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Wangelin (bass, vocals), Joe Cherry (guitar, vocals), and Steven Homan (drums, vocals) like the turn the band has made. “Recently we jettisoned our old material and started from scratch,” says Wangelin, “The shows started becoming a little more freeform and we found ourselves moving the music in a different direction.”
Dorian Vibe, Move To The Groove by Charlie Sullivan
CSullivan@ColoradoMusicBuzz.com
Denver’s Dorian Vibe have one intent with their melodic material; to lay down some serious grooves that’ll get your bodies gyrating on the dance floors of local clubs. The super talented trio has been jamming together for about four years and the Dorian Vibe sound has manifested itself. Chris
The resulting sound is a potion of electro-groovespace-funk that’ll satiate even the most ardent music lovers. They have a strong mix of vocal and instrumental creations that will satisfy. You really can’t pigeon-hole the sounds emanating from the band. I’ve heard jam/pop, funk/fusion, and many other derivatives, but the Dorian Vibe sound is an infectiously melodic trip when you give them a spin or see them live, with a big emphasis on seeing a live set. “We like our material to be somewhat organized pop material that allows us to weave into some nice
improv during live sets,” relays Cherry, “We want to see people taking it out on the dance floor, it’s how we know people are getting what we’re trying to accomplish.”
The crew’s music is great for after hours grooving. They are definitively the local late night band, smooth grooves almost bordering on a 70’s porn flick but not quite, boom-chucka-chucka.
What I enjoy about the band’s music is the directness of sound, you never feel left out of what’s happening when you’re listening. All too often jam and fusion bands take off and leave the listener bewildered as to what is taking place, the music becomes disjointed. Not this band, they just carry the groove. The crew just keeps creating a catchy sound that people can relate to.
To date the outfit has one release, Core Session, a 3-song EP of straight up improvisation. The band is currently working with Reed Fuchs at Moon Magnet Studios on a full length album with an anticipated summer release. Some of the material is already being performed live and other surprises await the local listeners. The track “Supersonic” will give a good feel of where the band is headed with the Dorian Vibe sound.
“We want to bring mainstream groove rock back to the listeners,” states Wangelin, “That intense live old school energy with contemporary grooves.” “We love to throw it down live,” adds Cherry, “We don’t want to play what other bands are playing, it’s our sound.”
Trumpeter Doug Jackson Brings “FUAZZ” Style Back to Denver by Tim Wenger
TWenger@ColoradoMusicBuzz.com
We’ve all wondered what happens when worlds collide. Fortunately, in the vast universe of modern music, it happens quite a bit. Just ask trumpeter Doug Jackson, Denver’s own funk-jazz pioneer who has returned to the Mile High City after an extended jaunt abroad and is hopeful that his trademark “FUAZZ” style is going to really catch on here. “I’m glad to be back home,” said Jackson. “It took a lot out of me. These tours, it’s not easy.” “’Fuazz,’ where the funk meets the jazz,” Jackson says enthusiastically about his style. The sound is an eclectic mix of smooth jazz and upbeat, danceable funk. Jackson’s trumpet lines steer the course over full-band riffs that seem to perfectly embody the rich musical culture of the Five Points neighborhood he calls home. The full length record Stowaway is, at
Denver will get its first chance in quite a while to witness his funk-jazz fusion at the Five Points Jazz Festival on May 17th. Jackson will be performing inside Coffee on the Point, 26th & Washington, at 1 pm. Jackson’s music is available at dougjacksonmusic.com and will also be available at his performance on May 17th. The festival also features the likes of Joe Bonner, Buckner Funkenjazz, Hot Tomatoes, After Midnight Trio, and many more on seven stages including a youth stage located throughout the Five Points/Rossonian area. Find out more information on the festival at artsandvenuedenver.com/events-programs/ five-points-jazz-festival. Online: dougjacksonmusic.com
Why Jazz Matters: Track 2 by Norman Provizer
editor@ColoradoMusicBuzz.com
At the start of the 1950s, a Cleveland disc jockey by the name of Alan Freed took the phrase “rock and roll” and attached it to the emerging new music that blended rhythm and blues with pop vocals and rockabilly. So, if you have ever wondered why the Rock and Roll Hall of Fame and Museum is located in Cleveland, the short answer is – Alan Freed. Halfway through the ‘50s, a very different kind of disc jockey playing a very different kind of music also helped change the world. His name is Willis Conover; and, for more than 40 years (from 1955 to the time of his death in 1996), he brought jazz to listeners across the globe six nights a week with his show on Voice of America that was beamed only outside the borders of the United States. Throughout the world; and, in particular, inside the old Soviet Union and Eastern European nations it dominated, people waited for the sounds of “Take the A Train” by the Duke Ellington Orchestra, announcing the start of Conover’s show. While there are estimates that some 100 million people listened to Conover’s broadcast on Voice of America, 30 million of them were behind the “iron curtain” and risked punishment if discovered. But they listened, because Conover delivered, in his words, “the music of freedom.” Without any added political commentary or propaganda, Conover, as his obituary in The New York Times put it, “proved more effective than a fleet of B-29’s” during the Cold War. It was President Bill Clinton who referred to
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6/1- Quixotes True Blue w/Spafford, Denver 6/28- South Moe’s, Englewood Online: dorianvibe.com
America as “a jazzy nation.” A nation that, in fact, uses labels such as the Jazz Age and the Swing Era to describe periods of its history. Jazz has not only represented who we are but also the very promise of freedom itself.
current, Jackson’s pride and joy, and rightfully so. The album includes homages to many of Jackson’s heroes. “Sassafras Tea” is a tribute to James Brown, “Stowaway (on the Mothership)” big ups George Clinton and Parliament Funkadelic, and “A Walk With Miles” is obviously the tribute to Miles Davis. “All it is, is that good har backbeat-driving funk kinda stuff,” says Jackson. His earlier record, First Breath, was arranged by local phenom Joe Bonner. Jackson has spent his time doing the bar circuit, and hopes that Stowaway, the Five Points Jazz Festival, and other gigs this summer will help thrust him into the musical spotlight and allow him larger gigs. “I’m ready to go, man. I don’t want to do bar gigs. I want concerts, festivals, personal appearances, things of that nature, to get me moved up to the next phase.”
Music is the strongest form of magicMarilyn Manson
May 2014 | ColoradoMusicBuzz.com
Totalitarian regimes from Nazi Germany to the former Soviet Union have recognized this idea. For the Nazis, jazz was the ultimate “degenerate music.” And in the Soviet Union, it’s been said that the government’s efforts against that music stand as the only of Stalin’s purges that failed. Players armed with horns might not appear as much of a threat but dictators understood the dangers posed by a music that served as a metaphor for freedom. That’s one more reason why jazz matters. During the merry month of May, you can hear all this for yourself in a variety of ways. On Saturday, May 17, the annual – and free—Five Points Jazz Festival runs in the Points along Tremont St. from 11 a.m. to after 8 p.m. in seven indoor and outdoor locations. With 23 groups participating, there is a wide range of styles on tap before alto saxophonist Brad Leali (who grew up in Denver and has since moved on) closes things down on the main stage starting at 7 p.m. Beyond the Five Points event, guitarist Nels Cline is at Dazzle on May 7. Cline is widely known for his work with the band Wilco but he has clear jazz sensibilities. The top jazz violinist Regina Carter is also at Dazzle (May 10-11) with her group Southern Comfort, as is keyboardist Erik Deutsch on May 22-23. Deutsch spent time in Denver and went east where he joined guitarist Charlie Hunter and others, like singer Norah Jones. In between, on May 17, Dazzle has Denver native Ben Goldberg back with a group that includes Ron Miles on trumpet. Clarinetist Goldberg, whose arsenal includes the massive contra alto clarinet, is the rising star on his instrument. Additionally, the Smithsonian Jazz Masterworks Orchestra with vocalist Kim Nazarian is at the Newman Center on May 10-11 for a tribute to Ella Fitzgerald, while crossover saxophonist Midi Abair is at the Soiled Dove Underground on May 10. Crossover trumpeter Rick Braun and saxophonist Richard Elliot are also at the Soiled Dove on May 23. And on May 9, the Organization (an organ trio) plays the music of Stevie Wonder at Dazzle.
Preneur of the Month by Angela Kerr and Leah Parker.
AKerr@ColoradoMusicBuzz.com
Kevin Shipley has been strumming a guitar since he was 6 years old. He grew up in San Francisco and was surrounded by the hard rock and blues scene of the late ’60s, at such historic venues as the Fillmore West and Winterland. He was drawn to playing bass in high school and enjoyed an active band life in the Bay Area and nearby mountain resorts. He has toured in South America and the United States, where he became a networker and “collector of relationships,” which he still calls upon as the current President of MusicMunch Management. He had a 28 year stint in the Semiconductor industry in Santa Clara, California and moved to Denver in 1986. Kevin’s focus in the tech sector was branding, marketing, sales, and promotion. His experience also includes high level sales, marketing and strategic development. His life experiences include race team owner/driver, entrepreneur, talent buyer, promoter, and festival director. Kevin’s experience in the nonprofit sector includes a current position as Executive Director of the Golden Retriever Rescue of the Rockies (GRRR) as well as prior non-profit experience focusing on his passion for young people and helping them succeed. Currently on his plate is a large June Gala event and a GRRR/RiNo Art District Silent Auction slated for September 2014 at the ArtHaus. Kevin met Harrison Welshimer, former President of MusicMunch, in September 2013, and began collaborating and developing the company. As Harrison made a decision to focus on other interests, he handed over the reins to Kevin in January 2014. One of Kevin’s first accomplishments as President of MusicMunch
Management was to sign Lost Caravan, who recently returned from headlining a gig at the Sundance Film Festival, drawing upon his former touring connections in Los Angeles. According to Kevin, indie artist’s risk getting overexposed by not expanding their reach to new areas and new audiences, they’re getting stuck. He feels most bands don’t need a manager; rather, they need help developing a long-term vision, a strategic plan to get there and a venue strategy (booking agent). Lost Caravan exemplifies Kevin’s branding-focused techniques with female lead, Lindsay Meredith, and her uniquely identifiable gypsy rock. As a new management representative for the band, MusicMunch acts as booking agent and helps the band execute to the three-year business plan. Kevin says a band should be “so well prepared that you feel sorry for the next band up.” Kevin is also a strong advocate of social media to attract and mobilize fans. “Facebook Likes do little for you if you can’t engage them and get them to shows.” “Likewise, use website management to drive traffic, increase reach and marketing potential.” MusicMunch Management offers a menu of fee-based services from helping an artist develop a plan and direction to booking agent to full artist management. In addition to Lost Caravan, the company works with Vignette, Matt Human Trio, Flip and Fly, Mark Nussmeier, Cheza String Ensembles, Kenny Lee Young, Mezzo Mestizo, and AdrienneO. This month Shipley will share his expertise as lead panelist for the May 13th Own It Mastermind on “Talent Buying, Branding, Imaging, and Marketing.” Visit MusicMunch Management at musicmunch. com. SS: Pretty much anything we can get our hands on. LM: We’re mostly whiskey people. . . CMB: How did you guys come together?
Drinking With Charlie’s Intoxicating Rock Revival
by Tim Wenger
TWenger@ColoradoMusicBuzz.com
Drinking With Charlie is a name that can be taken many ways, just ask any of the five eccentric players that make up the group. Their music can also be portrayed in a number of ways, perhaps most commonly as a sort of classic rock revival. CMB: So what do you drink with Charlie?
Stepping up your game? Mark your calendars for May 13, 2014, and register for “Talent Buying, Branding, Imaging, Marketing” with panelists Tom Sailor, talent buyer with Winterset Concert Events, Kevin Shipley, President of MusicMunch, and Dave Curtis, from Dave Does Design and Vices I Admire.
ZM: Me and Jack have been jamming since we were real little kids, when I was still taking guitar lessons. JR: We met in what, 3 Grade? rd
ZM: Yeah. I moved off to college and he met up with Shane here, and they formed this little jam sesh. JR: Shane kind of invited me to live with him. SS: I met Jack through Leah. She was like ‘I’ve got a guy that plays guitar and he’s pretty awesome.’ I was looking for a
CREATE MSU’s OWN IT Music Mastermind #3Talent Buying, Branding, Imaging, Marketing—May 13, 2014
Another sold out crowd attended the April 8th “Designing Your Band,” presentation, featuring Adrienne Osborn and Justin Long from Performance High. In addition to an informal conversation, handouts on how to incorporate your band, band roles and responsibilities (creative, functional, and organizational), and a sample band partnership agreement were provided to participants. A stellar performance by Two Girls with Guitars (Sidney and Caitlin Powell) was enjoyed by all at the IPie AfterParty/Networking gathering. The Who’s Who in attendance included: Tessera Records, MonUmental Moments, Colorado Case Company, Five Rings Financial, Taoe Media, Wimbo Music, Radio Rebel, and MusicMunch. Representatives from local performing bands included: Driftin’ Suns, Ando Gross, Kind Dub, ATP, Two Girls with Guitars, Chasing May, Katey Laurel, Our Generation, The Dead End Drivers, Jason Aaron, Whodunnit, WoolEye, Chris LaFata, Petals of Spain, Of Ashes, The Humbuckers, Thanks to Philo, and Lauren Brombert. guitarist. I went over there and jammed out to some Jack Johnson or something. We jammed for about a year and then we got a little more serious about it. Zach me Alec at work at Firehouse Subs. We started forming from there! ZM: They came up to Fort Collins and jammed for me a little bit and it sounded I awesome. I told them, ‘You’re doing this show with me, you’re opening up this show with me.’ At first they were like, ‘Ahh, I don’t know.’ But they did it and they brought over 200 people on their very first show. After that I was like, ‘I have to be a part of this’ and that kind of completed the five-piece band. CMB: When you’re riding in the van, what keeps you guys busy? ZM: Listening to Disney songs. JR: What keeps us going along, from what I figured out, is we just kinda talk about the
May 2014 | ColoradoMusicBuzz.com
With the vast amount of networking happening at IPie, we’re bringing in experts to show you how it’s done. Tuesday, June 10, 2014, is “Networking and Building Relationships” featuring Sarah Slaton, manager/artist development at Vinefield Agency, Anthony Casale, venue manager of AEG Live (Gothic, Ogden, Bluebird), and Tim Wenger, senior editor from Colorado Music Buzz Magazine. Registration opens May 15th at CREATEmsudenver.com. Topics include: • Why is networking so important? • How to develop and hone your skills • It may not be what you know, but who you know that gets you that gig • You never know who’s in the room… The Mastermind sessions are held at Metropolitan State University of Denver’s CREATE MSU Denver Showroom at 890 Auraria Parkway, Suite 120, Denver, and is broken into two segments. 7:00 p.m. to 8:00 p.m. – Videotaped Panel Discussion and Audience Interaction; Registration Required (CREATEmsudenver.com) If you are unable to participate in the panel discussion, join us for the after-party networking at IPie, featuring an acoustic performance by Ando Gro at www.andogro.com. 8:00 p.m. to 10:00 p.m. – Networking Session at IPie in the Tivoli Student Union; Open to the Public The panel discussion is nearly full, so make sure to register for the Mastermind series at createmsudenver.com.. The Own It Music Mastermind series is sponsored by CREATE MSU Denver, Colorado Music Buzz Media, Guitar Center, Drum City Guitarland, IPie, and Passion Fruit Networking Group. future. We talk about the band. SS: And we joke with each other. We’re a family, we’ve known each other for so long. Even the name of the band was built on an inside joke between this close knit of friends. That’s what keeps us going. CMB: So what are those future plans? What’s the goal here? ALL: To play at Red Rocks! LM: We started so small, our first goal was, let’s just get some equipment! SS: We want to get out of Colorado once we get the fan base that we want here. We’re all in to starting a movement. Just trying to spread the Colorado music, the Colorado vibe. We stand for Colorado music. L M: Bringing old school rock and roll back! Online: facebook.com/drinkingwithcharlie
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MF RuckusThieves of Thunder
by Tim Wenger
TWenger@ ColoradoMusicBuzz. com
There are Denver bands. And then there is MF Ruckus. Watching these guys evolve as musicians, all the way since the days of Forth Yeer Freshman all the way to the current lineup, has been one hell of a ride. Now, with this new record, the hair-metal-punk-soul craziness has reached full pandemonium. I’m not sure how else to describe Aaron Howell’s vocals other than the voice of a demonic rock star metal-head from space- it has that high voice appeal that metal had in the eighties but I can pick out some thrashy punk influence. I pictured an offspring of Ross Hostage from Allout Helter and the devil. The songs are hard driving and fast, the band doesn’t come up for air until just before the final track, “Cheatin’ Up.” The record showcases some of the finest guitar work I’ve seen out of Denver’s rock scene during my three year tenure with this magazine. A modern day Iron Maiden.
Jamie MitchellLove Songs of the Profane
by Jordan Altergott
JAltergott@ ColoradoMusicBuzz. com
The eclectic mix of alt.country and indie rock captivates listeners throughout Love Songs of the Profane from “Hotel Room” to the final track “When You’re Gone”. Jamie Mitchell, writes of his experiences while trekking across the across the nation. “Whisper” deals with one of the hardest lessons that is learned when coming of age, we don’t live forever. Mitchell lyrically composes “Whisper” in a way that while you can feel the unadulterated emotion, the listener can still embrace Mitchell’s crooning and make it their own. Overall Love Songs of the Profane is a solid collection of sentimental songs that with just moments into listening will make you wanderlust. Online: jamiemitchell.bandcamp.com
Online: mfruckus.com Jesse R.S.Drnkers & Jokers
by Jordan Altergott
JAltergott@ ColoradoMusicBzz. com.
Listening to Drinkers & Jokers, Jesse R.S.’s new EP will transport you into a disposition of invincibility. “Play” is an upbeat song that will not fail to brighten your day and bring back nostalgia of young love. Meanwhile, losing yourself in the guitar and ukulele will be effortless. Drinkers & Jokers, while only containing three tracks can virtually appeal to anyone who wants to unwind or become energized by the fervor in the lyrics of “Number”. “Good Drink’” will appease even the largest craving for intriguingly raspy vocals and dynamic instruments that will instantly get you moving to the beat. Overall the EP will make you hungry for more. Online: jessersmusic.com
King Cardinal
by Tim Wenger
TWenger@ ColoradoMusicBuzz. com
King Cardinal is the Johny Cash of Colorado mountain folk music. The instrumentation is simple, driving the focus to the lyricism and the mood it creates. The songs are catchy and easy to play on repeat, each one painting a picture of the story being told firmly into the mind of the listener. Sometimes the image is bright, sometimes much darker, but always honest and full of heart. Solid finger-picking guitar is often present, a good compliment to the male and female vocals. It’s like visiting a ski resort during the off-season- familiar territory, but a strikingly different mood. Online: kingcardinal.com
YuYu- One
100 Shots
TWenger@ ColoradoMusicBuzz. com
Swami@ ColoradoMusicBuzz. com
by Tim Wenger
by the Swami
YuYu is an unusual name that accompanies unusual music, and not at all in a bad way. The ambience of their new record is immediately present- instrumental stylings rich with multiple layers of heart-warming bliss. I almost felt as if I was in the movie Fern Gully. The sound seems so natural, so well put together, that it takes the listener out of their physical state and throws them headfirst into the depths of their mind. It’s a different breed of electronica, one that has appeal far beyond the realm of drug crazed youth. Definitely a solid listen and a versatile album that is appropriate for almost any situation.
100 Shots has been picking up momentum recently. With a very strong showing in Bandwagon 5 and gigs at places like the Gothic Theatre, there is no reason for you not to take notice, especially if you are a fan of HipHop/Rock/Electronic all compiled into one, then you are in for a treat. These guys bring it heavy in all three genre departments, so be ready for a sonic detonation in the ear drums. If you are fan of creative, trendsetting material, definitely look these guys up. If you like Linkin Park, Hollywood Undead, and Run D.M.C. will be glad you just found 100 shots.
Online: https://soundcloud.com/ omegadubstep/sets/yuyu-album/s-5HsJh
Online: facebook.com/100shotsmusic
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Dubkor- Rastaman Riding
by Tim Wintemute
TWntemute@ ColoradoMusicBuzz. com
Rastaman Riding by DubKor is the next great reggae album. With the passing of Amendment 64, Denver is attracting artists from around the world seeking marijuana freedom. Originally from Spanish Town, Jamaica, DubKor is a nine piece RootsReggae group looking to make Denver their new home. DubKor is very similar to other Roots style Reggae acts including Bob Marley, Steel Pulse and Peter Tosh, yet influenced by Jamaican Dub artist such as Scientist, mad Professor and Lee Scratch Perry. DubKor’s greatness is obvious when listening to Rastaman Riding, with a diversity of tracks- each of which have their own unique style- weaves into a powerful and addictive record. Rastaman Riding starts out with a very strong track ”A Little Love Story,” which is a pop inspired stand-alone track. The next three tracks on the album, “Madda Earth,” “Ites, Gold and Green” and “Wait Son” take the album in a more upbeat direction and leave the listener feeling happy and joyous. The middle part of the album, continues to show how talented DubKor is, the morally correct “Arrogant man,” the jazz inspired title track “Rastaman Riding,” the marijuana anthem and single “Gideon,” followed by the socially conscious track “Can’t Sleep.” By the time you reach the 10th track of the album DubKor has got your attention, and the band takes full advantage by putting the most powerful tracks as the the last four on the album. The local hit, “law,” which has been getting regular play on local radio, is a forceful track that gets the blood flowing, the next song “Same Routine” is a duet between the lead singer and his wife / backup singer Empress Que. The next track, “Defend di Endz,” is a slower track dedicated to addressing the violence in Jamaica. The final track is an upbeat reggae song Varanda, leaves the listener on a positive high note and is a great closing track of a great album. Online: facebook.com/dubkor Ivory Circle –Equilateral
by the Swami
Swami@ ColoradoMusicBuzz. com
You would have never guessed that singersongwriter Connie Hong was a middle school teacher, writing songs during her breaks at school and then perform them for her students. That fervor is showcased in Ivory Circle’s latest release, and with abundance I might add. Strings, heavy beats, and harmonies really excel in this release (the first of three EPs that are scheduled). Hong is intense. And rightfully so after listening to her expressive lyrics. She is downright overly emotional, and that is a good thing. With a full band of talented musicians (including Chris Beeble from the famed Blasting Room Studios in Fort Collins), I look forward to catching a show soon (5/29 at the Bluebird). If you like:Florence and the Machine, Love like Fire, and Imogen Heap, you’ll like this as well. Online: facebook.com/ivorycircle
May 2014 | ColoradoMusicBuzz.com
Curci- Forever Summer
by Tim Wenger
TWenger@ ColoradoMusicBuzz. com
Youth angst permeates the solid spitting of FoCo rapper Curci on his new album Forever Summer. You’ve got to give it to him- his music is well-versed and true to his time. He bucks the trend of modern hip hop in favor of focusing on his world- the scene, graduation, girls and much more are touched on in his songs and the lyrics hold nothing back. Featuring a wide array of guest producers and talent, the record is actually an easy listenhonest but not over the top. Curci and his Conscious Minds crew are demonstrating growth while staying true to their roots. Online: curcimusic.com Richie Allen Buchborn
by Tim Wenger
TWenger@ ColoradoMusicBuzz. com
Richie Allen B u c h b o r n has some very picturesque music. His vocal is high but far from a squeal- a nice compromise. The overall feel of the music is solo-indie, with strong pop sensibilities. His guitar playing is very melodic, a very easy listen, and coincides well with the vocal work. The music is slightly socially conscious, very modern and honest. “The American” is case in point here. This song, and a couple others on the record, sound like a tune that would fit will in a Hunter S. Thompson story. Cheers to Buchborn for creating a sound that is easily appealing while still managing to raise the hairs on our back. The Trubelos– Tumbleweed Road
by Tru Blu
TruBlu@ ColoradoMusicBuzz. com
The strength in The Trubelos sophomore effort, Tumbleweed Road is the diversity of musical style. With equal parts country, blues, classic rock and soul of Tumbleweed Road is full of great song writing and quality musicianship. The Trubelos have successfully blended Lauren Michaels sassy and strong female lead vocal with classic male machismo and the result is fun loving, toe tapping, small town meets the big city bundle of joy. Their smooth delivery translates easily to the big stage or back yard bbq and there’s nobody like them in our music scene today. I definitely see The Trubelos enjoying a long, glorious run. Check out Tumbleweed Road and go see the band live. Online: thetrubelos.com
ReverbNation Featured Artists of the Month give five independent acts that have not previously been featured in Colorado Music Buzz the opportunity to get on our radar, get their bio in the magazine, and get their tracks played on Music Buzz LIVE Radio on Wednesday evenings. The artists are selected through submissions made via their ReverbNation pages.
Hurricane VIC
Honey Don’t
I was born in Indiana, where at an early age we moved down to my mother’s side of the family in Alabama. We lived the country life there before making our way out west to reside here in Colorado. I have always been addicted to hip hop from early an early age. I couldn’t get enough of the old school artists who paved way and fueled the passion I had for my own music. I started rhyming, writing, and battling in the music scene in 1994. I started out in a live band called 420BC Brew Crew. Now after many years of being in the business I have decided to go solo as the Hurricane Vic. Noticing the hard work, devotion and drive it takes to make it in this business, I put forth my all every day to become one day successful .
Honey Don’t is the musical union of Bill Powers and Shelley Gray, perhaps better known as one half of the Paonia, Colorado based old time-bluegrass band, Sweet Sunny South. Their music is acoustic and based in the folk tradition. They draw from their bluegrass and old-time background but also inject some country, blues and a little swing. The songs are catchy and engaging, funny, sad, lonesome and uplifting. Most of the songs are original, but select covers and traditional tunes are part of their repertoire as well. Online: reverbnation.com/ honeydont
Online: reverbnation.com/ hurricanvic
Dragondeer On Gaining Steam, New Record
by Tim Wenger
Twenger@ColoradoMusicBuzz.com
Dragondeer has made a name for themselves pretty quickly, having just formed last year. The band just finished recording a new record and will be traversing the highways of our fair state this summer. Check out what front man Eric Halborg has to say about the project. CMB: Ok guys. Let’s get the lowdown on the recording process. EH: So we started the process of recording “Don’t That Feel Good” by getting drums takes with Jeff Cannon and Nick Sullivan at Silo Sound in Denver. Jeff and Nick gave me those drum takes and we then tracked lap steel, mandolin, electric guitar, classical guitar, bass, vocals, harmonica and percussion at my home studio in Denver and I mixed and produced the record there as well. We used the different spaces in the house (built in 1900) to get the natural reverb and delay you hear throughout the recordings. Mics placed close to the ceiling in wood floor rooms and in stairwells captured natural reverbs and were mixed with close mic’d tube amp captures of the lap steel, mandolin and harmonica
Decadon
Drifting Tricky
The Tankerays
Ever since he could remember, Donnie Miller has had a deep love for music. He was introduced to this love at a very early age. As a toddler, there constantly was music playing in the house. As he grew into an elementary school student, he took music classes and computer classes where he was first introduced to the music program Garage Band. He did not have the program at home, so he would stay hours after school was over in the computer laboratory, just learning the simple functions of how it worked. By age 12 he had picked up the guitar, bass, and piano. He would put on concerts for his friends and family at his house. This is when he realized that he could do something in his life with his love for music. By age 17, Donnie had already released on two very reputable record labels. Every one of his releases made Top 100 charts on Beatport, and some even broke the Top 10. Now, Miller is 18 years old and is already living his dream.
Drifting Tricky is a hard hitting, high energy 5 piece band that hails from the Denver, CO area. These 5 rockers have been on the local scene for a few years now and have come together to fulfill a rock n roll prophecy. Diversity is key for this band, as their originals and covers seem to cover nearly every sub-genre of rock there is. Mark your calendar for their next show, as you don’t want to miss these guys!
The Tankerays are a three piece Rock n Roll band from the high mountain desert of Colorado. The Tankerays are a tasty blend of Rock a Billy, Punk, Surf and good old fashioned “Barn Burning” Rock N Roll. The Tankerays have shared the stage with bands such as The Reverend Horton Heat, Agent Orange and The Young Dubliners.
Online: reverbnaiton.com/ driftingtricky
Online: reverbnation.com/ thetankerays
Online: reverbnation.com/decadon to get this far away-old school sound we were after. We had the final mixes mastered by David Glasser at AirShow Mastering in Boulder. David has won Grammys for mastering old blues and folk records and works with the Grateful Dead and those influences matched the vibe we were going for with this record perfectly.
out. Promoters check out the Open Air videos and see that we can play live and we’ve been invited to play some really cool shows because of it. Grateful to CPR for those.
CMB: Seems like you guys have played quite the gauntlet of solid gigs for such a young band. What kind of reaction did you get at shows like SXSW and Nacarubi Music Festival? EH: Really positive reactions. To see some bigger crowds dancing and digging what we are doing having never heard our songs before is encouraging.
EH: We are going to play a ton of shows all over Colorado this summer. It’s Colorado’s Summer of Love; the eyes of the world are on this state. People are going to flock here from all over the world and I’d like to play music for them this summer as much as we can. Celebrate a bit. And then come fall we’ll tour the west coast and wherever else people are getting into the record.
CMB: What were the steps that helped elevate you to those caliber of shows so quickly?
CMB: Give me a brief history of how the band came together and how the pysch-blues sound was born.
EH: The big thing that got the band rolling were the live in-studio videos that Colorado Public Radio’s Open Air 1340AM shot of us early on. Every show we’ve ever played has been booked without us having a record
EH: I was recording Brendan Kelly from The Lawrence Arms solo record and Brendan wanted some mandolin on one of his songs. I knew Cole Rudy played mandolin and I had him come play on the track. I saw that he ripped
CMB: What’s the plan following the release of the record? Is the highway calling your name?
May 2014 | ColoradoMusicBuzz.com
on mandolin and he told me he thought it’d be cool to play blues on his mandolin and we both shared our love for old school blues like Howlin Wolf, Robert Johnson, Junior Wells, Muddy Waters, and John Mayal. . I had been playing harmonica a bunch in my car. I had my car stereo stolen from my pick-up truck and for four years I didn’t replace the radio I just had harmonicas in the truck and would drive around Denver and play. Cole and I decided to jam some blues together with me singing, playing harp, and playing classical guitar through a tube amp with heavy reverb and Cole playing mandolin and Lap Steel through his delay reverb and assorted guitar pedals. We played as a two piece for like six months then added drummer/percussionist Carl Sorensen and eventually bassist Casey Sidwell. Carl, Casey, and Cole all have jazz backgrounds which made improvisation a really natural part of the band. It keep things exciting for us to be able to create on the fly every show and lets us play long sets which is something we get off on. We want to take the foundations of blues and freak it out and put our own effected improvised psychedelic twist on it. CMB: Where is the record online? EH: Dragondeer.com
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The entertainment lineup for this year’s festival will be released shortly (watch our website!), and it includes great familiar acts such as P-Nuckle, The Fabulous Boogienauts, Ryan Chrys & The Rough Cuts, and Monroe Monroe, as well as some fun new ones that auditioned at the UMX (Ultimate Music Xperience) in March.
Capital Hill People’s Fair Ready to Rock by Andrea Furness
editor@ColoradoMusicBuzz.com
The CHUN Capitol Hill People’s Fair – an art and music festival – returns to Denver’s Civic Center Park onSaturday, June 7 (10am-8pm) and Sunday, June 8 (10am-7pm) featuring handcrafted art, live local music, delicious festival food, a wine pavilion, the People’s Fair “Green Space” with sustainability-focused vendors, a non-profit showcase, a family area with carnival rides and kids crafts and more! Volunteers are still needed to help with set-up, tear-down, and a variety of other jobs – sign up online to volunteer (www.peoplesfair.com).
One standout group that will be performing at the People’s Fair is Our Generation – a five-piece Classic Rock cover band comprised of 10-14 year old musicians that was put together within the last year by a company called Band Dynamics. The lead vocalist and the guitar player are siblings named Abbey and Jude (aptly named after two Beatles songs “Abbey Road” and “Hey Jude”). Our Generation gathers their influence from bands such as Red Hot Chili Peppers, Foo Fighters and Fallout Boy. This high-energy band packed the house at the UMX! Join us June 7 and 8 for a celebration of community and kick-off to the summer festival season! The People’s Fair truly offers something for everyone! Admission is FREE!! For more information, please visitwww. peoplesfair.com. remained chums ever since. When this year’s tour was being coordinated, The Last Slice threw our name into the hat. We’re pretty humbled to join these guys on what may be a very big event.
The A’Oks Join Ska Revival Tour by Tim Wenger
TWenger@ColoradoMusicBuzz.com
Local ska-punkers The A’Oks will be featured on the western leg of the Ska Revival Tour this summer, alongside Be Like Max, Survan Says! and The Last Slice. Here are the details on what’s going down, as delivered by trumpet player Nicole Orts. CMB: So what’s the deal with this tour? When, where, who? NO: This Summer, Survay Says from New Jersey and The Last Slice from Oklahoma are hosting a nation-wide Ska Revival Tour. There will be an East Coast and West Coast leg of the tour. We will be joining the West Coast portion of the tour in July with our friends Be Like Max from Las Vegas. This tour was set up to shut down the rumors that “ska is dead” and to showcase ska bands that have been making their mark across the country. So, if you like SKA, this is the tour for you. CMB: How did The A’Oks come to be included? NO: We were lucky enough to tour with The Last Slice in 2012. Coincidentally we also met and made friends with Be Like Max and Survay Says on that tour. We had way too much fun playing with all of those guys and we have
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CMB: Are you prepping anything special for the trip? New songs, merch, anything like that? NO: We always have big plans when we tour. We like to make our Denver show as insane as possible for when friends from other states come through. Last Year, we hosted The Last Slice and Be Like Max at the Gothic with fellow Colorado Ska and Punk bands, The Potato Pirates and The Repercussions. It was one of our craziest shows and, hey, we even made an album out of it! We’ll be bringing a couple new songs on the road and new merch to ensure our influence spreads far and wide. And when every little ska kid in the Western United States is wearing an A-OKs t-shirt, we will activate the mind control chips woven in the threads of every shirt’s cotton poly-blend fabric and we will take our place as kings behind our new zombie army!
“I still feel like that’s valuable and meaningful,” says Molina. “Something I want to do with the project is take some days in late May, earlymid June and just show up at random places, whether it’s a street corner, an arts institution, to perform this Every Day Denver project.”
Molina Speaks: I’ve Got a Million Stories to Tell, This is But One by Tim Wenger
TWenger@ColoradoMusicBuzz.com
Local artist Adrian Molina, perhaps better known as Molina Speaks, is preparing to release his new project Every Day Denver. The work will be released as a seven-song EP, recorded in one take on April 30 at Late Night Studios. The project will be released in late May. The tracks feature beats from Mikey Fresh of hip hop group Soul City. “I like his motivation and his vision, I think he represents the future of Denver hip hop,” says Molina. “Really cool, down to earth dude who understands music well.” “I’ve been thinking about this project for several years,” Molina says. “It has looked different ways in my mind. It kind of came to me this spring that this is the time to do it. The concept is ‘Every Day Denver Watching Clouds Change Seasons.’ Each of the seven tracks are represented by one of those seven words.”
This new recording hopes to serve as musical graffiti, of sorts, of Denver as it is today. Molina’s last album, Greatest Rapper Never Heard, featured references to the history of Denver hip hop on the tracks ‘Colorado HipHop Part 1” and “Colorado Hip-Hop Part 2.” He hopes to do something similar with this new project, but giving the shout outs to Denver as a whole. “All of these different references were kind of woven together to tell a story,” says Molina. “I’m working with kind of a similar concept with this Every Day Denver project. I want a lot of our local businesses, restaurants, cafes, bars, just the different things that people like. The different things that people enjoy and make the city interesting, I want those things kind of interwoven into the project. Using different places and streets as metaphor to tell a more poetic narrative. It’s like a time capsule. Ten years from now when it’s like ‘Denver has changed!’ this will be like a carving in stone on a city wall.” Catch Molina Speaks live May 15 at the HiDive for a pre-release party of sorts, alongside Soul City, ll Se7en, and Panama Soweto. Look for him to be out and about town a bit more with the changing of the seasons. “I plan to perform a lot more in the fall,” says Molina. “For the last year I’ve just been trying to create a lot of new music, write a lot, produce a lot of material and be a little bit more in the lab, so to speak. I’m doing a lot of arts education work and a lot of performances that are specific to an event or an arts institution or a school. I plan to do more in terms of the entertainment scene in the fall with these new projects.” Online: theartistlens.com, molinaspeaks.com
Trumpeter Randy Runyon will be featured on each track, and will join Molina as often as possible for live performances. “I plan to perform the entire EP as a set, with him,” says Molina. “It’s kind of like a time capsule. It’s trying to capture what Denver has been, what Denver is, but also all of the changes that are happening. I’m trying to look at that with a critical eye, but ultimately as a celebration of what the city is and what it is becoming.” Every Day Denver will be available online as well as on physical cd following its release.
CMB: Where is your music online? NO: We recently set up our bandcamp at theaoks.bandcamp.com and we put up all three of our albums in their entirity for your listening pleasure! You can also find us on iTunes, CDBaby, ReverbNation, Facebook, etc, etc.... Also, someone put our stuff up on The Pirate Bay. That’s when we knew we hit the big leagues. CMB: Any plans following the tour? NO: We’re playing a couple East Coast cities in August and hope to start recording a new album by the end of the year.
May 2014 | ColoradoMusicBuzz.com
ColfaxAvenue.com Drops New Comilation Album by Tim Wenger
TWenger@ColoradoMusicBuzz.com
A new compilation cd aiming to raise funds for the Colfax Community Network is now available at Twist & Shout Records, 2508 E. Colfax Ave. Compiled and released by Jonny Barber, the cd features fifteen artists who have recorded songs about Colfax Avenue. The Colfax Community Network provides aid and assistance to homeless families along the Colfax Corridor. Featured artists include BLKHRTS, White Fudge, Natural Selection, and twelve others. This is the second such release. Find more info at Barber’s website, colfaxavenue.com.
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Fender Blues Deluxe Reissue Okay, yes the Fender Blues Deluxe Reissue is covered in tweed and that is pretty sweet. But that is only part of the story on this little beauty. I have never really been a Fender guy, however, they arguably have the best clean tone on the market and have for many years. And with the ever-increasing number of professional artist who swear by their Fenders chances are, when you turn on a Fender it’s going to sound good, if not great. Equipped with a Jensen speaker specially designed for this model, the Blues Deluxe Reissue is going to not only provide a classic Fender look, but sound as well. Blues, Rock, Country, Jazz, Rockabilly. This thing will pretty much do it all. Unless of course you are wanting to play Metal or Hard Rock, but let’s be honest, you wouldn’t be buying a Fender if that were the case. Fender knows who they make amplifiers for and they know how to do it very well. Lately I myself have been moving closer to the less “aggressive” side of things musically, i.e. away from Metal, Hard Rock and so on. Until recently I haven’t really had much experience with “cleaner” sounding amps, but historically Fender seems to be a good place to start. After spending a good year or so trying out many different amp brands and models I kept coming back to the Blues Deluxe Reissue. Even some Fenders were a little too bright or thin sounding. The BDR just had the best of both worlds and seemed to have the warmest, fullest tone of all the amps I had tried out. I did have two main concerns however. The first being whether or not I was still going to be able to get a nice aggressive tone if I needed it without compromising tone. And the second being whether the 1x12 at 40 watts was going to give me enough power and volume. Going from a 4x12 cab to a 1x12 combo is quite the difference, especially in a live setting when your bass player refuses to use anything besides an 8x10 Ampeg rig. Obviously on the clean channel it sounds fantastic. Crisp, clear, classic. No contest there. When switched to the overdrive channel it’s very easy to get a nice blues or classic rock tone. This amp is meant to cook a little hotter than a Twin or Deluxe Reverb. Now, I did realize that whenever I was using the overdrive channel most of the time I still had the Drive cranked to 12. It have more to do with my own personal tastes but if you tend to use high gain this amp might not be for you. There are some ways to work around this though, like throwing on a distortion or overdrive pedal. Or maybe for some the Fender Hot Rod Deluxe III would be the way to go, which is another 40 watt 1x12 combo amp that has added a “More Drive” feature to the overdrive channel. As far as my concerns about the amp being able to hold its own on stage along side the rest of the band, I recently played a gig and had no issues. In fact I received many compliments about my guitar tone afterwards. Needless to say I am very happy with my recent purchase and upgrade in overall tone. Not to mention the fact that it looked pretty cool up there on stage.
BOSS ME-80
Shure SM7B
This year Boss released a new multi-effects pedal that truly stands above the rest in its price range. The new Boss ME80 has the traditional presets that most multi-effects pedals offer, but it also offers an option to use the built-in effects as stand-alone stomp boxes! This allows you to choose and edit the effects on the fly! This option is great for anyone who has had difficulty tweeking your effect settings in a live situation with other multi-effects. The ME-80 offers a huge range of effects that are specific to other stand-alone stomp boxes, including the new Boss Tera Echo Delay. Many of these stand-alone effect pedals sell for $150 each, so the ME-80 coming in at $299 offers a huge bang for the buck! Another new feature that Boss is offering is the new “Boss Tone Central.” This allows users to download signature artist effects, as well as create, edit, and share your own effects with other users! This is a fabulous resource for users wanting to use more of their presets for fast transitions. Tone wise, the ME-80 offers a huge variety. The pedal allows for clean and mellow tones for jazz and fusion, as well as getting heavy enough for any metal player. The ME-80 also features a 38 second phrase loop function in the delay bank, which allows users to work on new ideas, as well as create layers in their music.
Throughout the years Shure has been known for setting the industry standard in microphones. The SM7B is no exception. I have heard a lot about this mic and decided to pick one up. I am a bassist and vocalist, and in my opinion, this is the “all purpose” mic to have. The SM7B provides a flat and wide range response that works well with whatever you throw at it. It has a smooth character to it which sounds great for male and female vocals.
The versatility of this pedal has really been surprising. With nearly an endless amount of combination, this pedal is sure to fit the needs of anyone who chooses to use it. The ME-80 also features USB connectivity for storing and editing effects in Tone Central, as well as recording directly into your favorite DAW program. If you are looking for a great multi-effects, I highly suggesting taking a look into this pedal. I have been extremely pleased with the features, build and tone of this pedal, and I look forward to having a lot of fun with this pedal in the future!
Also, this dynamic mic has excellent shielding which helped protect my recording against electronic hum from my monitors. Whether you have a vocalist who is aggressive or holds back, the character of the mic really lets the natural sound of the singers voice shine through. I’ve also found it to work great on bass cabs, guitar cabs, kick drums, and floor toms. It really has no problems picking up the low end while providing tight clarity to the highs. This mic also features a bass roll-off switch and mid-range boost so I was able to change the response of the mic when the low end was too boomy. After using this mic in my home studio setting I honestly can say that my vocal and bass tracks have never sounded better. Give this microphone a shot. You won’t be disappointed! Alan Hlavacek – Pro Audio Department Manager -Guitar Center Fort Collins, CO
Joel Zeiner – Accessories Department Manager – Guitar Center Fort Collins, CO
Final Thoughts: This amp can be very versatile and handle a number of different styles. Light to heavy, clean to distortion. Whether you’re going for B.B. King to Clapton, The White Stripes to Muse or Grateful Dead to Nirvana this amp can get you there. Plus, it ain’t bad to look at either. Travis Mason- Guitar Center Fort Collins, CO
May 2014 | ColoradoMusicBuzz.com
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by Tim Wenger photos: Ray Tollison They played it off like it was totally pro. Then again, maybe it was. It was a damp Thursday night in Denver. The Bluebird Theater was packed and hazy, like an early morning fog after a pre-dawn rain, and harboring the same anxious feeling of anticipation. Even now, I’m still not sure if someone forgot to turn off the smoke machine, or if the five belt buckled, plaid collared shirt and sunglasses wearing country rockers that make up Birch Street were just trying to cover up the smell of weed emanating from the pit area so they could focus their full attention on the task at hand- rocking the near-sold out crowd that packed in to watch the band release their debut album on the evening of April 3, 2014. Either way, the lights dimmed and the crowd roared with the fury of the early morning rush hour. The band took the stage like that awkward alcoholic cousin you keep hoping is going to show up at Christmas dinner, bringing a much needed spicing of the air and distraction from the dull conversations happening all around. The guys wasted no time. Front man Jake Langenhorst gave a brief intro and the band dove head first into their record, coming up for air only briefly between songs to present the next, crack a joke, or take a pull of the beer that sat at their feet. At first, through the catchy, pop-sensible choruses and Langenhorst’s countrytwanged vocals, I was wondering if I was spending my Thursday night with the bastard step-child of Florida-Georgia Line. Another bro-country outfit trying to cash in on the roid-rage, tight shirt, vodka-cran tendency of modern jock sensibilities. The music was good. They crashed genres together well. The band was well-rehearsed and tight. But do they really have that country soul or are they just flashing their style in front of the crowd, hoping that some black suit A and R guy from Nashville just happens to have made his way to Denver for the occasion? Then, about five songs in, they brought out some Marvin Gaye and everything changed. Suddenly, I saw the heart. I felt the appeal. I understood what they are doing. Their temptingly mainstream mix of rock, country and soul, although it took a few songs to break my barrier, is genius, and the next few songs convinced me that it is exactly what Denver needs right now. The crowd, including the skeptical journalist standing against the stage-right wall on the second tier, gave in to the pantydropping, stage-owning awesomeness that was happening right in front of them. I don’t know exactly what the dance was called, but the lower tier in front of the stage was, by this time and for the remainder of the show, going nuts. The next day I gathered my notes. Simply put, Birch Street killed it. The
cheering of the audience got a little bit louder after each song, until the last moments when many seemed to have lost their voice. Going into the night the vast majority in the crowd was already on board with Birch Street, but by the time the bartender pulled the mats even the few standing outsiders were sold. In the ear of the national country market, their type of sound is all the rage right now, and its high time Birch Street joins The Yawpers as Denver’s modern national offering outside of the alt-indie mustache circuit. Put these guys in the van, crank up the Willie Nelson, and cut them loose on the nation’s freeways. The band started, not
country to the outfit, very fitting since he is the lead singer. “I think in all, it’s cool, combining these pop sensibilities with modern country bands,” he says. “The hard rock, 80’s guitar solos. I think we stand out, but I think our music could reach any niche in Denver. Anywhere you look in the music, you can find where we are all coming from.” “Except EDM,” says Slater, a comment both humorous and true. “I think we have so many sounds that no matter what show you put us in, we can find a way to customize our sound to that niche that they are going for,” says Macht. Birch Street brought their instruments along with
“Apparently you’re not allowed to sit down on Pearl Street when you’re drunk because that’s considered public intoxication,” says Slater. “I was waiting for my buddies to pick me up. The cops found me first.” Slater, after a confrontation, ended up in jail and was worried he wouldn’t make it to the recording session the next day. He ended up getting out in the morning after a long, sleepless night in the slammer. “It was kind of like going through high school,” says Langenhorst. “When you’re done recording an album, you start looking at what you’re doing individually. It makes sense more, and you know you’re purpose more.” Learning their purpose has been an evolving process taking influence not only from the studio but also from live gigs, the guys say. Their sound, while always having country flair to it, has grown towards a slightly heavier side more conducive to dancing, as opposed to slower ballads and whiny tunes. “Playing all these live shows, playing all this crunchy stuff, people start getting into it, and you dig that, you want to go more with that,” says Langehorst. “All the live playing makes you appreciate all that crunchy stuff.” To prepare for these heavy hitting live shows, they need two things- drinks, and some breathing room. “A lot of time we spend time talking to our fans,” says Slater.
unlike many others, in a basement. Langenhorst and bassist Chad Macht started jamming together. “Soon after that we found (drummer) Cooper Leith,” say Langenhorst. The two went to high school with keyboardist Sheldon Slater, who, alongside Andy Burns, joined the band about a year later. “We all have different influences,” says Macht, who, as we sit a couple weeks later at Illegal Pete’s DU over a round of beers (that quickly morphed into shots of Jim Beam), is donning a Pink Floyd t-shirt. “I think that’s what makes us unique is that we all come from a different type of style.” Langenhorst brings the heart of
their many artistic influences into UI Sound Studios last fall to work with producers Evan Reeves and Tira Neal for this, their 12track debut album. “It was a long process, about a month of recording,” says Slater. The actual recording process, though a bit lengthy, was smooth. Slater did have a bit of a hiccup during the recording progression, landing him in a tough spot with the law. “It was later in the recording session, we were almost done,” he says. “We all went out to Pearl Street to party and I ended up having one too many long islands. I got separated from the group.” He decided to sit down for a moment and gather his thoughts.
“But it is good to get away like twenty minutes before maybe and just let it wind down,” says Macht. “Sometimes your head can be spinning with all the people you see. We have very good fans, they come out to our shows pretty loyally so it’s easy to get to know everybody.” “That’s the best part,” says Langenhorst, whom the band trusts to set the tempo for each performance. “Jake does a good job being our front man because he reads it better than us,” says Slater. “He feeds off the crowd in the right way.” “That’s key,” says Burns. “Cuz then as the guitar player, you’re never in that spot. Everything works out with everybody, I’m never shy or anything.” The band will be hitting the road for just under a month this summer to spread the album across the south and the Midwest. Following that, they will be back at the Bluebird Theater and Fox Theatre for local gigs while getting their next record ready. Get your copy of their debut record at all of the major online retailers. Online: birchstreet.com
the brand you create.
The Manager’s Corner
by Chris Daniels
CDaniels@ColoradoMusicBuzz.com
I’ve managed my own band for 30 years, I’m in the Colorado Music Hall of Fame and I’ve produced more than 20 albums - and this business is changing at digital speed and it takes working harder than ever to break through the noise. But success is still built on some basic tried and true elements: great music & performance, and really hard work and the luck of timing. The book I wrote for my class at CU Denver on artist management is called “DIY: You’re Not in it Alone.” That’s the new reality for artists. Whether on our local Colorado “island” or in the greater internetville … there are a lot of us out there doing everything we can to survive... and we learn as much as we can from our peers. Here is a little of what I heard of value at this year’s CU Denver Music Business Seminar. Panelists included Jon Forman, lead singer and guitarist for Switchfoot, Kevin Lyman, founder of Vans Warped Tour, and the Mayhem tour and a partner at Side One Dummy Records, JJ Italiano, manager of acts like “I Fight Dragons” and The Flobots,” three of Colorado’s most experienced music lawyers, Steve Erwin, Amber McClain and Dave Ratner, plus a whole load of others too numerous and fantastic to name. Key points that came out of the seminar were: 1) Songwriting: if you are a writer – for god sakes understand your process and then do everything you can to foster that talent, craft and art. This was the message from EVERYBODY there … the song… your writing, whether it is EDM or Hip Hop track production & writing (Ms. McClain represents a number of those) or an alt pop-rock anthem – the song is your most valuable asset and you are the only one who can perfect that craft. 2) Revenue streams: understanding HOW you earn money is almost as important as making the music that you will market. It is not just creating music but also protecting it and exploiting its commercial potential. They are of equal importance. Protecting it includes basics like copyrighting your music and getting a State or Federal patent protection for your BRAND…things like the name of your band. Many panelists stressed the importance of a written agreement between band members and establishing yourself as a business … preferably an LLC as there are liability issues for performing artists. It also includes HOW you do business (trust me, the music industry is a small place and if somebody is a jerk - or much worse- that information gets around very fast.) These things are part and parcel of protecting
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3) Exploiting your music, your live show and everything that contributes to what we loosely call your ‘brand’ is the key for the post-major-label reality of our time. In no particular order here is a short list of the revenue streams you should be familiar with and exploiting. (a) performing live: you need to be able to captivate an audience whether it is DJ work at a local venue or metal night at Herman’s…you’ve got to be able to “bring it” or to “kill” as the comics say. (b) exploiting USE of your song through publishing placements with TV, commercials, and especially films. Denver/Boulder/Ft Collins is home to some of the most innovative independent film producers and YOU may have the song or track they need. This also means you UNDERSTAND what publishing is - and how it differs from the ownership of the recording you make (or others make) of that song. (c) your recordings – basement studio or professional studio – SoundCloud, DIY putting it out yourself, or signed to an independent label. The recorded “master” of a song or track is as valuable a property to be exploited as the song itself, and they are different revenue streams. All three of these are your “intellectual property” and they contribute to making a living as a music person (artist) - but they are not the only parts of your brand you need to develop, exploit and protect. (d) merch is an essential part of this river of pennies and dollars that contribute to your survival – especially on the road (more in a moment). (e) sponsorships and endorsements from companies that support music. This can range from instrument endorsements to finding sponsorships for an album or tour plus a good sponsorship relationship may last for years. (f) finally there is the new area of crowd funding for developing these revenue streams and the social networking that is necessary to (i) connect with your fans and (ii) become comfortable talking with fans about what you are doing – how you are developing your art. Finally, I want to share a little special sauce from one of the most remarkable people in music today, Kevin Lyman. As stated, he is founder of The Warped Tour but he’s much, much more. I see Kevin as the founder of a business system that is the key to success in the post major label world. Put simply, Lyman believes in working with artists, sponsors, and independent labels to create very successful partnerships. In the past artists fought for a major deal. Those majors overpaid artists up front and expected to lose money on eight out of every nine artists they signed – praying that some “Adele” would save their ass. Lyman practices a new philosophy. Working with his own and other independent companies he looks at a world where reasonable advances help an artist develop a savvy business approach where sales of a first release of between 3,000 and 5,000 paid downloads or CDs. Those meager sales numbers used to get the artist dropped by a major. But for independents it earns the artist a royalty AND a second album to continue to develop their art. Artists who play the Warped Tour for the first time are making between $300 and $600 per show. (Headline acts get between $12,000 and $16,000 per show) They do 43 cities in 56 days and the artists make real money on their merch AND they eat better than they do at home. He doesn’t believe in dressing rooms but instead a common area where artists, sponsors and promoters get together and talk about what’s going on and how they are developing their craft. HE WILL NOT DO BUY-ONs (meaning artists cannot pay to be on the Warped Tour). He hates that all-too-common practice in the
industry. If you are lucky enough to get on the Warped Tour – the first thing that will happen is he and his team work directly with you and their sponsors so you develop a direct relationship with the companies that make his tour possible. This is only part of a set of business practices that include strong involvement with a number of charities, extensive efforts to make his tour more sustainable every year and to give music fans an incredible day of music at an affordable price in every city they hit. There is much more to tell but let me leave you with a set of amazing numbers and one final tip of the hat. The Warped Tour sold more than 120,000 tickets for 2014 before the bands were announced. It costs roughly a million dollars a week to keep about 50 busses and trucks on the road and they have never made money through ticket sales (except for one year). They work extensively for and with their sponsors to make the tour possible. Almost 1,000 people work the
Warped Tour each day, including volunteers, and it is a collective attitude with strong rules on how success is achieved – hard work, great music, and love for the fans that come to enjoy the bands. The daily lineup changes in every city so come for the day, drink lots of water and take care of yourself, this is marathon fun. And the tip of the hat – Lyman and his staff are ALWAYS looking for the best new music – whether it’s a band that they saw in a club while traveling or a SoundCloud link that came from a friend… they are relentless. BUT YOU HAVE TO HAVE YOUR SHIT TOGETHER. All that stuff that I started this article talking about … that is a given … they EXPECT you to have all that together. Touring all over they US and Canada is not for artists who are just starting. Thanks to Colfax Root 40 Music Festival, CU Denver Music Business Seminar and all the panelists for “bringing it” – to Colorado!
up in “good hands” and at least you afford yourself the shot at getting your gear back this way. 3 – If you are doing an extended show, i.e. two or three sets, make sure at least one band member is watching the stage at all times. And for security reasons, never go outside alone before, during or after a show. Always go in pairs. At least you will have a witness if you get your ass kicked.
Musician 101 – Round 10 What to do to take it to the next level by the Swami Swami@ColoradoMusicBuzz.com
Back in the 90’s when I had a developmental deal with Sony, I was privileged to have several great mentors. Then the labels still had A/R departments and would look for talented artists to sign and then “train” to be a pro. For me, I was lucky enough to have such encounters. Here in this monthly column I will share with you not only the things I learned from “the big boys” but really from the school of hard knocks and the other school of figuring out what not to do. Each month I will pick a different topic that I think truly makes the difference between amateur and professional.
Ways to protect your music gear, van or trailer. A musician’s worst nightmare…getting your gear stolen! I have countless stories from fellow musicians who for one reason or another, had their gear ripped off, trailer stolen, van broken into, etc. Besides feeling violated, you are out dollars and your favorite axe or drum kit! Here are some tips and good business practices to consider before heading out to that next gig. 1 – Take inventory. Have a list of every piece of gear you have and document the serial numbers. Take photos and video of all your gear. (A great time is after you do sound check or at your practice space) 2 – Put labels on your stuff – “property of xyz band, if found please contact:” – not on your guitar, but at least your case. Things may end
May 2014 | ColoradoMusicBuzz.com
4 – Got a van or trailer? When parking, back the rear up to a wall. Cover your windows with a sheet or something else. Make sure you document your vehicle too with your inventory and video/photo records. And invest in a hub puck. It looks a bit like a bit like the yellow city “boot” you get if you don’t pay your tickets. If you have a towed trailer, a stem lock (the portion that connects to the hitch) is a good idea too on top of the hub puck. This may seem over the top, but it works for a touring band I know…They have a stuffed dummy they leave inside the van. Shit looks real! An alarm is not a bad idea either. 5 – Lastly, consider insurance. Check with your current policy, sometimes you may already be covered. Look online - www. musicproinsurance. com is a reputable site and is affordable. Remember, your gear makes you money so protect it!! Got a question or a topic to cover? Hit me up Swami@ColoradoMusicBuzz.com - I am here to help!
My Old Record Store glenn@thespotstudios.com
Going to the record store and buying a physical copy of an album is an experience that seems to be slowing dying out. With the advent of mp3s, iTunes, and online music services it’s no longer necessary to leave your couch to get the latest release from your favorite band. With that being said, there are still a lot of us who cherish the record store experience and our memories of it. One of these people is local F#lk n’ Roll artist Jeffrey Dallet. Jeffrey is an avid music lover who has amassed a jaw-dropping record collection over the last 15 or so years. Many of those records came from the shelves and bins of Jerry’s Record Store which was a Denver landmark for years before shutting its doors in 2013. In addition to records, Jeffrey slowly, but surely, accumulated a variety of stories and anecdotes about his experiences at Jerry’s and felt compelled to write a song about his experiences after Jerry’s closed.
Lyric House April Placements
Lyric House is a boutique music publishing & licensing company focused in song placement, sync licensing and artist development. Recent Placements: Hit The Floor Placement Rhema Soul’s song “Punch You In The Face” will be featured in a dance routine on the August 4th episode of VH1’s Hit The Floor! SalesForce Placement Salesforce uses Lyric House music! The leading cloud computing sales app, Salesforce is using Meet Me In Montauk’s song “What A Beautiful world” for their upcoming Web Ad! Online: lyrichouseco.com
The result is an epic piece titled My Old Record Store. The track reminisces about Jerry’s quirky staff and Jeffrey’s interactions with them in the verses. The chorus is an amalgamation of song and record titles. It’s a great song, but we were concerned that listeners might not listen to the whole thing because of its length. The song clocked in at just over seven minutes long and we couldn’t cut out any sections, because we’d lose important parts of the story. Our solution was to incorporate different instrumentation throughout the song to create musical interest while simultaneously accentuating each sections’ lyrical theme. The song starts with a Farfisa organ line that immediately draws the listener in while setting the mood squarely in the 1960s. The Farfisa complements the throwback vibe of the track and also the lyrics of the first verse, which relays the story of the early years of rock.
provides us an opportunity to change things up instrumentally, which we do by introducing a delayed mellotron flute to complement the psychedelic imagery in the lyrics. The song’s choruses received a similar treatment. They take the listener on a journey through the best of music over the years, and it was important that the chorus instrumentation be every bit as compelling as the verses. In keeping with the throwback feel of the track we utilized piano, Hammond B3 organ, and eventually strings and church bells in the final chorus. The result is a triumphant sound that Springsteen would be proud of. By utilizing different instrumentation for different parts of the song we were able to create a track that feels like it just started even after seven minutes. The lessons here are two-fold. First, it’s important to realize the impact of instrumentation choices and when and how they are used. The second lesson is that you’ve got to have a great song to really pull this off. No amount of production tricks or instrumentation changes can make up for a weak song. Fortunately for us, Jeffrey writes one hell of a song so we didn’t have to worry about that side of things. That left us free to focus on the production and the result is a song that hits the Sweet Spot. Jeffrey has already released a single off of the EP titled Dear Dayton OH which can be heard on Spotify and purchased through iTunes. The full three song EP will be released on May 31st in conjunction with a CD release show at the Skylight Lounge. Find out more about Jeffrey Dallet at jeffreydalletcom. More information about The Spot Studios is available at thespotstudioscom. SCAN
TO ACCESS THE STUDIOS’ WEBSITE
SPOT
The Farfisa continues through the first verse, before handing the ball off to the electric piano. The electric piano provides a slightly different feel that is still well within the throwback vibe, but different enough to keep the listener engaged. This works well with the second verse’s lyrical content, which inhabits the same thematic space as the first. The third verse changes the tone lyrically, which
May 2014 | ColoradoMusicBuzz.com
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The Lyric Featuring War Torn Project by Tim Wenger
TWenger@ColoradoMusicBuzz.com
War Torn Project have some insightful lyrics, with the song “I’ll See You In The Other Life” being the definitive. Touching on war, religion, death and more, the song is a true emotional rollercoaster. We got the lowdown from War Torn’s main man Tim Maynard about the story behind this epic song. Check out the song on WTP’s ReverbNation page, reverbnation.com/wartorn. CMB: Give us the lowdown on these lyrics. Is there a religious connotation, and what role does death play in the song? TM: This is the lowdown. When I started writing the lyrics to “I’ll See You in The Other Life” I envisioned an American soldier, lying helplessly on the side of the road, after an explosion from a suicide bomber. Why would you sacrifice yourself and even destroy people of your own faith, at the same time. Why? As he is dying he proclaims, I’ll see you in the other life. Meaning in the Christian faith he is going to Heaven, while taking his last breathes. To sum it all up it shows the philosophical differences between our religions. CMB: The lyrics seem pretty deep, pretty sad, is that what you were going for? TM: Yes, I guess you could say that’s what I was shooting for. Watching all that is unfolding in Iraq, Afghanistan, Syria, Egypt, and Libya one could see the extreme ideology and unrest which is taking its toll on the people of the middle-east, and the world. It’s almost like they have become oblivious to human compassion. The people there live in an almost zombie-like state of mind. The whole scene is kind-of sad, so that is the feeling I wanted to express in the song. CMB: Give us some background on your musical path. TM: My dad taught me how to play music at the age of 14. By the time I turned 17 I was playing bass guitar in a I’ll See You In The Other Life Paralyzed, Lying in the street Blown Apart, No legs beneath my waist Stare, Stare as they pass me by Watch me bleed, don’t care if I live or die Forgive, for they know not what they do Woe I’ll see you in the other life I’ll see you in the other life We’ll walk the streets of gold
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country music band with my dad. Two years later I joined The Kentucky Fox Band, at the age of 19 we recorded a song called “Damn the T.V.s Gone.” That song went number 7 on the Detroit and Canadian area billboard charts. We also had two other songs that charted well. For about 5 years we were the opening act for many Nashville stars, such as Merl Hagerd, George Jones, Ronnie Milsip, Ricky Scaggs, George Strait, and many others. After 12 years together we went our separate ways, then I moved to northern Michigan right around the time of the gulf war. That is when I started writing music; I was intrigued by the wars in the Middle East, combined with passages from the book of revelation. That is what inspired me to write the War Torn project. I started playing lead guitar for a classic rock band, a power trio called Tri Factor. We played all the northern Mi clubs for about 7 years, sitting on the War Torn project for years I finally recorded the CD. So that is where I am today.
Hip Hop Movers Don Verse Brings it Old OverFlow Breaking it In by Tim Wenger School TWenger@ColoradoMusicBuzz.com by Tim Wenger
TWenger@ColoradoMusicBuzz.com
Don Verse might be a new player in Denver’s hip hop market, but his style is straight old school. He brings catchy, if sometimes mellow, beats and layers them underneath his upbeat lyrics to create a rap sound that begs for the attention of true hip hop fans. Keeping his distance from the “trendy” over-produced nonsense that clogs the airwaves, Verse’s style is a much needed breath of fresh air in Denver. “My whole life, I listened to music, it’s my escape route,” says Verse. “Music is one of the things that got me right spiritually.” Verse has been recording and promoting himself under his
CMB: Would you say there is an overall message to your music? TM: The overall message of my music is a stark reality of what is going on in the world today. Some of my inspirations are a combination of American patriotism, human compassion, and material that expresses the lighter side of life. CMB: Where music?
can
we
find
the
TM: reverbnation.com/wartorn Oh-- yeah Wars, Rumors of war Terrorist Attack, suicidal sacrifice Oh How can they say there religion is love I’ll see you in the other life I’ll see you in the other life Breathe, as the blood fills my lungs Weary eyed, I can barely see Blinded now, as I fade to black Breathe, down to my last breath Breathe I’ll see you in the other life(repeat)
The three are very excited about the new project and the response it has been getting. “It’s a fun show,” Akens says. “It’s not just hip hop anymore. We have a funk and blues influence, and then we get heavy into the EDM at points to appeal to that crowd. I think it’s something that is really worth giving a shot. Even if you’ve seen us all solo, when we get together it’s something totally different.” The group evolved out of friendship and a mutual appreciation for different styles of music. “It’s a collaboration of all our different styles,” says Akens. “We’re having a lot of fun with it and people seem to like it, so we decided to stick with it and make it more of a solidified thing.” Hottman plays guitar, is the DJ, while Akens holds down the MC duties.
CMB: Is there anything specific that you channel when you are writing songs, or does it just kind of hit you? TM: I’ll pick up my guitar and play something, if it feels good I will continue to form a rough-type of verse and a couple of nice cord changes for a possible chorus. The styles of the music im writing will determine the direction for the lyrics. Feelings and phrases will just come to me as I am writing. Once I channel a theme to the music, then I structure and build the song.
Austie Frostie (Austin Akens) has made a bit of a name for himself already in the music community in Denver. His new project OverFlow with members Michael Hottman and Brett Granrun takes his original hip hop style and brings in elements of a handful of different genres to create a sound with an appeal across genre lines. Colorado Music Buzz caught up with the trio to get the word on the new project and when we can get ahold of some recorded goodness.
current moniker for about ten months, having recently stepped into the live performance market and headlining a gig at Herman’s Hideaway. “I’ve started getting some pretty nice feedback,” says Verse. “I love to write. Getting comfortable behind the microphone, recording songs in the booth and the studio, that was one thing that I have the passion for.” Don Verse is serious about his writing, and prefers to be in a state of mind where he can fully focus on the task at hand to create the best possible work. “I’ve always got my headphones on,” says Verse about how he gets motivated to write. “I won’t pick up a pen until I’m feeling it. It’s easy for people to get writer’s block, but one thing for me is, until I can put my all into a song, I won’t sit down to write one.” Verse has been working with friend and manager Jake Dougherty, under the name Pawz Records, for the back-of-house business. The two have known each other for several years now. “We played football together in high school,” says Dougherty. “When (Verse) came back to town (from San Diego), I started to hear a little buzz that he was writing. I had actually been trying to get my company going, and it just so happened that he ended up being able to link up with me just after I signed my first artist. He ended up being my second artist.” “Right now, I’m working on a second mixtape,” says Verse. “I’m also in the works of putting out an EP as well.” Exact dates for the releases have not been set. “I’m just really working hard, back to the lab with things, the writing process and getting all my beats.” The two hope for a summer release for the EP. Check out his current record on Soundcloud. Online: facebook.com/donversemusic
May 2014 | ColoradoMusicBuzz.com
The trio came together at Colorado State University in Fort Collins, with Hottman and Granrud meeting while living in the dorms, and Akens coming into the picture the following year after being introduced through mutual friends. Akens and Granrud ended up moving in together. “That’s when we discovered that we (should) make music together,” Akens says. “We messed around a little bit while we were living together but neither of us were doing a whole lot with it.” Granrud began djing at some Austie Frostie shows, which stuck. They then brought Hottman in for a show to sit in on guitar and ended up keeping him around. Their new EP should help that process. The trio is working on it now, handling the recording process themselves. Hottman and Granrud write the instrumental and then Akens lays down the lyrics over top. “As far as the EP goes, having a real studio-quality, well pressed project is my goal,” says Akens. “Something I’m really proud of to hand out, instead of just experimenting and laying stuff down for fun. Having the ground up approach is really helping us perfect our sound right now.” “We want to lay down a solid album that we can play, of all new music,” says Granrud. Following the release of their EP the group will take a larger step into the live performance market. The album is about halfway written and the group is hoping for a late summer release. “Now that we have the time off of performing to sit down and actually build our studio and perform in it, it should go pretty quick from here on out,” says Akens. Online: facebook.com/overflowstyle
Barber was fortunate enough to witness not only Nirvana but Beck, Eddie Vedder, Elliott Smith and others during their formative years in Olympia. “The amount of music and people coming through there, it was an insane period of time,” says Barber. “I ended up playing a show with Nirvana on the Evergreen campus in the library building. Kurt was a really negative, introverted guy. We couldn’t be more opposite. But I got to hang out and talk with them and some other bands. The Melvins were the band that everybody thought was going to be the big band.”
From SLC Punk! to Nirvana to The Velvet Elvis, Jonny Barber Has Seen it All by Tim Wenger
TWenger@ColoradoMusicBuzz.com
Conceived in San Francisco during the Summer of Love. A title that, while there may be many alive who bear it, few have lived to the extent of Denver rocker Jonny Barber. Better known in some circles as The Velvet Elvis, others as that guy from Spiv, and yet other circles just as good ole’ Jonny the rockabilly musiciandude, Barber seems to be living the definition of the rocker’s life. His newest singles, “Go for the Moon” from Spiv and “The Barber, The Baker, The Candlestick Maker” from the Kofi Baker Trio, are out now. Barber made an appearance at Colorado Music Buzz’ April Industry Networking Party at Silo Sound Recording Studio and wooed us with endless stories and advice about touring, performing, and recording. We felt it was the least we could do to return the favor and share the story of a man who most certainly is one of Denver’s most eccentric characters. “Elvis is the undisputable king of rock and roll,” says Barber with force, his eyes locked on mine, paralyzing me from any immediate reaction including a rebuttal (had I had one). In nearly a decade of performing as an Elvis impersonator in addition to fronting his own bands, Barber should know. But how did he get into doing this? Why, when I google his name, do I get links spanning nearly every genre of modern music with credits to his name? “I got my start playing in church when I was probably about eight,” says Barber. “My biggest influence musically would be Johann
Sebastian Bach. His pieces translate really well to six string guitar.” His story reads like a living history of modern rock and roll. Barber grew up in Salt Lake City around the time that the punk rock scene exploded in the area (think SLC Punk) and that is where he first discovered the electric guitar. “Those guys owe me a royalty!” Barber says with a laugh. “A few of the characters in there were actually the older brothers of my friends. That was how I got turned on to punk. We were listening to Rush, Journey, and Foreigner. I just remember the older brothers hearing us listen to that prog rock and being like ‘Man, that’s not music!,’ and handed us our first Black Flag, 7 Seconds, Agent Orange and all that stuff.” He played in some punk bands in the area, and due to the popularity of the style he played some of his most solid gigs in eighth and ninth grades. “We were playing school auditoriums for 2,500 kids,” says Barber. This time period solidified Barber’s love for punk rock and he has carried that raw, rebellious, self-reliant attitude with him ever since. Following high school and his tenure in the SLC punk scene, Barber moved to Olympia, Washington to attend The Evergreen State College, right before the Seattle grunge scene took off. “I was a really accomplished guitar player at a really young age,” he says. “I spent so much time being able to play Van Halen’s “Eruption” on guitar, or Stevie Ray Vaughan. If you wanted to be a guitar player in the eighties, the bar was really high.” Barber was practicing in his dorm one day when he had an uninvited visitor. “I’m running these arpeggios and scales and this guy walks by my front window and he goes, ‘Oh man, you got it all wrong.’” The guy threw a cassette in the window, the album Bleach from Nirvana. “It had just come out on Sub Pop,” says Barber. “He threw it to me and I’m like, ‘What’s this?’ I popped it in and I’m like, ‘Oh, hairbands are over!’” About a month later, Nirvana was playing in his dorm building.
“I remember the day around Olympia when they said Kurt’s going to be on MTV,” Barber says. “Everybody gathered down at the East Side Tavern and sat around the bar. It was Riki Rachtman on there, it was the Headbanger’s Ball. He announced ‘This next band Nirvana. . .’ and some guy in the back of the bar goes ‘Man he still owes me money for dope!’” Barber came to Colorado about twenty years ago, pulling out of the Pacific Northwest on a sad note; it was the same day that Mia Zapata (The Gits) was murdered. He started a warehouse rock space up in Summit County and played host to a multitude of wellknown musicians, giving him the opportunity to play with (and sometimes hit the road with) them. “We did a tour with Hot Tuna,” says Barber. “We ran into all these musicians that were passing through Colorado and they’d just stop out at our house and jam and hang out.” Cold weather drove Barber to Denver in the late nineties. He played his first gig here at the Lion’s Lair on East Colfax and fell in love with the city. “I remember when I first came Denver, I had an intuitive feeling that Denver is gonna have a big day in its way,” says Barber. “All these other cities have had their time, and Denver has never really had its time. This is going to be next.” He formed a band called Spiv, which performed around the western United States and garnered some national attention with the songs “Songs to Sway to” and “Everybody’s a Rock Star Tonight.” The band has recently began recording again, following a break while Barber participated in numerous other projects. He played lead guitar for a band called Mama during this hiatus. The Zeppelin-esque band came out of Barber’s desire to “make an album that I wanted to listen to.” “I didn’t care if anybody else liked it, I just wanted it to be something that when I turned it on, it rocked my face off.” In 2004, Barber fell into a gig as an Elvis Impersonator, with the project coming to be known as The Velvet Elvis, because a fan once told him, “it’s not so much you look like Elvis as you do a painting of Elvis…” When looking at Barber, or at a picture of him, it seems very appropriate. “My hair was really long at the time,” says Barber. “I was at a friend’s studio.
May 2014 | ColoradoMusicBuzz.com
I turned around and she goes ‘Your profile is dead-on Elvis.’ Can you sing like him?’” Barber sang to her and she was impressed, so he decided to see if he could make anything happen as an Elvis impersonator. “The way I got started was I cut my hair,” he says. “I got a pompadour going, and I thought, ‘I’m going to test it out. I’m going to dress up as Elvis and do random sightings all over Denver. I’m just going to show up, start rocking, and see if I get a reaction.’” His first real reaction came on The King’s birthday, January 8, 2004, at Gunther Toody’s. “I go strolling in there right in the middle of lunch time with everybody sitting around and I just start rocking right in the middle of the floor, banging my guitar and shaking my hips,” he says. “About halfway through the song, I realize that over in the private party area there is this other Elvis impersonator already putting on a show. I basically walked into the middle of his show. I didn’t want to ruin the guy’s gig so I went over and started singing with him. He was so startled.” He went and sang on the bus, at hair salons, down on the 16th St. Mall, and anywhere else he could, collecting contacts which eventually led to paying gigs as an Elvis impersonator. Over the years the project has grown immensely. He got a band together, has toured around and has sung at Graceland, Elvis’ birthplace in Tupelo, MS, Europe, Vegas, and many other exciting places. “Doing the Elvis led me to traditional rockabilly,” says Barber. He hooked up with a guy named Willie Lewis, founder of the Rock-a-Billy Record Company. Lewis helped Barber with making rockabilly records and Barber has since played guitar on many of Lewis’ records. Check out the music at rockabillywillie.com. Recently, following a “death” of The Velvet Elvis (that was then followed byaresurrection),Barber has released a new single from Spiv, entitled “Go for the Moon.” He also released a single with another group he has been playing with, the Kofi Baker Trio, called “The Barber, The Baker, The Candlestick Maker”, featuring Ginger Baker of Cream’s son Kofi on the drums. Listen for the tracks in rotation on Music Buzz LIVE Radio, Wednesdays from 6-8 pm on WorldViral.tv. Barber is excited to continue recording as much music as possible and to be a part of Denver’s scene, enjoying the ‘mecca’ of music that we all hope it is becoming. “If there was ever a time to get your poop in a group in Denver as a musician, it’s right now,” he says. “If there is one thing these music scenes have taught me, it’s that they don’t last. It’s not going to go on forever. All eyes are on Denver.” Online: jonnybarber.com, thevelvetelvis.com, spiv.com
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Tips for Art Festivals and Shows By Leah Parker cfi@msudenver.edu
Patrons shopping at the Downtown Denver Arts Festival. Photo credit: Jason Hussong at jasonstravels.com.
Summer is around the corner and with that the season for art fairs, festivals, and shows. If you’re new to the circuit, here are tips to keep in mind while attending these events: 1. Do Your Research. Investigate local festivals before applying for a spot. Points to keep in mind while you’re scoping the event include: • Market Audience: Is there entertainment that is drawing patrons away from the artwork? How many people are actively buying and carrying their purchases? Is the event located in an area of high income or tourism? Are the vendors dressed casually or formally? • Art Quality and Price Range: Are the other works on display equal to your artistic caliber? If the festival has low quality crafts or lower price points compared to your work, you may not sell well because buyers will be interested in bargains rather than quality. Shows with a
broad range of mediums and prices tend to attract art savvy patrons. • Traffic Volume: Is there a high turnout? Don’t let low traffic be a deterrent if people are actively enjoying and purchasing art. • Costs: How much will it cost to exhibit? Are there juried fees? Booth fees? Are display tables provided or is the artist responsible for bringing their own? Where do others rent or buy equipment? Have you included these costs in your sale price calculations? • Artists: How are others displaying their products? How happy or busy are the artists? Stop by booths on the last day to briefly ask how well they did—especially those with works similar to yours. Most creatives will gladly share information and let you know which events are worth your time. Keep in mind that artists may be too busy to chat, so take a business card to follow up later or offer to wine and dine them that evening or weekend.
2. Work Your Way Up. Even high-end professional artists started small. • Get your feet wet by participating in local fairs or farmer’s markets, where you can learn from beginner mistakes. Use trial-and-error to find out where and which of your art sells best. You may realize that certain festivals do not fit your style, demographic, or price range. • Some shows and fairs are difficult to get into.It may take years to network your way in or figure out what juried shows look for. • Don’t give up! Your work may be rejected from one festival but accepted at another. • You’ll learn the most at smaller juried shows rather than craft fairs. • Attend events that you have scouted or other artists recommend. Well-intentioned buyers may suggest fairs that are a waste of time and money because they’re not looking at it from a business owner’s perspective. • Even if you are not selling at a specific fair, go anyway and network. It is important to get exposure at events within your niche. 3. Merchandising and Sales. What does the customer see? • Presentation is everything. Set up your booth to look like a professional gallery. Don’t overcrowd. Be selective and show pieces that will draw people in. Allow room for customers to walk around comfortably. • Always display new work as well as recent award-winning work. • Step into the crowd and walk toward your booth from different angles. Establish the line-of-sight areas where patrons first see your table and hang your best work there. • Depending on your medium, creating art live and in-person draw crowds. It is also a good way to obtain on-the-spot and future commissions. • Always take photos of your booth layout and displays. Larger fairs or juried shows require images of your booth set up. • For festivals that are two or more days, rearrange your art and displays. It will look like work sold, draw attention to other pieces, and create a sense of urgency for buyers. • Practice! Make a list of what you need. Take an afternoon to pack your inventory, transport it to a park, set up your merchandise on a table, tear it down, load it into the car, go home and unpack. How much time does it take? Are you bringing too little or too many items? Do you need to edit your supplies list? • Smile and share your story! Briefly describe
your process and why or how a piece came together. Patrons are more likely to buy work that resonates with them, especially if there is a story they can share with others. • Accept credit cards. Square, Inc. (squareup. com) is free with a nominal processing fee. • Keep track of your expenses. You may make a lot in sales, but is it worth it if you break even after travel, food, and hotel? Consider increasing sale price calculations to assist in covering all your expenses. • Price tags and labels need to be large and typed. If customers repeatedly ask how much a piece costs, consider adjusting its location on the display or increasing the font size. 4. Equipment. Are you prepared? • Invest in a high-quality tent and panels. Make sure the canopy is made of a heavy material and that you have substantial weights (i.e. concrete blocks or sand bags) or stakes to drive into the ground. The last thing you want is for a gust to turn your tent into a kite and knock over nearby booths. • Bring various sizes bags and packaging to wrap sold art. Focus on clean and effective rather than expensive wrapping. • Make sure you invent a quick and safe system to transport your work. You want it to arrive at the show “gallery ready” and not broken or damaged. 5. Extra Tips. Because you never know. • Collect a mailing list. Gather contact information to keep your followers updated with new works and shows. Use a guest book or collect business cards for drawings. • Recruit one or two friends or family members to help. Make sure only one person remains behind the table and allow no food inside the booth. This will discourage volunteers from being too absorbed in conversation to notice buyers and allows you to network or take breaks. • Listen to comments! Regulars will become familiar with your work and their insight will help create a more effective display. • If you are returning to a fair, set up in the same area. Collectors will look for you there. For more information on festivals and venues, visit the Denver Arts & Venues calendar at artsandvenuesdenver.com/calendar.
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May 2014 | ColoradoMusicBuzz.com | CREATEmsudenver.com
ARTrepreneur of the Month
Kathy Beekman has been featured in the nationally acclaimed “Southwest Art Magazine” and authored “Prosper, A Success Book for Artists.” Kathy was one of 57 women artists of the West invited to show in the Desert Caballeros Western Museum’s Cowgirl Up! exhibit, and she is the May 2014 ARTrepreneur of the Month. CREATE: Tell us your story. When and why did you get into art? Kathy: I never “got into art.” I have always been into art. One of my earliest memories is drawing with crayons on a piece of paper. I was making loop after loop with my crayon and saying to myself, “it’s great to be an artist.” CREATE: What are your influences/ inspirations? Kathy: There isn’t any one grand event or person that has inspired or influenced me. It’s in the little moments and mostly my mood which inspire me. For example, when I look at a landscapes and the sun is falling on a group of yellow trees that are backed by dark purple clouds, the setting stirs in me a certain mood that I would like to convey through painting.
CREATE: Other than being first an artist, what else do you do? What is your business? Kathy: I am the owner of Beekman Fine Art & Design, a business specializing in fine
art, teaching, career coaching for artists, and custom picture framing. Currently my work can be found in galleries throughout Colorado, Arizona, and in Santa Fe, New Mexico. My book Prosper, A Success Book for Artists was published last summer and is now available on-line with Amazon and Barnes and Noble. My world is dominated by art and so not only do I create art and help others reach their artistic goals but am also on two art related board of advisors: CREATE MSU Denver and Center for the Arts Evergreen. Outside of my art world, I enjoy being married to my husband Chris, traveling, gardening, cooking, antiquing and staying in touch with family.
CREATE: Tell us about your involvement with CREATE MSU Denver. Kathy: I am the CREATE fine art advisor, meaning that I advise/mentor fine artists that participate in CREATE. The client and I meet one-on-one and once a month. During our meetings we discuss and strategize the best ways in which they can reach their “artrepreneurial” goals. We initially meet in person and the remainder of the meetings are virtual.
virtually via Skype or Facetime. Questions like, “is this really going to work?” came to mind. Communicating virtually with clients, I’ve discovered, is terrific. In this day in age, it is a great way to do business. The main advantage is that it reduces the amount of time spent traveling to and from a meeting and can also be a significant cost saver in terms of travel. The travel time then equates to time that can be spent on their art career. We can also meet anywhere! The client can be in their studio, working in another state, or at a coffee shop while I’m at the office or in my studio. It’s a plus to meet virtually because the client can request that I look at their artwork, pull out a file folder, or search for something on the web. This would not be possible if we met at the CREATE MSU office on a regular basis. CREATE: Any recent successes? Kathy: Yes! I was invited as an artist to participate in the Cowgirl Up! exhibit at the Desert Caballeros Western Museum. It was an honor and a joy to participate in the event. Another recent success is that a client told me that her advising appointments have helped her achieve more than she ever dreamed possible.
CREATE: What are some challenges in the business of being an artist today? Kathy: Without a doubt many artists do not see their passion as a serious profession and CREATE: What therefore do not treat are your thoughts “The Weather Vane III” by Kathy Beekman. it as a business. Most about communicating artists are not business virtually with clients? people and so find it difficult to know how to Kathy: I have to say that I had my initial make a career as an artist. It is therefore very doubts when it came to meeting with clients challenging for them to think about invoices,
“Weathered” by Kathy Beekman.
marketing, obtaining new clients, accounting, inventorying, etc. Another big challenge that seems to be a constant throughout history is getting both financial and moral support to develop their work. As an aside, almost every full-time artist I know has challenges when it comes to consistent cash flow. CREATE: What advice would you give to beginners or other artists? Kathy: Always take risks. Without risks there are no achievements. This goes for creating artwork as well as getting yourself and the artwork “out there.” Keep a positive attitude and believe that opportunities will come your way. Negativity only breeds more negativity. Besides, people like to be around others that are upbeat and positive. CREATE: What are your next steps? Kathy: As an artist, my immediate future has me participating in a lot of one person gallery exhibits. You can see what is up and coming by going to www.kathybeekman.com. As a CREATE advisor, I and the Assistant Director, Cindy Busch, have been invited to speak at the 2014 Creative Industries Summit to be held in Salida, Colorado. Topic? The Art of Self Promotion. For more information: kathybeekman.com.
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