Monthly Archives: December 2016

Tupac Shakur, Pearl Jam, Yes to be inducted into Rock and Roll Hall of Fame

Behind singer Eddie Vedder and other original members Mike McCready, Stone Gossard and Jeff Ament, Pearl Jam remains active and is a popular live act. Britain’s Yes, known for its complex compositions, was a leader of the 1970s progressive rock movement. Shakur was shot and killed after attending a boxing match in Las Vegas in 1996, a murder that has spawned conspiracy theories but remains unsolved. The rock hall also said Tuesday it would give a special award to Nile Rodgers, whose disco-era band Chic failed again to make the cut after its 11th time nominated. Its 6.8 million iTunes sales makes it the most-bought song on that platform from the pre-digital era, according to Nielsen SoundScan. Blue Sky” and “Don’t Bring Me Down.” The band essentially exists now in leader Jeff Lynne’s imagination and home studio and had a mildly successful comeback a year ago. The hall’s award for musical excellence to songwriter and guitarist Rodgers is no consolation prize. Journey’s 1981 song “Don’t Stop Believin’” was given new life by being featured in the closing scene of HBO’s “The Sopranos” and became a favorite of a new generation. Former singer Steve Perry, estranged from the band for many years, offers some potential rock hall drama: will he show up for his induction? Founding bass player Chris Squire, the one constant in many years of personnel changes, died in June 2015. In this Sept. Electric Light Orchestra got its start melding classical influences to Beatles-influenced pop, and charted with “Evil Woman,” “Mr. Vedder is no newcomer to rock hall ceremonies, having given induction speeches for Neil Young and the Ramones. Baez’s own “Diamonds and Rust” in 1975 was one of her biggest hits. While Shakur, Baez, Pearl Jam and ELO were elected this year in their first time on the ballot, Chic has endured years of disappointment. When disco cooled, Rodgers became one of the hottest producers in the business, behind the boards for some of the ’80s most indelible albums: David Bowie’s “Let’s Dance,” Madonna’s “Like a Virgin” and the B-52’s “Cosmic Thing.”
This story was first published on DenverPost.com “Changes,” “Keep Ya Head Up,” “Ambitionz Az a Ridah” and “Life Goes On” are among his best-known songs. 2, 2012, file photo, Pearl Jam performs at the “Made In America” music festival in Philadelphia. Baez will be inducted only months after her 1960s paramour, Bob Dylan, was awarded the Nobel Prize for Literature. HBO will show highlights later, with SiriusXM doing a radio broadcast. Yes’ hits include “I’ve Seen All Good People,” “Roundabout” and “Owner of a Lonely Heart,” and its fans have waged a vociferous campaign to see them honored. She was known primarily as an interpreter of others’ songs, introducing Dylan to a wider audience at the beginning of his career. Pearl Jam exploded in popularity from the start in the early 1990s behind songs like “Alive,” “Jeremy” and “Even Flow.” After Nirvana, it is the second band with roots in Seattle’s grunge rock scene to make the hall. NEW YORK — The late rapper Tupac Shakur and Seattle-based rockers Pearl Jam lead a class of Rock and Roll Hall of Fame inductees that also include folkie Joan Baez and 1970s favorites Journey, Yes and Electric Light Orchestra. Chic, led by Rodgers and the late Bernard Edwards, has become the rock hall’s version of Susan Lucci and her long quest to win a Daytime Emmy. Their affair ended badly in 1965, for which Dylan later apologized. Baez was a political activist and mainstay of the folk movement, performing at the first Newport Folk Festival at age 19 in 1959. Founding member Neal Schon was quoted in Billboard recently saying that there are so many non-rock artists in the hall that “I don’t really care about being there.” He did allow that it would be nice for fans of the band, never a critical favorite. Only 25 when he died, Shakur left behind a trove of music that was released posthumously. The hall’s 32nd annual induction ceremony will take place on April 7 at Barclays Center in Brooklyn.

Hundreds brave the cold for 42nd annual Tuba Christmas

pic.twitter.com/FrSJtnAOue
— Tom McGhee (@dpmcghee) December 18, 2016
Jeanie Schroder — who sings and plays sousaphone, double bass and flute with DeVotchKa — joined Clark as a co-conductor. The tubas were joined by other brass instruments, including the sousaphone, euphonium and even a valve trombone. 180 Tubas celebrate the season. The tuba rarely takes the spotlight in music, he said. This story was first published on DenverPost.com “I really like Christmas, and I think the best way to celebrate is the music,” said Neal, 15, a freshman. “No city can call itself a major city if they don’t have a Tuba Christmas.”
One hundred eighty musicians, some from as far away as Baltimore, played an hour of Christmas carols at the event in Skyline Park. Thomas Neal, 15, played at the event with his fellow Douglas County High School student Jake Fifer, 17. “You can tell all your friends you attended a heavy metal concert,” Bill Clark, Tuba Christmas conductor, told the crowd. The event is held annually in cities throughout the United States, Clark, a retired professor of music at the University of Colorado Denver and the director of the Queen City Jazz Band, said. Hundreds of people braved the cold Sunday to cheer on a flock of brass players as the Denver celebrated its 42nd annual Tuba Christmas. It’s Tuba Christmas in Denver! “This is such a neat tradition,” said Jim Hardee, 50, who attended to cheer on son Aaron, 15, a sophomore at Broomfield’s Legacy High School. It’s a blast.”
The players ranged from 9 years old to over 75. It was the 27th year that Walt Blankenship, 50, has played in Tuba Christmas. “This is the one time a year when tubas get recognition. The first Denver Tuba Christmas was held in nearby Larimer Square, and only 20 musicians played, Clark said.

Watch Nathaniel Rateliff sing Leonard Cohen’s “Hallelujah” with a bunch of Denver musicians

Sure enough, after a night that saw Collins sing a sparse and haunting version of “Chelsea Hotel” and Green strip down Cohen’s epic “Everybody Knows,” Rateliff took the stage, first alone for “Take This Longing” (which you can watch here) then with bandmate Joseph Pope III and Julie Davis for “Passing Through” before bringing just about everyone in the room on stage to play Cohen’s most famous song, “Hallelujah.”
The track, Rateliff admitted, was not his favorite Leonard Cohen song, but that didn’t stop him and his collaborators from delivering a powerful, loud rendition that put tears in the singer’s eyes, which he chalked up to “being old.”
Here’s the very shaky and slightly blown out video of both “Passing Through” and “Hallelujah” (“Hallelujah” starts at about 6 minutes in if you want to skip ahead). Nathaniel Rateliff — fresh off a pair of annual holiday shows at the Ogden Theatre and having an entire day named after him by Gov. But the lineup, full of longtime Denver mainstays like Joe Sampson, Aaron Collins, Julie Davis and Roger Green had many wondering if the “and special guests” on the flyer would include the city’s current most famous troubadour in the festivities. Photo by Michael McGrath. One more from Nathaniel Rateliff at the Leonard Cohen show https://t.co/4ulyeKBkuP
— Eric Lubbers (@brofax) December 19, 2016 Nathaniel Rateliff & The Night Sweats play the Ogden Theater, December 16, 2016. Hickenlooper — wasn’t even on the bill for the “Celebration of Leonard Cohen” at South Broadway’s Hi-Dive Sunday night.

Download Shaley Scott’s “Careful,” only in Steal This Track

It was music that felt as if it was made in a factory, on a production line with prefab parts. If you’re a Colorado band or musician ready to expose your fresh sounds to the readers of Reverb, email your tracks — along with any interesting facts about them, as well as a photo or album art — to Steal This Track for consideration. Folks like Solange and Lady Gaga take a sound known to be vacuous and impregnate it with honest emotions and artistic depth. For years now, Shaley Scott has produced singer-songwriter music with an affinity for the blues and the piano. An Avalon Clare illustration
Pop music gets a bad rap. Please note that downloads offered via Steal This Track are intended to whet your appetite, and are NOT CD-quality recordings. If you want those, please support the artists by buying their music and/or seeing them live. It’s a refreshing direction, really. We only feature tracks not available for free elsewhere. There was a time when the phrase described music produced for commercial shilling, mostly lacking depth and substance. And it’s not a total departure: She still has her blues enriched voice and mature vision, But damn, this track is fun. The heart and vigor of Shaley Scott’s previous work has been channeled into a banger. Related Articles

Download “Cuatro De Marzo” from Space Orphan, only in Steal This Track

Download “Magnifying Glass” from Chimney Choir, only in Steal This Track

Download “American Grindhouse” from 13 Nails, only in Steal This Track

Download “Thoughts and Prayers” from I Am The Owl, only in Steal This Track

Download “Shotgun” by Plastic Daggers, only in Steal This Track

In her own way, this seems to be the direction Fort Collins’ Shaley Scott is moving towards. Today, however, there are artists who turn those prefab parts into something new and profound. Below, download “Careful” from Shaley Scott. And isn’t that the point of pop music? And now, we have “Careful,” a track that stands out in the Shaley Scott collection as unapologetically dance pop. Then, follow her website for updates on the album and live shows. Recently, however, she was signed to Sugarfox Records, a Fort Collins-based boutique label.

Governor Hickenlooper proclaims Dec. 17 Nathaniel Rateliff and the Night Sweats Day

“We made this record and I never thought that any of this would ever happen,” Rateliff said. On Saturday, Nathaniel Rateliff and the Night Sweats wrapped up an international tour cycle for its self-titled debut album with their second of two sold-out shows at the Ogden Theatre, including a surprise announcement from Governor Hickenlooper. Therefore, I, John W. “We had the great experience of having the Denver community help us along the way through so many different musical projects. Hickenlooper, the governor of the state of Colorado, do hereby proclaim, forever after, December 17, 2016, Nathaniel Rateliff and the Night Sweats Day in the State of Colorado. And whereas Nathaniel Rateliff and the Night Sweats have sold over 640,000 albums and have performed for over 700,000 people. You can read a transcript of the proclamation in full below. Their music has been streamed by 7.1 million people on Spotify, for a cumulative 432 years. Nathaniel Rateliff, a principal member of our music scene for the last fifteen years, joins with Joseph Pope III, Pat Meese, Luke Mossman, Andy Wild and Mark Schusterman to perform as the venerable Nathaniel Rateliff and the Night Sweats. Maybe on this Night Sweats Day, we’ll all plant a tree or do something good. And whereas, since June 2015, Nathaniel Rateliff and the Night Sweats have performed 246 shows in more than 16 countries across the globe. Related Articles

Nathaniel Rateliff and the Night Sweats to headline Red Rocks again in 2017

Photos: Nathaniel Rateliff and the Night Sweats at the Ogden Theatre (Friday)

Watch Nathaniel Rateliff & the Night Sweats storm “Jimmy Kimmel Live”

Nathaniel Rateliff to appear on new season of A Prairie Home Companion

“A Little Something More”: Nathaniel Rateliff & the Night Sweats announce new EP

Humbled, Rateliff took the stage to recognize the proclamation, getting on his knees while members of the band wrapped him in the Colorado flag. Before the band took the stage, AEG Rocky Mountains Vice President Don Strasburg, Night Sweats manager Chris Tedzeli and a representative from the governor’s office introduced Governor Hickenlooper, who officially proclaimed Dec. The rock and roll folk R&B group has travelled over 208,000 miles in the last 18 months, touring the world and playing sold-out venues. Whereas 7.1 million people have streamed the band on Spotify for a total of 432 years of cumulative music listening. They sold out their August 2017 Red Rocks show in seven minutes. But let’s continue to move forward in this year with love and hope and faith and remember that we are all one and we are all in this human experience together.”
Rateliff was visibly moved throughout his set, wiping away tears and, at one point, apologizing to the packed hometown crowd for not being able to keep it together. The proclamation rattled off some stats from the Night Sweats’ recent tour that would cement its place as the de facto hardest working band in Denver. 17 Nathaniel Rateliff and the Night Sweats Day. Some highlights:

The band has travelled 208,000 miles in the last 18 months, playing 246 shows for more than 700,000 people. And whereas their upcoming August 2017 Red Rocks show, a world-renowned venue with 10,000 seats, sold out in just 7 minutes. And whereas, managed by Chris Tedzeli at Denver-based 7S Management, the group, even with their global travels, has deep roots to the Colorado community. And whereas Colorado’s music scene continues to grow and thrive with enormous talent, dedication and passion for community that musicians like Nathaniel Rateliff and the Night Sweats brings to our state.

Photos: Nathaniel Rateliff and the Night Sweats at the Ogden Theatre (Friday)

Related Articles

Nathaniel Rateliff and the Night Sweats to headline Red Rocks again in 2017

Governor Hickenlooper proclaims Dec. Nathaniel Rateliff & The Night Sweats play the Ogden Theater, December 16, 2016. “It’s been an incredible year for us,” he explained, citing the Night Sweats last 18 months on tour, playing major musical festivals and countless sold-out dates. 17 Nathaniel Rateliff and the Night Sweats Day

Watch Nathaniel Rateliff & the Night Sweats storm “Jimmy Kimmel Live”

Nathaniel Rateliff and the Night Sweats announces two Denver holiday shows

Tickets on sale: Nathaniel Rateliff, Kathy Griffin

Safe at home, Rateliff was direct about the great personal irony of 2016. presidential election and the current state of political affairs. Photo by Michael McGrath. “But we have to keep loving each other,” explained Rateliff, before breaking back in to more of the jubilant soul music that has powered his band across the world and back. Hometown heroes Nathaniel Rateliff and the Night Sweats brought their big show to the little Ogden Theatre on Friday night for the first of two sold-out holiday shows. “But it feels like a lot of magic is leaving the world,” citing the deaths of Bowie, Prince, Leonard Cohen, Leon Russell, and his disappointment about the U.S. While Denver was getting slammed by a surprise blizzard, the band kept things warm and bright inside the packed Ogden. Rateliff’s moment of reflection included a powerful solo acoustic rendition of Cohen’s mournful “Chelsea Hotel #2.”

2017 JAS Aspen announces initial lineup

1-3. JAS Aspen 2017 will take place on Sept.   On Friday, the organization released the initial lineup for the festival, the furthest ahead of time they’ve shared their list of bands. Tickets to the event go on sale Dec. MST via jazzaspensnowmass.org. Image provided by JAS Aspen. Last year, JAS Aspen brought Stevie Wonder, The Killers, Duran Duran and Train to the tiny resort town. On Sept. JAS Aspen 2017 will feature Maroon 5, Nathaniel Rateliff & the Night Sweats and Keith Urban. The organization plans to announce the rest of the bill in early 2017. for their annual Labor Day festival. 1-3, nonprofit organization JAS Aspen will once again bring a heap of high-profile bands to Snowmass, Colo. 19 at 9 a.m.

John Denver’s old Aspen-area home sells for $2.75 million

This story was first published on DenverPost.com Public records show Kilfinnan LLC, controlled by local couple Denis and Kelly O’Donovan, paid $2.75 million for the 570 Johnson Drive property. By Rick Carroll, The Aspen Times
The new owners of the Aspen-area home originally owned by John Denver have no plans to raze and replace it with a new one. That’s according to Jim Bineau, who along with his wife, Anita, represented the buyers of the home. Read the rest of the story at The Aspen Times. 8 by the Pitkin County Clerk and Recorder’s Office. John Denver’s former home and guesthouse have been on the market since last summer. The home has a total heated area of 6,849 square feet with five bedrooms and 51/2 baths, property records show. The asking price is $10.75 million, and a Dillon man is aiming to raise the funds to create a center for peace talks. Jim Bineau said the couple plan to renovate the home, which originally was built in 1972 and remodeled in 1985. The guest residence was not sold as part of the deal, which was made public Dec.

Meet Trev Rich, Denver’s first great hip-hop hope

Like Rich said, Denver is a consumer city. Those three weeks turned into a recording and publishing deal with Cash Money. But Flobots notwithstanding — they’re closer to an alt-pop group that happens to rap — Trev Rich is Denver’s first-ever breakout hip-hop artist. “He’s not even close to being able to beat me in a battle,” Taylor said, “but his pen game … nobody writes the way he writes. The second that Trev Rich signed his recording contract with Cash Money Records, he’d become something more than just a Denver rapper. “Denver is about to be on the map.”
The city has had a handful of musicians cross over into the mainstream recently, like folk rockers The Lumineers and soul revivalists Nathaniel Rateliff & the Night Sweats. I was like ‘Oh my God, I gotta go home!’ ” 
Between the headphones, Rich prefers introspective music to club bangers, a thread that, if pulled, leads through his upcoming Cash Money mix tape debut (titled “To Make a Long Story Short,” out Dec. Flexing his fast pen, Rich wrote 50 songs in a month and a half, which he pared down to 13 for “To Make A Long Story Short.” The album is, like Rich, promising, laid back and, most characteristic, thoughtful. 19. “His music is universal to me.”
“I feel like somebody from Denver probably would take offense to that,” Rich said. He was now the Denver rapper. “I would channel all of that aggression (into poems). That’s the one pressure he puts on himself. He swings familiarly low on songs like “Boys Don’t Cry” and “Lies,” but changes lanes just as often. Artists prize its warmth so much that they move from cities with better music scenes to bask in it. He doesn’t go out often, and even less so since the deal, which has turned him into a walking photo op. “Sometimes I wish he would change a bit,” laughed Squizzy Taylor, Trev’s childhood friend and DJ. Cole, spitting steady over a sample-based track that could swallow lesser flows. Sitting opposite Rich in a sub-freezing art gallery in RiNo, he’s both what you would and wouldn’t expect from Denver’s first entry onto the national hip-hop stage. “He’s gonna talk to anybody, and he’ll talk to you for hours. That day turned into three weeks. On “To Make A Long Story Short,” he’s a stylistic chameleon. On “Vapors,” for example, Rich lurches in on the sort of queasy R&B rhythm that artists like The Weeknd and Drake popularized, head hung: “We should tie our souls in a knot / we should stomp holes in the earth until there’s holes in our socks.”
“Those songs are my favorites,” he said. “But our scene is budding right now — it isn’t established.”
After catching the national scene’s eyes — “I’m representing myself with this project,” he reminded me —  Rich wants them to follow him home. When I have a beat that’s down tempo, I really gotta zone in to make it my best and leave it on the page.”

Related Articles

Premier: Watch Denver’s H*Wood build an “Empire”

Trev Rich shares Cash Money debut album title, release date

That’s not to say that Rich’s music is always blue — or occupies any one headspace for long. While she didn’t approve of Rich listening to hip-hop — “She was so strict,” he laughed — she let Rich rap her phone’s voice mail greeting when he was 11, putting him on well before any blogger or radio DJ. Sitting up, you can just see the top point of his neck tattoo, a blue-and-white triangle filled in with the Colorado flag’s trademark “C.”
“A lot …,” he said. “It worked,” Rich said. “The Way You Love (Interlude)” and “Vapors,” two slow-burning stand-outs from his pre-deal mix tapes, started off as written verse. Birdman told Rich he had two songs to impress him. When Rich’s parents divorced around that time, he welled with anger for reasons he didn’t understand. “That’s where I excel. “You’re gonna have to see.” “Trev rich is Colorado’s Jesus,” one fan tweeted. With the right beat, those poems became songs. But Denver’s music landscape, much like the city itself, isn’t a cutthroat place. So to be the first in my generation in this (rap) scene … .”
He trailed off. And humble as he may be — only the sparkling watch tucked under a loose hoodie sleeve would hint that he’d just signed with one of the biggest independent hip-hop labels in the country — he knows it. Then another. We’re a consumer town. “When people hear music,” he said, “10 times out of 10, they aren’t gonna be like, ‘You’re from Denver?’ They’ll be like, ‘What the hell is in Denver?’ ” 
Rich laughed. “It was dope — if you want to take a thousand pictures of me in the club because you like what I do, how can I say no to you? As such, it’s not only embraced outside influence, but in many ways, been defined by it. That’s why a lot of people love him.”
Despite that, Rich is low key. He racked up hundreds of freestyle battles in the lunchroom and, to hear him tell it, only lost once. Denver rapper Trev Rich’s Cash Money Records debut, “To Make A Long Story Short,” comes out Dec. While trap track “Hit the Button” shows off Rich’s hook writing and sounds like Future sans auto-tune, “Outro” finds him a shade away from J. I went from this angry, bad kid to a happy teenager.”

Through high school, Rich kept rapping. He’s a happy dude, quick with a dap and never above talking to anyone. He took on the name Rockie in his late teens before switching to Trev Rich, his government name, when he started taking rap seriously in his early 20s, soon after he had his first child. Even if he’s now the hottest rapper in Denver since, well, ever, that still hasn’t changed. “I think the last time I went out, I took more pictures than I’ve taken in my entire life,” he said. That might be why it’s taken so long for Denver’s rap scene to get off the ground — brand-wise, being all things is dangerously close to being nothing. Rich fits that bill. Unlike cities like New York, Los Angeles, Atlanta and Detroit, Denver’s rap scene doesn’t identify with any one sound. “But not that many artists have broken out of here. But the camera flash was giving me a migraine. If anything, that’s what makes it what it is. But more importantly, he kept writing. You can hear it in other up-and-coming Denver rappers like AP and Trayce Chapman who, like Rich, are as proudly Colorado as they are the sum of their influences. Put me in the booth.’ “
That came in handy this summer, when Rich came face to face with Brian “Birdman” Williams, Cash Money Records’ co-founder, at The Hit Factory, the label’s Miami studio. It’s this versatility that positions Rich as a Denver paragon. Then he gave him another two. “There’s support for hip-hop in Denver, because all the big hip-hop artists come out here” and succeed, Rich said. “He told the engineer to put the songs on a CD that he could listen to while he was riding into town.”
The next day, Birdman offered Rich a day to record at The Hit Factory. 19) and all the way back to his first days as a writer. It was kind of like the gym. Photo: Helen Richarson for The Denver Post. From NWA to Too $hort, his dad loved West Coast rap, while his mom listened to East Coast rap. If you can’t rhyme — which Rich can — you can still posture your way to notoriety. He turned to poetry for relief. Rap likes attitude as much as aptitude. That, if anything, is his default, a hallmark vestige from Rich’s early poetry habit. The up-tempo tracks are easy to me, because I’ve done that for so long. “I would’ve never put him to Denver when I heard how he flows, how he raps,” Birdman said in an interview after Rich signed his deal. “S/o to Trev Rich,” another said. Most rappers take hours, but Trev listens to a song for 15 minutes and is like, ‘I got something. Cycling through his library of hype tracks, it can take you off guard. Rich’s earliest memory of rap was listening to it as a kid. It also explains why Birdman was so confused when he heard Rich’s music for the first time. “I played songs all damn night,” Rich said.

The fifteen best vinyl records for any collection

At bare minimum, put it on before your S.O.’s parents come over. The 29-year-old singer-songwriter sounds above love, looking down on it like a movie critic from the balcony, when she isn’t trawling for its scraps (“Shut Up Kiss Me Hold Me Tight”). If you can get your hands on the pricier Mobile Fidelity pressing, all the better. (Photo by Cyrus McCrimmon/The Denver Post)
Note: This is an updated version of a part of our vinyl guide, which was published in 2015. Famously recorded in a West Hollywood pool house, the album sounds remarkably intimate for how jovial it is, like Robertson and co were caught in a drunken sing-along with old friends. The vinyl pressing is a wonderful example of how the medium can breath life into the music. As thematically complex as it is, thanks to its slick funk, “Black Messiah” can score parties, a night of butt-touching or a star gazing session just as well as an evening in. If pressed, you can make a good argument for “Blood On The Tracks.” Not only is there nary a bad song in the bunch (“Lily, Rosemary and the Jack of Hearts” is a confusing inclusion against the album’s otherwise soul-wrenching grain), but from groove to groove, side A is flush with some of Dylan’s greatest songwriting achievements.   Unlike so many before and after her, Hill didn’t interpret soul music on “The Miseducation of Lauryn Hill” — she invigorated it. A bad one, but still. 5 & 7,” Carlos Kleiber
Like jazz, the warm distortion of a vinyl record elevates the classical music listening experience. But if jazz is less an obsession than a piece of ambiance, it’s just as copacetic as a dinner-party soundtrack.   
Choosing a favorite record is like choosing a significant other. Fiona Apple, “The Idler Wheel…”
Released in a limited run of vinyl back in 2012, “The Idler Wheel” is hard to find and, like Fiona Apple herself, hard to figure. (And maybe leave it in the comment section so we can steal it.)
In light of that, we aimed for a list of musically unforgettable albums that are further elevated by top-notch production. “Blue Train,” John Coltrane
Jazz just works better on vinyl. Marling is as natural and prolific of a folk traditionalist as you like, but “Once I Was an Eagle” makes for the strongest introduction. That said, some genres are under-represented, as the format tends to work better for some styles (jazz, classical, acoustic) more than others. Few things sound as right as “The Night They Drove Old Dixie Down” pulled through a stylus. “Black Messiah,” D’Angelo
After almost 15 years, D’Angelo followed up “Voodoo” with another all-purpose masterpiece. “Peoples’ Instinctive Travels and the Paths of Rhythm,” A Tribe Called Quest
Because it’s often mastered flat and is drowned in stylus-rocking bass, hip-hop doesn’t always translate well to vinyl. Instead, we get Springsteen stripped down to his barest essentials, which ends up sounding a lot like an early Bob Dylan transported to a small town in the early 80s. “Pastel Blues” gives you all that and the galloping ten-minute jazz spiritual “Sinnerman.” If you’re only going to get one, no Simone album is as swaggering or top-down complete as this one. This doesn’t mean you shouldn’t get that 8-disk electronic drone set you’ve been dying to hear, but don’t be disappointed if it sounds unremarkable and doing 16 record-flips in one play through detracts from the experience. “Random Access Memories,” Daft Punk
Seeing how Daft Punk consciously embraced analog recording and performance in “Random Access Memories,” it’s no surprise that it shines on vinyl. On wax, it’s inflected with a subtle warmth and a good showing of dynamic range that’ll seat you squarely between the bass and drums. From the tiniest high-hat quiver to the exceptionally massive bass, the electronic duo’s obsessive attention to detail extends into this modern disco classic’s high-quality mastering. “When we were in love, I was an eagle and you were a dove,” she sings over the album’s roiling title track. This debut album by the now-legendary group isn’t packed with the hits of “Midnight Marauders,” but it has some famously rich instrumentals that show you can make powerful beats without an arsenal of sub-shaking laser bass. If we missed your favorite, please forgive us. In that tempo, the level of virtuosity is astonishing, thanks in no small part to a band that would go on to become apart of Art Blakey’s Art Messengers. Picking fifteen we can all agree on is impossible, so the omissions here will be as glaring to some as the inclusions. (Yeah, that “dun dun DUN DUN” one is on here.) Even if you don’t like classical, enough time with this record could change your mind, or at least instill a respect for the intricate musicianship that goes into making this sweeping music. Harps, clarinets, timpani drums — Hill insisted on retaining the “human element” of music on the album, and you can hear it on the record. You could easily tip “Sings the Blues,” Simone’s RCA debut that hears her in full jazz-standard mode (and her most predictable). In turn, she’s never been so grounded, in theme and, with a gnarly Gibson electric in hand, current. Drop the needle on a quiet night and you can practically feel the chill. (Kanye West is responsible for some of the best albums that you shouldn’t buy on vinyl.) Like so many A Tribe Called Quest albums, “Peoples’ Instinctive Travels” is almost more funk than rap, though. Tom Waits is in noir mode on “Nighthawks,” spinning yarns to an in-studio audience between jazz solos and narrative asides. Even a friend you normally respect and consider kin is liable to have wildly different, head-scratching taste. Angel Olsen, “MY WOMAN”
The heart of Angel Olsen’s “MY WOMAN” is distended and ripped, coursing blood in thick arcs of guitar. The songs are the reason it’s sold more than any other record in history–aside from “The Lady in my Life,” it’s almost all classics–but it’s also a significant piece of music history to own, a knowable touchstone in dance, R&B and pop history. “Nebraska,” Bruce Springsteen
“Nebraska” is far from the norm of Springsteen albums. What “Pastel Blues” may lack in foxtrot fodder, it makes for with range. “Highway Patrolman” is so affecting that they made a movie out of it. “Beethoven: Symphonies Nos. One a song like “Everything is Everything,” you’ll recognize the chandelier-shaking melodies from the heyday of Aretha Franklin, slid over the hard snap of nineties hip-hop rhythm and Hill’s formidable rapped verse. In the style of hard bop, Coltrane and his band play an almost harried form of the genre, like they’re late to catch a bus that’s just blocks away from the studio. Through the right speakers, it’s as if you’re there with him, dodging cherry stems and caterwauling along to “Better Off Without a Wife.”

“The Band,” The Band
Go figure that it took a Canadian band to make the best Americana rock album of all time. It’s one of those albums that makes the most sense as a record. “Blood on the Tracks,” Bob Dylan
“Another Side,” “Blonde on Blonde,” “Self-Portrait”…well, maybe not “Self-Portrait.” But it’s impossible to pick just one Bob Dylan album. Nina Simone, “Pastel Blues”
There is no single definition of a classic Nina Simone album. If nothing else, the picture of Jackson holding a baby tiger on the back cover alone is worth admission. The album starts with four tracks that blend into one fluid reflection. Lauryn Hill “The Miseducation of Lauryn Hill”
Yeah, “Doo Wop (That Thing)” is on here, but that’s only the steeple of Lauryn Hill’s grand cathedral of a debut album. In no particular order:

The fifteen best vinyl records for any collection. “Nebraska” is among the most intimate albums we’ve ever heard. It’s the rare live album that benefits from its crowd, as Waits works the room like a seasoned stand-up. Laura Marling “Once I Was an Eagle”
If you haven’t heard of Laura Marling, it’s as understandable as much as its a shame. Though only 26, Marling has been performing professionally for a decade, first as a member of Noah and the Whale, and then under her own criminally underrated singer-songwriter project. On a turntable, it gives you a depth of listening that you just can’t get out of laptop speakers. “Nighthawks at the Diner,” Tom Waits
This is a relatively deep cut, but a worthy inclusion to any record collection. Between the anguish of “Every Single Night” and the ecstasy of “Hot Knife,” the album’s bookends, the music whips from tribal revival to throat-shredding singing in rounds. Conceived originally as a demo tape, there are no triumphant horn sections or pantomime-worthy electric guitar riffs in earshot. There are nerdy takeaways here for aficionados–the saxophonist’s signature “Coltrane changes” make their first recorded appearance on the album. It’s captivating — harrowing and gorgeous, often at the same time — and ranks high among those special albums in one’s collection that refuses to resign itself to background music. Despite the title, Simone does more than just the blues here, and does the blues in many more hues than one. From her straight-forward jazz-pop roots, Apple forges an electric menagerie of songs that pop and smolder in fits. A handful of Beethoven’s crowning achievements feature, many of which you’ll recognize. Tom Waits’ “Nighthawks at the Diner” is one of the ten records you should own. While it’s cruel to reduce the entire genre to one piece, Kleiber’s take on Beethoven’s 5th and 7th symphonies is a singularly impressive recording. Like magic, it can turn the dirtiest den into a drawing room at the drop of a stylus. Like classical, there is no definitive jazz album (although some might disagree with Miles Davis’ “Kind of Blue”). On wax or otherwise, it’s as remarkable as it was then (it won the Grammy for Album of the Year in 1999) as it is today. “Thriller,” Michael Jackson
It’s self explanatory, but “Thriller” is an essential album for any collection, period. The so-called Brown Album features The Band’s best-known numbers that even your dubstep-obsessive neighbor could join on the choruses of if the spirit moved him. For its kind, “Blue Train” is hard to beat. Consider the emotional breadth between the aw-shucks “Nobody Knows You When You’re Down and Out” and “Strange Fruit,” one of the most shattering songs ever written, a distance that strains the limits of the genre.

Best shows: South of France and Jans Ingber’s Funk Fellowship

(Pretty Lights Live Band, The Dirty Dozen Brass Band); and Ingber himself, whose towering falsetto should do a fine job introducing itself come Dec. South of France and Jans Ingber’s Funk Fellowship are our picks for the best shows around Denver this week. 17 at the Hi-Dive along with fellow local rabble-rousers Modern Leisure and Inner Oceans, who are using the occasion to launch their new record label, Guilty Pleasures. South of France — Hi-Dive, Dec. 17 at the Fox Theatre in Boulder). 17

It’s been almost exactly a year since vocalist Jans Ingber left storied Colorado funk band The Motet. Like Cold War Kids and Dr. Kelly); drummer Alvin Ford, Jr. 17

Perhaps no Denver band has owned modern pop rock’s license to marry opposing vibes like South of France. Among the ten-piece’s notables: guitarist Isaiah Sharkey (D’angelo, Anderson Paak); bassist Sharay Reed (Aretha Franklin, R. Tickets are $10-$12 via hi-dive.com. Photos by Adam Good, heyreverb.com. Dog before them, the band consistently lines up genres as far flung as funk, post-punk and synth-pop and pulls a glowing thread through them, which shakes out into nifty singles like “Civilization” and “Washed Up.” If you haven’t heard them on your Discover Weekly yet, it won’t be long. 13, 2015. You can catch the band on Dec. See you there, and if you don’t make it out, follow our music musings on Twitter and our selfies on Instagram. 16; Fox Theatre, Dec. 16 at Cervantes Masterpiece Ballroom (or Dec. Jans Ingber’s Funk Fellowship — Cervantes, Dec. Tickets: $16-20 via cervantesmasterpiece.com.   This weekend, he’ll make up for lost time with back-to-back shows under the guise of new project Jans Ingber’s Funk Fellowship, an all-star squad of genre players. Venus Cruz’s What Young Men Do opens. If you do, mind where you put your jacket.  
Jans Ingber performs with The Motet at The Ogden Theatre on Sept.

Q+A: Guilty Pleasure Records knows what Denver’s music scene secretly needs

But bands can’t live off of buzz, and the numbers just didn’t add up. A: [Jeff] New albums for all the bands. People in New York and L.A. “We were tired of putting our energy into getting other labels interested in giving a s**t about a Denver band,” Snyder said. “It started to make more sense to do it on our own, so we started getting serious about it. Q: Griff, you mentioned you were tired of trying to get labels to care about Inner Oceans as a Denver band. For South of France’s second single, we told our PR that it was very different from our first, so the process should be different. A: [Griffith] There’ll be a bunch of pink mylar balloons. If there are five dance-rock bands that are all vying for a label, they’re going to pick the people they’re drinking with at a bar in Echo Park. Is it wrong to love pop music? We want to hit as hard as we can, in focused ways. [Jeff] This isn’t management — it’s a home, a brand. Q: You’ve both been around the industry enough to get a sense of what does and doesn’t work. The world is based on relationships. I wish we spent that money on plane tickets to go have fun at a festival instead of breaking our faces against the industry. After shopping it around, they got pitched deals from a handful of “good-sized” indie labels, as Jeff said. The city’s most prominent rock scene is an unpretentious one, priding itself on grit and raw energy, not minutely timed bridges or vibe-absolving choruses. It’s much more of an NPR single, not a AAA single. Do you feel artists from Denver are written off on the national scene? When Griff came on board, it was official.”

Snyder, who’ll soon be moving to help operate the label from Los Angeles, was just as disillusioned with courting the music industry, a gauntlet he likened to a series of bad dates. (Left to right) South of France’s Kelly Cormack and Jeff Cormack team up with Inner Ocean’s Griffith Snyder for Guilty Pleasure Records, a new pop-forward Denver label. 17. Q: What will Saturday’s label launch show look like? A: [Jeff] (Hiring PR) is a waste of time. That’s when I realized I should be doing this. are getting drunk in bars with their friends. [Griffith] Yeah, Inner Oceans spent our entire budget on PR. We’re gonna put a lot behind the album release. A: [Griffith] I don’t know if it’s being written off. The internet is a jungle. Inner Oceans first, then Modern Leisure and then South of France. They still gave it the same treatment as the other single, and it didn’t get picked up by half as many radio stations. And a bundle package of our band merch. We spoke with Jeff Cormack and Griffith Snyder about their respective bands’ futures, what Denver’s music industry needs and how Guilty Pleasure can help. That’s it right now. We’re just gonna take the first half of the year to finish our record and develop a good release strategy for it. At the end of the day, (the music industry) is in New York, L.A. South of France has one show planned — May 27. [Griffith] This is the last Denver show for Inner Oceans indefinitely. The best PR I got was hanging out in Iceland one day. But having a tie to New York or L.A. They’re the people that are gonna matter. We see it as guerrilla warfare. If you kick around Denver’s music scene long enough, you might get that impression. A: [Griffith] I was going to move before Jeff and I met. Along with South of France frontwoman Kelly Cormack and Griffith Snyder of fellow indie poppers Inner Ocean, Jeff co-founded the label with a simple premise in mind: “We’re gonna put good pop music out.”
Jeff and Kelly started kicking the idea around after struggling to find a home for the latest South of France album. I want to grow the network of people I’m drinking beers with and funnel it back here. How will your strategy differ under Guilty Pleasure? “Pop is a dirty word in Denver’s music world,” said Jeff Cormack of Denver indie-pop group South of France, “but we’re just straight claiming it.”
That’s the hook for Guilty Pleasure Records, Denver’s latest record label. I didn’t know this dude was a blogger and he wrote us up on his blog, which was way bigger than anything we’d spent money on. The bands will play a label launch show along with fellow signee Modern Leisure at the Hi-Dive on Dec. Everyone’s been following the same rules. and Nashville. It was recently featured on NPR’s Here and Now. Q: Is that why you’re moving to L.A.? is a must if you want to do music. “As the world saw with Chance The Rapper, it’s coming down to building it yourself and maintaining that level of freedom.”
On Saturday, Inner Oceans, South of France and Modern Leisure, Guilty Pleasure Records’ initial roster, will play a label launch show at the Hi-Dive. Photo courtesy of Jeff Cormack. And a lot of beer. “The amount of money was pretty small, and they wanted fifty percent on everything,” Jeff said. And we may have a couple other hidden gems up our sleeves, too. Q: What do your bands and Guilty Pleasures have planned for 2017?

From The Who tour to Larimer Lounge: Boulder’s Rose Hill Drive is back after 6 years

“We were compensating in the studio, adding stuff for the lack of a solid core. “So we started with chisels, ‘Shawshank Redemption‘ style, and it ended up being this 5-foot deep hole.”
“She eventually found it and thought we were going to kill her and bury her in it,” Jake reveals. From touring to recording to hiatuses, the Boulder-born rock trio has always done things on a grandiose scale. It ain’t soul revival or surf-punk, just a unique blend that incorporates classic rock’s founding fathers (Led Zeppelin, Cream) and genre-defining indie outfits (The Strokes, Queens of the Stone Age) to make a no-gimmicks Molotov cocktail. This sensibly modernized, semi-hip small town just north of Denver is where Daniel decided to raise his family and make music alongside Jake. “If they want us, we’ll play, if they don’t, we won’t. “I think we always really struggled pulling those songs off live,” Barnes says. Each of them have found a way to make a living playing music, but nothing really compares to Rose Hill Drive. “To me it sounds like what we were trying to create when we were young, but with a newfound originality,” Daniel says. “We were thinking what Rose Hill Drive would look like right now, so why don’t we just get together and do that,” Jake said, digging into a tostada. “The experiences we’ve all had doing different stuff for the last six years. But once creation was confined to a computer program, he began to long for the visceral elements of good, old fashioned rock. “I realized how much I missed being in a band,” Barnes agreed. Without the creative freedom he provided, Rose Hill Drive wilted. Together, they recorded, engineered, mixed and mastered the new effort, which makes it pure and personal. After the band broke up, Jake found a steady job composing commercial soundtracks with Daniel and started making his own electronica music. Just like that, the band was put to rest and only memories remained. Nearly 17 years later, the longtime friends are working to recapture those long-lost feelings on an upcoming, currently untitled album. Touring with The Who was rewarding but tiring for a relatively green band, and playing in support of 2008’s “Moon is the New Earth” only compounded the exhaustion. In short order, the band released its self-titled debut in 2006 and booked a tour with legendary British outfit The Who. After a six-year hiatus, Rose Hill Drive (left to right: Nathan Barnes, Jacob Sproul and Daniel Sproul) return to rock on Saturday. I was so into ‘Songs for the Deaf’ when it came out because we were still trying to write songs, and dig a hole to grow to pot.”
Daniel drops his fork and covers his laugh, remembering that they once tried to cultivate marijuana in his grandmother’s basement and blasted “Songs for the Deaf” to mask the sounds of digging. After all that time in the studio, replicating it live also proved to be a chore. 17 show at Larimer Lounge (a venue it’s never played before) and tickets to its Hodi’s Half Note New Year’s Eve bash are going fast, it’s clear that Rose Hill Drive’s resurrection and pending redemption hasn’t gone unnoticed. With this immediately catchy if familiar sound, Rose Hill Drive was quick to make waves. When we took it out on the road, it was frustrating because it didn’t sound like we wanted it to.”

They settled that with the addition of bassist Jimmy Stofer (The Fray, Flobots), who helped Rose Hill Drive flesh out their sound on stage by giving the band a dedicated low-end backbone. We’ll do it because we love it.”
Go big or go home. Photo: Devin Stinson. Barnes, also a family man, resides in nearby Longmont. This new reunion gig could launch a significant comeback; it could amount to nothing at all. Go big or go home. Heck, maybe Japan will send more love. The high — not to mention money — paled in comparison to their time with Stone Temple Pilots. It’s a motto that the members of Rose Hill Drive know a little too well. 17, Rose Hill Drive will play its first show in nearly six years. Case in point: This Saturday, Dec. But brothers Daniel and Jake Sproul and drummer Nate Barnes don’t care. Six years is a real momentum killer. “When we opened up for Queens of the Stone Age, we didn’t think Josh Homme saw our set,” Jake said. To keep up with expectations, Jake, Daniel and Barnes withdrew into the studio for nearly two years and ended up recording close to 60 songs for their last record, 2011’s “Americana.” Only 12 tracks made the album, which gained little traction outside of Japan. “It’d be great to have it be sustainable but, if not, (forget) it,” Jake concluded, leaning back in his chair, content with this sentiment, if not just the tostadas. Seeing the band has already sold out its Dec. After a long day of rehearsal, the guys are winding down at Efrain’s, an upscale Mexican restaurant in Lafayette’s bustling downtown corridor. After the tour was over, the band did a short-yet-demoralizing Colorado mountain circuit, complete with poorly attended stops in Breckenridge and Vail. “He walks over to our van and says, ‘Hey guys, your set was (amazing).’ That was the best. Stofer soon left the band for his home state of Minnesota. The Sproul brothers met Barnes while attending Boulder’s Fairview High School and began practicing in that (since demolished) house way back in 2000. I feel like there’s a maturity in us now that wasn’t there six years ago. “Pete (Townshend) enjoyed our ‘Beatles’ quality,’” Jake said. Compared to six years ago, the current musical climate has been sorely lacking in Rose Hill Drive’s brand of bombastic rock. “We practiced in her house on Rose Hill Drive and the crawlspace was so small you’d bump your head,” Daniel notes. As Jake signals for the check, Barnes loads up his to-go box, and Daniel scrapes the last few bites off his plate, nostalgia sets in. Revitalized, the group set out for a lengthy run with its childhood idols, Stone Temple Pilots. They just want to rock again. That’s a huge break for any band, and especially one that had climbed to the level of opening for The Who and Stone Temple Pilots before abruptly stopping. But really, it’s whatever.

From The Who to who? Rose Hill Drive’s rock and roll U-turn

It’s a motto that the members of Rose Hill Drive know a little too well. Six years is a real momentum killer. “When we opened up for Queens of the Stone Age, we didn’t think Josh Homme saw our set,” Jake said. “He walks over to our van and says, ‘Hey guys, your set was (amazing).’ That was the best. Touring with The Who was rewarding but tiring for a relatively green band, and playing in support of 2008’s “Moon is the New Earth” only compounded the exhaustion. Seeing the band has already sold out its Dec. “The experiences we’ve all had doing different stuff for the last six years. This new reunion gig could launch a significant comeback; it could amount to nothing at all. Each of them have found a way to make a living playing music, but nothing really compares to Rose Hill Drive. After a long day of rehearsal, the guys are winding down at Efrain’s, an upscale Mexican restaurant in Lafayette’s bustling downtown corridor. Compared to six years ago, the current musical climate has been sorely lacking in Rose Hill Drive’s brand of bombastic rock. Barnes, also a family man, resides in nearby Longmont. 17 show at Larimer Lounge (a venue it’s never played before) and tickets to its Hodi’s Half Note New Year’s Eve bash are going fast, it’s clear that Rose Hill Drive’s resurrection and pending redemption hasn’t gone unnoticed. Together, they recorded, engineered, mixed and mastered the new effort, which makes it pure and personal. When we took it out on the road, it was frustrating because it didn’t sound like we wanted it to.”

They settled that with the addition of bassist Jimmy Stofer (The Fray, Flobots), who helped Rose Hill Drive flesh out their sound on stage by giving the band a dedicated low-end backbone. I feel like there’s a maturity in us now that wasn’t there six years ago. “If they want us, we’ll play, if they don’t, we won’t. After a six-year hiatus, Rose Hill Drive (left to right: Nathan Barnes, Jacob Sproul and Daniel Sproul) return to rock on Saturday. In short order, the band released its self-titled debut in 2006 and booked band a tour with legendary British outfit The Who. With this immediately catchy if familiar sound, Rose Hill Drive was quick to make waves. Nearly 17 years later, the longtime friends are working to recapture those long-lost feelings on an upcoming, currently untitled album. “It’d be great to have it be sustainable but, if not, (forget) it,” Jake concluded, leaning back in his chair, content with this sentiment, if not just the tostadas. “To me it sounds like what we were trying to create when we were young, but with a newfound originality,” Daniel says. Heck, maybe Japan will send more love. But once creation was confined to a computer program, he began to long for the visceral elements of good, old fashioned rock. After the tour was over, the band did a short-yet-demoralizing Colorado mountain circuit, complete with poorly attended stops in Breckenridge and Vail. “We practiced in her house on Rose Hill Drive and the crawlspace was so small you’d bump your head,” Daniel notes. From touring to recording to hiatuses, the Boulder-born rock trio has always done things on a grandiose scale. That’s a huge break for any band, and especially one that had climbed to the level of opening for The Who and Stone Temple Pilots before abruptly stopping. Just like that, the band was put to rest and only memories remained. It ain’t soul revival or surf-punk, just a unique blend that incorporates classic rock’s founding fathers (Led Zeppelin, Cream) and genre-defining indie outfits (The Strokes, Queens of the Stone Age) to make a no-gimmicks Molotov cocktail. The Sproul brothers met Barnes while attending Boulder’s Fairview High School and began practicing in that (since demolished) house way back in 2000. Stofer soon left the band for his home state of Minnesota. But really, it’s whatever. We’ll do it because we love it.”
Go big or go home. “We were thinking what Rose Hill Drive would look like right now, so why don’t we just get together and do that,” Jake said, digging into a tostada. The high — not to mention money — paled in comparison to their time with Stone Temple Pilots. “Pete (Townshend) enjoyed our ‘Beatles’ quality,’” Jake said. 17, Rose Hill Drive will play its first show in nearly six years. Photo courtesy of the band. After the band broke up, Jake found a steady job composing commercial soundtracks with Daniel and started making his own electronica music. After all that time in the studio, replicating it live also proved to be a chore. Case in point: This Friday, Dec. This sensibly modernized, semi-hip small town just north of Denver is where Daniel decided to raise his family and make music alongside Jake. I was so into ‘Songs for the Deaf’ when it came out because we were still trying to write songs, and dig a hole to grow to pot.”
Daniel drops his fork and covers his laugh, remembering that they once tried to cultivate marijuana in his grandmother’s basement and blasted “Songs for the Deaf” to mask the sounds of digging. Without the creative freedom he provided, Rose Hill Drive wilted. “I think we always really struggled pulling those songs off live,” Barnes says. But brothers Daniel and Jake Sproul and drummer Nate Barnes don’t care. “So we started with chisels, ‘Shawshank Redemption‘ style, and it ended up being this 5-foot deep hole.”
“She eventually found it and thought we were going to kill her and bury her in it,” Jake reveals. To keep up with expectations, Jake, Daniel and Barnes withdrew into the studio for nearly two years and ended up recording close to 60 songs for their last record, 2011’s “Americana.” Only 12 tracks made the album, which gained little traction outside of Japan. “I realized how much I missed being in a band,” Barnes agreed. Go big or go home. Revitalized, the group set out for a lengthy run with its childhood idols, Stone Temple Pilots. They just want to rock again. “We were compensating in the studio, adding stuff for the lack of a solid core. As Jake signals for the check, Barnes loads up his to-go box, and Daniel scrapes the last few bites off his plate, nostalgia sets in.

Police make arrest in shooting that killed local rapper outside Cold Crush

Mortis then allegedly began firing a handgun. In 2015, he opened for T-Pain at the Capitol Hill venue City Hall. A subsequent test of DNA on the hat connected it to Mortis, who had previously been arrested for aggravated robbery. 10 shooting. (Photo by Ryan Ford, courtesy of Steven Buggs)
Denver police used DNA evidence to identify and arrest a suspect in the fatal October shooting of Denver rapper Boss Goodie (real name Tyrone Adair Jr.) outside of RiNo night club Cold Crush. Adair had apparently helped security remove two men — including Mortis — from the building. 10. Related Articles

On stage and off, Aurora rapper Boss Goodie was larger than life

Aurora rapper BossMan Goodie killed in shooting outside Denver club

At Cold Crush rally, patrons open up about police shutdown

UPDATE: Cold Crush set to reopen tonight at 7 p.m. Harold Mortis, 27, is being held for investigation of first-degree murder in the slaying of the 29-year-old artist.   According to the affidavit, witnesses told investigators there was a fight inside Cold Crush just before the shooting. Adair died of a gunshot wound to the head. Jesse Paul contributed reporting to this story. A warranted search of Morris’ residence found .40-caliber ammunition that matched the brand and caliber of the six shell casings found at the scene of Adair’s killing. Denver police have arrested Harold Mortis as a suspect in the shooting. 1 and is being held at Denver’s downtown jail in lieu of bail. Records show Mortis was arrested Dec. A booking photo of Mortis was not available at press time. According to an arrest affidavit provided to The Denver Post on Wednesday, Denver police used witness testimony to connect Mortis to a baseball cap left inside Cold Crush on the night of the Oct. Adair was an up-and-coming rapper in Denver. An unidentified witness told investigators that Mortis then went to a car, wrapped a T-shirt around his head, and walked back toward the club, police said. Tyrone Adair Jr., aka Boss Goodie, was fatally shot outside of the RiNo club Cold Crush on Oct.