The Catalyst

Voodoo Glow Skulls

Live in The Atrium

Voodoo Glow Skulls


Fri, January 13, 2017

Doors: 8:30 pm / Show: 9:00 pm

The Catalyst

Santa Cruz, CA

$13 in advance / $15 at the door

Off Sale

This event is 16 and over

Voodoo Glow Skulls
Voodoo Glow Skulls
In their sixteen years of existence, the Voodoo Glow Skulls have an impressive list of achievements. Seven albums, one million records sold, appearances in exotic locations like Brazil and Japan as well as the creation of a record store, record label, recording studio and a music venue attests to the remarkable creativity and energy of the band. Formed in 1988, Voodoo Glow Skulls meshed hardcore punk, traditional ska, tough guitar riffs and the Mexican music of their roots to create the prototype for the West Coast ska-core sound, influencing a wide range of bands from Sublime to No Doubt. Unflinchingly honest, their songs often used humor to comment on harsh political realities – from racial inequity to unrest overseas. Singing in both Spanish and English, Voodoo Glow Skulls' bilingual musical tradition has been a hallmark of the band since they began.
Titled Adicción, Tradición, y Revolución, the new album is self produced and recorded (in their Dog Run Studios), and contains some of their most rocking, candid music ever. "Adicción refers to our feelings about music, we have hardcore fans who consider our music to be both unique and addicting," Frank explains. "Tradición signifies the fact that we've been together as a musical family for this long, and have not really changed. Also, we have always tried to include our Latin roots in our music, either by writing songs in Spanish or incorporating musical ideas that we grew up with. Latinos have a very strong sense of tradition, and we are very aware of it. Finally, Revolución because we have always tried to steer clear of trends – we are somewhat of a musical revolution in that our music is unique, even hard to copy."
The core of the band since the beginning has been the three Casillas brothers, Frank, Eddie and Jorge, joined by drummer Jerry O'Neill and Brodie Johnson on trombone. The current line-up boasts a three horn section for the first time in six years. The lyrics are a collaboration between, "Eddie, a notepad and a pen, and myself," Frank jokes, and they run the gamut, from the hilarious send up of Jerry's girlfriend on "Dee Dee Don't Like Ska" to the political commentary in "We Represent". "Touring in some of the out-of-the-way places we have been, in some cases we are the first Americans they have dealt with directly. The negative feedback on the U.S. government is pretty universal, and disturbing." said Frank. "Smile Now, Cry Later" is their take on a rock steady song, with a killer groove. "Ghetto Blaster" indicts the corporate music industry and the force feeding of the masses. Every Voodoo Glow Skulls album contains one cover – their latest is a traditional ska version of the Guns N' Roses classic "Used To Love Her"!
With a list of accomplishments that might make some bands ready to slow their pace, the band shows no signs of slowing down. A full West Coast tour will be followed by a trip to Brazil to headlining the Punk Rock Show festival on Halloween, and another U.S. tour immediately follows. Voodoo Glow Skulls legendary live shows are full of searing horns, grinding guitars and throaty growls – and no one plays super tight ska faster than these veterans. Adicción, Tradición, y Revolución rocks harder than ever – Voodoo Glow Skulls dubbed their sound "California street music" – a perfect description of their high octane mix of rock, punk, ska and hardcore.

Buck-O-Nine formed in a small warehouse in the early part of 1991. Based in San Diego, the band was on the horizon of a change in the music industry. At the time the catch phrase was "Grunge." The band was eager to take a different path. With their backgrounds in Punk/Metal bands, Reggae bands and 2nd wave Ska bands, Buck-O-Nine had the formula for what was to become a new mutation of sounds. Inspired by the early founders of this new sound, Buck-O-Nine admired the works of Fishbone, Operation Ivy, The Mighty Mighty Bosstones and the Voodoo Glow Skulls.

By the end of 1992 the band had recorded a demo tape, entitled "Buck Naked." This was sold at local shows around southern California. The songs on the tape were to become half of the songs recorded on their debut album, "Songs in Key of Bree," released in 1994. While recording Key of Bree, which was to be self-released, the band caught the ear of their recording engineer, who also owned a small San Diego based label called Immune Records. The band licensed the album to Immune for 2 years. In the meantime they started what would become a relentless touring schedule and continued to write new songs.

After a show in San Diego sometime in the early part of 1995, Curtis Casella, the owner of the Boston based label, Taang Records (at the time home to the Mighty Mighty Bosstones) approached the band. Casella, having just moved his label to San Diego was taken by their choice of cover songs and was interested in releasing them on an EP. In the recording session of what was to become, "Barfly," the band zipped through the 4 cover songs in an hour with plenty of time in the session for more. They quickly called Casella and agreed to record some new originals. This resulted in the 1995 release of "Barfly."

With a strong foothold in the new ska scene, Buck-O-Nine toured like crazy across the U.S. and took their first trip to Japan. Soon after the release of "Barfly" local San Diego radio station, 91X, then headed by Mike Halloran, started playing the song, "Water in my Head." Buck-O-Nine, at the time being involved in a heavy underground scene, was leery of being played on the radio. However, the band felt that its integrity was intact in light of the fact that they had not sacrificed their songwriting technique to accommodate a radio format. So, the band embraced its strange but exciting new success.

Having been added to heavy rotation on 91X, and with the huge support of DJ Mike Halloran, the band caught the interest of some bigger record labels. At a sold out, headlining show at Hollywood's Roxy theater the band met Tom Sarig, who, at the time, was head of A&R at TVT Records out of New York City. The band found Sarig to be an extremely real and honest person and agreed to fly to New York to meet with the rest of TVT's staff. After an hour-long meeting with president of the label, the band found TVT to be a fantastic place to help their career grow. They headed to the studio to record "Twenty-Eight Teeth." The band was pleased that TVT would allow them to continue writing songs they way they wanted.
Venue Information:
The Catalyst
1011 Pacific Avenue
Santa Cruz, CA, 95060