For the Record: Marin’s longest-running indie record store

SPIN Mill Valley Music is a Marin County institution.

A long-lost art form unto itself, the thrill of digging for vinyl records is slowly making a comeback.

The idea of finding that live Weather Report vinyl one only heard about or that long out-of-print King Biscuit Flower Hour 10cc live CD—sometimes after an hour or more of looking in every crevice and open box—is still very much a lure for many audiophiles.

Unlike the stale experience of going to Best Buy, Wherehouse or Sam Goody nearly 30 years ago, independent stores like Gary Scheuenstuhl’s Mill Valley Music thrive on the experience over the end purchase. At his store, it’s not uncommon to find many un-priced records, so a discussion and possibly even a little price haggling can occur.

Nestled on Miller Street, a high-traffic roadway leading both into town and back to the 101 freeway, Mill Valley Music is one of those rare stores where music lovers can freely talk amongst themselves about vinyl inserts, CD liner notes, upcoming concerts, gigs in the past and anything else music-related. With a largely hidden upstairs section and a very narrow walkway downstairs, it’s both a store where reputations as music-loving buyers grow and a musical destination to forge new and lasting friendships.

We caught up with Scheuenstuhl during a busier-than-normal week to learn how stores like his build a rapport by their mere existence.

AFICIONADO Gary Scheuenstuhl is the proprietor of Mill Valley Music.

Pacific Sun: Music distribution has changed so much over the years and, particularly, since the ’90s. How do you decide what stock to bring in aside from special orders?

Gary Scheuenstuhl: I worked at the world famous Village Music for about 27 years, and in that time, I was exposed to all kinds of music. Those years, plus the 16 years I have owned my own shop, have given me a deep and eclectic knowledge of many styles of music. That knowledge, plus service and reasonable pricing, have helped me build a reputation and a loyal customer base.

PS: How are the prices from one-stop distribution these days?

GS: There is so much new vinyl, which tends to have a low mark-up (margin) and no return options, so you need to know what people want.

PS: What is the biggest misconception about running an independent music store in today’s climate and economy?

GS: People don’t understand how expensive and difficult it is.

PS: What do you attribute to your longevity when other indie stores have shuttered?

GS: You really need to love music and run the store as a labor of love, not as a quick way to make money.

PS: Any certain customers that come in and shop like clockwork?

GS: I have a customer named John who, on his first visit, overheard a musical discussion with another customer and then joined in the conversation. Upon returning home, he wrote me a long email stating that this is what a store should be like: a place where ideas can be shared in a friendly environment. He has since become a loyal shopper and a friend as well. Over time, there have been many of those.

PS: What do you remember most about your days at Village Music?

GS: There are many things I miss about working at Village Music. I was part of a vibrant musical scene without having to worry about the overhead that comes with it. Many musical icons would either play in the store, or be part of the rich magical history between John Goddard (Village Music owner) and Jeannie Patterson (Sweetwater’s former talent buyer) at his now-famous parties at the legendary Sweetwater. Highlights definitely include Jerry Garcia jamming with Elvis Costello or Ry Cooder and his large band squeezing onto the small Sweetwater Music Hall stage.

PS: What do you do for enjoyment outside of the store’s hours?

GS: I have been playing drums and Djembe for years. More recently, I have a live band/project called The Marinfidels which does a show dubbed “Beatles versus Stones.” The crowd gets to decide which one they enjoyed most at the end of the evening.

PS: What keeps you coming back to the store day in and day out?


GS: I get to listen to music every day. Being around it will always be a large part of my life. Music is forever.

Mill Valley Music is located at 320 Miller St. in Mill Valley. The store is open 11am to 6pm Monday to Saturday and 12 to 5pm on Sundays. Set aside an hour or two if you’re looking to get your hands dirty and find some musical treasures. Visit Scheuenstuhl and company online at millvalleymusic.com.

(Pacific Sun)

‘A Brazilian Carnaval in Sacramento’ to take place at CLARA Studios. April 13.

Brazilian-born dancer Marta Santos first came to California in 2000 and immediately started to promote Brazilian culture in Sacramento with events and dance classes. Additionally, she also runs a professional dance group – Samba da Terra – which has performed at countless venues and festivals all over the region.

Not one to sit idle, Marta has also traveled through a handful of different states and cities doing various dance workshops. At present, she also teaches a dance class on Thursday nights at Faces nightclub. Santos is often hired to perform at private parties and has participated in numerous parades hosted by Sacramento.

Her upcoming event – ‘A Brazilian Carnaval in Sacramento’ – has been in the works for quite some time. For those not in the know, her last full-fledged event of this magnitude was held over 15 years ago.

We caught up with Marta in preparation for her big South American cultural soiree which will take place both inside and outside of CLARA Studios.

Rio Linda Online: How many members will perform with your Samba da Terra troupe this coming weekend?

Santos: Samba da Terra typically has six drummers and anywhere from four to twelve dancers. I’m still organizing our performance, but I think I will have five drummers and six dancers.

Rio Linda Online: Who are the other featured acts?

Santos: I’m pleased to announce we’ll have two bands: Santa Cruz’s own SambaDá and Davis’ own Boca Do Rio. Other special guests include Marcia Almeida Jácomo (traditional Brazilian Bossa Nova) and Nilo Ayele (from the Namorados da Lua band). There will also be a Samba show with Samba Queen Maisa Duke, a Samba dance class with Valeria RioBela, and our very own Samba da Terra show. DJ RDM will be spinning throughout the event.

Rio Linda Online: What other cities have you performed outside of Sacramento in California?

Marta Santos: I’ve done Brazilian workshops including Samba, Samba-Reggae, and African-Brazilian dance with live performances in Berkeley, Humboldt, Santa Barbara, and San Diego. Also, I have performed in various states including Colorado, Arizona, Washington, Oregon, Illinois and Hawaii.

Rio Linda Online: Will there be food & drink available?

Santos: Definitely! We will have traditional Brazilian and Ethiopian food, wine and beer, a lemonade truck, and even more surprises.

Rio Linda Online: Will you be doing this event every year from now on?

Santos: That is the hope. My goal is to continue to keep promoting Brazilian culture in Sacramento and at our events whenever possible. ‘A Brazilian Carnaval in Sacramento’ is such a great opportunity for the community at large to see and hear the dance, music, language, and culture of my native Brazil.

Samba da Terra presents ‘A Brazilian Carnaval in Sacramento’ at CLARA Studios located at 1425 24th street in Sacramento. Doors open at 1pm and the show kicks off at 2pm. Tickets are $22 in advance and can be purchased at https://www.eventbrite.com/e/brazilian-carnaval-in-sacramento-2024-tickets-846603853917 and at the door day of show for $30. All ages are welcome. Children ages 13 and under are free with paid parent admission.

(Rio Linda Online)

Enuff Z’Nuff singer Donnie Vie to headline four West Coast shows including Richmond’s Baltic Kiss. April 12.

Blue Island, Illinois’ own Enuff Z’Nuff was originally formed by singer Donnie Vie and bassist Chip Z’Nuff some 42 years ago. And while they enjoyed massive MTV airplay during the first self-titled record’s cycle, it was their two radio hits – “Fly High Michelle” (Billboard #47) and “New Thing” (Billboard #67) – that catapaulted the quartet into veritable headliners across the globe. Sadly, their sophomore effort ‘Strength’ (1991) didn’t sell as well and eventually led to their exit from Atco Records. The band would issue one more record – ‘Animals with Human Intelligence’ (1993) – before releasing a slew of records on much smaller indie rock labels.

Although there has been great turmoil since Vie’s exit in 2002 to go solo, he has been quite prolific releasing a handful of well-received records under his namesake. For those looking for a point of entry into his own solo work, Vie’s fabulous ‘Just Enough!’ (2003) is highly recommended. Additionally, he has toured and gained quite a cult-like following releasing his own brand of power pop. For those paying attention, Vie has also been featured on countless Enuff Z’Nuff compilations featuring studio outtakes, live offerings, and rare versions of previously recorded songs.

As luck would have it, the 60-year old singer / songwriter will be playing four West Coast shows featuring guitarist Alex Kane of Life, Sex & Death and drummer Jesse Mendez Jr. from Newsted. Cities included on the brief itinerary are The Boardwalk in Orangevale on 4/11, Baltic Kiss in Richmond on 4/12, Fulton 55 in Fresno on 4/13, and the infamous Rainbow Bar & Grill in Hollywood on 4/14.

We caught up with Donnie as he was preparing to go on the road.

Capital Chaos TV: Enuff Z’nuff had a great run on Atco Records even though only two full-length records were released. Did your record deal allow for full tour support and living expenses while on the road and in between albums?

Donnie Vie: Yeah. We had a full-blown $12 million dollar / 8-record deal with Atco / Atlantic. How that really turned out is a whole different story, but we had everything we needed for making the record, the videos, and all the other living costs. Only just recently and in the last couple of years, did we start making royalties off those songs again. I became a little wiser over the years when it comes to finances and business.

Capital Chaos TV: What were some of your most memorable tour moments?

Donnie Vie: The first headlining show at the Marquee in London sold-out and was on my birthday. That was amazing. I do believe one of our videos might have came out that day, too. It was pretty special seeing our video debut on MTV. Watching the tour bus pull up for the first time was pretty cool as well. The Arista Records deal was more special to me because I looked better (laughs). That’s when I peaked (as far as my outward looks go) and we got featured in magazine centerfold pull-outs.We got full tour support and went out with Def Leppard in arenas. They were one of the coolest bands I ever met and probably the most talented band we ever toured with. I love them.

Capital Chaos TV: Are you able to make money today from the Enuff Z’Nuff back catalog?

Donnie Vie: We got our first two records back from from Atco / Atlantic as that contract finally expired. It’s a long story of why we were so in debt so badly, but they (the label) were getting all the residuals for the longest time. We never did any other publishing deals besides the two initial ones. Neither one actually did nothing for us and they never placed any songs on TV or film of any magnitude. In the very beginning, I think a couple of songs were used in a couple shows, but that was it. I thought the catalog was too good for it not to be worked. We’re currently looking at a big publishing deal.

Capital Chaos TV: Could you and Chip ever make amends or is that conversation off the table? Would be wonderful to have you, Vikki and Chip back together for a proper tour.

Donnie Vie: I’m not going to go too far into that stuff anymore because I’ve cried and whined for so long. Whenever I see bands do that, I think that guy looks lame. If anybody knew the magnitude of what was done to me, you would understand burying the hatchet is not happening anytime soon. I’ll bury it for sure, but where I’ll bury it, I still don’t know. As far as plugging in with Chip again, it would have to be abundantly worth it. It would be like getting back together with my ex -wife. In any case, the answer would be no thank you and have a good one. As far as drummer Vikki Foxx ever playing with me again, that would never happen.

Capital Chaos TV: You’re doing four West Coast shows in April. What other tour plans for 2024?

Donnie Vie: I have three more in upper New York in the beginning of May 2024 and there’s some some support dates later with Zebra. I am also playing one of those big pot conventions at the end of the Summer. There’s a lot more stuff coming.

Donnie Vie plays The Baltic Kiss located at 135 Park Place in Richmond on Friday, April 12th. Support acts to be announced. Tickets can be purchased at the door for $15. Doors open at 7pm and show starts at 8pm. All ages are welcome. For more info visit www.donnievie.com and www.baltickiss.com.

(Capital Chaos TV)

Ex-Scorpions guitarist Uli Jon Roth to play a rare Sonoma County show at Vintage Space. April 7.

69-year-old Uli Jon Roth may have only played guitar with Scorpions for only four years, but his songs have aged considerably well. Longtime fans still consider his work on ‘Fly To The Rainbow,’ ‘Taken By Force,’ In Trance,’ and ‘Virgin Killer’ some of the band’s finest moments. And while ‘Tokyo Tapes’ – arguably the best live hard rock album ever – would signal Roth’s inevitable exit, it was songs like ‘Sails Of Charon,” “We’ll Burn The Sky,” “All Night Long,” and “Dark Lady” (to name just a few) that would make his catalog a cult favorite many decades later.

For the uninitiated, Uli formed his own Electric Sun project which would eventually issue three fantastic records: ‘Earthquake’ (1979) steeped in the tradition of the late Jimi Hendrix, ‘Fire Wind’ (1981), and ‘Beyond the Astral Skies’ (1985) dedicated to the late Martin Luther King Jr.. It wasn’t long until Roth found a new calling which found the guitarist composing four symphonies and two concertos with a smattering of live performances with / for symphony orchestras throughout greater Europe. Consequently, Uli adopted the moniker Uli Jon Roth for every release thereafter.

Dubbed the ‘Interstellar Sky Guitar’ North American 2024 tour, Uli and his six-piece band kicks off their run on April 2nd in Mesa, Arizona and follows with a a whopping seven California shows while inevitably ending on May 18th in Houston, Texas.

UJR’s three-hour multi-media show will be split into two parts with an intermission featuring new and old pieces, excerpts from Vivaldi’s Four Seasons, and Uli’s Metamorphosis Concerto. He will also be speaking about his new (er) book, ‘In Search of the Alpha Law.’ The second half of the show will see Roth revisiting his own Electric Sun records, also recently released on vinyl, along with his highly influential Scorpions fare.

Said Uli about his mission statement for his upcoming tour, “We are only temporary thoughts in the Mind of the Universe. If we want to survive and evolve as a species, we need to become better human beings first and strive towards World Peace with all our hearts. We can only do this together.”

We caught up with promoter Christine Lommori aka Lommori Productions who already has a rich history promoting Uli Jon Roth’s area concerts.

Bohemian: When did you initially start promoting concerts?

Lommori: I started some 30 years ago at a small club called Hobie’s in Concord. I loved music and was a fan that eventually turned my obsession into a business.

Bohemian: How many times have you presented Uli?

Lommori: I’ve done about 16 UJR shows throughout the years.

Bohemian: What does his music mean for you?

Lommori: I am a huge Scorpions fan and also love Uli’s beautiful guitar work. He is quite a magical person and a really nice guy.

Bohemian: Will Lommori Productions be doing more concerts in Sonoma County?

Lommori: Definitely. The North Bay is special to me as I lived in Sonoma and went to Sonoma High School.

Bohemian: Why the Flamingo Resort?

Lommori: I have a working relationship with Vintage Space and the new owners who did the remodel. It’s a beautiful resort and has that retro vibe I love.

Bohemian: Are these the same shows you booked originally in 2020 before Covid?

Lommori: No. These are shows are a re-booking from a few months ago when Uli had to postpone for personal reasons.

Bohemian: Will we be seeing more from Lommori Productions in 2024?

Lommori: Yes. This year will be quite busy and many more shows are in the works.

Lommori Productions presents an evening with Uli Jon Roth at Vintage Space inside the Flamingo Resort located at 2777 4th Street in Santa Rosa. Tickets are $25 advance and $30 day of show and can be purchased at https://www.eventbrite.com/e/uli-jon-roth-tickets-599708332767. Doors open at 7pm and the show kicks off at 8pm. 21 and over patrons only.

(North Bay Bohemian)

Conductor Timothy Myers discusses his upcoming night with the Sacramento Philharmonic on April 6

Conductor Timothy Myers will lead the Sacramento Philharmonic on April 6. Photograph by Curtis Brown

The Sacramento Philharmonic is continuing to showcase some of the most able musicians that the area has to offer, and lately doing so at ticket prices that any tax bracket can probably afford.

For those looking for a perfect entry point into classical music, this weekend’s program couldn’t be more appropriate. 

Besides the fact that a world-class conductor is in town, one of the most appealing things for many about the Philharmonic’s upcoming performance is the acoustics of a newer venue and its particularly enticing lines of sight. Once considered a drab hall with an outdated sound system, the newly-improved SAFE Credit Union Performing Arts Center is now great for showcasing classical, opera and musical theatre gatherings.

“As part of the renovation, the Constellation Acoustic System, designed and manufactured by Meyer Sound, was installed in the SAFE Credit Union Performing Arts Center for acoustical enhancement of orchestral and choral performances,” noted Sid Garcia-Heberger, the venue’s manager. “The room is also outfitted with a Meyer line array for amplification of speaking engagements, comedy and music performances. Our board is a Yamaha CL5.”

We caught up with Timothy Myers, the guest conductor from Raleigh, North Carolina, while he was prepping for the April 6 show.

SN&R: What year did you start conducting and what were the pieces?

Timothy Myers: My professional career began in 2003 when I was completing graduate school and had the opportunity to make a professional debut in Boston, conducting Bernstein’s “Candide.” I’ve been very fortunate to maintain a career that encompasses a wide variety of both symphonic and operatic works.

SN&R: How long does it typically take for you to fully understand and grasp the cadence and feel for any given piece?


Myers: For me, length of preparation tends to depend on the size of the piece and how experienced I am with that specific composer or even that specific piece. My preference is to start pieces very early, sometimes over a year before I’ll conduct it, so that I can get the basic shape and sound in my head and let it “cook.” Then a few months before the engagement I can pick it back up and do much more detailed studying, and start to cement my knowledge of it and a developed interpretation … It’s always a treat to return to pieces, which is the case with Peer Gynt. Though I haven’t conducted it since 2006, it was definitely still cemented in my brain and came back to the forefront with some focused review.

SN&R: What is the biggest misconception about being a conductor and how integral the role is to a symphony?

Myers: As you might imagine, I often get the question “What does a conductor actually do?”A fuller answer would be lengthy and broad-ranging, but I typically sum it up as two of the most critical aspects of my my job are to give the musicians the information that they need to do their jobs well, and then show them something they don’t already know. The musicians of the Sacramento Philharmonic are very familiar with the music of Grieg and Beethoven and could play most of it without me. It’s my responsibility to give more of the ‘how’ of the music-making, so that the result is much greater than the sum of the parts.

See and hear the Sacramento Philharmonic perform Beethoven’s 2nd Symphony along with Grieg’s ‘Peer Gynt Suite No. 1’ and Carlos Simon’s ‘Fate Now Conquers’ at SAFE Credit Union Performing Arts Center located at 1301 L Street in Sacramento on Saturday, April. Doors at 6:30pm and show to follow at 7:30 p.m. Tickets start at $21 while premium seats are $81 and can be purchased at www.ticketmaster.com.

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(SN&R)

Sonoma County’s longest-running Black Sabbath and Ozzy Osbourne tribute Sweet Leaf to play On The Y in Sacramento. April 6. 

Sweet Leaf features a veritable who’s who of the local metal scene. 

Singer Lance Ozanix still leads Skitzo, one of the first thrash metal acts in the world—the band was formed in 1981—and the very first from Sonoma County. 

Guitarist Steve Smyth plays in the recently reunited Forbidden. He has done countless national and international tours, playing with the likes of Testament, Nevermore, Vicious Rumors, Forbidden, One Machine and Dragonlord. He also teaches guitar to budding students across the globe. 

Drummer Chris Newman played with Intense, one of the largest drawing speed/thrash metal bands in Sonoma County during the late ’80s.

Bassist Dave D’Elicio rounds out the group.

In a recent interview with the North Bay Bohemian, Lance talked about the band and its origins. 

Fast Eddie: How many years has Sweet Leaf been around, and how did the project get started?

Ozanix: Sweet Leaf started in 1989 with the idea of being a Black Sabbath tribute. People would say I look like Ozzy, and we tried doing a few Sabbath songs, and it fit well. There were no tribute bands around at that time. In 1992, we had our first tribute show at Uncle Charlie’s (now defunct club in Corte Madera) with Long Gone Bon (AC/DC tribute), and the show went over very well. By 1994, my current band members just left and did their own thing, so I brought the idea to Steve Smyth and Steve Hoffman (who was already involved), and the team meshed pretty well. The rest is history. 

Fast Eddie: Do you like playing Ozzy Osbourne or Black Sabbath songs more than the others?

Ozanix: I love the Jake E. Lee era and songs off Diary of a Madman. As for Black Sabbath songs, “War Pigs” is a fan fave, and the audience gets to sing long and loud.

Fast Eddie: What are your favorite Black Sabbath and Ozzy Osbourne albums?

Ozanix: My top three records for Black Sabbath are Born AgainMaster Of Reality and Never Say Die. As for Ozzy, it would be Diary of a MadmanBark At The Moon and No More Tears.

Fast Eddie: How many practices do you need to shake off the cobwebs?

Ozanix: Very little. Check this out. When the pandemic hit, we stopped playing for like three years. At our very first rehearsal three years later, just a little over a month ago, we played an hour and a half without any hiccups. Amazing.

Sharing the bill with Sweet Leaf is Joe Daddy and Lysol Toast. Doors open at 7pm, and the show starts at 8pm. Saturday, April 6, at On The Y, 670 Fulton Ave. in Sacramento. 21 and over only. Tickets are $10 and available at door only. 

(Capital Chaos TV / North Bay Bohemian)

Seminal Punk/Jazz Group Victims Family Hosts Record Release this Friday

MEET THE FAM Left to right: Larry Boothroyd, Tim Solyan, and Ralph Spight.
Photo by James Rexroad

Due to the conflicting schedules of band members, Victims Family—Ralph Spight (vocals / guitar), Tim Solyan (drums), and Larry Boothroyd (bass)—it has become increasingly harder for its members to plan live shows.

With Spight playing all over with The Freak Accident, Solyan constantly touring abroad as a professional roadie (at present he is out with Liam Gallagher of Oasis fame), and Boothroyd teaching bass students while working furiously on his next Specimen Box project, Sonoma County fans will need to be patient while the chips fall into place.

In the interim, the band managed to record a new split EP with Portland’s own Nasalrod. The end result is a gorgeous 10-song offering featuring 5 songs from each band. Released by boutique record label Nadine Records on March 22, the ridiculously cool, limited edition gold swirl pressing has since sold out.

However, there are some equally beautiful other colored variants still available which will be sold in person by founding members Boothroyd and Spight at a listening party this Friday. 

We caught up with Larry Boothroyd to get the 411 and on all things VF-related.

Bohemian: Victims Family or Victim’s Family? This has always confused me.

Larry Boothroyd: We usually don’t use the apostrophe, even though it is grammatically correct, but it happens. Especially in the days of handmade Xeroxed flyers. We were happy just having both words spelled correctly. Sometimes people use The Victim’s Family as well, which we normally don’t, but we did take our name from a B. Kliban drawing with that name.

Bohemian: Word has it you have new material after a long drought. Do tell.  

Larry Boothroyd: We did a split LP with Nasalrod (PNW punk band). Five songs each. We had a thread going with both bands sharing the subject matter of each of our tracks, and discovered some common topics. We recorded with Phil Becker (Pins Of Light/ex-Triclops! drummer) at El Studio and Spit Stix recorded their side, so the record sounds amazing. We also have a super cool painting by Brian Nothing we picked out for the cover. 

Bohemian: You released a wonderful collection of songs on your own called ‘Specimen Box.’ Do you already have more songs ready for the next collection? 

Larry Boothroyd: Yes, a third one is in the works. A quick history: The first one was an 80-minute instrumental soundscape, built from really short pieces that were segued together. 114 people played on that one and it took 10 years to make. Right when the pandemic struck, Valley King Records offered to put it out. The process of having people from all over the world sending files perfectly prepared me for the lockdown, so a second one came together quickly. This time though, I wanted to have singers and more traditional song structures. I asked Brian Polk, the drummer for Joy Subtraction, to send me a drum track as if he was playing along to a song, which he did. That became the first song, as well as the method used for the whole album. Building songs from the drums up. No loops, no quantizing, no editing. The third one is using that same basic idea, but I’m hoping to shake things up a bit stylistically and instrumentation-wise. I can’t really reveal who’s involved yet, other than to mention that I’m reaching out to a lot of Sonoma County musicians. Some I’ve known since before we even learned our instruments, and others that I’ve encountered recently. I ran into some dude in downtown Santa Rosa who was surrounded by various horns and banjos and whatnot. He told me his first gig was opening for Freddy Fender at the El Rancho Tropicana in ’78. I grabbed his business card and hope to get him inlvolved.

Bohemian: Will VF ever entertain the idea of doing a full US tour again? 

Larry Boothroyd: Hmm. Seems unlikely, but you never know. We did a West Coast thing with Gibby (Haynes, frontman of Butthole Surfers) and the kids from Paul Green Rock Academy. There was talk of an East Coast version, but scheduling is a bitch. Plus my cat would never go for it.

Bohemian: What was your favorite VF touring moment? Least?


Larry Boothroyd: Oh man, so many great memories. Overall, I’m just grateful that we were able to go so many places and really connect with people all over. We experienced a full range of treatment, from starving and crashing on filthy floors to staying at boutique hotels, playing sold out shows to playing to empty rooms, in no particular order. The ‘White Bread Blues’ tours were pretty epic. I found an old itinerary recently. We did a full 6-8 weeks in Europe, came back for a US tour that started with a bunch of shows with Nomeansno, a few with Alien Boys, and a couple with Plaid Retina. When we got to the East Coast, we flew back to Europe to play a couple festivals and some shows with Snuff, flew back to the East Coast and headed south for some shows with Coffin Break in Florida, and then through the Southwest and back home!

Our worst tour was definitely the US tour in ’87. Quick recap: Got as far as Fresno before having to replace the engine in the van, canceled some Arizona shows to get that done, and got everything ripped off in Oklahoma (including our booking information). The booker responsible for the whole East Coast dropped the ball, leaving us to scramble to find shows. We got kicked out of Canada for a year and lost some shows with Nomeansno and Ralph (Victims Family singer) and I gave blood in Lansing, MI just to make $8 each. And when we finally decided to give up and go home after 3 months on the road, the van died in Nevada, so our roadie and I had to take a bus home, leaving Ralph and Devon (original Victims Family drummer) behind. I left out a bunch of stuff, but even a crappy tour like that had its moments. We played with Bomb, Scratch Acid, Corrosion of Conformity, Honor Role, Adrenaline OD, and 76% Uncertain to name a few. Plus, we saw Butthole Surfers and followed them back to their hotel, only to be rebuffed, met GWAR, borrowed a PA from Doc Dart, and visited Graceland.

Bohemian: Can we expect new Jello Biafra & The Guantanamo School Of Medicine music anytime soon?

Larry Boothroyd: There are some songs that didn’t make it onto the ‘Tea Party Revenge Porn’ release, so hopefully we’ll get to do something with those.

Bohemian: What new (er) bands that are turning you?

Larry Boothroyd: Tim and I went to see Otoboke Beaver (from Japan), who were absolutely mind-blowing. Two other bands that I’ve recently gotten into are Igorrr and Polyphia. Holy cow, that is some next level stuff going on there! I like how every generation seems to have a higher jumping off point, and more references under their belt. Genres are melting together.

Bohemian: What are your favorite VF songs to play live?

Larry Boothroyd: I’m not sure I could pick 3. We have over 100 songs, which is one reason, but it’s not so much about which song is being played for me. My favorite moments are when the sound is just right, the audience is returning the energy, and it feels almost like I’m hovering over the stage, watching it happen without any thought or effort.

Check out the new Victims Family / Nasalrod split EP, “In The Modern Meatspace,” at their free-to-the-public listening party at 7 pm, Friday, March 29 at The Next Record Store located at 1899 Mendocino Avenue in Santa Rosa. Drinks and snacks will be provided. All ages are welcome. 

(North Bay Bohemian)

Mexican-American synth-pop sensation Glass Spells will play Sacramento on March 29

San Diego’s Glass Spells had been booked as support for Missing Persons at Harlow’s in early February, but the entire show was sadly canceled with little-to-no notice. Although Glass Spells’ live schedule in 2024 is scant at best, Sacramentans will be pleased to know we’re getting one of only two shows slated in March (the other is in Santa Cruz).

Led by core members Anthony Ramirez on bass and synthesizer and Tania Costello on vocals, the live line-up for Glass Spells also includes Michael Buehl on drums. The band is a veritable headliner throughout California, even playing the sold-out Darker Waves festival in Huntington Beach last November with New Order, Tears for Fears, B-52’s, Devo, Soft Cell and Echo & The Bunnymen.

Glass Spells is a collective known for playing a heady mix of electronic music steeped in the tradition of 80’s fare and punk while managing to include songs that are sung in both English and Spanish. Dubbed part of the Brown Wave, their sound and style refers to their Mexican heritage while separating themselves from the much larger New Wave diaspora without sounded dated or derivative.

And while it took some time to find the perfect line-up, the group underwent some personnel changes before ultimately releasing its “Mirrors” and “Night Hour” singles. Both were included on the 5-song EP, ‘Mirrors.’ Their only full-length album, ‘Shattered,’ was consequently released in August 2021 and is a must-have for new wave fans of any persuasion.

Glass Spell’s Spanish-speaking fans will likely find great reward in the “Hechizos” single released last November just in time for their Darker Waves festival appearance.

Glass Spells and its opener, Pan Roosky, play Friday, March 29 at Goldfield Trading Post in Downtown Sacramento. Doors open at 7 p.m. and the show kicks off promptly at 8 p.m. Tickets can be purchased at www.goldfieldtradingpost.com for $20 advance or take your chances at the door. Come dressed in black and ready to dance. All ages are welcome. The Sacramento Goldfield’s is located at 1630 J Street.

(SN&R)

Phoenix, Arizona’s doom metal merchants THRA to headline Cafe Colonial during a mid-week metal massacre. March 26.

For those who’ve been paying attention, Translation Loss records have issued a number of memorable metal moments semi-recently including platters from Swampbeast, Witching, Caged, Re-Buried, Come To Grief and, more importantly, Thra’s stunning ‘ Forged In Chaotic Spew.’ Featuring (9) tracks including some killer atmospheric interludes, the album should be taken in as a whole rather than in separate parts.

Standout tracks include the epic “Blistering Eternity” clocking in at over 7 minutes, ‘Cosmic Scourge,” and the nauseatingly heavy riffs found on “Primordial Engorgement.” Unlike other acts in the doom / sludge metal diaspora, Thra excels at creating atmosphere comparable at moments to Blood Incantation, Oak (Portugal), and Pantheist.

For the uninitiated, the Thra quartet is rounded out by Robert Wolfe (vocals/guitar), Zach Nixon-Sandberg (vocals / bass), Grey Smith (drums), and Matt Marquette (guitar). We caught up with the band in Las Vegas while on tour.

Capital Chaos TV: How much touring have you done since the last album’s release?

Robert Wolfe: We haven’t done much touring, but we have been planning tours, writing new music and playing a hometown show here and there.

Capital Chaos TV: Were there any songs that didn’t make the record that will find its way on to the next release?

Robert Wolfe: Not full songs, but pieces of songs. We were super focused on that release so we didn’t make much time to work on anything outside of it until now. There are definitely pieces of music that we wrote during that time and certain riffs that didn’t make the record. We definitely want to feature them in the next release.

Capital Chaos TV: What bands in the Arizona scene can you recommend?

Thra: Our scene rips. Definitely check out Skin Ticket, Ugly, Wit-Sec, Eternal, Writhen, Pigcity, Hernia, and Rotting Yellow. There are so many more.

Capital Chaos TV: Any new tours / shows in 2024 aside from the most recent?

Thra: After our West Coast tour in March, we’re playing with Conan at the Rebel Lounge in Phoenix on 4/13 and then with Wayfarer at the Nile Underground in Mesa on 5/4. We’re currently finishing up the booking for a 3-week Midwest / East Coast tour in August 2024.

Capital Chaos TV: How do you balance work life and being in an underground metal band?

Thra: We all have jobs that allow us to take the time we need to go and do the things we want. We spend most of our time either working or working on music. This (touring) is all we want to do.

Wretched Earth presents Thra at the Cafe Colonial located at 3520 Stockton Blvd. in Sacramento. Rounding out this underground doom and death metal-leaning bill are labelmates Re-Buried along with Ethos and Tentacult. Tickets can be purchased in advance for $12 here at cafecolonial916.com. Cafe Colonial is located at 3520 Stockton Blvd.. Doors open at 7pm and the show starts promptly at 7:30pm. As always, all ages are welcome. Get there early to score some fine Cafe Colonial food fare.

(Capital Chaos TV)

Legendary rapper Scarface brings his live band and ‘Behind the Desk Experience’ to Sacramento on March 24

For years, Brad Jordan has been widely known as a member of gangster rap group, Geto Boys, who achieved notoriety during their early years of glorifying death, destruction and everything. However, Jordan, performing as Scarface, would soon separate himself from the collective, making a name for himself as an able lyricist and powerful live presence.

While much of the now-53-year-old rapper’s early subject matter may seem juvenile when compared to his peers, Jordan’s vocal delivery and ability to weave a story eventually earned him #16 on The Source magazine’s list of Top 50 Lyricists of All Time. With a catalogue that spans over 11 full-length releases – along with a stint in jail – there’s certainly no shortage of material for Scarface’s upcoming show in Sacramento. Even after concerting to Islam some 18 years ago, Jordan hasn’t really changed nor abandoned the music that got him there. Those catching him at The Crest Theatre on Sunday night can Expect to hear both Scarface and Geto Boys classics that include “Smile,” “Soulja’s Story,” “F*Ck Faces,” “Mary Jane,” “ I Seen a Man Die,” “Mind Playing Tricks on Me,” “On My Block,” and more.

Jordan and his live band that have earned numerous hip-hop accolades, as well as a feature on National Public Radio’s hip Tiny Desk Concerts (which has since gone viral). Long-time fans will remember that it was Jordan who staged his own Farewell shows in 2021, only to return to the live circuit soon after.

Sean Healy presents an evening with Scarface and live band at the Crest at 7 p.m., with the show starting at 8 p.m. Tickets start at $25 and go up to $75 and can be purchased at www.crestsacramento.com. The Crest Theatre is located at 1013 K Street in Sacramento.

(SN&R)