CP S13 EP11 2019

Monday March 11, 2019

I have news for you, but it’s embargoed until tomorrow – which means I can’t publish it ’til then. 😉

We are well on the way to setting another record for logged new releases .. we’re not even through the first quarter of the year, and I’ve logged over 60 new releases for 2019.  At this pace, we’ll log over 240 for the year.  Here’s the current list.

Anthony Ruptak – A Place That Never Changes Album
Bison Bone – Take Up the Trouble Album
Blue Street Walls – Like A Child Album
Bonnie and The Clydes – Hold On Me Single
Brent Loveday and the Dirty Dollars – Hymns for the Hardened Album
Brianna Straut – La Mano EP EP
Brothers Keeper – Gypsy King Single
Coral Creek – Free Dog Album
Corsicana – Perennial Album
Daniel Rodriquez – Colorado Single
Daniel Rodriquez – Johnny Single
DBUK – Songs Nine Through Sixteen Album
Don Chicharron – Don Chicharron Album
E.M.K. – To the Room (feat. Coco Bean) Single
Eminence Ensemble – Real News Album
Float Like A Buffalo – Back From Nowhere Album
Foxfeather – Come and Get Me Single
Gasoline Lollipops – Broken Single
Goodnight Freeman – Yugen Album
The Haunted Windchimes – Sleepy Baby Album
Hello Mountain – Transcend Album
Hunter James & the Titantic – The Z-Axis Album
Instant Empire – Don’t Worry Emily Album
Jeff Jenkins Organization – In Blue Album
Jeremy Dion – More Lately Album
John Bunzli – IV Album
Kaitlyn Williams – Sunset Album
Kerry Pastine & the Crime Scene – I Make My Own Luck EP
Lola Rising – Gravity Single
Lucas Wolf – Falling Into Place Album
Lucy Daydream – Awake & Dreaming Album
Luna Shade – Birds of a Feather Album
Mama Magnolia – Mama Magnolia Pt. 1 Album
Mawule – What Love Doesn’t Look Like Single
Michal Menert & the Pretty Fantastics – From the Sea Album
Motet – Death or Devotion Album
Nelsen – The Wind Album
Nikki Giron – Heart Behind Bars EP
Oxeye Daisy – Wicked Game Single
Plutinos – Plutinos Album
Reed Foehl – American Miles Single
Ryan Dart – Drifter’s Heart Album
Silver & Gold – Color Album
Slow Caves – Falling Album
Steve Skinner Band with Erica Brown – Self-Made Woman Single
String Cheese Incident – SCI Sound Lab Radio EP
Sugar Britches – Don’t Make Her A Mixtape Yet You Idiot Album
The Symbols – Catching Fire Album
Taylor Scott – All We Have Album
Thom Chacon – Blood In the USA Album
Thom Sumbler & the Exceptions – There’s One In Every Crowd Album
Veronique Van Pelt – Nonesuch EP
Various artists – Color Red Sampler Comp
Wendy Woo – The Immigrant Album
White Rose Motor Oil – Suburban Horses Album
The Yawpers – Human Question Album

105.5 The Colorado Sound & the Colorado Playlist Present:

Covenhoven with Kid Reverie – Friday, April 19 at E-Town Hall (Boulder)

The Gasoline Lollipops Fri, April 12 Aggie Theater (Fort Collins)

Kyle Emerson Fri, April 5 Lost Lake Lounge (Denver)

SLOW CAVES (Album Release) / One Flew West / Gestalt – Saturday March 23 at Globe Hall (Denver)

The Subdudes for 2 shows Washington’s FoCo – Friday, April 5 and Boulder Theater – Saturday, April 6


At Bohemian Foundation, our focus is on building community …by coming together to create and enjoy music.


Another of the outstanding pop singer-songwriters from our region, Andy Hackbarth spends most of his year playing cruise ships for a living.  According to his website, his upcoming new album, “Sex Robots, out May 24th, is perhaps Hackbarth’s most diverse effort yet, from the tranquil ache of an electro-pop-inspired opening track (U Don’t Have 2 Wait) to the EP’s epic finale (Sex Robots— a Bohemian Rhapsody-esque song complete with an extended orchestral section, robot noises, and a bass clarinet solo). The EP is rounded out by jazz whiz-kid Peter Sommer and Megan Burtt, Denver’s darling of the singer/songwriter scene.”


Let me know if there’s something you think I should play.  Email coloradoplaylist@gmail.com

(D) = debut LP/EP or single
(N) = new track from previously debuted LP/EP
(P) = Colorado Playlist exclusive premier


Acoustic Junction “Think About It” from Acoustic Junction (1996)
(D) Taylor Scott Band “Curiosity” from All We Have (2019)

Lonesome Days “Chasin’ Down the Whiskey” from The Lonesome Days (2017)
Nathaniel Rateliff & the Night Sweats “Look It Here” from Nathaniel Rateliff & the Night Sweats (2015)
(N) Wendy Woo “The Immigrant” from The Immigrant (2019)

Lucy Daydream “Red” from Awake & Dreaming (2019)
Chris Daniels & the Kings “All For the Love of Lill” from Louie, Louie (1993)
Churchill “Made a List” from Change EP (2012)
Silver And Smoke “Sting Like a Bee” from 30P (2018)
(D) Head for The Hills “Darkness Meets the Day” from Say Your Mind EP (2019)

Still Tide “Give Me Time” from Run Out (2019)
piKziL “Can’t Get Started” from Songs from My 3rd Life (2016)
Dana Landry Quartet “Pure imagination” from Standard Elevation (2015)


Beast“Ev’ry Man Hears Different Music” from “Beast” (1969)
(D) Big Head Todd & The Monsters “Come On” (2019)

Ghost Tapes “The Lock” from Ghost Tapes (2017)
Patti Fiasco “Saved by Rock and Roll” from Saved By Rock and Roll (2016)
(N) Float Like A Buffalo “The Day” from Back From Nowhere (2019)

Don Chicharron “Sabado Gigante” from Don Chicharron (2019)
Apples in Stereo “Can You Feel It?” from New Magnetic Wonder (2007)
Achille Lauro “Lighting” from Flight or Flight (2012)
(D) Inaiah Lujan “I’m Away” (2019)

Yonder Mountain String Band “How ’bout You?” from Yonder Mountain String Band (2006)
Trout Steak Revival “i am” from Spirit to the Sea (2017)
Scott Martin “Pam” from Alone At Sunset (2018)

Goat’s Thanksgiving

Goat_Logo_color_on_whiteAre we thankful for the music that has fueled our lives?  Are we thankful for those who possess the gift that illuminates the love we feel, the pains we struggle with, the memories that bind us to our pasts and keep us moving towards our unknown future?  Are we?  If we’re thankful, how do we honor those whose gifts bless us?

There are those for whom music is a hobby – something to do with family and friends in thousands of garages and basements across our country, around the world.  There are those for whom making music is a part-time job, something to do on weekends in any public space imaginable – for tips or for guarantees that help sustain the love of making music, or to feed families.  And for others it is an occupation, a full time job, a career that pays the bills and allows for a secure future in retirement.

Music is as natural and essential as the air we breath or the water we drink.  Music is part of our spiritual lives as Christian, Jewish, Muslim, Voodoo, Native American Indian, and countless other faiths employ music in praise and worship ceremonies.  We have sung to the gods of our lives, and raised the specter of desire and sexuality in the humpity-hump rhythms that permeate dance clubs internationally.  It tells us stories that become part of the history and heritage of our land.  It speaks in languages unique to the diverse culture of cities and towns, bayous, deserts, and mountains across the land.

We, two generations now, have bemoaned the loss of art in our schools, the loss of music programs.  We spend billions on music instruments and private lessons so that our children and grandchildren might appreciate the innate joy that comes from discovering that they possess the ability to sing or play a melody.  We attend school concerts and recitals and cheer on our kids, praising them for the talent they display – regardless of any demonstrated skill; every child’s performance the right of passage to a future filled with stardom, fame, and monetary riches.

In eras past, from our first job in high school through graduation from college, we built and maintained large collections of albums worth of music – some that would become insanely popular globally – and some that only we and a few close friends would ever really know about.  We attended bars where cover bands played the hits of the day, to concert venues of every size to enjoy our favorite bands play their biggest hits, and newest songs.  And then time changed.

MP3.com promised the adventure of as yet broadly unknown songs from around the world – both great and abysmally bad – from gloriously magnificent works of pure art to gloriously bad dog farts and noise …all for free, with the promise that those who owned the work would get paid based on the number of plays – at a penny a pop.  And from there, the gaming was on.

MP3.com died and Napster emerged – another promise of free music to be had and another disaster that couldn’t be sustained, both financially and legally. File sharing became a major criminal offense, as everyone from grandmothers to college kids and even universities struggled with the emergence of new tech. Congress stepped in and established a minimum standard of pay for those who owned the recording as well as the performers on the recording, but only for music “broadcast” on the Internet, not for music aired on terrestrial airwaves.  The minimum far less than a penny per listen.

And then, Steve Jobs and Apple introduced us to iPods and iTunes, and physical cd sales began to decline precipitously.  Pandora introduced us to free Internet radio without commercial interruption … and record sales imploded, in a relentless dive.  Lastly, streaming arrived full blown via Spotify and other sources, and even download sales have felt the impact as people are inclined to stream their favorite records at far less than a penny a listen as it is no longer necessary to actually possess either a physical copy of a recording or a digital version.

The MP3 format and the Internet changed the world – and today the question has to be asked – how do we honor those whose music is so invaluable to our everyday lives?

Today anyone can play.  Here in Colorado alone there are a few thousand acts – from baby bands to solo singer songwriters to hitmakers and award winners. There are several hundred recordings released a year, from singles to eps and lps – in digital, cd, and vinyl.  We have hundreds of rooms for us to see live music, from DIY spaces to coffee shops, from small cap rooms to Mile High Stadium, from the world renown to the barely known about.

Music is not free.  It is not free to learn.  It is not free to perform.  It is not free to present.  It is not free to record.  It is not free to distribute.   Teachers need to earn a living.  Instrument makers need to earn a living.  Stage owners and those who own and run p.a. equipment need to earn a living.  Recording studio owners, and the engineers at the studios need to earn a living.  And countless thousands of our friends and family, who have spent years to perfect their talents, buy the equipment, record the songs, and present themselves on stages need to earn a living.  Music is not free.

Are we thankful for the music that has fueled our lives?  Are we thankful for those who possess the gift that illuminates the love we feel, the pains we struggle with, the memories that bind us to our pasts and keep us moving towards our unknown future?  Are we?  If we’re thankful, how do we honor those whose gifts bless us?

This season I’d like to ask a favor.  Please support the local music scene, the local music industry, the local music teachers, and sound engineers, and stage owners, the instrument makers, and record makers, and the musicians without whom none of this would be possible.

Set aside a little to see a couple of shows and take a few friends with you.   It doesn’t matter if you know the band – just go. Go to Albums on the Hill (Boulder) or Twist and Shout (Denver) or any other location where you can find Colorado music on sale.  Don’t buy one – buy ten and spread the love.

If you need help deciding on what show to see, or what record to buy, read and support our local publications like Westword (Denver), Colorado Music Buzz (Denver), the Marquee Magazine (Boulder), Scene Magazine (Fort Collins), or Bandwagon (Greeley).

Music isn’t free.  We shouldn’t treat it as if it is.

Happy Thanksgiving,

How Do You Define… PT II

I'm picky AND I'm grumpy.
I’m picky AND I’m grumpy.

So, apparently I over generalized the nature of events (festivals) and event (festival) talent buyers in my previous post How Do You Define …and why does it matter?”  A couple of folks have taken me to task for it, so let me clarify some of my points.

My major point is that labels such as singer-songwriter are inherently vague, overly broad, and should not be used as a means of describing the style of music that an artist does.  The connotation of a “singer-songwriter” is as a SOLO (or duo) performer, often accompanied by a single instrument, and is not indicative of the STYLE of music the artist is performing.

I attempted to defeat that bias by my choice of the videos I ended my past post with.  I specifically selected singers who also write their own material, and are largely known as singer-songwriters – yet they display a diversity of style and lyrical content – and aesthetic quality.  There are (currently) 12 videos …from across Colorado’s history of great music.

The major point I was trying to establish was how differently we define a genre of music, and how those perceptions are applied by those who are listening, and therefore “buying” music – whether a fan, or those who book talent for SOME festival and/or civic events regionally .


There are numerous types of events (festivals) in Colorado.  By some estimates there are as many as 1250 event days a year, statewide.  Many book a broad diversity of talent – from solo acts to large bands and orchestras – while others are more genre/style specific.

Those who are responsible for putting on many of our regional civic events are (generally) not in the business of music – they typically fill other (more important) roles at their municipal agencies.  In other words, their “business” may be city planning, and they may not be able to articulate genres and styles as those of us “in the business” can and (too often?) do.

Many of these folks only know about music as the average person (also not in the business of music) knows about music – from what they see on tv, remember from their youth (pre-24/25), or hear on their favorite local radio station.  They can tell you what they like, and they can typically paint broad outlines of “style” or “genre.”

More likely than not, they describe what they like or don’t like by referencing what they already know.  It seems to me at least that most people are more likely to say “I like ______________, and I think ____________ “sucks” than to try to describe music with “industry” terminology.

I know one person who works for a city, and is part of the summer downtown festival committee, who can’t name the artist behind a single song she hears on the radio, nor can she name the song.  Yet this person knows what she likes and doesn’t like, and can attribute a fundamental nomenclature to the style she listens to — however broad.  She can name something as country or pop/rock or metal or rap .. but fails to be able to describe music in much more specific terminology.  She calls those who sing solo with a guitar a “folk” artist.

I know another person at a civic agency that puts on a music event, who was unaware of one of the region’s top music publications, and is largely unaware of many of the regions’ top acts, including some our Grammy nominated and/or award winning talents. Still others have a knowledge set limited by other factors.

blue-stick-man-knowledge-mdThere are obviously exceptions, and many music buyers I know are incredibly knowledgeable about the scene and what kinds of music our artists perform.  As a radio dj over the past 35+ years in Colorado, however, I may call something one thing based on my knowledge of radio formats, and yet describe it using different terms if I’m talking to an artist, or someone booking talent for a civic event/festival.

I used the example of singer-songwriter because of an artist consultation, in which the artist asked me how to overcome the apparent bias inherent in the term singer-songwriter.  My point was DO NOT USE THE TERM SINGER-SONGWRITER.  It has no specific meaning – it’s too broad and diluted to use as a descriptive term of the TYPE (style) of music you perform.

confused1Confused?  You’re not alone.  It really is all about the words you use and how you use them – and boy is there a lot of confusion.

Descriptive terminology can be very different from generation to generation, as it is among those involved in the business (or art) of presenting music.  New terms (and the understanding thereof) are introduced with each new generation of musicians, fans, the general public, and those who present music to the public.

Who knew there would be HUNDREDS of styles of “rock” when we were introduced to “rock and roll” in 1955.  Alan Freed, aka Moondog. would be impressed, I’m sure. (or not)

EDIT:  Who knew there would be HUNDRED of styles of “rock” when we were introduced to “rock and roll in 1955 – regardless of who was given credit for coining the term.  


Support for the Colorado Sound Courtesy of

CCCLogoPMS300ConvertedColorado Case Company:  Colorado made insulated soft cases, gig bags, case covers and rigid cases for most instruments.  This premium, professional grade, brand is designed, engineered and tested to provide incredible thermal protection for your valuable musical instrument.  We specialize in unusual and hard to fit instruments.  Info at www.coloradocase.comSpokesBuzz Fort Collins logo

SpokesBUZZ, a  Colorado 501C3 with a mission to DEVELOP THE PROFESSIONALISM OF ARTISTS, PROMOTE AND CONNECT PROGRESSIVE CULTURAL DESTINATIONS, AMPLIFY MUSIC SCENES and GROW LOCAL ECONOMIES.  Please visit the website for information on bands that SpokesBUZZ supports, as well as shows and more.  www.spokesbuzz.org.

Mish Logo JPG

The Colorado Sound Presents Head for the Hills with guests Grant Farm & Gipsy Moon, at the Mishawaka on May 17.  Tickets at www.themishawaka.com Check out this performance from H4TH at the Mish in 2012 ….

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