Today, festival organizers for the ROTHBURY music festival announced that they will not host a 2010 event.

According to event producers Madison House Presents and AEG Live, a contributing factor in the decision is that, due to various artists’ recording and touring schedules, timing will not allow them to assemble the cutting edge roster that has been associated with ROTHBURY. Madison House Presents’ Jeremy Stein explains, “The result for this year is that we are not able to move forward with the integrity and high standards that we demand from ourselves and for the festival.”



Despite the 2010 postponement, organizers intend to move toward continuing ROTHBURY in 2011. According to Stein, “This event is something very special, and we are unwilling to potentially tarnish what ROTHBURY is, and can become, by working under conditions that will produce anything less than a magical experience. Our efforts are certainly not coming to an end.”



Cheech and Chong’s “Get it Legal” premier

January 16, 2010 – Macky Auditorium, Boulder, Co.

followed by

The Wailers

January 16, 2010 – Fox Theatre, Boulder, Co.

by Chibo Acevedo

Photos by Josh Elioseff

Cheech and Chong

Oh Lord, please forgive me for what I am about to do.

It is with great remorse that I have to lay down the truth of what occurred in this instance, but without the truth, what the hell is the point of a “review?”  

Let it be known that Cheech and Chong are legends in this writer’s eyes. They released nine albums and eight feature films from 1972-1985. They won The Grammy Award for Best Comedy Album for their third release “Los Cochinos,” and were nominated on three other occasions. “Big Bambu,” their second album, was the biggest selling comedy album of all time in 1972 and remained so for years beyond. Their first feature film, the stoner masterpiece “Up in Smoke,” was the highest grossing comedy of 1978 topping $100 million – that’s in ’70s dollars, and when movie ticket prices were less than five bucks at the box office. 

Continue — Read more »

:: Kerouac’s Big Sur Concert ::

:: Benjamin Gibbard and Jay Farrar ::

:: Boulder Theater ::

:: January 26 ::

 By Timothy Dwenger

“‘One fast move or I’m gone,’ I realize, gone the way of the last three years of drunken hopelessness,” Jack Kerouac wrote in his 1962 novel Big Sur. “That feeling when you wake up with the delirium tremens with the fear of early death dripping from your ears like those special heavy cobwebs spiders weave in the hot countries, the feeling of being a bentback mudmad monster groaning underground in hot steaming mud pulling a long hot burden nowhere … I’ve got to escape or die…”

That novel, which chronicles Kerouac’s time living in his friend Lawrence Ferlinghetti’s cabin near Big Sur as he reeled from the fame that was thrust upon him by the success of On The Road, tore at the souls of many Americans including a  young Ben Gibbard, who was 19 when he first read the tome. “Big Sur was, next to On The Road, my favorite of all of the Kerouac books and it was that way before this project,” said Gibbard when The Marquee caught up with the Death Cab for Cutie frontman as he was getting ready for the holidays. “It is such a profound and brutally honest piece of work, where he really goes to this place within himself and has to deal with some demons that he has always kind of danced around and never really had to face.”

So, when he was approached, by Kerouac’s nephew Jim Sampas, to contribute some vocals to the soundtrack of a documentary that focused on the time Kerouac spent living in the cabin near Big Sur, Gibbard jumped at the opportunity.  “At the time, there were a lot of other names being thrown around and there was this idea that the album would be this who’s who of alt-rock and roots rock,” remembered Gibbard. “I’ve been a big fan of Kerouac for my whole adolescent and adult life. He’s been a huge influence on me and I probably would have found a way to be a part of this project regardless of being invited or not. If I had heard about it through the grapevine I would have tried to figure out a way to snake my way in.”

Fortunately for him, he was asked, and when he heard that Son Volt leader and co-founder of seminal alt-country band Uncle Tupelo, Jay Farrar was involved, it made the opportunity that much more inviting. “I had never met Jay before this,” Gibbard revealed. “I didn’t meet him until the night before we went into the recording studio. We went out and had a couple of drinks and we kind of speed dated each other. It’s a small enough world that we have enough mutual friends to at least have a place to start. We got to bond on something that was really close to both of our hearts. Kerouac was very influential on both of us.”

Despite the fact that the pair had never met, they were able to harness their shared love for Kerouac’s work to foster some extremely productive studio sessions. “I showed up in San Francisco to spend a couple of days recording with Jay and it turned out that I was the only one who had signed on for the project,” Gibbard said.  “That was a little bit surprising to me, but nonetheless, we did a couple of songs together and it was an enjoyable experience. When we finished those, Jay flew the idea that we could just finish the record together, just the two of us and see what happened. I was into that idea and even contributed a song.” The resulting recordings became the soundtrack and accompanying album for the film One Fast Move Or I’m Gone: Kerouac’s Big Sur, which was released in late October.

While the two did collaborate extensively in the studio to flesh out and complete the compositions, all but one of the songs on the album were crafted by Farrar before the sessions started. “The song ‘One Fast Move or I’m Gone’ is the one that I wrote top to bottom, but we did some punching up and co-writing on a couple of the tunes that Jay had already started. I do have to emphasize that this is very much Jay’s project as far as the writing and the heavy lifting goes. I played a lot on the record and sang and co-produced, but Jay did the lion’s share of the work on the front end of it and that tends to be the hardest part,” Gibbard said.

Rather than attempt to write new lyrics that would do the project justice, Farrar chose to draw exclusively on the pages of Kerouac’s novel for the lyrical content of his songs. It was an ambitious project, but one that made perfect sense for the songwriter to tackle. He has long been influenced by Kerouac’s style and this unique approach allowed for the two artists to collaborate in an unexpected and yet very successful way. In Gibbard’s words, “Jay wrote these songs with Jack, in a manner of speaking.”

For the one track that he contributed to the project, Gibbard didn’t use quite the same approach but was heavily influenced by the novel and the dark, lonesome feeling that lingers on its pages.  “It is a narrative that I wrote around Big Sur, and it’s written from the perspective of Kerouac at the end of the novel. The line ‘one fast move or I’m gone’ is taken from the book and I used that because the producers had said that they wanted a song written around that line, so I took a crack at it.”

“One Fast Move” and the rest of the songs that make up the record convey a hauntingly bittersweet mood that is infectious in its sense of urgency. The vivid imagery of the lyrics blends with stripped down acoustic instrumentation to give the album a feel of Americana that suits it as perfectly for a road trip through the heartland of our country as it does for its intended purpose as the soundtrack for a documentary about Kerouac’s time in Big Sur.

The cinematic journey of the film takes the viewer to the cabin deep in the woods where Kerouac lived as he wrote Big Sur, and puts events in the book into context with scenes of the old Beat haunts in New York and San Francisco.  Throughout the film, contemporaries of Kerouac’s like Lawrence Ferlinghetti, Carolyn Cassady, Joyce Johnson and Michael McClure, and artists like Robert Hunter, Tom Waits and S.E. Hinton add colorful anecdotes and memories about the man who was known as “the vibrant new voice of his generation — the avatar of the Beat movement.”

To promote the release of the film, and their accompanying album, Farrar and Gibbard scheduled half a dozen shows in October, where they teamed with Nick Harmer (Death Cab for Cutie), Mark Spencer (Son Volt) and Jon Wurster (Superchunk, Bob Mould, The Mountain Goats) to form an all-star five piece band. The shows were so well received that the group will hit the road again for another short run this month.

“People shouldn’t come expecting Son Volt, Death Cab or Postal Service songs. I think that if people are expecting that they should probably go and try to get their money back. We are playing the record and some covers that fit the vibe of what we are doing, and a smattering of songs that have popped up in either of our solo releases,” Gibbard said. “We did about six or seven shows in October and it was really fun. I was a little bit worried that people would be expecting something other than what they got, but it seemed like people really enjoyed the show. We both have such a small window of time to go out and play this material that we really just want to get out and celebrate the record and get a chance to hang out some more together,” Gibbard said.

Recommended If You Like:

•Bonnie “Prince” Billy

• Uncle Tupelo

• Billy Bragg and Wilco’s Mermaid Ave

:: Kerouac’s Big Sur Concert ::

:: Benjamin Gibbard and Jay Farrar ::

:: Boulder Theater ::

:: January 26 ::

Legendary metal underdogs, anvil, getting overdue notice thanks to film

:: Anvil ::

:: Gothic Theatre :: January 31 ::

By Joe Kovack

There’s something in saying that you will always pursue your passion regardless of the pratfalls, but there’s something greater in actually following through. Just ask the founders of Anvil.

Anvil just may be the greatest metal band you’ve never heard of. In the late ’70s, Canadian born and bred friends singer/guitarist Steve “Lips” Kudlow and drummer Robb Reiner began their love affair with music and started a musical partnership that hasn’t ceased — even amidst insurmountable hurdles. The guys have been credited with influencing the likes of Metallica, Anthrax and Slayer, yet fame and recognition eluded the band, leaving them behind in an era where early metal prospered.

In fact, it wasn’t until 2008, with the brutally honest, triumphant and sort of humiliating Anvil! The Story of Anvil — a documentary filmed by former roadie and friend Sacha Gervasi — that the band would receive the international recognition that they sought and rightfully deserved.

The Canadian duo have survived 30-plus years of struggling for their art and enough former bandmates to fill a tour van, but that never deterred Kudlow and Reiner from doing whatever it took to make the music work. Continue — Read more »

Slayer teams up with Megadeth and Testament for American Carnage Tour

:: American Carnage Tour ::

:: Slayer and Megadeth with Testament ::

:: Magness Arena :: January 25 :: (Cancelled, see info below).

Live Nation just announced that SLAYER and MEGADETH have rescheduled their “American Carnage” Tour date at the Magness Arena for Wednesday, August 25th.   

Slayer had previously postponed all of their scheduled tour dates after the band’s bassist/vocalist Tom Araya was forced to seek surgery to treat a back aliment.

Tickets for the original date will be honored at the rescheduled date.

TICKETS FOR THE RESCHEDULED DATE GO ON SALE MONDAY, FEBRUARY 1st @ 10AM
at The Magness Arena Box Office and at all Ticketmaster Outlets including select Macy’s stores, select FYE stores, Cherry Creek Shopping Center Guest Services Desk, The Official Visitors Center @ 1600 California St, Angelo’s CD’s & more and Twist & Shout.                                                                          
Ticket Center hours may vary. Contact retailer to confirm hours of operation.

To charge tickets by phone, call 1-800-745-3000 or log on @ www.livenation.com <http://www.livenation.com/>

By Brandon Daviet

Way back in the year of our Lord 1988, thrash kings Slayer propelled their genre a huge step forward. Up to that point the band had specialized in a fast paced, brain altering breed of music that literally had the ability to turn thrash fans into rabid devotees foaming at the mouth and chanting the band’s name.

The band was riding high on the reception to what basically constituted their third official album, Reign in Blood, a 28-minute opus of evil that is still hailed as one of the most important albums in thrash history. It was doubtful to many critics that Slayer could top that record, but they did with the masterpiece South of Heaven. From the brooding notes of the opening title track to the last feedback of “Spill the Blood,” Slayer had perfected a style of thrash that could be both brutal and melodic at the same time. Sure, Metallica were doing it too with their pretty little acoustic intros as well, but not with anywhere near the same intensity. A Slayer song had the ability to make you want to make love one minute and drink blood the next. With South of Heaven and, in fact, the almost sequel-like follow-up Seasons in the Abyss, Slayer single-handedly reinvented the wheel when it came to thrash music. Continue — Read more »

Greensky Bluegrass bring Michigan jamgrass to Colorado and Ned’s first winterfest

:: Greensky Bluegrass ::

:: Bluebird Theater :: January 20 ::

:: Hodi’s Half Note :: January 21 ::

:: Winterfest (Nederland) :: January 22 ::

:: Stage Stop :: January 23 ::

By David Stuhlemmer

In this month of the new year and a new decade, Colorado will play host to one of the most well-named bluegrass fusion bands of the day: Greensky Bluegrass. Though the band’s stylistic approach is one that seems as if they’re local, the boys actually spend most of their days in Kalamazoo, Michigan.

As Greensky was gearing up for the holidays and a tour which started immediately thereafter, dobro player Anders Beck took time to speak with The Marquee. “This is definitely home base for the band, where we spend our time off. There is not really a lot of time off, though, so we’re not really here all that much.” Beck went on to explain that Greensky is a bunch of road warriors who truly are keeping a hectic schedule. “By the time this year is over we will have played around 165 to 175 shows. We were probably on the road over 200 days this year. What we have to do to spread the word about our band is just play as much as possible because of word of mouth. Going everywhere and rockin’ it is the best way we can figure out to achieve our goal of being able to play music all the time,” Beck said. Continue — Read more »

The Grippe

Fort Collins

Who ’dat?: Walter Hannah (organ/clavinet/ Rhodes/homemade talk-box), Charlie Humphreys (guitar), and Stu Crair (drums/percussion)
Myspace Categorization?: Funk/jazz/rock

We’re not saying they are these guys, but they kind of sound like: Jimmy Smith, Sly and the Family Stone, Soulive.
What’s their deal?: These guys claim to be the only funk organ trio in Fort Collins, and as such just released their self-titled debut. The band, which over the past year has provided support for lots of funk heavyweights, also looked to big players for album input and brought on Big Gigantic and Motet sax-man Dominic Lalli, as well as Grammy award-winning engineer David Glasser of Airshow Mastering.
Not content with just one act, though, the members of The Grippe are also involving themselves in other parts of the scene. Crair and Humphreys have recently started the tribute band Dead Floyd, while Hannah is using his free time to play with Euforquestra. And if that’s not enough, Crair runs the Sunday night jazz series at the Crown Pub, while Hannah runs the Monday night funk jam at Hodi’s Half Note.
Shameless web plug: www.thegrippefunk.com
O.K. When?: Aggie Theatre, January 9.

Radical Knitting Circle

Boulder

Who ’dat?: Alex Venetucci (drums/percussion/ synth/samples/vocals), Ben Gallagher (vocals/ piano/Rhodes/synth/guitar), Brian Esau (guitar/ vocals/banjo), Elliott Leslie (upright bass).
Myspace Categorization?: Progressive/lyrical/folk rock
We’re not saying they are these guys, but they kind of sound like: Tom Waits, Andrew Bird, Paper Bird.

What’s their deal?: One of the newer bands embracing the retro-old time sound, Radical Knitting Circle feels like they’re immigrants just off the boat, with enough money for synths and electricity.
Shameless web plug: www.myspace.com/radicalknittingcircle
O.K. When?: Mercury Café, January 2 and 30; Road 34 Tavern, January 16; Pearl Street Pub, February 3.

Dave Rawlings Machine

A Friend of A Friend

Acony Records

5 out of 5 stars

While the name might not be immediately familiar, you’ve likely heard David Rawlings’ music. He is probably most widely known for being the longtime musical partner of singer/songwriter Gillian Welch. Rawlings has also produced and/or accompanied a wide variety of other artists including Ryan Adams (the Morrissey “argument” at the beginning of Heartbreaker is between Rawlings and Adams), Old Crow Medicine Show, Bright Eyes, and Robyn Hitchcock.

With his new project, David Rawlings Machine, the man who once spent most of his time behind the scenes has decided to step out into the forefront with a fantastic debut album, A Friend of a Friend. Continue — Read more »

Neil Young

Dreamin' Man Live '92

 Reprise Records

3.5 out of 5 stars

When word leaked that Neil Young was planning a series of archive releases in 2005, fans rejoiced at the prospect of finally getting their hands on unreleased archive material, including two fully completed, unreleased studio albums from the 1970s and a plethora of multi-tracked live concerts spanning nearly four decades. In the four years since the announcement, the archive project has yielded a poorly-received (and expensive) boxed set entitled Volume One: 1963-1972, and four separate live concert albums including: Live at Fillmore East, Live at Massey Hall 1971, Sugar Mountain: Live at the Canterbury House 1968, and the latest in the series, Dreamin’ Man Live ’92. Dreamin’ Man Live ’92 should please Young’s fans, especially those who enjoyed his 1992 studio album Harvest Moon. Continue — Read more »

Vinyl

Fogshack Music Volume 2

Avila Street Records

3.5 out of 5

The opening 17 seconds of Fogshack Volume 2 sounds pretty lame, to be honest. But as soon as the intro subsides, the album starts kicking ass and it doesn’t really take a break until its entire 40 minutes has passed.
Fogshack sprung forth from the master reels and outtakes of the veteran funk band’s Flea Market recording session, as re-envisioned by Bay Area production team The Rondo Brothers, along with long time Vinyl producer Tony Mindel. But just to turn it up a bit, in addition to their signature grooves, the band landed Les Claypool, Yossi Fine, DJ Quest and the aforementioned Rondo Brothers.
This is a great remix and showcases some of the mastery with which Vinyl attacks their chosen genre.                                        — Brian F. Johnson

:: CD Release :: Bluebird Theater :: January 1 ::

Vices I Admire

The Politics of Apathy

Independent

3 out of 5 stars

Dave Curtis, Mickey Dollar and Mark Towne met in 2002 while studying at Colorado State University in Fort Collins, Colorado. During that time they balanced college life with rehearsals, performances, a few DIY regional tours and the release of their first album, Plan B. (recorded at The Blasting Room in 2005).
In 2007, Vices I Admire relocated to Denver and parted ways with its original bassist. The eventual addition of Daniel Battenhouse, who played early on with The Fray, revitalized the group and together they worked around the clock to produce the material that would engender their new album, The Politics of Apathy.
The Politics of Apathy was recorded at Colorado Sound Studios in May/June of 2009. JP Manza (engineer) and Ian Pinder (producer) provided the direction and perspective necessary to capture the varied moods and styles of each song. From the dance-pop inspired “Sweetest Girl” to the anthematic head-banger “Kiss Kiss,” The Politics of Apathy showcases the musical maturation and diverse talent of Vices I Admire.
— Brian F. Johnson

:: CD Release :: Bluebird Theater :: January 1 ::

:: KRFC Live @ Lunch :: January 7 (noon)

Flashbulb Fires

Glory

Independent

4 out of 5 stars

Formerly known as Fiancé, the Denver-based Flashbulb Fires claims to have made Glory as a “cohesive artistic statement and an undeniable return to the album as an art form.” And while the indie-rock quartet gets a little poppy from time to time, I hear more Flaming Lips than I do The Fray on Glory. (Disclaimer: In my iTunes, Flashbulb Fires comes right after The Flaming Lips, and that could have influenced my initial thoughts about this album.)
In fact, some of the tracks do sound very Wayne Coyne-esque, without the acid. But the album is a massive arrangement with countless layers — a real score, rather than a collection of tracks. Flashbulb Fires’ orchestral elements give tremendous emotion to the heavy brooding “no one understands” lyrics. Yet, the band eschews the standard pitfall and lightens up before the whole thing gets too heavy and that’s a critical feature to the album’s greatness.

— Brian F. Johnson

:: KRFC Live @ Lunch :: January 7 (noon)