"And that, my friend, is how I get high."

 By Keith Hadad 

 

Color Green’s deeply mellow vibe embodies the very essence of Stoned Americana music. With influences ranging from JJ Cale, the Allman Brothers Band and the Grateful Dead to extended instrumental covers of 60s songs and hours-long recordings of thunder and rain on a tin roof, band mates Noah Kohll and Corey Madden are into some crazy shit. Keith Hadad of Record Crates United sat down with the boys for a rambling, wide-ranging, far-out chat. 

 

 

Keith Hadad: So first things first, what's your musical background? How long have you been playing and how did Color Green get started?

Corey Madden: We met in New York. We came from different worlds, but we met at a job and just vibed out on this band Acetone from the nineties. They're very, very, very mellow. I was playing in a straight-up rock band and Noah was in a bunch of indie bands. We both were into a mix of that stuff. We were like, It'd be cool to do that. Talked about it and just got into a room and were like, This works [mixing these two styles]. 

Noah Kohll: I started playing music when I was six. I'm from Omaha; there's a small music community there. So I got to be surrounded by a lot of cool bands coming through and playing with them. There was a local record store and I befriended all the guys and that really shaped and informed my musical taste. For a while, I was playing in a lot of indie-ish bands. I still am, but... I love rock and roll! I'm kind of obsessed with it. I think it’s really great to have Color Green. The way Corey and I work together, it's a really special harmonious thing, you know? It's great! 

CM: Both of us definitely came from DIY worlds in our own way. I started playing guitar as a kid and spent my entire teenage life in New Brunswick in my basement with my brother. Noah and I both have an understanding of the deep shit. I feel like that always has been a thing between us—we know the real world kind of shit.

NK: Yeah. We're dorks. We like records and—

CM: We just connect. We send music to each other all the time.

NK: What's the thing we're into right now, uh, the Balkan guitarist dude? [Branko Mataja].

NK: I just ordered it on Numero Group record. It's this guitar instrumental, kind of Ennio Morricone stuff. It's really, really good.

CM: Honestly, the most insane. It's amazing.

 

Color Green's Corey Madden (left) and Noah Kohll (right) 

 

 

KH: Oh man, that's so cool. I'm gonna have to look that up afterwards.

NK: We have this deep understanding for music and especially in the sense of the atmosphere. Because we work in a lot of different projects, it’s cool having Color Green as an umbrella so we can create this atmosphere around it. The vibe is always the first thing we go to. Like, that song that just came out, So Far Behind, I wrote it in a couple of different locations. When we were demo-ing it together, I was having trouble with the vocal take. I was like, What, what is this? How do I do this? Corey was like, Do the Color Green thing. When he said that, I was like, Oh yeah, that makes sense.

KH: On that note, you formed in 2018, how did your sound evolve from your inception to what we can hear on your first EP, which came out in 2020?

NK: Well, the EP that came out was recorded in 2018. We were in these transit periods—both living in New York. Corey was about to move to LA and we were, like, Let's do this before you leave. Then we just sat on it for a little bit, not necessarily knowing what to do with it. Then the pandemic hit while I was on tour with Young Guv, and we were driving from Dallas to Omaha. On that drive, I played them the EP and they were like, What are you doing with this? Tony wanted to put it out on the label. So that's when everything kind of clicked, and Corey and I were like, Oh shit, this should be an actual, real thing. 

CM: Once we got into a room, Noah was sitting on drums and I was playing guitar, and we fleshed out the song Night. Within three hours, we were like, Alright, this is a fucking thing. Then we jammed maybe just two times. Noah was living in a house that was around the corner from my house, and it had kind of a makeshift basement studio. We just fleshed out the EP. It kind of just happened—I had a song, he had a song. We just jammed shit out.

NK: I remember too, when we were making it, we recorded on a Tascam PortaStudio. I've had that thing since I was like a freshman in high school, and it's a bit of a process to use. I think we were both going through breakups at the time, and I was just not down to be thinking about it. So I was in the studio, trying to make stuff, you know? And I remember we were trying to get the right drum sound.

CM: That was a thing...

NK: It took a second and then when we got it. Corey was like, Don't touch anything! I like how those drums sound.

CM: I love how the drums sound.

NK: The drums on the EP are two mics, you know? I think it's actually just one overhead mic.

CM: I mean, the whole EP is a tiny Fender amp, the drum rig that Noah put up.

NK: Direct in. I was sitting cross-legged with a phaser pedal plugged directly into the tape, the headphones on and just playing the bass cross-legged. I think we were doing some sort of substances as well. I remember I had a sad corner and the sad corner had like—

CM: The sad corner was this weird outside little alley... I don't even, what was it? It was like a backyard?

NK: It was a New York backyard, but there was, like, weed, whiskey and other stuff. I was like, This is where we go when we're sad.

KH: [laughs] Everybody needs a sad corner.

NK: That's right.

KH: The warm kind of lo-fi analogue sound and the roughened aesthetic of the cover of the release together make the record feel like a sought-after private press cosmic American music LP from the 70s. Was that the intention, or did it just turn out sounding that way and you're like, Hey, let's go with it?

NK: I think we like that kind of music, and it's definitely an influence, but the sound of it is just how it was. We weren't trying to go for that [sound] necessarily. We never really talked about how it was gonna sound, it just ended up sounding like that. That's what our song writing sounds like. It just kind of naturally happened to be like that. I remember I was working with the designer for the tape, and I wanted the album cover to look like what the music sounded like. I remember describing it to him. I was like, Let's make it look worn. Like you found this in your dad's attic, you know? 

CM: The EP was definitely not a thought out thing. I mean, we had what we had and we did what we did. But I think the record captures where we both were at that moment. And everything else just fell in line, if that makes sense? It was very natural. It's not all overthinking, you know? We just did it.

KH: That's the best. That's how music should be. So from out of that world of private press cosmic American music, who do you love and who would you call an influence?

CM: The list is, like, forever. The list is so long.

NK: Do you know that compilation, Fading Yellow at all?

KH: Actually, I don't think I know that one.

NK: It's not cosmic American music. It's, like, late sixties psych music, private press. And there's this song by this guy, John Williams called Flowers in Your Hair. I remember when I was out in New Mexico, I was listening to that a bunch. Obviously there’s more. I don't even know where to begin with all that stuff.

CM: Honestly, for me, for stripped down stuff, wouldn't even be that kind of country stuff. It's like the 39 Clocks, kinda like... so fucking stripped down barbaric kind of shit. 

NK: We also vibe super hard on the basic things—we both love Pink Floyd. We love JJ Cale. We love the Allman Brothers. I love the Grateful Dead, The Byrds, Gene Clark. Like all that kind of stuff is what we are all obsessed with. The cool thing about those bands is that they're kind of endless in supply of new shit you can listen to, from live records to demos. It's funny that the EP has this cosmic American feel to it. But I only think that it sounds like cosmic American music because our friend Catfish played pedal steel on it.

I think that ultimately Color Green is infinite in what we can sound like. Stuff that we're working on now and the stuff that's on the LP... it's just a rock and roll band. We can be whatever we want to be within that. Like, even that newest song, High and Low, sounds like nothing compared to what the EP sounded like. Writing that song was crazy and recording it, too. Our friends, Gracie Jackson and Shelby Jacobson, and Corey's girlfriend, Sophia [Arreguin], sang on it. When we were in the studio having them sing, I felt like I was in Stax Records or something like that. I think I shed a tear [laughs].

CM: The band can change. For me at least, and I think for Noah too, it's gotta be open. We can change everything. The core is always a guitar band that grooves, you know?

 

 

 

KH: Yeah you definitely never want to pigeonhole yourself and just be stuck in the same sound for too long. I really appreciate that. So you mentioned the Grateful Dead and it's no secret that Jerry Garcia and the Dead were big influences, so I want to talk real quick about your history with their music. 

CM: Before anything is said, I will bow out from this conversation. I'm Skydog, and Noah is with Jerry.

NK: The way we talk about it is, Corey's the Allman Brothers guy, and I bring the Dead influence. 

CM: I will say before Noah goes on with whatever he is about to say, I literally fucking hated this band for so long. The only person who actually could get me into some of their stuff was Noah. I have made a turn. There are songs that I like. I don't hate the band, but this is a Noah question for sure.

NK: So when I was growing up, my mom's ex-husband, Bob, was a huge Deadhead, and he ran an underground newspaper in Berkeley. He was a really interesting guy, and he would listen to American Beauty all the time. I grew really attached to it. When I started playing guitar, my biggest influences were Angus Young and Jerry Garcia. They were my main influences when I was six. I'm still the same. I love Hendrix. I love the Dead. I love Bob Marley. I haven't changed a bit. Once I started getting into punk music and stuff in high school, I was like, Fuck the Dead! I was in this kind of classic reversal, teenage angst sort of thing. Then I went to the New School in New York City and I studied ethnomusicology, and I started getting really into all the Lomax archive stuff. I was specifically focusing on banjo music. I started getting obsessed with 60s subculture. Then I realized that the Grateful Dead were like the ethnomusicologist's wet dream. They're literally a survey of American music, and I'm obsessed with American music. So I dove back in super hard. I think for three years straight, I listened to a live show every day. I got to understand the language of it. I can literally now hear a show and be like, That's from 1978 in the spring. I got really tapped into it. I still listen to the Dead a lot, for sure, but I'm not quite as insane about it as I was. It’s definitely a huge part of my musical identity.

KH: Wow! That's cool. I kind of went through a similar trajectory. I really loved them in high school. Once I went to college, though, I actually went to Ithaca for College, which would've been the best place to listen to them, but by that point I started to go more towards music like The Stooges and Krautrock and Hawkwind, and I was like, Oh yeah, the Dead are okay. 

[editor’s note: fear not dear reader, Keith got back onto the Dead bus again after college]

CM: Right on! You made the right call. You know, all that shit, like The Stooges, is in there when we play. All that shit you don't think you would hear. You'd never be like, Oh, these fools are into The Stooges or anything like that. But that's all in there. It's under that shit.

NK: Love that! I just got this. [holds up Träd Gräs och Stenar's Mors Mors LP]

KH: Oh, I love that album!

NK: It's so fucking so good. I saw them live once in New York. Oh, and Homeboy, the lead guitarist. I think he's in that—what's that other band out of Sweden?

KH: Oh yeah, Dungen.

NK: Yeah, that guy. [Reine Fiske] I've never seen a person play guitar like that guy. That guy is... 

CM: He's off his rocker. He is amazing!

KH: That guy is wild. If only every jam band could sound like that, you know?

NK: On this one, they do a Rolling Stones cover into a Knocking on Heaven's Door instrumental. It is so cool. I fuck with this really hard.

KH: That's so cool. I got that whole box set. Now, I don't own many box sets, but once that came out, I was like, I need this. I may not be able to eat for a month, but hey, it's worth it.

CM: [laughs] Yeah.

KH: I had a few more questions involving the Dead, but I think you kind of answered them. So I'll just skip those.

CM: I can go to the bathroom if you guys wanna talk about it.

KH: [laughs] Understandable! Do you listen to any of their shows on the Relisten app at all? Out of curiosity. 

NK: I got it right here, man! [lifts up his phone with the Relisten app open]

KH: There we go!

CM: Noah actually put me onto that and I went down the k-hole with all the Warren Zevon stuff, which was really cool. 

NK: They have a bunch of Little Feat live shows too. I mostly use it for the Dead, but you know, I'll spiral. 

CM: I think Noah and I were driving around. I was trying to buy a fucking car or something in New York and Noah was nice enough to drive me around in his van. He was doing the Relisten '74. At a certain point, I was like, Anything fucking else, dude? I can't listen to another ‘73 Althea or whatever. 

NK: Then we listened to James Brown. 

CM: But there's like, what? Like one million Dead shows on that thing?

KH: You literally have it all. It's wild. Garcia Peoples are on that app now, too. So that's been one of my favourite things to dig through. Hopefully Ryley Walker will be on there soon.

NK: Maybe Color Green will be on there.

 

 Photo: Tessa Binder

 

 

KH: That would be great! Do you encourage taping?

NK: Yeah!

CM: Hell yeah, dude! Honestly, side note on being into that—every show we play is always different. It'll have a song list, obviously, but... I think Noah and I are on the same page. I personally love that every show is different. I hate stale, you know? To be totally honest with you, I saw ZZ Top in the desert two nights ago, and I've seen them play the same set for like five years. I still love it, but you're like, Alright, dude, the same is a little tired after a while. So the Relisten thing is sick because you always can get into a rabbit hole of different shit.

NK: Improvisation is a huge part of playing music for both of us. We also love jazz music. It's once again the whole thought of doing this band as a continuation of American music and exploring those realms. We literally are listening to everything, and pulling from everything, from like Furry Lewis all the way back to like—I was just listening to some weird Tin Pan Alley stuff from the twenties, you know? It's weird. I got this tape from my friend Adam in Academy Records recently, of some Moroccan Sufi mystical music group. And I've just been driving around listening to that. That’s in there. It’s everything.

KH: I love that kinda stuff. That's awesome. I know you travelled around while the EP was being recorded. Do you feel that the nomadic spirit helped to shape the mood of the music? I know you were saying that things like breakups kind of peppered themselves in there. 

NK: Absolutely!

CM: Noah is always on the road, but [listening to] music for me, it's gotta be driving music. It's shit that bumps at fucking 1:00 AM wherever the fuck you are in the city. It's gotta be driving music because that is where I truly latch on to music. And I feel like the travelling spirit is what this fucking band is.

NK: It's not inauthentic at all. I literally am only home maybe like a hundred days out of the year or less. I think that it’s undeniably unavoidable to have that spirit in the music that we're making because the music we're making is a genuine, true reflection of who we are. You know what I mean?

Obviously we have our own facades and we have our own defence mechanisms and stuff like that, but the cool thing about music and making music is being able to communicate your true self within it. You know, whatever your true self is. 

CM: It's gotta be an extension of you, right? Honestly, I think we never actually talked about this, but I feel like between Noah and I, it has to be natural. It's gotta be real or it's not an extension of who you are and the life you're living. It'll just naturally show like anything else you do in your life, you know? The song you wrote in a fucking van on the side of the road is the one, you know?

NK: Yeah. I think people who know about the band and the music, they can see that and they can tell. I really believe in Color Green, and I know Corey does too. It's really cool that you are interested in it, because there isn't any… I’m not seeing this as like a stars-in-the-eyes opportunity. I'm seeing it as a real way of communicating the artistic expression of myself and the artistic expression of Corey, you know?

 

 

 

KH: That’s great. While writing these questions, I really wanted to ask about this music being the perfect driving music, because it truly is. And I was like, Am I projecting, is that just my own perception, though? Every single song you guys have recorded is like, I could just picture myself driving through a desert to this.

CM: That's the thing. That just made my entire day, dude. That's literally the fucking goal of anything with music. I think if that's not in the back of your head when you're writing tunes and shit, then, I dunno, man. That's the vibe, man. 

NK: That's the vibe!

CM: You got it. It's gotta be cruising.

KH: I could even picture the dirt on the windshield when I listen to this stuff.

CM: Dude!

NK: That's deep.

CM: Yes. Hell yeah, man. Thank you.

KH: Hell yeah. Some weed ash on the dashboard.

CM: Twenty tickets on your windshield. [laughs] 

NK: You've got 20 tickets on your windshield and you're looking for a spot to buy a little thing of propane to fill up your little camper stove.

KH: That's exactly it. 

NK: And you're lost.

CM: And you're lost on top of that.

KH: [laughs] That's right! So your most recent releases, the two singles So Far Behind and High and Low are a bit more polished with a more fleshed-out sound. Especially High and Low with that skyrocketing backing vocals. You were kind of touching on this before, but what led you to go in that specific direction? 

NK: I think it was just the natural progression of things. We want to make stuff that sounds good. I love good production and stuff like that. Moving out to LA, we have some good friends that are incredible engineers, total heads that really know how to do this. It wasn't necessarily like we were thinking, Oh, we gotta make these recordings sound different or sound better. I think it was just like, Let's do these songs with our friends. We know it's gonna sound good. It's all about utilizing and working with people that we are close to you. That's always been the Color Green thing. The EP features really close friends of ours, and the LP that's coming out features a lot of close friends. So do those two new singles. It's just a continuation. It's like breathing fresh air into it, while still having at the core of it, the base of the band. There's still an atmospheric roomy vibe that exists, you know, it's just a little bit more.

 

 

 

 

 

KH: Hearing High and Low, you're reminded of Little Feat, JJ Cale and even Skynyrd’s backup singers. This deeply mellow vibe fits within the realm of what I’d call Stoned Americana music. So I’m just curious, what specific bands do you prefer to listen to the most while smoking? Like, if you're just gonna hang out at home and light up, who would be some of your go-to bands?

NK: Corey's got playlists for when we're getting fucked up. He plays some crazy shit, but lately, I like getting stoned at night in my bed and just kind of chilling out. I've been listening to this live Herbie Hancock record of solo piano in Japan. I think it's called Heritage or something like that. The guitarist of Acetone had this little weird instrumental side project after Acetone broke up called the Dick Slessig Combo and they did these instrumental songs of songs that we've known. The one that I've been really digging lately is a cover of Wichita Lineman, that is 40 minutes long, and it is a beautiful piece. Then after finding that, there's this guy on Bandcamp out of London that I've been really digging lately: Tuluum Shimmering.

KH: Oh yeah! That guy is amazing!

NK: He does crazy things! The most recent one he put out was him doing Cinnamon Girl that's 30 minutes long. There's one where he plays a Byrds song for like an hour. Lately, I've been really into this kind of atmospheric, played-out long kind of repetitive, but trance-y tunes. Plus solo piano music and Träd Gräs, that kind of very vibe-y, wild, slow, but long things, you know? 

Obviously another band I listen to stoned is the Grateful Dead. Listening to a live Grateful Dead set in headphones stoned is like some of the most insane shit ever. Especially when you're in that period when you're stoned and about to fall asleep. There's this weird moment that happens where you're in this weird kind of limbo zone of lucidness. I've had experiences where I'm like passing out on a 1973 Playing in the Band, and I'm like 24 minutes into it and I don't know what the fuck is going on. I'm just hearing the craziest shit. Then I pass out. That's where the real magic is right there.

 

 

 

KH: I hear that. I do the same.

CM: For me, the sweet spot of late nights is to smoke something and maybe take some mushrooms or some shit. I’ll ride out a bunch of Kevin Ayers that is wacky and shit. Then you segue that into like three John Fahey records. Then you segue that into YouTube, black video with thunder and rain sounds. You make that all one motion. So when you’re in that lucid state, it transfers over to just rain. And that, my friend, is how I get high.

NK: Dude, I didn't know you did that!

CM: Dude, if you go on my YouTube on the TV at my house, all the recommended videos are like 15 hours of thunder and rain. Thunder and rain on a tin roof, specifically.

KH: Hey, that sounds great!

CM: That is my shit. 

NK: That's fucking amazing!

KH: So it sounds like one of your albums should end with, like, 10 minutes of just field recordings.

CM: I would love it. Yeah, I would love the rain, dude. The rain is the best thing.

NK: We're right in the process of talking about and demo-ing the second record. So there's a lot of ideas floating around, but I think it's gonna be really cool.

 

 Photo: Tessa Binder 

 

 

KH: That leads us to the next record, your first full-length. What were some of the biggest challenges and highlights for you during the recording process?

NK: When we were making the record, I was sober and— 

CM: Oh yeah, that whole week, Noah was sober.

NK: I was sober for like three months. I was also in a weird transition period during that time. I had just moved to LA from New Mexico and was settling in. Honestly, the hardest part about recording the record was getting up to record it because we kept having dates and then someone would get COVID. Then we'd have to cancel it. We wanted to do it live with the band. So we had to reschedule and push it and push it. For a second, it felt like it wasn't gonna happen. Eventually, we got to it and there were some road bumps on the way. When we actually got to the studio, we worked with our friend, Johnny Cosmo, who's an amazing songwriter and engineer, and has an amazing… 

CM: He's playing in the band now.

NK: Yeah. He's in our band now. He plays keyboards in our band. That was the highlight, just being able to be there and have people come in. I think my biggest highlight during those recording sessions was Tim Ramsey. He's the pedal steel player from Vetiver. I remember I sent him the songs like a day or two before he came in. I had the chord charts and I remember sitting with him and we had our headphones in. I was in a live room with him, and I was conducting him through the song. That was so cool. To be able to communicate with this pedal steel player to conduct him through this piece of music that Corey and I wrote. Those kind of moments, doing that kind of work, it makes me feel I'm in the same zone and headspace as people that I look up to. My idols, you know? It feels like I'm an actualized version of myself. Being in the studio is, I think, just as good as playing a live show, but the feeling is all day, versus just 30 minutes.

CM: The point [when you’re] in a studio when you're at an eight-hour day and you're hitting a moment where your brain is kind of gone. So the moments where you bring in, like, Tim playing steel or our buddy Gabe who played saxophone on a song, somebody who's adding some texture to the record. Then you're like, Oh, a new sound, a new person, a new thing that kind of breaks this moment where you're about to be, like, Maybe we need to go home. Then it opens up a whole new door, going down a whole new road. Otherwise the studio, making the whole [record] was just beautiful.

CM: I'd actually say the biggest nightmare at Johnny's studio is a thing called The Hole.

NK: Oh, The Hole. I had to go back into The Hole sometimes. And it wasn't good.

CM: The Hole is...The Hole is not where you wanna be ever. Yeah. [laughs]

KH: What exactly was it? Was it like a vocal booth?

NK: It's The Hole! It's behind the recording console and sometimes we had to go back there to do some stuff, and it was just scary back there. We hated going back there.

CM: It's not where you wanna be. 

NK: No, it’s not where you wanna be. [laughs]

CM: You come out of The Hole very different.

KH: Oh God! Wow! Yeah, it sounds like somewhere Captain Beefheart would have sent his band members when they didn't play what he wanted.

CM: Yes. Actually one of the songs on the playlist we're gonna send you is, I think, a Mississippi Fred McDowell song, but it was hipped to me because that's what it was. Beefheart had locked one of the guitar players in a closet and was like, Listen! And I think he forced him to listen to this song, Red Cross Store. He forced the guitar player to be locked in a closet. It was like, This is how I want the guitar to be. And made this guy listen to this one song for hours in a closet. Like psychotic shit.

KH: Oh God! Yeah. I love Beefheart, but… holy shit [laughs]! 

CM: He's a trip.

KH: That's crazy. So did you guys get to play much live as a band before the pandemic? 

NK: We played one show under a different name in Joshua Tree, on Halloween in 2019. It was weird.   

CM: It was weird. It was a Joshua Tree show.

NK: Yeah. But other than that, no.

 

 

 

KH: What's the ratio of songs to jams? 

CM: There's a set, you know? Then there are moments that are like eye contact that are just, like, go off until you're ready to come out. There's mostly structure, but there are moments that we both need it to be, like, Fuck structure right now. Like, yeah go off, but it’s all under the umbrella of a structure. 

NK: I think that's how it kind of works, you know? It would be further down the line as we get more comfortable with playing live, like having more jammy things within it. There are jam parts written in the songs themselves. We have these inner instrumental sections that we're always like, Let's elongate this live. Another cool thing about our live set is that I feel like every time we play live, we always have new ideas for the next set. I think me and Corey were talking about doing this thing where there's that song Ain't it Sad, on the LP that we kind of borrowed the Going Down line from JJ Cale, and we were talking about actually just going into that song, while doing it live. Fun stuff like that.

CM: You know, playing music is supposed to be fucking fun. You need to have the room to do what you wanna do. Hit a wrong note. Or, I mean, don't hit a wrong note, but go off and have fun. We've been doing this thing with the song Night, where we kind of... I feel like that song will always end differently. It can be distortion feedback, with a wild delay pedal, or it could be mellow and really beautiful. That song specifically will always be different every time.

NK: Night is cool because we always have different ideas of how we can go about it. We're about to go on tour for four days with Young Guv. So it's gonna be cool to test out all the different ideas.

KH: I was about to ask if you had any tours coming up that you could talk about.

NK: We have this small run that's like three or four days. Then we're gonna take some time off and start working on the second LP. Hopefully, we'll have that finished by May. At the end of May, we're booking a very DIY-like West Coast two-week run. Then we'll probably do another run in July when the record comes out.

KH: Awesome! With this new record, you have so many other instruments involved, like at one point there's a saxophone in there. Will the live band feature these other instruments, or is it gonna be more slimmed down?

NK: I would like it to, but, you know, it's one of those things where that song with the saxophone, I can really see us jamming out that ending.

CM: I think with that kind of stuff, it'll be like hometown shows. We can really bring on a bunch of stuff that we can have fun with, you know? It could be a nightmare. I mean, we're already like a six-person band...

NK: That's another interesting and, I think, cool thing about Color Green—it's literally just me and Corey. Sometimes it feels like a less pretentious Becker/Fagan duo or something like that. There are definitely rotating members. I myself like that because I feel different people breathe fresh air into the music.

CM: It's cool because there's the band when we're in LA and we’ve got the sax, we’ve got the pedal steel, or we can be in a bar and it's just Noah and me playing acoustic guitars. It could be anything, which is truly the freedom that every musician wants.

 

More about Color Green here

Follow Color Green on Instagram at: @colorgreen

 

Listen on Spotify 

Lost on a desert highway, weed ash on the dashboard, 20 tickets on the windshield. Listen to our Color Green-curated "How I get High" Mix on Spotify. 

 

 

About the Author

Keith Hadad is the creator and author of the Record Crates United blog. His work has appeared in The Terrascopædia, Elmore Magazine, TheWaster.com, and a multitude of other web and print publications. He hosts RCU’s webradio show, The Record Crates United Mixtape, on Dunebuggyradio.com every other Thursday evening. You can follow him on Instagram @Recordcratesunited, on Twitter @RecordcratesUTD and on Facebook at @RecordCratesUnited. He lives in New Jersey with his wife Sarah and dog Miles.

 

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