The Denver hip hop scene exhibits many of the pros and cons found in some large families. As a group, it's seething with energy, ready to explode. There is a large and ever-expanding base of knowledge to draw from. Each member has his own special talents and personality. Loyalty is treasured. Success for one can be success for all.

On the other hand, there can be a struggle to shine, to be noticed, to be rewarded. Communication can be sporadic and disjointed. What's good for one can be resented by many. The logistics of accomplishing day-to-day tasks, let alone long-term goals, can be daunting. And then there's all that dirty laundry...

Sunshine Records and Tapes in Aurora has at least 45 CDs for sale from local hip hop artists. Twist and Shout has about 15 on consignment, selling fairly well. There are dozens of hip hop recording labels in Denver with an artist count that is estimated somewhere between 150 to 200. Hip hop may be knocking at the proverbial door, and judging from what I've seen, it's time to let ‘em in.

Apostle (Jeff Campbell)

The Business

All of us as hip hop artists are in the same place. We may not have the same audience, but we want the same things. We want to be heard and we want to share what we do. This is our life.

The term subculture is often used when describing hip hop. For those involved, it's more than rap artists with gold chains and big cars. Hip hop defines a way of life, not just a hit song. When all four elements of this underground world get together, meaning the MC (lyrics), the DJ (turntable), graf (graffiti artist) and B-boys (break dancers), they so do with the dual intentions of sharing their day-to-day lives, and finding that perfect beat to put under their words.

From playgrounds in New York to sunny L.A. and back, hip hop is now a multi-billion dollar industry. It's been a bumpy and controversial road from the early days. Life portrays life, and it ain't always pretty. Gansta rap (not hip hop) created excessive and bad publicity that terrified white America in the early ‘90's. But those artists made a fortune. And, 70% of their buying public remains white. Who knew?

Instead of struggling artists, Campbell would like to see a Denver hip-hop explosion of entrepreneurs. Instead of competition, Campbell advocates cooperation, support, and non-violence. Campbell founded the Colorado Hip Hop Coalition (CHHC) with the intent of bringing some synergy to the hip hop culture and some business savvy to the members.

When you grow up seeing all these guys on MTV and in the news, making hit songs and tons of money, of course there is a part of you that wants that, admits Campbell. But hip hop isn't a get-rich-quick scheme. A lot of people think it is. The industry portrays it that way. To get it done and represent where you are from and who you are, you have to carve your own path.

Lack of knowledge about the business is the number one reason why artists do not climb the ladder of the music industry. To succeed, hip hop acts need to reach out locally then nationally. Tactics include utilization of television media, the increasing number of live music venues, outdoor festivals, college and community radio, other musical alliances such as the Colorado Musicians Association (COMA), and marketing, marketing, marketing.

nGoma (Reese and Dap)

The Product

Through previous experiences (good and bad), nGomA's Reese and Dap have learned the essential procedures record-ing artists need to reach success. The event of this release marks a whole pack-age representing nGomA. It's not just words and beats. It's the meaning behind it and the presentation out front. nGomA draws from a wide range of influences. Reese is a wizard with vinyl, creating new sounds and samples manip-ulated beyond recognition. Dap creates the rhyme and the concept of each cut. Jazz plays a big part in the undercurrent of the music it's never hurried or care-less. There is a blend of elements from Tribe Called Quest to Thelonius Monk to Run DMC to George Clinton.

Do-u-no? sounds like a hit record. Engineered by Reese at FTM Studios in Lakewood, this independent release has the potential of attracting some national attention. Not only are the individual tracks great in themselves, they sound good. Developing a unique musical sound and learning the recording aspects first hand are two huge advantages nGomA has right now.

As an independent hip hop act, Reese and Dap control the writing, the music, and the engineering of their product. The marketing aspects have also been taken into account. nGomA has set up links through Internet resources such as www.garage-band. com, and made the final cut at the highly visible South by Southwest (SXSW) showcase in Austin, Texas. Dap and Reese believe that listening and learning from each other and other hip hop artists raises the bar, making for better music.

The Performance

Denver is not a bad place to be a performing musician. There is an audience for original live music, and venue owners will pay musicians to bring it in. It only seems natural that hip hop performers could join the local circuit. Unfortunately, two problems already stand out.

Hip hop instruments are voice and rhythm. The electronic aspects of the turntable unit create the overall sound. No matter how good the sound is, live music fans in this town are accustomed to the visual aspect of watching a band.

Then there is the question of the crowd. Club owners who are unfamiliar with the hip hop culture can be hesitant to book live hip hop due to bad press, stigma, and social stereotyping. But to be fair, too many audiences have had bad apple syndrome, the one dumb ass who brings a weapon into a venue, or acts inappropriately towards the staff, or starts a fight. Maybe these things happen at non-hip hop shows as well (and we all know they do) but until the day comes when a young black man with a microphone isn't associated with Snoop Dog, we have some hurdles to overcome.

A few opportunities exist, however. Every other Thursday night, Tulagi in Boulder will feature hip hop (next show August 10). Calypso, a reggae club here in Denver, recently added live hip hop on Friday nights. August 18 is Ill Fridaze at the Ogden Theater. Local act VooDoo Economics played a New Talent Showcase at Herman's Hideaway in July. MC Sid Fly enjoyed the show, the crowd response, and the venue.

Playing live hip hop on a stage in a venue requires 100% preparation. It's all about visual energy, spontaneous addressing of the crowd, and knowing your shit down cold, said Sid. We have to stay original and visual so that the whole experience is sound and dance, participation and energy.

Sid acknowledges the different problems that exist surrounding live hip hop performances. What needs to be recognized among fans, audiences, and club owners is that true hip hop music should be spreading a positive message. The goal is for any type of music fan to come to a show and see a stellar live performance. Every show should be an experience into this subculture. It is rapidly spreading and taking root in Denver. The talent is here. The music is fierce, and it's only the beginning. Judy B.

For Apostle or the CHHC, go to www.survivalcamp.com. For nGomA, call 303-770-2521. For Voo Doo Economics and Sid Fly, call 303-282- 7304.

After the less-than-amicable split by original frontman Max Cavalera four years ago, most of the music business thought Sepultura was a memory. There were those who thought Max was all the talent in the band, and there were those too caught up in the musical soap opera to even care what came next. The months that followed the break up were full of speculation by the press, and then Max began to speak. The former frontman of the band, obviously very angry and bitter, took every opportunity to slam the other three members of the band. At first Sepultura slammed back, but as Max's new band Soulfly emerged, so did more opportunity for him to speak his mind. Allegations flew, including that he wrote everything they had done. At that point, his former band became so fed up they simply stopped saying anything to anyone about Max. Any metal fan knows Max Cavalera has enormous talent, but any smart person knows that one man does not make an entire band.

The highly publicized split came about when Max's brother Igor, guitarist Andreas Kisser, and bassist Paulo Pinto decided to fire Max's wife Gloria as their manager. The three didn't feel she had their best interests in mind, and they claimed that their voiced concerns were continuously ignored. The tension became so great that the three considered quitting music completely. After much thought, they decided to fire her, and did so on the last day of the Roots tour, before her contract renewed. A heavy metal Yoko Ono situation took place and Max left the band he had co-founded more than 12 years earlier. Not wanting to quit but very wounded, the remaining three members of Sepultura jammed as a trio for over seven months before deciding to audition vocalists.

After hundreds of demo tapes and four actual auditions, the band decided on American vocalist Derrick Green. Green had been playing in a band out of New York called Overfiend.

The new vocalist has been tagged by the Brazilian trio as The Terminator, from the fact that he is a big man of six-foot-three and built like a brick wall. But as Green told me over the phone, his big shoulders had the weight of the world placed on them. Replacing one of the most charismatic, popular frontmen in the business would be hard enough without the fact that resistance was everywhere.

Even our record company didn't want me to sing at first, said Green. They wanted me to sound just like Max which I wasn't willing to do. Don't get me wrong. I love everything he did with Sepultura, but I'm my own man, and I saw no point in trying to imitate Max.

At first we honestly had to promote our own record, Green continued. After a while the label noticed the response we got in Brazil and in Europe and they got behind us a bit more. The sales we did for Against were well over what our label thought they would be. People honestly believed we would crash and burn, and that motivated us a lot. Being new in the band I felt a lot of pressure to do good, but after our third show, which was in Brazil, I knew that I was home.

Twenty thousand people showed up to support us, he said, and at that time only one song with me singing had been released there. That night was fucking incredible. We were joined by our godfa- ther Jason Newstead that night. Green told me of a very expensive baritone bass given to him as a gift by Newstead. All because he admired the one owned by Metallica's low end man.

Mike Patton and a Japanese percussion group called Kodo (which is also world renowned) joined them. It was the best night of my life, stated Grteen. The love and respect I receive in Brazil is totally unbelievable.

With Sepultura touring in the states now on the Tattoo The Earth Tour with metal monsters Slipknot, Sevendust, Slayer and many more, it seems the band is finally back.

The shows thus far have been great, said Green, especially in some of the smaller towns. People have really been responding to us, and we are having a blast. As of now we have 15 new songs for the next album. I feel much more secure in the band now and my input on the new record will be much more than on Against.

The new album is set to start production in the fall will feature a few tracks produced by legendary ex-Police percussionist Stuart Copeland. Don't miss your chance to check out a guy living the dream in Derrick Green and his bad-ass band Sepultura when Tattoo The Earth hits Red Rocks on August 10.

Take hard work, tenacity, determination, and desire, and put them into one word, and it would spell Colemesis. Being that all three members are from Costa Rica one can only guess how hard it would be to get visas, relocate, and start all over again. That is just what Colemesis has done, and it seems nothing can keep these guys down. Since arriving in America nearly three years ago, their lineup has undergone a few changes, but now the Latin power groove band has a solid trio. With the latest addition of Costa Rican native Rodrigo Riverra on precussion, Colemesis has evolved into something really special. Their music is very Latin with some salsa, some hip-hop, and some of everything you can imagine to create a very unique sound. To go along with their tasty sound this band has excellent energy on stage.

Guitarist Fabian Bonilla has now added lead vocals to his list of duties, and has stepped up to the task. I have as much respect for this musican's work ethic as anyone I have ever met. I have been witness to him working 20 hour days just so he can afford to play music in America. All you pretenders step down in the presence of a true musician.

For one to really appreciate the sacrifices Colemesis has made you must first know a few things about them. First of all, this band is enormous in their homeland. They have a number one song to their credit as well was several appearances on Latino MTV. They all have very successful lives in Costa Rica with one of their members even being an attorney. With all that to consider, you might be asking yourself why they didn't stay in Costa Rica and continue with the band? Bassist Francisco Conejo explains, While we were doing great at home, there really was not much more we could do there. We saw the U.S. as a place where the opportunities would be greater, and we knew that we were willing to do what it would take to make it.

While Colemesis has not quite made it yet, lots of people in this city think they can, and I am one of them. The commercial appeal for a band like Colemesis is widening everyday. Latin music made well over $1 billion last year in the North American market alone. The members of Colemesis know this and they also know any one break could make the difference.

Not being from here we feel we have to work ten times as hard as any American band, said Francisco. Promoters and clubs will sometimes treat us differently because they feel we have no choice but to take their shit. We just want to play. Some of this political stuff really pisses us off.

The first phase of what we are doing now is pretty much over, he continued. We really wanted to see how Rodrigo would fit in, not only in the band but also in America. He has kicked ass and we could not be happier with him. Also with Fabian handling new vocals we wanted to be sure we were heading in the right direction. The response has been great, and we believe that we have our lineup set in stone.

The next step for Colemesis will be their fifth CD and their first with Rodrigo. I am very confident that this band can reach their goals, and I am positive they will not stop trying. If you haven't heard them or seen them, do it! .

New Denver residents Dropsound are planning to release a new record in the near future. Their sound, if I had to describe it, is very progressive, very aggressive, and very unique. I checked them out at the Bluebird Theater last week, and they kicked major ass. If you get a chance to see them, do it, you won't regret it.

Seems like one can get elecetronica anywhere. There are basement tapes, bootlegs, your sister's best friend's cousin's brother-in-law is a DJ ... whatever suits your needs. The hardest to swallow are the homemade cassette tapes being made like sweatshop kids punching clock for Kathy Lee Gifford.

Fear none of these things when pressing on the latest put-together by Fusion Stage 009. This disc has 11 tracks arranged on here by a guy named Donovan Cline. With plenty of pounding and crisp tracks, the only thing missing here is the light show and the of teen spirit.

The production here is of top drawer as No pirated tapes slipped into this and some of the songs actually flow together even though they are apparently different DJs. All in all, this CD is just an electronica fan has in the car, and every rave goer's wet dream. Are we rollin' yet? B

At first listen, this CD will have you think that the music here is very reflective of the band's name ... Generica. The sounds inside are played with quite a bit through some cool effect pedals and such. The second song on this fiver is probably the best.

I wish they would have sent me the whole disc of Hooked if indeed there is one. I hate judging a band by what they might think are five of their best songs, and then be duped into listening to the rest much to my chagrin.

The musicianship here is good, and the vocals are nice too. But by track three, they switch gears into a full on Santana/Rob Thomas kind of thang. It's not bad, mind you, but it gets me to won-dering once again, just where they are going with the rest of their music? Is this it with the new Latin flavor we are all get-ting spoon fed? Or is this Matchbox 21?

Most bands think being pigeon-holed is bad. But if you want a label to pick you up and run with you, one best be able to describe the music in less than a sentence. So, I cannot find a quick one-two-three on where this band is going. Maybe it is because they are borrowing so many sounds from others. Nothing new here, good musicianship and recording but I am left feeling a bit generic. Ah...

Another electric parade here. Then some heavy ass guitars roll in on the second song. I am juiced! At first glance I thought this was another rave record, but no. This is exactly what the title suggests a new music sampler volume II even!

There are quite a few different styles on this disc and that's exactly what I like about a true sampler. Who wants to order up a sampler plate of the same shit, dif-ferent day? This CD has about four local acts on it, as well as covering the nation's tastes from New York to Los Angeles. Fifteen tracks lined up to please the consumer.

I need to give a proper plug to Indiego Promotions and Liquid Audio for putting this together. Nice work on finding a variety of talent and sliding them into home on your generous little label. Hell, even local darlings Blister66 are on this one! Good job men!

Finally, rounding this CD out nicely some female artists making waves. Nancy Luca weighs in with a very Singles-soundtrack-sounding It Only Hurts When I Breathe. Great little ditty from her. So, for fast, slow, edgy and good tunes that deserve to be heard by this disc should go in the car. B+

Well, here we go. Anyone that wants to get into punk can into this CD. We have some local boys trying to swing that bat and doing a pretty good job at it. Although there is nothing really new here with rhythm and beat, what I do like is that this disc sounds fun.

The singer reminds me of a mad Jim Morrison trying to keep his temper. Track three jumps into a little bit of a merger punk and mainstream without offending the diehard listener of either. This trio has some good chops although the drumming tends to race a little. Remember, think Nuclear Clock ... Nuclear Clock. You'll do just fine.

Remember The Cult? Like, before they went hair-band and all that? They fucking rocked. These dudes here sound a lot like the early works of the aforementioned band with new-found energy. The pro-duction here is of middle of the road qual-ity, but who the hell wants glossy punk? think if you want some good raw tunes without the bubble-gum flavor, this will suit your fancy.

Last but not least, there is a good D.I.Y. effort here. The tray card looks really cool from the outside, yet upon further investigation, it is a folded up piece paper with bad copies of the band's shows and tickets all over it. I can just see these cats sitting around drinking beer and talking about being the shit while folding all of their own tray cards. This shows some commitment as well as personality. Keep it going boys. C+