Collective Groove guitarist Eric Blackmore's sound advice 

click to enlarge CHRIS COMBS
  • Chris Combs
In the late Cretaceous period, guitarist Eric Blackmore toured the western United States with Hippie Yard Dawgs and No Justice. He has performed all over the Front Range with such diverse acts as One Man Gone, Ginger’s Hotter, The Black Rose Band, Brad Lee Schroeder, the Charlie Milo Trio and Citizen Dan. He recently spent time in the orchestra pit for the Fine Art Center’s production of Matilda, and can currently be found everywhere with the mighty Collective Groove, and teaching at Graner School of Music. He holds a black belt in haiku, specializes in getting in where he fits and has sworn to only use his powers for good from now on.

Essential Saturday night listening: “Goin’ Out West” by Tom Waits, “Stone the Crow” by Down, all of Me’shell Ndegeocello’s Peace Beyond Passion, “Bankrobber” by The Clash, and anything by The Meters or James Brown.

Essential Sunday morning listening: Jason Isbell and The 400 Unit’s Live From Alabama, unless there’s snow on the ground, in which case Joni Mitchell’s Blue is a moral imperative. Sunday morning music needs to assure me that I’ve survived Saturday night, then 
convince me that’s a good thing.

First record I bought with my own money: Either the Rolling Stones’ Tattoo You (pretty striking cover art, which is crucial to the discerning 11-year-old buyer), or Heavy Metal: Music From the Motion Picture (everything from Fagen to Sabbath!).

“Wish I’d written that” song: Warren Haynes’ “In My Life.” The entire lyric is pretty poignant, but his line “I don’t know if I can watch myself be a coward again” never fails to wreck me in the best possible way. Guy Clark’s “Desperados Waiting for a Train” is a sense memory of a bunch of important relationships for me, my dad in particular. Perfect.

“Wish I could unhear that” song: The rootsy genericana cover of Iron Maiden’s “The Number of the Beast” [by Zwan] from the opening sequence of Netflix’s The Innocent Man. I am being only slightly hyperbolic when I say that it may be the most poorly advised example of musical necrophilia in the entirety of recorded music.

My latest online discovery: Knower. They definitely wave the future funk flag in a non-academic, booty-centric way. “Overtime” is musically synonymous with the word “vivacious” in my mind’s ear.
Artist more people should know about: Hiatus Kaiyote. Their album Choose Your Weapon is pretty wonderful, and Nai Palm [on vocals/guitars/keyboards] manages to do the “of the moment” neo-soul thing in a very 
convincing and non-Ingrid Michaelson sort of way.

Guilty pleasure: Charlie Puth’s “Attention.” It starts out as regrettable SoundCloud pop, but it becomes extinction-level-event funky as soon as the key bass line drops.


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