Strip away the religious ramifications of reggae music and it comes down to love and respect for all things. This is the starting block for Luke Kinney, guitarist, lead vocalist and founder of Something Collective, a 10-piece roots reggae band, featuring three horns, keyboards, percussionists, a drummer, bassist and guitarists, that has been performing since 2011. “We have multiple musicians if somebody cannot make a show; I have people on standby that know all the songs,” Kinney exclaims.

San Francesca turns off the computer, flips on the synths, takes a look in the mirror 

Examining the cover of San Francesca’s latest release, you might observe that the nine, evenly spaced square images—which, in turn, form a larger square—were taken using the popular photo-sharing application Instagram. You’d be wrong.

“None of us own a smart phone,” shrugs Cody Rhodes, drummer for the San Jose-based alt-rock trio, as he sits behind his kit in the band’s Campbell rehearsal space. San Francesca is practicing for a short string of upcoming shows in San Francisco, Las Vegas and at The Crepe Place on Jan. 13, with Moon Eater and E V Kain (members of Hella, Cigar and Broken Bells).

Like many classically trained musicians, Rushad Eggleston started playing music at a young age, picking up the violin at 3 and moving to the cello at age 8. But unlike many classical musicians, he straps his instrument to his body like an enormous guitar, and occasionally hangs from the ceiling—if the situation calls for it. “It was a huge deal,” says Eggleston, remembering the first time he played the cello with a strap while standing. “I mean can you imagine? I guess it’s like a bird realizing it had wings.” Following Eggleston’s epiphany, it didn’t take long for him to bring his new technique to the stage, first with his rock band, Tornado Rider, and then solo.

Straight out of the Santa Cruz Mountains, The Ghost of Wrights are a manifestation of the spirits of a time and place forgotten by many. “We tend to write about the late 1800s—we’re big storytellers,” says Nate Nauseda, vocalist and guitarist for the band. “We both live a stone’s throw away from Wrights Station, which is an old train depot in the Santa Cruz mountains,” adds banjo and dulcimer player Cody Franks. “Some of those people—and their ghosts—are still around ... we are trying to embody the spirit of [that] area.” Informed by a wide range of influences, The Ghost of Wrights balance the twang of plucked banjo against Andrew Martin’s thumping, jazzy bass and the mellow driving drums of Brandon Otto.

The Doors’ Ray Manzarek and slide guitar virtuoso Roy Rogers on performing, grasping the infinite moment and teaching Jim Morrison to sing

You have to give Ray Manzarek credit for helping keep the memory of The Doors alive. He’s not afraid to pay homage to his own history by putting out a movie and soundtrack called Love Her Madly, nor is he above reenacting his days as The Doors’ keyboardist in a spoof by Weird Al. And if he wants to tour with a Jim Morrison impersonator from a Doors tribute act (as he does in the band Manzarek-Kreiger, also featuring his old bandmate Robby Krieger), he’s not going to let the jeers of fans, Morrison’s relatives and former Doors drummer John Densmore stop him.

The Brothers Comatose craft high-energy indie bluegrass

Though the moniker, chord changes and twangy, lamenting storyline might seem similar, The Brothers Comatose have carved out a sound all their own among the brotherhood of “brothers” folk bands.

And besides, singer/guitarist Ben Morrison says that he and his band are simply following in the footsteps of a deeply rooted American tradition.

“I don’t worry about it,” says Morrison, who had just wrapped a rehearsal in Petaluma—one of the band’s two practice spots (the other is in San Francisco). “I think that’s part of the tradition of everything—the whole family band.”

Marc Lewis, guitarist and founder of Santa Cruz rock outfit Doors To No Where, is somewhat elusive about the band’s moniker. “The name really came from the idea of being different, intuitive and into exploration. It's very open to interpretation,” says Lewis, who has just returned to the scene after taking several years off. “When I started to play music again it was after being down some dark paths and getting lost a bit,” he explains. “The name Doors To No Where is a reminder of that.”

Next month, Santa Cruz will bid adieu to one of its most promising singer/songwriters, Kendra McKinley, when she graduates from the music program at UC Santa Cruz. Once school is over, the 21-year-old Aptos native will set off on a sailboat adventure to Mexico with two of her friends, before moving to Boulder County, Colo., where the three women intend to start performing as a band. Santa Cruz won’t be left empty-handed, however. McKinley leaves behind her recently released debut album, Chestnut Street—an impressive collection of poetic and autobiographical songs she wrote while attending UCSC and performing at local venues.

Los Altos alt-rockers, Dredg, to play sophomore record for family of fans

The holidays are a time to eat, drink and be merry with the ones you know and love; a time to reunite with friends and family who have spent the rest of the year apart—busy with their jobs, their day-to-day household obligations and working on new material for another major-label record and supporting international tour.

Though you might presume so, Los Altos alt-rock outfit Dredg isn’t all that different from their followers. Like most of us, as the New Year draws nigh, we want to be close to hearth and home.

On Dec. 21, the boys from just over the hill will perform their second full-length album, 2002’s El Cielo, from start to finish at The Catalyst. The show is a celebration, according to Dredg frontman Gavin Hayes—both of the album’s 10-year anniversary and for the local fans that have been dedicated to the band since they first formed in the mid-‘90s.

You don’t have to be high to appreciate High On Fire’s music…but it helps

If Matt Pike has an official mission statement, it might well be Dopesmoker, the one-song album he helped create during his days as guitarist for the ’90s doom metal band Sleep. An epic tale about a caravan of marijuana worshippers taking bong rips as they march through Jerusalem (“Follow the smoke to the riff-filled land …”), Dopesmoker found the band stretching out what was essentially a single musical idea for more than an hour, with Pike making only occasional, momentary departures from a menacing C power chord.

“It’s the day before the end of the world, so we want this to be a night that everyone will remember,” jokes Carolyn Sills, in reference to the date of her holiday concert, “Santa Is Real: A 1950s Christmas Spectacular,” which kicks off on Dec. 20 at Don Quixote’s. The annual event is the pride and joy of the Chicago-born bassist/singer, who moved to Santa Cruz three years ago.

Kevin Morby of The Babies invites you on his rock ’n’ roller coaster

The day before Thanksgiving, Kevin Morby was pacing outside of a Guitar Center and talking on the phone, in Des Moines, Iowa, while the rest of The Babies purchased strings for their show hours later.

It was a strangely low-key afternoon for the 24-year-old singer/guitarist, who recently finished touring with his other band, Woods, in celebration of their September folk rock treasure, Bend Beyond.