, it will eventually work its way to the West Coast culminating in a gig at the Hollywood Bowl Jazz Festival (Washington and Herbie Hancock curate the event) along with a slot on the highly coveted Newport Jazz Festival.
For those fortunate enough to have seen him burn down Harlow’s back in 2015, expect the unexpected at the upcoming Crest Theatre show. If you appreciate jazz and all it’s complexities, or you have an adventurous ear, you’ll also want to check out ‘Heaven On Earth’ (2018) and ‘The Epic’ (2015) which landed at No. 5 on the Billboard Jazz Albums chartupon release.
Sean Healy presents an evening with Kamasi Washington at the Crest Theatre located at 1013 K Street in Sacramento, CA. Doors open at 7:30pm and the show starts promptly at 8:30pm. Tickets start at $39.50 and can be purchased at www.crestsacramento.com.
The annual Hangtown MX race on June 1 is the second round of the 11-race Pro Motocross Outdoor Championship Series, an event that is considered the largest of the outdoor season, attracting 25,000-plus spectators and generating more than $10 million to the local Sacramento area economy.
It was a crazy Supercross 2024 season — both in the 250 (West and East) and 450 classes — with podiums changing regularly and awkward crashes taking the most impressive riders out of points contention. While most eyes were on Jett Lawrence (Honda), Eli Tomac (Yamaha), Cooper Webb (Yamaha), and Chase Sexton (KTM) in the 450 class, the real consistency story belonged to 250cc West division rider RJ Hampshire (Husqvarna).
Hudson, Florida product RJ Hampshire was runner-up at both the 2023 Monster Energy AMA Supercross 250SX Western Regional and 2022 Monster Energy AMA Supercross 250SX Eastern Regional aboard a Geico-sponsored factory Honda ride.
Since moving over to the Rockstar Energy Husqvarna team, Hampshire has proven himself most formidable threat no matter what the division. With a season that saw him make the podium a whopping seven times, it was the rainy local San Francisco race in January 2024 that produced his worst results as he placed 9th overall.
CBS SF caught up with Hampshire while preparing for the outdoor season during some rare downtime.
CBS SF: Congratulations on a stellar 250cc Supercross season and taking the #1 plate. Was there ever a doubt in your mind you had this?
RJ Hampshire: No. Over the years, I’ve learned that anything can happen. I knew I had the speed to win, it was just a matter of putting myself in the right position.
CBS SF: How long did it take you to adjust to a Husqvarna motorcycle when you initially signed in 2020?
RJ Hampshire: I adjusted pretty fast, I was happy with where everything was. The steel frame was the big difference, but once I got used to it was really good. Best decision I’ve made of my career.
CBS SF: The Hangtown track is notorious for its uphill section with several U-shaped turns in a row. What do you like most about the track? Any parts more difficult than the rest?
RJ Hampshire: My favorite part is the steep uphill before we get to the finish. We don’t really have a similar section on any other outdoor track. Weather depending on how good the dirt is going to be with moisture. Also, the opening ceremonies with the painted ladies is something we always look forward to.
CBS SF: You’re 28-years-old now and considered a senior in the 250cc class. How much longer do you think you’ll stay there? Have you ridden the 450 in practice sessions lately?
RJ Hampshire: Yeah, I’ve spent some time on the 450 bike and enjoy riding it. I look forward to racing it when the time comes. Hopefully, next year the opportunity will come and I can race it outdoors.
CBS SF: Every rider has one that proves more challenging than the others. Who have been the hardest to pass or stay ahead of?
RJ Hampshire: Late in the motos, Hunter Lawrence was always strong in the past. Seth Hammaker is probably the toughest one to pass.
CBS SF: What are the terms of your Husqvarna contract?
RJ Hampshire: Right now, I’m contracted with another year. But I have a home here, so I am hopeful to finish my career with them.
CBS SF: What advice do you have for budding amateur racers about to go pro?
RJ Hampshire: Learn as much as you can. There’s going to be ups and downs. Never give up!
The 55th Annual Hangtown Motocross Classic goes down at Prairie City SVRA located at 13300 White Road in Rancho Cordova. Adult general admission tickets are just $60, children ages 6-11 are $20, and kids 5 and under are free. Other ticket options are available online at www.hangtownmx.com or at the box office. Gates open at 7am. Practice and qualifying takes place in the morning and opening ceremonies commence at 12:30pm. There will be two motos each for the 250cc and 450cc men’s pro classes.
For more information on the Hangtown Motocross Classic, visit www.promotocross.com.
Eddie
