Another Sacramento great is leaving the area and headed to Portland. On June 10, violinist Joe Kye will play what has been dubbed as his last show before he heads to a much wetter climate. “I am a full-time musician, and have been since 2013. Before that, I was a high school English teacher in Seattle,” said Joe Kye. “ My wife is very supportive! She’s finishing up her residency at UC Davis Medical Center, which is why we moved down here in the first place. A partnership is about jointly discussing and agreeing to a division of responsibilities. I like to think we do a pretty good job of always searching for balance.” This show is also special because it’s a benefit for the Mustard Seed School, a free private school that helps “meet the needs of homeless children.” Tickets for the show can be purchased at Joekye.com/tour. And while Kye doesn’t actually move to Portland until July, he will be back in late July at California WorldFest in Grass Valley and again in late October as part of a tour.
Fri., June 3, 7:30 p.m., 24th Street Theatre $27.50-$30
Country Joe McDonald has been releasing records since well before most SN&R readers were even born. For those who look to their elders for inspiration, this is one show no music fan should miss. He’ll be honoring the late Woody Guthrie in a night appropriately dubbed “A one-man show of story and song” and playing many timeless and time-appropriate songs that filled the hearts of both the common working man and Guthrie’s fans alike. Also on the bill are locals Jacob Golden, Richard March and Sasha Prawalsky. 2791 24th Street, www.countryjoe.com.
With band members from Alterbeast and Journal, and the now-defunct Sepsis and Soma Ras, this is one supporting act you don’t want to miss. “We’re looking at a late July/early August release date for our new album Funeral Winds. …This will be our first show and we’re totally stoked!” says guitarist Nate Graham. Fans of Death, Nocturnus, Pestilence or other like-minded and technically challenging death-metal fare should come out en masse. Also on the bill are Australia’s King Parrot, Child Bite, Purification by Fire and Ostracized. 235 Commercial Street in Nevada City, http://wastewalker.bandcamp.com.
A new venue promises to bring national acts while supporting local charities
Robert Snyder (left) and Akash Lal aim to lift up Sacramento’s music scene.PHOTO BY GABRIEL MONNAREZ
Look for the Arcade Underground (and its website) to go live on June 17 at 1108 Second Street.
Like most towns, Sacramento and its surrounding areas have seen a fair number of live music venues shut down in the past couple of decades. Think back to the Cattle Club, Bows & Arrows, Witch Room, Big Shots, Assembly Music Hall, Luigi’s Slice and Fun Garden and Cafe Paris. Now, the Winters Opera House’s fate is uncertain as well.
But with those departures also—sometimes—comes an exciting new venue. Enter the Arcade Underground.
The Arcade Underground is scheduled to hold its grand opening on Friday, June 17. The spot is located in Old Sacramento, an exceptionally challenging place to host live music as it lies just off the downtown grid and is buried by the freeway overpass. It comes from local promoter Robert Snyder and real estate mogul Akash Lal. Their goal with the Arcade Underground is twofold: to help worthy charities and leave an indelible mark on the music community.
“The reason we are doing charities is that both Akash and myself are fortunate,” Synder says. “We have good reason to give back to the community which supports us in everything we do, whether in music, real estate or any other venture.”
At the Arcade Underground’s soft opening in mid-May, Snyder and Lal raised $10,000 for the Make-A-Wish Foundation—a huge feat considering there were only 100 guests. Snyder says he already has his eyes set on more fundraisers throughout the year for organizations, such as Saint John’s Program for Real Change. The soft opening’s ritzy, Great Gatsby vibe helped draw folks to the venue, and Snyder plans to similarly adopt specific themes for special events to boost the Arcade Underground’s brand.
Snyder realizes Sacramento is a tough market. However, he still plans to have smaller shows aimed at the regular, Midtown-dwelling music fan. He expects the cover charges to range from $10 to $50, and potentially go even higher. Though no official shows have been announced yet, there are some whispers about Jeff Keith (Tesla), Corey Taylor (Slipknot, Stone Sour) and Aaron Lewis (Staind), as well as huge blues names Buddy Guy and Kenny Wayne Shepherd. Local bands won’t be left in the dust, either.
“When we bring in large regional or national acts to headline, we will always use those opportunities to give exposure to Sacramento local acts,” Snyder says.
As for styles of music, Snyder wants to keep it eclectic but focus on Americana, folk, jazz, blues and acoustic varieties.
The 3,500-square-foot, 450-person space features ornate lighting, exposed brick walls and a gorgeous courtyard. Until the grand opening, it’s being used for fundraisers, private parties and other ticketed events.
“[We] are keeping this on the down-low on purpose,” Snyder says. “We have successfully created a cool, local speakeasy-type venue with a nondescript entrance. If you were walking by our place right now, you wouldn’t even know it exists except for the two ushers standing in front of our elevator leading to the downstairs level.”
Many of the finest events in Sacramento and its surrounding areas are hosted by none other than the Sacramento Convention and Visitors Bureau. Folks looking to swig and spit gobs of red and white wine incessantly, while swallowing much more, are hereby summoned to this outdoor shindig, held at Cesar Chavez Park. Expect great drinks and eats from countless wineries, restaurants, breweries and much more. Additionally, there will be some wonderful live music and, hopefully, a delightful breeze to accompany a possibly perfect Saturday night. The event only lasts three hours to avoid any liability and, more importantly, to keep you from dancing drunk on the stage naked with the live bands (I did it two years ago). If you were wondering why the event didn’t happen for a year, let’s just say myriad changes in state and local alcohol laws were addressed and let’s move on. Whether you’re a wine connoisseur donning an ascot or a simple weekend drinker, this ticket has something for everyone. Well, not everyone … 21 and over only. Sorry, kids. Tickets start at $45 online at Farmtofork.com/savemartgrapeescape. Let’s do this!
Until eight years ago, Canada’s Anvil was virtually unknown outside the underground metal community. Then the release of the documentary “Anvil! The Story of Anvil” broadened the band’s fan base. The film’s chronicle of the hardscrabble band’s struggles may have reminded some of the classic mockumentary “Spinal Tap,” but this was no joke.
While most rockers their age would have thrown in their sweaty stage towels — the then-50-year-old guitarist Steve “Lips” Kudlow was a truck driver delivering meals to children to pay bills in between dive-bar shows — Kudlow and his longtime bandmate, drummer Robb Reiner, carried on playing mostly empty rooms, determined to make it big.
A look at an act goaded by a dream of stardom and playing for bigger audiences, the documentary was both traumatic and funny. Since forming in 1978, the group has endured the entrance and exit of five bassists and three second guitarists before eventually becoming a formidable trio in 2007.
Now in their 38th year as a band, Kudlow and Reiner — along with bassist Chris Robertson, who joined in 2014 — are finally making a living doing what they do best: playing heavy metal. Anvil plays San Francisco’s DNA Lounge on Tuesday, May 31.
If anyone needs proof that Anvil still has loyal fans, the band launched a crowdfunding campaign on PledgeMusic, which achieved 114 percent of its goal to pay for recording expenses.
“There’s a lot of business we need to handle ourselves today, and we were all amazed at the fan support. Anvil is a brand name people know, and we offered fans packages ranging from buying one of my guitar amps to having dinner with the band,” said Lips, his preferred surname, in his hometown of Toronto. “It couldn’t have gone any better.”
“I would tell anyone who wants to criticize us that we are exactly where we are meant and want to be,” he added. “Some people expected us to commercialize or sell out, so to speak. They would say things like, ‘Why didn’t you take advantage of the movie and write a f— pop song?’ We’re Anvil, damn it! That is not what we do!”
The band has been releasing a steady stream of records, including its latest, “Anvil Is Anvil, ” on Steamhammer SPV. Propelled by standout tracks that include “Die for a Life” and the up-tempo “Run Like Hell,” the new record should please longtime fans and newbies alike.
While the band is still not a chart-topper in the U.S., playing for a couple of hundred rabid fans a night is more than ample reason to keep going until the wheels fall off, Lips said.
“There’s a large contingency of people that still hate us, which is really quite interesting. … It’s the Internet trolls who have made it hard for everyone to get ahead, no matter how good or bad,” said Lips. “Me? I’ll take the never-ending shows as long as I can get ’em.”
Anvil: 8 p.m. Tuesday, May 31. $15-$18. DNA Lounge, 375 11th St., S.F. (415) 626-2654. www.dnalounge.com
Check out Russell’s exhibit at Harris Center for the Performing Arts from noon to 4 p.m., Tuesdays through Thursdays until July 10. For more info, visit https://ethanrussell.com.
Whether you’re an aspiring photographer or just appreciate a good image, you should be familiar with Ethan Russell’s body of work. The legendary rock ’n’ roll photographer made a living when photography was a highly revered (and lucrative) profession, taking an interest in it as a UC Davis student in the 1960s. Now, at the ripe, young age of 70, Russell’s impressive list of subjects includes the Beatles, the Rolling Stones, the Who, Traffic, Cream, the Moody Blues, Janis Joplin and Linda Ronstadt. The photographer’s work is currently on display at Harris Center for the Arts, giving us the perfect excuse to get his insight on classic photography, acid and monkeys with Blue Cheer and whether that was real urine on the cover of Who’s Next.
How would you describe your experience at UC Davis?
I was a completely unconscious kid who thought I wanted to be a vet. I later switched from veterinary science to English, and then again once more to art. Davis was a huge experience for me and, at the time, the school had only 5,000 people attending. The art department was only a subset.
What specifically do you recall about that time period?
When the British music invasion first happened, I was actually still a sophomore. I remember when [President John F.] Kennedy was assassinated, I was on D Street in downtown Davis. I heard it on the radio and later went to a friend’s house to hear more. When I was born, there was no television and Elvis was only 13 years old. Also, rock ’n’ roll was a really big deal.
How much was your tuition?
Honestly, I don’t know because my father paid for it all. I really have no idea about the cost of things, as I came from a wealthy family and was one of four kids. I have three siblings: Two passed away and one is still living.
Are you familiar with the late rock ’n’ roll photographer Jim Marshall? Your work echoes some of his subject matter.
Thank you. And yes, I know his work well. I never really wanted to be a photographer until I saw the movie Blow-Up by Italian film director Michelangelo Antonioni. It changed my life. Music was everything to me, but I didn’t know how to play anything. I learned how to develop black-and-white film from my roommate soon after. My brother, Jeremy Russell, was the manager of Blue Cheer. The band had a monkey in their house and they all took acid. I remember walking with them in the Haight and photographing them when I heard a voice behind us yelling to “get the fuck out of here” and that [the Haight] was his territory. That was my first encounter with Jim Marshall.
This is getting rather hairy. What next?
I traveled abroad and soon met a friend named Jonathan Cott … also a London-based stringer for Rolling Stone magazine who was just coming up at the time. He asked me to photograph his next interview and that was Mick Jagger of the Rolling Stones. I was scared at first, but very excited and the pictures came out great. In hindsight, it was so unlikely. Two months later, he asked me to go on the road with them.
What books caught your attention at an early age?
I really enjoyed a book called The Family of Man, edited by Edward Steichen. It was also featured at the Museum of Modern Art in the 1950s and features many photographers, including the popular “Migrant Mother” image by Dorothea Lange.
Does the camera make the photographer or the other way around?
Of course, it’s not the camera, but rather the person taking the picture. There are a whole group of people still, however, who think the camera makes them.
Did the members of the Who actually urinate on the Who’s Next cover image?
I had been hired by the Who and we were driving back from a gig. Pete [Townshend] drove like a madman at nearly 100 mph and we suddenly saw three odd shapes. I had him go back and we stared at the pieces wondering what to do next. All of a sudden, I turned around and noticed Pete had pissed on it. I grabbed some film cans, filled ’em with water and made what looked like several streams next to his.
Do you feel professional photography is overshadowed by Instagram?
No, is the short answer. I think it’s like being pissed off that the world changes.
Any advice for the young sprite who think he or she knows it all?
Young people always think they know it all. I know I did when I was younger.
Sumac’s latest, What One Becomes, doesn’t come out from Thrill Jockey for nearly two weeks after this show, meaning Sacto is one of the lucky cities that gets a sneak peek. An amalgamation of other bands, singer-guitarist Aaron Turner of Isis, Brian Cook of Russian Circles and drummer Nick Yacyshyn of Baptists form one trio hellbent on playing live and spreading the gospel of post- and sludge-metal fare. One listen to the 11-minute juggernaut “Rigid Man” should be more than enough impetus to pony up the cover for one helluva show. Bring earplugs and get ready to smash some stuff. 1517 21st Street, www.facebook.com/sumacband.
To say YouTube sensation Kenny Holland is a big hit with the young ladies is something of an understatement. Yet he’s only just getting started and his online identity keeps growing with every successive play on the heavily populated site. The Michigan native, who later grew up in Arizona, already has more connections in the music and film industry than most aspiring stars will garner after a lifetime. Comparisons to the Beibs are obvious and not out of line, and this super-pop hip-hop seems to be seriously resonating with the youths. Luxxe and the Color Wild are also on the bill. 9426 Greenback Lane in Orangevale, http://kenny-holland.squarespace.com.
Eddie
