Colorado Music Buzz Magazine Jan 2013 by Keith Schneider

MANAGING PUBLISHERS Keith Schneider Keith@ColoradoMusicBuzz.com Christopher Murphy CMurphy@ColoradoMusicBuzz.com MANAGING EDITOR-Front of House Jennifer Cohen JCohen@ColoradoMusicBuzz.com 303-895-1351 MANAGING EDITOR- Back of House Tim Wenger TWenger@ColoradoMusicBuzz.com 303-725-9359 WEBSITE EDITORS Tim Wenger TWenger@ColoradoMusicBuzz.com Jennifer Cohen JCohen@ColoradoMusicBuzz.com WEBMASTER SwamiSez Web Design SwamiSez@ColoradoMusicBuzz.com CONTRIBUTING WRITERS Satarra Camacho, Jenn Cohen, Sal Christ, Chris Daniels, Ryan Edwards, Andrew Hoag, Jonathan McNaughton, Eric Smith, Darnell Teague, Torch, Tim Wenger PHOTOGRAPHY Sheila Broderick, Jenn Cohen, Miles Chrisinger, Ted Davis,

ADVERTISING & MARKETING INQUIRIES Advertising@ColoradoMusicBuzz.com Chris Murphy 720-429-8717 CMurphy@ColoradoMusicBuzz.com WEB ADVERTISING Keith@ColoradoMusicBuzz.com 303-870-7376

GENERAL INQUIRIES Info@ColoradoMusicBuzz.com SPONSORSHIPS / OTHER Please email us a written request proposal for all inquires to Editor@ColoradoMusicBuzz.com with the subject line including the words “Sponsorship proposal”

CMB Submissions and Advertising Policy Colorado Music Buzz welcomes submissions, advertisements and sponsorships from those connected to every musical genre and style, as well as the general public. Due to our publication’s community focus, article content and advertisements containing nudity, drug references, profane words/visuals, or sexually exploitative material will not be accepted. Please feel free to voice any concerns you may have and collaborate with us to adapt what you would like to present in a way that respects both our all-ages audience and your artistic integrity. We are here for the music, and we are here for you.

Artists may submit press kits/CDs for review by mail. Please email requests for coverage directly to the editor and copy the writer of your choice in your musical style. Colorado Music Buzz Magazine, LLC P.O. Box 2739, Littleton, CO 80161

Colorado Music Buzz Magazine is published monthly by Music Buzz Media LLC (Publisher) and distributed to over 650 locations throughout greater Denver, Boulder, Colorado Springs, and surrounding areas. Reproduction in any manner in whole or in part without express written consent of the Publisher is strictly prohibited. Views expressed herein do not necessarily reflect the opinions of the publisher or its staff. Colorado Music Buzz Magazine LLC does not limit or discriminate based on ethnicity, gender, age, disability status, spiritual beliefs, familial status, or national origin, and does not accept editorial content or advertisements that do.

January 2013 | ColoradoMusicBuzz.com

An Honest Moment with All That Remains by Eric “Psikotyk” Smith

ESmith@ColoradoMusicBuzz.com

There comes a certain amount of pressure with being in a band that challenges itself with constantly growing and challenging the “norm,” and Oli Herbert of All That Remains will be the first to point that out. In an interview that went way beyond expectation, he opened up about the difficulties bands find on the road, and talked about how important musicianship is, and how if it isn’t paired up with a sense of showmanship and originality, most bands would never make it in the world’s arena.

ReverbNation Artists of the Month gives local artists a chance to submit to be featured in Colorado Music Buzz by submitting through their ReverbNation page. If selected, the artist is given the chance to describe their band in their own words and have their tracks aired on Music Buzz LIVE Radio. This month, we selected Arise in Chaos and The Trubelos, two very different bands coming up in the diverse Denver-area scene with great songs and a hard work ethic. Check out their tracks by tuning into MBLR Wednesdays from 6-8 pm and Saturdays from 2-4 pm on MileHighUnderground.com. Here is what they had to say about themselves:

I usually listen to a lot of classical when I’m in compositional phase, jazz too. I think in feelings and imagery, and I picture those things when I’m writing

Touring is hard. Touring relentlessly in the early days of trying to make a name for yourself is even harder. Herbert explained that you make little to no income, and are treated like performing animals in most situations. In 2004, on the War Party Tour, this was made abundantly clear. Up to that point, Herbert says, “We were used to ‘Here’s five bucks, you know, go find something to eat, then perform for me.’ But these guys were very professional; there was actual catering. I can actually say that Dave Brockie (a.k.a. Oderus Ungerus from GWAR) is the reason I’m still in the band. I was making no money at all, I was broke as hell, and I was like, ‘Man, I could go back to teaching and make a pretty good living.’ But he convinced me I’d regret it. He sat down and had some serious talks with me about that, and I stuck with the band. When I saw him last year in Denmark, he was like, ‘See? Aren’t you glad you didn’t quit?’”

But Herbert also admits that touring is the only way to really separate yourself from all the other artists out there, and that there is more to playing a live show than just playing music. It is a performance, first and foremost. “I really respect bands that go out of their way to give people their money’s worth (production-wise). The biggest challenge for most bands is being able to perform, and still play decently. Regardless of its difficulties, Herbert prefers life on the road. But he also offers that without proper education and really understanding your role as a musician, you have no foundation to build from, either. He takes education incredibly

Arise in Chaos: Arise in Chaos was formed in the spring of 2010 by founding members Dustin Griboski (vocals) Jeremy Matheson (drums), and Cameron Burris (guitar). Later adding the talents of Ryan Orr on guitar and John Vickers on bass, Arise in Chaos was ready to deliver punishing shows and record their first album, “CIVILIZATION DECAY” released Dec. 2012. Cameron left the band in late 2012 and was replaced with Nick Bechir on guitar. The members of Arise in Chaos gained experience in metal bands such as; Downtied, Only Chaos, Pariah, Wading Through Corpses and the metal flamenco acoustic duo Guitarasaurus & Chordzilla. The band is excited about their current line up and

seriously, and draws inspiration from as many sources as he can. In order to separate his writing from his contemporaries, “I don’t listen to any bands of my genre. That leads to inevitable plagiarism. I usually listen to a lot of classical when I’m in a compositional phase, jazz too. I think in feelings and imagery, and I picture those things when I’m writing.” He went on to say that bands have an obligation to both write compelling music, and to provide a performance for the crowds. “You may think it’s silly, others will think it’s cool, but, it’s about finding your own way and getting comfortable in that role.” But even successful artists have their doubts. “When I have to go home, and it’s time to compose a new album it’s very, very stressful for me. You know, this could be it; this could be the one that, you know, this could f*ck up our whole career. Everybody will hate it . . . there’s always that uncertainty.” He went on to say that he doesn’t often listen to his own material, and would prefer to listen to other artists instead. “It’s cool to listen to the new album, and be able to sit back and judge it honestly.” The hundreds of thousands of fans around the globe seem to think that All That Remains is doing just fine…. Online: allthatremainsonline.com

January 2013 | ColoradoMusicBuzz.com

for their future in metal. The chaos is coming! The Trubelos: The Trubelos formed only in May of 2012, so they are really just getting it rolling. They just pressed their debut CD; ‘Boomerang Girl’ with 13 multi-genre songs; seven written by member Sandy Craig, and six eclectic covers, ranging from Susan Tedeschi to Concrete Blonde compositions. The band is fronted by vocalist Lauren Michaels, a fresh newcomer with seriously scorching pipes! The rest of the band consists of four instruments; two guitars, bass and drums. The four other band members have had long tenures in at least six Denver bands over the years, and here they are delivering a unique style of ‘60 tinged twang blues pop for Lauren’s vocals to shine on. Their set list does contain a few slow ones, but just so the dancers can catch their breath. This is music for drinking and dancing in the old bar band tradition. Trubelos is pronounced TRUbelos; it is short for Truth, Beauty, and Love...’Nuf said.... Visit coloradomusicbuzz.com for more featured artists. If your band wants to submit for consideration, do so through ReverbNation opportunities.

Venue of the MonthLincoln’s Roadhouse

Jahni Denver Drops Album

by Ryan Edwards

REdwards@ColoradoMusicBuzz.com

It’s not easy to find, but it seems like the best venues are the ones that hide themselves in the nooks and crannies of Denver and the rest of Colorado. Lincoln’s Roadhouse, 1201 S. Pearl St., is one of those venues and yet, is known on a national level for its contributions to blues music today. Established in 1999 and formally known as the Washington St. Exit, Lincoln’s Roadhouse is open to many different styles of music, and welcomes any one to come in; however, the venue dedicates most of its live music to blues, and has been a second home for local bands like the Delta Sonics, the RailBenders, Boa & the Constrictors and Eugene Sings the Blues. On a random Tuesday night I had the privilege of talking to a couple of those bands while a blues jam was going down. Erik Boa is the lead vocals and guitarist of Boa & the Constrictors, and Eugene is the lead singer of, you guessed it, Eugene Sings the Blues. Both have been playing at Lincoln’s Roadhouse for many years and are considered house bands. I bombarded them with questions about their thoughts on the stage, the staff, the audience and really just the overall venue. Both agreed on the importance of an intimate stage in making the venue special. “[It’s] very intimate, people can walk up to the stage all night long, make a comment, ask you to play something and sometimes you can talk to them while you’re playing,” Eugene said.

by Jonathan McNaughton & Darnell Teague JMcNaughton@ColoradoMusicBuzz. com

Jahni Denver is an artist stricken by tragedy. The death of his two classmates in 2002, the murder of his sister in 2003, and the murder of his mentor, and friend, in 2004, mixed with a crazy childhood, helped mold the local emcee and man we know today as Jahni Denver. The Colorado native is a very passionate and dedicated lyricist. Denver has been recording music since 2008, but really got serious in the fall of 2009 when he learned how to record for himself. The audience is somewhat of an older crowd with a table here and there of younger patrons, but despite that, the crowd is incredibly responsive. “They come in to have fun, listen to music, dance and hang out with friends,” Boa said. The staff is also incredible, and you get an amazing vibe right from the start as they treat their musicians well. “The staff is excellent and they have good food too,” Eugene said.

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

Lincoln’s Roadhouse is another established bar in the Denver, that has that quality and vibe of a neighborhood bar, while still drawing Denver’s broad range of music lovers. “It’s my favorite

Colorado Music Buzz’s “The #Definition Hip-Hop Showcase” Review by Jonathan McNaughton & Darnell Teague Photo Credit: Ed Kelly: Next Level Films

JMcNaughton@ColoradoMusicBuzz.com

D-Re’ll who kept the energy in the building high with his comedic persona and his exuberant stage presence. D-Re’lls performance highlight was the final song featuring Rufus. D-Re’lls performance was followed up with a stellar showing from Hyp-Hop Sells who, even feeling under the weather, delivered precise lyrical content over beats he also produced. Brell and DJ Comish were next to grace us with their stage presence with Brell performing songs off of his The Mixtape Vol. 1. The highlight of Brell’s performance was the song “istack”. Jahni Denver followed up Brell with music from his new album The Breathing Truth: Mountain Lion Pt. 1. Jahni Denver was promoting the release of his album by playing some of his song from it. Jahni Denver definitely had the full support of the crowd during his performance. Sugar Organ, who were in the showcase promoting their self-titled album, and consisting of Timmy Flips and Tittle T, performed next. Sugar Organ has a steady following of fans, and if I’m not mistaken, they performed their entire album during their set, which really helped the fans hear what was in store for them on the album.

Colorado Music Buzz & 7Wayz Productions Presents: The #Definition of Hip-Hop Showcase displayed an abundance of talented Colorado musicians. The showcase started off with 1Prior who livened up the crowd with songs from his album Needle in Uh Haystack. When 1Prior performed his song “#HashTagSwag,” you could see the support he was receiving from the crowd. The next set was performed by

The final performance of the night was by G.O.A.T, and even though he went last, he wasn’t the least. G.O.A.T hit the stage accompanied by Bill Kushinton, his hype man for the performance, serving the crowd with consistent head- banging records to finish the night right. The showcase as a whole was a full docket of some of Colorado’s best Emcees that won’t soon be duplicated. Colorado has real talent, and it’s always good to see the local support that these artists receive; but Colorado, we can do better.

January 2013 | ColoradoMusicBuzz.com

Jahni’s debut single “Bankroll” featuring Bizzy Bone (from the Grammy-Award winning group Bone Thugs N Harmony), received over 300,000 views online in just 2 weeks. His latest single “The Craft,” which also features Bizzy Bone received 250,000 views in only 2 days via worldstarhiphop.com, and the song was featured as a front page exclusive on allhiphop.com. Denver’s videos have received over 14,000 likes on Facebook, and his latest videos on YouTube have been receiving tons of positive feedback worldwide. Jahni Denver has definitely has been working very hard independently, showing that he’s a force to be reckoned with, and is one of the new contenders in the Colorado hip-hop game. Online: jahnidenver.com

Camper Van Beethoven Drops Album by Sal Christ

SChrist@ColoradoMusicBuzz.com

There’s something about Camper Van Beethoven that simply doesn’t exist in too many rock bands now—like the lustrous experience of ripened ochre or a vintage bottle of scotch that shimmers at just the right point. Maybe it’s the fact that the music isn’t a throwback to any particular time, and doesn’t work too hard for a specific “branding image” or niche audience, or maybe it’s just that synthesizers and Auto-Tune haven’t tampered with the compositions on their newest release. A solid and delightful collection of tunes, La Costa Perdida breathes in steady refrains of classic and folk rock with the energy of punk on certain tracks. “Peaches in the Summertime,” in particular, hops up and down with a grin on its face before lazy thrums of fiddle interrupt momentarily. “Northern California Girls,” rises flush and carefree as a beach barbeque welcome for east coast traitors returning “from Brooklyn.” A little more rural, the title track saunters around in its southwestern grace and lyrics sprinkled with handfuls of Spanish spoken a little too perfectly as the singer proclaims, “I’m a half a guero, caballero Yankee from a town just south of Raleigh.” Although January isn’t summertime, Camper Van Beethoven brings California relaxation, and goldenrodmeets-titian sunsets, whose warmth still sends waves into the air to its listeners—a timely thought and sensation in the nine years since the band’s last release. Although not as husky as other records, La Costa Perdida does what a good record is supposed to do: transport the listener away from their present surroundings for an hour or so. Online: campervanbeethoven.com

The Foodchain Has Been Studying the Game, Ready to Make Major Move by Shatarra “Que Linda” Camacho & Jonathan McNaughton Photos Credit: Ed Kelly, Next Level Films JMcNaughton@ColoradoMusicBuzz.com

With just starting and officially becoming a group in the winter of 2008, the Foodchain has become one of the most known unknowns in the Colorado hip-hop scene. With the original four emcees who started the group, FL, Mic Coats, C1 and Champ and a producer Mass Prod, the concept of the Foodchain was originally made to be a mixtape of some of their recordings that they were just “playing around with.” According to Coats, outside forces put the mighty team together, and he leaked some tracks onto the Internet. Describing their music as a 40-hour workweek with no break, these men are humble, dedicated to true hip-hop, and aren’t willing to sell their souls to make a few bucks. DJ Louiscide stated that if the industry is going the way he thinks it’ll go, then the good ol’ early ’90s hip hop will be back in, and they’ll be successful. Right now it’s just a waiting game, and when it’s their time, they’ll be ready. With their growing interests and fan base they ultimately created their first self-entitled album in April of 2009, easily gaining the title Best in the West 2009 in the Westword. They distributed nearly 9,000 copies across the state; something that they were pretty impressed with, along with their current management team, who was brought to their attention at a show in a Denver club. Francois found that the sound and the fact that they were ultimately a self contained band intrigued and sparked his interest. Only after Foodchain agreed that they would maintain being a band (playing their own music), did he consent that he would be the creative and driving force in making their music come to fruition, along with co-manager Johnny. Many doors have opened up for the group, as well as a few revolving ones. Many people have been able to claim to have been tied to the Foodchain; however, as time and their music evolved so did the members. From having vocalists to band members to other emcees, they wanted to stay true to the hip-hop sound that they learned to love, and grew up on, as well as keep their music constant even at

their concerts. Despite the many changes, the Foodchain ended up producing their second album Corpses, which dropped in February 2010, features Talib Kweli, Big Pooh, Joe Scudda, and Chaundon. Shortly after, in August of 2010, Statik Selektah announced a distribution deal with Showoff Records right before getting “Rich Girl” some airplay on Shade 45. This officially launched the Foodchain in their hip-hop light on the East Coast. While touring in New York and opening acts for a few names led up to a third album The Brunch. That dropped in November 2011, with “Dear Industry” grabbing the most attention, allowing them space on XXL Magazine, and praise from many hip-hop notables such as Ice Cube. At one of the concerts that they opened for Talib Kweli, FL recalls when a few of the group members decide to smoke blunt in a friend’s car when all of a sudden, “Dear Industry” started playing on the Shade 45 XM radio station. That was the first time they heard their own music on the radio. Coats said there was an outside force placing them [in the car] at that moment to witness one of their own songs on the radio; it was such a surprise and accomplishment for them. It solidified all of the hard work that they were putting into their craft, and a lot of them have outside jobs to feed into their music, and provide for their family. With Statik Selektah under the group’s belt, they’ve readied themselves for their next project in 2013, the Summer Concert Series, and their very own set at the Shady 2.0 SXSW Showcase in July. Overall, the Foodchain has made some strides in the music business, coming from the state where everything’s round and it’s tucked neatly in a box trying to get out. Working with such heavy hitters as Lauryn Hill, Ice Cube, Talib Kweli and many others, there’s no reason why this team of extraordinary men won’t be in the limelight and forefront, as the dream team is currently working on a project with Just Dizle for 2013. By taking a stand in keeping hip-hop in its natural and original state, and staying true to their lyrics and what they want to say, the Foodchain will remain strong. However, where in this dog-eat-dog world will they wind up? The top or the bottom? Online: facebook.com/thefoodchain

January 2013 | ColoradoMusicBuzz.com

Think You Know About Guitars? Mike Abbott Makes it Easy to Fact Check

of all styles, there has not been a better book on the history of their passion than Mike Abbot’s “The Guitar & Amp Sourcebook” out now from Thunder Bay Press. Abbot discusses in great detail, through pictures and text, the history of the most iconic guitars and amps that have graced the scene since the beginning of the nineteenth century. He even outlines the evolution of the guitar, from how we know it today, all the way back to the first known stringed instrument, the African “musical bow” from 13,000 BC. The guitar is dissected throughout each of its many phases of evolution all the way up to what we know today. One of the many unique features of the book is the vintage instrument catalogue from past decades, providing insight on the popularity and price of the classic guitars. Compiling the info on the instruments took about five or six months, according to Abbott. “Once we went through the vetting process, and I showed them some writing samples, we went ahead and signed contacts. Then I had to pick over 700 instruments. Just picking them took a month and a half

by Tim Wenger

or so.”

Most musicians share at least a mild interest in the history of their instrument, and for guitarists

Abbott is a lifelong musician, and an accomplished guitarist, so he came into the project with a good head of knowledge. “I knew

TWenger@ColoradoMusicBuzz.com

Wicked ZensBehind the Gates of Oz by Tim Wenger

Caramel CarmelaSkinny Jeans, Fat Bass by Jenn Cohen

JCohen@ ColoradoMusicBuzz. com

Skinny Jeans, Fat Bass, (released Nov.27), the latest effort by Denver locals, Caramel Carmela, is like a schizophrenic auditory trip. The five tracks, (six if you include a remix), play out consistently inconsistent, and not in a bad way. I kept thinking I had a grip on what the song was going to feel like, then Bam!, it changed. The CD takes an eclectic jaunt through electro-pop, scream-o, and pop punk--with some piano thrown in. The vocals, when not scraping the depths of a gritty scream, reminded me of 3OH!3. Skinny Jeans, has to be heard to be misunderstood; and frankly, that’s what I liked the most about it. Check out their single “The Party,” which gives audiences “a heart stopping, bass pumping, head bopping, dance/party song that hasn’t been released in decades.” Online: reverbnation.com/caramelcarmela

TWenger@ ColoradoMusicBuzz. com

Breaking out of the proverbial “box” is exactly what Wicked Zens has done with their new record Behind the Gates of Oz. As the name suggests, this album has a lot to do with the Wizard of Oz film. The band has taken the theme and songs of the movie and put it to a driving heavy rock sound, and the result is something that has never came out of Colorado before. Right from the start with “Yellow Brick,” Wicked Zens takes the listener on a journey reminiscent of a magical childhood fantasy, but with better music. The album brings out the eerie element of the movie, dark undertones and an element of fear dominate the songs. They are also putting the songs to the screen, with the video for “Yellow Brick” featuring the 1925 silent picture Wizard of Oz. No matter what your favorite style of music is, this record is more than worth checking out. It is one of those rare albums that appeals to so many triggers in your brain, it is impossible to turn off.

a lot about these instruments, especially the fifties Fender and Gibson amps and guitars, and the sixties,” Abbot says. “The research got real heavy when I had to delve back further into the early nineteen hundreds.” Featured throughout the book are instrument comparisons, such as the 1951 Fender Precision Bass vs. the 1953 Gibson Electric Bass, outlining the differences (and similarities) between the two and why a certain type of player may prefer one over the other. He says that researching the origins of the electric guitar was the most fascinating part of the project. “The book started as a look at, and compiling of, the most revolutionary instruments of the past 100 years,” Abbott says. “As I talked to people and did my research, it turned into the who, what, where, why, and how of guitar and amp development from the beginning of the 1900s. The inner workings between companies and players, that’s the most interesting piece. The story behind the instruments.”

In addition to playing music, he teaches guitar and runs a website called AccessRock.com. “Access Rock I started as a branch of what I wanted to do teaching wise,” Abbott says. The site launched in 2001. “I wanted to reach out to a larger audience. I felt strongly about how guitar players can learn, and how they can learn in an easier way.” The site features online lessons on everything from strumming to theory, and provides a forum where users can ask questions about everything guitar related to an expert. “Over the years, I’ve developed different strategies for teaching people how to play.”

The research came, as might be expected, not only from books but from people who, like Abbott, are lifelong players and industry people. The book, in addition to being amazingly well illustrated, is full of the history and culture surrounding the instruments explaining everything from how they came to be to who played them. “It’s probably the hardest thing I’ve ever done,” Abbott says. “Even though it was an absolutely inspiring and fascinating process, it was also so difficult.” Abbott began playing big-band jazz gigs around Denver at the age of sixteen. He attended the University of Miami where he studied jazz, and after college moved to New York to pursue his passion. “I was a diehard jazz player when I moved to New York,” he says. “I got involved

In the future, he plans to add video lessons to the site. The site’s experts include Mark Tenorio of Tenorio Werx here in Denver, and a company called Analog Brothers, a boutique amplifier company out of Pennsylvania that helps with amp-related problems. Purchase the book and read excerpts at guitarsourcebook.com.

Wandering MonksJubilee by Jenn Cohen

Kristi Stice- Under The Willow by Tim Wenger

JCohen@ ColoradoMusicBuzz. com

Wandering Monks latest effort, Jubilee, was inspired by Wayne Walton, after they were commissioned by him to create a concept album based on the, “musical exploration of monetary freedom, endorsing the concept of local, organic currency.” Written and performed by MCAD and Linguistory, Jubilee tackles many social issues throughout the album, while keeping a positive, yet realistic view on the state of economic struggles, and the benefits of “usury,” (the practice of lending money at excessive interest rates). “It’s time we redefine the value of our time—money.” “We don’t have to just accept the way that things are, everybody’s life should be their own work of art.” There are so many messages throughout this CD. Each time I listened I felt a different emotion, and developed a new point of view. Give this one a spin, and let your socio-economic synapses go crazy! Online: reverbnation.com/wanderingmonks

Online: wickedzens.com

with some other genres, like rock-n-roll, the grunge thing was happening, and playing things as diverse as western swing.”

January 2013 | ColoradoMusicBuzz.com

TWenger@ ColoradoMusicBuzz. com

Kristi Stice has that voice- it is the one you can’t stop listening to, the one you can’t turn off. Part Janis Joplin, part pop singer, part something totally new, and her new record Under The Willow brings out each part in fine form. The album is a smooth ride through Stice’s mind, with imagery from nature and from the front coming out within enticing lyrics and multiple listens necessary to fully appreciate the poetic integrity. If at times a bit slow, the songs serve as a reminder that good poetry is really about the words themselves, and Stice makes that a focal point of her music. “Courage” is sung in Spanish, one of many reasons that this is, at its heart, a worldly record. Online: krististice.com

FOUND Magazine’s Davy Rothbart on Love, Life, and Rightousness by Tim Wenger

TWenger@ ColoradoMusicBuzz.com

Davy Rothbart is a true hopeless romantic. True in the way that reading his stories seems to invoke a certain emotion in his reader; a burning desire for that mystical, adventurous love that we first learned about by watching Disney movies as kid, that feeling of emotional epic-ness; of unending adventure and discovery, and the passion of true romance that arise from his words. Not just in the stories about love and heartache, but all of the accounts in this book seemed to justify the reason why, no matter what I go through or how old I get, I still fill my ears with the sound of ’90s-wave punk bands singing about those same feelings. This quote is but a brief abridge of the rousingly emotional descriptions Rothbart gives of his characters. “Shade was tough, tender, otherworldly, filled with a bewitching sadness. Her desolate beauty matched the New Mexico landscape, and I dreamed of visiting her town and looking for her there. I went back to the Michigan Theater the next night, my heart torqued and titillated, and then again the next night after that,” from “Shade” pg. 118.

Dead Ringer by Tim Wenger

TWenger@ ColoradoMusicBuzz. com

Dead Ringer is, like a handful of their Denver counterparts, keeping fast, melodic skate punk alive in the Mile High City. Their new record kicks off with an up-tempo number called “Alcohol,” a tune that, while easy to slam dance to, is wildly relevant and extremely definitive of the band’s style. As the record progressed, I was treated to solid punk rock lead guitar on tracks like “Due in Time” and “Coming Home,” and honest but semi-ironic vocals on “Forward to Nothing.” A bit of a Strung Out type sound, but with its own tinge. This album is the punk rock I grew up on, back in the good ol’ days when a good portion of my CDs were purchased through mail order catalogues. Online: facebook.com/deadringerpunk

From an in-depth synopsis of a friend locked up for what looks like a wrongful conviction, to traveling cross country to meet a girl he thinks he’s gotten to know very well by phone over a course of time, Rothbart’s stories are true heartfelt American anthems full of emotion. Well written and ambient, with a semantic hipness that keeps them modern and, without a better word to describe it, cool. A couple of them, such as “How I Got These Boots” brought me in to the point that I was almost upset at their abrupt end, wanting to learn more about the character I had just gotten to know over the last few pages. But even these stories brought that vicious travel bug that has been biting my ass for years into plain view. Rothbart makes me want to jump in my Subaru and drive through the night, certain that I could find some kind of a crazy story filled with outlandish characters to put into a travel log of my own. As a writer, I’ve found that for me the best reads are ones I can relate to. Needless to say, it has been quite a while since I’ve such enjoyed a book. Many of the stories I was able to put myself into (I can’t say I’ve flown across the country to have dinner at Applebee’s with a guy who pretended for months over the phone to be a girl, but ya know. . .). I read the book over the course of four occasions. After each one, late into the night, after I was finally able to pry my eyes away from the pages and put the book down on my coffee table, not heading directly to

Drew SchofieldAway We Go by Tim Wenger

TWenger@ ColoradoMusicBuzz. com

When it comes to singer/songwriters, it takes a lot to stand out from the crowd. Drew Schofield keenly pulls it off on his new record Away We Go. His voice range is impeccable, displayed rightfully on each song, at times reminding me of the way Johnnie Winter from Red Jumpsuit Apparatus seamlessly hits high notes out of nowhere. At most moments, the raw acoustic emotion pours out, taking the listener right into the song with him. His melodies are basic, allowing the vocals to shine through, but never lacking that captivating sentiment necessary to push the desired emotion effortlessly across the table; an easy grasp for Schofield’s audience. He sings about running away, coming home, and leaving again on this roller coaster of acoustic bliss that’s as hard to turn off as a Peyton Manning 4th quarter touchdown drive.

sleep but instead lying on the couch pondering my own relationships and encounters; often for a couple of hours. I had the opportunity to catch Rothbart’s “Found Magazine” show when it came through Denver in November, and I almost didn’t go due to the fact that I was alone. I’m glad I did though, and not just because as a member of the press it didn’t cost me anything. The show was hilarious and put even more personality into the author I’m reviewing here. By the time I was a third of the way through the book, I was mentally

The Foodchain & 9th Wonder Rock Bluebird

by Jonathan McNaughton Photos Credit: Ed Kelly, Next Level Films

JMcNaughton@ColoradoMusicBuzz.com

On December 20, 2012, Denver, Colorado was blessed with a show that exhibited the skilled emcees that Colorado has to offer. Colorado’s own Dj Chonz was the house DJ for the concert that was headlined by Colorado powerhouse the Foodchain, and also featured a DJ-only set featuring 9th Wonder. The opening acts for the show was Jay Carrey, who is both a singer and a rapper. Following Carrey was Myke Charles and Spoke in Wordz who got the crowd moving with their song “4 in da morning”. Myke Charles and Spoke in Wordz had great stage presence, combined with an energy that seemed to directly feed off

kicking myself for not accepting Rothbart’s invite (even though it was directed at the entire crowd, not just me), to pull up a stool at the bar across the street after his show was over. I was adopted; maybe this guy is my long lost brother. Slim chances, but it’s a rare opportunity when I get to talk about my lifelong passion for writing with someone of his caliber. Instead, I headed home because, for lack of a better excuse, it was dumping snow outside and I’d already had a couple beers. Not a mistake I’ll make again. Online: myheartisanidiotbook.com

of the crowd’s vibe. 9th Wonder hit the stage next, delivering an hour-long set which included some of the music he has personally produced, as well as a blend of some of the best music the industry has to offer. As if that wasn’t enough, shortly after midnight, the Foodchain hit the stage and ignited the crowd. The Foodchain put on an amazing set that featured such songs as “YoungAmsterdam” and “Dear Industry.” The performance was highlighted by the group’s insightful lyrics and their phenomenal production. Their stage presence was graciously embraced by the crowd, which seemed to inspire the group to exert all of their passion for their music on stage. The Foodchain definitely put on an entertaining show to bring in what was thought to have been the last day of Earth as we know it. Colorado we need more support for good locally-made music. Stand up and support the movement.

Ten Pound Elephant by Tim Wenger

Tim Yunker and the Sound JunkiesFathom by Tim Wenger

TWenger@ ColoradoMusicBuzz. com

Ten Pound Elephant is what you want to hear when craving mellow, toe-tappin’ jazz. They take a saxophone and keys and mesh it together well with guitar, bass, and drums on their new record. The song “Talk To Me” gives off not only the vibe of being in a packed, sweaty jazz club grooving to the beat, but also of sipping a martini in a more upscale environment. The band manages to take you from El Chapultepec to Dazzle and back again all in the course of one song. What I love most about this record is how they let the horn sway the flow of many of the songs. The saxophone gives their music the flare it needs to pull in the listener. When the horn backs off, though, the keys and guitar step right in to keep the flow going; a perfect album for setting the mood, in many different situations. Online: facebook.com/tenpoundelephant

Online: drewschofieldmusic.com

TWenger@ ColoradoMusicBuzz. com

Tim Yunker and the Sound Junkies don’t play what you’d expect them to play. The vocals are a bit jazzy and a bit funky with a dash of hip-hop flare, sitting on of drum-driven, full band beats. The songs are mellow but possess a flare of energy that makes them danceable. The group reps Colorado as well as anyone, seemingly reflecting the urban spice of our city while bringing out what makes the 303 the place to be. This record is, undoubtedly, one of the most unique submissions we’ve received here at CMB. I kept expecting the songs to jump into a faster tempo with hard-hitting rapping becoming the dominant force, but they never left the mother ship of smooth, tripped out rhythms that make their music unique. The record left me feeling excited; I have finally found a group that stands out amongst the often-mundane masses of music being thrown upon the modern world. Online: timyunker.com

January 2013 | ColoradoMusicBuzz.com

Wait, what? Jay and Silent Bob are getting old? That means . . . oh, forget it. I’m getting old, too. Jason Mewes and Kevin Smith are coming to the Boulder Theatre on Feb. 1, 2013, and anyone familiar with these two comedic geniuses knows that this is a must-see show. Gone are the wasted days of partying until you puke (who wants to stomach that anymore?); this particular morning, I caught up with Jason Mewes (aka Jay), after spending time with his dogs at the dog park.

Jay and Silent Bob Get Old-Coming to you Live! by Jenn Cohen Photo Credit: Allan Amato JCohen@ColoradoMusicBuzz.com

After nearly five years sober, and a subsequent relapse after a surgery, Mewes and Smith created a “smodcast” comedy show. “Kevin was like, ‘I don’t get it, you had almost five years.’ I really wasn’t going to meetings, I wasn’t accountable to anyone else, and I explained that to him. He was like, ‘you don’t talk about your stuff with anybody. Why don’t you and I do a podcast, and we’ll call it “Jay and Silent Bob Get Old.” We’ll talk about the last 25 years of our friendship, and about 20 years of us shooting movies, and this way you can talk about all this different stuff that’s happened, and you’ll be accountable to whoever’s listening.’”

“I can laugh about it now but, when I had the five years I never talked about it. I had sort of forgotten how bad it was because things were going so well. I wasn’t at meetings to listen to other people talk about it, and I almost forgot about where I was and how bad it could get.” There’s also audience participation at the end of each show. It’s called “Let us F**k.” You’ll just have to be there to see what that’s all about. As our interview was scheduled on what some believed might be the last day on earth, I asked

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

The show covers everything from Smith’s perspective on Mewes’ drug abuse, “the first time he remembers seeing me messed up and me lying to him, and him helping me get into rehab,” to the behind-the-scenes on their

Hyp-Hop Sells – Sumthin’ 4 tha People Vol.13 “Blu Ca$ino” Preview by Darnell Teague & Jonathan McNaughton

DTeague@ColoradoMusicBuzz.com

Release Date: Jan. 13, 2013 Label: On1 Enterprise The 13th installment of the Mixtape series Sumthin’ 4 tha People--yes we said 13th installment; to hear releases 1-12, email on1ent303@gmail.com-“Blu Ca$ino” hosted by Bill Kushinton brings a more in-your-face sound that showcases the aggressive side of Hyp-Hop Sells that we normally don’t see. The lead single for the project, “Moscatto & the Chief,” featuring D-Re’ll of Coldest In It/On1 Enterprise, hits you with a glimpse of what is upcoming for the album. We got a chance to talk to Sells about his plans for the song, and Sells says he’s currently working on putting together the visual concept for the video with Ed Kelly of Next Level Films, so look for the video to be released by the third week of January. Sells has also reached out to some topnotch producers and artists from around the U.S. and his own backyard of Colorado, with production credits from: Sellsbeats, D-Re’ll, Shadow Monster, Mr.Freshh, Purps Beats of 808 Mafia, Swollen Drumz, Cheff Premier, and Sunnie Beats. The album also includes features from: D-Re’ll, F.T., Bill Kushinton, P.Sky, G.O.A.T, Iman S., Shadow Monster, 1P, Big Tex, Awol, Luni Cydal, King Tef, and Arkansas Bo. If this isn’t enough for you, Sells says there are also two bonus tracks on the album to give his fans just a little bit more of him. This project gives you the feeling that Sells is going “All In” for this one. We can say that the odds are in his favor after the year Sells had in 2012, topping over 15,000 downloads of his last EP #OnlyInDreams, and also receiving over 3,000 views from his video “Explicit.” Sells expects “Blu Ca$ino” to be the driving force for 2013 leading up to his debut album Mr. September, set to release in September 2013 under Label On1 Enterprise “LLC.”

many movies. Says Mewes; “It’s also about our friendship, and us meeting, and silly things on the side, and me hiding in the trailer doing drugs, or me messing around with girls on the set . . .

Get off Your Ass and Go to Class! by Torch

Torch@ColoradoMusicBuzz.com

Are you one of those people who has the house loaded up with shiny new guitars generally purchased at Guitar Center? You know those people, and it is not just guys who sit there saying, “Yeah, man, I’m going to put together a band one of these days.” Well the days are passing, the beer gut is growing, the long rocker hair is thinning, and the dream lives on. They can generally pick up a guitar, crank up the amp and play the first few bars of “Iron Man,” “Smoke on the Water,” and if they’re really talented, “Sweet Home Alabama.” I am guilty of this. I have a piano, drum kit, two basses, six guitars, three banjos, and a conga drum. It is like a bachelor’s refrigerator; lots of condiments just in case some food shows up. Well, I have all the parts and pieces just in case a band shows up. I have taken lessons in all of these instruments, and they are expensive! So I can play a little bit on each one; banjo, “Cripple Creek;” piano, I can play the entire “1972 Patriotic” primmer with only a few profane words interjected per song. I am starting to get somewhere with the guitar, if it just wasn’t for that damn F chord, as I have completed guitar 1 A, and 1 B with Citrus at Swallow Hill, and am signed up for guitar 2 A! In an interview I had with a rather renowned guitarist he shared a story. He had been in a band for a few years and was having some success; he then went to New York and talked to his uncle, who was a singer on Broadway. His uncle was a well-educated man and told him that it was nice that he was out living his dream to be a musician, but that the truth was he didn’t know anything about music. That shook his world and he enrolled in Berkley School of Music. There are a lot of musicians out there who

January 2013 | ColoradoMusicBuzz.com

don’t really know the first thing about music or the music business. Here are two things to think about: first, there is a lot of competition, especially with the Internet playing such a big part in the music business; and second, if you really love music, you ought to educate yourself. Now this guitarist asked me what I wanted to do. I love to write songs, so I told him I wanted to write at least one great song. I don’t want to be on stage, that is someone else’s job, but I want a better understanding of how music works, and theory, and songwriting. My fire was back. I have been writing songs ever since we spoke, about one a week, each with a little something to offer. What I do know deep down is that I, too, don’t know anything about music. I am continuing my guitar lessons, starting piano again to get my sight reading going, and heading back to college to study Music Theory 1. The dream is only worth the effort you put into it, and to make your dreams come true you need to have the respect for yourself to turn off the TV or computer, and learn and practice. You are never too old or too young to learn something new. It is time to sign up for class! There are a lot of schools out there. If you really want to make a career out of music, locally, you should go to UCD, they have an excellent music program. If you can’t quite afford it, Arapahoe Community College teaches some classes, and that is where I will be studying theory. There are tons of smaller music schools like Swallow Hill, and then there are private lessons from great teachers like Alameda at Home. Take your tasty dream and eat it, drink it, love it, nurture it, and socialize with others who want to do the same thing; inspiration can come from competition. Or, you can sit on the couch like a lump and occasionally dust off your neglected instruments as “some day” passes you by. Do you want to sit there, and a year from now, while that guitar you got for Christmas is waiting, and still have no better understanding about how to play it?

by Chris Murphy

through music education. With the support of local musicians, volunteers, music industry folk and many others in our community, they have done a great job in advancing their cause, and doing their part to make this world a better place.

Flobots.org is on a mission. They have a simple goal of serving the youth of Denver

People have taken notice. Governor John Hickenlooper is a big supporter and with his help, and open arms from Chuck Morris

Youth Media Studio Underway, Attracting Attention CMurphy@ColoradoMusicBuzz.com

Support SystemsBuilding Relationships with Students in Residential Treatment

by Andre Hallman (DJ SYMPL), Youth On Record

nschmit@coloradomusicbuzz.com

Hello, my name is Andre Hallman. My growth from childhood to adulthood was not the most pleasant experience. The main reason for that is I did not have support systems growing up. As my life was going on, I was at the point of giving up--it wasn’t worth fighting a battle I

had already lost. Then a light at the end of the tunnel called Youth On Record changed all that for me. As I got more and more involved and started to invest more into this program, my life altered 360 degrees; Flobots.org not only took me in as one of their own, but they gave me support in every way a person could imagine. The fact that something that simple can help alter someone’s life is astonishing. I have been teaching with Nathan Schmit (Program Director of Flobots.org and founder of Youth on Record) in classrooms for about a year now, and I have seen some of the most tragic things. These young souls have seen to you but there is no real added pressure from a monetary standpoint to get it done. We were really picky with the song selection and ended up throwing a lot of stuff out over the process. We experimented with a lot of new sounds and really hope the fans we have still dig the vibe. CMB: How would you say your sound has evolved or changed over the years?

P-Nuckle Drop New Album, Look to Future by Tim Wenger

TWenger@ColoradoMusicBuzz.com

P-Nuckle has been the face of Denver’s reggae-rock scene for almost a decade now, and are starting off the new year with a brand new album Stand Up, out January 25. CMB caught up with front man Chris LaPlante to get the buzz on what it took to make the record, and the state of their band. CMB: Talk about the new record and the process of making it. Chris LaPlante: This record was actually a hard one to make – It took over three years for some reason. I’m not quite sure why it took so long but we had a lot of turn over as a band and it became harder to keep everyone together to focus on getting it done. I guess it’s also easier to make music when you have a studio available

CL: We started out as a party band that was touching on political overtones and toungue and cheek social commentary – What I think we’ve evolved into is more of a lifestyle representation. I think that we don’t represent any particular scene or genre and that makes up alot of what people today are. Life has always been about the mood and the mood is set by the soundtrack – I really feel that when you listen to a P-Nuckle CD you can get a feel of what the soundtrack we lived was. CMB: What’s your opinion on the state of the music scene here? Better or worse, a tighter community that ten years ago? CL: That’s a hard question. I used to talk to people and hear them say how divided the scene was and with that being said I really think that although the clubs still run the show, the Entertainers in this town have started to figure out that what they do is valuable and they should be compensated for it. There is a freshness in the air of the Denver Music Scene that I have never seen in the time that I’ve been here – It comes from a renewed involvement

(AEG Rocky Mountains), Matt Morris, Brad Corrigan, (Dispatch), Isaac Slade and Ben Wysocki (the Fray), Ryan Tedder (One Republic), and a host of others, Flobots.org is attempting to expand their horizons and help more young people than ever.

technology, the YMS will serve as a centralized location for digital arts-based programming for at-risk youth in Colorado, and will connect local youth to students around the world in a state-ofthe-art global classroom. The cost of the studio is $2.75M, with $870,000.00 raised thus far.

As musicians, artists, and educators, Flobots.org recognizes a pressing need for a centralized location where youth and their families, particularly those who are at risk, can access music, arts, cultural and educationbased programming. So, in partnership with the Denver Housing Authority, Flobots.org broke ground on a Youth Media Studio (YMS) in the La Alma/Lincoln Park neighborhood of Denver in April 2012. Upon completion in August 2013, the YMS will open its doors as an innovative, experiential resource for students in Denver Public Schools, young people in youth residential treatment centers, and classrooms across the globe. Outfitted with cutting-edge

La Alma, meaning ‘The Soul’, has been a wonderful part of the history of Denver. But now, like many areas in our state, graduation rates have hit an all-time low. In fact, in La Alma, only 13% of kids graduate from high school. It’s a true epidemic throughout Denver-and the country for that matter--but La Alma has been hit especially hard.

and been through things that an “average person” hasn’t, or only sees in the news. At the same time, I have seen amazing things happen because we build trust with these kids--they know that they can rely on us. For example, they know when we will be there, on time, ready to rock; they know that if we say we are going to do something, we get it done every time. And most importantly, we don’t ask them to do anything that we are not equally willing to do ourselves. It’s a struggle, but the reward outweighs it every time. The fact that they know that some one out there does care and will be there as a support system, one that is strengthened by the power of music, means everything to them. Support systems are the main key to the success of this program. From being a student of Youth On Record, to interning with them, I’ve been able to witness what this kind of work does for our youth, and it is unbelievable. I think that if there were more programs like this in place, it would make a big difference. These successes are all because of the people that from local Radio and a very visible resurgence of Artist support for one another. The more the artists in this town support each other the faster the scene will develop. CMB: As you guys get older and more experienced, how do you look at being in this band differently than you did back in the day? CL: I’ve always thought that were destined for greatness, but I’m an asshole. I don’t think we ever sought out to become anything but we have always made the music we love and the fact that we are so lucky to be able to share it with other people has just been an added benefit. These days hearing someone sing along with me at a show and know the words by heart is something that brings a tear to my eye when I think about it. I know how fortunate we have been over the years as a band and as people and we owe a lot of that to the music and appreciate that, which I don’t think we did when we were younger. CMB: What have been some of the biggest obstacles P-Nuckle has faced while touring, recording, etc? CL: Our biggest obstacle has always been money. We never had the money to go to a real studio or leave our day jobs for a year long tour or make enough playing live to pay the bills and that has crippled our musical careers. We all go through our personal demons but throughout it all the Music has always brought us back together. We always had music to go

January 2013 | ColoradoMusicBuzz.com

Stay tuned for updates over the coming months and check out www.Flobots.org to find out how you can help.

work and volunteer for Flobots.org, and I owe them an endless thank you for that, because it changed me as well. Youth On Record, a program of Flobots.org, teaches music production and lyric writing in residential treatment centers across Denver and beyond, as a means of supporting their specific treatment goals. It is truly amazing what many young people will do and say when given the opportunity. About Flobots.org-Founded in 2007 by the internationally known Denver based hip-hop collective Flobots, Flobots.org connects underserved youth across Colorado with music and empowerment education. Led by a network of professional musicians, artists and educators, Flobots.org programs are designed to harness the power of music and those who love it.

back to when regular life got too be to much. CMB: What would you say is or was the “peak” of the band? Is it still yet to come? CL: I think our best is still yet to come- Our experience and growth has lead us to become better songwriters, more patient with the musical process, and to maintain our artistic integrity with fewer demands. We have tried to cultivate an experience for our fans with our music and will continue to develop that. We want as many people to hear what our musical experience is and have the opportunity to turn it into our own. That’s what music is for right? We want more people to listen and hopefully make them dance or smile or fart or whatever people do when they are happily listening to the soundtrack of their lives. CMB: What’s coming up? CL: We drop our New CD January 25th at the Gothic Theater. Its called The System and features General Smiley and Ded Res – We are really excited to show it to everyone. We are also releasing a dub album with a lot of instrumentals – We started our label Inappropriate Music and have been actively pursuing some local artists to join forces with. We are releasing a Local compilation Called “Smoke The Fire” Vol 1 – early in the spring and It’s going to feature a ton of our friends in the local scene. Online: p-nuckle.com

The Manager’s Corner

by Chris Daniels

CDaniels@ColoradoMusicBuzz.com

I’ve managed my own band since the 1980s and despite the amazing change in technology, success in the music business is built around four tried and true elements: great music, really hard work and timing (often mistaken for luck). The other key element is getting the help you need to make that luck happen. These days that help is everywhere. The book I wrote for my UCD class on artist management is called “DIY: You’re Not in it Alone” and that is exactly what you need to understand. You may think that the last thing any musician cares about is taxes or finance. But I can guarantee you that whether it is Mick Jagger explaining the VAT (Europe’s value added tax) to Walter Yetnikoff, or James Brown negotiating a bonus for his appearance in Boston the night Martin Luther King was killed (that kept that city from rioting), smart musicians KNOW what’s going on with the money. And in Colorado there is one question that has emerged over the past two years that really has to be addressed. The question is, how are you going to structure your business - and specifically, how you and your fellow band mates will deal with the issue of being an employer vs. being an independent contractor. Don’t be fooled by those who say, “I don’t care about that crap. It doesn’t apply to me.” Reality check: this applies to any band that is making money playing and recording music. Let me ask you a few questions to further the point: (1)

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

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

What does it mean if you are an employer? You’ll need to withhold money for unemployment insurance as well as social security and federal taxes - W2s. If you set up your band’s business as an independent contractor relationship you will have a different batch of responsibilities including filing 1099 and1096, plus creating and executing Independent Contractor Agreements and conforming to the governing statutes.

There are exemptions in the Colorado Revised Statute (C.R.S. § 8-70-115), which clearly helps define how independent contractors are different from employers. They fall into areas of “control” of the work being performed. It is a long discussion, and I hope you will check out these issues if you are running a band that is starting to get paid real money, or if you are already in one.

What is essential to understand, is that if you do business as independent contractors, the band can be challenged by CDLE if you don’t follow the nine rules in the statute governing IC. It’s NOT because they are a bunch of heartless bastards. The CDLE honestly has a hard time finding a difference between your band and a part time employee. To the auditors at CDLE, they see little difference between a waitress who works at Denny’s, Village Inn, and The Breakfast King to cobble together a living, and a sax player who plays in your band and in three other bands to survive. To the CDLE, both the waitress and the sax player are employees of legitimate businesses, and should therefore be able to apply for unemployment if laid off from any of those gigs. What makes a band different from Denny’s? Well, a lot of things, but YOU must prove that.

And here is a little extra help we have put together. Along with COMBO, the Colorado Music Buzz and some great musicians like Hazel Miller, Mike Marsh, and others, some event planners, plus the good folks at CDLE, we are going to have a town hall meeting about this issue on January 27 (place and time to be announced on the Music Buzz website and COMBO newsletter in the next week or so). PLEASE do your homework before you come, and look at how this issue applies to you or your band. We will be discussing the kind of “Independent Contractor Agreement” you need to have in place and the practices (rules) you need to follow in order to make this work the best for you and your band. And this applies to more than just songwriters, bluegrass musicians, rock and progressive bands, cover bands etc. it applies to DJs, EDM artists, as well as hip hop and rappers. You name it, anybody who is making more than about $600 a year from working in music, whether you lead it or are just the sideman (side-person) you need to understand the basics of C.R.S 8-70-115 and what it means for you.

band will just sound like shit. Police radio and TV station transmissions are going to be jamming themselves into your mic receiver right on top of your signal. Since 2010, I have had countless run-ins with out-of-date wireless technology. Aside from the obvious legal concerns, the only harm you are doing is to your own band!

Beware of Illegal Wireless Devices

by Andrew Hoag

editor@ColoradoMusicBuzz.com

As of June 12, 2010, the FCC has reclaimed the 698 to 806 MHz range of wireless airwaves to be used for public safety radio channels. Operating a wireless microphone or an in-ear monitor transmitter in that range is breaking the law! Most musicians and DJs are aware of the change, but haven’t bothered to comply with the new law. Here are a couple of reasons to consider it: 1. The Department of Homeland Security uses the 700 MHz band for radio bandwidth. Regardless of how you feel about the Department of Homeland Security, you don’t want them walking in mid-gig and confiscating your mic. (This does happen!) 2.

If you use your illegal wireless device on the wrong day at the wrong time, you can be heavily fined or even put in jail for obstructing justice or interrupting an on-going police investigation.

Most likely, a device in the 700 MHz

I mixed a popular cover band in a club not too long ago where the bass player was using a wireless pack in the 200 MHz band. It was terrible! His bass sounded like a scratchy home-phone connection. Unlike vintage guitars or cabinets, vintage wireless devices are right up there with using Behringer equipment on stage! The “coolness” factor of being wireless is only cool if it sounds good! If your voice sounds terrible, but you get to walk around the room, who cares! I’ll take a clean sounding vocal over a wondering lead singer any day. Using reliable and quality equipment is what your fans and clients expect when they pay to see you. For me, this is an issue of professionalism. If you expect people to take you seriously as a musician, you have to be punctual, play well, and use quality equipment. If you don’t have the money to buy a new wireless receiver, buy a good ¼” cable and a direct box. At least your sound will be clean. And if you are going to buy new technology that complies with the FCC rules, please buy something from a reputable company like Shure or Sennheiser. Lots of “discount” brands are getting into the wireless market to prey on poor musicians. Save your money and buy something worth using. You wouldn’t bring an off-brand guitar amplifier to a gig…why would you buy a microphone from them?!?

by Brett Finn and Tim Wenger

TWenger@ColoradoMusicBuzz.com

MileHighUnderground.com and Colorado Music Buzz give our condolences out to the family and friends of Julian Anderson of the World Famous Johnsons, who passed away last week. WFJ was just in on the show and are a bunch of great guys and everyone at the station wishes them best. Our current programming schedule is as follows: Sundays and mornings feature our top interns discussing the scene and playing new tracks. Monday 5-9 pm: Power Hour (or four) with Aaron Saye Monday-Friday 9 am-noon: The Morning Show Tuesday-Thursday 2-5 pm: Afternoon’s with Big P Wednesday 11-12 Strainwise Wake n Bake Hour Wednesday 6-8 pm: MUSIC BUZZ LIVE RADIO with Moose Thursday 5-10 pm- Denver Metal Madness with Justin and Dakota Friday noon-1 pm- Power Hour with Finn 1-5 pm-Roxy Lee Heart 5-9 pm-Live DJ Spinning House and Hip Hop Saturday 10 am-2 amMile High Hip Hop with Ladie LG. 2-4 pmMUSIC BUZZ LIVE RADIO

January 2013 | ColoradoMusicBuzz.com

R.I.P. Julian Anderson 25

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January 2013 | ColoradoMusicBuzz.com