It’s hard to believe 57 years have passed since guitarist Buck Dharma – a.k.a. Donald Roeser – first formed the band under the moniker of Soft White Underbelly in Long Island, NY. It would only take a couple years to make a much-needed switch to Blue Öyster Cult and hire Eric Bloom as its charismatic front-man and singer.
Led by vocalists/guitarists Donald “Buck Dharma” Roeser and Eric Bloom, Blue Öyster Cult continues to thrive creatively with Richie Castellano on guitar and keyboards, and the longstanding rhythm section of Danny Miranda on bass and Jules Radino on drums. As proudly declared on their website, the band is ‘On Tour Forever’ and are constantly on the road.
Followers of early FM radio immediately took to the group after the release of its first, self-titled record in 1972, which was followed by a flurry of equally strong releases leading into the 80’s. And while the majority of fans know Blue Öyster Cult for its hits – “Godzilla,” “Don’t Fear The Reaper,” “Veteran Of The Psychic Wars,” and “Burnin’ For You” – a cult following continues to keep track of the band’s set-lists and always hope for surprise deep cuts at its live gatherings.
Although the group was not as prolific during the 90’s and on, it did manage to release its 16th and final studio album early this year back in mid-April. Titled ‘Ghost Stories,’ the new 12-song collection was issued on the boutique Frontiers record label just four years after the highly successful ‘The Symbol Remains’ (2020) offering.
This new amalgam of re-imagined and recently completed songs span from 1978-2016 and showcase a band far from ready to pack it in. For the uninitiated, many of the tracks were originally recorded between 1978 and 1983 aside from the sole 2016 song,”If I Fell.” Longtime BOC freaks will be happy to know they’ve also included a studio recording of “Kick Out the Jams” by MC5, a first in their storied catalog.
Audio engineer George Geranios, a huge name during the band’s biggest era, co-produced the original 1978-83 recordings along with the band. And for the music geeks who care (insert any and all hardcore BOC fans), the songs were originally recorded on reel-to-reel analog tape.
Expect a longer-than-normal show replete with their hits, deeper cuts and some new songs thrown in for good measure. As evidenced at their recent show at The Venue inside Thunder Valley Resort, the band is still delivering live and founder/guitarist Buck Dharma hasn’t lost a step.
Blue Öyster Cult play J Resort’s Glow Plaza inside J Resort located at 345 N Arlington Avenue in Reno. Tickets can be purchased at www.jresortreno.com and start at only $20. Doors open at 7pm and the show starts promptly at 8pm. All ages are welcome.
The annual Mosswood Meltdown outdoor festival is returning July 6th and 7th to the East Bay for two special, fun-filled days. Featured Saturday acts include B-52’s, Redd Kross, Hunx & His Punx, Peaches Christ Drag Show, Pansy Division, Go Sailor, Wifey, Trap Girl, and Hot Laundry while Sunday’s festivities showcase The Mummies, Pure Hell, Big Freedia, Egyptian Lover, Gibby Haynes & the Paul Green Rock Academy, Bush Tetras, Die Spitz, Space Lady, and Gumby’s Junk.
And while all of the acts on this year’s docket bring something to the table, Gibby Haynes’ set with the Paul Green Rock Academy is sure to be the gathering’s highlight. Butthole Surfers’ fans will remember Gibby Haynes’ young backing band participated in a highly successful (but short) West Coast tour with Victims Family back in 2022 playing small clubs and mid-sized venues including Oakland’s very own Thee Stork Club.
For those not paying attention, music teacher and tour curator Paul Green runs a school dubbed the Paul Green Rock Academy for budding young musicians. To date, his young prodigies and disciples have toured with the likes of Jon Anderson (YES), Fred Armison, Adrian Belew, Alice Cooper, Stewart Copeland, Gail Ann Dorsey, Dr. Know, Donald Fagan, Perry Farrell, Peter Frampton, Gibby Haynes, Scott Ian, Ed Mann, John Medeski, Kate Pierson, Marky Ramone, Vernon Reid, LeAnn Rimes, John Sebastian, Slash Brendon Small, Sister Sparrow, Ronnie Spector, Eddie Vedder, Denny Walley, Gene Ween, John Wettom, Ike Willis, and Ann Wilson.
Formed in San Antonio, Texas by vocalist Gibby Haynes and guitarist Paul Leary some 43 years ago, The Butthole Surfers were an anomaly on the touring circuit. Known for their crazy shock and awe stage antics, it would only take them another two years to finally issue their first self-titled and seven-song EP on Jello Biafra’s Alternative Tentacles in 1983.
With a moniker that always brought curious new fans into the fold, Butthole Surfers was a fitting and much less offensive choice than some of the earlier band ideas which included Ashtray Babyheads, Ed Asner Is Gay, and The Inalienable Right to Eat Fred Astaire’s Asshole.
Butthole Surfers would later issue eight full-lengths, four extended plays, two live albums, three compilations, and a handful of singles. Starting with the awkwardly titled ‘Psychic… Powerless… Another Man’s Sac’ (1984), Gibby Haynes and company would inevitably release some of the most mind-bending and offensive musical fare ever recorded as evidenced by songs such as “Concubine,” “Cherub,” “Negro Observer,” “Lady Sniff,” and “Mexican Caravan,” to name but a few.
Their run on the Touch and Go indie label was legendary as far as independent record labels go, but was later marred by years of legal disputes. The group would eventually end up winning their lawsuit in 1999 and soon re-issued ‘Psychic… Powerless… Another Man’s Sac, ‘Rembrandt Pussyhorse (plus the Cream Corn… EP),’ ‘Locust Abortion Technician,’ and ‘Hairway to Steven’ on Butthole Surfers’ very own Latino Buggerveil label.
Signed to Capitol Records in the early 90’s during one of the strangest and most unsuccessful signing frenzies in recent memory (insert one awfully-named ‘grunge’ era), their run was short and sweet. With Nirvana front man Kurt Cobain professing his love for the band and name-dropping whenever he could, the band landed a coveted record deal and received a much-needed injection of signing bonus cash and full tour support.
The band’s ‘piouhgd’ (1992) album, originally issued on Rough Trade in 1991, was the band’s first offering for the major label followed by ‘Independent Worm Saloon’ (1993) and ‘Electriclarryland’ (1996). The latter would feature the band’s biggest commercial hit with “Pepper” and was eventually awarded RIAA Gold status (500,000 sales).
Although reunited a couple of times since initially ending the band, they have been on an indefinite break since 2016 with the exception of a sole festival date in Houston, Texas on December 17 and 18. With the Butthole Surfers on hiatus due to Paul Leary’s hatred of touring and the wait time in between shows, Gibby Haynes & the Paul Green Rock Academy’s live set is most certainly the next best thing.
Said emcee John Waters about the punk-influenced soiree, “It’s musical mayhem time for multiple maniacs in Oakland once again, and I’m proud to be hosting from the gutter for the tenth time! Mosswood Meltdown — our days to shine in the punk grime.”
Gibby Haynes plays The Mosswood Meltdown at Mosswood Park located at 3612 Webster Street in Oakland. General admission Tier 3 weekend passes start at $199 and can be purchased at https://mosswoodmeltdown.com. Single day options and special VIP weekend passes are available as well. Saturday shenanigans kick off at 11:30am and the Sunday sermon starts at 12pm. All ages are welcome.
Former Black Crowes guitarist’s solo work has a distinctly rootsy ethos
DOUBLE BILL Jackie Greene plays Saturday at the Guild Theatre with opening act R.O. Shapiro. Photo by Shervin Lainez
Born in Salinas, Jackie Greene grew up in the Sacramento region, where he started off playing tiny venues multiple times a month, playing anywhere and everywhere to get his word out.
And ever since his music got released on a national level via independent label Dig Music, this 43-year-old singer, songwriter, guitarist and former member of the Black Crowes has been in demand.
What makes Greene stand out are his melodic sensibilities and ability to morph into any live situation. Besides becoming a surrogate brother of the Grateful Dead family, playing alongside both Bob Weir and Phil Lesh and the band’s extended family, his rise has been the result of time on the road honing both his vocal and guitar chops and, consequently, adapting to each new musical venture.
Greene, who plays both as a solo artist and with his band, has landed some coveted support slots with the likes of Gov’t Mule, Los Lobos, Mark Knopfler, B.B. King, Phil Lesh, Ratdog, Huey Lewis, Susan Tedeschi, Taj Mahal and Buddy Guy, Additionally, he’s been featured at some of the biggest stateside festivals, such as Gathering of the Vibes, Mountain Jam, Newport Jazz, Newport Folk, Winnipeg Folk, Bonnaroo, and Outside Lands.
Greene’s current West Coast tour includes a stop at the Guild Theatre in Menlo Park. We caught up with Greene while he was preparing to go back on the road.
Your sophomore record Gone Wanderin (2002) really set the ball rolling on a national level. What other cities gave you support early on?
Jackie Greene: A lot of the areas where the college radio stations were playing my stuff seemed to take off. Rita Houston, rest her soul, was a big help at WFUV in New York. Pittsburgh and Chicago AAA radio stations were also playing a lot of my stuff, so that was a big help. Beyond that, we just kept on touring.
You are married now and have two children. Are you consciously taking fewer out-of-town show offers?
I’m very lucky to live near the Bay Area, where there’s a lot of music happening. I don’t consciously take less out-of-town shows as it’s important to never take this lifestyle for granted. However, I do have a family now so that’s my No. 1 priority. There was a time I toured for weeks and barely broke even and was still somehow satisfied. I certainly can’t do that anymore and always make sure I come home with money.
Do you have songs and a working title for the next record?
I have a whole new album that I’ve been working on for a couple years. The working title is “Family.” I’ve been playing many of these songs in my set, such as “Goodbye Old Glory” and “Karma.” As you might expect, most of the songs deal with the general theme of family. My good friend Anders Osborne and I also cut an entire album of new songs together last year that we’re going to finish soon.
You’ve worked with some amazing musicians and bands, including the Black Crowes, Bob Weir, Phil Lesh, Gov’t Mule, and more. Any particular moments where you pinch yourself?
Every night I’m in awe! Last year, I joined Gov’t Mule for their Dark Side of the Mule tour, which was obviously Pink Floyd stuff. Warren [Haynes] hired me to play guitar and keys. We had a huge laser light show with sound effects. I remember we played a sold-out show on a Monday night at Red Rocks [in Colorado] and was saying to myself, “I can’t believe I get paid for this!”
Jackie Greene plays June 29 at the Guild Theatre, 949 El Camino Real, Menlo Park. Songwriter R.O. Shapiro opens the show. Tickets are $40 advance and available at guildtheatre.com. Doors open at 7pm and the show begins promptly at 8pm.
As luck would have it, 80’s-themed festivals are making a huge comeback. Thanks to talent buyer and show producer AKA (CPO) Chief Party Officer Jon Pleeter who curated the multiple market Totally Tubular 2024 tour, things kick off on June 25th in Seattle and eventually end on July 28th in Cleveland. Thankfully, Wheatland is also on the itinerary and is only the tour’s second stop.
“This is a dream lineup for those who love the music of the early 1980’s, and for those who want to relive the days when life was plain and simply a total party. You wore day-glow, you wore parachute pants, you had big hair, perms and more perms, mullets, leg warmers, along with tons of buttons and lots of rubber bracelets. You wore sunglasses at night. The choruses were big, and the hooks were bigger—the party didn’t end” said the always enthusiastic Pleeter about the night’s program.
For those not in the know, this gathering features some of the biggest and most recognizable names in pop music including Thomas Dolby, Thompson Twin’s own Tom Bailey, Modern English, Men Without Hats, Bow Wow Wow, Tommy Tutone, The Tubes, and The Plimsouls. And while the set lists are short, the entertainment value is top tier including only the biggest hits from each of the well-known acts.
Expect to see lots of 80’s-era MTV videos from acts not on the bill in between sets and lightning quick changeovers which keep the show rolling along at a both fun and furious pace. Rather than having to wait upwards of an hour for your favorite song, attendees will immediately be treated to such classics as “She Blinded Me With Science,” “Safety Dance,” “867-5309,” “I Want Candy,” “Melt With You,” “She’s A Beauty,” and more.
Although there is certainly no dress code enforced, 80’s attire is highly encouraged. Time to dust off those old Guess, Levi’s, Tommy Hilfiger, DKNY, Gucci, Adidas, and Members Only clothes or shoes for a night of high octane hits sure to keep your dancing feet moving all through the night.
Said the show’s headlining act Thomas Dolby, “Dig out your old roller-blades, fire up the Delorean, or just pull on a white glove and moonwalk over to the Totally Tubular Festival!”
The Totally Tubular show plays Hard Rock Live located in Wheatland at 3317 Forty Mile Road. Doors open at 5pm and things kick off promptly at 6pm. Tickets start at $30 and can be purchased at www.ticketmaster.com and totallytubularfestival.com. All ages are welcome. A portion of proceeds from ticket sales will go towards food banks in each city. Bonus points for the best video game-themed shirts.
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.
Eddie
