Music reviews written for Metro Santa Cruz from 2001-2003

Music shorts on the following bands can be found below:

James Anderson
When fate knocks you upside the head, you can either complain about the headache or appreciate the pretty little stars circling round your head. When a stabbing attack in 1977 left blues guitarist/vocalist James Armstrong with his fretting hand injured, he opted to smile at the stars. The result is that now, almost four years later, Armstrong has regained the strength in his left hand but he's also learned how to play a mean slide in the interim. He's also strengthened his vocal skills. A longtime bluesman, Armstrong favors the story-like ballad style that Robert Cray makes work so well. Armstrong's music is all his own though, and it's hot, steamy, soul-healing blues.

Black Uhuru
Guess who's coming to dinner, Santa Cruz. Yes, dread, it's Black Uhuru — one of reggae's most enduring and continuously original groups. Formed in the mid-1970s by Don Carlos, Garth Dennis, and Derrick "Duckie" Simpson, the band has released more than 30 albums and nailed uncountable awards, including the first Grammy ever given (in 1984) for a reggae album. Since forming, the band has changed faces more than Liz Taylor, with the one constant being singer/songwriter Simpson. Among Simpson's many talents is his skill for choosing his people—former lead vocalist Michael Rose among them. These days that role is held by Andrew Bees, who retains the intensity and inspiration that has made this band so memorable.

Blackalicious
One of the most ripping hip-hop duos of the day, Blackalicious came of age in the sleepy cow town of Davis, CA. Maybe it was the excess fertilizer in the air that did it, or the equal and opposite reaction to the stultifying mentality of the average UC Davis ag major but, back in the early 1990s, a whole crew of hip-hop artists emerged from the area. Today they're selling out venues as Lyrics Born, DJ Shadow, Lateef and, our heroes, Blackalicious. They're big enough to skip Santa Cruz, but Gab and Xcel (aka Blackalicious) keep coming back, and they bring with them some tight-ass beats (we're talking 95 percent spandex), inventive rhymes, and a positive vibe that makes Mary J. Blige look almost grumpy.

Kaye Bohler Blues Band
Bohler's sultry voice and sinuous phrasings have evoked comparisons to such powerhouse vocalists as Etta James, Tina Turner, Janis Joplin, and Bette Midler. I'd have to throw the Maria Muldar into the mix as well--not only as a vocal soulmate to Bohler, but because the two share the same delightfully bawdy frame of mind. Bohler has delivered her high-octane blues-soul-gospel mix from L.A. to Tokyo for more than 16 years. Since 1993, she's been fronting her own band. The latest iteration--the Kaye Bohler Blues Band--is featured on her debut CD, Men and Music, just released this month. To celebrate, Bohler is doing a few live shows in the area that feature not only her band, but the horn section who backed them on the CD. With such a powerhouse ensemble, and Bohler's original, sensual, and eminently danceable music, this is a must-see show.

The Boneshakers, V. 1
It's been just over a year since the Boneshakers regrouped with vocalist Malford Milligan and in that time the band has proved a great thing can still get better. Fronted by Milligan and lead guitarist Randy Jacobs, the Boneshakers know how to light up a stage with funk enough to choke James Brown and rhythm that can even get your dead granny going. Rounded out by Nate Brown (bass); Jamie Kime (guitar); and Les Fisher (drums), the band is out promoting their new CD, "Put Some Booty on It," their fourth since 1995. And only in dreams has booty ever been this good, this cheap, and this easy to get.

The Boneshakers, V. 2
They'd come out with two CDs on Pointblank, they'd toured the U.S. and Europe, every time they came here they were selling out shows and being asked by exhilarated fans to sign all kinds of interesting body parts and then, about a year ago, they just disappeared. Whatever the reason (political intrigue, plastic surgery, problems with interns), the band is back with a hot new CD and some new personnel too. Lead vocalist Malford Milligan (Double Trouble, Storyville, Stick People), joins founding member and the backbone of the band, guitarist Randy Jacobs. Jacobs doesn't look nearly old enough for the musical legacy he's created: the author of such hits as "Walk the Dinosaur" and "Wide Receiver", Jacobs has played with everyone from Bonnie Raiit to Stevie Wonder to Herbie Hancock. The Boneshakers have lost nothing during their makeover--Jacobs' funky, fiending fretwork is perfectly balanced by Milligan's growling, powerhouse vocals.

Burning Spear
Reggae venues are glutted with boneheads who think all they have to do to be the next Bob Marley is grow dreads, smoke pot, and say "mon" a lot. But, amongst all the dreck, there are some truly astounding reggae musicians out there. Among them is Winston Rodney, aka Burning Spear, who actually worked with Marley in the old days. The two met on a road in St. Ann's when Marley, in the company of his donkey, was heading back to his farm. Marley turned Rodney onto the legendary Studio One, and the rest is history. Rodney became Burning Spear, in honor of freedom fighter and former Kenyan leader Jomo Kenyatta who was known by that name. Since 1969, Burning Spear has released 28 albums and received nearly a dozen Grammy nominations as well as the 2000 Grammy for Best Reggae Album. His powerful, mesmerizing voice and his intense spiritual focus make Spear's concerts as much a religious experience and an out-and-out good time. He plays, as always, backed by a potent rhythm section and searing horns.

Chris Cain, V. 1
It's perverse, but what can you do? When Chris Cain has the blues, you gotta feel good. For nearly three decades now the superbly talented Cain has been playing straight-ahead Chicago blues, translated through his jazz-trained mind. A four-time W.C. Handy award nominee, Cain is recognized as one of the leaders of the next generation of bluesmen, stepping into the rather enormous shoes of such greats as Albert Collins, Albert King, Muddy Waters, and B.B. King (many of whom he played with over the years). Cain's rich, throaty baritone sounds uncannily like B.B.'s, but he plays with a powerhouse nimbleness that is all his own--a conglomeration he's developed from a mastery of multiple instruments that lets him think outside the box. Cain plays with an abandon and joy that belies his poor-pitiful-me lyrics, and he's backed by one of the tightest ensembles around.

Chris Cain, V. 2
When he's really tearing it up, blues guitarist Cain looks like nothing so much as a happy dog with its head out the car window—his tongue hangs out, hair flies everywhere and there's a big blissful grin on his sweat-soaked face. Growing up in San Jose in 1960s, Cain was exposed to the oldschool blues guys like Muddy Waters, Leadbelly, Bobby "Blue" Bland, Elmore James, Ray Charles, Johnny Otis, B.B. and Albert Collins (many of whom he later played with). Although he studied music formally and was even a guest performer for the San Jose Wind Symphony, at the end of the day, Cain is a straight-up blues guy—raw, rauccous, and real and simply one of the best out there these days.

W. C. Clark, V. 1
He doesn't do the horse-head-in-the-bed thing, but W.C. Clark—"godfather" of Austin blues—knows how to make people pay attention. Whether he's hitting high notes with his stunning falsetto or simply hitting a groove (which, it seems, he could do in his sleep), Clark consistently delivers a fun and very danceable show, full of blues, gospel, and R&B. Clark's four decades of performing began in the late 50s in Austin and included a long run with Stevie Ray Vaughan in the Triple Threat Revue. Since then he's toured the globe, been featured on PBS, gone platinum (with "Cold Shot," which he co-authored), and mentored a whole brood of younger blues stars, including Jimmie Vaughan, Marcia Ball, Angela Strehli, Lou Ann Barton and The Fabulous Thunderbirds.

W.C. Clark, V. 2
Like many talented bluesmen, Clark didn't gain national recognition until he was decades into his career; but in his hometown, Clark has long been considered the Godfather of Austin Blues. The 61-year-old guitarist and vocalist has played with just about every musician in the Austin music scene, including both the Vaughan brothers (Clark was a long time member of Triple Threat and co-author of "Cold Shot"--one of Stevie Ray's biggest hits). Fast forward to the present, where Godfather Clark has released three successful solo albums, received a W.C. Handy Award, and tours regularly. Clark's mix of Memphis soul, southern blues, and R&B is a delight to hear (as is his smooth voice, which he occasionally takes into the Falsetto Zone). Along with his original music, Clark covers some of R&B's best, including Johnnie Taylor, Al Green, Bobby "Blue" Bland, and Ike Turner.

James Cotton/Charlie Musselwhite and others
How many harmonica players does it take to screw in a light bulb? Well, scientists are still working out the exact numbers, but certainly the five who will be on stage for this concert will generate enough wattage to light up the city for the night. The show features blues legends James Cotton and Charlie Musselwhite and the somewhat younger but no-less talented Mark Hummel, Andy Santana, and Gary Smith. Grammy winner James Cotton, who has been playing harp for half a century, is one the last living harmonica masters from the early days of Chicago blues. Musselwhite has been playing for nearly 40 years himself, and has pulled down a number of Grammy nominations and W.C. Handy awards. Hummel, Santana, and Smith are no slackers either. These Bay Area bluesmen have all gained national acclaim performing with their own bands. Hummel's band, the Blues Survivors, backs the performers.

Delgados Brothers, V. 1
The Allmans, the Holmses, the Nevilles--something unearthly happens when family members make music together. Whatever genetic forces power such harmonious magic, the Delgado Brothers have it in full measure. The three musically inclined children from Belle Delgado's brood of eleven, brothers Bob (bass), Joe (guitars and vocals), and Steve (drums and vocals), have been playing together since the late 1980s. Given their East L.A. roots, and their blues/rock/Latin sound, the band inevitably draws comparisons to Los Lobos. But that's not a bad thing, by any means. And, in fact, Los Lobos' David Hildago (considered the world's Fourth Tenor by many of us) contributed his talents to two of the tracks on the Delgado Brothers' kickin' 1999 release, "Let's Get Back." The brothers tore it up last spring at the Santa Cruz Blues Festival. If you missed them, here's your chance to make up for lost time.

Delgado Brothers V. 2
Is it the water? Something about Santa Cruz keeps the Delgado Brothers coming back here on a regular basis. Lucky for us, since these guys always put on a memorable show--always tight, often rowdy, and predictably unpredictable. The Delgado Brothers (three of whom really do share the same mother) got their start in East L.A. in the late 1980s. And, like their more famous East L.A. counterparts, they work off of a foundation of blues and rock made interesting by throwing traditional Latin music into the mix (not to mention zydeco, rockabilly, and jump- and roadhouse-style blues). Los Lobos may have made the formula famous, but the Delgados have mastered this musical alchemy with their own fiery style. Along with tight instrumental work, the Delgados give up a powerful vocal performance--delivering the kind of magical harmonies you only hear from people who share the same DNA.

Dub Congress
Dub is something like rap-reggae — Marley meets Jay-Z. This Santa Cruz-based band grew from a plain vanilla ska band in the mid-1990s into their current iteration — a six-piece crew that delivers rock-steady dub, mixed up with an intelligent blend of hip-hop and, of course, roots. Unlike some shwag-hounds who think all you need is a two-four beat and good stash to make reggae, these guys actually know what they're doing, which is why they've developed a solid following and lasted nearly a decade. Bottom line, their s--- is dank.

Eek-A-Mouse
One biographer claims Eek-A-Mouse is a household name, which is true if you count all those people just discovering a nasty rodent problem in their house in along with fans of the Jamaican deejay/rapper. His high-pitched, squeaky, rapid-paced vocals may, at times, invoke the unhappy housewife yelling his name from atop a chair (hey, clean up your minds!), but Eek-A-Mouse, aka Ripton Hylton, is more than an exclamation of distress. This dub sound poet is a man with a sense of humor and drama and a voice that is a musical instrument in his own right.

Sue Foley
Saucy and steamy, Sue Foley sings and plays the blues with a deep-fried Texas twang that makes a person want to dig out the snakeskin boots and high-tail it down to the nearest juke joint for a shot or two of whiskey and some sultry two-steppin'. Not bad for a Canadian girl. The Ottawa-born Foley started playing locally when she was 15 and kept outgrowing her venues, drawing bigger crowds as word got around. By the late 1980s she had begun touring in the states and was taken under the wing of Austin blues patron Clifford Antone. Was it the cornbread, the cowboy boots, or that dry Texas air? Something got into that girl and now, a half dozen albums and a decade later, Foley is counted among the best of the new generation of blues divas.

Giant People, V. 1
Popularity isn't necessarily a reliable indicator of quality — just look at Bush's approval ratings if you want proof or audience numbers for Survivor, or the fact that Giant People is enormously popular among former Deadheads. This quirky, funky, very original band is led by Carlos Washington. A gifted trumpet player, Washington performed for some time with Karl Denson's Tiny Universe before deciding to strike out on his own a few years back. Giant People's popularity isn't limited to Deadheads — an ever growing fan base has been attracted by the band's intense interweaving of hip-hop, world music, jazz, and funk. This sound is the byproduct of Washington's, well, unique career, which has included stints with the U.S. Marine Corps Band, DJ Logic, John Scofield, Victor Wooten, Galactic and the String Cheese Incident.

Giant People, V. 2
Forget the "Friends" rerun, take a raincheck on the weekly Nintendo and spleef night with the boys, the fish fry can wait. Giant People pulls into town for the first time this year and definitely rates the attention of any true music lover. Quirky, funky, and original, Giant People offers up an intelligent interweaving of jazz, funk, world music and hip-hop that makes a body want to move. Headed by Carlos Washington, the band's eclectic style reflects the trumpet player's wildly diverse career, which has included stints with the U.S. Marine Corps Band, John Scofield, DJ Logic, Galactic, the String Cheese Incident, and Karl Denson's Tiny Universe.

Global Funk Council
Okay, people who have worn grooves in their Garth Brooks or Avril Levine CDs can just skip over to the Life in Hell comic now. But for those out looking for sharp, tight, out there funk, take note— the council convenes in Santa Cruz this week. The past credentials of this quintet tell the tale: Anthony Smith (keyboards) comes from Giant People, drummer Eric Bolivar was previously with Karl Denson's Tiny Universe, then there's percussionist Steve Haney from Denson's previous band, the Greyboy Allstars. Other council members are bassist Jonathan Stoyanoff and guitarist Josh Suhrheinrich, councilmembers who never vote on the moderate side.

Arlo Guthrie
Anyone old enough to remember the real Woodstock ought to remember the sweet and slightly wacky story of "Alice's Restaurant" (which is, by the way, not the restaurant's name). That song launched the career of Arlo Guthrie in 1967. The son of the famous folksinger and labor and civil rights activist Woody, Guthrie produced successive hits following that release (including "Coming into Los Angeles," which was banned from many radio stations for such seditious lyrics as "Coming in from London/From over the pole/Flying in a big airliner/Chickens flying everywhere around the plane/Could we ever feel much finer?" For four decades now, Guthrie has been entertaining the world and raising our social conscience at the same time. In the tradition of his father and such mentors as Pete Seeger, Guthrie combines his musical talent with a gift for storytelling, something you're not likely to get at a Blink 182 concert.

Terry Hanck
Since the days of Duke Ellington and Louie Prima, horn players have often fronted their own jazz bands, but it's rare to see the horn guy up front in the blues world. Tenor saxman Terry Hanck apparently doesn't know this, since he's been fronting his own band for nearly 15 years now. Hanck's natural skills as a showman emerged during his ten-year stint with Elvin Bishop, when Bishop often brought Hanck into the spotlight to, er, blow his own horn. The effect was obvious--Hanck is a natural showman and audiences loved him. With a good singing voice and his songwriting skills, it was inevitable that Hanck eventually form his own band, which he did in 1987. Since then Hanck has been headlining and opening shows for some of blues' biggest names at festivals and clubs around the world.

The Itals
The Itals have gone through more iterations in their 25-plus years on the scene than Madonna's hair, but the two consistents are lead singer and founding member Keith Porter and the kick-ass vocals he commands. In a harmony-driven roots sound similar to that of the Mighty Diamonds, the Itals have made a mark over the years, touring the world multiple times over and even nailing a Grammy nomination for best reggae album of the year (in 1987 for their third album, "Rasta Philosophy").

Candye Kane
Yes, she's a former porn star and, yes, she has been known to play the piano most unconventionally (Look, ma, no hands. . . or feet!), but it's more than her naughty audacity that makes Candye Kane so hot. For roughly two decades the blues/swing chanteuse has been charming audiences with her playful, powerful talent. A former welfare mother and battered wife, as well as openly bisexual, Kane's road to success has not been exactly smooth. But, of course, those hard times are what fuel Kane's high-octane music and inspire such lyrics as: "Hey Mister! You sure look cute/Greasy hair, and that slick zoot suit/But the one I want is by your side/She was my baby last night." Kane and her band are sure to play this and other catchy tracks off her latest album, "The Toughest Girl Alive." Her shows always sell out, so buy tickets in advance.

Karl Denson's Tiny Universe
A few years back there was a bumper sticker circulating that said, "Jerry's dead. Phish sucks. Get a job." Some people took that advice, others simply moved on to bands like the String Cheese Incident and Karl Denson's Tiny Universe (KDTU). But just because these people have no life doesn't mean they have no taste, and in the case of KDTU they hit the mother lode. The dynamic Denson tears it up on the sax (and flute a la Ian Anderson) with a largely instrumental, exquisitely funky mix that ranges from the nasty to the sublime. Before KDTU, Denson did time with Lenny Kravitz, the Greyboy Allstars, and Fred Wesley, among others. Now, with his eminently talented and not-too-shabby-looking ensemble, he performs to sold out crowds where those who have no life rub shoulders with those who maybe have too much.

Kosono
Since Palookaville closed there's been a distinct absence of African/world beat music in Santa Cruz; but it explains why, when an African hi life band such as Kosono performs here, they set up stage at the local blues joint. The locally based nine-piece ensemble is fronted by Nigerian musician Danjuma Adamu — a multi-talented musician (guitar, vocals, sax, keyboards, drums, bass, percussion, armadillo) who has performed worldwide and with the likes of King Sunny Ade, O.J. Ekemode, and Fela Anikulapo since he was a teenager. Adamu's joyous persona is a perfect match for the upbeat rhythms of hi life, which the band fuses with overtones of rock, jazz and funk.

Ladysmith Black Mambazo
Ngiyabathanda labafaba. That's Zulu for, "I love these guys"—an oft-echoed sentiment for this South African a cappella ensemble. Formed in the 1960s by Zulu farmer Joseph Shabalala, and featuring many family members, Black Mambazo is simply one of the most outstanding groups performing today. Most of us in the Western world first heard the stunningly complex and transcendent harmonies of Black Mambazo through Paul Simon's "Graceland" in 1986. Since then the ensemble has gone on to earn a Grammy and a Tony. They are adored not only by the Queen of England and the Pope, but by the marketing moguls at 7-Up and Lifesavers. Those may not be the most credible music critics in general, but this time they got it right.

Little Charlie and the Nightcast
After Mariah Carey's astounding performance at the NBA All-Star game, you'd think the musicians of the world would pack it up and head home. After all, who wants to go up against that much talent. But, happily, there are a few guys out there who stubbornly persist, even though they just can't pull off the Wizards shirt thing. Among them, Little Charlie and the Nightcats. Core members Little Charlie Baty (guitar) and singer/songwriter/harp player Rick Estrin have been playing their blues-rock-jump-jive sound for nearly 25 years. Their concerts and seven studio releases have drawn consistent critical acclaim for howling harmonica solos, deft guitar work and an authentic, ass-grabbing sound.

Los Lobos, V. 1
If the Big Bang theory applies to any band, it's Los Lobos. The band got a major kick-start in the 1980s with one singulalry explosive hit--a cover of Ritchie Valens' "La Bamba" and steadily expanded their sound and their fan base to galactic proportions. There was a time when they might have been nailed as a Latin roots/rock mix, but releases like Kiko (1993), Colossal Head (1996), and This Time (2000), have made it impossible for critics to easily peg their intense amalgam of traditional, Tex-Mex, rock, R&B, blues, and god-knows-what-else. But who cares. The important thing is, they deliver an audacious mix of chemistry, kick-ass musicianship, and lyrical intelligence that never lets you stop moving.

Los Lobos, V. 2
Critics practically pee in their pants when guys like Ry Cooder, Peter Gabriel, and Paul Simon come out with cultural hybrid releases like Graceland and the WOMAD and Buena Vista Social Club albums. Not to say it's not a fantastic idea, but plenty of bands have been doing the same for years and one of the uncontested masters is Los Lobos. Since 1973, the East LA-based band has been kicking out an astoundingly rich and magical mix, resonant with American R&B and blues and traditional Mexican folk. The only thing keeping these guys from true godlike status right now is that they're playing during the Warriors' season opener. Bad wolves. Bad.

Maceo Parker
In the world of funk, there are two undisputed sovereigns — George Clinton and James Brown. Although not as well-known, alto saxophonist Maceo Parker is indisputably a contender for the post of Funkmaster Extraodinaire. Parker has been leading his own band for the past decade, but he helped establish the legacies of both Clinton and Brown, playing his phenomenally funky horn with both bands between the mid-1960s and 1988. In fact, Parker's name became a call-to-funk for James Brown who, when he hit his groove, often called out, "Come on Maceo, play your horn!" Parker's releases in the early 1990s did exceptionally well on the jazz charts, pegging him in an ill-fitting niche. No question the man is a chart-topper but he is about as much a jazz guy as Puff Daddy. Parker describes his music best. It is, he says, "2 percent jazz and 98 percent funky stuff."

Thomas Mapfumo
Many artists advocate social change, but few emerge as de facto leaders as Mapfumo has in his native Zimbabwe. Like the late Bob Marley, Mapfumo galvanized his countrymen to fight for social justice, voicing opposition to British colonial rule in a musical style he dubbed chimurenga (meaning, "liberation war"). Two decades later, Mapfumo continues to sing out against poverty, violence, AIDS, prejudice, and corruption in the current government of president Robert Mugabe (whom he helped bring to power in 1989). He's served jail time and had songs banned as a result. Performed by the stunningly tight 11-piece ensemble, Blacks Unlimited, Mapfumo's chimurenga (sung in his native tongue of Shona) has the feel of African hi-life--it's an uplifting, complex interweaving of traditional and modern Western instruments, rhythms, and voices that can be mesmerizing, thrilling, and even transcendent. Even for those who've never heard of Zimbabwe and don't understand Shona, Mapfumo's music speaks a universal language.

Zigaboo Modeliste
In the world of funk, drummer Zigaboo Modeliste’s supple, original rhythms are legendary. In the 1970s, as a member of New Orleans R&B sensation, the Meters, Modeliste was the force behind the band’s funky, driving, chart-topping sound. His rich, nasty, always-in-the-pocket riffs were so distinctive that even though Modeliste himself didn’t tour for nearly 20 years, his music got ample airplay in the form of resampled mixes used by such groups as the Beastie Boys and Public Enemy. After nearly 20 years out of the limelight, Modeliste resurfaced last year with the release of "Zigaboo.com"--a steamy gumbo of traditional New Orleans-styled funk and modern grooves. During a recording session, the studio equipment caught fire. Really. Talk about hot. Younger funk phenoms like Galactic and the Greyboy Allstars are doing great things for the genre, but happily, Modeliste has rejoined the funk party he helped start. Who’s your daddy, boys?

Coco Montoya
It's been a quirky musical evolution for Coco Montoya. A formidable blues guitarist whose performance history includes a ten-year stint with John Mayall and the Bluesbreakers, Montoya got his start in the music scene as a drummer. That was back in the mid-1970s, when Albert Collins called Montoya up from the minors to lay down the rhythms for his touring band. Montoya stayed with Collins for five years, learning guitar from the legendary blues master in the band's off-hours and then going on to play with Mayall in a role held previously by such people as Eric Clapton and Mick Taylor. Since 1993, Montoya has toured his own band, releasing three critically acclaimed albums and pulling down four W.C. Handy Award nominations. A natural-born entertainer, Montoya gives off non-stop energy and all-out emotion when he plays. His show is usually full of surprises--there was the time at Moe's, for example, when Montoya first startled and then delighted the crowd by hopping off the stage and playing his way across the dance floor.

Muthaship
Heads-up, Houston, the Mutha Ship is landing. Savvy locals already know about this tight, talented band, which has been bringing life to area dance floors for years now. Mutha Ship delivers a mix of originals and some of the best covers on the planet. This is not one of those low-end cover bands, doling out Top 40 pabulum just a step above karaoke club fare. This quartet's got soul, groove, and real talent, playing from a tasteful song list that draws from the best of the best--Stevie Wonder, James Brown, Sly Stone, the Meters, Booker T and the MGs, the Neville Brothers, Johnny Taylor. They're fresh, they're funky, and anyone who's not up dancing once the band warms up probably doesn't have a pulse either. Saturday's show is a special one, celebrating the birthday of Captain Groove himself, drummer/lead singer Le Mau Dauterive.

Neville Brothers
Let's play the word association game for a minute, okay? Here we go: high… low, night… day, cigar… uh, well, never mind. The point is that some associations are almost universal, and, among them, is the one linking New Orleans and the Neville Brothers. The brothers' funky, bluesy, from-the-cellblock-to the-mountaintop sound has, over the past three decades, come to be so intimately associated with the steamy southern city that they have become its de facto ambassadors. How the Nevilles (Art, Charles, Aaron, and Cyril) have lasted over the years when so many other dynamic musical alchemies have withered is unclear. Maybe they know if they mess up they have to answer to mom one day. But, maybe, their enduring popularity has to do with their ability to accommodate each other's diverse musical tastes and political agendas--an openness that has attracted such unlikely collaborators as Linda Ronstadt and Wyclef Jean and fans who run the gamut from Deadheads to jazz aficionados.

Lee Rocker
Leave it to a bass player to describe rockabilly as the "original punk rock." It's an interesting notion, and one Lee Rocker will make good on this weekend. The former Stray Cats bassist has been something of an underground treasure since the world-famous band broke up (for the second and, seemingly, last time) in 1992, performing roots and rockabilly to thrilled crowds in smaller venues here and abroad. Along with his own tunes, Rocker covers the songs of such rock 'n' roll founding fathers as Elvis Presley, Chuck Berry, and Howlin' Wolf, but rarely covers his own Stray Cats hits. Rocker (who likes his bass upright, thank you) is credited with inspiring numerous alternative bands (the Cherry Poppin' Daddies, Squirrel Nut Zippers, and Bare Naked Ladies, among them) to include the stand-up bass in their own ensembles. It's a great sound, and one Rocker is eminently qualified to dish out.

Rod Piazza & the Mighty Flyers
Sometimes it's good to blow hot air. Take Rod Piazza, for example. A veteran harmonica player, Piazza learned his licks performing with the likes of T-Bone Walker, Big Mama Thornton, and Pee-Wee Crayton in small blues joints in Watts. He formed the Mighty Flyers in the mid-70s, and they've been together ever since. On top of his own bucketful of talent, a large part Piazza's success can be attributed to his knack for hanging on to his band members, one of whom he went so far as to marry. Far from a back-up band, the Mighty Flyers are a tightly knit ensemble. With their tight arrangements and that uncanny telepathic communication that occurs between people who've been together for a long long time, Piazza and the Mighty Flyers create some pretty dazzling musical magic when they play.

Roomful of Blues
For three decades now, this octet has been knocking the socks off of audiences worldwide. And rather than get decrepit and tired as time goes on, Roomful of Blues has managed to stay fresh and tight. Members have come and gone since they formed in 1968, but the band's style remains consistent. One of the newest members is vocalist Mac Odam--whose rich baritone puts him squarely in the big-mouthed bass leagues. Odam joined the band in 1998 and is one of the few singers out there with the vocal wattage to match the power of Roomful's famous horn triumvirate. Anyone who listens to any radio stations--well, any decent ones--has heard the band, who has received four Grammy nominations and countless W.C. Handy awards over the years. As good as the show will be, it's going to be even more interesting to see how all those guys fit onto the club's small stage.

Pharoah Sanders
In the 1970s Pharoah Sanders shook up modern music the way Jackson Pollock and Joan Miro shook up modern art. Armed with a tenor sax and an audacity born out of intimacy with his music, Sanders plowed through musical conventions the way Moses made his way through the Red Sea. Sanders first gained renown while playing with John Coltrane during the mid-70s, when Coltrane was doing his most experimental work. After Coltrane's untimely death, Sanders struck out on his own, taking the expressive spirit of jazz to the next step and becoming one of the undisputed leaders of the new jazz avant garde--a role he holds to this day. He's intense, aggressive, and demanding, and he's also a musician of deep grace and feeling. In his hands the sax transforms into an unearthly thing, producing exquisite sound and emotion.

Eric Sardinas
Eric Sardinas is a blueshound in heavy metal clothing. With his unruly long black hair, skin-tight leather, and tattoos, Sardinas is the spitting image of a rocker groupie's fantasy. Sardinas does hone his blues with a sharper edge than most old-school musicians, but that's bona fide born-from-the-Delta blues inspiring his sound. Sardinas is an anomaly in more ways than one, choosing to lay his licks out on custom-electrified dobros--between that and his brass-pipe slidework, Sardinas delivers a galaxy blasting, full-bodied, intense and original sound. To add to the unique mix, the bands' bass player, Paul Loranger, does his work on an upright. Although Sardinas and his LA-based band tour nearly 300 days a year, this is only their second stop in Santa Cruz.

Savoy Brown
With two exceptions, British exports are not generally something to get excited about. Think about it—boiled lamb... cricket... Hugh Grant. The two exceptions? Umbrellas and music. Since the British Invasion, Her Majesty's people have proved they do know something about something. And the band Savoy Brown is certainly a British export to get excited about. Formed in 1966, the band was one of exceptional groups to take old-time blues and add an edge with modern rock sensibilities. Savoy Brown, which has been kept together over the years by lead guitarist Kim Simmonds, is among the most exceptional of this movement, which also includes the Moody Blues, Procol Harem, Cream (yes, that's Clapton), and Fleetwood Mac. Simmonds and company have stayed true to the original sound and deliver a show that may harken back to the good old days but still works in these modern times. God Bless Queen....um, make that, the Queen.

Skatalites
Allright, punks, lissen up: The Skatalites are coming to town. If you plan on going to their concert, get plenty of rest the night before, drink gallons of high-protein, high-electrolyte liquids, and bring a few power bars to the show. They may have been playing for nearly four decades, but this band, which includes four of the founding members, puts on such a hard-driving, high-energy show that sometimes it's hard for mere mortals to keep up on the dance floor. Before there was the English Beat or the Specials, there were the Skatalites, who are considered the founding fathers of the genre. Nowadays there are more ska bands on the scene than a person knows what to do with (among them, Skabba the Hut, Skahumbug, Skaliosis, Skanorrhea and the Burning Sensations, and, seriously, Skazel Tov!). But, if you know what's good for you, you won't miss a chance to see the first and the best.

Southern Culture on the Skids
Imagine a world in which Simone de Beauvoir and Minnie Pearl find common ground, where monster truck racing and public radio programming are discussed with equal ardor, and toilet bowl planters and Rodin sculptures are displayed side-by-side. Welcome to the world of Southern Culture on the Skids (SCOTS). The irreverent North Carolina band plays with the force, flashiness, and beehives of the B52s and a quirky, raunchy intellectualism simply reeking of Frank Zappa. Masters of swampabilly (their term), SCOTS plays an amalgam of high-reverb surf guitar, blues, rock, Tex-Mex, and R&B filtered through a semi-psychotic playfulness that guarantees each show will be unique and, as Simone might say, "très amusant." After 15 years and seven albums, SCOTS has a lot of material to choose from, but it's likely they'll be focusing on songs from their latest release, Liquored Up and Lacquered Down.

Angela Strehli
Sultry, sensuous, Lubbock-bred blues babe; one of the Austin dynasty who matured alongside the Vaughans and Dixon and Barton in Antone's hey day who — more powerful than a speeding J.R., able to hurdle tall Bushes in a single leap, still remembering the Alamo — can belt it so they yell and croon to make hearts melt and sure ain't no pansy-ass tone-deaf ProTools-needing, boob-job-using, Pepsi-pushing bonehead; nosiree, this is Austin's five-time best female vocalist and blues diva extraordinaire: the real deal... kinda like Proust.

Wailing Souls
Some bands get stale with time, some just get butt-ugly. But, after more than three decades, the Wailing Souls- earn the distinction of being among the few to remain fresh, forceful, and inspired. Led by Trench Town patriarchs Winston "Pipe" Matthews and Lloyd "Bread" McDonald--, the Wailing Souls offer a truly stirring roots reggae experience. The two-time Grammy nominees began playing together in the late 1960s, establishing a musical legacy that includes creative collaborations with such reggae legends as Freddie MacGregor, Black Uhuru's Garth Dennis, and Sly Dunbar and Robbie Shakespeare. The latter two lay down the rhythms on the Wailing Souls' latest release, Equality, which came out this past June. During the '90s, the band successfully experimented with a more pop-oriented sound, but in recent years they've returned to what they do best--fundamental, harmony saturated, soul-stirring reggae.

Joe Louis Walker
Don't expect tired old Mustang-Sally, 1-4-5 blues from Joe Louis Walker. While clearly rooted in traditional Chicago-Delta blues, guitarist/singer/songwriter Walker plays with imagination and emotion that makes his sound fresh, high-voltage and even, on occasion, mesmerizing. The 51-year-old San Francisco native developed his style from a wide range of influences--as a teenager, he solidified his blues techniques opening for such greats as Muddy Waters, John Lee Hooker and Lightin' Hopkins; then he expanded his repertoire and skills while living with the late slide guitarist Michael Bloomfield in the late 60s. Walker's gospel-flavored vocals are the result of nearly a decade spent performing with the Spiritual Cornthians. The prolific Walker has recorded close to a dozen albums and been the recipient of several W.C. Handy awards as well as a 1995 BAMMY for Best Blues Musician of the Year.

Corby Yates, V. 1
Britney, Beyonce, Lil Bow Wow... next thing you know we'll have superstars performing in-utero. With all the emphasis on youth, it's hard to get respect as a kid who comes onto the music scene offering up more than just, well, youth. But now that he's old enough to order drinks in the venues he plays in, maybe everyone will stop focusing on how young guitarist Corby Yates is and get to the real point. Huh? Oh yeah, the point. Right. The point is, young or not, Corby kicks ass. He's sharp, intense, and gripping—just the thing for blues fans who get off on searing guitar-saturated blues a la Jimi and Stevie.

Corby Yates, V.2
When a young musician is proclaimed a prodigy it usually means some music mogul has found the pretty face-du-jour to offer up to our youth-obsessed society. But in the case of guitarist Corby Yates the term is well-earned. The 19-year-old guitarist is far cry from a the packaged label products cluttering up the pop music scene with their thin bodies and even thinner talent. Yates plays with accomplished guitar technique, killer musical instincts, and an emotional maturity that belies his tender years. Yates was barely out of diapers when he took an interest in music, and his dad (who plays bass in Yates' band) weaned his son on the riffs of such guitar divinities as Albert King, Buddy Guy, Stevie Ray Vaughan, and Jimi Hendrix. That gives you an idea of Yates' style, but don't expect to hear carbon-copy music--Yates is a true blues guy, but he's also a true original.

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