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BandWagon Magazine northern coloradoâ€™s arts & entertainment magazine JULY 2014

BandWagon Magazine northern colorado’s arts & entertainment magazine JULY 2014

ALBUM REVIEWS

Jack White Lazaretto

Chris Sheridan BandWagon Magazine A visit to the inside of Jack White’s head would be an interesting one. The prolific rocker, responsible for such diverse acts as The White Stripes with relationally ambiguous Meg White and the far too short-lived The Raconteurs and The Dead Weather, and who has also appeared on a James Bond theme song with Alicia Keys and an Ennio Morriconeinspired Danger Mouse album, breaks ground with every new record. He holds an odd lifestyle outside of his music, such as throwing a party with ex-wife Karen Elson to celebrate their then-impending divorce or harboring an intense obsession with the number three. White’s latest album Lazaretto was preceded by ridiculous fanfare: towering promises of its quality, bombastic vinyl packages, and more. Jack White is a little more clever than we give him credit for. That absurd marketing is the perfect fit for the vibe that Lazaretto delivers: overthe-top and completely excellent. Curiously, the album opens with a pseudo-cover: “Three Women” borrows ideas from Blind Willie McTell’s “Three Women Blues,” discussing the joys and pitfalls of polygamy. White, of course, updates the classic acoustic track with electric guitar and organ, and it’s a nice surprise to hear at the beginning of the album and strung along by a perfect funky key riff. Title track “Lazaretto” is one of his most ferociously exciting tracks in recent memory, ripping forward with some of the best riffing White has yet produced. White really blends genres here, allowing hints of funk and gospel to leap into his songs with precise timing, segueing in and out of the different styles and using a wealth of instruments to achieve a singular sound on each song with an overarching Southern vibe. From the country vibes of “Alone in My Home” to the harp and background crooning of “I Think I Found the Culprit,” White has gone digging for as many far-reaching

genres and styles as he can possibly cram into one album, all anchored by his searing guitar work and a significantly more nerve-shredding overall vibe. “That Black Bat Licorice” even incorporates, unmistakably, Jack White rapping, though doing so backed by his unmistakable vocal style and guitar work with additional support from pounding keys and a violin solo. It’s not something that should work, but it does, and it’s awesome. That keyboard shows up in quite a few tracks, and it’s a nice addition to White’s traditional guitar-centric work that brings fond anticipation to which secondary instrument will be stepping up to the plate for his next release. It’s not all fresh and new, though. “High Ball Stepper” is almost purely a guitar-centric piece, and is as raw and exciting as anything Jack White puts out. There’s enough soloing here to satisfy any fan of the showman’s work, and is an appropriately thrilling midpoint to the album. “Just One Drink” is a bit more relaxed on all fronts, even finding White’s wailing from the rest of the release toned down a bit for a more subdued, classical feel. And yet, he nails it just like nearly every other new venture he explores on the album. Lazaretto is a magnificent achievement in White’s career. Solo debut Blunderbuss was an excellent straightforward rock album, but the stylistic grab bag of Lazaretto is an entirely new kind of appeal. White purists may scoff at the addition of an army of additional instruments to the musician’s traditional guitar, but the pure virtuosity of the album is nearly irresistible. This wealth of stylistic variety is only disadvantageous in the sense that the album doesn’t really seem to tell a story as a cohesive piece, with a new style on each new cut, but this is undoubtedly White’s intention: this is his bombastic show, and we’re just along for the ride. The word “lazaretto” is a term for a quarantine stations for diseased seafarers. Jack White’s Lazaretto is feverish and twitchy, though quarantine is the last place this album belongs.

BandWagon Magazine northern colorado’s arts & entertainment magazine JULY 2014

City States Geography

Chris Sheridan BandWagon Magazine No two people explore loss in the same way, particularly when it comes to musicians. Whether it’s the dichotomous musical and lyrical tandem of Mike Ring and the Connection, the raw anguish of The Antlers, or the sprawling light-in-the-dark hopefulness of Arcade Fire, music as a coping mechanism is a powerful thing. Chicago-based City States uses their newest release, Geography, to do the same thing in honor of frontman Joel Ebner’s father. Joel was kind enough to answer a few questions about the band and the album. Formed in 2008, City States leapfrogs off of some ideas Joel was formulating while in his original band, The Modern Temper. After that outfit dissolved, the textured sounds of City States started to materialize. Geography is indeed a very moody, emotional and textured album, and for the most part it works. The first track to an album is always hugely important, because they can either set the right mood for the release or kill interest altogether. “False Start” is absolutely the latter, feeling like waking up after an uncomfortable slumber. It’s also one of the best tracks on the album, with a pleasant electronic undercurrent and sparse, overarching keys. “Uncharted Waters” has a similar feel, just letting layers of sound flow out without feeling too simplistic or overbearing. Geography is in an interesting position in that it was not, from conception, an album about loss. A ways through producing the album, Joel’s father passed away, and from there it morphed into a piece exploring that death. For Joel, completing the album became much more of a personally vital endeavor; he

and his father were not always close, but one thing they did have in common was music. Completing Geography was a way to explore the loss, process the aftermath and pay tribute to him. It seems that it mostly does that. One track Joel specifically called out is “To Remember,” written about a very special remaining piece of Joel’s father: a guitar, given to him by the senior Ebner when Joel was a teenager. Joel’s father purchased the 1964 Fender Jaguar at the age of fourteen, and later passed it onto his son. The guitar still sees a frequent rotation through Joel’s actively used instruments. “To Remember” is another standout on the album, and is one of the most powerful of the lot. When asked about the distinct “hazy” feeling to the album, he acknowledged that that is indeed a definite musical theme, though not so much the Mike Ring-esque “days after” feeling as it is an idea of everything ending. Joel spoke at length about the overarching feeling of the album being that anything and everything that is built up will eventually come down and how that translates into his music, “constructing these intricately layered pop songs, only to knock everything over later on in each track, allowing the arrangements to descent into static and noise.” Specifically on that note, Joel called out Fennesz’s “Black Sea,” a behemoth of a track featuring similar fuzzy, layered themes. “Uncharted Waters” follows that same train of thought. Joel has a sonically diverse set of influences and favorite artists ranging from Tortoise to Brian Eno, even St. Vincent’s excellent album Actor. Imitation is easy when you’ve got influences, but City States easily sidesteps this propensity for a uniquely styled album. Joel identifies among nearly all of his influences

“a commitment to pushing against the boundaries of conventional pop or rock music,” and Geography is anything but conventional. While the album mostly has a similar aural vibe across the entire set of songs, the way that sound his harnessed changes from one to the next: the more percussive “Willing” gives way to a much slower and more emotional “I’m Always Somewhere Else.” With a full-length LP under their belt, City States have plans to do something a bit different. Joel said that before the end of the year we can expect to see an EP of cover songs as a result of a perk during a crowdfunding campaign to get City States vinyls made. The songs themselves will be a surprise for City States fans, but Joel did say that they’ll span multiple decades, so hearing this sort of layered style applied to older and more diverse genres should be quite interesting. Geography is slow to reveal its tricks. An initially unimpressive album becomes far better after subsequent listens, as slowing down and feeling what pulses beneath every track yields a lot more depth and emotion than a mere cursory listen will allow. Joel intends for these songs to feel as if they are collapsing in on themselves, and when the gentle additions of sounds and emotions continue to subtly stack on top of one another, they do just that. As a unique indie pop piece and as a tribute to the late Mr. Ebner, it works.

BandWagon Magazine northern colorado’s arts & entertainment magazine JULY 2014 Dean M. Curtis Fallen

Jay Wallace BandWagon Magazine Dean Curtis, a Fort Collins-based musician and singer, seemingly threw everything into Fallen, his 2014 album. I suspect if he could use a kitchen sink as an instrument, he would’ve done so. It’s an impressive solo debut album for Curtis, who’s the bassist for the reggae band DubSkin and has been producing music for the past ten years. Curtis not only does the vocals and bass on all the tracks, but he plays both acoustic and electric guitars, drums, lap steel, keyboards, omnichord and melodica. When was the last time you heard melodica on an album? And what the hell’s an omnichord? Either way, Curtis shows he’s got chops with all the work he’s put into Fallen. Listening to the album, I found myself going back to the word “melancholic;” it kept popping up in my notes as I listened through the thirteen tracks of Curtis’s debut.

Take the first track for instance, “Wasted All My Time.” It’s a poppy, lighthearted rock track that’s very cheery but sort of melancholic given the subject matter. Then there’s “Washes Away,” another upbeat and lighthearted song that’s subtly poignant. And then there are two instrumental tracks, “Drift” and “Reagan’s Plan,” both of which run around eight minutes and while there are not lyrics, they both possess an underlying sadness to them. The former wouldn’t be out of place in a 1960s Japanese Yakuza film, while the former brings to mind the work of Greeley artist Joe Lee Parker’s Sound Art Live performances. “Drift,” however seems more upbeat and mellow than outright melancholic. Fallen doesn’t really have a set genre, which makes it a bit of a challenge to judge correctly. Curtis shows off his love and knowledge of jazz, blues, rock, alt-rock, and electronic music, and it leads to a bit of dissonance between the tracks at times. What follows “Wasted All My Time” is “Dark Blues,” an eight-minute long jazz/blues instrumental, followed by what sounds like a White Stripes-inspired rock piece titled “Fuck Outta Here.” There are eight instrumental tracks on this album, and not one of them sound alike. Personally, I like this album; it’s a bizarre mix of different genres and is really quite enjoyable to listen to. Occasionally though, it throws you off, such as with “Algid.” Another instrumental, mostly electronicsounding, yet very eerie and

haunting song to listen to. It puts you on edge. You’re just waiting for a scare chord to come about, like the musical equivalent of a noise in the dark that makes the dumb teenager in a slasher film say, “Who’s there?” But that scare chord never comes. “Algid” is kind of by itself on the album; as I said earlier, no track sounds alike. “Luminous,” another long instrumental, stands out for striking a balance between being uplifting and melancholic where you can’t tell what it is exactly. “Black Horse” is a short instrumental with an added salsa vibe; it sounds sexy. “Night Dub” is a moody electronic piece highlighted by guitars in the background. The last track on Fallen, titled “Stargazing,” is a mellow rock instrumental that’s spacey and just sounds cool. While the album is loaded with instrumentals, the few proper songs in the piece shouldn’t be overlooked. “Love Ain’t No Friend” is a slow, relaxed alt-rock/semi-jazz/blues piece that I particularly like. In general, you don’t really hear a lot of blues and jazz stuff today, and what you do get to hear usually isn’t that great. Curtis, however, really knows how to pull off jazz and blues music. If he were to perform at the Greeley Blues Jam one year, I would totally buy tickets just to see him. Probably the best song on the album is “Bury My Heart,” a homey acoustic guitar piece. This is a song that would close out the end of a road movie as the main characters drive away into the sunset. For a solo debut album, Fallen has shown that Curtis can really do whatever the hell he wants. Whichever direction this guy is going, who knows, but all I know is he can do his own thing and he’ll probably make a living doing so. Godspeed, Mr. Curtis.

Fucked Up Glass Boys

James Garcia BandWagon Magazine Right from the start it’s abundantly clear the new album by Canadiancore band Fucked Up is all about the coming of age and facing one’s youth versus one’s inevitably growing older. The first track on the album, which is officially released June 3 on Matador Records, is “Echo Boomer.” It hesitates just for a moment, with the band’s almost-mellow punk riffs before throwing us right into the clusterfuck that is Damian Abraham’s vocal stylings. He says, “I used to sing / That sound won’t die like me / Those old songs stay with me.” Glass Boys is a follow up to 2011’s David Comes to Life, which saw the band’s first ranking on the billboards and created a big name for them. The album was conceptual and followed a light bulb factory worker that falls in love with an activist, who is killed by a bomb they build to blow up the factory. And while concept albums often feel forced, the band’s raw energy and the musical talent really pulled it into the foreground. This latest release is very similar, despite

not being an official concept album though the “getting older” theme threads it together. The message is clear in most of the songs, that they’re talking about growing up in a Fucked Up world. From the song “Sun Glass”: “When we turn away the kids just aren’t the same / New ways to vibrate / I can’t hear it / I can’t relate / I can’t change again / Sacred young.” As always, Fucked Up blends their almost post-punk riffs and spunky drums, which are misleadingly peppy, with Abraham’s intense screaming of often dark, very antiestablishmentarian ideologies. The album’s lyrics are filled with symbolism, nothing too profound, but it’s a refreshing step away from the painfully obvious content most hardcore bands are pumping out these days. “Warm Change,” one of the album’s singles, has a more traditional punk sound to it, without stepping too far out of their comfort zones. It’s clear they’ve simplified their sound, making it more approachable. The guitar solo in the song, while still blazing hot, maintains the attitude established in the punk mentality: keep it simple, stupid. Other notable songs: “Paper the House,” where he says bitterly, “The way I make my living has driven me insane / It’s a 21st Century irony, where everything you hoped for in life fills you with anxiety;” the track “Led By Hand” starts out fast and stays hard through the entire trip, making it a definite standout (not to mention J Mascis of Dinosaur Jr. leaves his mark here); and the title track, which ends the album with this colorful sentimentality: “I wish I could go back / Glass boy / I’m afraid to grow up / And fuck my life up,” pretty much summing up the journey they went on to forge Glass Boys.

BandWagon Magazine northern colorado’s arts & entertainment magazine JULY 2014

FILM REVIEWS

Chef 2014 - 114 Minutes – Rated R Jay Wallace BandWagon Magazine Jon Favreau has had an encompassing career in the film industry. Starting out as an extra on film sets, he hit it off with Vince Vaughn early on, writing his starring role in the film Swingers and eventually directing the charming Christmas film Elf. Later on, Favreau helped jumpstart Marvel’s franchise success with Iron Man. Now he is seen as a blockbuster director who can do damn near anything, even if that’s not the case. (Cowboys and Aliens was a flop that didn’t exactly set critic’s hearts aflutter.) Keeping Favreau’s recent history in mind while watching the film Chef, you’ll recognize it as an autobiographical film. Favreau wrote, directed and stars in the film as Chef Carl Casper. Miami-born and working in Los Angeles, Carl finds himself held back by the boss (Dustin Hoffman) at his restaurant when he’s prepping for a visit by food blogger Ramsey Michel (Oliver Platt). The boss orders Carl to make his classic dishes, and the classic dishes don’t exactly impress Michel. Michel’s bad review and a Twitter spat leads Carl to

explode in public and quit the restaurant. While in Miami, Carl’s ex-wife Inez (Sofia Vergara) suggests that Carl get a food truck, something which Carl has heard before and always shot down, but he eventually cottons to the idea and finds that making street food – Cubano sandwiches, in particular – is helping him reconnect with his love of cooking, as well as help reconnect with his son Percy (Emjay Anthony) and Inez. Chef is to Favreau what the Cubano sandwiches are to Carl. Chef is Favreau going back to his roots as an independent director, probably to figure out why he does what he does. That is me getting meta about the movie, but it’s not why the movie works. The core of the film revolves around Carl’s relationship with his son, and that’s what gives the movie some emotional punch. The food truck saga helps Carl get back in touch with his son, who at the beginning of the film is dragged along by Carl as he preps for the visiting food critic. Driving from Miami back to Los Angeles, Carl teaches Percy his trade and bonds with him in a way that clearly wasn’t there in the beginning of the film. Chef is also a family movie, despite it’s R-Rating. The only

reason Chef has an R is because of language, but that does give the movie a level of realism that I can’t say I’ve really seen before outside of mumblecore films. It’s a sweet, earnest film where people curse. There’s a particularly rude joke about hush puppies in the film that got a huge laugh in the theater. Alongside Hoffman and Platt, Favreau has also brought on his Iron Man stars, Robert Downey Jr. and Scarlett Johansson, to give some additional star power to the film. Johansson is Molly, the cute server at the restaurant Carl works at in the beginning, while Downey is Marvin, Inez’s eccentric exhusband who offers Carl a food truck. John Leguizamo is the second-in-command of the film as Martin, Carl’s sous chef who ditches the restaurant gig when Carl tells him about the food truck. Leguizamo brings the funny throughout the film, and brings some of the heart as Carl’s supportive, can-do friend. Everyone is on top of the ball in Chef. Platt was interesting to watch, too; I seem to recall that this guy almost exclusively plays assholes, but here he’s fairly sympathetic. And then there’s the food porn. I’ll tell you right now: do not see this movie on an empty stomach. One scene, where Carl seduces Molly by making her a garlic pasta dish, resulted in me buying a box of Butterfingers from the concession stand because I was like, “I NEED TO EAT SOMETHING!” You’ll never look at grilled cheese sandwiches the same way again, either. Another thing that stood out about Chef is its portrayal of social media; Twitter plays a big part in the film thanks to Percy, who helps promote the food truck just by sending out tweets. It’s actually fairly accurate; much better than some other portrayals of social media as seen on TV. Overall, Chef is an excellent film, and a great return to Favreau’s roots. But again, don’t watch it on an empty stomach.

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BandWagon Magazine northern coloradoâ€™s arts & entertainment magazine JULY 2014

BandWagon Magazine northern colorado’s arts & entertainment magazine JULY 2014

1955 - 93 Minutes – Not Rated

Chris Sheridan BandWagon Magazine The 1920s saw the inception of a movement called German expressionism, which utilized the limitations of black and white videography for more striking use of lighting, set design and camera movements for a surreal, unsettling and fantastical aesthetic. Classic thrillers Nosferatu and The Cabinet of Dr. Caligari, both of which make frequent rounds through university film courses, are prime examples of expressionism. Film noir and certain classes of horror are also considered subgenres of the movement, and though it mostly died out a few decades after it began, expressionism can still be seen in more modern films such as the Alex Proyas thriller The Crow or Tim Burton’s Batman and Edward Scissorhands. Before those, however, a relatively new director named Charles Laughton watched the early expressionist films and saw in them the perfect aesthetic for his film. The Night of the Hunter is perhaps chiefly notable for its striking expressionistic style. Based on a true crime novel of the same name, the film follows two children on the run from a criminal posing as a reverend named Harry Powell (Robert Mitchum), who seeks dirty money left to the children by their father before his arrest. The children take refuge with an older woman named Rachel (Lillian Gish) who shelters the orphaned children as Powell tracks them across the countryside. The film is deeply bleak, opening with the arrest of the children’s father and wasting little time before the cruel Powell marries and then murders their mother Willa (his motus operandi), then psychologically tortures the children before pursuing them relentlessly

across the countryside. The finale outside Rachel’s home couldn’t be a more clear-cut battle between good and evil. The film is steeped in Christian themes, or perhaps most directly, in American ones. It opens with Rachel reading Scripture to a group of children, and much of Powell’s dialogue involves Scripture quotes or conversations with God, juxtaposed with his clear sexual insecurities and painted against the Great Depression. There’s also surprising attention given to the psychology of the children, John and Pearl. John is devastated from the very start at seeing his father arrested (something that is mirrored later in the film), though almost immediately becomes the father figure. Pearl is as innocent and fragile as they come. Laughton proves to be not only a natural at expressionism, but a full-blown tour de force. Well after the renaissance of color film, Laughton wisely chose to return to black and white film stock, and the film is littered with some of the most striking imagery in cinema. Aggressive contrast, liberal use of silhouettes, and small callbacks to other horror films are all over the place, but the most powerful aesthetic sequence in the film comes just past the halfway point, right after the children escape from Powell in a boat on the river. Pearl begins to sing, and as her haunting voice fills the night, we see images of the fauna lining the riverbank—frogs, rabbits, even a spiderweb—mournfully watching the children. Visually, the film is almost unparalleled in its time. However, it may be Robert Mitchum that is the film’s finest asset. Mitchum’s performance of Powell is truly terrifying, and with Laughton’s direction, is revelatory: frequent

one-sided conversations with God, quoting scripture, and most chillingly, singing the old hymn “Leaning on the Everlasting Arms” as he nears the children. His initial approach to the town is heralded by smash cuts of Powell’s train, black against the dusk sky, weaved into a conversation between the doomed Willa (Shelly Winters) and her friend. In a character beat that later influenced the brass knuckles on Radio Raheem from Spike Lee’s Do the Right Thing, Powell has the words “HATE” and “LOVE” tattooed across the knuckles on each hand. Powell’s quick turns of anger, almost comical evil and thinly veiled insecurities make for one of the most memorable villainous performances in cinema.

Sadly, the film’s quality was never fully realized at the time of release, and it failed to make waves with audiences or critics. As a result, this remains director Charles Laughton’s only film. After over half a century, it enjoys stronger popularity, with multiple appearances on Top lists, Empire’s 71st Greatest Movie of All Time, a release in the coveted Criterion Collection, and a permanent home in the Library of Congress’ National Film Registry. It has influenced directors from David Lynch, to the Coen Brothers, to Rob Zombie. Praise for Laughton’s masterpiece is long overdue, but absolutely deserved.

BandWagon Magazine northern coloradoâ€™s arts & entertainment magazine JULY 2014

BandWagon Magazine northern colorado’s arts & entertainment magazine JULY 2014

Avett Brothers Kyle Eustice BandWagon Magazine

anything else

While it may seem unfathomable that New York City native and hip-hop aficionado Rick Rubin produced The Avett Brothers’ records, it’s really not that strange. Rubin has produced all types of music during the span of his career, including Americana. From Johnny Cash and The Beastie Boys to Mick Jagger and Public Enemy, Rubin has left his fingerprint on countless albums, and in the process, cemented his reputation as a legendary producer. Rubin is one of those enigmatic people who is essentially unreachable for the majority of the population. He’s on a dream list of interviews for a slew of journalists, and very little is known about who he really is as a person. But for many artists, he’s like a god among men. The Avett Brothers look at Rubin no differently. Comprised of brothers Seth and Scott Avett, the musical version of the duo came to fruition in the late ‘90s in their hometown of Concord, North Carolina. Little did they know, their path would lead them to the founder of Def Jam Recordings. “I guess I was in 6th grade when I got License to Ill so I remember that it was a big deal. I remember just

staring at the record cover,” Scott Avett recalls. “From then on, it was Red Hot Chili Peppers and all The Beastie Boys stuff. Everything he did with Johnny Cash were milestones and huge influences on us throughout our lives, too. The different styles that he did venture out into while he was doing it, we were experiencing it and being inspired by it. The first time we met Rick, his work had kind of fed us along the way, and here we are today. In a lot of ways it was just this mutual interest, which was very cool.” For both Avett brothers, working with him was an interesting process in itself. He produced their 2008 album, I and Love and You, 2012’s The Carpenter and 2013’s Magpie and Dandelion. They had just as much curiosity about how he operated as the rest of us. “When we started working with him, I asked, ‘How do you go from working with Johnny Cash to Mars Volta to The Beastie Boys? How do you handle each different act?’ He said, ‘you know 15 years ago, no matter who it was, I would have probably gone into a room and said this is what I think you should you do, this is what I think you should try and that’s that,’” Avett explains.

BandWagon Magazine northern colorado’s arts & entertainment magazine JULY 2014

Kyle Eustice BandWagon Magazine While it may seem unfathomable that New York City native and hip-hop aficionado Rick Rubin produced The Avett Brothers’ records, it’s really not that strange. Rubin has produced all types of music during the span of his career, including Americana. From Johnny Cash and The Beastie Boys to Mick Jagger and Public Enemy, Rubin has left his fingerprint on countless albums, and in the process, cemented his reputation as a legendary producer. Rubin is one of those enigmatic people who is essentially unreachable for the majority of the population. He’s on a dream list of interviews for a slew of journalists, and very little is known about who he really is as a person. But for many artists, he’s like a god among men. The Avett Brothers look at Rubin no differently. Comprised of brothers Seth and Scott Avett, the musical version of the duo came to fruition in the late ‘90s in their hometown of Concord, North Carolina. Little did they know, their path would lead them to the founder of Def Jam Recordings. “I guess I was in 6th grade when I got License to Ill so I remember that it was a big deal. I remember just staring at the record cover,” Scott Avett recalls. “From then on, it was Red Hot Chili Peppers and all The Beastie Boys stuff. Everything he did with Johnny Cash were milestones and huge influences on us throughout our lives, too. The different styles that he did venture out into while he was doing it, we were experiencing it and being inspired by it. The first time we met Rick, his work had kind of fed us along the way, and here we are today. In a lot of ways it was just this mutual interest, which was very cool.” For both Avett brothers, working with

him was an interesting process in itself. He produced their 2008 album, I and Love and You, 2012’s The Carpenter and 2013’s Magpie and Dandelion. They had just as much curiosity about how he operated as the rest of us. “When we started working with him, I asked, ‘How do you go from working with Johnny Cash to Mars Volta to The Beastie Boys? How do you handle each different act?’ He said, ‘you know 15 years ago, no matter who it was, I would have probably gone into a room and said this is what I think you should you do, this is what I think you should try and that’s that,’” Avett explains. “’Now, I learned every single act is so different and I cannot go and handle it with that approach. He says he tries to see where we are, identify what we are and let it just be the best thing we can be. I feel like a lot of the changes we were entering and doing on our own, Rick was facilitating them, exaggerating them and trying to magnify them. He’s really been, in a lot of ways, this hyper facilitator for us.” As Scott Avett went on to describe what it’s like working with Rubin, there’s a sense that he knows the elusive producer truly is untouchable. The way he speaks of him, it’s almost like he’s describing Prince or the late Michael Jackson. “There are just so many people that want to interview him. He’s kind of like Bob Dylan or Willie Nelson,” he says. “After a while, you realize you say the same things over and over and over [laughs]. The trick is having something that means something to that person to talk to them about, and they actually want to. That’s what it’s about. But those guys have people tugging at them all the time. They can’t meet everyone. They’re all the friendliest guys in the world. You have to be thankful for people that are at least honest that they don’t have time to talk.” Despite Rubin’s mysterious nature, The

Avett Brothers are much more tangible. His Southern disposition is at the core of Scott Avett, and it comes out clearly during the course of the interview. He laughs easily and seems genuine about what he has to say. The Avett Brothers’ popularity has soared over the past few years and they’ve had a lot of recent success. The Carpenter was nominated for a Grammy Award for Best Americana album, they’ve made numerous television appearances on shows such as The Late Show with David Lettermen and Austin City Limits, and they’ve been featured in almost every notable music magazine in the world. Nonetheless, Scott Avett never forgets his origins or how hard he’s had to work to get to where he is today. The accolades and attention the brothers are getting is something they’ve been anticipating for a long time. “We started playing on the street. Seth and I started playing on street corners or wherever anyone would have us,” he explains. “We were playing very, very small places—sometimes for nobody. I certainly remember a few shows where nobody showed up. We played for bar and we practiced and kept going. All the while, we were screaming and begging for people to pay attention. In so many ways we were screaming, ‘listen, we are making something we want you to consider looking at or listening to, and if it’s good enough, it will take. We know that. If not, that’s ok. We just want a chance.’ Really, that’s what we did for a long time and it turns out it was good enough. Each step of the way it got better. “All that works together,” he continues. “You know, lots of people talk about luck with the entertainment business or notoriety and whatnot, but I think before luck, there has to be amazing skill and a lot of discipline. And then all you have to do is get in there. We’ve been doing this since

we were 20-years-old. We’re going on 12 years so it didn’t just happen overnight. We’ve been gearing up since day 1. So the attention doesn’t really bother us.” The Avett Brothers released The Carpenter in 2012. According to a press release, “The Carpenter is the first album to be released under the partnership between Rick Rubin’s legendary American Recordings and Republic Records. The unanimously lauded band’s latest album debuted at #4 on the Billboard Top 200, giving them their highest debut yet. Their latest offering, last year’s Magpie and Dandelion, received mostly mixed reviews. American Songwriter writes, “Magpie is chock full of tracks that show the Avett Brothers are (very wisely) growing their sound, while remaining true to their core principles and what listeners like about them to begin with,” while Q Magazine says, ”Not quite as organic as they seem, their perfection lacks taste despite its polish.” No matter what the critics say, it’s something The Avett Brothers happily stand behind. For Scott Avett, it all stems from something he simply loves to do, which is creating music and art. However, he understands it’s also a job that comes with a price. It’s not easy to be on the road all the time, there are hundreds of press obligations and some critics aren’t exactly encouraging. “It helps you learn,” he says. “It helps you identify things about yourself. Talking about art is part of it. The performing and marketing is fuel for the fire you have to do. The core of it is making songs, making art and creating something you can be proud of.” The Avett Brothers with Rat Dog and Bob Weir (July 11), Lucero (July 12), Shovels and Rope (July 13), July 11,12 and 13, at Red Rocks, Morrison, Colorado, 7:30 p.m. Tickets are $49.50 to $60. Visit www. redrocksonline.com for more information.

BandWagon Magazine northern colorado’s arts & entertainment magazine JULY 2014

Jay Wallace BandWagon Magazine On February 15, Greeley music scene stalwart Paul Beveridge and Company were no more. Filling its place was the new rock group Leash of Foxes, headed by… Paul Beveridge. More recently, Leash of Foxes released it’s latest single on May 12, It Sounds Like This and it can be had at Bandcamp for the price of Free. Joining Beveridge were PB&Co guitarist Tim Veilleux, drummer Jesse Spencer, and bassist Tyler Wilcox. The sound of the new band is quite different from Paul Beveridge and Company; Along with Beveridge’s writing changing between them, Veilleux said the big change was when Beveridge bought an electric guitar. “The reaction from people is different, too,” Wilcox said. “Ambiance is what Paul Beveridge and Company was, and more rhythmic, black-andwhite is kind of Leash of Foxes. I think there’s more complexity in the rhythms. There’s just a little more molding between the four of us rather than all of us doing our own little part.” What lead to the creation of the new band? Beveridge said that things with the previous band were slowly deteriorated, and they were kind of at the point where “we really didn’t

know what we were doing.” “We didn’t know where we were heading,” Beveridge said, “and Jesse was on tour, and there was just a lot of things up in the air. We decided that we needed to get things together again, and through a series of different events, kind of practices and talks and other things, we came to this decision that we wanted to continue on, but that Paul Beveridge and Company was something that needed to stay behind on the timeline of our lives and of whoever’s lives in Greeley we’ve affected. “Our membership changed a little bit; Brent [Engel] had quit, Craig [Basarich] is moving on to other things with The Burroughs and pursuing his own career professionally with music. We wanted to keep going, we wanted to do better than we’d already done, and Leash of Foxes was the answer to that.” While the previous band was simply called Paul Beveridge and Company, the new name wasn’t straightforward. Spencer said that they were going for a unique juxtaposition. “We initially, when we decided to change the name of the band, we started mulling over a lot of band names,” Spencer said, “and we really wanted a juxtaposition of who we are as people and what we believe in. “One of things that we wanted to portray was that we are four ordinary dudes, we have faith

and we believe in God, but at the same time we’re just normal people. ‘Leash of Foxes,’ number one, Leash is the collective term for a fox. Why a fox? I think a fox describes us really well. A fox is portrayed in cartoons and other ways as creatures that are kind of devious. But at the same time, a fox is a really beautiful creature; they’re elegant and they’re really beautiful. So I think the crux of us as humans is that we’re beautiful people, we’re created beautifully, but we are kind of devious, we have selfish tendencies. So it’s that juxtaposition of beauty but selfishness.” Beveridge went onto explain the personal meaning to him. “We wanted something that represented us as people and as a band. And we also, especially me, I wanted something that would represent my music and how I write my music,” Beveridge said. “Sort of the way I’ve explained it in the past is that Leash of Foxes is like, it’s living in the balance between being both a creature that is beautiful and selfish. Being honest about where you’re at, the honest truth of being a human is that we are selfish, and that we do want things that don’t benefit other people always. “So a lot of the stuff I’ve been writing about has been about hurt and fear, and the way I’ve been writing about that and the perspective I’ve been taking that from is honest. I hate a lot of this stuff; I hate having hurt,

I hate being in pain, I hate being afraid because of that pain, and a lot of time that leads me to blame other people for stuff that maybe they shouldn’t be blamed for. Maybe it’s unfair, maybe it’s unjust, but I’m taking it and I’m saying, ‘this is how I feel, fair or not.’ Taking that and filtering it through things that are good, things that are true, things that are worthwhile, things that are helpful and build things, create instead of destroy. Hence ‘Leash of Foxes,’ being both beautiful and selfish at the same time. That

Balance.” Back in February, the group released their first single, “Back to Hell,” on iTunes. At their first show, the group said both “It Sounds Like This” and “Back to Hell” will be bundled together with four more songs for a future EP. For more information on Leash of Foxes, visit their Facebook page at http://www.facebook.com/ leashoffoxesmusic.

BandWagon Magazine northern coloradoâ€™s arts & entertainment magazine JULY 2014

BandWagon Magazine northern colorado’s arts & entertainment magazine JULY 2014

Kyle Eustice BandWagon Magazine

jurassic 5

Holding On to What’s Golden

Kyle Eustice BandWagon Magazine Los Angles hip-hop collective Jurassic 5 (J5) was a marriage between two different groups, Rebels of Rhythm and Unity Committee, a union that was made official in 1993. J5’s 1998 self-titled debut, 2000’s Quality Control, 2002’s Power in Numbers, and 2006’s Feedback all yielded some incredible singles and put J5 in the hiphop history books. Sadly, much like a bad marriage, the group eventually grew apart and in 2007, they went their separate ways. Chali 2na, real name Charles Stewart, took the solo route and also performed with Ozomatli while Cut Chemist carved out a similar path with his turntablist career. Chali 2na is the powerful, baritone voice of J5 who, at 6’8,” could also quite possibly be the world’s tallest emcee. When asked about the breakup in a 2010 interview, he was perfectly frank. “J5 was like a marriage that went sour,” he said. “There was nothing bad industry wise because it was nothing we couldn’t have gotten out of and prevailed over as long as we stuck together. It was none of

that shit. It was basically just a group of friends disagreeing over a bunch of stuff that we couldn’t reconcile.” Thankfully, he was wrong. DJ Numark, Cut Chemist, Mark 7even, Soup, Akil, and Chali 2na healed whatever wounds were opened, and are now back on the road as Jurassic 5. Cut Chemist, real name Lucas Macfadden, answered the phone while waiting on a flight to San Francisco. Naturally, the first question thrown at him was about the reunion, something that wouldn’t have happened if the Coachella Music Festival hadn’t come knocking last year. “We did the very first Coachella years ago,” Macfadden says. “The past few years, they’ve been doing reunion debuts like Rage Against the Machine and groups like that. I guess they contacted somebody that was handling our estate and wanted to put in an offer to do a reunion set.” It was a ‘right place, right time’ kind of thing for several reasons. There had been offers before, but it never seemed to come together. “We decided to do it because it’s one of the bigger festivals in the world, it’s in our

backyard, we did the first one, and karmically it seemed to fit,” he says. “Luckily, nobody had anything going on at the time or at least nothing was booked for us individually. We started to take meeting with each other and talk on the phone then had an official group meeting for the first time in nine years. Everybody was in the same room, which was a trip and then we agreed to it. We booked rehearsals and that was awesome. The magic came back pretty easily.” After their performance at Coachella, the group quickly started booking more dates. In fact, J5 did a show in January at Red Rocks as part of Icelantic’s Winter on the Rocks festival. Not only was the venue packed in the freezing cold, but it was also clear J5 hadn’t lost any of its original chemistry. “I don’t really know all the juicy details of the break up because I had left a year or two, wait, three years before they broke up,” he explains. “All I know is that so much time went by and we knew what we were there to do. We had conversations, but it was quick and easy. It was handled like adults. The minute we got back together, it was like no time had passed at all. It just felt like, ‘Wait, weren’t we just here? Oh, that was nine years

ago?’ It was unbelievable.” J5 released the new single, “The Way We Do It (Prod. by Heavy D)” on May 20, 2014. If it sounds like old material, it should. The beat was made during the same sessions as Feedback. They just never used it. The video itself was filmed at Red Rocks while they were in town for the Winter of the Rocks show. Macfadden was blown away by its reception. “It’s one thing to do a show and get the gratification out of the performance, but to put music out and have people like it, to me, that’s more rewarding because I didn’t know where our music stood in today’s age of EDM and all this other kind of stuff,” he says. “Rap has split up in to so many different genres. I didn’t know if that style was digestible today. So the numbers on YouTube, the Facebook shares and other social media just went ablaze. I was really happy to see that there is a place in the music world on the internet in today’s music culture where we can exist and have that much positive feedback. It was amazing. It made me want to go out and record an album immediately [laughs].” The idea behind putting out the song was a way to gauge what kind of interest people had in new J5 material.

If the group had any doubt, it has since been completely dissolved. “The waters have been tested and now we know,” he says, laughing. “As far as a new album goes, we’re not going to jump into anything too fast. We wanted to feel out the situation. We are feeling it each song at a time. We’ll have more products coming out. I’m going to say what or when, but we are talking about leaking more things.” Now that Jurassic 5 is back, there’s no stopping them. They are currently amidst the Word of Mouth Tour, featuring Dilated Peoples and members of The Beat Junkies. They make two stops in Colorado, July 4 in Aspen at the Belly Up Tavern and July 22 in Denver at the Ogden Theatre. And just in case there’s any speculation, there is actually a reason Jurassic 5 is called Jurassic 5 and not Jurassic 6, considering there are six members. “It’s in reference to the Fantastic 5, a rap group from the early ‘80s,” he reveals. “There could be five. I bounced then NuMark was working with another group, and sometimes Chali is on tour with Ozo. Many times, there were only five of us. We say five just in case someone needs to go and do something [laughs].”

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BandWagon Magazine northern colorado’s arts & entertainment magazine JULY 2014

SPOTLIGHTS

2014 GREELEY STAMPEDE BIG AND RICH

By: Jay Wallace and Rose Hedburg

Quite possibly the most ostentatious music duo to come out of the country music scene in decades, John Rich and Big Kenny Alphin first hit it big in 2004 with their debut album Horse of a Different Color; the song the general public knows them for was the album’s number two single, “Save a Horse, Ride a Cowboy.” Since then, the duo has helped shine the spotlight on the likes of singer Gretchen Wilson and hick-hop rapper Cowboy Troy (who will be playing alongside Big & Rich and Dallas Smith at the Stampede) while putting out four other albums and taking some time off to work on their own solo projects. Rich came from a country background, being one of the founding members of the band that would become Lonestar, while Alphin made his own rock album titled Live a Little in 1999 and fronted a rock band called luvjOi. The two met in a club around 1998 and began to collaborate as songwriters. Years later, after performing background vocals on a Martina McBride song they wrote, it was suggested that the pair record as a duo. As of 2014, Big & Rich will be releasing their next album, Gravity, sometime this summer.

JAKE OWENS

Jake Owen’s musical success erupted more easily than the typical rise to fame, especially for a country artist. Moving from Florida to Nashville in 2005, Owen was picked up by RCA Nashville Records within a year and on the charts with his first two singles. His story doesn’t mimic the starving artist tale as his rise to the top of country music progressed almost magically, opening and working with Kenny Chesney, Brad Paisley, and finally touring with Keith Urban in 2011. Owen’s lateral climb could be attributed to his natural talent in writing his own songs, something we encounter less of these days. For Owens third album he felt that the record should be more aligned with his attempt at a “Nashville education.” He wanted to team up with the writing talents of the Nashville scene and respect the artistic community and the music history that his predecessors came from. His sound mixes the fun summertime lyrics of pop music with the get-up-and-dance beats of a club sound, but he doesn’t lose the instrumental basics of a country band. Owen’s laid back celebrity attitude and dedication to creating new music made for a great opening Friday nightto the Greeley Stampede.

MARTHA MCBRIDE

Among the many faces of country music, Martina McBride leads in an industry of widely known female voices. With a long standing career in the music world her ability to create songs full of meaning is something to be recognized and has been noted professionally in her awards as Female Vocalist of the Year and specifically Country Music’s Top Female Vocalist. With 11 studio albums this singer has plenty to say and a range of sound that evolves through the decades. More than 2/3rds of her albums have received gold certifications with over 14 million records sold in the US. McBride’s firm position in the history of country music continues with a mutual foundation between her the dedicated fans that inspire her, something that doesn’t seem to be fading away. McBride’s charity began in the focus of the education and dedication to female independence, sponsoring programs and hotlines against domestic violence. Following a common recipe for raw and painful country lyrics McBride’s second album took a stance in speaking out against domestic violence. Her involvement in the peace among humanity really shows in her current work. This country singer takes her responsibility as a role model very seriously and looks to lend her hand back to the loyal fans that guided her career to what it is today. In 2010 McBride created her own organization that would work to help a range of different people, not just young women. Raising money for cancer, providing clothes to those in need, and donating attention to shelters and retirement homes are just some of the tasks that Team Martina volunteer their time in doing. As a woman seasoned in the industry, McBride definitely believes that we can “make the world a better place through the healing power of music.”

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BandWagon Magazine northern colorado’s arts & entertainment magazine JULY 2014

COLORaDO CONCERT CALENDAR

Tuesday July 1st The Stubby Shillelaghs @ Patrick’s Irish Pub Greeley - 9pm

Open Jazz Jam @ Pourhouse Loveland – 7:30pm w/ Pourhouse Jazz Trio Fitz and the Tantrums @ The Ogden Theatre Denver – 8pm w/ Max Frost, Holy Child

Fitz and the Tantrums @ The Ogden Theatre Denver – 8pm w/ Max Frost, Holy Child Neighborhood Brats @ The Hi-Dive Denver – 9pm w/ Jermaine and the Sex Party, Miles to Mountains, The Nervous Ben Hanna Band @ The Larimer Lounge Denver – 9pm w/ Wandering Natives, The Threadbarrons

Courtney Barnett @ The Larimer Lounge Denver – 9pm w/ Your Friend, Roo Ben Pu Solo and the Howl @ Cranford Cove Tea Tavern Greeley – 7pm

wednesday July 2nd

Free Beer @ Superfunk Vol II @ The Moxi Theater Greeley – 9pm w/ Casey Steele, Wolfsonbeince, Hippy Flippy

Local Alliance Music and Art Collaboration @ Aggie Theatre Ft. Collins – 7pm feat. Genetics and Earthlike Twins and Members of Good Gravy RE:UP Wednesdays ft. Andreilien @ The 1up Colfax Denver – 9pm w/ kLL sMTH, Marcelo Moxy

Thursday july 3rd

“America Loves the 80’s” A pre 4th of July Party with your favorite decade of music @ Hodi’s Half Note Ft. Collins – 8pm Shannon Whitworth @ Avogadro’s Number Ft. Collins – 8pm

The Antlers @ The Bluebird Theater Denver – 8pm w/ Yellow Ostrich

The July 3 Beat Down feat. Luke Skyy, Big J Beats, Dos Beats, DJ Matt Cassidy, Black Jordan, Broken Elimence, DJ Paradox, Reed MT, Rhyme Progression @ The Hi-Dive Denver – 9pm

The Stone Foxes @ The Larimer Lounge Denver – 9pm

friday July 4th

Freestyle Freedom Fest @ The Moxi Theater Greeley – 5pm w/ Cage, Sadistik, Maulskul and many more! Dark Star Orchestra @ The Ogden Theatre Denver – 9pm

Angry Hand of God @ The Hi-Dive Denver – 9:30pm w/ Audio Dream Sister

Cage w/ Sadistik @ The Moxi Theater in Greeley on 7/4/14 From Thin Air @ The Aggie Theatre Ft. Collins – 7pm w/ Head Injuries, Never Let This Go and Almost, Maine Caramel Carmela @ The Bluebird Theater Denver – 8pm w/ Wiredogs, Tonight We Rise, and Syke 96

Emalkay & Getter @ Cervantes’ Masterpiece Ballroom Denver – 9pm w/ Alex Sin, ShankAaron, Tyro B2B Mizer, and Goets

The Truth and Spectacle MKTO @ The Gothic Theatre @ The Larimer Lounge Denver – 8:30pm w/ Action Item, Denver – 9pm w/ The Family Crest Tiffany Houghton

saturday july 5th

Draghoria Metalfest @ The Moxi Theater Greeley – 7pm w/ Arise in Chaos, Morbid Asphyxiation, Last Word, Nekrovore Noco Artist Showcase @ Hodi’s Half Note Ft. Collins – 8pm w/ Royal Fam and Gem N Eye

Dressy Bessy w/ Fingers of the Sun Album Release Party @ Hi-Dive Denver – 9:30pm w/ Kissing Party Diamond Lake @ The Larimer Lounge Denver – 9pm w/ Low Body, Dear Me, Jesse Moya

sunday july 6th

Halden Woffard and the HI Beams @ Avogadro’s Number Ft. Collins – 6pm w/ Katie Glassman and Snapshot Pirates of the Landlocked State @ Avogadro’s Number Ft. Collins – w/ Rentstrike and Dirty Harry

The Cutthroat Drifters @ The Larimer Lounge Denver – 4pm w/ Dead Pay Rent, Hot Apostles, The Patient Zeros, Samuel Edgar Band Blood on the Dance Floor @ The Summit Music Hall Denver – 7pm w/ Millionaires, Haley Rose

monday july 7th Open Mic @ Grabo’s Greeley - 9pm

Bear Hands @ The Bluebird Theater Denver – 8pm w/ Junior Prom, Total Slacker Fly Golden Eagle @ The Larimer Lounge Denver – 9pm

tuesday july 8th

The Stubby Shillelaghs @ Patrick’s Irish Pub Greeley - 9pm The Black Lillies @ Avogadro’s Number Ft. Collins – 8pm

Open Jazz Jam @ Pourhouse Loveland – 7:30pm w/ Pourhouse Jazz Trio Agalloch @ The Gothic Theatre Denver – 8pm w/ Thrones

wednesday july 9th

The McLovins @ Hodi’s Half Note Ft. Collins – 8pm w/ The Earful

Local Alliance Music and Art Collaboration ft. Carlton Pride and Mighty Lion @ The Aggie Theatre Ft. Collins – 7pm PHOX @ The Hi-Dive Denver – 9:30 w/ Trails and Ways Gun Street Ghost @ The Larimer Lounge Denver – 9pm w/ Coastal Wives

BandWagon Magazine northern colorado’s arts & entertainment magazine JULY 2014

Thursday july 10th Guillermo “Gii” Astorga @ Cranford Cove Tea Tavern Greeley – 7pm The Magic Beans @ Hodi’s Half Note Ft. Collins – 8pm

Rittz feat. Tuki Carter and Raz Simone @ The Aggie Theatre Ft. Collins – 7pm

Dead Jam @ Avogadro’s Number Ft. Collins – 9pm

Rob Garza (Thievery Corporation) @ Cervantes’ Masterpiece Ballroom Denver – 9pm w/ Option4 Tommy Metz “Album Release Party” @ The Hi-Dive Denver – 9pm w/ Curta, Vibe Warriors

friday july 11th

Shatterproof @ The Moxi Theater Greeley – 8pm w/ Disguise the Silence, Canto, Saving Avery, They Call Me Hero

Seaheaven @ The Larimer Lounge Denver – 9pm w/ Confluence, New Leverage Andy Grammer @ The Summit Music Hall Denver – 7pm

saturday july 12th

Shatterproof @ Hodi’s Half Note Ft. Collins – 8pm w/ Canto and Defy You Stars

Curtis Grimes @ The Aggie Theatre Ft. Collins – 7pm w/ special guest S. Carey @ The Bluebird Theater Denver – 9pm w/ The Pines, Covenhoven Slick Rick @ Quixotes’ True Blue Denver – 5pm w/ Gravity A, DJ Chris Diable, Qbala, Dominic Deadbeat, Fractal Sky Fareed Haque Band @ Quixotes’ True Blue Denver – 9pm w/ Dave ABear Band, Jones for Revival, Groovetrotter Bob Weir and Ratdog @ The Ogden Theatre Denver – 9pm

Lucero @ The Aggie Theatre Ft. Collins – 7pm w/ special guests High Five @ The Ogden Theatre Denver – 8pm w/ Wandering Monks, Glitta Kings feat. Jessica Jeff Finlin @ Avogadro’s Number Jones, Quotes and Jered Ming, and Ft. Collins – 8:30pm w/ Eric Phanomageddon Straumanis Cowboy Mouth @ The Bluebird Theater Denver – 9pm

Rachel and the Kings @ The Gothic Theatre Denver – 8pm w/ Eldren, Sundown Social, Sean Waldron

Mosey West @ The Hi-Dive Denver – 9:30pm w/ the Outfit, Clouds and Mountains

Natural Child @ The Hi–Dive Denver – 9pm w/ Dirty Few, Best Creeps

The Tontons @ The Larimer Lounge Denver – 9pm w/ Instant Empire, The Good Gracious

Apocalypse, Black Crown Initiate, Necronomicon, Vale of Pnath

sunday july 13th

Andrew MacMahon @Aggie Theater on 7/13

Cloud Nothings @ The Larimer Lounge Denver – 9pm w/ The Wytches

Andrew McMahon @ The Aggie Theatre Ft. Collins – 6:30pm w/ Wild Party The Stubby Shillelaghs and My Body Sings Electric @ Patrick’s Irish Pub Greeley - 9pm Ms. Lauren Hill @ The Ogden Theatre Open Jazz Jam @ Pourhouse Denver – 9pm w/ Daniel Loveland – 7:30pm w/ Pourhouse Bambaata Marley Jazz Trio

Tuesday july 15th

monday july 14th Open Mic @ Grabo’s Greeley - 9pm

Mac DeMarco @ The Bluebird Theater Denver – 8pm w/ Calvin Love, Homeboy

John + Molly of Communist Daughter @ The Hi-Dive Denver – 9pm w/ The Way The Conquerors of the World Tour feat. Arrow Septicflesh @ The Summit Music Hall Denver – 6pm w/ Fleshgod

Guantanamo Baywatch @ The Hi-Dive Denver – 9:30pm w/ Spells, Lisa Prank

The Clearwings @ The Larimer Lounge Denver – 8pm w/ Susie Montoya, Eric Martinez, An Eighty-Eighth

wednesday july 16th

RE:UP Wednesdays ft. Love and Light @ The 1up Colfax Denver – 9pm w/ Soulacybin, Samo Sound Boy, Marcelo Moxy

Old Man Markley @ The Larimer Lounge Denver – 9pm

Say Anything @ The Summit Music Hall Denver – 6:30pm w/ The Front Bottoms, The So So Glos, You Blew It!

Thursday july 17th

Snow tha Product @ The Moxi Theater Greeley – 9pm w/ Special guests TBA Matt Davis @ Cranford Cove Tea Tavern Greeley – 7pm

The Symbols @ Avogadro’s Number Ft. Collins – 8pm w/ The Black Cat Bone Band

BandWagon Magazine northern coloradoâ€™s arts & entertainment magazine JULY 2014

BandWagon Magazine northern colorado’s arts & entertainment magazine JULY 2014 Dad Fest 2014 @ The Hi-Dive Denver – 7pm w/ Native Daughters, The Mountain and the Hound, Nunhex, Reproacher Khemmis

SUNDAY JULY 20th

Greg Trooper @ Avogadro’s Number Ft. Collins – 7pm

Cotton Jones @ The Hi-Dive Denver – 9pm w/ New God, Josh Dillard & The Streaks of Lightening

monday july 21st Open Mic @ Grabo’s Greeley - 9pm

West Water Outlaws @ Hodi’s Half Note in Ft. Collins on 7/19

friday july 18th Lucid Vigilantes @ Cranford Cove Tea Tavern Greeley – 9:30pm

Tattooed Strings @ The Gothic Theatre Denver – 8pm w/ No 1 Left Standing, Resonance, Jay & Fame, DJ Johnny Gear

Jimmy’s Follies @ Avogadro’s Number Ft. Collins – 9pm

Supersuckers @ The Larimer Lounge Denver – 9pm

Stella Luce @ Hodi’s Half Note Ft. Collins – 8pm w/ Slow Caves and Blue Stocking Burly-Q

Mom’s Kitchen @ Cervantes’ Other Side Denver – 9pm w/ Naughty Professor

California Voodoo: A Tribute to Widespread Panic @ Quixotes’ True Blue Denver – 9pm

Gin Doctors @ The Hi-Dive Denver – 9:30

saturday july 19th

Von Stomper @ Hodi’s Half Note Ft. Collins – 8pm w/ West Water Outlaws and Barbarosa

Snow Tha Product @ The Aggie Theatre Ft. Collins – 7pm w/ Thin Air Crew, FTC Records BTP and The LivedLIFE Movement ft. HushLife and (unit)e Choice City 7 @ Avogadro’s Number Ft. Collins – 7pm w/ The 3 Twins Broadband Tuatha @ Avogadro’s Number Ft. Collins – 8pm

Wye Oak @ The Bluebird Theater Denver – 9pm w/ Pattern Is Movement P-Knuckle @ The Gothic Theatre Denver – 8pm

Nick Waterhouse @ The Bluebird Theater Denver – 8pm w/ The Blue Rider

Jurassic 5 @ The Ogden Theatre Denver – 8pm w/ Dilated Peoples, Beat Junkies, MC Supernatural The Donkeys @ The Hi-Dive Denver – 9:30pm w/ Josh Moorehead and the Guestlist

Tuesday July 22nd The Stubby Shillelaghs @ Patrick’s Irish Pub Greeley - 9pm Barton Abbey @ Avogadro’s Number Ft. Collins – 8pm

Open Jazz Jam @ Pourhouse Loveland – 7:30pm w/ Pourhouse Jazz Trio

Claudio Simonetti’s Goblin @ The Bluebird Theater Denver – 8pm w/ Hate Eternal, Stolen Babies

Jurassic 5 @ The Ogden Theatre Denver – 8pm w/ Dilated Peoples, Beat Junkies, MC Supernatural

wednesday july 23rd

New Madrid @ Hodi’s Half Note Ft. Collins – 8pm w/ Roadkill Ghost Choir and Mosey West

Inner Peace Out Festival ft. Proximity & Ill Se7en @ Cervantes Masterpiece Ballroom Denver – 9pm w/ Small Hands, and Ayrex & Blanca Mikahn RE:UP Wednesdays feat. Freddy Todd @ The 1up Colfax Denver – 9pm w/ MuzzY, Marcelo Moxy Hard Working Americans @ The Ogden Theatre Denver – 8pm w/ Jason Isbell

Venomous Maximus @ The Hi-Dive Denver – 9:30pm w/ Whilt, Moon Pussy, Blakk Mantra Mike Cano’s Mushroom Funk @ The Larimer Lounge Denver – 8pm w/ Raw Form, Donzo’s Cosmos, Debauchery Tomorrow

Summer Slaughter Tour @ The Summit Music Hall Denver – 2pm w/ Morbid Angel, Dying Fetus, The Faceless, Thy Art is Murder, Goatwhore, Origin, Decrepit Birth, Within the Ruins, Fallujah

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BandWagon Magazine northern coloradoâ€™s arts & entertainment magazine JULY 2014

BandWagon Magazine northern colorado’s arts & entertainment magazine JULY 2014

thursday july 24th

Saturday july 26th

Tim Coons @ Cranford Cove Tea Tavern Greeley – 7pm

Elmer Funk @ Avogadro’s Number Open Mic @ Grabo’s Ft. Collins – 8pm Greeley - 9pm

Rockygrass Kickoff Concert @ Avogadro’s Number Ft. Collins – 8pm w/ Town Mountain and Geoff and Cristina Union

Zomboy @ The Ogden Theatre Denver – 8:30 w/ Cookie Monsta, EPTIC

Dead Jam @ Avogadro’s Number Ft. Collins – 9pm

Jelly Bread @ Quixotes’ True Blue Denver – 9pm w/ Blue Stone Mojo The UMS @ Broadway Denver – 8pm

Filter @ The Summit Music Hall Denver – 7pm w/ Helmet, Local H

friday july 25th

American Tomahawk @ The Moxi Theater Greeley – 8pm w/ Locals TBA Joe Schicke from Escape Goats @ Cranford Cove Tea Tavern Greeley – 8:30pm

Red Wanting Blue/The Alternate Routes @ The Bluebird Theater Denver – 9pm NDAAZ @ The Gothic Theatre Denver – 8pm The UMS @ Broadway Denver – 8pm

Woodhouse @ The Larimer Lounge Denver – 8pm w/ The 8 Turns, Harvestmen, Rhea Horvath

Rally Round the Family @ The Bluebird Theater Denver – 9pm

Court Yard Hounds @ The Gothic Theatre Denver – 8pm

The UMS @ Broadway Denver – 8pm

Vela @ The Larimer Lounge Denver – 8pm w/ Whiskey Autumn, Rumors Follow, Lel Daved, Slow Caves

Foxy Shazam @ The Summit Music Hall Denver – 7pm w/ Stop Light Observation

sunday july 27th

Arias@Avos @ Avogadro’s Number Ft. Collins – 4pm Tedx Foco @ Avogadro’s Number Ft. Collins – 12pm

Afton Showcase feat. CROW-BATE, Runaway Grace, The Lion’s Mouse, Bees With Guns & guests @ Cervantes’ Masterpiece Ballroom Denver – 6:30pm

monday july 28th Clap Your Hands Say Yeah @ The Bluebird Theater Denver – 8pm w/ Stagnant Pools

Tuesday July 29th The Stubby Shillelaghs @ Patrick’s Irish Pub Greeley - 9pm

Megan Burt @ Avogadro’s Number Ft. Collins – 8pm w/ Justin Roth and Rebecca Loebe Open Jazz Jam @ Pourhouse Loveland – 7:30pm w/ Pourhouse Jazz Trio

Those Darlins @ The Hi-Dive Denver – 9pm w/ Diarrhea Planet, The Knew Wild Cub @ The Larimer Lounge Dever – 9pm w/ Grizfolk

The All-Stars Tour @ The Summit Music Hall Denver – 1pm w/ I See Stars, The Acacia Strain, Like Moths to Flames, Slaves, Structures, Betraying the Martyrs, Palisades, Sworn In, Upon this Dawning, Kublai Khan

wednesday july 30th

American Tomahawk @ The Moxi Theater 7/25

Thursday july 31st Stevie Stone @ The Moxi Theater Greeley – 9pm w/ Special guests TBA Avogadro’s Bluegrass Festival @ Avogadro’s Number Ft. Collins – 6pm

Everclear, Soul Asylum, Eve 6, Spacehog @ The Ogden Theatre Denver – 8pm

Band of Heathens @ The Aggie Theatre Ft. Collins – 7pm w/ special guests Black Flag @ The Gothic Theatre Denver – 8pm w/ HOR, and Ted Nugent @ The Gothic Theatre Cinema, Cinema Denver – 8pm w/ Pistol Day Parade

The Fresh and Onlys @ The Hi-Dive Denver – 9pm w/ The Shilohs, Emerald Siam, Melted Toys James Wallace and the Naked Light @ The Larimer Lounge Denver – 9pm

BandWagon Magazine northern coloradoâ€™s arts & entertainment magazine JULY 2014

BandWagon Magazine northern colorado’s arts & entertainment magazine JULY 2014

GAMES

SUDOKU © 2013 Knight Features. Reprinted with permission of Universal Uclick. All rights reserved. WORD ROUNDUP by David L. Hoyt and Jeff Knurek © 2012 Reprinted with permission of Universal Uclick. All rights reserved. ROCK AND ROLL CROSSWORD © 2013 Todd Santos. Reprinted with Permission of UNIVERSAL UCLICK. All rights reserved.

BandWagon Magazine northern colorado’s arts & entertainment magazine JULY 2014

rock and roll crossword Faster Than a Roller Coaster by Todd Santos

2/17

10 11 12 13 21

Simple Plan “Jet ___” Woody of Gov’t Mule/Allmans Pink Floyd’s “Corporal” Gipsy ___ 38-Down song listened to in an ambulance? Jimmy Barnes & Dallas Crane “Sit On My ___” Widespread Panic song about a place to eat? Aaliyah “One ___ Million” Stones “Start ___” Tim Buckley song about a place for lunch? “Rainbow Connection” amphibian Hatesphere “To the ___” “The ‘Chirping’ Crickets” was Buddy Holly’s this “Midwinter Graces” Amos ’80s band Naked ___ Don’t want to miss one, in tribute band 2003 Sarah Brightman album “Appetite for Destruction” band (Abbr.) Used by wardrobe, perhaps Producer O’Brien Buddy Holly “It’s ___” Autograph “Sign In ___” “Big Bad Voodoo Daddy” genre Amps ’95 album Big venue Buddy Holly “My Two Timin’ ___” “People Got a Lotta Nerve” Case James Gang “___ My Garden” Middle voice ’70s teen idol Garrett “It was a beautiful ___” U2 Peter Gabriel “The Family and the Fishing ___”

23 26 28 29 30 31 32 36 38 39 40 43 46 47 49 51 53 54 55 56 57 61 63 64 65 67 69

PREVIOUS PUZZLE ANSWER

PUZZLE ANSWER

Across 1 Chicago “Hard ___ to Break” 6 Japanese metal band that will audibly exhale? 10 Von Bondies “___ of Communication” 14 Jim Croce “___ Name” 15 U2 “One ___ Hill” 16 “___ Have to Do is Dream” 17 Bryan of Roxy Music 18 Drowning Pool song we feel sorry for? 19 “By the Time I Get to Phoenix” Campbell 20 Worthy principles Christian rockers have 22 Queasy feeling Pink got on debut album? 24 Kind of man John Lennon was, besides being a “Walrus” 25 Kiss “Into the ___” 27 Open G and standard 29 “Don’t Worry, Be Happy” Bobby 33 Robert Plant “Now and ___” 34 Jimmy Kimmel/jazz bassman Jimmy 35 Robert John Godfrey band, with “The” 37 Korn “___ Up Inside” 41 Michael Schenker post-Scorpions band 42 Eagle-Eye’s sister 44 Makoma “___ Moto” 45 Buddy Holly “Yes I love you, ___ Sue” 48 “For My Broken Heart” McEntire 49 Poison frontman Michaels 50 Olu Dara’s rapper son 52 Chicago “Baby, What a Big ___” 54 The Lonely Island “Jack ___” 58 Iconic Fender model (Abbr.) 59 “Spill the Wine” band 60 The Box Tops “___ Rainbow” 62 “___ Floss for the Globe” Urban Dance Squad 66 “Night of the Stormrider” ___ Earth 68 Said at end of POD show, perhaps 70 “Skyfall” singer 71 Gabriele Kerner’s stage name 72 Alice Cooper “For Veronica’s ___” 73 The Academy Is… ’07 album 74 “White Ladder” David 75 Inquisitive 2010 Ringo Starr album? 76 “The ___ the Innocence” Down 1 Pop punkers American ___ (Hyph.) 2 Jerry Lee Lewis “Middle ___ Crazy” 3 Yawner 4 Simple Minds song about saying they get around? 5 Roger of Queen 6 “Interstate Love Song” band, briefly 7 Goo Goo Dolls smash 8 “___ on, bang a gong” 9 Afghan Whigs song to greet a family member?

2/10

Faster Than a Roller Coaster

BandWagon Magazine northern coloradoâ€™s arts & entertainment magazine JULY 2014

BANDWAGON Pix

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