Posts Tagged ‘Colorado’

Official Movie Trailer for the new Neil Young Film – ‘Mountaintop’ IN THEATERS ACROSS NORTH AMERICA ON OCTOBER 22, 2019 AND IN EUROPE AND SOUTH AMERICA ON NOVEMBER 18TH.

The documentary goes behind the scenes of the making of ‘Colarado’, Young’s first album in seven years with Crazy Horse. Earlier this year, the singer-songwriter announced that he would be postponing the rest of his 2019 tour plans to focus on completing 15 unfinished film projects.

One of those films was a ‘making of’ documentary that was filmed to tie into the release of ‘Colarado’, which will be Crazy Horse’s first new album since 2012’s ‘Psychedelic Pill’, and according to Young, the record will stand up to some of his previous classics albums.

“We believe we have a great Crazy Horse record and one to stand alongside ‘Everybody Knows This is Nowhere’, ‘Rust Never Sleeps’, ‘Psychedelic Pill’ and all the others,” he said back in April.

Neil Young first revealed Crazy Horse’s return to the studio in April. He announced ‘Colorado’ would arrive in October, and feature “10 new songs ranging from around 3 minutes to over 13 minutes.” Besides CD and digital versions of the record, there will also be a double vinyl release comprising three sides of music and a 7” exclusive single not on the album.

Following songs ‘Rainbow of Colors’ and ‘Milky Way’, Neil Young and Crazy Horse released a short instrumental called ‘A letter from us’ last month.

With Neil Young and Crazy Horse’s new album “Colorado” arriving on October 25th, the reunited rockers have shared “Rainbow of Colors,” the second preview from the upcoming LP. It’s a bright, optimistic tune calling for unity in the age of Trump. Much like the previous Colorado single “Milky Way,” it is quite mellow by the usually loud standards of Crazy Horse.

“The idea of the song is that we all belong together,” Young wrote on his Neil Young Archives website. “Separating us into races and colors is an idea whose time has passed. With the Earth under the direct influence of Climate Chance, we are in crisis together needing to realize we are all one. Our leaders continually fail to make this point. Preoccupied with their own agendas, they don’t see the forest for the trees.”

Colorado is the first Neil Young and Crazy Horse album since 2012’s Psychedelic Pill, and the first since guitarist Frank “Poncho” Sampedro retired from the group. He has been replaced by Nils Lofgren, who has played with Young going all the way back to After The Gold Rush in 1970. This new lineup of the band first played together on a California theater tour in 2018 and they cut Colorado at Studio in the Clouds near Telluride, Colorado earlier this year.

An arena tour was originally booked for later this year, but Young said he was pushing it back so he could focus on a series of archival concert films and documentaries. And in a recent note, Young hinted that he’s already looking ahead to Crazy Horse’s next record. “Another one is coming,” he wrote. “I can feel it. It’s a new generation for the Horse. Long live the Horse!”

Official Audio for “Rainbow of Colors” from ‘Colorado’ the new album from Neil Young with Crazy Horse available on October 25th.

Yes, Neil Young has returned with his legendary backing band Crazy Horse, for their first album together since 2012’s well-received Psychedelic Pill. “We believe we have a great Crazy Horse album,” Young wrote recently on his Archives website back in April. “One to stand alongside the albums Everybody Knows This Is Nowhere, Rust Never Sleeps, Sleeps With Angels, Psychedelic Pill and all the others.” Big talk, but based on first taste “Milky Way” — almost as haunted and vulnerable as Young’s unnerving recent New York Times profile — it’s at least got a shot at living up to it.

Official audio for Milky Way from Neil Young with Crazy Horse from their upcoming new album ‘Colorado’ Available on October 25th.

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Ten years into the life of Quaker City Night Hawks, David Matsler and Sam Anderson had to stop and think about what they were doing. After three albums of fuzzed-out blues-rock, the last of which — 2016’s El Astronauta — was a sci-fi-themed concept record, Quaker City Night Hawks needed a new drummer and bassist. So they did what any self-respecting rock band would do: They got heavier — and weirder.

“We have a completely different set of weapons now and that opens so many doors for us,” says Anderson, who shares singing and guitar-playing duties with Matsler, from a hotel room in Wichita, Kansas. He’s sitting between Matsler and the band’s new drummer, Aaron Haynes, all three of whom are wearing sunglasses, even though the blinds are drawn behind them. “As many different genres as we touch on — as scatterbrained as we are — it’s going to get even worse. I’m excited about that.”

There are no overt themes on Quaker City Night Hawks latest LP, titled simply QCNH, other than that of a band that’s found its literal and metaphorical grooves. But the album, the band’s second with Nashville label Lightning Rod Records, is the Forth Worth, Texas, quartet’s most musically ambitious, scrubbing away the overdriven guitars of records past for a cleaner, rougher sound. There may be fewer UFO sightings, but Quaker City Night Hawks stretches into several spaced-out interludes. It even includes some honest-to-goodness ballads.

Those last two additions should come as no surprise for a pair of guys who got their start playing open-mic nights in Lubbock a decade and a half ago. “We were pulling our hair out on the songwriter circuit, getting paid in soup and coffee instead of cash,” remembers Anderson. He and Matsler eventually migrated east to Fort Worth, where, after playing in separate projects, they came together to form QCNH. “You do that songwriter stuff so long that you get this pent-up aggression where you just want to be fucking loud for a little bit and not care if people can talk over it — because they can’t,” says Anderson.

That, in essence, has been the band’s driving influence ever since. Getting started, however, meant learning how to stretch things out, with weekly residencies that lasted three or four hours at a time. Anderson remembers one particular “shithole” bar where they had one of their first recurring gigs. “We’d do two hour-and-a-half to two-hour sets with wet T-shirt contests and turtle races in between. They’d have 30-cent hurricanes,” he says, laughing and shaking his head. “We really got to test how badly we wanted to be in a rock & roll band at that point.”

Though Haynes, who also plays drums for the Texas Gentlemen, is new to the lineup since El Astronauta, he’s hardly new to QCNH. “I have a weird perspective because I was there when this band started,” he says, pointing out that he’d played with Anderson in a previous band. Not surprisingly, Haynes has slotted in with ease. “It’s fun to play drums in a slightly more primal way. Really, that’s how they were intended. The nuance of drums is great, but sometimes you just need to tell ’em what you’re thinking, and the one way to do that is to play hard, play heavy.”

Together with new bassist Maxwell Smith, Haynes has helped lock in a tight rhythm section on QCNH, one that swings as well as swaggers. As a point of reference, the new lineup reprises “Fox in the Henhouse,” originally the leadoff track to their second album, Honcho. Haynes’ fills and hi-hats are especially prominent on the sludgy “Hunter’s Moon,” but never is the new dynamic more apparent than on “Suit in the Back,” a souped-up boogie about the unglamorous side of being a touring band — i.e. getting busted for drugs. “That, for me, is the closest we’ve gotten to this dance-y, even disco-type thing, mixed with rock & roll,” says Anderson.

Life on the road pops up on a far different song, “Colorado,” a dreamlike ballad written by Matlser that weaves in and out of border crossings and desert wastelands, tinged by the enticing, far-off mirage of packing it all in and heading for California. Matlser stretches things out even further on the surreal “Elijah Ramsey,” a dystopian prog-rock epic that gets turned inside-out by its companion piece, the comparatively jagged “Grackle King,” which together form a 10-minute suite on the back end of the record.

Not that the band is about to retreat from the pure, unadulterated fun of making lots and lots of noise. If anything, they’re ready to double down, feeling all the more emboldened by their first trip to Europe, where they played in support of fellow Southern rockers Blackberry Smoke and will be returning later in the year. Playing overseas, they found audiences who weren’t so quick to compare them to ZZ Top or to call them Lynyrd Skynyrd lookalikes.

Through their first three albums, the group divined a signature style what Pitchfork described as “an expansive vision of rock ‘n’ roll, one that cherrypicks from various folk traditions: punk, rockabilly, blues, whatever they might have on hand or find in the trash.” The sound is a front-heavy, groovy, fire & brimstone punk-blues overlying a dynamic and metaphysical roots rock. On their fourth album “Human Question”, the Denver trio zooms out to a more vast and accessible stylistic and spiritual universe. The 38-minute thrill ride generates growth and cathartic self-reflection for audience and performer alike. If there was justice in this world, the Yawpers would be the savior that rock-n-roll didn’t know it was waiting for.

Following their critically acclaimed and meticulously plotted concept album Boy in a Well (set in World War I France, concerning a mother who abandoned her unwanted newborn), the Yawpers created Human Question with a contrasting immediacy. The album was written, rehearsed, and recorded over a two-month period with Reliable Recordings’ Alex Hall (Cactus Blossoms, JD McPherson) at Chicago’s renowned Electrical Audio. The band tracked live in one room, feeding off the collective energy and adding few overdubs. Through the new approach, ten songs connect with an organically linked attitude and style.

On Human Question,lead singer and guitarist Nate Cook writes his way out of trauma, rather than wallowing in it, as was his self-destructive formula in the past. “I wanted to take a crack at using these songs as therapy, really,” Cook said. “I think I’ve always been inclined to write more towards the dregs of my psyche, and explore my depressions and trauma, rather than describe a way out.” The self-reflection engages the band’s trademark dangerous, emotionally fraught choogle, and the listener is constantly kept on edge, not knowing when to brace for a bombastic impact or lean back and enjoy the ride.

The band skillfully balances that Jekyll and Hyde formulaIn “Child of Mercy” guitarist Jesse Parmet revs the engines with a disintegrating blues guitar framework, backed by a breakneck beat by new drummer Alex Koshak. Eventually, the tune whips into a cyclone of distortion and Cook’s sustained falsetto, as he howls, “Won’t you please wake me up when the night is over.” For such a raw and kinetic sound, the Yawpers are never stuck in one gear for long. They deftly navigate shifting dynamics and moods, and if you squint your ears, the Sun Studios’ Million Dollar Quartet transmogrifies into the ghosts of Gun Club, Jon Spencer, and Bo Diddley.

“Dancing on my Knees” is the direction that Dan Auerbach could’ve taken Black Keys: raw yet poppy, outsider while mainstream, danceable while thought-provoking(lyrics include “It wasn’t what I asked for / But it’s exactly what I need / You’ve said there’s growth in agony / And we finally agree”). There are moments of blunt Stooges raw power (“Earn Your Heaven”), shaker rhythms behind ‘70s psychedelic rock(“Human Question”), and the  salacious boogie of Zeppelin (“Forgiveness Through Pain”). Through it all, Human Question is impossible to confuse with anything else—it’s distinctly the Yawpers.

“Man As Ghost”, “Can’t Wait,” and “Where the Winters End” reveal a softer and contemplative side, blending touches of modern Americana and folk music. In these moments of sonic respite, Cook and company display their range through acoustic guitar strums, relaxed and aired-out tempos, and big yet dialed-in vocal runs. But, no song exhibits the band’s extended capabilities like “Carry Me,” a Gospel-soul burner that builds from hushed to impassioned, with the lead singer begging for salvation in full open-throated fervor by song’s end.

Human Question isn’t meant for the meek or casual listener. It will make you dance, mosh, sing along, and dig deep into your soul. Some people lament that rock-n-roll is dead. They just haven’t heard the Yawpers yet.

The Yawpers Are:
Nate Cook , Jesse Parmet , Alex Koshak

Few people in the UK are aware of the talents of this man. An accomplished singer/songwriter who understands composition and production as well as musicianship. I have followed his career after stumbling upon the album That Sea, The Gambler, and have been increasingly continuously impressed. The orchestration on this album is wonderful, the songs familiar, yet refreshed.  “The Stable Song” is a slice of Americana that is head and shoulders above anything his more well-known contemporaries have produced in recent years. The acoustic guitar and banjo remain in the forefront and his vocals are as warm as a mid-western prairie on a summer day. The orchestration is both beautifully subdued and lush. When he sings the lines “And I ran back to that hollow again/The moon was just a sliver back then/And I ached for my heart like some tin man/When it came oh it beat and it boiled and it rang…oh it’s ringing”

A collaboration with The Colorado Symphony, the eleven track record features favourite songs from Isakov’s previous albums, as well as ‘Liars’, written by Ron Scott. Isakov will embark on an extensive US tour this next year and summer, including performances with the Atlanta Symphony Orchestra, the Vermont Symphony Orchestra, the Philadelphia Youth Orchestra and the National Symphony Orchestra. Club shows will feature Isakov and his band. Recorded at Boettcher Concert Hall in Denver, as well as at Starling Farm in Boulder, Gregory Alan Isakov with The Colorado Symphony was co-produced by Isakov and his longtime collaborator, Jamie Mefford, and was arranged by Tom Hagerman (DeVotchKa) and Jay Clifford (Jump Little Children), and conducted by The Colorado Symphony’s Scott O’Neil. The new album follows

The new album follows The Weatherman, which debuted at #1 on iTunes’ Singer/Songwriter chart and received widespread acclaim including critical notice at NPR’s Weekend Edition, NPR Music, Esquire, Rolling Stone, The Boston Globe, etc. Isakov has toured alongside musicians such as Iron & Wine, Passenger, Brandi Carlile, The Lumineers and Nathaniel Rateliff. Gregory Alan Isakov – a South-African born, Colorado-based musician make a compilation of his work to date and underpin it with an orchestra. He is not the first artist to perform such a feat with Joni Mitchell and Mary Chapin Carpenter releasing albums with full chamber backing. What is special about Isakov and the Colorado Symphony is that his beautiful acoustic songs still maintain their delicacy without the orchestra overwhelming or intruding.

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Bob Dylan: Hard Rain US TV Broadcast Version – Full Video (May 23rd, 1976)

42 years ago today (9/13/76), Bob Dylan released his true to late 70’s form live album Hard Rain. The album was recorded during the second leg of the Rolling Thunder Revue and was partly recorded on May 23rd, 1976, during a concert at Hughes Stadium in Fort Collins, Colorado. The concert was also filmed and later broadcast by NBC as a one-hour television special in September. The Rolling Thunder tour is most distinguishable by the white face paint Dylan wore and that he chose to play a series of small venues with a revolving cast of musicians that included  Joan Baez, Ramblin’ Jack Elliott and Roger McGuinn. Watch Dylan perform “One More Cup of Coffee” from the Rolling Thunder Revue tour live in ’75.

In pouring rain, Bob Dylan plays the open air Hughes Stadium at Colorado State University in Fort Collins. He has elected to film this show to replace the aborted TV special from Clearwater. In the longest set of the tour, there are several highlights, not all appearing in the TV special. … Included in the TV special, although in a most peculiar order, are second encore “A Hard Rain’s a-Gonna Fall,” the entire Dylan/Baez set (“Blowin’ in the Wind,” “Railroad Boy,” “Deportees,” and “I Pity the Poor Immigrant”); three songs from the first set (“Maggie’s Farm,” “One Too Many Mornings,” and “Mozambique”); and three from the last set (two tremendously powerful readings of songs from Blood on the Tracks, “Idiot Wind” and “Shelter from the Storm” and a faded “Knockin’ on Heaven’s Door”). Despite the storm clouds raging, the crowd appears to be very enthusiastic, even singing “Happy Birthday” for Dylan before the second encore.
~Clinton Heylin (Bob Dylan: A Life in Stolen Moments Day by Day 1941-1995)

Hughes Stadium
Colorado State University
Fort Collins, Colorado
23 May 1976

  • Bob Dylan (guitar & vocal)
  • Scarlet Rivera (violin)
  • T-bone J. Henry Burnett (guitar & piano)
  • Steven Soles (guitar)
  • Mick Ronson (guitar)
  • Bobby Neuwirth (guitar & vocal)
  • Roger McGuinn (guitar & vocal)
  • David Mansfield (steel guitar, mandolin, violin & dobro)
  • Rob Stoner (bass)
  • Howie Wyeth (drums)
  • Gary Burke (percussion)
  • Joan Baez (shared vocal on 2-5)
  1. A Hard Rain’s A-Gonna Fall
  2. Blowin’ In The Wind (Duet with Joan Baez)
  3. Railroad Boy (Duet with Jaon Baez)
  4. Deportees (Plane Wreck At Los Gatos) (Duet wit Joan Baez)
  5. I Pity The Poor Immigrant (Duet with Joan Baez)
  6. Shelter From The Storm
  7. Maggie’s Farm
  8. One Too Many Mornings
  9. Mozambiqu
  10. Idiot Wind
  11. Knockin’ On Heaven’s Door (Edited)

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Colorado based Gasoline Lollipops released their latest album title “Soul Mine” at the very back end of last year. The band effortlessly manage to meld the sincerity of dirt-floor folk with the energy and rebelliousness of punk  It’s an all-new incarnation of alt-country that’s both high-energy and heartfelt, like the American highway’s soundtrack. “One part rockabilly and one part alternative rock, the Gasoline Lollipops have carved out a space for themselves in the Boulder music scene with a sound and feel that is all their own”

“Montreal” is the single release taken from the Gasoline Lollipops album “Soul Mine,” available everywhere Released December 15th, 2017

Band Members;
Clay Rose (vocals & acoustic guitar), Donny Ambory (electric guitar), Brad Morse (upright bass), Adam Perry (drums)

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From high in the Rocky Mountains, Last of the Easy Riders descend with “Unto the Earth”, its new psych-infused country-rock long-player.

While the Easy Riders’ first outing exhibited the band’s kaleidoscope of trippy guitar sounds and production techniques, Unto the Earth unveils the band’s earnest songwriting chops and knack for genuine Bakersfield-Sound country. Though, the guys certainly didn’t abandon its lysergic-leanings, especially on the mind-warping title track – which also serves as the lead single.

With no shortage of jangly guitars, piano and pedal steel, the LP no doubt echoes Clarence White-era Byrds, but it doesn’t stray far from the band’s Southwestern-rock ‘n’ roll roots. The early-‘70s AM rock sounds of “Free Wheelin’,” the opening track, reverberates the band’s nomadic lyrical tendencies, while promptly setting up the sonic road trip Unto the Earth delivers. “Turn the Tide,” which closes Side A, melds brilliantly modest Tom Petty-esque guitar riffing with the Easy Riders’ signature vocal harmonies – which soar across both sides of the wax.
Being the first full-length for the band, the members – whom all share songwriting credits – were able to stretch out and laydown some lengthy and tastefully-stacked arrangements. From the fiery doors-esque jamming on “Woodland Echoes” to the ominous western guitar lines of “Shadow Cruiser,” numerous moods freely wander across the nine-song track list.

Last of the Easy Riders are 4 songwriters playing a mix of raw Midwestern treble and passionate deep-south rhythm and bassCulminating in original High Country Folk Rock and Southwestern Psych.

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The band’s co-founder Christopher Minarik (guitar/backing vocals) is joined by the lineup heard on the LP is bassist/vocalist Dan Duggan, guitarist Bradley Grear and drummer Mitch Mitchum. Unto the Earth was recorded in March 2017 in Lansing, Michigan by producer/songwriter George Szegedy – who also offered up his own song for the disc, the twangy-and-wistful “It Won’t Be Long” After five months of mixing and fine-tuning, the Last of the Easy Riders were ready

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Gleemer is a project which has come a long way in a fairly short period of time. Starting out as a solo endeavour for Colorado born Corey Coffman (then resident in New York), as his songs started gain an audience, it fleshed out into a full band which took him back home to the Rockies to focus properly on it. As Gleemer’s membership has gained a clearer identity, perhaps inevitably so too has their music.

This really started to become apparent on 2015’s Moving Away, when the tumultuous noise which was one of most prominent features of much of their previous work started to drift into the background. In its place, the inherent melody of their songs began to emerge into the light, as did Coffman’s vocal, thick with emotion.

Anymore sees Gleemer striding further down this road, and their confidence in their work is plain to see, from the beautifully melodic opening one-two of Basketball Casino and Soothe Me. It sometimes feels like a bit of a back-handed compliment to praise how well-constructed a rock record feels because it suggests a lack of thrills, but there’s plenty for those of us who get our kicks from pandemonium to latch on to. Come Down brings chaos from the get-go, and Dryness is one of several songs which bursts invigoratingly into life.

All round, Anymore is an excellent record and an ideal soundtrack to the colder season. Many bands wear the slightly interchangeable tags of shoegaze, dream-pop and noise-pop, but few do so quite as immaculately as Gleemer.

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New album “Anymore” out 11.17.17 on Other People Records