Former Ozzy Osbourne guitarist Zakk Wylde has been busy touring with Pantera as both a headliner and main support for Metallica this past year.
As luck would have it, his alter-ego Black Sabbath tribute band is playing the area yet again. Zakk Sabbath also features bassist Blasko (Rob Zombie, Ozzy Osbourne) and drummer Joey Castillo (Danzig, Queens Of The Stone) and they will be supporting the new single “Fairies Wear Boots.”
Said Zakk Wylde about his favorite side-project, “I was playing these songs when I was fifteen at keg parties back in the day in Jackson, New Jersey. Now I’m 56 years old, and I’m still playing Black Sabbath songs. Except there are a couple more people, and there are more kegs.”
No stranger to the Sacramento valley and its neighboring cities, Black Label Society fans will remember he played a sold out show at Ace Of Spades with Florida’s Obituary and New York’s own Prong back in October 2021. Additionally, Zakk Sabbath played back in August 2018 with the same results.
The band’s latest 7” single of Black Sabbath’s “Fairies Wear Boots” will be sold in an exclusive tour edition starting with the tour’s first show here in Sacramento. A retail edition is also available on limited edition electric green vinyl. “The music you listen to when you were a teenager pretty much sticks with you the rest of your life. It’s because you have amazing memories with certain songs that just bring you back exactly where you were” said Wylde.
Opening the show is Native Howl. Tickets are $45 advance can be purchased at aceofspades.com. Doors open at 6pm and the show starts at 7pm. Ace Of Spades is located at 1417 R Street in downtown Sacramento. All ages are welcome.
NOTE: The band also plays two area shows at Harrah’s Lake Tahoe South Shore Room in Stateline, Nevada (December 8th) and The Senator Theatre in Chico (December 9th).
Bruce Cockburn will be wrapping up his ambitious North American tour with a return to his favorite Sacramento haunt, the Crest Theatre. The 78-year-old is supporting his recently released 38th record, ‘O Sun O Moon,’ as well as playing selections from his storied catalogue.
While it’s been 53 years since Cockburn’s debut self-titled record came out, the Canadian Songwriters Hall of Famer shows little sign of slowing down. Additionally, this winner of multiple Juno awards continues to have a style that varies from album to album, always showcasing his ability to play folk, jazz, rock and world influences.
About the first record that started his long and amazing musical journey, Cockburn has said, “In 1969, when I was feeling the need to record an album of the songs I’d been writing, I had no concept of what that might lead to. Not unusual for a young person, I guess. In some organic way it felt like it was time. The future wasn’t really an issue. It still isn’t. For each of us, there’s a future or there isn’t. But looking back over the arc of fifty (plus) years of recording, performing, and travel, not to mention relationships and personal challenges, I can only shake my head and mutter a word of thanks for all of it. Even if I’d been a planner by nature, I doubt I could have predicted how things have gone. And they’re still going!”
Cockburn will play a solo acoustic set this Thursday night. His shows usually feature material that covers a vast array of the human experience, including pain, fear and joy. Judging from the set lists at recent shows, the upcoming concert is sure to please, replete with encore featuring fan favorites.
Doors open at 7 p.m. and the show starts at 8pm. Tickets start at $36.50, and go up to $74.50 for the Platinum Reserved Seating option. Tickets can be purchased at www.crestsacramento.com. The Crest Theatre is located at 1013 K Street in Sacramento.
Rebecca Sleeth runs sound for the Powerhouse Pub in Folsom. (Photo by Eliza Tootle)
How audio masters keep the beat for the city’s live entertainment
Jeremy Ayala, an audio engineer who runs the sound boards at Hard Rock Live Sacramento, caught his first break in the industry when an audio engineer quit unexpectedly during the set-up of a blues show at Musikfest in Bethlehem, Pennsylvania. That was back in 1995.
“The owner [of a local sound company] hired me to mix a couple sets each afternoon so the front of house guy there could get a proper meal break,” Ayala said. “It was a perfect situation to get my feet wet.”
While being an audio engineer can be one of the higher paying jobs in the entertainment industry, it can also be a thankless and trying vocation — often with a steep learning curve. It’s the sound engineer’s job to deal with any myriad of problems that come with live shows as well as hear critiques by concertgoers who, for the most part, have little insight into handling a live mix.
Getting Through the Door
Jeremy Ayala helms the sound boards at Hard Rock Live Sacramento. (Photo by Jonathan Connor Hayes)
One important element to becoming an audio professional is where and how one learns the craft. Ayala got his start locally. Taking inspiration from a high school class taught by the late Larry Shumate — dubbed the patriarch of Sacramento State University’s theater department — Ayala said he went on to spend the next couple of years in Sacramento City College’s theater arts program learning the ins and outs of stagecraft.
Some sound professionals get their training through hands-on experience. Rebeca Sleeth, who has handled audio duties at the Powerhouse Pub in Folsom since 2018, recalls that her own initiation into sound engineering was much different.
“My formal training was more like an immersive mentorship under the guidance of my then-boyfriend, now-husband,” she said, adding that he was an audio tech for the Sacramento Kings at the time and helped coach her through an entry role at Powerhouse Pub.
Sleeth said the duo soon realized the demand for sound engineers — possibly in part to the return of programming after pandemic shutdowns — after getting inundated with last-minute calls from various Sacramento venues in need of sound people. Now, they are in the early stages of developing their own sound engineering business, Sacramento Sound Solutions.
John Taylor, who keeps the shows sounding pristine at Harlow’s main room in Sacramento, had a completely different point of entry: He was self-taught. He had also been a drummer for several years before turning to a sound job in 1991. “Being in these cover bands, you had to have your own PA system,” he said.
Ayala notes there’s an array of options to learn the trade, particularly becoming an intern in a working studio or opting to work an entry role at a sound company. “You’ll learn the nuts and bolts of how the systems go together,” he said.
Sleeth thinks fear about getting into the business is normal. “If you’re first starting out, those huge bands with gear you’ve never mic’d or worked with or long input lists and stage plots can be intimidating,” she admitted. “You have to take it one step at a time.
For Harlow’s longtime soundman, Taylor, it’s as simple as stepping forward and raising your hand. “I would say go to your local club and offer yourself as an intern to start,” he said. “You could also go to a band and offer yourself. Both will work. This industry always needs fill-in engineers. And I could always use a break.”
Sounding Off
John Taylor is the longtime soundman at Harlow’s in Sacramento. (Photo courtesy of John Taylor)
For many sound engineers, the first time running sound in a live situation can be daunting.
“I do recall the fear of mixing a gig alone when the time finally came,” Sleeth said of her first gig. “There’s a level of behind-the-stage fright, which most people don’t understand. If the engineer doesn’t show up, the show doesn’t happen.”
Part of the sound engineer’s job also means adapting to newer equipment, sometimes at a moment’s notice. Ayala points out that “digital boards are all about learning the navigation” of what a particular manufacturer has done to essentially allow the same commands. Essentially, all mixing boards require some adaptation.
Sleeth agrees, though notes there are generally workarounds one learns to take advantage of. “As long as you have a wi-fi connection, the Mixing Station app will transform your phone or tablet into a user interface that stays constant across various brands,” she said. Apps like one Sleeth uses help make the job easier — employing familiarity to command a sound board, regardless of the make or model.
Taylor prefers doing sound the old-school way, by having simple verbal communication with the house employees. “If you are on tour and they have a house sound guy, you just pump him for as much information as you can,” Taylor said. “Because many of the things at the club might not be working correctly.”
Most sound engineers, once they have a homebase, opt to stay local for personal and financial reasons. Ayala currently has no plans to tour until his children are out of high school, still a handful of years away.
For Sleeth, the negative side of touring keeps her away from the road. “I see touring engineers for small bands come through constantly,” she said. “They’re using house gear, sometimes hating their jobs because they have to figure out different systems each night.”
And there are some sound professionals who just like staying put for different reasons. In Taylor’s case, an unabashed cat lover, his large feline brood keeps him local.
This story is part of the Solving Sacramento journalism collaborative. Solving Sacramento is supported by funding from the James Irvine Foundation and Solutions Journalism Network. Our partners include California Groundbreakers, Capital Public Radio, Outword, Russian America Media, Sacramento Business Journal, Sacramento News & Review, Sacramento Observer and Univision 19.
While many argue which classic hard rock band still sounds and performs like their heyday, few argue that Y & T would certainly either top the list or be a front-runner. What started in Oakland, California, in 1972 eventually bloomed into a veritable headliner seemingly overnight, with its core line-up intact by 1974 and its first record in 1976.
First conceived as Yesterday & Today, that moniker would only last for two albums before settling on Y&T for good with the release of ‘Earthshaker’ in 1981. And while many much larger acts opened for Y&T before achieving superstardom, there was little doubt who got the hard rock ball rolling in California.
Although the band may not have been as prolific as its fans would have liked, they still managed to release 12 full-lengths in addition to several live and compilation records. In that time, they’ve also managed to sell over 4 million albums and have never relinquished their headliner status except when opening arena dates for Rush and Dio, as well as high placement on massive festivals on US soil and abroad.
Led by original and founding member Dave Meniketti (lead guitar/lead vocals), the band today is rounded out by longtime mainstays John Nymann (guitar/vocals), Aaron Leigh (bass/vocals), and Mike Vanderhule (drums/vocals).
We caught up with Dave Meniketti before their upcoming Petaluma gigs and let him remind us why he and the band are standing tall an astounding 49 years later.
Bohemian: Y&T lost its core members (Joey Alves, Phil Kennemore, and Leonard Haze) many years ago yet the current line-up is still drawing sell-out numbers virtually everywhere. What do you attribute the band’s staying power to aside from the songs?
Meniketti: It’s numerous things. The performances and the commitment— the band gives their all at every show. When the fans come to a Y&T show, they know the band will bring it.
Year after year, decade after decade, no matter the members, there is an enthusiasm the band has that can’t be faked. It’s contagious, and the fans pick up on this and know they will get more than their money’s worth.
Bohemian: Your last studio album was 2010’s “Facemelter.” Do you think it’s plausible there will be a new album in 2024?
Meniketti: Always a possibility for a new record. Whether that is a full album or even 3 or 4 new songs. No time frame for when that will happen as of yet.
Bohemian: Do you have any anniversary shows planned in 2024 for “In Rock We Trust,” which was released in 1984?
Meniketti: Being that 2024 is the band’s 50th anniversary, that will likely take precedence over working up an entire album to play live. Though we’ve not committed yet to any specifics, I believe the basic idea will be to play tunes from every studio record we’ve ever recorded.
Bohemian: Has the band done any full album shows celebrating ‘Earthshaker’ or ‘ Black Tiger’ in recent years?
Meniketti: Yes, over the last few decades, we’ve done shows where we played albums in their entirety within the set. We’ve had occasions where we have done either one or two entire albums at a show or tour. The records we’ve done that for are ‘Mean Streak,’ ‘Black Tiger,’ ‘In Rock We Trust,’ and ‘Earthshaker.’
Bohemian: The band seems to play mainly West Coast shows these days. Any plans to do a longer run of shows?
Meniketti: Though the band is well known in our hometown Bay Area, Y&T has been one of the hardest-working bands since the 1970’s, touring the free world for a lot of our career. The US, Canada, Japan, Europe, and the UK have been seeing the band for decades. Y&T toured the entire US in the 70’s and 80’s, and then again, yearly from 2010 through 2020, including many years with partial tours in various markets. The band has been touring Europe, the UK, and Japan since 1982, playing major tours, & festivals with bands such as AC/DC, Ozzy Osbourne, etc. And after a break away from touring in the ’90s, the band has been back to headlining overseas tours yearly from 2003 through 2019. Next year, we’ll be in Japan in January and then touring Europe & the UK in the Fall of 2024.
Bohemian: The outpouring of love and good blessings during your semi-recent health scare was overwhelming. That must have been really emotional.
Meniketti: Yes, it was very emotional and inspirational to hear such a positive outpouring from the fans when I announced my prostate cancer diagnosis. You could feel the love and support that was so important to me and my family, as well as my close friends to experience. Luckily, I was on top of it, diagnosed early, and after all the treatments, the result was a complete success. My cancer has been gone for about a year now, and is looking to likely be a non-issue going forward. Luckily prostate cancer, if found early enough and treated correctly, is a totally survivable cancer. I’m thankful to have been diligent with keeping up on my health most of my life. It’s helped make a difference.
Bohemian: The band plays regularly every year at The Mystic Theater in addition to other South Bay haunts. Do you remember your shows at The Cotati Cabaret? As a fan, those were some of your craziest shows. What do you remember about the Sonoma County venue?
Meniketti: Cotati Cabaret was a unique place, and one of the fun “different” venues we frequented over the years. One of those up close and personal venues I’ll always remember. Especially all the wood inside the venue, which you don’t always see, plus the great enthusiastic crowds in the North Bay that have continued to be with us going forward. And of course, the Mystic Theatre weekend in November every year for since 2002, except 2020 because of the pandemic. This has been a special weekend for fans and band members alike. There’s something about the Mystic & Y&T that just can’t be easily described in a short and concise way, except to say it’s magic! Because of the talk online over the years about these performances, it’s taken on a life of its own. Y&T fans have been coming out to get the vibe from the “Y&T Mystic Weekend” experience from all over the world, making this quite the happening. We hope to keep this up for a long time to come, no matter where it may land on the calendar.
Bohemian: During your days signed to A&M, do you feel like the label took care of in all departments (marketing, sales, radio, etc)?
Meniketti: A&M Europe and Japan did a much better job than the US company in understanding and marketing the band correctly. Though we have had classic recordings those days in the early to late ’80s, I would say it was a struggle to get the attention we had hoped to get from a major label. If there was one of those “What would you have done differently?” questions posed, one thing would have been to wait out for a more complimentary label for us in the ’80s. Be that as it may, we had amazing times during 1981 through 1985 and regardless of the milling support we received from them in the US, we made things happen during that time that have allowed us through to today. We are certainly not unique in that, as many bands have had similar experiences with their labels. I moved on decades ago and just look at all the positives we’ve had since we started in 1974, and there have been a ton.
Bohemian: Do you have any plans to stop playing live and retire or is the current pace of playing a handful of shows the perfect balance?
Meniketti: Have no plans to retire at this time, and the pacing will likely change from year to year as we transition back into a fairly heavier touring schedule next year, since the pandemic repercussions slowed everyone down for a few years. We will take stock after the 2024 shows and look to find the perfect balance of shows we will feel comfortable playing each year going forward. It’s in the blood, we’re lifetime musicians and stopping seems highly unlikely as long as the band can continue to play at its current capacity. Stay tuned.
Y&T plays two nights at The Mystic Theatre: Friday, November 17, with support from Aaron Leigh, and Saturday, November 18 with support from John Nymann.
Doors open at 7 pm and the show kicks off at 8 pm. Tickets range from $42 to $55 and are largely sold out, but a few may be released day of show at mystictheatre.com. The Mystic Theatre is located at 23 Petaluma Blvd. North in downtown Petaluma. 21 and over only.
Since October 3rd in Montreal, Steve Hackett and his band have been touring the US and its neighboring country of Canada.
Photo credit to Lee Millward
For those not in the know, he’s dubbed the current US run ‘Genesis Revisited: Foxtrot and Fifty + Hackett Highlights Tour’ which features Genesis’ heralded 1972 release, ‘Foxtrot,’ in its entirety. And while the tour ends on November 18th in Los Angeles, Bay Area fans will be treated to a show at one of the city’s finest venues, The Palace Of Fine Arts.
Although Hackett’s time with Genesis was short-lived (only six years), his body of work can also be heard on such records as ‘Nursery Cryme’ (1971), ‘Wind And Wuthering’ (1977), and fan favorites ‘The Lamb Lies Down On Broadway’ (1974) and ‘Selling England By The Pound’ (1973).
To say that Rock Hall Of Fame inductee Mr. Hackett has been prolific since his exit from Genesis would be a gross understatement. With over 30 records (studio and live included), his fans are never at a loss for new solo music or newer takes of his former band’s storied catalog.
Drawing from multiple genres including (but not limited to) blues, classical, world music, and jazz, it would seem no music style is off limits. Once more, Hackett benefited from the downtime during COVID to record and release two records, the classical ‘Under A Mediterranean Sky’ (2021) and ‘Surrender of Silence’ (2021).
Capital Chaos TV caught up with Steve during his current tour and got the lowdown on the band’s current tour and more.
Capital Chaos TV: You’ve toured all over the world. Any countries you’ve encountered over-enthusiastic fans? Favorites?
Steve Hackett: Fans all over the world are wonderful! USA crowds at every show so far have been wildly enthusiastic which is phenomenal for both the band and me. It gives us a great buzz and helps the show to totally take off like a rocket!
Capital Chaos TV: The current tour features yet another important Genesis album as well as your solo cuts and other odds and ends. How do you go about making a set list? Does it ever change on tour?
Steve Hackett: I choose the best material in the first place, and I add both solo and Genesis favorites. I also insure there are numbers in there that people haven’t heard for a while, including hidden gems. If we play more than one show at any particular venue, then we change the set a little so those who come twice get something different each time.
Capital Chaos TV: Who are your sponsors and how long have you been with them?
Steve Hackett: The sponsors are the fans and also agents and promoters, many of whom I have known for several years.
Capital Chaos TV: Your band really delivers live. I actually booked the band in Sacramento at the Crest on the 2019 run. How did you come to choosing the line-up we see and hear today?
Steve Hackett: I’m glad you loved the show! I always choose the best musicians. But it’s also important that they work together as a great team. The line up I have now is fantastic in every sense!
Capital Chaos TV: Surrender Of Silence’ was your last record. Do you have songs that didn’t make the record or a batch of new ones for a follow-up?
Steve Hackett: All the songs I recorded at that time did make the record which I was really proud of, but since then I have recorded a whole load of tracks for a new album, which will be released very soon!
Very limited tickets are available for $49.50 with closer tiers topping out at $89.50 and can be purchased at https://palaceoffinearts.com. A small handful of tickets also may be released day of show. Doors open at 7pm and the show starts at 8pm. All ages are welcome. The Palace Of Fine Arts is located at 3601 Lyon Street in San Francisco.
For the better part of 9 years, founder Leonid Vorobyev (bass guitar, keyboards, piano, synth, backing and lead vocals), Igor Javad-Zade (drums) and an ever-changing batch of uber-talented musicians have been releasing countless YouTube videos to great acclaim.
And while Chicago’s music has been quite popular and viral, they have also garnered an amazing 10 million views for Earth, Wind & Fire’s “September” and an astounding 6.5 million views for “Beginnings.” Today, their set list can also include songs by such classic bands as Blood, Sweat & Tears, Steely Dan, Tower Of Power, and more.
For the uninitiated or simply unaware, bandleader Leonid Vorobyev is a multi-instrumentalist, a recording studio sound engineer, and choir conductor who trained initially at the East Siberian Institute of Culture. To date, he and his band have recorded 3 Chicago-themed records simply titled ‘Chicagovich,’ ‘Chicagovich I,’ and ‘Chicagovich II.’ Additionally, they released a 13-song compilation earlier this year called ‘Oldies but Goldies, Part 1’ which features 13 well-known songs by classic acts that are not Chicago including Earth, Wind & Fire, Blood, Sweat & Tears and more.
At present, the touring band is Leonid Vorobyev (bass guitar, keyboards, piano, synth, backing and lead vocals), Igor Javad-Zade (drums, percussion), Vasily Akimov (lead and backing vocals, percussion, occasional rhythm guitar), Ksenia Buzina (backing and lead vocals, percussion), Valery Martynov (trumpet), Oleg Kudryavtsev (tenor and alto saxophones, flute, percussion, backing vocals), Maxim Likhachev (trombone, percussion), Sergey Kurmaev (keyboards, backing vocals), Konstantin Kovachev (lead guitar), Danil Buranov (lead and backing vocals, percussion), and Mikhail Puntov aka Michael Puntov (lead and backing vocals, rhythm guitar, percussion).
We caught up with the band’s manager and Leonid Vorobyev’s son, Roman Vorobyev, who are in the middle of an ambitious and long-winded US tour that started September 3rd in Wisconsin and takes them up to November 24th in Las Vegas.
Capital Chaos TV: The band had a huge upward trajectory ever since a couple of well-timed YouTube videos went viral. Did you expect this kind of response?
Roman Vorobyev: To be honest, it is still a bit of mystery to us how this happened. We could only imagine this in our wildest dreams so we still have to pinch ourselves sometimes! Any Russian musician has a dream to play for the American audience and we make this dream come true.
Capital Chaos TV: Your US tours have now become a regular thing. I actually booked your first Sacramento show on your first ever US tour at The Crest Theatre back in 2019. Are there other countries you’ve done well aside from your own?
Roman Vorobyev: So far we have successfully played a great festival in Germany (the full recording of that one is actually available on our YouTube channel) and we also played the International Music Festival in Vietnam. And there are many plans ahead since we have a great amount of fans all over the world.
Capital Chaos TV: What is the current line-up and how much has that changed from the beginning?
Roman Vorobyev: The current line-up has many of our original members and a couple others have been with us for a few years – they are all extremely talented musicians and vocalists and are personally hand-picked by Leonid.
Capital Chaos TV: Do you plan to release a record of originals as Leonid & Friends? Any other side projects worth mentioning?
Roman Vorobyev: We had great success with our original song – “The Speck of Dust” – and we definitely plan to produce several more originals between our next tours. Leonid also became a member of the Recording Academy (Grammy) so we plan to do some collaborations with them too.
Capital Chaos TV: How much more expensive is it to tour after COVID? Have your costs for work visas also increased?
Roman Vorobyev: The costs seem to always increase one way or the other. That’s just how the economy works these days. But we strategise better, become more proficient in planning, we research better options for transport, hotels, etc., and so we are able to balance it out. The visas itself have not changed in price so that has not become a problem.
Doors open at 6:30pm and the show starts promptly at 7:30pm. Tickets start at $43.50 and go up to $65.50 and can be purchased at www.crestsacramento.com. The Crest Theatre is located at 1013 K Street in Sacramento, CA.
Perhaps one of the most prolific musicians to ever rise out of the Sacramento Valley, singer / songwriter Anton Barbeau has been busy for the last three decades releasing an astounding 30 full-lengths and myriad singles, EPs, and more.
His new double album, ‘Morgenmusik/Nachtschlager,’ was recorded in 2022 and features some well-known names including Colin Moulding of XTC, Andy Metcalfe (ex-Robyn Hitchcock’s Soft Boys/Egyptians), Julian Cope guitarist/producer Donald Ross Skinner, and longtime collaborator Allyson Seconds. To top it all off, Grammy Award-winning producer Oz Fritz mastered it all.
If you’re a fan of acid rock, folk, pop, funk, and everything else in between, you are hereby summoned to attend his upcoming record release party.
How many leftover songs didn’t make your ambitious 2-record set?
There was roughly a third album’s worth of songs. Some were too dreary and some were way too cheery. But an album always knows best.
How many shows do you have before you head back overseas? Plans for shows in Berlin or other overseas cities?
My father’s health isn’t so great, so I’m staying close at hand these days. I had concerts booked for Berlin, the UK, and Estonia, but it made better sense to let those go for now. The Sacramento show will be the final of only a few album launch gigs.
Who makes up the ‘Maude Squad’ band at your live shows?
Jeff Simons on bass, Tom Monson on drums, Kevin Allison on guitar and my wife Julia sings harmonies and plays synth.
Why The Side Door over Old Ironsides or even Harlow’s?
I think Allyson (Seconds) told me about the Side Door and suggested it’d be a good place for a gig like this. I lived abroad for 15 years and came back when the pandemic hit, so my view of the Sacramento scene is pretty vague at this point. Anyway, regarding the Side Door, the Maude Squad has been playing with a lower stage volume lately, which is ironic as I’ve discovered my true calling as ‘Proper Terrible Guitar God.’
What mediums are the new album being made available?
CD and digital only. One of the labels that released the new one, Think Like A Key, does loads of vinyl, including reissues of all sorts of fab 60’s and 70’s music I adore, but timing-wise and money-wise, we couldn’t make vinyl work for this one. I only release cassettes when I have an album I want no one to hear! I’m not a purist or a snob. I love music more than the medium it’s on, but CDs remain the most practical physical format for me.
Do you ever see yourself being a California full-time resident again?
Well, I sorta am right now! I’m living on my wife’s family farm in Auburn, back and forth to Sacramento to see my dad. My status in Germany is a little unknown – I had a permanent residence visa – and during the pandemic there was a lot of leeway allowed. I could be away from Berlin for a year without my visa being affected. My ex-wife and I divorced and my visa was initially through her, but the passport cops kept letting me back into Berlin. As far as they were concerned, the visa was valid. One way or other, it’s always my aim to return to Berlin, though far more likely it would be for small blocks of time. Julia loves her job here and I’ve got a great little studio going now for writing and recording.
I love how you reference Momus as a musical comparison. Have you done any shows together?
He’s brilliant, right? Intimidatingly so. I’ve had coffee with him, but no gigs together. We lived in the same Berlin Kiez. He’d lived at Sanderstrasse 13, moving out just before I moved into 14. In typical Berlin fashion, we check in from time to time, asking the other knows of an sublettable apartment etc. He described my song “Even The Swans Are Dirty” as “an anthem for Neukolln,” which pleased me.
Who are your labels here and abroad?
Think Like A Key is the US label releasing ‘Morgenschlager.’ A new label for me, but one with a roster that feels like home. Contemporary acts like Novelty Island and label boss Roger’s own Ex-Norwegian, plus reissues for classic 60’s and 70’s bands such as Kaleidoscope and Os Mutantes. In the UK, Gare du Nord has not only released my new album, but has put together a fab album of remixes of ‘Morgenschlager’ tracks. I’m going to re-record a couple songs from the album in a gruntier guitar style for a Spanish label called Lucinda. I’ve worked with various other labels in France, Spain, the US and UK.
Do they have any plans to reissue your older material?
Nick Saloman from the Bevis Frond has a new label called Blue Matter and they’re going to reissue my “authentically” psychedelic album, ‘In The Village Of The Apple Sun.’ That makes great sense, as it was when I was working with the Bevis Frond on an album in Bromley that “Village” really took shape in my head, so we’ve got a nice full circle thing happening. Meanwhile, I’m talking with Think Like A Key about putting out a fresh “Introducing Anton Barbeau” collection. I did one called Empire Of Potential which was meant to save me from having to drag a suitcase around Spain loaded with 25 odd Ant albums. I’ve released more than 50 times my body weight in material.
Tickets are $20 advance and can be purchased at www.thesidedoor.net. The Allyson Seconds Band opens the show. Doors open at 7pm and the show starts soon thereafter. All ages are welcome. The Side Door is located at 2900 Franklin Blvd. in Sacramento.
Eddie
Rebecca Sleeth runs sound for the Powerhouse Pub in Folsom. (Photo by Eliza Tootle)
