Harry Tuft


Harry Tuft, Denver Folklore Center Exhibit

Harry Tuft

It has been said that every free-thinking musician has at one time made the pilgrimage to Harry Tuft’s Denver Folklore Center to soak up knowledge from the dean of Colorado’s folk scene. Carrying only his guitar and a leather briefcase, Tuft journeyed west from Philadelphia in 1962 to open a small store selling vintage instruments, records, books and other musical paraphernalia on 17th Avenue. Within a few years, the Denver Folklore Center had become a mecca for the national folk revival, with Judy Collins, Arlo Guthrie and the Mamas & the Papas (to cite a few) trading riffs and Bob Dylan taking some guitar lessons during the Center’s heyday.

As business thrived and his reputation in the community solidified, Tuft expanded the DFC, eventually taking over the entire block on 17th Avenue. Because of his connections with many leading entertainers, soon Tuft was organizing concerts by some of the biggest names in folk and acoustic music. In 1964, Joan Baez was regarded as folk music’s reigning queen, and Tuft promoted her first show at Red Rocks on August 28, two days after the Beatles appeared there.


Through the years, Tuft promoted performances by Judy Collins, Ramblin’ Jack Elliott and guitar great Doc Watson. In 1965, the Mamas & the Papas made a stop in Denver during their maiden American concert tour; future Colorado governor Dick Lamm partnered with Tuft to secure the concert, personally fronting the $5,000 needed.

To establish his store, Tuft created what was possibly the first comprehensive “folk source” resource, the Denver Folklore Center Catalogue and Almanac of Folk Music, which merged a mail-order catalog with a compendium of information regarding stores, manufacturers and music festivals. It was well received at the 1966 Newport Folk Festival and gave the DFC a national reputation among folk musicians and fans.

In the mid-1970s, Tuft summoned several of his longtime Denver friends and conceived the Music Association of Swallow Hill, a nonprofit organization to run concert promotions and educational services. More than 35 years after its founding, Swallow Hill is one of the largest organizations of its kind in the United States, boasting more than 2,300 paying members who volunteer their time and energy. It remains the focal point in the community for those interested in acoustic music.

In 1993, Tuft moved the Denver Folklore Center to South Pearl Street, imbuing it with the same cozy feel of the old store.

Do you love and appreciate the history of music? Head over to the Colorado Music Hall of Fame, where you get to learn and enjoy the rich history of music in Colorado.

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Harry Tuft Discography




Treasures Untold


Favorite Folk Songs Minus Guitar


Across The Blue Mountains

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The Mission Ballroom

What may be the best live music club in Colorado will have its grand opening on August 7. During its opening weeks, the Mission Ballroom will host everyone from George Clinton and Parliament Funkadelia to 2019 multi-Grammy-winning country songstress Brandi Carlile. As the focal point of the new North Wynkoop development in Denver, the Mission Ballroom will feature a unique stage and layout where music fans can experience some of the best sightlines and one of the best sound systems in the country.

Where Is the Mission Ballroom?

AEG took eight years to find the perfect location for a concert venue that would cater to both fans and the touring artists who frequent venues with the capacity of the Beacon Theater in New York City or Austin City Limits’ Moody Theater in Texas. It ended up being in the RiNo neighborhood, in the North Wynkoop development that will include a mixed-use hotel, restaurants, retail and office space, as well as residential units. Once completed, the project will also boast an open pedestrian plaza envisioned as a place for outdoor festivals. But for music lovers, the Mission Ballroom, located at 4242 Wynkoop Street, is the attraction that will hold it all together.

Just a five-minute walk away from RTD light rail’s 38th & Blake Station, it’s also minutes away from access to I-25 and I-70; once completed, the development will have 240 parking spaces in an underground garage as well as abundant bike parking. The entire area will be an exciting destination for locals and out-of-town visitors to Denver.

What Makes It the Place to Be

The Mission Ballroom and its surroundings will be the place to be in late 2019, whether you’re enjoying a concert, a meal or one of the outdoor events that organizers are planning for the future. Inside the Mission Ballroom, performing artists and audience members alike will experience a state-of-the art venue with flexible staging configurations, world-class sound and production, and a house setup that allows anywhere from 2,200 to 3,950 guests. The venue is designed with a tiered layout so that every fan will have an unobstructed view of the stage,

Speaking of the stage, it moves and transforms to create a perfect experience no matter who is playing, and is the first of its kind in Colorado. The Mission Ballroom will allow every artist and act to connect with their audiences on a more personal level because of the tailored stage setup.

Who You Can Expect to See There

The Mission Ballroom will open with a bang, with The Lumineers on August 7. Trey Anastasio Band (founder of the band Phish), Ben Harper and the Innocent Criminals, Trombone Shorty and Orleans Avenue, and the Steve Miller Band will take the stage in the days following. Also currently scheduled:

  • George Clinton & Parliament Funkadelic – August 15
  • King Gizzard and the Lizard Wizard – August 21
  • Highly Suspect – August 24
  • Flux Pavilion – September 1
  • The National – September 6
  • Maggie Rogers – September 23
  • The Tallest Man on Earth – September 25
  • Brandi Carlile – September 27-29

In addition to hosting a lineup of international artists, the Mission Ballroom’s open layout will provide a perfect space for weddings, trade shows, private events, awards shows, receptions and other special occasions requiring a large space. The dance floor can accommodate displays, exhibits and trade-show tables and booths, as well as decorations that will turn it into a unique space for multiple-use events.

Get Tickets to Your Favorite Events

To learn about all types of music events coming to the state in 2019, contact the Colorado Music Hall of Fame. Colorado has some of the best concerts and festivals in the world, with more than 150 shows planned for Red Rocks this summer, as well as other special events ranging from the Five Points Jazz Festival to the Levitt Pavilion Denver concert series. Don’t miss some of the greats that consider Colorado the best place to perform in the country.

Photo Credit: Kenzie Bruce


Live and on the Air


Live and on
the Air

Exhibit Page Language for KBCO, Morris and The Gov 2019.

Along with hosting events such as the December 2018 induction of Chuck Morris and 97.3 KBCO, as well as the presentation of the Barry Fey Innovation Award to Governor John Hickenlooper, the Colorado Music Hall of Fame creates exhibits of posters, music and films for our home at the Trading Post at Red Rocks.

KBCO Exhibit part one


The induction exhibits are just some of the artifacts on display at the Trading Post, which is located on the east side of the Red Rocks main stage (not at the visitors’ center above the seats).

The December 2018 induction exhibits will be installed sometime before the summer concert series begins in May 2019. Some of the fun aspects of these exhibits are posters from KBCO Kinetics, the entire collection of 97.3 KBCO Studio C covers, glasses, awards, films and more information about the inductees that you will not find anywhere else.

You can learn more about the contributions of KBCO, Chuck Morris and John Hickenlooper to our state’s music heritage by clicking on the links.


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Grateful Dead: the Colorado Getaway


Grateful Dead:
The Colorado Getaway

The History of the Grateful Dead in the High Country

CMHOF’s VIP reception “Colorado Getaway: The History of the Grateful Dead in the High Country” was a huge success for attendees, judging by the number of smiling faces and superlatives offered.

Board member Paul Epstein was the driving force behind this event, offering his encyclopedic knowledge of the Dead and his wealth of artifacts to craft a memorable experience for Deadheads. Everyone in attendance was smitten by the timeline exhibit that will now be displayed at CMHOF’s home in the Red Rocks Amphitheatre Trading Post.



Board member “Pasta Jay” Elowsky and his staff did their typically brilliant job in creating a festive, celebratory atmosphere for the band and its fans with the incredible Dead-inspired cuisine, balloons, etc. It was easy to entertain a room of happy, well-fed people!

After opening remarks, renowned Grateful Dead authority David Gans (“The Grateful Dead Hour“) performed a few songs in tribute to the band, then moderated a panel of Paul, Grammy winner David Glasser (Airshow Mastering) and promoter Don Strasburg (special thanks to Don and chairman Chuck Morris for working with band management on CMHOF’s behalf). Celebrity Deadhead Bill Walton made an appearance and graciously posed for pictures and signed autographs.

The three original members of the Grateful Dead—Bob Weir, Mickey Hart, and Bill Kreutzmann—arrived and offered their good-natured insights into the band’s defining events in Colorado. Fans were over the moon! The afternoon ended with the distribution of “swag” envelopes containing a “Red Rocks 7/8/78” 3-CD set and commemorative comic, menu and postcards. The attendees then got to see a wonderful performance by Dead & Co. in their club level seats.

The silent auction figures are being tallied, but Colorado Music Hall of Fame made well over $6,000. The Jerry Garcia etching of “The Guys” fetched $3,500, and Scramble Campbell’s donated painting of the Dead at Red Rocks was sold for $1,500.

Lots of people helped to make this event a special Thank you to all involved.

Deadheads: continue to live That Way and dress Like That!

The psychedelic era is ancient history, and LSD is so far out of fashion that it probably doesn’t even need to be illegal anymore.
But still you see them — people with shamelessly dated tastes in footwear who shop in the wrong places and dress themselves in impolitely colorful tie-dyed t-shirts overprinted with images of grinning skeletons sporting garlands of roses.

A large subclass of the Last of the Hippies are Deadheads — these stringy-haired anachronisms who make the Grateful Dead their household religion and more or less organize their lives around their devotions. Grace Slick was right about Dead concerts being where the hippies went, but it’s also true that that’s where the hippies come from these days. You might think the Love Children are as rare as clean air and condors in the hostile, Hell-in-a-bucket environs of post-Me Generation America, but there are lots of people who have continued to live That Way and Dress Like That since the days when saving the world with love seemed like a viable aim in life to many. And furthermore, thousands who were still unborn or still in diapers when the members of the Grateful Dead first started playing together nearly two decades ago are being initiated, learning the tribal arts and the laws of diet and hygiene which have been lovingly preserved and handed down since the Summer of Love.

Seen through Eighties eyes, the hippies are an odd but not wholly unenviable lot. Sure, they sport unfashionably optimistic and/or fatalistic world-views, furnish their lives in Low-Rent rather than High-Tech (except, of course, for their stereos), and work at jobs rather than professions or careers so they can unplug from employment and/or residence any time they want to hit the road with the Grateful Dead. But while mainstream America has lowered its expectations and tightened its belt, a lot of hippies aren’t sweating it: their material expectations are already pretty close to the ground — and many of them don’t wear belts.



More importantly, the Deadheads have a community — a real and widespread network of people who take care of each other — and that’s something precious few modern Americans can say. The most visible Deadheads are the ones who fly their freak flags proudly. But there are plenty of them who fly it on the inside, who participate more fully in mainstream society and economy.

Although the most visible of the Dead’s audience may appear at first glance to be little more than a blissed-out throng of hippies, there are plenty of Deadheads you wouldn’t mind being seen riding in a car with and with whom you can have meaningful conversations on subjects ranging well beyond their plans for the New Year’s shows or the quality of the pot they just got. Believe it or not, there are Deadheads who go in for grand opera; hell, there’s even a member of the Dead who’s into opera! There are Deadheads who hold responsible positions in the legal, medical, electronics, educa.tion and other fields. There are Dead.heads who play tennis, live in fine homes, don’t smoke pot, and know what things like T-Bills and Capital Gains are all about. There are Deadheads who drive BMW’s, eat sushi and wear alligator shirts; hell, there’s even a member of the Dead who wears alligator shirts!

There are Deadheads who make their livings from creative pursuits more closely linked to the Index of Leading Economic Indicators than to the Deadheads’ own counter-economy of herbs, clothing jewelry and religious supplies. These people see the Dead as an inspiration for their own work. There are some rock writers — myself included — who have Grateful Dead t-shirts in our closets between the obligatory tweed jackets and still man.age to deal with other musics objectively. There are Deadhead actors, scientists, software designers, artists — even dentists and veterinarians — who function more or less normally most of the time. Hell, there’s even a member of the Dead who functions more or less normally most of the time! The Grateful Dead is everything to some people, and that’s probably as unfortunate as any other kind of obsession. But for most Deadheads, a concert is some.thing to help keep life from getting too dull or too serious — an escape valve and a bright spot on the calendar.

There’s more to it than just music,

obviously, but everything about the Deadhead phenomenon stems from the music, and it eventually comes back to that: never mind the giant videos and smoke bombs, man — just play the music. Aside from surface similarities, a Grateful Dead gig has very little in common with a typical rock concert. There are guitars, keyboards, drums, amplifiers and speakers, of course, but this is definitely a case of looks like a duck, walks like a duck, barks like a dog: no flash pots, no tortured castrati front men in an leather union suit shrieking breathlessly about how “It sure is good to be back in [local reference] again! You guys are the best audience on the tour!” What the Grateful Dead do is perform different songs from show to show (their active repertoire is nearly a hundred songs strong), and play each song differently from show to show. The stately pace of a Dead concert is more like baseball than the hyperactive, aggressive tempo of football or heavy metal. It’s music that suggests rather than insists, that asks rather than declares. This isn’t the kind of band that’d be satisfied putting on a pat, pre.pared show with all its peaks and lulls in place; this isn’t the kind of audience that would appreciate such an attitude.


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Red Rocks Amphitheater

Red Rocks
Amphitheater Exhibit

The Beginnings

On the Fourth of July in 1870, at a “Champagne March” to the expanse of ruddy sandstone monoliths, Judge Martin Van Buren Luther delivered a patriotic address, christening it as the Garden of the Angels. He also placed a curse on anyone attempting to change the name, but his pronouncement had no great effect. From that day forward, people called the area the Park of the Red Rocks, or, as it is now known, Red Rocks Amphitheatre.

Cosmopolitan Magazine editor and industrialist John Brisben Walker bought the 4,000 acres of land in May 1905. Walker began hyping the park, which he labeled Garden of the Titans to compete with the Garden of the Gods near Colorado Springs. The first recorded concert took place on Decoration Day (now Memorial Day), May 30, 1906.



“Elusive Butterfly” The event featured Pietro Satriano, one of Denver’s most popular bandleaders, performing on a crude wooden platform with a brass ensemble of 25 pieces. Walker soon built trails and a teahouse and an observation deck on Creation Rock. He staged vocal concerts among the huge rocks that flanked the site, and also designed and had constructed a funicular railway to ferry passengers up the 2,000 feet from Creation Rock to the top of Mt. Morrison.

Despite his enthusiasm and a decade of optimistic development, Walker’s fortunes eventually declined. In 1927, he sold a 1,100-acre tract to the City of Denver for $54,133.

When Mayor Ben Stapleton was elected, he appointed Denver native George Cranmer Manager of Improvements and Parks. Cranmer’s vision for Red Rocks as an amphitheater met opposition from Stapleton, who visualized the hillside as a rock garden. Eventually, Cranmer was given permission to pursue the project with a minimum of city funds. In the New Deal program of the Civilian Conservation Corps (CCC), Cranmer saw an opportunity both to provide employment and to keep down the costs of building a theater. On May 11, 1936, work started on the project, which was hazardous and expensive—a rough estimate of the total cost of labor and materials came in at well over $300,000, according to Edward Teyssier, superintendent of the job.

Architect Burnham Hoyt, a young Denver architect who had helped map out New York’s Radio City Music Hall, was employed to lay out a feasible seating plan for the Park of the Red Rocks. Devoted to enhancing the unique natural setting, Hoyt designed the venue to be tucked between the massive rocks. He attempted to blend the walkways and dressing rooms into the rocks as unobtrusively as possible. An orchestra pit built of stone fronted the stage; behind it, in full view of the audience, the lights of Denver would mark the horizon.

The project went smoothly, sometimes to the accompaniment of a cappella grand opera, as Cranmer brought a steady stream of artists in the park to test and retest the acoustics. The formal dedication of the new venue took place Sunday, June 15, 1941.

Civilian Conservation Corps & Red Rocks Amphitheatre

Four years into the Great Depression, funds were scarce, and something had to be done about the army of unemployed in Denver. The Civilian Conservation Corps (CCC) was one of President Franklin D. Roosevelt’s pet projects in pushing anti-Depression New Deal legislation. Congress authorized the CCC in 1933, shortly after FDR took office, and appropriated funds to create jobs all over the U.S. The plan was to recruit young men into an army of conservationists that would rescue the land, forest waters and build national, state, country and city parks and at the same time save the youths themselves. George Cranmer used his influence and persuasion to arrange help from the Works Progress Administration, to build access roads through the park. The CCC youths then undertook one of their largest projects—Red Rocks Amphitheatre.

By 1936, there were about 40 companies spread out across Colorado. On June 30, 1935, Company 1848 was transferred from Durango to Camp SP-13-C, Mt. Morrison to furnish manpower for the construction of the Amphitheatre in Red Rocks Park.

The “boys,” as enrollees were called, worked for $1 a day and room and board. They kept $5 a month and sent home the rest to help support their families. Day in and day out, the CCC veterans, stone masons and carpenters blew up the rocks, dug out the dirt, embedded the steel and then reshaped stone and concrete over it. They built the open-air venue—including a 1,260-square-foot stage, orchestra pit, dressing and control rooms, lighting system, a magnificent tiered seating area for more than 9,000 persons, and a huge parking lot—with little aid of steam shovels. Men worked mostly with picks and shovels. The difficulty of getting trucks and machinery up the winding and perilous roads made the work unavoidably slow. Muffled charges of dynamite and other blasting powder boomed through the valley daily.

Inductee Page



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Jazz Masters


Jazz Masters &

East High

Colorado has an incredible wealth of actors, artists, and musicians to call our own, and it’s astounding to see how many of them came out of East High School. Many of our Jazz Masters inductees attended East High. Philip Bailey, Larry Dunn, and Andrew Woolfolk of Earth, Wind & Fire all went to East High School, and so did Bill Frisell and Ron Miles, as well as prior inductees Judy Collins and Paul Whiteman.



While Philip Bailey was singing in the Youth Choir with future actress Pam Grier, future guitar great Bill Frisell was playing clarinet in the school band. A few years later, Ron Miles was playing trumpet in the East High Jazz Band with actor Don Cheadle on saxophone.

A long list of renowned East High alumni spanning many generations have all benefited from the remarkable music programs there.

The East High School Music Program is the very first recipient of the Barry Fey Visionary award presented to the school for making great music possible in Colorado. Jazz teacher Keith Oxman and choir program director Wil Taylor accepted the award.

Charles Burrell

Any story of jazz in Colorado must begin with Charles Burrell, also known as the Jackie Robinson of classical music. He was the first African-American to ever play in a symphony orchestra. He was also a brilliant jazz musician, playing with all of the luminaries of that time.



Charlie learned from some of the best, and he passed it on in so many ways, but most notably in tutoring his cousins George Duke, who became a world famous keyboard player and producer, Purnell Steen, also a well-known keyboard player, and his niece, the celebrated singer Dianne Reeves. Charles Burrell has had an enormous impact on music during his 97 years, especially on jazz in Colorado.

Charles Burrell received the Denver Mayor’s Award for Excellence in Arts & Culture, the Martin Luther King Jr. Humanitarian Award, and Congresswoman Diana DeGette led a tribute to him on the floor of the U.S. House of Representatives, referring to him as “a titan of the classical and jazz bass.” Congratulations to Charles Burrell and his induction to the Jazz Masters class of 2017.

Miles & Frisell

By the time Bill Frisell graduated East High School, he was already an incredible guitarist, and had begun working with some of the greats. Bill has held the number one Guitarist spot in the annual Downbeat Critics Poll for nine out of ten years. He has been named Guitarist of the Year 18 times, and he has won numerous Grammys for his work recording with Petra Haden, Tony Scherr, Kenny Wolleson and Ron Miles. Bill continues to collaborate with a wide range of artists and musicians,from Paul Simon to Vinicius Cantuaria. But his most lasting connection and collaboration has been with Denver’s own Ron Miles.



Ron Miles has played in many genres and styles of music with artists from all over the world… Yet there is something uniquely Colorado about the way he approaches all music equally.

Ron Miles has played in many genres and styles of music with artists from all over the world… Yet there is something uniquely Colorado about the way he approaches all music equally.

As much as Ron and Bill are both renowned for jazz playing, they both frequently cross musical boundaries into styles like folk, country music and Americana. It is fitting that these two were inducted into the Colorado Music Hall of Fame together in 2017.

Dianne Reeves

Denver native Dianne Reeves has achieved remarkable status as a vocalist in the jazz world. The unique timbre of her voice and the style and sensitivity she brings to her songs have made her an American treasure. Music was everywhere in Dianne’s family when she was growing up, and she honed her jazz chops with her cousin, George Duke, and her uncle, Charles Burrell.



Friends and family played a huge role in Dianne’s life. She moved to Los Angeles in 1976 at the suggestion of Earth, Wind & Fire’s Philip Bailey, and the two quickly rose to the top of their respective fields.

Ms. Reeves ranks among the top echelon of jazz singers, winning five Grammy Awards, two honorary doctorates, and numerous other awards. She sang with everyone from Stanley Turrentine to Harry Belafonte, and she was the featured singer in George Clooney’s film Good Night and Good Luck.

We are fortunate that she decided to move back to Colorado in the 1990s, and we treasure her for her elegance and evocative voice and the way she makes us feel as she explores and re-imagines jazz standards and new compositions. Congratulations to Dianne on being inducted into the Colorado Music Hall of Fame.

Earth, Wind & Fire

Certain songs will always remind you of particular moments in your life; like your first time you fell in love, or of a certain time and place, or a special event in your life. It’s a feeling that truly masterful musicians can create for us. But there is one funky group that seems to do this quite often. We are specifically talking about Colorado’s Earth, Wind & Fire – the local band gone global. It is the grounding that all these players have in jazz that has made Earth, Wind & Fire so enduring and expressive. Every time people hear these songs, they only love them more. Members Philp Bailey, Larry Dunn, and Andrew Woolfolk all attended East High School.



Larry Dunn was working clubs seven nights a week by the time he was 15, and he signed with Earth, Wind & Fire at the tender age of 17. Larry was already playing rock and jazz gigs and had a regular gig with local blues artist Sam Mayfield.

Andrew Woolfolk is a natural-born saxophone player who infuses every song with exquisite and adventurous playing. Philip Bailey’s four-octave range makes Earth, Wind & Fire’s songs unique, beautiful, and timeless.

Earth, Wind & Fire has taken us on an extraordinary musical journey for more than 40 years. They have used elements of jazz to create pop songs that have become a part of our lives, truly living up to the term “Jazz Masters.” Congratulations, Larry, Philip, and Andrew, for your induction into the Colorado Music Hall of Fame.

Jazz is alive and thriving well here in Colorado, and these artists are used to performing around the world, influencing genres from pop to rock and much more. We are incredibly proud to be able to present the first ever Jazz Masters “Class of 2017”: East High School Music Program, Charles Burrell, Bill Frisell, Ron Miles, Dianne Reeves, Larry Dunn, Philip Bailey, and Andrew Woolfolk.

Do you love and appreciate the history of music? Head over to the Colorado Music Hall of Fame, where you get to learn and enjoy the rich history of music in Colorado.

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Rocky Mountain Way

Rocky Mountain
Way Exhibit

Joe Walsh

Best know for what he called the. “National Anthem of Colorado” Joe Walsh came out of Cleveland and the success of his band The James Gang, with hits like “Funk #49” to Boulder, Colorado largely due to his friendship with Bill Szymczyk (the producer of many of the James Gang hits and later of the Eagles and J. Geils Band.



After moving into the mountains and living what he would call a “rustic lifestyle” Walsh formed Barnstorm in 1972 with Joe Vitale from Ohio who had played in the legendary Amboy Dukes (Ted Nugent’s band), and bassist Kenny Passarelli from southern Colorado. Their first “self titled” album, produced by Szymczyk, was the first album to come out of Jim Guercio’s new studio at Caribou Ranch. The “barn” was still not in full operation but Wash, Passarelli and Vitale had the freedom to create an entirely new sound that incorporated both the hard rock and the inventiveness of all three. Taking that sound on the road required more than the trio so they added Rockie Grace and Tom Stephenson (among others) for their touring dates.

It was their next album, “The Smoker You Drink The Player You Get, also recorded at Caribou with Bill Szymczyk serving as producer that gave the band their first hit (Top 10)and it sold over a million copies. The song “Meadows” charted but it was Wash’s anthem “Rocky Mountain Way,” (co-written by Passarelli) that would become not only an international hit but also an iconic homage to Joe’s love for the State and a song that rivaled John Denver’s “Rocky Mountain High” for best Colorado song ever written. As Walsh said in an interview with G Brown, “It’s the attitude and the statement. It’s a positive song, and it’s basic rock ‘n’ roll, which is what I really do well.”

In 1974, after the death of his young daughter in a car accident, Walsh continued in Colorado for a time, producing and recording with Dan Fogelberg, and in LA with various artists. Barnstorm officially broke up in 1975 and Walsh would go on to work with some of the most respected and talented artists in the business eventually joining the Eagles and working on the seminal “Hotel California” including co-writing credits on “Life In the Fast Lane.” Keny Passarelli is probably best known for his work with Elton John, Dan Fogelberg, and Hall & Oates and Joe Vitale continues to play with acts as diverse as Crosby, Stills & Nash and Peter Frampton.

Personal Life

Joe Walsh and Barnstorm created one of Colorado’s most iconic tribute songs and even though the trio’s tenure was relatively short, their impact and inventiveness propelled all three of their careers to heights that rivaled the peaks where the songs were recorded.

Inductee Page


Dan Fogelberg

The double album included four of his biggest hits: “Same Old Lang Syne”, “Hard to Say”, “Leader of the Band”, and “Run for the Roses”. He drew inspiration for The Innocent Age from Thomas Wolfe’s novel Of Time and the River. A 1982 greatest hits album contained two new songs, both of which were released as singles: “Missing You” and “Make Love Stay.” In 1984, he released the album Windows and Walls, containing the singles “The Language of Love” and “Believe in Me.”



Starting out in local bands playing rock n roll Fogelberg found his passion on acoustic guitar ands left his studies at the University of Illinois and headed for the West Coast, finding inspiration during a week in Colorado before moving on and securing a recording contract. For his second release, Souvenirs, Fogelberg enlisted producer Joe Walsh, who had recently recorded at Caribou Ranch near Nederland, Colorado, and “Part of the Plan” went to the top of the charts.

While touring through Colorado in the mid-1970s, Fogelberg bought a house from Chris Hillman, situated 9,000 feet up on top of the Rocky Mountains. His time there resulted in the songs on Nether Lands, a platinum seller. He recorded part of his next venture, Phoenix, in Colorado, and the songs “Heart Hotels” and “Longer” were pop hits. The Innocent Age, released in 1981, included four of his biggest singles—”Same Old Lang Syne,” “Hard To Say,” “Leader of the Band” and “Run For the Roses.”

In the mid 1980s Fogelberg built what would become

his ultimate home and recording studio in the San Juan mountains near Pagosa Springs, Colorado. After a weekend at the Telluride Bluegrass sitting with friends and bluegrass legends, Fogelberg recorded High Country Snows with some of his favorite acoustic pickers and that album became one of the best-selling bluegrass albums of all time. The Wild Places, released in 1990, was the first album he self-produced and mostly tracked at his Mountain Bird Ranch. His rendition of the Cascades’ 1963 hit, “Rhythm of the Rain,” peaked at No. 3 on the adult contemporary chart. Dan Fogelberg, like Jackson Brown and JD Souther understood that ‘hit songs” were often generational and the late 90s after an injury to his hand Fogelberg turned to performing solo and in varied acoustic settings. And then, in May, 2004, he was diagnosed with an advanced prostate cancer. He continued recording with friends and the help of skilled engineers like James Tuttle until he finally succumbed to the disease on December 16, 2007. He died at his home. He was only 56 years old. Fogelberg wrote “Sometimes a Song” for his wife Jean in 2005. She released the song on the Internet and all proceeds went to the Prostate Cancer Foundation. The song was released on Valentine’s Day 2008 and was also included on a CD released in September 2009 titled Love in Time.

Inductee Page


Caribou Ranch







Inductee Page


Do you love and appreciate the history of music? Head over to the Colorado Music Hall of Fame, where you get to learn and enjoy the rich history of music in Colorado.

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Judy Collins

Judy Collins,
Serendipity Singers,
Bob Lind, Chris Daniels Exhibit

Judy Collins exhibit features:

  • Dress worn by Judy Collins onstage in the early 1970s
  • Blue ribbon award from American Film Festival in New York City
  • Judy Collins albums in different formats: LP, 8-track, cassette and open reel
  • The Judy Collins Songbook (1969), containing autobiographical writings along with the sheet music



Serendipity Singers exhibit features:

  • Tickets for the group’s performances on Hootenanny and The Ed Sullivan Show; sheet music for the “Closing” sequence of the Hullabaloo show
  • Sheet music for the hit singles “Don’t Let the Rain Come Down (Crooked Little Man)” and “Beans in My Ears”
  • Program and song album
  • Crooked Little Man French EP

Bob Lind exhibit features:

  • Caricature of Kim King by artist Llloyd Kavich
  • Don’t Be Concerned LP; Band Box Studios demo; The Elusive Bob Lind LP
  • Hardcover edition of poetry book (1971)

Chris Daniels exhibit features:

  • Shirt worn by Chris Daniels at the 1976 Telluride Bluegrass Festival
  • NBN “R-2” guitar built in 1971
  • 1982 monthly planner


Do you love and appreciate the history of music? Head over to the Colorado Music Hall of Fame, where you get to learn and enjoy the rich history of music in Colorado.

Plan Your Visit

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Rockin the 60’s


Rockin’ the


The Colorado Music Hall of Fame honored the Astronauts, Sugarloaf, Flash Cadillac and KIMN radio at the Boulder Theater on Saturday, Sept. 8. The “Rockin’ the ‘60s” induction event featured video tributes, interviews with the inductees, celebrity speeches, and performances featuring inductees and guest members of popular Colorado bands (String Cheese Incident, Big Head Todd & the Monsters, Rose Hill Drive). The gala also included a historic array of exhibits and archival photographs.



The Astronauts

  • A matching stage suit was worn by Bob Demmon and the original bass drum head from Jim Gallagher’s custom set.
  • A marquee poster from Tulagi nightclub (c. 1962).
  • LPs, an early accounting ledger, and a promotional bumper sticker and pennant.
  • A Japanese print ad, singles chart and rare 45 with picture sleeve.


  • A family tree for the various incarnations of Sugarloaf and other Denver bands throughout the 1960s.
  • Signed LPs and 45s, sheet music and promotional photos

Flash Cadillac

  • A replica of Sam “Flash” McFadin’s signature Stratocaster and his aviator sunglasses, a replica of Warren “Butch” Knight’s gold record award for American Graffiti, Kris “Angelo” Moe’s stage jersey, original “Flash” Mick Manresa’s leather jacket, and a replica of Lynn “Spike” Phillips III’s infamous shark mask
  • Stills from the movies American Graffiti and Apocalypse Now, and television’s American Bandstand and the Happy Days set with Henry “The Fonz” Winkler
  • 45s and an eight-track tape

KIMN Radio

  • Photos of KIMN’s famous cinder-block studio
  • A sticker, stamps, photo and membership card of Pogo Poge, the leader of popular KIMN disc jockeys, plus KIMN weekly surveys featuring Hal “Baby” Moore and JayMack
  • KIMN compilations of 1960s hit songs
  • Vinyl 45s and KIMN weekly surveys highlighting local acts
  • KIMN’s “Dictionary of British Slang,” plus weekly surveys featuring local high schools


Do you love and appreciate the history of music? Head over to the Colorado Music Hall of Fame, where you get to learn and enjoy the rich history of music in Colorado.

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Barry Fey


Barry Fey,
the Family Dog

Family Dog was the center of Denver’s music universe…

Fresh from Chicago, 27-year-old Barry Fey moved to Denver in 1967 and began his career as one of rock music’s most prolific and successful promoters. After a trip to San Francisco’s Haight Ashbury District and witnessing 100,000 young people plus multiple musicians and bands gathered for “The Summer of Love” he saw the possibilities of introducing that cultural phenomenon to Denver. Fey contacted promoter and counter-culture figure Chet Helms to discuss bringing the scene to a recently closed nightspot which became the “Family Dog” at 1601 West Evans in south Denver.

Fey was the booking agent for the 2,500-seat concert hall, which opened on Sept. 8, 1967, with a show featuring Janis Joplin with Big Brother & The Holding Company as the first headliner, plus the heavy sounds of Blue Cheer. The Family Dog prospered, hosting the cornerstones of rock for ten months—the Grateful Dead, the Byrds, The Doors, Buffalo Springfield, Van Morrison, Canned Heat, Jefferson Airplane, Frank Zappa, Cream and more.

The club struggled to stay open, both financially and with mounting pressure from the Denver police, who disliked the idea of having a hippie haven in their city. Fey and his people were subjected to harassment and illegal searches. The Family Dog closed in July 1968, but for 10 short months, it was the center of Denver’s music universe!

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Fey established the city as a “must-play market”

By 1969, Fey had emerged as a grandiloquent character in the Colorado music scene. That June, he presented the three-day Denver Pop Festival, which became the last performance by the original Jimi Hendrix Experience. His company, Feyline promoted hundreds of top-grossing shows with world-renowned acts such as Pink Floyd, Led Zeppelin, Rolling Stones, The Who, Willie Nelson, Parliament Funkadelic and many more.

Denver, long regarded as a Rocky Mountain cow town and a blip on the music radar screen, suddenly mattered. Fey established the city as a “must-play” market!

In 1976, Fey initiated his signature “Summer of Stars” concert series at Red Rocks Amphitheatre, which made the outdoor venue the most desirable place in the world for every group to play. He also promoted the popular “Colorado Sun Day” concert series of stadium shows and opened the 1,400-seat Rainbow Music Hall.

For three consecutive years, Fey won Billboard magazine’s Concert Promoter of the Year award. He co-produced the “U2 Live At Red Rocks: Under A Blood Red Sky” concert film in 1983, a watershed moment in the Irish group’s history. He helped save the Denver Symphony and formed the Colorado Symphony Orchestra in 1989. After flirting with retirement in the late 1990s, Fey finally left the music-promotion business in 2004.

Sadly on April 28, 2013, Barry Fey took his own life and shocked the international music community and especially the city of Denver. Hundreds gathered to pay respects at the memorial honoring the legendary promoter. As William Dean Singleton, chairman & publisher of The Denver Post expressed, “He was one of the giants of a generation …He brought the music scene to Colorado, and every part of the Colorado music scene you see here today has his fingerprints on it.”

Barry Fey exhibit features:

  • Fey’s autographed Who and Rolling Stones guitars
  • Fey’s U2 Under a Blood Red Sky platinum album
  • The Family Dog concert schedule from 1967-1968

The exhibit also includes psychedelic posters and handbills used to promote shows at the Family Dog


Do you love and appreciate the history of music? Head over to the Colorado Music Hall of Fame, where you get to learn and enjoy the rich history of music in Colorado.

Plan Your Visit

Keep music history alive!
Donate to the Colorado Music Hall of Fame.