colorado music buzz magazine jan 2013

January 2013 | ColoradoMusicBuzz.com6

MANAGING PUBLISHERSKeith [email protected] [email protected] EDITOR-Front of HouseJennifer [email protected] EDITOR- Back of [email protected] [email protected] [email protected] Web [email protected]

CONTRIBUTINGWRITERSSatarra Camacho, Jenn Cohen, Sal Christ,Chris Daniels, Ryan Edwards, Andrew Hoag,Jonathan McNaughton, Eric Smith, DarnellTeague, Torch, TimWengerPHOTOGRAPHYSheila Broderick, Jenn Cohen, MilesChrisinger, Ted Davis,

ADVERTISING &MARKETING [email protected] Murphy [email protected]@ColoradoMusicBuzz.com303-870-7376

GENERAL [email protected] / OTHERPlease email us a written request proposal for all inquiresto [email protected] with the subject lineincluding the words “Sponsorship proposal”

CMB Submissions andAdvertising PolicyColorado Music Buzz welcomes submissions, advertisementsand sponsorships from those connected to every musicalgenre and style, as well as the general public. Due toour publication’s community focus, article content andadvertisements containing nudity, drug references, profanewords/visuals, or sexually exploitative material will not beaccepted. Please feel free to voice any concerns you mayhave and collaborate with us to adapt what you would like topresent in a way that respects both our all-ages audience andyour artistic integrity. We are here for the music, and we arehere for you.Artists may submit press kits/CDsfor review by mail. Please emailrequests for coverage directly tothe editor and copy the writer ofyour choice in your musical style.Colorado Music Buzz Magazine, LLCP.O. Box 2739, Littleton, CO 80161Colorado Music Buzz Magazine is published monthly by Music Buzz MediaLLC (Publisher) and distributed to over 650 locations throughout greaterDenver, Boulder, Colorado Springs, and surrounding areas. Reproduction inany manner in whole or in part without express written consent of the Publisheris strictly prohibited. Views expressed herein do not necessarily reflect theopinions of the publisher or its staff. Colorado Music Buzz Magazine LLC doesnot limit or discriminate based on ethnicity, gender, age, disability status, spiritualbeliefs, familial status, or national origin, and does not accept editorial contentor advertisements that do.


by Eric “Psikotyk” [email protected] comes a certain amount of pressurewith being in a band that challenges itself withconstantly growing and challenging the “norm,”and Oli Herbert of All That Remains will bethe first to point that out. In an interview thatwent way beyond expectation, he opened upabout the difficulties bands find on the road,and talked about how important musicianshipis, and how if it isn’t paired up with a sense ofshowmanship and originality, most bands wouldnever make it in the world’s arena.

Touring is hard. Touring relentlessly in the earlydays of trying to make a name for yourselfis even harder. Herbert explained that youmake little to no income, and are treated likeperforming animals in most situations. In2004, on the War Party Tour, this was madeabundantly clear. Up to that point, Herbertsays, “We were used to ‘Here’s five bucks, youknow, go find something to eat, then performfor me.’ But these guys were very professional;there was actual catering. I can actually saythat Dave Brockie (a.k.a. Oderus Ungerusfrom GWAR) is the reason I’m still in the band.I was making no money at all, I was broke ashell, and I was like, ‘Man, I could go back toteaching and make a pretty good living.’ But heconvinced me I’d regret it. He sat down and hadsome serious talks with me about that, and Istuck with the band. When I saw him last yearin Denmark, he was like, ‘See? Aren’t you gladyou didn’t quit?’”

But Herbert also admits that touring is the onlyway to really separate yourself from all theother artists out there, and that there is moreto playing a live show than just playing music.It is a performance, first and foremost. “I reallyrespect bands that go out of their way to givepeople their money’s worth (production-wise).The biggest challenge for most bands is beingable to perform, and still play decently.Regardless of its difficulties, Herbert preferslife on the road. But he also offers that withoutproper education and really understanding yourrole as a musician, you have no foundation tobuild from, either. He takes education incredibly

seriously, and draws inspiration from as manysources as he can. In order to separate hiswriting from his contemporaries, “I don’t listento any bands of my genre. That leads toinevitable plagiarism. I usually listen to a lot ofclassical when I’m in a compositional phase,jazz too. I think in feelings and imagery, andI picture those things when I’m writing.” Hewent on to say that bands have an obligationto both write compelling music, and to providea performance for the crowds. “You may thinkit’s silly, others will think it’s cool, but, it’s aboutfinding your own way and getting comfortablein that role.”But even successful artists have their doubts.“When I have to go home, and it’s time tocompose a new album it’s very, very stressfulfor me. You know, this could be it; this could bethe one that, you know, this could f*ck up ourwhole career. Everybody will hate it . . . there’salways that uncertainty.” He went on to say thathe doesn’t often listen to his own material, andwould prefer to listen to other artists instead.“It’s cool to listen to the new album, and be ableto sit back and judge it honestly.”The hundreds of thousands of fans around theglobe seem to think that All That Remains isdoing just fine….Online: allthatremainsonline.com

An Honest Moment with AllThat Remains

I usually listen to a lot of classicalwhen I’m in compositional phase,jazz too. I think in feelings andimagery, and I picture thosethings when I’m writing

ReverbNation Artists of the Month giveslocal artists a chance to submit to be featuredin Colorado Music Buzz by submittingthrough their ReverbNation page. If selected,the artist is given the chance to describetheir band in their own words and have theirtracks aired on Music Buzz LIVE Radio. Thismonth, we selected Arise in Chaos and TheTrubelos, two very different bands coming upin the diverse Denver-area scene with greatsongs and a hard work ethic. Check out theirtracks by tuning into MBLR Wednesdaysfrom 6-8 pm and Saturdays from 2-4 pm onMileHighUnderground.com. Here is what theyhad to say about themselves:Arise in Chaos:Arise in Chaoswas formed in the spring of 2010by founding members Dustin Griboski (vocals)Jeremy Matheson (drums), and CameronBurris (guitar). Later adding the talents of RyanOrr on guitar and John Vickers on bass, Arisein Chaos was ready to deliver punishing showsand record their first album, “CIVILIZATIONDECAY” released Dec. 2012. Cameron leftthe band in late 2012 and was replaced withNick Bechir on guitar. The members of Arise inChaos gained experience in metal bands suchas; Downtied, Only Chaos, Pariah, WadingThrough Corpses and the metal flamencoacoustic duo Guitarasaurus & Chordzilla. Theband is excited about their current line up and

for their future in metal. The chaos is coming!The Trubelos:The Trubelos formed only in May of 2012,so they are really just getting it rolling. Theyjust pressed their debut CD; ‘Boomerang Girl’with 13 multi-genre songs; seven writtenby member Sandy Craig, and six eclecticcovers, ranging from Susan Tedeschito Concrete Blonde compositions.The band is fronted by vocalist LaurenMichaels, a fresh newcomer with seriouslyscorching pipes! The rest of the band consistsof four instruments; two guitars, bass anddrums. The four other band members havehad long tenures in at least six Denver bandsover the years, and here they are deliveringa unique style of ‘60 tinged twang bluespop for Lauren’s vocals to shine on. Theirset list does contain a few slow ones, butjust so the dancers can catch their breath.This is music for drinking anddancing in the old bar band tradition.Trubelos is pronounced TRUbelos; it is shortfor Truth, Beauty, and Love...’Nuf said....Visit coloradomusicbuzz.com for morefeatured artists. If your band wants to submitfor consideration, do so through ReverbNationopportunities.

JahniDenverDropsAlbumby JonathanMcNaughton & DarnellTeague [email protected] Denver is an artist stricken by tragedy.The death of his two classmates in 2002, themurder of his sister in 2003, and the murder ofhis mentor, and friend, in 2004, mixed with acrazy childhood, helped mold the local emceeand man we know today as Jahni Denver.The Colorado native is a very passionate anddedicated lyricist. Denver has been recordingmusic since 2008, but really got serious in thefall of 2009 when he learned how to record forhimself.Jahni’s debut single “Bankroll” featuring BizzyBone (from the Grammy-Award winning groupBone Thugs N Harmony), received over300,000 views online in just 2 weeks. Hislatest single “The Craft,” which also featuresBizzy Bone received 250,000 views in only 2days via worldstarhiphop.com, and the songwas featured as a front page exclusive onallhiphop.com. Denver’s videos have receivedover 14,000 likes on Facebook, and his latestvideos on YouTube have been receiving tonsof positive feedback worldwide. Jahni Denverhas definitely has been working very hardindependently, showing that he’s a force to bereckoned with, and is one of the new contendersin the Colorado hip-hop game.Online: jahnidenver.comColorado Music Buzz’s“The #Definition Hip-HopShowcase” Reviewby Jonathan McNaughton & Darnell TeaguePhoto Credit: Ed Kelly: Next Level [email protected]

Colorado Music Buzz & 7Wayz ProductionsPresents: The #Definition of Hip-HopShowcase displayed an abundance of talentedColorado musicians. The showcase started offwith 1Priorwho livened up the crowd with songsfrom his album Needle in Uh Haystack. When1Prior performed his song “#HashTagSwag,”you could see the support he was receivingfrom the crowd. The next set was performed by

D-Re’ll who kept the energy in the building highwith his comedic persona and his exuberantstage presence. D-Re’lls performance highlightwas the final song featuring Rufus.D-Re’lls performance was followed up with astellar showing from Hyp-Hop Sells who, evenfeeling under the weather, delivered preciselyrical content over beats he also produced.Brell and DJ Comish were next to grace uswith their stage presence with Brell performingsongs off of his TheMixtape Vol. 1. The highlightof Brell’s performance was the song “istack”.Jahni Denver followed up Brell with music fromhis new album The Breathing Truth: MountainLion Pt. 1. Jahni Denver was promoting therelease of his album by playing some of hissong from it. Jahni Denver definitely had the fullsupport of the crowd during his performance.Sugar Organ, who were in the showcasepromoting their self-titled album, and consistingof Timmy Flips and Tittle T, performed next.Sugar Organ has a steady following of fans,and if I’m not mistaken, they performed theirentire album during their set, which reallyhelped the fans hear what was in store for themon the album.The final performance of the night was byG.O.A.T, and even though he went last,he wasn’t the least. G.O.A.T hit the stageaccompanied by Bill Kushinton, his hype manfor the performance, serving the crowd withconsistent head- banging records to finish thenight right. The showcase as a whole was a fulldocket of some of Colorado’s best Emcees thatwon’t soon be duplicated. Colorado has realtalent, and it’s always good to see the localsupport that these artists receive; but Colorado,we can do better.

Camper Van BeethovenDrops Albumby Sal [email protected]’s something about Camper Van Beethoven thatsimply doesn’t exist in too many rock bands now—likethe lustrous experience of ripened ochre or a vintagebottle of scotch that shimmers at just the right point.Maybe it’s the fact that the music isn’t a throwback to anyparticular time, and doesn’t work too hard for a specific“branding image” or niche audience, or maybe it’s justthat synthesizers and Auto-Tune haven’t tampered withthe compositions on their newest release.A solid and delightful collection of tunes, La CostaPerdida breathes in steady refrains of classic and folkrock with the energy of punk on certain tracks. “Peachesin the Summertime,” in particular, hops up and down witha grin on its face before lazy thrums of fiddle interruptmomentarily. “Northern California Girls,” rises flush andcarefree as a beach barbeque welcome for east coasttraitors returning “from Brooklyn.” A little more rural, thetitle track saunters around in its southwestern grace andlyrics sprinkled with handfuls of Spanish spoken a littletoo perfectly as the singer proclaims, “I’m a half a guero,caballero Yankee from a town just south of Raleigh.”Although January isn’t summertime, Camper VanBeethoven brings California relaxation, and goldenrod-meets-titian sunsets, whose warmth still sendswaves into the air to its listeners—a timely thoughtand sensation in the nine years since the band’s lastrelease. Although not as husky as other records, LaCosta Perdida does what a good record is supposedto do: transport the listener away from their presentsurroundings for an hour or so.Online: campervanbeethoven.com

January 2013 | ColoradoMusicBuzz.com 9

Venue of the Month-Lincoln’s Roadhouseby Ryan [email protected]’s not easy to find, but it seems like the bestvenues are the ones that hide themselves inthe nooks and crannies of Denver and the restof Colorado. Lincoln’s Roadhouse, 1201 S.Pearl St., is one of those venues and yet, isknown on a national level for its contributionsto blues music today. Established in 1999 andformally known as the Washington St. Exit,Lincoln’s Roadhouse is open to many differentstyles of music, and welcomes any one tocome in; however, the venue dedicates most ofits live music to blues, and has been a secondhome for local bands like the Delta Sonics, theRailBenders, Boa & the Constrictors andEugene Sings the Blues.On a random Tuesday night I had the privilegeof talking to a couple of those bands while ablues jam was going down. Erik Boa is the leadvocals and guitarist of Boa & the Constrictors,and Eugene is the lead singer of, you guessedit, Eugene Sings the Blues. Both have beenplaying at Lincoln’s Roadhouse for many yearsand are considered house bands. I bombardedthem with questions about their thoughts on thestage, the staff, the audience and really just theoverall venue. Both agreed on the importance ofan intimate stage in making the venue special.“[It’s] very intimate, people can walk up to thestage all night long, make a comment, ask youto play something and sometimes you can talkto them while you’re playing,” Eugene said.

The audience is somewhat of an older crowdwith a table here and there of younger patrons,but despite that, the crowd is incrediblyresponsive. “They come in to have fun, listen tomusic, dance and hang out with friends,” Boasaid. The staff is also incredible, and you get anamazing vibe right from the start as they treattheir musicians well. “The staff is excellent andthey have good food too,” Eugene said.Lincoln’s Roadhouse is another established barin the Denver, that has that quality and vibe of aneighborhood bar, while still drawing Denver’sbroad range of music lovers. “It’s my favorite

place in the entire [Denver] area,” Boa said. AndEugene’s final thoughts on the overall venue? “Ilove this place man, I love it. I love to play here,and I love the people here.” Well said.Online: lincolnsroadhouse.com


The Foodchain Has BeenStudying the Game,Ready to Make MajorMoveby Shatarra “Que Linda” Camacho & JonathanMcNaughtonPhotos Credit: Ed Kelly, Next Level [email protected] just starting andofficially becominga group in thewinter of 2008,the Foodchainhas becomeone of the mostknown unknownsin the Coloradohip-hop scene.With the originalfour emcees whostarted the group,FL, Mic Coats, C1and Champ anda producer MassProd, the conceptof theFoodchain was originally made to be a mixtapeof some of their recordings that they were just“playing around with.” According to Coats,outside forces put the mighty team together,and he leaked some tracks onto the Internet.Describing their music as a 40-hour workweekwith no break, these men are humble, dedicatedto true hip-hop, and aren’twilling to sell their soulsto make a few bucks.DJ Louiscide statedthat if the industry isgoing the way he thinksit’ll go, then the good ol’early ’90s hip hop will beback in, and they’ll besuccessful. Right nowit’s just a waiting game,and when it’s their time,they’ll be ready. Withtheir growing interestsand fan base theyultimately created theirfirst self-entitled albumin April of 2009, easilygaining the title Bestin the West 2009 inthe Westword. Theydistributed nearly 9,000copies across the state;something that theywere pretty impressed with, along with theircurrent management team, who was brought totheir attention at a show in a Denver club.Francois found that the sound and the factthat they were ultimately a self contained bandintrigued and sparked his interest. Only afterFoodchain agreed that they would maintainbeing a band (playing their own music), didhe consent that he would be the creative anddriving force in making their music come tofruition, along with co-manager Johnny.Many doors have opened up for the group,as well as a few revolving ones. Many peoplehave been able to claim to have been tied to theFoodchain; however, as time and their musicevolved so did the members. From havingvocalists to band members to other emcees,they wanted to stay true to the hip-hop soundthat they learned to love, and grew up on,as well as keep their music constant even at

their concerts. Despite the many changes, theFoodchain ended up producing their secondalbum Corpses, which dropped in February2010, features Talib Kweli, Big Pooh, JoeScudda, and Chaundon. Shortly after, inAugust of 2010, Statik Selektah announceda distribution deal with Showoff Recordsright before getting “Rich Girl” some airplay onShade 45.This officially launched the Foodchain in theirhip-hop light on theEast Coast. Whiletouring in New Yorkand opening actsfor a few namesled up to a thirdalbum The Brunch.That dropped inNovember 2011,with “Dear Industry”grabbing the mostattention, allowingthem space on XXLMagazine, andpraise from manyhip-hop notablessuch as Ice Cube.At one of the concerts that they opened forTalib Kweli, FL recalls when a few of the groupmembers decide to smoke blunt in a friend’s carwhen all of a sudden, “Dear Industry” startedplaying on the Shade 45 XM radio station. Thatwas the first time they heard their own musicon the radio.Coats said there was an outside force placingthem [in the car] at thatmoment to witnessone of their own songson the radio; it wassuch a surprise andaccomplishment forthem. It solidified allof the hard work thatthey were putting intotheir craft, and a lotof them have outsidejobs to feed into theirmusic, and provide fortheir family. With StatikSelektah under thegroup’s belt, they’vereadied themselvesfor their next projectin 2013, the SummerConcert Series, andtheir very own set atthe Shady 2.0 SXSWShowcase in July.

Overall, the Foodchainhas made some strides in the music business,coming from the state where everything’s roundand it’s tucked neatly in a box trying to get out.Working with such heavy hitters as Lauryn Hill,Ice Cube, Talib Kweli and many others, there’sno reason why this team of extraordinary menwon’t be in the limelight and forefront, as thedream team is currently working on a projectwith Just Dizle for 2013.By taking a stand in keeping hip-hop in itsnatural and original state, and staying trueto their lyrics and what they want to say, theFoodchain will remain strong. However, wherein this dog-eat-dog world will they wind up? Thetop or the bottom?Online: facebook.com/thefoodchain


Think You Know AboutGuitars? Mike AbbottMakes it Easy to FactCheck

by Tim [email protected] musicians share at least a mild interest inthe history of their instrument, and for guitarists

of all styles, there has not been a better book onthe history of their passion than Mike Abbot’s“The Guitar & Amp Sourcebook” out now fromThunder Bay Press.Abbot discusses in great detail, throughpictures and text, the historyof the most iconic guitars andamps that have graced thescene since the beginningof the nineteenth century. Heeven outlines the evolution ofthe guitar, from how we knowit today, all the way backto the first known stringedinstrument, the African“musical bow” from 13,000BC. The guitar is dissectedthroughout each of its manyphases of evolution all theway up to what we knowtoday.

One of the many uniquefeatures of the book is thevintage instrument cataloguefrom past decades, providinginsight on the popularity andprice of the classic guitars.Compiling the info on theinstruments took about fiveor six months, accordingto Abbott. “Once we wentthrough the vetting process,and I showed them somewriting samples, we wentahead and signed contacts.Then I had to pick over 700instruments. Just pickingthem took a month and a halfor so.”

Abbott is a lifelong musician, and anaccomplished guitarist, so he came into theproject with a good head of knowledge. “I knew

a lot about these instruments, especially thefifties Fender and Gibson amps and guitars,and the sixties,” Abbot says. “The research gotreal heavy when I had to delve back further intothe early nineteen hundreds.”Featured throughout the book are instrumentcomparisons, such as the 1951 FenderPrecision Bass vs. the 1953 Gibson ElectricBass, outlining the differences (and similarities)between the two and why a certain type ofplayer may prefer one over the other.He says that researching the origins of theelectric guitar was the most fascinating part ofthe project. “The book started as a look at, andcompiling of, the most revolutionary instrumentsof the past 100 years,” Abbott says. “As I talkedto people and did my research, it turned into thewho, what, where, why, and how of guitar andamp development from the beginning of the1900s. The inner workings between companiesand players, that’s the most interesting piece.The story behind the instruments.”The research came, as might be expected,not only from books but from people who, likeAbbott, are lifelong players and industry people.The book, in addition to being amazingly wellillustrated, is full of the history and culturesurrounding the instruments explainingeverything from how they came to be to whoplayed them.“It’s probably the hardest thing I’ve ever done,”Abbott says. “Even though it was an absolutelyinspiring and fascinating process, it was alsoso difficult.”Abbott began playing big-band jazz gigs aroundDenver at the age of sixteen. He attended theUniversity of Miami where he studied jazz, andafter college moved to New York to pursue hispassion. “I was a diehard jazz player when Imoved to New York,” he says. “I got involved

with some other genres, like rock-n-roll, thegrunge thing was happening, and playingthings as diverse as western swing.”In addition to playing music, he teaches guitarand runs a website called AccessRock.com.“Access Rock I started as a branch of whatI wanted to do teaching wise,” Abbott says.The site launched in 2001. “I wanted to reachout to a larger audience. I felt strongly abouthow guitar players can learn, and how theycan learn in an easier way.” The site featuresonline lessons on everything from strumming totheory, and provides a forum where users canask questions about everything guitar relatedto an expert. “Over the years, I’ve developeddifferent strategies for teaching people how toplay.”

In the future, he plans to add video lessonsto the site. The site’s experts include MarkTenorio of Tenorio Werx here in Denver, and acompany called Analog Brothers, a boutiqueamplifier company out of Pennsylvania thathelps with amp-related problems.Purchase the book and read excerpts atguitarsourcebook.com.

Caramel Carmela-Skinny Jeans, FatBassby Jenn [email protected] Jeans, FatBass, (releasedNov.27), the latest effort by Denver locals,Caramel Carmela, is like a schizophrenicauditory trip. The five tracks, (six if you includea remix), play out consistently inconsistent, andnot in a bad way. I kept thinking I had a gripon what the song was going to feel like, thenBam!, it changed. The CD takes an eclecticjaunt through electro-pop, scream-o, and poppunk--with some piano thrown in. The vocals,when not scraping the depths of a gritty scream,reminded me of 3OH!3.

Skinny Jeans, has to be heard to bemisunderstood; and frankly, that’s what I likedthe most about it. Check out their single “TheParty,” which gives audiences “a heart stopping,bass pumping, head bopping, dance/party songthat hasn’t been released in decades.”Online: reverbnation.com/caramelcarmela

Wandering Monks-Jubileeby Jenn [email protected] Monkslatest effort, Jubilee,was inspired by WayneWalton, after they were commissioned by him tocreate a concept album based on the, “musicalexploration of monetary freedom, endorsing theconcept of local, organic currency.” Written andperformed by MCAD and Linguistory, Jubileetackles many social issues throughout the album,while keeping a positive, yet realistic view on thestate of economic struggles, and the benefits of“usury,” (the practice of lending money at excessiveinterest rates).

“It’s time we redefine the value of our time—money.”“We don’t have to just accept the way that things are,everybody’s life should be their own work of art.”There are so many messages throughout this CD.Each time I listened I felt a different emotion, anddeveloped a new point of view. Give this one a spin,and let your socio-economic synapses go crazy!Online: reverbnation.com/wanderingmonks

Kristi Stice- UnderThe Willowby Tim [email protected] Stice has thatvoice- it is the one youcan’t stop listening to,the one you can’t turn off. Part Janis Joplin,part pop singer, part something totally new, andher new record Under The Willow brings outeach part in fine form.

The album is a smooth ride through Stice’smind, with imagery from nature and from thefront coming out within enticing lyrics andmultiple listens necessary to fully appreciate thepoetic integrity. If at times a bit slow, the songsserve as a reminder that good poetry is reallyabout the words themselves, and Stice makesthat a focal point of her music. “Courage” issung in Spanish, one of many reasons that thisis, at its heart, a worldly record.Online: krististice.com

Wicked Zens-Behind the Gatesof Ozby Tim [email protected] out of theproverbial “box” isexactly what Wicked Zens has done with theirnew record Behind the Gates of Oz. As the namesuggests, this album has a lot to do with the Wizardof Oz film. The band has taken the theme and songsof the movie and put it to a driving heavy rock sound,and the result is something that has never came outof Colorado before.

Right from the start with “Yellow Brick,” WickedZens takes the listener on a journey reminiscent ofa magical childhood fantasy, but with better music.The album brings out the eerie element of the movie,dark undertones and an element of fear dominatethe songs. They are also putting the songs to thescreen, with the video for “Yellow Brick” featuring the1925 silent picture Wizard of Oz.No matter what your favorite style of music is, thisrecord is more than worth checking out. It is one ofthose rare albums that appeals to so many triggersin your brain, it is impossible to turn off.Online: wickedzens.com


Dead Ringerby Tim [email protected] Ringer is, likea handful of theirDenver counterparts,keeping fast, melodicskate punk alive in the Mile High City. Theirnew record kicks off with an up-tempo numbercalled “Alcohol,” a tune that, while easy toslam dance to, is wildly relevant and extremelydefinitive of the band’s style.

As the record progressed, I was treated to solidpunk rock lead guitar on tracks like “Due inTime” and “Coming Home,” and honest butsemi-ironic vocals on “Forward to Nothing.”Abit of a Strung Out type sound, but with its owntinge. This album is the punk rock I grew up on,back in the good ol’ days when a good portionof my CDs were purchased through mail ordercatalogues.Online: facebook.com/deadringerpunk

Drew Schofield-Away We Goby Tim [email protected] it comes tosinger/songwriters, ittakes a lot to standout from the crowd. Drew Schofield keenlypulls it off on his new record Away We Go. Hisvoice range is impeccable, displayed rightfullyon each song, at times reminding me of theway Johnnie Winter from Red JumpsuitApparatus seamlessly hits high notes out ofnowhere. At most moments, the raw acousticemotion pours out, taking the listener right intothe song with him.

His melodies are basic, allowing the vocals toshine through, but never lacking that captivatingsentiment necessary to push the desiredemotion effortlessly across the table; an easygrasp for Schofield’s audience.He sings about running away, coming home,and leaving again on this roller coaster ofacoustic bliss that’s as hard to turn off as aPeyton Manning 4th quarter touchdown drive.Online: drewschofieldmusic.com

Ten Pound Elephantby Tim [email protected] Pound Elephantis what you want tohear when cravingmellow, toe-tappin’jazz. They take a saxophone and keys andmesh it together well with guitar, bass, anddrums on their new record. The song “Talk ToMe” gives off not only the vibe of being in apacked, sweaty jazz club grooving to the beat,but also of sipping a martini in a more upscaleenvironment. The band manages to take youfrom El Chapultepec to Dazzle and back againall in the course of one song.

What I love most about this record is how theylet the horn sway the flow of many of the songs.The saxophone gives their music the flare itneeds to pull in the listener. When the hornbacks off, though, the keys and guitar step rightin to keep the flow going; a perfect album forsetting the mood, in many different situations.Online: facebook.com/tenpoundelephant

Tim Yunker and theSound Junkies-Fathomby Tim [email protected] Yunker and theSound Junkies don’tplay what you’d expect them to play. The vocalsare a bit jazzy and a bit funky with a dash ofhip-hop flare, sitting on of drum-driven, fullband beats. The songs are mellow but possessa flare of energy that makes them danceable.

The group reps Colorado as well as anyone,seemingly reflecting the urban spice of ourcity while bringing out what makes the 303 theplace to be. This record is, undoubtedly, oneof the most unique submissions we’ve receivedhere at CMB.I kept expecting the songs to jump into a fastertempo with hard-hitting rapping becoming thedominant force, but they never left the mothership of smooth, tripped out rhythms that maketheir music unique. The record left me feelingexcited; I have finally found a group that standsout amongst the often-mundane masses ofmusic being thrown upon the modern world.Online: timyunker.com

FOUND Magazine’sDavy Rothbart on Love,Life, andRightousnessby Tim [email protected] Rothbart is a truehopeless romantic. Truein the way that reading hisstories seems to invokea certain emotion in hisreader; a burning desire forthat mystical, adventurouslove that we first learnedabout by watching Disneymovies as kid, that feelingof emotional epic-ness; ofunending adventure anddiscovery, and the passionof true romance that arisefrom his words. Not justin the stories about loveand heartache, but all ofthe accounts in this bookseemed to justify thereason why, no matterwhat I go through or howold I get, I still fill my ears with the sound of’90s-wave punk bands singing about thosesame feelings.This quote is but a brief abridge of the rousinglyemotional descriptions Rothbart gives ofhis characters. “Shade was tough, tender,otherworldly, filled with a bewitching sadness.Her desolate beauty matched the New Mexicolandscape, and I dreamed of visiting her townand looking for her there. I went back to theMichigan Theater the next night, my hearttorqued and titillated, and then again the nextnight after that,” from “Shade” pg. 118.

From an in-depth synopsis of a friend lockedup for what looks like a wrongful conviction, totraveling cross country to meet a girl he thinkshe’s gotten to know very well by phone over acourse of time, Rothbart’sstories are true heartfeltAmerican anthems full ofemotion. Well written andambient, with a semantichipness that keeps themmodern and, without abetter word to describe it,cool.A couple of them, such as“How I Got These Boots”brought me in to the pointthat I was almost upset attheir abrupt end, wantingto learn more about thecharacter I had just gottento know over the last fewpages. But even thesestories brought that vicioustravel bug that has beenbiting my ass for yearsinto plain view. Rothbartmakes me want to jumpin my Subaru and drivethrough the night, certainthat I could find some kind ofa crazy story filled with outlandish characters toput into a travel log of my own.

As a writer, I’ve found that for me the best readsare ones I can relate to. Needless to say, it hasbeen quite a while since I’ve such enjoyed abook. Many of the stories I was able to putmyself into (I can’t say I’ve flown across thecountry to have dinner at Applebee’s with a guywho pretended for months over the phone tobe a girl, but ya know. . .). I read the book overthe course of four occasions. After each one,late into the night, after I was finally able to prymy eyes away from the pages and put the bookdown on my coffee table, not heading directly to

sleep but instead lying on the couch ponderingmy own relationships and encounters; often fora couple of hours.I had the opportunity to catch Rothbart’s “FoundMagazine” show when it came through Denverin November, and I almost didn’t go due to thefact that I was alone. I’m glad I did though, andnot just because as a member of the press itdidn’t cost me anything. The show was hilariousand put even more personality into the authorI’m reviewing here. By the time I was a thirdof the way through the book, I was mentally

kicking myself for not accepting Rothbart’sinvite (even though it was directed at the entirecrowd, not just me), to pull up a stool at the baracross the street after his show was over. I wasadopted; maybe this guy is my long lost brother.Slim chances, but it’s a rare opportunity when Iget to talk about my lifelong passion for writingwith someone of his caliber. Instead, I headedhome because, for lack of a better excuse, itwas dumping snow outside and I’d already hada couple beers. Not a mistake I’ll make again.Online: myheartisanidiotbook.com

The Foodchain & 9thWonder Rock Bluebirdby Jonathan McNaughtonPhotos Credit: Ed Kelly, Next Level [email protected] December 20, 2012, Denver, Colorado wasblessed with a show that exhibited the skilledemcees that Colorado has to offer. Colorado’sownDj Chonzwas the house DJ for the concertthat was headlined by Colorado powerhousethe Foodchain, and also featured a DJ-onlyset featuring 9th Wonder.The opening acts for the show was Jay Carrey,who is both a singer and a rapper. FollowingCarrey wasMykeCharles andSpoke inWordzwho got the crowd moving with their song “4in da morning”. Myke Charles and Spoke inWordz had great stage presence, combinedwith an energy that seemed to directly feed off

of the crowd’s vibe. 9th Wonder hit the stagenext, delivering an hour-long set which includedsome of the music he has personally produced,as well as a blend of some of the best music theindustry has to offer.As if that wasn’t enough, shortly after midnight,the Foodchain hit the stage and ignited thecrowd. The Foodchain put on an amazing setthat featured such songs as “YoungAmsterdam”and “Dear Industry.” The performance washighlighted by the group’s insightful lyrics andtheir phenomenal production. Their stagepresence was graciously embraced by thecrowd, which seemed to inspire the group toexert all of their passion for their music onstage. The Foodchain definitely put on anentertaining show to bring in what was thoughtto have been the last day of Earth as we knowit. Colorado we need more support for goodlocally-made music. Stand up and support themovement.


Hyp-Hop Sells – Sumthin’4 tha People Vol.13 “BluCa$ino” Previewby Darnell Teague & Jonathan [email protected] Date: Jan. 13, 2013Label: On1 EnterpriseThe 13th installment of the Mixtape seriesSumthin’ 4 tha People--yes we said 13thinstallment; to hear releases 1-12, [email protected]“Blu Ca$ino” hostedby Bill Kushinton brings a more in-your-facesound that showcases the aggressive side ofHyp-Hop Sells that we normally don’t see.The lead single for the project, “Moscatto & theChief,” featuring D-Re’ll of Coldest In It/On1Enterprise, hits you with a glimpse of what isupcoming for the album. We got a chance to talkto Sells about his plans for the song, and Sellssays he’s currently working on putting togetherthe visual concept for the video with Ed Kellyof Next Level Films, so look for the video to bereleased by the third week of January.Sells has also reached out to some top-notch producers and artists from around theU.S. and his own backyard of Colorado, withproduction credits from: Sellsbeats, D-Re’ll,Shadow Monster, Mr.Freshh, Purps Beatsof 808 Mafia, Swollen Drumz, Cheff Premier,and Sunnie Beats. The album also includesfeatures from: D-Re’ll, F.T., Bill Kushinton,P.Sky, G.O.A.T, Iman S., Shadow Monster,1P, Big Tex, Awol, Luni Cydal, King Tef, andArkansas Bo. If this isn’t enough for you, Sellssays there are also two bonus tracks on thealbum to give his fans just a little bit more ofhim.This project gives you the feeling that Sells isgoing “All In” for this one. We can say that theodds are in his favor after the year Sells hadin 2012, topping over 15,000 downloads of hislast EP #OnlyInDreams, and also receivingover 3,000 views from his video “Explicit.” Sellsexpects “Blu Ca$ino” to be the driving forcefor 2013 leading up to his debut album Mr.September, set to release in September 2013under Label On1 Enterprise “LLC.”

Get off Your Ass and Goto Class!by [email protected] you one of those people who has thehouse loaded up with shiny new guitarsgenerally purchased at Guitar Center? Youknow those people, and it is not just guys whosit there saying, “Yeah, man, I’m going to puttogether a band one of these days.” Well thedays are passing, the beer gut is growing, thelong rocker hair is thinning, and the dream liveson. They can generally pick up a guitar, crankup the amp and play the first few bars of “IronMan,” “Smoke on the Water,” and if they’rereally talented, “Sweet Home Alabama.”I am guilty of this. I have a piano, drum kit, twobasses, six guitars, three banjos, and a congadrum. It is like a bachelor’s refrigerator; lots ofcondiments just in case some food shows up.Well, I have all the parts and pieces just in casea band shows up. I have taken lessons in allof these instruments, and they are expensive!So I can play a little bit on each one; banjo,“Cripple Creek;” piano, I can play the entire“1972 Patriotic” primmer with only a few profanewords interjected per song. I am starting to getsomewhere with the guitar, if it just wasn’t forthat damn F chord, as I have completed guitar1 A, and 1 B with Citrus at Swallow Hill, andam signed up for guitar 2 A!In an interview I had with a rather renownedguitarist he shared a story. He had been in aband for a few years and was having somesuccess; he then went to New York and talkedto his uncle, who was a singer on Broadway.His uncle was a well-educated man and toldhim that it was nice that he was out living hisdream to be a musician, but that the truth washe didn’t know anything about music. Thatshook his world and he enrolled in BerkleySchool of Music.There are a lot of musicians out there who

don’t really know the first thing about musicor the music business. Here are two things tothink about: first, there is a lot of competition,especially with the Internet playing such abig part in the music business; and second,if you really love music, you ought to educateyourself. Now this guitarist asked me what Iwanted to do. I love to write songs, so I toldhim I wanted to write at least one great song.I don’t want to be on stage, that is someoneelse’s job, but I want a better understanding ofhow music works, and theory, and songwriting.My fire was back. I have been writing songsever since we spoke, about one a week, eachwith a little something to offer. What I do knowdeep down is that I, too, don’t know anythingabout music. I am continuing my guitar lessons,starting piano again to get my sight readinggoing, and heading back to college to studyMusic Theory 1.The dream is only worth the effort you put intoit, and to make your dreams come true youneed to have the respect for yourself to turnoff the TV or computer, and learn and practice.You are never too old or too young to learnsomething new. It is time to sign up for class!There are a lot of schools out there. If you reallywant to make a career out of music, locally, youshould go to UCD, they have an excellent musicprogram. If you can’t quite afford it, ArapahoeCommunity College teaches some classes,and that is where I will be studying theory.There are tons of smaller music schools likeSwallow Hill, and then there are private lessonsfrom great teachers like Alameda at Home.Take your tasty dream and eat it, drink it, loveit, nurture it, and socialize with others who wantto do the same thing; inspiration can come fromcompetition.Or, you can sit on the couch like a lump andoccasionally dust off your neglected instrumentsas “some day” passes you by. Do you want tosit there, and a year from now, while that guitaryou got for Christmas is waiting, and still haveno better understanding about how to play it?

many movies. Says Mewes; “It’s also aboutour friendship, and us meeting, and silly thingson the side, and me hiding in the trailer doingdrugs, or me messing around with girls on theset . . .“I can laugh about it now but, when I had thefive years I never talked about it. I had sort offorgotten how bad it was because things weregoing so well. I wasn’t at meetings to listen toother people talk about it, and I almost forgotabout where I was and how bad it could get.”There’s also audience participation at the endof each show. It’s called “Let us F**k.” You’ll justhave to be there to see what that’s all about.As our interview was scheduled on what somebelieved might be the last day on earth, I asked

Mewes what his last day might look like. Hereplied, “Spend time with my wife and my dogs,talk to my family, and Kevin and his family.Definitely try to knock a few out with my wifebefore it’s over--that would be number one,then I’d want to talk with people; maybe try afew things, maybe try anal.”And since this is a music magazine, I askedwhat three songs best describe his 2012.“No Ordinary Love” by Sade“Jane Says” by Jane’s Addiction and“Strawberry Fields Forever” by the BeatlesHow about Clerks 3? We’ll just have to staytuned . . .

Wait, what? Jay and Silent Bob are getting old?That means . . . oh, forget it. I’m getting old, too.Jason Mewes and Kevin Smith are comingto the Boulder Theatre on Feb. 1, 2013,and anyone familiar with these two comedicgeniuses knows that this is a must-see show.Gone are the wasted days of partying until youpuke (who wants to stomach that anymore?);this particular morning, I caught up with JasonMewes (aka Jay), after spending time with hisdogs at the dog park.After nearly five years sober, and a subsequentrelapse after a surgery, Mewes and Smithcreated a “smodcast” comedy show. “Kevinwas like, ‘I don’t get it, you had almost fiveyears.’ I really wasn’t going to meetings, Iwasn’t accountable to anyone else, and Iexplained that to him. He was like, ‘you don’ttalk about your stuff with anybody. Why don’tyou and I do a podcast, and we’ll call it “Jay andSilent Bob Get Old.” We’ll talk about the last 25years of our friendship, and about 20 years ofus shooting movies, and this way you can talkabout all this different stuff that’s happened, andyou’ll be accountable to whoever’s listening.’”The show covers everything from Smith’sperspective on Mewes’ drug abuse, “the firsttime he remembers seeing me messed upand me lying to him, and him helping me getinto rehab,” to the behind-the-scenes on their

Jay and Silent Bob GetOld-Coming to you Live!by Jenn CohenPhoto Credit: Allan [email protected]


Support Systems-Building Relationshipswith Students inResidential Treatmentby Andre Hallman (DJ SYMPL), Youth On [email protected], my name is Andre Hallman. My growthfrom childhood to adulthood was not the mostpleasant experience. The main reason for thatis I did not have support systems growing up.As my life was going on, I was at the point ofgiving up--it wasn’t worth fighting a battle I

had already lost. Then a light at the end of thetunnel called Youth On Record changed allthat for me. As I got more and more involvedand started to invest more into this program,my life altered 360 degrees; Flobots.org notonly took me in as one of their own, but theygave me support in every way a person couldimagine. The fact that something that simplecan help alter someone’s life is astonishing.I have been teaching with Nathan Schmit(Program Director of Flobots.org and founderof Youth on Record) in classrooms for abouta year now, and I have seen some of the mosttragic things. These young souls have seen

and been through things that an “averageperson” hasn’t, or only sees in the news. Atthe same time, I have seen amazing thingshappen because we build trust with thesekids--they know that they can rely on us. Forexample, they know when we will be there, ontime, ready to rock; they know that if we saywe are going to do something, we get it doneevery time. And most importantly, we don’t askthem to do anything that we are not equallywilling to do ourselves. It’s a struggle, but thereward outweighs it every time. The fact thatthey know that some one out there does careand will be there as a support system, one thatis strengthened by the power of music, meanseverything to them.Support systems are the main key to thesuccess of this program. From being a studentof Youth On Record, to interning with them, I’vebeen able to witness what this kind of workdoes for our youth, and it is unbelievable. Ithink that if there were more programs like thisin place, it would make a big difference. Thesesuccesses are all because of the people that

work and volunteer for Flobots.org, and I owethem an endless thank you for that, because itchanged me as well.Youth On Record, a program of Flobots.org,teaches music production and lyric writing inresidential treatment centers across Denverand beyond, as a means of supporting theirspecific treatment goals. It is truly amazingwhat many young people will do and say whengiven the opportunity.About Flobots.org-Founded in 2007 by theinternationally known Denver based hip-hopcollective Flobots, Flobots.org connectsunderserved youth across Colorado withmusic and empowerment education. Led by anetwork of professional musicians, artists andeducators, Flobots.org programs are designedto harness the power of music and those wholove it.

Youth Media StudioUnderway, AttractingAttentionby Chris [email protected] is on a mission. They have asimple goal of serving the youth of Denver

through music education. With the support oflocal musicians, volunteers, music industry folkand many others in our community, they havedone a great job in advancing their cause, anddoing their part to make this world a betterplace.People have taken notice. Governor JohnHickenlooper is a big supporter and withhis help, and open arms from Chuck Morris

(AEG Rocky Mountains), Matt Morris, BradCorrigan, (Dispatch), Isaac Slade and BenWysocki (the Fray), Ryan Tedder (OneRepublic), and a host of others, Flobots.org isattempting to expand their horizons and helpmore young people than ever.As musicians, artists, and educators,Flobots.org recognizes a pressing need fora centralized location where youth and theirfamilies, particularly those who are at risk, canaccess music, arts, cultural and education-based programming. So, in partnership with theDenver Housing Authority, Flobots.org brokeground on a Youth Media Studio (YMS) in theLa Alma/Lincoln Park neighborhood of Denverin April 2012. Upon completion in August 2013,the YMS will open its doors as an innovative,experiential resource for students in DenverPublic Schools, young people in youthresidential treatment centers, and classroomsacross the globe. Outfitted with cutting-edge

technology, the YMS will serve as a centralizedlocation for digital arts-based programming forat-risk youth in Colorado, and will connect localyouth to students around the world in a state-of-the-art global classroom. The cost of the studiois $2.75M, with $870,000.00 raised thus far.La Alma, meaning ‘The Soul’, has been awonderful part of the history of Denver. Butnow, like many areas in our state, graduationrates have hit an all-time low. In fact, in LaAlma, only 13% of kids graduate from highschool. It’s a true epidemic throughout Denver--and the country for that matter--but La Almahas been hit especially hard.Stay tuned for updates over the coming monthsand check out www.Flobots.org to find out howyou can help.

P-Nuckle Drop NewAlbum, Look to Futureby Tim [email protected] has been the face of Denver’sreggae-rock scene for almost a decade now,and are starting off the new year with a brandnew album Stand Up, out January 25. CMBcaught up with front man Chris LaPlante to getthe buzz on what it took to make the record,and the state of their band.CMB: Talk about the new record and theprocess of making it.Chris LaPlante: This record was actually ahard one to make – It took over three years forsome reason. I’m not quite sure why it took solong but we had a lot of turn over as a band andit became harder to keep everyone together tofocus on getting it done. I guess it’s also easierto make music when you have a studio available

to you but there is no real added pressure froma monetary standpoint to get it done. We werereally picky with the song selection and endedup throwing a lot of stuff out over the process.We experimented with a lot of new sounds andreally hope the fans we have still dig the vibe.CMB: How would you say your sound hasevolved or changed over the years?CL: We started out as a party band that wastouching on political overtones and toungueand cheek social commentary – What I thinkwe’ve evolved into is more of a lifestylerepresentation. I think that we don’t representany particular scene or genre and that makesup alot of what people today are. Life hasalways been about the mood and the mood isset by the soundtrack – I really feel that whenyou listen to a P-Nuckle CD you can get a feelof what the soundtrack we lived was.CMB: What’s your opinion on the state ofthe music scene here? Better or worse, atighter community that ten years ago?CL: That’s a hard question. I used to talk topeople and hear them say how divided thescene was and with that being said I reallythink that although the clubs still run the show,the Entertainers in this town have started tofigure out that what they do is valuable andthey should be compensated for it. There is afreshness in the air of the Denver Music Scenethat I have never seen in the time that I’ve beenhere – It comes from a renewed involvement

from local Radio and a very visible resurgenceof Artist support for one another. The more theartists in this town support each other the fasterthe scene will develop.CMB: As you guys get older and moreexperienced, how do you look at being inthis band differently than you did back inthe day?CL: I’ve always thought that were destined forgreatness, but I’m an asshole. I don’t think weever sought out to become anything but wehave always made the music we love and thefact that we are so lucky to be able to shareit with other people has just been an addedbenefit. These days hearing someone singalong with me at a show and know the wordsby heart is something that brings a tear to myeye when I think about it. I know how fortunatewe have been over the years as a band and aspeople and we owe a lot of that to the musicand appreciate that, which I don’t think we didwhen we were younger.CMB: What have been some of the biggestobstacles P-Nuckle has faced while touring,recording, etc?CL: Our biggest obstacle has always beenmoney. We never had the money to go to areal studio or leave our day jobs for a year longtour or make enough playing live to pay thebills and that has crippled our musical careers.We all go through our personal demons butthroughout it all the Music has always broughtus back together. We always had music to go

back to when regular life got too be to much.CMB: What would you say is or was the“peak” of the band? Is it still yet to come?CL: I think our best is still yet to come- Ourexperience and growth has lead us to becomebetter songwriters, more patient with themusical process, and to maintain our artisticintegrity with fewer demands. We have triedto cultivate an experience for our fans with ourmusic and will continue to develop that. Wewant as many people to hear what our musicalexperience is and have the opportunity to turnit into our own. That’s what music is for right?We want more people to listen and hopefullymake them dance or smile or fart or whateverpeople do when they are happily listening to thesoundtrack of their lives.CMB: What’s coming up?CL: We drop our New CD January 25th atthe Gothic Theater. Its called The Systemand features General Smiley and Ded Res– We are really excited to show it to everyone.We are also releasing a dub album with alot of instrumentals – We started our labelInappropriate Music and have been activelypursuing some local artists to join forces with.We are releasing a Local compilation Called“Smoke The Fire” Vol 1 – early in the springand It’s going to feature a ton of our friends inthe local scene.Online: p-nuckle.com


Beware of IllegalWireless Devicesby Andrew [email protected] of June 12, 2010, the FCC has reclaimedthe 698 to 806 MHz range of wireless airwavesto be used for public safety radio channels.Operating a wireless microphone or an in-earmonitor transmitter in that range is breaking thelaw!Most musicians and DJs are aware of thechange, but haven’t bothered to comply withthe new law. Here are a couple of reasons toconsider it:1. The Department of HomelandSecurity uses the 700 MHz bandfor radio bandwidth. Regardless ofhow you feel about the Departmentof Homeland Security, you don’twant them walking in mid-gig andconfiscating your mic. (This doeshappen!)

2. If you use your illegal wireless deviceon the wrong day at the wrong time,you can be heavily fined or evenput in jail for obstructing justiceor interrupting an on-going policeinvestigation.3. Most likely, a device in the 700 MHz

band will just sound like shit. Policeradio and TV station transmissionsare going to be jamming themselvesinto your mic receiver right on top ofyour signal.Since 2010, I have had countless run-ins without-of-date wireless technology. Aside from theobvious legal concerns, the only harm you aredoing is to your own band!I mixed a popular cover band in a club not toolong ago where the bass player was using awireless pack in the 200 MHz band. It wasterrible! His bass sounded like a scratchyhome-phone connection. Unlike vintage guitarsor cabinets, vintage wireless devices are rightup there with using Behringer equipment onstage!The “coolness” factor of being wireless is onlycool if it sounds good! If your voice soundsterrible, but you get to walk around the room,who cares! I’ll take a clean sounding vocal overa wondering lead singer any day.Using reliableandqualityequipment iswhatyourfans and clients expect when they pay to seeyou. For me, this is an issue of professionalism.If you expect people to take you seriously as amusician, you have to be punctual, play well,and use quality equipment. If you don’t havethe money to buy a new wireless receiver, buya good ¼” cable and a direct box. At least yoursound will be clean.And if you are going to buy new technologythat complies with the FCC rules, please buysomething from a reputable company likeShure orSennheiser. Lots of “discount” brandsare getting into the wireless market to prey onpoor musicians. Save your money and buysomething worth using. You wouldn’t bring anoff-brand guitar amplifier to a gig…why wouldyou buy a microphone from them?!?

The Manager’s Cornerby Chris [email protected]’ve managed my own band since the 1980sand despite the amazing change in technology,success in the music business is built aroundfour tried and true elements: great music, reallyhard work and timing (often mistaken for luck).The other key element is getting the help youneed to make that luck happen. These daysthat help is everywhere. The book I wrote formy UCD class on artist management is called“DIY: You’re Not in it Alone” and that is exactlywhat you need to understand.You may think that the last thing any musiciancares about is taxes or finance. But I canguarantee you that whether it is Mick Jaggerexplaining theVAT(Europe’s value added tax) toWalter Yetnikoff, or James Brown negotiatinga bonus for his appearance in Boston the nightMartin Luther King was killed (that kept thatcity from rioting), smart musicians KNOW what’sgoing on with the money. And in Colorado thereis one question that has emerged over the pasttwo years that really has to be addressed. Thequestion is, how are you going to structure yourbusiness - and specifically, how you and yourfellow band mates will deal with the issue ofbeing an employer vs. being an independentcontractor.Don’t be fooled by those who say, “I don’t careabout that crap. It doesn’t apply to me.” Realitycheck: this applies to any band that is makingmoney playing and recording music. Let meask you a few questions to further the point: (1)

What happens if one of you does a gig, or youdo a record, with another band while workingin your main band? (2) Is that going to get thatband member fired? (3) Who dictates the musicarrangements for your main band, and do youall have to play those arrangements? (4) Whosets up what time you load in and play? (5)Who issues the checks paying band members?These are issues of “control.”

You may ask, “What does all this have to dowith business and taxes and whether I’m anemployee or an independent contractor (IC)?Here’s the deal. Any time your endeavors asa musical group pay the members of the banda “wage,” the group, or the leader of the band,is considered an employer by the ColoradoDepartment of Labor and Employment, (CDLE),and that means all of us who play for some partof our living need to understand the differencebetween the employee/employer relationship,and independent contractor relationships:again these are issues of “control” which dictatewhich one you are.

What does it mean if you are an employer?You’llneed to withhold money for unemploymentinsurance as well as social security and federaltaxes - W2s. If you set up your band’s businessas an independent contractor relationship youwill have a different batch of responsibilitiesincluding filing 1099 and1096, plus creating andexecuting Independent Contractor Agreementsand conforming to the governing statutes.What is essential tounderstand, is thatif you do businessas independentcontractors, the bandcan be challengedby CDLE if you don’tfollow thenine rules inthe statute governingIC. It’s NOT becausethey are a bunch ofheartless bastards.The CDLE honestlyhas a hard timefinding a difference between your band and apart time employee. To the auditors at CDLE,they see little difference between a waitresswho works at Denny’s, Village Inn, and TheBreakfast King to cobble together a living,and a sax player who plays in your band and inthree other bands to survive. To the CDLE, boththe waitress and the sax player are employeesof legitimate businesses, and should thereforebe able to apply for unemployment if laid offfrom any of those gigs. What makes a banddifferent from Denny’s? Well, a lot of things, butYOU must prove that.

There are exemptions in the Colorado RevisedStatute (C.R.S. § 8-70-115), which clearlyhelps define how independent contractors aredifferent from employers. They fall into areasof “control” of the work being performed. It isa long discussion, and I hope you will checkout these issues if you are running a band thatis starting to get paid real money, or if you arealready in one.And here is a little extra help we have puttogether. Along with COMBO, the ColoradoMusic Buzz and some great musicians likeHazel Miller, Mike Marsh, and others, someevent planners, plus the good folks at CDLE,we are going to have a town hall meeting aboutthis issue on January 27 (place and time to beannounced on the Music Buzz website andCOMBO newsletter in the next week or so).PLEASE do your homework before you come,and look at how this issue applies to you oryour band.We will be discussing the kind of “IndependentContractor Agreement” you need to have inplace and the practices (rules) you need tofollow in order to make this work the best foryou and your band. And this applies to morethan just songwriters, bluegrass musicians,rock and progressive bands, cover bands etc.it applies to DJs, EDM artists, as well as hiphop and rappers. You name it, anybody whois making more than about $600 a year fromworking in music, whether you lead it or arejust the sideman (side-person) you need tounderstand the basics of C.R.S 8-70-115 andwhat it means for you.

by Brett Finn and Tim [email protected] and ColoradoMusic Buzz give our condolences out to thefamily and friends of Julian Anderson of theWorld Famous Johnsons, who passed awaylast week. WFJ was just in on the show andare a bunch of great guys and everyone at thestation wishes them best.Our current programming schedule is asfollows:Sundays and mornings feature our top internsdiscussing the scene and playing new tracks.Monday 5-9 pm: Power Hour (or four) withAaron SayeMonday-Friday 9 am-noon: The MorningShowTuesday-Thursday 2-5 pm: Afternoon’s withBig PWednesday 11-12 Strainwise Wake n BakeHourWednesday 6-8 pm: MUSIC BUZZ LIVERADIO with MooseThursday 5-10 pm- Denver Metal Madnesswith Justin and DakotaFriday noon-1 pm- Power Hour with Finn 1-5pm-Roxy Lee Heart 5-9 pm-Live DJ SpinningHouse and Hip Hop Saturday 10 am-2 am-Mile High Hip Hop with Ladie LG. 2-4 pm-MUSIC BUZZ LIVE RADIO

R.I.P. JulianAnderson


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