photo Buko photo Gustavo Rapoport

Page 2 - TWO LOUIES, June 2004 PART 1: Introduction photo Gustavo Rapoport Skate, D [Division] Street in outer Southeast and ow in the world could anyone Th e Chase, in Milwaukie. It was at the Chase where 1974, quickly rose to regional prominence. Over write about Portland bands for owner Ken Chase (KISN radio Program Director the next ten years they were to record seven albums, so long?” is probably the most and entrepreneur), their manager, fi rst contracted releasing a single that rose to #5 in the charts. frequently“H asked question I have encountered the Kingsmen (who were the house band at the club Leader Marlon McLain soon acquired a reputa- over the past twenty-fi ve years, when confronted and went so far as to make a live recording there) tion as a world-class producer, which resulted in by a member of the local community at large, to record “Louie Louie.” his working with some of the biggest names in the upon learning of my mostly ulterior identity as With the lift ing of OLCC restrictions, rock business, a position he still maintains to this day. a long-time local music “critic.” My shocking clubs, serving beer and wine, soon sprang up Pleasure’s early success blazed the path for the many reply is always the same. It’s been surprisingly everywhere across Portland. Popular spots of bands that followed. easy! It would be diffi cult, if not impossible for a the day were clubs such as the Refectory and Probably the most seminal rock band of that local music novitiate, staring squarely at the third Frankenstein’s; and later, Jekyll & Hyde’s and the early era was Sleazy Pieces, a band with a crazy millennium AD, to envision the scene that was Inferno. Th ey off ered all varieties of popular music amalgam of infl uences, made manifest by several thriving in Portland back in 1970‘s. It was nearly to an ever mounting throng of hip, young patrons; of its many component parts: lead singer Earl unrecognizable by today’s standards. increasingly with an emphasis on dance music over Benson, whose esoterically bohemian blend of Th e state was fresh from an edict handed listening music (which had been the stock and off -kilter Beat poetry and goosey, operatic vocals down by the OLCC in 1972 that, at last, permitted trade of bands back in the coff eehouse days). would have been at home with Frank Zappa; gui- the unholy admixture of live music, performed by Liberal attitudes toward drinking and drugs, tarist Steve Bradley, whose name will ever remain real, living human beings, to be played in Oregon and few harmful socially-transmitted diseases, legend among the annals of prominently regnant taverns. Th at was a luxury which, in the ’60s, was helped to promote an atmosphere of “never-ending local musicians; and drummer Johnny Koonce, aff orded only to hard-liquor “dinner clubs,” such as party,” which culminated in the hedonistic excess whom eventually stepped out from his kit to form jazz pianist Sidney Porter’s memorable Sidney’s club espoused during the height of the disco era of the Johnny and the Distractions. in Northwest Portland. Th e alternatives had always late ’70s. By the end of 1979, as both Two Louies The Pieces formed in 1971 with Benson, been non-alcoholic venues: folk coff eehouses such and I were being initiated into this loopy landscape, Bradley, rhythm guitarist Billy Bob Wyatt, Richard as the Psychedelic Supermarket and the Folksinger musical territories had been defi ned and staked Englund on bass and a fellow named “Alaska” on in Southwest and the 9th Street Exit (which was out and there were fi fedoms in every corner of the drums. Bradley was already a local legend, originally located in the same Salazar Building, the land. even in 1971, having played in such prominent which eventually became La Luna) in Southeast; Th e funk band Pleasure had already gone local bands as the Firemen and U.S Cadenza in the or teeny-bopper “pop” hangouts such as the Silver national. Pleasure, who started out in Portland in Continued on page 7

TWO LOUIES, June 2004 - Page 3 une 22nd KISS returns to Portland in the Clark County Amphitheater. Why am I writing about it and what makes this such a momentous occasion you may ask? Well its all because of Portland’s own Tommy Th ayer, KISS’s newest guitarist. My fi rst interview with Tommy was aft er he arrived back from Germany, where Black’n Blue recorded their fi rst Geff en Album. Now 20 years later I had the opportunity to askJ Tommy about his new job with KISS. So the fi rst question I asked had to be: Q. How did you become the new guitarist? Can you talk about what led up to you being chosen. “There was no audition, no long decisions, it was almost A. Th ere was no audition, no long decisions, it was almost like nobody told me. KISS was readying to play a concert in Jamaica back in like nobody told me. KISS was readying to play a concert February 2002 and Doc McGhee (KISS manager) called and said to get ready for the trip etc.., Oh and by the way, Ace has decided not to go, in Jamaica back in February 2002 and Doc McGhee (KISS so you’re playing guitar. So that’s how it went, I was actually fi lling in for an absent Ace for the fi rst two or three things. By the time we left for manager) called and said to get ready for the trip etc.., Australia in February 2003 for the monumental KISS Symphony show in Melbourne, I was offi cally on board. Q. How does it feel coming back to Portland and playing as a member of Kiss? Oh and by the way, Ace has decided not to go, so you’re A. It’s incredible, not bad for a geeky kid from Beaverton. Believe it or not, KISS was one of the earlier bands I saw live in concert when playing guitar.” I fi rst started venturing out to the Paramount Th eatre and the old Memorial Coliseum in the early to mid-70s. KISS was the opening act once for Savoy Brown and another time for a band called Ballin’ Jack at the Paramount. I used to stand outside in line with every other kid out there freezing my ass off anticipating the rock & roll magic that we couldn’t wait to witness inside, it was a magical time those days. I never would have imagined that I would be able to do all the things I’ve been fortunate enough to experience playing guitar. Coming back now to play in Portland as a member of KISS is mindboggling to say the least. Continued on page 29

Page 4 - TWO LOUIES, June 2004 MANAGEMENT DEALS: important aspects of management contracts, there are contract expires, the manager will continue to receive THE BASIC DEAL POINTS several aspects which are particularly important: (1) income from deals which had been entered into during Th e future duration of the artist-manager relationship; the term of the management contract. If, for example, You wonder about people who made [and (2) Th e manager’s compensation; and (3) If the “artist” the artist and the manager have signed a three-year lost] a fortune, and you always think they drank is a band, then the possibility of personnel changes in management contract, and then sometime during that it up or stuck it up their nose. Th at’s not usually the band. three years the artist signs a fi ve-year recording contract what brings on the decline. It’s usually the battle 1. Future Duration of the Artist-Manager with a record company, the manager will normally be to keep your creative child alive while keeping Relationship. Management contracts generally have entitled to receive a certain specifi ed share of the future your business shark alive. You have to develop an initial term of one to two years, and oft en give the record royalties even aft er the three-year management cunning and shrewdness, and other things that manager the option to renew the contract once a year contract has ended. (Th ese are commonly referred to are not well-suited to the arts. for several more years aft er the initial one or two-year as “tail-out” commissions.) --Joni Mitchell term expires. By the same token, most management contracts also provide that the manager’s percentage share of such income will be reduced aft er the management contract ends, and/or that there will be an outside time limit aft er which the manager is no longer entitled to share in the artist’s income. For example, the artist and manager might agree, among other things, that the manager will receive a share of the artist’s income and royalties for only one or two years aft er the expiration of the management contract, even though the artist’s eeping one’s “creative child” side and “busi- Before an artist and manager enter into a man- recording contract may be generating royalties for ness shark” side alive at the same time is a agement contract, they should carefully evaluate and years aft er that. hard job for anyone, whether a successful discuss their expectations of each other. Th eir man- 3. Personnel Changes. If the “artist” is a band, artist Kliving in a pressure cooker type of environment, agement contract should take into consideration their the management contract should anticipate the likeli- or a struggling new artist facing all of the frustrations expectations and should contain provisions allowing hood of personnel changes in the band. For example, of trying to get established in the music industry. an early termination of the management contract if will the contract give the manager the right to manage A solid manager can greatly help an artist to bal- the parties’ respective expectations are not met. Oft en, the careers of any departing members aft er they leave ance, in a healthy way, the artist’s creative needs with for example, management agreements provide that if the band? And will the addition of new members the artist’s business needs, not to mention the many a record deal is not obtained within a certain period to the band require the approval of the manager, as other valuable services a good manager performs. of time, or if the artist does not earn a certain amount some management contracts provide? Th ese types of Yet, the artist-manager relationship is fraught with of income each year, the artist will have the right to potential problems need to be covered thoroughly by many potential problems for an artist, since there are terminate the management contract. the management contract. many ways in which an incompetent or dishonest A manager’s compensation is typically based manager can sabotage an artist’s career, intentionally on a percentage commission of the artist’s earnings. CONCLUSION or unintentionally. Th erefore a prospective manager will oft en push for a Management contracts can be exceedingly When choosing a manager, an artist should evalu- long-term management contract, so that the manager complex, due in large part to the complexity of the ate the prospective manager’s knowledge of (and con- can participate in the artist’s income for as long as pos- music business itself. Yet a carefully draft ed contract nections in) the music business, the manager’s personal sible. Th e artist, on the other hand, may not want to get will substantially reduce the likelihood of future compatibility with the artist, and the amount of time locked into a long-term relationship with a manager, misunderstandings and disputes between the artist the prospective manager will be able to devote to the particularlyparticularly ifif thethe artistartist doesdoes notnot knowknow howhow compatiblecompatible andand manager.manager. artist. It is also important to check out the prospective “Managers usually receive in the range of fi fteen to twenty manager’s background. After the artist and the prospective manager percent of the artist’s gross income. This manager’s commission have decided that they want to have an artist-manager is separate from, and in addition to, the commissions paid relationship, they (or their attorneys) should then to booking agencies for booking shows.” discuss and negotiate the specifi c terms of their future relationship, such as how long their relationship is to thethe artistartist willwill bebe withwith thethe manager,manager, oror if thethe artistartist isis notnot Editor’sEditor’s Note:Note: BartBart DayDay isis a Portland-basedPortland-based enter-enter- last, what the manager’s compensation will be, and what sure how much the manager will be able to contribute tainment attorney in private practice. He is also VP of the manager’s specifi c responsibilities will be. to the artist’s career. Business and Legal Aff airs for Media Creature Music, a Th e outcome of these negotiations will be greatly 2. Manager’s Compensation. Managers usually Los Angeles music publisher and catalog administration aff ected by the relative bargaining power of the artist receive in the range of fi ft een to twenty percent of the company, as well as outside music counsel for Vivendi and the manager. If, for example, an experienced and artist’s gross income. Th is manager’s commission is Universal Games, the computer games unit of Universal well-connected manager is negotiating a management separate from, and in addition to, the commissions Studios. contract with an unknown artist, the manager will paid to booking agencies for booking shows. Bart is the co-author of a chapter (entitled “Con- obviously have much more leverage than the artist will. Management contracts usually contain very tracts and Relationships between Major Labels and In fact, sometimes the artist is facing essentially a “take complicated clauses pertaining to commissions. Some Independent Labels”) in Th e Musician’s Business and it or leave it” situation. management contracts, for example, provide for one Legal Guide, a book compiled by the Beverly Hills Bar Once the most basic terms of the management particular commission percentage for income from Association and published by Prentice-Hall Publishing deal are agreed upon, a detailed written management record sales, and a diff erent percentage for other types (New York). From 1998 to 2002, he was an elected agreement will then be prepared by one of the parties’ of income. In addition, management contracts will member of the Board of Governors of the Northwest attorneys. At that point, there will oft en then be some sometimes provide for changes in the manager’s com- Branch of The Recording Academy, presenter of the further negotiations between the parties concerning mission rate as the artist’s income increases. Grammy Awards. some of the detailed sections of the written manage- Incidentally, there is one aspect of management Th e reader is cautioned to seek the advice of the ment agreement. If so, then a revised version of the contracts that comes as a surprise to many artists, reader’s own attorney concerning the applicability of written management agreement will be prepared before which is that the artist’s fi nancial obligations to the the general principles discussed in this column to the the artist and manager actually sign the agreement. manager don’t necessarily end when the management reader’s own activities. Although it is not possible within the space contract expires. Th is is because many (if not most) LL constraints of an article like this to discuss all of the management contracts provide than even aft er the TWO LOUIES, June 2004 - Page 5 photo Jack Dean

Page 6 - TWO LOUIES, June 2004 At that point, the team roster included a number of major labels. Soon, Mark Spangler Marv on lead guitar, Rindy on vocals and sax, joined the band as rhythm guitarist. Eventually, violinist/guitarist Bruce Sweetman, bassist Blaine Feldmann was unceremoniously booted from ContinuedContinued ffromrom ppageage 3 Moody and drummer Morry Woodruff . Together, the band. the quintet combined elements of folk, rock, pop, During this decisive period, the Robert Cray ‘60s. Th e Sleazy Pieces were named by a raucous country, swing and bluegrass into an engagingly Band (featuring Blues Brother prototype Curtis fan who yelled the name at them during one of entertaining stage show. Th ose musical perfor- Salgado) was on the verge of greater success. Jeff their earliest shows. mance aspects, coupled with Marv’s uncanny Lorber was a fi xture on the jazz fusion charts. Tom Giff ord soon became Alaska’s replace- aptitude for craft ing sure-fi re-hit original songs Movie Star was opening for the Boomtown Rats at ment on the drums and Fred Coyner took over for and Rindy’s unique talent on the saxophone, the Paramount. Movie Star: Tommy Th ayer, Jaime Richard Englund on bass. Coyner was eventually found the band receiving heavy local and regional St. James, Julian Raymond, Pete Horne and Virgil replaced by Bill Piland. In 1975, it was the Benson, radio airplay - with self-produced singles of songs Ripper, were a pop metal band with solid chops Bradley, Wyatt, Giff ord and Piland line-up that fans such as “Hold Th e Mayo,” “City Of Roses,” and the and an abundance of good-looks. in the clubs soon came to know and love. By 1978 favorite, “Harden My Heart,” which was punctu- At the same time, a small but devoted Port- when the band fi nally broke up (not the fi rst, nor ated by Rindy’s signature sax theme. And, with land underground scene was thriving. With the the last break up), Koonce had been behind the kit “The Weeds were enroute to Canada to escape for several years. Notary Sojac (whose name was taken from the the long arm of the draft, when they ran out of gas Smokey Stover comic strip: wherein the ostensibly nonsensical word cryptically appeared at least once and money, while passing through Portland. Desti- per strip) was the brainstorm of two guitar playing tute, they asked a citizen where they might fi nd a brothers from Tigard, Steve and Bobb Koski, who had previously played with the Warlocks in the place to play and were told of a coffee house called mid-‘60s. Along with keyboardist Will Herrold, The Folksinger. It just so happened that young Toody vocalist/guitarist Tom McKeenan, drummer Justin Bonner and bassist Jim Lowry, the Koski brothers Conner worked at the club. Quickly she and Fred turned the band into one of Portlan’s most popular bands in the early 1970s. Cole became a couple and were soon married.” Sand was another popular band of the early thatthat verifiverifi ableable hit,hit, camecame eventualeventual nationalnational atten-atten- adventadvent ofof thethe SexSex Pistols’Pistols’ fi rstrst album,album, NeverNever MindMind ‘70s, a soulful folk-rock outfi t whose sound and tion, precipitating the evolution of the ensemble Th e Bollocks, released in 1976, several independent sensibilities were similar to Crosby, Stills and into the rock band Quarterfl ash and a subsequent individuals began counter-cultural musical enter- Nash- with, perhaps, a little funkier veneer over- platinum record. But the transition was not without prises of their own, in a town that had only barely laid. Band members included guitarist/vocalists its problems. accepted the notion of hippies, let alone punks- Dan Wilson, Dan Ross and Jack Meussdorff er, Johnny Koonce and his Distractions followed ostensibly abhorrent nihilists, profi led in several bassist Rich Gooch, along with keyboardist Attilio a similar course to national exposure, garnering conservative national publications of the day. Th ere Panassidi and drummer Steve Williams. Sand heavy local airplay with the independently pro- were a few early pioneers in the local punk music were so popular that they were able to release for duced version of his Springsteen-like “Shoulder Of scene, the foremost of whom was Fred Cole. the Barnaby label (distributed through MGM) a Th e Road.” When Koonce left Sleazy Pieces in 1978, In 1976 Cole formed King Bee, a stripped modestly successful self-titled double-record vinyl he did so with the intention performing his own down, Zep-inspired Blues band with his wife album, which had recorded material on only two original material. At, fi rst, he did this by occasion- Toody’s brother, Pat Conner on drums and Mark of four available sides- the premise being that side ally comandeering the Wasted Rangers. Sten (Stanley) on bass. Even at that early date, Fred one could fl ow directly into side two on a standard Hank Rasco’s Wasted Rangers were a force was no stranger to playing in a band. For, Fred record changer turntable! with which to be reckoned in the Portland club- Cole was born to play in a rock band, and, since Without doubt, the most successful early scene. Th ey combined a Little Feat-ish blues sensi- childhood, rock and roll has been the only lifestyle blues band was Brown Sugar, who gigged tire- bilty with the country/folk/rock elements of bands he has ever known. lessly throughout the Willamette Valley. Brown such as Buff alo Springfi eld and Firefall. Guitarist Beginning at the age of thirteen, Fred played a Sugar garnered the fi rst local exposure for a young, Bill Feldman and pedal-steel master Rick Stephens series of bands, early on, with the Little Red Roost- fl ashy guitarist named Jim Mesi and an obscure shared vocal duties, bassist Rick Edwards laid the ers and Th e Barracudas. But his recording career neophyte harmonica player from Milwaukie- Paul rhythm foundation with drummer Tom Johnson. began at fi ft een, with Deep Soul Cole, an all-black Delay. Together Mesi and Delay delivered the blues Hank Rasco played keys and sang with the band. soul revue from Las Vegas, Nevada. Fred was billed message to a mostly uninitiated public; a message Within a year the Wasted Rangers would play their as “the white Stevie Wonder,” touring the Western that both are still spreading, to this day, over thirty fi nal gig. Meanwhile, Johnny and the Distractions states and recording a series of acetates, including years later. had already been born. one for MGM entitled “Poverty Shack,” produced By far, the most popular and successful band But Koonce soon re-tooled the Distractions, by Larry Williams (who wrote the songs “Bad Boy” of the time was Seafood Mama. Fronted by the replacing everyone but Feldmann. Greg Perry (who and “Slow Down,” made popular by the Beatles, as husband and wife team of Marv and Rindy Ross, played with Mr. Lucky and the Gamblers in the well as “Boney Maroney”), who also played guitar Seafood Mama evolved out of a group called Jones ‘60s and and the super band Wrinkle in the early on the track. Road (named aft er their address in Bend, Oregon), ‘70s took over keyboard duties, while bassist Mark From there, Fred went on to play in a which the Rosses put together in the mid-‘70s; “Larue” Todd and drummer Kip Richardson took band called the Weeds in 1966. Th e story goes that while they were pursuing day-jobs as schoolteach- over the duties of the rhythm section. Th e band the Weeds were enroute to Canada to escape the ers. Th e band briefl y changed its name to Beggar’s produced the single “Guys Like Me” and released long arm of the draft , when they ran out of gas and Banquet in 1976, before moving to Portland in 1977 a full, self-produced album in 1980, which had the and becoming Seafood Mama. requisite gusto necessary to attract attention from Continued on page 22

TWO LOUIES, June 2004 - Page 7 Let Go Aft erglow - Th e Wanteds Self-Produced t’s been a few years since we last heard from the mercurial Tommy Harrington. When his duo, No. 3 Breakdown, uh, broke down at the end of 2002, Tommy promptly disappeared from the local scene, to hide hIimself away in his basement studio for the next year or so. Th is polished eleven-song opus to lost love and bad romantic choices is evidence that his time was not wasted. As if caving in to the reality of the failure of the duo, Harrington played all the instruments on this album- controlling every aspect of the recording process. Th e results are predictably claustrophobic (but in a good way, mostly), with tightly stretched pop songs that ooze like blood from a turnip. Th e lyrics found here push introspection to the point fi xation with the frustrations and fulminations of love: unrequited and otherwise unsustainable. Tommy‘s musical style is pretty much straight ahead pop. His somewhat raspy voice brings to mind. Mark Oliver Everett, otherwise known as E of the Eels, Elliott Smith, Johnny Rzeznik of the Goo Goo Dolls and Bryan Adams. His songs are a bit of a blend of the aforementioned, falling somewhere between Everett‘s erudition and Smith’s preciousness and Adams’ naiveté. Tommy is too realistic to feel sorry for himself for long, but too much the romantic to let go of his idealistic fantasies. Th e pain he suff ers, however, is quite real, masked as it is by an almost constant internal monolog. Th e fi rst song, “Can’t Say No,” sets the scene. Over a pulsing kick beat and Continued on page 12

photo Buko

Page 8 - TWO LOUIES, June 2004 Portland my Portland. Summer is here! Madi Gras 24/7. We had the best time seeing the too long, but all I’ll say is there’s (always) more to gorgeous dancers, gambling and people watching. theater than meets the eye. s it just me or does it seem sad lately? I’m Th en again, I’m easily amused. Anyway, there are Anne Grgich was in town, and I met up with trying to be grateful for life, but somehow deals, great food, and lots of fun if you can aff ord her and a reporter from the Willamette Week. He I acknowledge the honor of death. I it. I say go there any chance you get. was interviewing Anne about the woman who had believeI we need to make peace. I believe we need Working on the Barber of Seville by Gioac- the aff air with Neil Goldschmidt years ago. Well, to make peace, but we all have to stop fi ghting. chino Rossini was fantastic! I they’re digging up all those old favors and Neil must And I mean me, too. I vow enjoyed each performance, but be sweating it. I think we all agree that statutory to stop the bullshit. the highlight was listening to rape is statutory rape, but the layers of darkness Lately I’ve been opera singers Marian Pop, Elizabeth and abuse go beyond the victim’s of rape. History listening to ‘Imus Madsen and Georgia Jarman. My job reveals that, sometimes, the rapist was raped. It i n t h e could be something even worse, or it could be something better. We have to help all the victims of abuse by letting light in on the dark world of violence and repeated cycles of abuse. I can say to my Two Louies readers that I also know the women in question, whose life has been forever linked to Neil Goldschmidt’s. I will only say that she is, and has always been, one of the beautiful Morning’ from people in Portland. She and I were in ‘Th e Patios” his ranch where he broadcasts. Imus was a years ago, with Jon Newton, Jim Baldwin and the favorite of my father’s and probably why I’m gang, and we had a great show and listening, but in Portland he comes on at the good times. She was so sweet to crack ass of dawn. So even though the show me, and I remember thinking makes me feel closer to my dad, who recently how delicate she was as a person. passed away, and even if I don’t agree with It was clear she had been through everything Imus believes in, the insomnia is something and was uncomfortable. tolerable when I listen. We only spoke of it fl eetingly, but I Th e musical star this month could be knew then that this aff air eclipsed Blue Man Group who is doing well on their her life. tour and in Vegas. I’m not sure I even like But go see Annie Grgich’s min- the new CD, but I enjoyed their show at iature show at Mark Woolley Gallery Th e Luxor in Las Vegas. Th e house band in August. Also, the ever-industri- was hot, and the drumming of Blue Man ous Annie continues working on is really the main attraction: upbeat drum- “Internal Guidance Systems,” which ming and old style humor. I was struck is a show comprised of ‘Outsider by how good the staging was, and aft er Artists,’ mostly self-taught who are the show Clint Barker, a stagehand that trying to bring art to the people. It’s got us the tickets, gave us a backstage a great idea, and a way to get, through tour. He showed us where they make creative means, the message of these the Jell-O molds, and mix the paint that hard working souls. This process is glows-in-the-dark while Blueman plays political in that just the lifestyle you drums and the paint bounces. have to maintain as a self-taught artist Like everything in Vegas Blueman is a statement. Th eirs is a long story and Group is a celebration of talent. But it struggle that will continue throughout took a second trip to the famed city for time. You can’t wait for permission to me to be able to appreciate it. What I get the message out, because no one is realized, as I drove down the strip in a going to give it to you. 2004 Ford Mustang convertible, is that that none I’m going to help Anne by doing a of it makes sense, but it’s hot. And I like feeling reading at the kick-off exhibition at Mark Woolley in 2006. I will keep you informed of this “I can say to my Two Louies readers that I also earth shattering artistic happening as it continues know the women in question, whose life has been to develop and grow. Next month: Rose festival becomes Portland’s forever linked to Neil Goldschmidt’s...She and I hottest ticket! were in ‘The Patios” years ago, with Jon Newton, Check out the ‘Th e Lions of Batucada’ show June 12th at Th e Fez Ballroom and Mary Kadderly Jim Baldwin and the gang, and we had a great has her new CD ‘Lucky Me’ coming out soon. Go show and good times.” buy it! Write to me: [email protected] lucky. My husband and I checked out the fl oorshow was to roll off the barrel, slam down a crashbox at the Rio, which is off the strip and celebrates and trick a birdcage cover. Explaining would take LL

TWO LOUIES, June 2004 - Page 9 mojo. Additional inspiration might be found in the early Chess recordings of Bo Diddley, Little Walter and Howlin’ Wolf if any is even required at all. Catch Hillstomp Monday June 21st @ The Twilight Café, Friday June 25th @ Dante’s, or Friday July 2 @ The Waterfront Blues Festival http://www. waterfrontbluesfest.com/. Rollin’ up to The White Eagle, Scooter parks the Willys and the three make their way to front door of the historic establishment, pay the doorman just in time to coincide with Moonshine Hangover’s opening down-home downbeat. “These good-ole boys bring me back to my days as roadie for The Marshall Tucker Band” exclaims Scooter. “Hell Do the Moonshine Stomp! yes”, says Dix, “It reminds me of the night I met Moonflower at a Waylon and Willie show back in t’s a warm May Friday night in Oregon. from Two Louies magazine conducts a telephone Austin at The Armadillo World Headquarters in The Northwest spring is in full bloom interview with the Hillstomp boys. Though the ‘74”. Moonflower smiles knowingly. and the gloom of winter finally feels to exact transcript of this conversation will be forever Moonshine Hangover; Wille, Kris, Yodlin’ have Ipassed into a soon to be forgotten menory. lost to the annuals of time as it was never recorded, Dean and Nau-T, four brothers from different As the quite tension of months holed up indoors talk ran the gamut from Henry’s musical transfor- mothers, putting their checkered pasts behind fades into renewed interest in things outside the mation from would-be folky to country bluesman them to blend their voices in sweet harmony in the domestic cocoon, thoughts of celebration begin to based on the epiphany of discovering open “G” name of West Coast Country Rock and Southern fill the head as the undeniable need to get and kick tuning and the recordings of R.L. Burnside, to Guitar Boogie with a little Buck Owens / Cow Punk up ones heels reaches critical mass. humble beginnings a couple years back in the thrown in for good measure. Lynard Skynard, The Scooter, Dix and Dix’s old lady, Moonflower, kitchen of the restaurant where John and Henry Allman Brothers, even Foghat are not dirty words take their weekly bathes, to this crew and the pedal steel guitar is a thing of hop in the Willys 4X4 beautiful wonderment. With The bud kickin’ in and and make their way a few shots of Jack Daniels to grease the wheels, down the mountain Moonshine Hangover tear into a set of past hits from the cabin towards from their first release “Mulberry Squeezins” as well the bright lights of Port- as material from their next release slated for some land town. The road is time late this year. Scooter, Dix and Moonflower are muddy and steep, a small kickin’ up a storm on the crowded dance floor. inconvenience given the Just then, a big silver tour bus pulls up front nature of agriculture and in a cloud of diesel smoke and brimstone out in which these three steps The Devil himself, in the human embodiment engage. Oregon may be liberal but it’s not Vancouver of a slick Nashville Producer. “Hells bells”, says The B.C. yet. Privacy and the sanctity of ones land are Devil, “What do I hear here?” “Why these boys got traditions in these here parts. Out of sight, out of some great songs, I could turn them into the next mind, keep a low profile in the eyes of The Man and “Alabama” if I can just get them boys to sign on all will be copasetic. It’s all good, live and let live. the dotted line…….” Catch Moonshine Hangover What provides the impetus for tonight’s sojourn Friday June 25th @ Duff’s Garage or Saturday June to Stump Town is the promise of hellacious good 26th @ The Crocodile Cafe http://www.thecroco- time at The White Eagle. Hell, Hill Stomp and dile.com in Seattle, if Moonshine Hangover are playin’ and it don’t get The Devil don’t catch more hellacious than that. em’ first. With a couple of fatties rolled and ready, Somewhere in that Scooter pops Hillstomp’s CD “One Word” in the time of day when night Alpine (the only 21st century convenience on this and day are briefly as WWII vintage rig). “A little traveling music to get in one, a Willys 4X4 makes the mood”. One headlight to guide the way and 500 it’s way up cautiously up watts of subwoofer enhanced surround-sound, our a back woods trail. As stoned rangers settle back and enjoy ride. The North the sun breaks over the Mississippi shuffle rhythms of Henry Kammerer’s mountain top, illuminat- electrified resonator guitar and John Johnson’s both worked. A crucial event that found John ing the new day fog, the pristine silence of the forest home-made drum set (consisting of a traditional abandoned his then axe of choice, the bass, for the is stirred by the high-lonesome sound of sweet bass drum augmented with tin cans, plastic buckets drums and Hillstomp was born. With the release country harmony intermingled with the ticky-tack and a barbeque lid) put out quite a joyous ruckus. of “One Word”, Hillstomp found the love extend- rhythms of coffee can drums and bottle-neck slide “Pretty good, for just two guys” says Dix. “Yeah, ing as far away as gigs in Northern California and guitar. Simultaneously, on a freeway somewhere in maybe it’s this bud, but I swear I almost hear a bass Sin City itself; Las Vegas. Talk turned to plans of Los Angeles, Hillstomp and Moonshine Hangover guitar in there somewhere” says Scooter. “It’s just future recordings and the further development of provide an alternating soundtrack to a peaceful, their good vibes harmonizing with the universe” the Hillstomp sound with John potentially adding early morning drive from Santa Monica to the San Moonflower adds. harmonica and Henry exploring the mysteries of Fernando Valley. Coincidence? I think not. Somewhere in a parallel universe, a writer the Tremelo knob, to further enhance the band’s Peace LL

Page 10 - TWO LOUIES, June 2004 ocal movie maker Nicolas Wells found the lyrics. The Storm and The Balls CD is titled himself with no camera after his car “Hanging With The Balls” and features Storm was broken into near PSU last month, on vocals, Jimmy Jams Beaton on keys, Hotrod but fearL not, the friends and neighbors of this Davey Nipples on fretless electric bass and Brian humorous and talented Vegas transplant came Boom Boom McFeather Parnell on drums. This through a big way by throwing an impromptu great twelve song cd was cooked up at Kung Fu benefit at Beaulaland on N.E. 28th. By the time Bakery, produced and Pro Tooled by Lars Fox and I wandered in, the house was packed with many engineered by Dave Friedlander. The best place to laughing fans and friends as Nick cruised his get a Storm CD is at Dante’s on Wednesday night way through a hilarious stand up routine about or, try [email protected] the Terminator at the Rainbow Festival which Old Friend and ex-Freedom Guitar owner was shortly followed by a couple of his videos Piers Munro also has a great cd titled Munro featuring a few familiar faces and many funny and Nichols “It Was So Easy Then”. You may expressions indeed. After all was said and done run into Pierce at your favorite the donation kitty was fat enough to hopefully music store because he reps replace the stolen merchandise with a newer and for several major instru- “better protected” camera. There was no cover ment companies and charge for this party but raffle tickets sold at the services most local event offered great prizes generously donated guitar shops. This by friends and neighborhood businesses like cd features thir- Common Ground, our local hot tub heaven. teen acoustic I’ve been finishing up this years Young Audi- tunes with Piers ences assemblies with Jay Harris and Brian Healy. on guitar harmon- I started doing these diversity focused shows ica and vocals and about ten years ago and we must have visited Terry Nichols on lead, most of the grade schools in Oregon and southern rhythm and slide gui- “The most talked about singer in town is at it again, word has it that Storm is shooting a video for ‘I Want You To Die’ . ” Washington including rural one room school tars, acous- houses, over crowded inner city grade schools, tic 6-string charter schools, church schools and “Run For The and 9-string Arts” events. Nothing will wake you up faster then g u i t a r s three hundred screaming cheering kids at nine in and vocals. the morning, plus I get to sign a lot of autographs The cd was and smack a lot of high fives. When we ask the recorded at kids what type of music they like best, hip hop Fresh Tracks and rap easily win out every time. engineered and mixed The most talked about singer in town is by Jon Lindahl and pro- at it again, word has it that Storm is shooting a duced by Munro and Nich- o l s , video for “I Want You To Die” which has been my the graphics were well done by Wayne Stephens at favorite tune ever since I first saw her reach out [email protected] with photos by Lenore Nichols. and stab the audience during one of her weekly Contact info: Stark Records 503-256-1938 Wednesday night Dante’s shows. Storms voice is The best live show I’ve witnessed as of late is so good she doesn’t really need any sharp objects without a doubt the Mission Five set at Sabola’s to illustrate the lyrics in this well crafted original when they were called in at the last minute to blood ballad, yet this beautiful blond often does replace Napalm Beach who had to bail because pick up a sharp hatchet as a stage prop to send out of health issues, I hope everyone in the band is a vivid and “male anatomy focused” message of doing better, good luck! photo Buko consequence to anyone who doesn’t understand LL

TWO LOUIES, June 2004 - Page 11 beautifulbeautiful instrumentationinstrumentation (especially(especially thethe longinglonging middlemiddle easterneastern musicalmusical idioms,idioms, withwith decidedlydecidedly guitars),guitars), bbehindehind TTommy’sommy’s mmelancholicelancholic llament.ament. mixedmixed results-results- experimentsexperiments whichwhich areare nowherenowhere toto TommyTommy HarringtonHarrington hashas fashionedfashioned a finefine bebe foundfound here;here; althoughalthough easterneastern EuropeEurope isis notnot outout albumalbum outout ofof hishis disillusionment.disillusionment. HisHis knackknack forfor a ofof tthehe qquestion.uestion. ContinuedContinued ffromrom ppageage 12 hookhook iiss unundeniable,deniable, HHisis ttalentalent aass a mmusicianusician aandnd Th ee aalbumlbum kkicksicks ooffff wwithith ““BetweenBetween YYouou && a jaggedjagged electricelectric rhythmrhythm guitar,guitar, HarringtonHarrington layerslayers producerproducer isis everywhereeverywhere evident.evident. SometimesSometimes hishis Me,”Me,” oneone ofof threethree CharlieCharlie PackardPackard compositionscompositions variousvarious keyboardkeyboard sounds,sounds, creatingcreating a formidableformidable lyricslyrics aaren’tren’t aass ““accurate”accurate” aass ttheyhey mmightight bbe,e, bbutut tthehe featuredfeatured here.here. Packard,Packard, anan eccentriceccentric IdahoIdaho recluserecluse wallwall ofof sound.sound. Th ee llyricyric ddealseals wwithith ddisappointment.isappointment. sentimentssentiments areare deeplydeeply feltfelt andand expressedexpressed withwith deter-deter- andand friendfriend ofof Glickenhaus,Glickenhaus, penspens songssongs inin thethe tradi-tradi- “I“I can’tcan’t saysay no,no, thatthat isis mymy problem/Iproblem/I thinkthink thatthat I’mI’m mination,mination, if notnot completecomplete precision.precision. ItIt seemsseems asas tiontion ooff ccountryountry rrockock bbandsands ssuchuch aass NNewew RRidersiders OOff notnot goodgood enough/Yourenough/Your puzzlespuzzles makemake meme wannawanna thoughthough TommyTommy HarringtonHarrington hashas movedmoved nearernearer Th ee PPurpleurple SSage,age, JJerryerry GGarcia’sarcia’s aacousticcoustic bbandand solvesolve tthem/Ihem/I eendnd uupp nneedingeeding yyouou ttoooo mmuch.”uch.” A toto tthehe rrecognitionecognition hhisis OldOld AndAnd InIn TheThe WayWay (which(which alsoalso featuredfeatured couplecouple ofof raggedragged loopsloops propelpropel “You“You NeverNever mandolinistmandolinist DavidDavid Grisman),Grisman), asas wellwell asas thethe Do,”Do,” tthehe oobviousbvious ssequelequel ttoo iitsts ppre-re- moremore rootsroots orientedoriented traditionstraditions ofof RayRay WylieWylie decessor,decessor, withwith a lyriclyric thatthat furtherfurther HubbardHubbard andand JerryJerry JeffJeff Walker;Walker; asas wellwell asas fi lllsls iinn tthehe sshadeshades ooff ggrayray iinn tthehe JohnnyJohnny Cash.Cash. “Between“Between YouYou & Me”Me” isis nono dif-dif- picturepicture thatthat isis forming:forming: “Perfect“Perfect isis ferent,ferent, resembling,resembling, somewhat,somewhat, Cash’sCash’s “Big“Big notnot enough/Followenough/Follow through,through, butbut River.”River.” GlickenhausGlickenhaus playsplays anan arrayarray ofof backingbacking youyou nevernever do/Signalsdo/Signals areare breakingbreaking instrumentsinstruments includingincluding guitar,guitar, pedalpedal steelsteel up/Moreup/More bbadad nnews,ews, bbutut yyouou hhadad guitar,guitar, ddobroobro gguitar,uitar, bbanjoanjo aandnd mmandolin,andolin, enough.”enough.” whilewhile BBiggsiggs aandnd AAndersonnderson hholdold ddownown tthehe “Confess”“Confess” iiss a rreflefl eectionction uuponpon fort.fort. MeanwhileMeanwhile DemarinisDemarinis pinspins downdown thethe thethe variousvarious randomrandom forksforks inin thethe vocalvocal dduties,uties, uutilizingtilizing hhisis bbutteryuttery ssmoothmooth pathpath ooff lifelife uponupon whichwhich ourour TommyTommy delivery.delivery. maymay hhaveave eerredrred iinn tthehe ddirectionirection hhee “Slippin’“Slippin’ AAway,”way,” a GGlickenhaus/lickenhaus/ reckonedreckoned toto eventuallyeventually pursue,pursue, thus,thus, DemarinisDemarinis composition,composition, isis countrycountry fl a-a- possiblypossibly thethe reasonsreasons (or(or somesome ofof voredvored nnumber,umber, wwithith ppedaledal ssteelteel gguitaruitar a- themthem anyway)anyway) hehe isis soso fuckedfucked up-up- hishis whinin’whinin’ aandnd a-pa-pinin’inin’ in tthehe bbackground,ackground, determination,determination, notnot mine.mine. SortSort ofof thethe andand a ccertainertain LLynyrdynyrd SSkynyrdkynyrd ssensibility.ensibility. darkdark backsidebackside ofof Beck’sBeck’s “Loser,“Loser, ”clouded”clouded “Heaven’s“Heaven’s OnlyOnly Town,”Town,” anotheranother PackardPackard withwith EElliottlliott SSmithmith oovercast,vercast, aaboutbout ttoo original,original, iiss a rrockingocking ccountryountry nnumber,umber, rain.rain. Still,Still, thethe songsong isis notnot asas depressingdepressing alongalong tthehe llinesines ooff SSteveteve EEarlearle oorr DDelbertelbert asas itit couldcould be.be. Fortunately,Fortunately, TommyTommy runsruns McClinton.McClinton. ““Czeck’sCzeck’s IInn Th ee MMail”ail” iiss aa throughthrough thisthis assortmentassortment ofof horrifihorrifi c eventsevents freeformfreeform GlickenhausGlickenhaus mandolinmandolin jam:jam: asas if hhee wwereere ttickingicking ooffff iitemstems oonn a sshop-hop- likelike a speededspeeded upup adaptationadaptation ofof thethe pingping llistist rratherather tthanhan iidentifyingdentifying bbulletullet “Th“Th irirdd MManan ThTh e meme.”e.” Th Their eir re nrenditiondition of of holesholes oonn a ccorpse-orpse- wwhichhich iiss aaboutbout hhowow thethe StanleyStanley BrothersBrothers chestnut,chestnut, “Lonesome“Lonesome River,”River,” thethe llyricyric sscanscans oonn ppaper.aper. SSpookypooky sstufftuff . talenttalent deserves.deserves. AtAt leastleast thisthis band,band, thethe Wanteds,Wanteds, isis a ttadad bblandland in tthehe vvocalocal ddepartment,epartment, wwithith GGlick-lick- Th ee o totherher s isidede o fof t hthee c ocoin,in, t hthoughough p eperhapsrhaps seemsseems ddestinedestined ttoo sstaytay inintact.tact. WWee ccanan oonlynly hhope.ope. enhausenhaus andand AndersonAnderson unableunable toto provideprovide thethe sortsort notnot terriblyterribly upliftuplift iningg ggiveniven tthehe circircumstances,cumstances, iiss ofof backingbacking vocalvocal blendblend displayeddisplayed onon thethe originaloriginal “Gravity,”“Gravity,” wwhereinherein oourur sstarstrucktarstruck lladad iiss wwhuppedhupped Th iiss TTimeime 20042004 -- HigherHigher GGroundround version.version. BButut a rreverenteverent ttake,ake, aallll tthehe ssame.ame. upsideupside tthehe hheadead ((oror hheart)eart) bbyy tthehe sslipperylippery fi sstt ooff lluv.uv. Self-ProducedSelf-Produced Anderson’sAnderson’s “Burbon“Burbon CottonCotton candy”candy” isis a slysly Weary?Weary? Wary?Wary? TrepidantTrepidant in thethe least?least? Nay!Nay! Nein!Nein! t’st’s bbeeneen mmanyany yyearsears ssinceince mmulti-instru-ulti-instru- littlelittle swampswamp rocker,rocker, withwith distinctivedistinctive electricelectric guitarguitar Non!Non! “You…“You… youyou makemake everythingeverything o.k.”o.k.” Oh,Oh, looklook mentalistmentalist A Alanlan G Glickenhauslickenhaus t tookook o overver andand banjobanjo accessorization.accessorization. A DeadDead sensibilitysensibility out!out! PerhapsPerhaps Tommy’sTommy’s straightforwardstraightforward readingreading thethe reinsreins ofof HigherHigher Ground.Ground. WithWith thethe informsinforms “Learn“Learn ToTo Crawl,”Crawl,” withwith a familiarfamiliar chucklingchuckling departuredeparIture ofof singer/guitaristsinger/guitarist DavidDavid KronenbergKronenberg rhythmrhythm gguitar,uitar, aandnd hhighigh hharmonyarmony bbackingacking vvocalsocals ofof LucindaLucinda Williams’Williams’ “Drunken“Drunken Angel”Angel” isis somesome sortsort ofof psychologicalpsychological penancepenance forfor thethe capriciouscapricious backback inin 1998,1998, GlickenhausGlickenhaus assumedassumed fullfull controlcontrol reminiscentreminiscent ooff JJerry,erry, BBobob aandnd tthehe bboys;oys; wwhilehile wanderlustwanderlust displayeddisplayed onon thethe previousprevious song.song. But,But, ofof thethe band-band- nnotot withoutwithout a greatgreat ddealeal ofof personalpersonal Glickenhaus’Glickenhaus’ electricelectric guitarguitar solossolos quotequote thethe AllmanAllman therethere iitt iis.s. rigor.rigor. BBut,ut, ssinceince tthathat ttime,ime, tthehe bbandand hhasas oonlynly ggottenotten Brothers,Brothers, aamongmong oothers.thers. Th ee bbanjoanjo llamentament ““Adele”Adele” AnotherAnother “l“love”ove” ssong,ong, ffullull ooff lloweredowered eexpecta-xpecta- betterbetter wwithith eeachach ssuccessiveuccessive aalbumlbum rrelease-elease- wwhereinherein tracestraces ffamiliaramiliar ffolkolk tthemes,hemes, wwhilehile DDemarinisemarinis bbreaksreaks tionstions aandnd dimdiminishedinished drdreamseams iiss ““MaybeMaybe I WWon’t,”on’t,” GlickenhausGlickenhaus hhasas bbeeneen aallowedllowed tthehe sspacepace ttoo ggrowrow outout hishis craggiestcraggiest twang,twang, recallingrecalling thethe Outlaws’Outlaws’ a pprettyretty lilittlettle diditty,tty, wwithith a ddelicateelicate ppianoiano lilinene tthathat andand stretchstretch asas a musician;musician; whilewhile changingchanging otherother HenryHenry PPaul.aul. 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EvenEven moremore excitingexciting isis thethe CureCure meetsmeets thethe wholewhole time).time). overover thethe ensuingensuing yearsyears toto arrivearrive atat GivenGiven a homespunhomespun treatmenttreatment worthyworthy ofof Poco,Poco, PsychedelicPsychedelic FFursurs exuberanceexuberance ofof “Strays,”“Strays,” a moremore farfar thethe ccurrenturrent linline-up,e-up, wwhichhich inincludescludes vvocalistocalist MMattatt CharlieCharlie PPackard’sackard’s pprettyretty ppieceiece ooff mmusicalusical aapplepple ppie,ie, moremore pragmaticpragmatic appraisalappraisal ofof love’slove’s grandgrand andand not-not- DemarinisDemarinis (seemingly(seemingly nnowow a veteranveteran ooff tthehe bband)and) thethe waltzwaltz “Friends“Friends LLikeike You,”You,” eexpoundsxpounds a mmusicalusical so-grandso-grand possibilities.possibilities. “Once“Once I startstart crushin’/Mycrushin’/My andand bassistbassist KevinKevin Anderson-Anderson- whowho diddid notnot playplay onon sentimentsentiment akinakin toto KennyKenny Loggins’Loggins’ “Watching“Watching Th ee head,head, itit startsstarts rushin’rushin’ in/I’din/I’d fallfall apartapart inin lovingloving you.”you.” HG‘sHG‘s llastast aalbum,lbum, OffOff Th ee RRailail, wwhichhich wawass rreleasedeleased RiverRiver Run,”Run,” withoutwithout bbeingeing tootoo pprecious:recious: a ddelicateelicate Th aat’st’s momorere li likeke i tit.. a littlelittle ooverver a yyearear aago.go. balance,balance, ttoo bbee ssure.ure. 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Th e e thethe moremore traditionaltraditional ccountryountry aandnd ffolkolk rrootsoots mmusicusic bluesybluesy ““SeasonSeason OOff Th ee W iWitch”tch” (t (thinkhink t otooo o fof N eNeilil hithit ofof thethe setset comescomes late,late, withwith “Forever,”“Forever,” anan upup onon whichwhich GlickenhausGlickenhaus andand companycompany havehave alwaysalways Young’sYoung’s “Down“Down ByBy Th ee RRiver,”iver,” ssungung bbyy SSteveteve SStills,tills, relied.relied. OnOn thethe lastlast outing,outing, thethe bandband eveneven exploredexplored tempotempo balladballad withwith a memorablememorable choruschorus andand trulytruly ContinuedContinued oonn ppageage 20

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Production Portland Center for the Performing Arts; Services - Sound, lighting, stages & Gary Miles Portland Development Commission; Port stage covers, power Arnada Cafe (503) 731-0383 of Portland; Filipine-American Friendship distro, generators 1717 Broadway 8063 SE 17th Avenue Club; Kalekendra Arts Society; Andisheh Years Experience - 10 Vancouver, WA 98665 Portland, OR 97202 Cultural Center; Portland Tango Society; Specialties - Rock, jazz, bluegrass, world, 360-750-9596 Service: Promotion, Sound Recording, National Alliance for the Mentally Ill; corporate. Format: rock, blues, jazz, acoustic Video-post work. Saturday in the Park Vancouver, USA; CBS Equipment - Yorkville TX, QSC Powerlight, Booking: Miguel 360-750-0811 Years Experience: 12 years. Sports; Alaska State Fair (Palmer); Artists for Soundcraft, Allen & amp; Heath. Capacity: 200 Speciality: Servicing the Christian com- the Arts; Celebration Church Clients - Cinco de Mayo (Waterfront Park), Equipment: Full P.A., mic stands, monitors munity. www.pdxaudio.com Portland Rose Festival, City of Lake Oswego, Headliners: Blyss, Mel, Rustvein Availability: Anytime. 503-284-2727 office City of Vancouver, Portland Trailblazers, 503-807-4595 mobile Bonneville Power Administration. Ash Street Saloon Inner Sound Electronic Service 225 SW Ash Street 1416 SE Morrison Prescription Electronics Thomas, Dwayne Portland, OR 97205 Portland, Or 97214 P.O. Box 42233 (503) 281-0203, Msg.: (503) 784-0361 503-226-0430 (503) 238-1955 Portland, OR 97242 Fax: (503) 231-9679 503-227-2403 (fax) (877) 238-1955 Services: Lighting Fax: (503) 238-1787 Continued on page 14

TWO LOUIES, June 2004 - Page 13 Buff alo Gap Hit Record Focus 6835 S.W. Macadam Avenue Console & Recorder with national credits Portland, OR 97201 Racks of Broadcast Tube Gear 503-244-7111 503-246-8848 (fax) 7 ft. Grand...Hammond & Leslie Format: Soft Jazz, Folk, Rock’n Roll Large quiet tracking spaces Booking: Mary Capacity: 85 great mics Equipment: sound system Continued from page 13 Headliners: Craig Carothers, Jon Koonce, Reckless Kelly Format: Acoustic, Alt. Rock, Blues, Funk Booking: Ingrid Burlingame Acoustic Room Capacity: 80 111 SW Ash St. Equipment: PA, mics, lights Portland, OR 97204 B-Complex 222-2215 320 SW 2nd Format: Acoustic, Jazz, Blues, Swing, Alt- Portland, OR 97204 Country, Jam Band, Folk 503-235-4424 Booking: Jon Self 503-730-4287 Capacity: 175 Bacchus Equipment: sound system/engineer MUSIC MILLENNIUM 3200 SE 164th Avenue Headliners: Pye North, Billy Kennedy, Nicole Vancouver, WA 98683 Campbel, Foghorn Strig Band, Micharl 360-882-9672 Hurley, Scott Huckabay. Format: Fine dining and high entertainment Booking: Lloyd Cafe Lena Capacity: 200 620 S.E. Hawthorne Blvd. Equipment: We got it all! Sound, lights and Portland, OR 97214 stage. 503-238-7087 Headliners: Sandin Wilson,Victoria Corrigan Format: Open Mic, Folk Acoustic with Donny Osbourne, Inkspots, Patrick Booking: LeAnn Lamb band, Andy Stokes, 5 Guys named Capacity: 50 Moe, Al Perez. Equipment: none Headliners: Billy Kennedy, Lew Jones, Lorna Bar of the Gods Miller 4801 SE Hawthorne 3 5 YEARS OF MUSIC 503-232-2037 Candlelight Cafe & Bar EAST PORTLAND NW PORTLAND 2032 S.W. 5th Avenue 32nd & E Burnside 23rd & NW Johnson 503-231-8926 503-248-0163 Barracuda Portland, OR 97201 9 NW Second 503-222-3378 Guitarists, Bassists, Drummers, Singers Portland, OR Format: Blues 503-228-6900 Booking: Joe Shore 246-4599 CANCEL YOUR CLASSIFIED AD Top 40, House, Fusion Capacity: 150 Booking: John Plew Equipment: none Capacity 930 Headliners: Norman Sylvester, Linda Horn- Meet musicians/bands Equipment:Avalon sound, Lights, Misting buckle, Jay “Bird” Koder looking for other players Skid Row, Lit Cobolt Lounge Berbati’s Pan 32 NW 3rd ave 231 SW Ankeny Street Portland, OR 97209 JUNE Portland, OR 97213 503-222-9066 503-248-4579 503-417-1107 (fax) Conan’s Pub 29 Format: Acoustic, Alternative, Funk, Jazz, 3862 SE Hawthorne TH Blues, Rock Portland, OR 97214 Booking: Anthony: 721-0115 503-234-7474 LIVE AUDITIONS Capacity: 350 Equipment: PA, lights Th e Country Inn (equipment provided) Headliners: National, Regional and Local acts 18786 S.W. Boones Ferry Road Refereshments served Tualatin, OR 97062 Billy Ray’s Dive 503-692-2765 Last Tuesday of every month 2216 NE MLK 503-691-2675 (fax) Portland, OR 97212 Format: Blues 6:30-9:00 PM 503-287-7254 Booking: Sunny Capacity: 150 Register in our player’s database Bitter End Equipment: none West Burnside Headliners: Paulette & Power, Cowboy Portland, OR 97204 Angels, Steve Brodie 503-517-0179 Booking: Joey Scruggs Crystal Ballroom 1332 W. Burnside Brasserie Montmarte Portland, OR 97205 626 SW Park 503-225-5555 Portland, OR 97204 503-224-5552 Dante’s Inferno 1 SW 3rd Ave Beulahland Portland, OR 118 NE 28th 503-226-6630 Portland, OR 97232 Dublin Pub Page 14 - TWO LOUIES, June 2004 6821 SW Beav. Hill. HWY Headliners: Tony Starlight, Pepe & Bottle Portland, OR Blondes, Ben Fowler, Art Davis Quartet, 503-297-2889 Thara Memory ALL SERVICE MUSICAL Duff’s Garage Kennedy School S.E. 7th & Market 5736 NE 33rd ELECTRONICS REPAIR Portland, OR Portland, OR Amps, Keyboards, Pro-Audio, Multi-Tracks, & More 503-234-2337 503-288-2477 Format: Bluegrass, Blues Format: Roots Rock, singer songwriter AMPEG•CRATE•FENDER Booking: Jan Haedinger MACKIE•LINE 6•MARSHALL DV8 Capacity: 100-150 KORG•PEAVEY•SWR Format: New bands Equipment: PA provided TASCAM•ROLAND•YAMAHA 5021 S.E. Powell Headliners: Craig Carothers, Gary Ogan AND MANY OTHERS Portland, OR 503-772-2907 Laurelthirst • Factory Authorized • Fast, Friendly, Dependable • 2958 N.E. Glisan Street Fez Ballroom Portland, OR 97232 503-231-6552 316 SW 11th Ave 503-232- 1504 617 SE Morrison Portland, OR Format: Blues, Folk, Acoustic Rock www.all-service-musical.com 503-226-4171 Booking: Bill Leeds: 236-2455 Format: Any Capacity: 100 Booking: Blaine Peters Equipment: PA Capacity: 300 Headliners: Belmont Street Octet, Jim Boyer, Equipment: PA/lights Little Sue, Plumb Bob Headliners: Dead Pres., Asylum Street Spankers,, Little Sue, Dr. Theopolis, Zen Level Tricksters, System Wide, Motet, 13 NW 6th Ave Zony Mash. Portland, OR 503/228-8888 Gemini Pub 456 N. State Street Biddy McGraw’s Lake Oswego, OR 97034 6000 NE Glisan 503-636 9445 Portland, OR 503-636-9445 (fax) 503-233-1178 Format: Blues, Jazz Format: Irish, Blues, Folk, Country Booking: Randy Lilya 503-556-0405 Capacity: 170 Meow Meow Equipment: lights 527 SE Pine Headliners: Robbie Laws, Curtis Salgado, Portland, OR Leon Russell, Jim Mesi 503-230-2111

Goodfoot Pub & Lounge Metropolis 2845 S.E. Stark 311 S.W. Washington Portland, OR Portland, OR 97205 503-239-9292 503-223-7515 SHOWCASE Format: 70xs & 80xs Retro Guitars SALES Green Room Booking: Rami Amps RENTALS 2280 N.W. Thurman Street Capacity: 500 Drums REPAIRS Portland, OR 97210 Equipment: PA, lights Keyboards LESSONS 503-228-6178 Headliners: P.A. Systems INSTALLS 503-228-5068 (fax) Recording Format: Acoustic Folk, Rock, Bluegrass The Mississippi Pizza DJ Systems Booking: Declan O’Connor 3552 N. Mississippi St. Sheet Music SINCE Capacity: 100 503.288.3231 Accessories 1977 Equipment: PA, 8 ch. board, monitors, 1 mic Format: All Styles Headliners: Buds of May, Sweet Juice, Little Booking: Philip Stanton Sue, Jim Boyer, Billy Kennedy Capacity: 80 Pub 175 Ballroom Headliners: Tom McNalley; Vagabond MUSIC & SOUND Imbibe Opera; Fender•Peavey•Yamaha•Korg•Tascam•Gibson•SWR•Event 2229 S. E. Hawthorne Cam Newton. Portland, OR Equipment: PA Eden•Behringer & Many More at DISCOUNT PRICES!! 503-239-4002 Format: Alt-Country, Bluegrass Mississippi Studios Tascam 4-Track Recording systems from.. 99.00 Headliners: Pete Krebs 3939 N. Mississippi Guitar amps from.. 69.00/Guitars from.. 99.00 Portland, OR 5 piece Drumsets w/cymbals from.. 369.00 Jasmine Tree 503-753-4473 Complete P.A. Systems w/ Mikes from..299.00 401SW Harrison Format: Singer-songwriter, Folk, Blues Portland, OR Booking: Jim Brumberg YAMAHA Motif ES & KORG Triton Keyboards at Low Prices 503-223-7956 The New Paris Theatre Portland’s Largest Selection of Fender Custom Guitars Jimmy Mak’s SW 3rd & Burnside 300 N.W. 10th Portland, Oregon 97204 Portland, OR 97209 503-224-8313 3401 S.E Hawthorne Blvd. Portland Oregon 97214 503-295-6542 Booking: Senor Frogg (503) 236-7745 503-231-7027 (Portland) 888-240-4048 (Nationwide) 503-279-4640 Format: Punk/Gothic/Industrial/After Hours Visit our Website: www.showcasemusicandsound.com Format: Jazz, Blues Dance 10-7 Mon thru Fri /10-6 Sat! 11-6 Sun Booking: Jimmy Headliners: Syx; Spare Lead; J five 9; Dayton; Visa-Mastercard-Disc-Amex 190 Days Same as Cash O.A.C. Capacity: 95-165 Equipment: none Continued on page 18

TWO LOUIES, June 2004 - Page 15 In a PDX minute… promotion, headquartered in Sullivan, Indiana, 50 Moments Th at Changed the History of hotbed of major league musical activity… Rock & Roll. June 12 & 13th the globe-trotting Blue Jankey “From Elvis to Eminem, from ‘Louie talent scouts touched down for two days of mara- Louie’ to Radiohead, these are the times that thon band auditions at the Barracuda lounge in defi ned rock & roll.” Rolling Stone magazine, June Portland. 24, 2004 celebrating the 50th Anniversary of Rock & For the low, low price of only $199 for one Roll. song or $279 for two, Blue Jankey guaranteed that “We chose to focus on the universal moments, at the end of each audition acts would either be those that changed the way all of us listen to music off ered a “letter of intent” for a record deal or a and see the world. Some of the moments we chose “critical analysis” of why the three man “Hall of were accidents: fi ve teenagers calling themselves Fame” panel passed. the Kingsmen spending fi ft y dollars to cut the A&R executives from “Sony, Mercury and greatest party song of all time…” Universal” sat through two twelve-hour days of “The greatest party song of all time,” and auditions. Over the phone the Blue Jankey promo Portland’s Greatest Hit. person guaranteed, “every band would be heard by all three label reps”. NNN At a Blue Jankey showcase, it’s limited smoke Tri-Polar is in the running for the next-best & pee breaks and the possibility of a major label party song. bidding-war breaking out on the spot. Geez, I hadn’t Former Everclear bassist Craig Montoya’s realized how closely, competing labels co-operate new band introduced the “hilarious but cutting” in talent searches. Like they don’t get enough new new tune, “Wigga Please!” at the Ash Street June stuff in the mail or over the Internet? 11th. Th e band also worked up a punked-out version Th is is for the Dumb & Desperate money. of AC/DC’s “Walk All Over You” A visit to the BlueJankey.net web site lists no Aft er posting“Let Me Know You’re Th ere” on Portland event but on the same dates BJ’s talent the www.tripolarmusic.com site, “We got almost scouts were scheduled for auditions in London, 850 hits on the site in 24 hours!” England followed by several days in Paris and then Tri-Polar plays June 25th at the Roseland, a stop in Stockholm. July 4th in Spokane, July 9th at Berbati’s Pan and Th ey bumped London for Portland? July 31st at the Crystal Ballroom for Floater’s CD “Th e web site guy messed that up,” says BJ’s release party. over the phone promo person. Apparently none of the acts discovered at the NNN worldwide auditions ever went on to greater things, Meredith sparkles and refuses to fade… since BJ’s mission statement says, “We consider our Television guru Dr. Phil has a new theme artists to be the best in their genre and feel they are song, “Shine” from Meredith Brooks’ last album, only a few baby steps from hitting the big time!” Bad Bad One. Th e original label folded weeks aft er Loosely translated that would mean just a few release, but with Dr. Phil’s continued exposure of payments away. the single, the album has a new label and release Blue Jankey has a high standard for select- schedule. ing new clients: “1- Th ey must have a solid fan “Th ank God I own the masters.” Says Mer- base, 2- Th eir audience must be highly charged and edith. responsive to their music, 3- Th ey must have an excellent rapport with their audience and be totally NNN interactive with them, 4- And most importantly, we In search of the Dumb and Desperate. survey the audience, asking them if they feel this Warner Brothers just laid-off 1.000 employ- artist has chart-topping potential.” ees and dropped 80 bands from their roster of 170, Research. Th is is a class outfi t. but not to worry. If you’re looking for that elusive At the site under “Promotion” the world- big time record deal, (and you got a few bucks), wide music corporation is off ering a coupon for Blue Jankey is here. a $5 pitcher of beer at a Greenwood, Indiana You know, Blue Jankey, that worldwide music nightclub. Brian, Craig and Scott of Tri-Polar. complex specializing in management, booking and Blue Jankey president Matt Rowe got on the

Page 16 - TWO LOUIES, June 2004 phone early to turn out Portland bands for his Mavrolis represents producers and songwriters showcase of the Dumb and Desperate. One local including former Dan Reed Network guitarist manager, who asked not to be identified, said Brion James. “He’s vacationing at his island off “Rowe has been spamming me for a month, I fi nally Honduras.” blocked his e-mails and then he started calling me Mav also manages recording artists and says on the phone.” “Tommy Motola is bringing back Casablanca “His best line was, ‘Wouldn’t you like to be Records and I have the fi rst act.” Th e singerTren’l signed?’” is “A 22-year-old Usher-type”. “All this to get me to pay $279 so my act can Mavrolis’ former partner Marlon McClain spend an hour setting up to play two songs in front is also in Hollywood. In the early days in Portland of his talent scouts, at which time they will either Marlon and Mav cranked out records for Sequel, sign the band, and still keep our money or tell us The Crazy 8’s, Nu Shooz and the Dan Reed how bad we suck.” Network. “Welcome to Portland.” McClain began his career in music as the The Barracuda sez Blue Jankey originally guitarist for Portland’s most famous band of the booked Th ursday, Friday, Saturday and Sunday 70’s Pleasure on Fantasy Records. and said they would be running over “200 bands through”, giving the club $75 each. “It was a great NNN deal for us. That’s time we’re not even usually Th e Oregon Music Hall of Fame remem- open,” Eventually BJ cut it down to Saturday and bers… Sunday. On the fi rst day they did 16 bands and Pleasure’s former manager David Leiken the second 24.” of Double Tee is arranging a Pleasure Tribute for Th e Dumb & Desperate Top 40. OMHOF. Saturday, September 25th at the Roseland. Former members Marlon McClain and bassist NNN Nate Phillips are fl ying in for the OMHOF func- Geoff Byrd knows better. tion. Never pay to audition and if you’re entering a Members of Pleasure will be joined on stage contest, know what the prize is. by another OMHOF inductee: Jeff Lorber. Jeff Geoff ’s entered in the KGW-TV “Gimme Th e paid his dues around town as a Jazz keyboardist Mike” contest for a 2004 Chevy Trailblazer. “I am before moving to L.A. and even aft er, continuing to in desperate need of a vehicle makeover, so hook produce local acts like Nu Shooz. Jeff also produced a brother up!” Geoff ’s entry plays on KGW every the fi rst album for the sax player in his band Kenny Monday aft er June 20th with fi nals August 3rd. Gorelick, or, as he came to be known, Kenny G. Byrd just booked a Las Vegas date with the Th e OMHOF trio of Jeff , Marlon and Nate has Gin Blossoms and John Wait for December. a new album coming out on Narada Records under Crestview Management in Los Angeles has the group name, the Shades Of Soul. signed Geoff to a personal management contract. Crestview owner Phil Ehart was a founding NNN member of the band Kansas and his partner Dave Hall afl ame Austin wrote Songwriting For Dummies. “We also OMHOF board member Eric Helzer is good have Wayne Ledbetter on board with our team, at tributes. His Kiss tribute Shout It Out Loud shopping our music to major TV shows, movies has played the Fiesta Bowl twice in front of 20,000 and commercials. Wayne is Third Eye Blind’s people and regularly pulls in $2,500 a gig. “I feel manager.” guilty knowing most original music acts make Wayne might be a bit pre-occupied; Th ird Eye about a fi ft h of that,” says Eric. Blind was one of the acts just dropped by Warner Shout It Out Loud has been around for four Brothers. years and does about a dozen dates a year. Eric finally met Kiss commander Gene Simmons NNN backstage several months ago. Simmons was aware Golden homeboy… of Shout It Out Laud’s success and told Eric, “You Former Portland manager/producer Michael know, I could shut you down in a minute.” Brian, Craig and Scott of Tri-Polar. Mavrolis in Los Angeles with Genuine Manage- st Photo Buko ment just picked up his “31 Gold record since ’94”. Continued on page 28

TWO LOUIES, June 2004 - Page 17 Equipment: sound system Headliners: Ron Steen, Norman Sylvester, Cannonballs

Roseland 8 N.W. 6th Avenue Portland, OR 97209 Website: www.doubletee.com Format: all musical styles Booking: Double Tee/David Leiken Continued from page 15 503-221-0288 503-227-4418 (fax) Defi ance; Voodoo Machine; MRP; 36 Capacity: 1350 Crazyfi st Equipment: PA, lights Headliners: Local, Regional and National acts Nocturnal 1800 E. Burnside Roseland Grill Portland, OR 8 N.W. 6th Avenue 503-239-5900 Portland, OR 97209 Format: all musical styles Ohm Booking: Double Tee/David Leiken 31 N.W. 1st Avenue 503-221-0288 Portland, OR 97205 503-227-4418 (fax) 503-223-9919 Capacity: 400 Format: Blues, Jazz, Acoustic, Pop, Alterna- Equipment: PA, lights tive. Headliners: Local, Regional and National acts Booking: Dan Reed Capacity: 250 Sabala’s at Mt. Tabor Equipment: SA PA system, lights, soundman 4811 S.E. Hawthorne Blvd. Headliners: Slowrush, Imogene, Th e Sensual- Portland, OR 97215 ists 503-238-1646 Format: all styles Produce Row Café Capacity: Main Room 339 204 S.E. Oak Street Film Room 72 Portland, OR Equipment: PA, Lights 503-232-8355 Headliners: Jerry A DJ Matt Bastard, Ezra Holbrook, Th e Ratskeller Govt. Camp Th e Jazz Bar at Sweetbrier Inn PO Box 99 7125 SW Nyberg Rd. Government Camp, OR 97028 Tualatin, OR 97206 503/272-3635 503-692-5800 Format: Blues, Rock 503-691-2894 (fax) Booking: Bob Edwards Format: Jazz Capacity: 120 Booking: Denny 425-454-4817 Equipment: Full sound, recording, house Capacity: 50 mixer Equipment: Piano, PA Headliners: Paul delay, Smooch Knob, Duff y Headliners: Mary Kadderly, Dana Lutz, Jean- Bishop Pier Gareau, Marilyn Keller, Johnny Martin Th e Rabbit Hole & Mad Hatter Lounge 203 S.E. Grand Avenue Tonic Lounge We Buy, Sell & Trade Used Gear Portland, OR 3100 NE Sandy Blvd. 503-231-2925 Portland, Oregon 97232 Full Line of Retail Musical Equipment Booking: Bill Leeds (503) 236-2455 503-239-5154 Format: original acoustic Format: Rock, Alternative, Goth Equipment: PA Booking: Devon Guitars • Drums • Pro Audio • Lighting Headliners: Fernando, Luther Russell, 44 Equipment: Long, Kaitlyn ni Donovan Headliners: American Girls, Asthma Hounds, Feller, Mel DJ Gear • Keyboards Th e Red & Black Café 503-231-3899 Tillicum Booking: Morgan 8585 S.W. Beaverton Hillsdale Hwy. ProTools Dealer Portland, OR 97225 Th e Red Sea 503-292-1835 318 S.W. 3rd Avenue Format: Blues, Jazz, Rock nx Roll Portland, OR 97205 Booking: Cindy 503-241-5450 Capacity: 200 we are actively seeking job applicants 503-224-6570 Equipment: none Format: Reggae, World Beat Headliners: Lloyd Jones, Norman Sylvester, Equipment: PA Jim Mesi Band, Midnight Blue

Billy Reed’s Tug Boat Brewery www.guitarcenter. com 2808 NE MLK Jr. Blvd 711 S.W. Ankeny Street Portland, OR 97212 Portland, OR 97205 13029 S.E. 84th Ave. Clackamas 503-493-8127 503-226-2508 Format: Jazz, Soul, Reggae, Blues, Latin Format: acoustic rock, jazz 503-654-0100 Booking: Fred Stevenson Booking: Megan Capacity: 250 Capacity: 50

Page 18 - TWO LOUIES, June 2004 Equipment: mixer, speakers and mic. Headliners: Creative Music Guild, Rob Th e Peacock Tavern Blakely 125 S.W. 2nd Avenue Corvallis, Or Trails End Saloon 541-754-8522 1320 Main Street Format: R & B, Alternative, Acoustic Oregon City, OR 97045 Booking: Randy: 503-556-0405 503-656-3031 Capacity: 350, 275 503-656-7872 (fax) Equipment: PA, lights Format: Blues Tuesday-Saturday Headliners: Linda Hornbuckle, Rubberneck Booking: Randy Lilya (503) 556-0405 Capacity: 150 Equipment: P.A., lighting VENUES Headliners: Little Charley, Paul DeLay, Duff y Albany, Oregon Bishop Th e Venetian Th eater Twilight Café & Bar 241 W. 1st Avenue 1420 S.E. Powell Albany, OR 97321 www.twilightcafebar.com 541-928-6733 Format: all musical styles Vic’s Tavern Booking: Robert Connell 10901 S.E. McLoughlin Capacity: 685 Milwaukie, OR Equipment: PA, lights, soundtech, 503-653-9156 Headliners: Calobo, Floater, Th e Daddies Booking: Lynn Design Format: Original music-Rock Capacity: 100 VENUES Eugene, Oregon White Eagle 836 N. Russell Good Times Portland, OR 97227 375 East 7th 503-282-6810 Eugene, OR 97405 503-282-0842 (fax) 541-484-7181 Format: Various (no punk/techno) Format: Blues jam tuesdays & special events Booking: McMenamins/Jan 503-249-3983 only x 497 Booking: Dog House Entertainment, Bren- 503/282-1682 Capacity: 110 don Relaford: 541-342-7743 Equipment: 12 ch board, 3 monitors, 6 mics, Capacity: 250 www.buko.net Lighting, Some in-house sound assistance Equipment: PA, lights, sound tech Headliners: Buds of May, Steve Bradley, Jerry Headliners: Body & Soul, Th e Daddies. Joseph & Jackmormons, Jeff Trott, John Bunzow John Henry’s 136 East 11th Eugene, OR 97401 VENUES 541-342-3358 Salem, Oregon Format: alternative, hip-hop, funk, etc. Booking: Bruce 541-343-2528 Boones Treasury Capacity: 300 888 Liberty NE Equipment: PA, lights Salem, OR Headliners: Th e Daddies, Floater 503-399-9062 Format: Roots Rock Wild Duck Music Hall Booking: Jan Haedinger 169 W. 6th Capacity: 75 Eugene, OR 97405 Equipment: PA, 4 mics, 2 monitors, 1 amp 541-485-3825 Format: all musical styles Tommy John’s Booking: Dog House Entertainment, Bren- 248 Liberty Street don Relaford: 541-342-7743 Salem, OR 97301 Capacity: 500 503-540-4069 Equipment: PA, lights Format: Rock, Alternative, Funk Headliners: Charlie Musselwhite, Calobo, Booking: Dennis Ayres John Hammond Capacity: 150 Equipment: 6 channel PA, no mics, lighting Th e WOW Hall Headliners: Xing, Jesus Presley, American 291 W. 8th Avenue Girls Eugene, OR 97405 541-687-2747 Westside Station 541-687-2746 (fax) 610 Edgewater N.W. Format: all styles: music, dance, theater Salem, Or 97304 Booking: Allison Carter 503-363-8012 Capacity: 400 intoxicating Format: Classic Rock Equipment: PA, lights, soudtech, stage Booking: Donny manager Capacity: 100 Headliners: Greg Brown, Vassar Clements, Equipment: PA, lights NoMeansNo.

VENUES Corvallis, Oregon TwoLouiesMagazine.com

TWO LOUIES, June 2004 - Page 19 KINK. In other words, music is pretty much Rachel A charming set of verses set the scene: “When Taylor Brown’s life. you asked me to be your girl/I was grateful and As a songwriter, Rachel is quirky, to say the pathetic/A believer felled by heretical grace/You least, drawing from a diverse variety of musical were down at the Sutro baths/To meet another Continued from page 12 styles- from blues and rock idioms to show tunes woman/And we‘re here again in the very same perhaps) infl ected raw appeal of “Spike My Gun” and standards (she even quotes musical passages place.” A brilliant bridge ensues: “None so dumb creates a sultry mood, enhanced by Glickenhaus’ from Handel, fer chrissake!), she seems familiar as the one who comes on the heels of another love.” hot lead licks and Demarinis’ laidback, smoky and conversant with all and more. Th ere is no Rachel’s quaint accordion solo (with handclaps vocal. pinning her down. From one song to the next, clacking in the background) adds just the right Of late, Higher Ground have become primar- she may go in any direction. But her consistently touch of shanty-like authenticity to the arrange- ily a recording entity, releasing an album every year skewed lyrical perspective always keeps things ment. A winning combination. for six or seven years now. Th is may be one of the interesting. An obscure parable, Taylor Brown invests tightest editions of the band, with a sharper focus Th e mood is set with “Lonnie,” a sideways the melody of “Th e Mighty Tyson” with shards of on the material. Th e addition of Charlie Packard’s rocker with an positively warped little electric the aforementioned Handel pure interval orna- songs, which are a notch or two higher in quality guitar riff (Rachel plays all the guitars on the mentations; weaving the selection into a jazzy scat than most of the band penned tunes, adds to the album) that ties the arrangement together. Start- swing fabric reminiscent, somewhat, of latter-day seamlessness of the presentation. But it is also true ing off as if tuning her guitar, she rolls into the Joni Mitchell. Cool and smooth. Producer Larry that the rhythm section’s interaction with Glick- riff utilizing the lowest four open strings as part Schaeff er doubles with Rachel on Hammond organ enhaus in all his various instrumental guises, has of the line. With cool, matter-of-fact phrasing adding a smoldering intensity to the mix, as does never been more supple. Th ese guys are defi nitely on her vocal delivery, Rachel tells an offb eat tale the ensemble work of Adam Steele’s sax and Derek on the way to somewhere, though the destination of a gospel street hustler; over an infectious beat Sims’ (Pink Martini) trumpet. remains still somewhat unclear. Just the same, the laid down by drummer John Reiner, bolstered by “Good Nature” is another jazz-flavored ride should be quite interesting. John Huckfeldt’s (Gravelpit, Jesus Presley) fl uid number, in 6/8 time, where Rachel’s tightly con- basslines. trolled vibrato uvulates around a strange story of Do Not Stare - Rachel Taylor Brown Th e song ends abruptly, mid-measure- drop- love found and lost again. Wonderful, Maguire Shrewd Rube Records ping into the subsequent song, “Fingerprint,” a Sisters-like vocal harmonies accent the key lines his is a hard concept to fi x in the mind, diff erent song altogether. With just an eff ected with succinct clarity. More beatifi c vocal harmonies but here goes. If Bette Midler were acoustic guitar ( a Joni Mitchell chorus eff ect) and ensue on the funereal “Uncle Bob,” a grey story a “singer/songwriter” (and a pretty a solitary piano, Rachel relates a harrowing tale about a grey man who lived in a grey land. “Snow goodT guitarist) and just launching her career today, that might be tracing the fear and fog dynamic of Job” is a somewhat harsh and sobering look at the she would probably end up sounding like Rachel an instance of child abuse: “‘Just remember that it’s strip club mentality, pervasive in some quarters Taylor Brown. Not that Brown sounds anything like our little game- can you keep a secret?’/(yes I can)/ in our fantastic society, presented with a chunky, Midler, or visa versa- or that Taylor Brown really mama’s asking me if I’m okay/Something’s diff er- electric guitar fortifi ed, country twang. sounds like anyone else in particular: because she ent in her face/‘has it ever happened before?’/(yes Another pretty waltz, with a dancing melody doesn’t. But there is a certain off -kilter charm to it has).” line, “I Love You” features more lovely background this whole aff air which calls to mind Bette Midler. “Th e Sutro Baths” is an adult narrative, with vocals, reminiscent of the Roche sisters, over a Of course, this music calls to mind a lot of other an unique perspective- performed with great love tender and sparse arrangement. A haunting plain- performers- Sheryl Crow, Lucinda Williams and and care. Initially, the song is an intimate number, song, with a lone and brooding piano plaintively Bonnie Raitt, to name a few. just a solitary guitar and angelically beautiful multi- plodding underneath, Rachel conducts a hymnal Rachel grew up singing and writing songs. tracked vocal harmonies, combining on a vaguely choir, on “St. Brigid Of Broadway,” which fl utters She studied voice in college and has a degree in bluegrassy motif, that might be right at home on and fl ies like a fl urry of fairies on a soft summer music. She is a soprano soloist and ensemble vocal- some Oh Brother Where Art Th ou soundtrack or breeze. Given the crackle and pop of an old acetate ist with the Portland Baroque Orchestra, among another. Quite lovely, indeed. Th e fi rst verses tran- record, “Nancy Jean” sounds like an old folk song, other organizations. She has sung at weddings, bar spire for a full minute in a quiet, halting manner, along the lines of “Ora Lee” or “Nancy Allen,” with mitzvahs and assorted other functions. In addition before breaking loose for the next batch of verses, Rachel’s guitar and John Bomica’s forlorn accordion she has performed as a back-up singer in the studio with the backup of a full-fl edged acoustic band, the sole accompaniment to another elegiac sort of on recording projects with Foreigner, as well as the with drums and bass and a second, double tracked composition. Chieft ains. She has occasionally worked as a DJ at acoustic guitar, capoed high on the fi ngerboard to Rachel Taylor Brown’s music defi es easy sum- sound like a mandolin. mation. While most of her songs emanate from a 50 New Rooms Centrally Located ABC Grand Opening REHEARSAL Specials!!! 24 Hour Lockout • Large Showcase Room STUDIOS Quality Costruction and Area • A/C Lounge Area • Onsite Parking (800) 466-7991 Professional Management

Page 20 - TWO LOUIES, June 2004 folk idiom, there are enough directions to keep another solid song. as the rhythm section. Th e four songs featured any listener on his musical toes. Her topical lyrics Paul McCartney, the Beatles and Badfi nger are here, recorded live, show the fl edgling band in their are usually engrossing and always out of the ordi- obvious infl uences upon “Anika,” a lilting ballad, embryonic form, on the way to fi nding a defi nitive nary. Her singing voice is instantly familiar, while with cello accents on the turns, where drummer sound for themselves. remaining uniquely her own. Her obvious gift is Rob Nelson contributes his very best Ringoesque But, even at this early stage, there are several in the area of harmonization. Th is is thoughtful fi lls. Another tasty, Abbey Road-fl avored key change positive traits that are readily evident. First and music for the thinking person. And those availed informs the elegant bridge, before returning to the foremost is Cushing’s unique electric guitar style- of a preference for that sort of thing will enjoy this initial key, a quick solo, a reprise of the chorus and which incorporates Jerry Garcia’s noodly/bubbly well-craft ed music. a long luxurious fade (with Lennon-tinged, mega- arpeggios (as found in “Waiting On A Word”) with phone voiceover, no less). Goodnight Vienna. a more sophisticated approach, especially evident Everybody’s Girl - Th e Superfi cials Sounding like something that could have in the intro to “Brought Down,” vaguely reminis- Daylight Basement Records come from Elvis Costello’s fi rst album, My Aim Is cent of Adrian Belew’s work with King Crimson. usical partners, singers/songwriters True, “Geraldine” is an up tempo rocker that also Or check out the intricate fi ligrees she imparts to Michael Page and Josh Millman, invites further comparisons to Marshall Crenshaw. the intro to “Grey Sky.” have been working together as a “Magnet” sounds like Elvis Costello singing a Neil Vocally, the two women have a blend that local Mproduction team for about a decade now- fi rst under the name the Mavens, through the “Rachel Taylor Brown’s music defi es easy ‘90s; then, adopting the name the Superficials summation. While most of her songs emanate around 2000 or so. Th eir musical infl uences are various, although they all trend back toward the from a folk idiom, there are enough directions Beatles: Elvis Costello, Jellyfi sh, Crowded House to keep any listener on his musical toes... and Neil Finn, Matthew Sweet, Marshall Crenshaw, Badfi nger, Cheap Trick and the Rembrandts. Th ey Her singing voice is instantly familiar, while pen smart, memorable pop songs; executing them remaining uniquely her own.” with the sure-hands of savvy veterans. Th e album fades in with “Valentine,” as a FinnFinn song.song. SmearedSmeared inin “lipstick“lipstick vogue,”vogue,” “LSD”“LSD” couldcould bebe comparedcompared toto thatthat ofof thethe IndigoIndigo Girls.Girls. guitar chord progression worthy of Robyn Hitch- contains all the accoutrements of Th is Year’s Model- Both Raina and Meredith have a similar husky cock snaps into place. Soon the song is in Marshall period Elvis C.; with several elements lift ed directly timbre to their voices. Their vocal harmonies Crenshaw territory, with a sawed-off guitars chirp- from “I Don’t Want To Go To Chelsea,” including a are naturally complementary, but sometimes a ing aggressively behind a lyric that delineates the moaning farfi sa organ sound and a frenetic electric bit sloppy. Th ere is a bit of sloppiness too in the rise and fall of a budding love gone horribly wrong. guitar fi gure. Lennon’s “Dear Prudence” from the instrumental arrangements, where parts are occa- Production-wise, the arrangement of the verses Beatles’ “White Album” seems to be the point of sionally stepped on. of “Ready To Go” are reminiscent of Split Enz, departure for “Holiday,” a singular acoustic guitar Th e songwriting seems to rely more on raw an earlier Neil Finn vehicle; a pensive minor-key serving as accompaniment. emotion and spontaneity than on strong melodic number- while the chorus comes nearer the Cars While sounding distinctly like throwbacks hooks. It would appear that the songs’ construction in it’s I-IV-V, uh-oh, simplicity. Th e overall eff ect to a kinder, gentler era, the Superfi cials maintain typically begin with a foundation of a groove or of the song is closer to something Jellyfi sh might such consistent high standards of quality regard- a chord progression or a riff of some kind, upon have produced. ing composition and performance, that their which a melody and lyric are overlain; that, or else One of the better songs of a strong twelve stylistic musical nostalgia can be forgiven. Every they begin with a lyric over which an instrumental song set, the piano-driven ballad “Feng Shui,” calls song is given subtle detail without being frothy or arrangement and vocal melody. But the primary to mind Paul McCartney’s days with the Beatles, overdone in the least. Millman and Page show the weakness in the material to be found here is that with John and George-like vocal harmonies chim- ultimate in respect for the music of their forebears, there is a dearth of memorable melodies in the ing in like the days of Abbey Road- especially on without being overtly imitative. songs. lines such as “she picks me up and then she puts Melodies are more than simple musical inter- me down.” Replete with a mid-song key change Demo 2004 - Th e Gypsy Moths vals and note groupings, they are a multi-tonal link and a very Harrison-like slide guitar solo, the song Self-Produced to the wordless, unspoken regions of the brain. also sounds a lot like Badfi nger, doing the Beatles he Gypsy Moths are primarily the When the melody and the lyrical content convey in places, as well. A very Stonesy (mid-period) brainchild of two enterprising young the same message, the verbal and non-verbal areas guitar riff leads into the Squeeze-ish feel of “Sad women, Raina Rose and Meredith of the brain are stimulated simultaneously, creat- Girl.,” which sounds like “Black Coff ee In Bed” Cushing.T Th e children of performing musicians ing an atmosphere where the listener can be swept material, to be sure. Another catchy song, with a (Cushing’s mother spent time in the Fallen Angel away by the music. Th e Gypsy Moths have yet to strong chorus. Choir and Rose’s father is a dedicated folk singer), perfect this combination of word and music. Th eir An Indian motif, ala the Beatles, melds into a both come by their obvious musical aptitudes natu- songs are typically somewhat frothy jams, which “Drive My Car” meets “If I Needed Someone” sort rally. Friends since childhood, Rose and Cushing’s help to showcase some of the band’s considerable of setting on “Older Woman,” while evoking an friendship has long centered around music. When strengths, but they also dilute the musical focus early Kinks atmosphere. “Everybody’s Girl” could the girls were fourteen years old, Raina taught and detract from whatever message the members easily pass for the work of another ‘60s band- the Meredith how to play guitar, showing her the are attempting to impart. Easybeats from Australia. Shift ing gears a bit, “Go rudiments of Dylan’s “Blowing In the Wind.” A Concentrating on the construction of more Go Dancer” has a feel conducive to the musical year later Raina taught Meredith the basics of substantial melody lines (perhaps by starting with sentiments espoused by our beloved Dandy War- vocal harmony, singing along to Beatles’ songs on the vocal melody, then writing the musical and lyri- hols. A familiar guitar progression (Paul Revere and an extended road trip. cal arrangements around that); as well as tightening the Raiders’ “Just Like Me” and the Monkees’ “Not While the two women have been performing up the ensemble presentation, will serve this young Your Stepping Stone” come to mind) drives the as a duo for a few years now, they recently added band very well in the days to come- as they exhibit song, while smooth, breathy vocals waft through two Indiana transplants to the band, bassist Trent a great deal of talent and promise. the mix, over eff ective keyboard phrasings. Yet Hinchman and drummer Justin Burkhart to serve LL

TWO LOUIES, June 2004 - Page 21 the Wipers (named aft er his day-job at the time, side Portland city limits, heading north towards as a window washer), with drummer Sam Henry Scappoose. Besides the headliners, and the Ziplocs, and bassist Doug Koupal. also on the bill were the Wipers, the Neo-Boys and Sage founded the Wipers intending for the a Th in Lizzy cover band, who brought with them ContinuedContinued ffromrom ppageage 7 band to be strictly a recording project and not a a throng of beer-swilling, fl at-head fans who were money, while passing through Portland. Destitute, performing act. His original goal for the band was “uncomfortable” with the new kind of music they they asked a citizen where they might fi nd a place to release fi ft een records in ten years, which is a were hearing. Not only that, but a large contingent to play and were told of a coff ee house called Th e pace of about an album every eight months. While of redneck local yokels were also in attendance, Folksinger. It just so happened that young Toody he failed to live up to that goal, Sage created a body drinking heavily in the parking lot and spoiling Conner worked at the club. Quickly she and Fred of work with the Wipers that was acknowledged by for trouble- which was not far off . became a couple and were soon married- a fact that Kurt Cobain, himself, as an early infl uence upon his Hari Kari had only gotten a song or two into his record company ordered the groom to hide. songwriting (Cobain, like Sage was a left -handed their set when fi ghting broke out among various Th e Weeds’ fi rst manager also managed the guitarist). Cobain would produce a Greg Sage factions in the crowd. The band attempted to Seeds, who had a hit with a song called “Pushin’ tribute album fi ft een years later. soldier on, continuing to play, but when members Too Hard.” Th e Weeds were subsequently signed to 1977 was a pivotal year for the burgeoning of the throng began taking the stage and heading a contract with the UNI Records, whereupon the Portland music scene. KGON radio had begun for their equipment, Hari Kari quickly retired. It label assigned the legendary “Lord Tim” Hudson participating in “Catch A Rising Star” promo- was not long before the police arrived, restoring (who claimed to have coined the term “fl ower tions- in which, for 92 cents fans were treated order once more. Th e following day, the members power”) to manage the band. Hudson promptly to a concert at the Paramount Th eater (now the of Hari Kari collected empty beer bottles from the convinced the lads to change their name to the Arlene Schnitzer Concert Hall) by a couple of premises in order off set the bill for broken windows Lollipop Shoppe. Th at band’s fi rst release for UNI, up-and-coming acts, whose music, in most cases, and other damages to the community center. Hari “You Must Be A Witch,” became a minor hit. Th e KGON- a station dedicated to mostly traditional Kari broke up shortly aft er that legendary gig, with Lollipop Shoppe went on to appear with the Peanut rock and metal, never played. Occasionally the new Arjavac joining the Ziplocs. Butter Conspiracy in the B-movie, Angels From band was paired with a non sequitur established Soon there were dozens of “punk” bands play- Hell, released in 1968. act. Such as Elvis Costello with AC/DC. It was ing the stages of the Revenge, the Earth Tavern, In 1969 the Lollipop Shoppe broke up. Aft er a the fi rst opportunity that Portland audiences had Euphoria and Long Goodbye. Bands such as Lo- few failed attempts to revive the band, in 1970 Fred, to see bands such as Costello, Blondie, the Cars, Tek, Fix, the Rubbers, Pell Mell, the Cleavers, the Toody and their two infant children moved to the the Pretenders, the Divinyls, Talking Heads and, Malchicks, the Kinetics, Stiphnoids, Faceditch, the Yukon Territory, where they lived for two years in perhaps most importantly, the Ramones. Seeing Dots, Bop Zombies and SLA; the cult noise bands an eff ort to avoid the draft . Th e family returned the Ramones in concert motivated Greg Sage to Smegma and Rancid Vat; the Marcel Duchamps to Portland in 1971, and, with Piers Munro, a make the Wipers into a live act. of the music world and tres dada-esque Wallpa- fellow former-member of the Lollipop Shoppe, And following that same Ramones concert in per Music; Ice 9, the Braphsmears and Suburban Fred and Toody opened their fi rst music store, late 1977, countless local musicians were inspired Guerillas, Hari Kari and the Ziplocs- all joined Freedom Guitar, which they operated for about a to form bands. One of the fi rst bands from that with headliners, such as Sado Nation, the Wipers year. Aft er that, Fred and Toody opened Captain renaissance to break out was Dave Corboy’s Sado and the Neo Boys. Whizeagle’s, which quickly became a hang-out for Nation. Minnesota-born Corboy, began play- Th e Neo Boys were Portland’s fi rst all-female every new band to hit the pavement. Th e Coles ing in rock bands in 1963 at the age of fourteen. rock band. Th ough they were still basically novices became foster-parents to a legion of underground Aft er migrating to the Bay area in the late ‘60s, he on their instruments, their enlightened political musicians from all cultural corners of the city: as continued to play in a variety of rock bands until stances and sophisticated demeanors are still in Fred and Toody were widely renown to have a 1973, when he migrated to Portland to attend art time with today’s standards. Vocalist Kim Kincaid, generous credit policy. school. guitarists Jennifer Lobianco and Meg Hentges, In 1973 Fred formed a band called Zipper, Corboy continued his schooling through bassist KT Kincaid and drummer Pat Baum, which released an album on Whizeagle Records 1977, when the call of rock and roll lured him back became outspoken feminist fi xtures in the local in 1974. With King Bee, in 1976, Fred was fi rmly to the stage. Inspired by John Shirley’s songs with underground scene. Hentges eventually migrated ensconced in what there was of the local “scene,” Terror Wrist, Corboy was prompted to launch his to Austin, where today she is still a very popular and he has never once looked back; leading one own band, when Shirley’s subsequent band, Th e performer. band or another, almost continuously, ever since. Monitors, broke up. With Mark Sten (this time John Shirley left Sado Nation late in early 1980 Another seminal fi gure in the local alternative playing drums) and bassist Dave Propp, Corboy to pursue a writing career in New York City, where music scene was John Shirley. An avid connoisseur and Shirley broke new ground with Sado Nation. he became the acknowledged (by William Gibson, of the budding DIY ethic related to the new music Another band to form as a direct result of no less) father of the “cyber punk” genre of science sensibility emanating from the United Kingdom, that fateful Ramones concert was Hari Kari, which fi ction literature. In early 2004 he published the Shirley, along with Mark Sten, opened the fi rst featured, among others, guitarist Otis P. Otis (who book Gurdjieff - An Introduction To His Life & punk venue in Portland, the Revenge Club, in 1977. was profoundly aff ected by the Ramones concert), Ideas, about the noted mystic and spiritual teacher. Shortly thereaft er, Shirley formed one of the fi rst guitarist Spencer Heime and drummer Chuck Shirley was replaced as vocalist for Sado Nation by punk bands in town, Terror Wrist. Arjavac, who also eventually drummed for the Leesa Nation, who sang with the band for the next It was right about that time that Greg Sage band the Ziplocs (which featured guitarist Jeff Wil- three years. Alec Burton replaced Mark Sten as the fi rst emerged upon the landscape. Sage grew up liams). Unwittingly, Hari Kari and the Ziplocs were drummer for the band. When Burton failed to show as something of a musical fanatic. His father, who to take part in one of the most memorable events up for a gig (something he was frequently known worked in the broadcast industry, gave Greg his of the early Punk years in Portland: the infamous to do) early in 1980, Chuck Arjavac replaced him. own record cutting lathe when he was in the 7th “Linnton Community Center riot” of 1979. Meanwhile Eugene native Steve Casmano became grade. From that point on, Greg spent endless Accounts vary, but this much is known- Hari the regular bassist. In 1982, Mish Bondage, lead hours peering through a microscope into the Kari were the hosts to the all-ages aff air at the grooves of the records he cut. In 1977 he formed Linnton Community Center on Highway 30, out- Continued on page 25

Page 22 - TWO LOUIES, June 2004 photo Gustavo Rapoport

TWO LOUIES, June 2004 - Page 23 Page 24 - TWO LOUIES, June 2004 ContinuedContinued ffromrom ppageage 22 singer for the Braphsmears, replaced Leesa Nation as lead vocalist for Sado Nation. Also in 1979 (and also affected by that Ramones concert), Fred and Toody Cole founded the Rats with drummer Rod “Rat” Hibbert. Th e band’s name came from the fact that all three members were born in the Chinese “Year of Th e Rat.” Aft er leaving the Wipers, Sam Henry briefl y replaced Rod Rat in 1980 to help record the band‘s second album; before Louis Samora permanently settled into the drummer’s chair. Rod Hibbert committed suicide not long aft er (an event which had a profound eff ect on Fred. Many of his songs refer to it). Meanwhile Greg Sage brought in bassist Brad Davidson to replace Doug Koupal and drummer Brad Naish to replace Sam Henry as the rhythm section for the Wipers. Th ese various shift s began an extended game of “band musical chairs,” which continues to this day (in some cases, involving some of these very same names). And that is where our story truly begins. By the Spring of 1980 an incredibly hospitable musical environment had evolved, spawning whole cultures of various musical breeds. Th e “club” scene became so raucous in fact, that the Neo Boys, among several other punk and new wave alternative bands (pos- sibly mindful of the Linnton Commmunity Center riot), threatened to abstain from attempting to perform in venues where drinking was promoted, citing the dulled audience consciousness at such gigs; preferring the wired-up energy of underag- ers over the glaring, jaundiced eye of the average pub-goer. Urban Noize was just such an all-age haven. Run by Fred and Ronnie Noize (Seegmeuller) the club catered mostly to alternative punk audiences with local bands as varied as Upepo and the Wipers, Urban Noize was also the locale for several early shows from touring acts such as Joan Jett, Black Flag and DOA. Ronnie Noize led a band of her own, Toxic Shock, which frequently played at Urban Noize. Clockwork Joe’s was opened by Mark Sten who, along with a small coterie of other under- grounders and punks, had become disenchanted with Fred and Ronnie Noize‘s venue. Still, there emerged a club for every musical style- and a couple of bands who were able to fi ll any particular club on any particular weekend. Hair bands such as Sequel, Legend, Rising Tide and Fire Eye found refuge in a multitude of clubs, mostly located on the outskirts of town: the Orange Peel on Capitol Highway in deep Southwest, Jody’s at 122nd and Northeast Glisan, the Wreck Of Th e Hesperus on 102nd and Halsey in outer East county and Zack’s at 30th and Southeast Powell, the chief among them. Continued on page 26

TWO LOUIES, June 2004 - Page 25 soon left the group. From there, it was not long Percussionist Stan “Rubberband Man” Wood oft en before the band broke up altogether. played solos on specialized rubber bands, a sound Th e Burnside Bombers were a boogie band, which preceded numerous annoying synthesizer fi rst and foremost. Initially specializing in quasi- settings by several years. But, beyond that novelty ContinuedContinued ffromrom ppageage jazz and southern-style butt rock; the Bombers factor, his usefullness in the band was dubious, at Folkies such as Gary Ogan, Lew Jones, Craig gradually integrated original material into the best, especially as the band shed its latin skin for Carothers, Valerie Brown and Jill Khovy gave mix, including the popular local single “Cocoanut the new wave. Upepo continued on, into the early forth at the Dandelion in Northwest, downtown Girl.” Th e three founding members, guitarist Jerry ’80s, before permanently disbanding. at Sweet Revenge, the East Avenue Tavern on East Murphy, keyboardist Mark Bosnian and bassist Wheatfield were the kings of bluegrass- Burnside and at the Riverway Inn Bob Thompson, went through a flavored folk/rock. Founded in 1970 by gui- on Southwest Macadam. Blues- tarist/vocalist Will Hobbs, based purveyors such as the Pete Wheatfield became one of Karnes Blooz band, the Paul deLay the best known local bands Blues Band migrated to the White of the 70’s. Their strongest Eagle in North Portland. lineup consisted of Hobbs Seafood Mama, Johnny and Paul Douglas on gui- and the Distractions, the Cray tars, Susan Scholz on vocals, Band, Sleazy Pieces, the soulful Kenny Sawyer on drums, Slowtrain, the boogie-down Kelly Stites (a former member Burnside Bombers, the ubiq- of the Street Corner Band) on uitously Latin Upepo, country bass and keyboardist Kerry swingers Trigger’s Revenge, Canfi eld. While the band was Sleeper, Lone Coyote Club one of the most popular in the and Hurrman Burrman, and ‘70s, they were unable to make bluegrassy fl atpickers Wheat- the musical changes necessary fi eld and the Beaver Trail Boys to survive as a band. Of course, all held court at an array of the name Wheatfi eld became a inner-city clubs including the liability when popular musical compact basement location tastes changed toward punk and of Last Hurrah on Alder, the new wave. old-time, woodfl oored store- Another band that embod- front of Sack’s on Front Avenue ied the ‘70s country rock ethic downtown, the spacious Earth was Trigger’s Revenge. Evolved in Northwest on 21st, and the from another country rock cavernous Euphoria in the band, Country Al and his Pals, warehouse district at South- Trigger’s Revenge was fronted east 2nd and Stark. Th e Faucet by singer songwriter Keeter on Southwest Beaverton-Hill- Stuart, whose grandfather, Stan sdale Highway and Tipper’s Jones, wrote the country classic on Powell near Southeast “Ghost Riders In Th e Sky,” with 102nd served as the subur- Al Garcia on lead guitar. In later ban outlets. incarnations, Trigger’s Revenge Slowtrain were one of featured vocalist Alison Rice, the fi rst funk/soul bands to bassist Don “The Rock” Weiss, make a name for themselves drummer Mike Koreyow, Hank on the local scene. Th e brainchild of keyboardist number of drummers before they settle on Rick Rasco on keys and Al McLeod on Mike Strickland, the band was originally fronted “Grease” Starr, who brought the band more of a guitar along with Stuart. by singer Molly Ingran (who later, briefl y, sang hard driving style. Th ey replaced a string of sax Hurrman Burrman were among an elite few with Nu Shooz in their formative days). Ingran was players with a second guitarist, Matt Kilwene, country rock bands to dominate the local club replaced by Caren Knight, whose raspy vocal style which also lent them a harder edge. Th e Bombers scene. Hurrman Burrman were a show band in drew comparisons to everyone from Big Mama broke up in 1980 aft er fi ve years on the boards in the truest sense of the word, whose roots went Th ornton to Kim Carnes to Janis Joplin. the local clubs. back to junior high school in Grant Pass, Oregon, Knight was backed by bassist Scott White Veterans of the ’70s, Upepo were an eclectic where the four founding members, bassist Steve (whose own local tenure went back to the late ‘60s ensemble who, at fi rst, focused their stylistic incli- Vincent, drummer Jim Sanders, guitarist Smiley with the Portland Zoo Electric Band and the Sun- nations on latin-fl avored jazz intonations in their Brion and drummer Al Klassen fi rst conceived the nyland Band) guitarist Mark Storch and drummer pop songs. As the ’80s dawned, the band incorpo- band back in 1976. Jeff Moore; as well as percussionist Caton and rated new wave aspects into their presentation with At their peak, the Burrmans regularly held a horn section of Jim Pepper, Gary Harris and such songs as “Condo, Condo” and “RV,RV” (the forth on the weekends at the more infl uential local Dave Mills. Strickland was later replaced by Dave echolalia was theirs). Headed by vocalist/guitar- clubs, including the Last Hurrah and Euphoria. Gaylord. But when nationally known vocalist Lee ist Charles Croft , the band relied heavily on the More so than their counerparts, Hurrman Bur- Garrett (who co-wrote Stevie Wonder’s hit “Signed, rhythm section of J. Michael Kearsay and drummer rman had a looming presence from one end of Sealed, Delivered) joined the band as advisor and Steven Blomberg; as well as upon the talents of key- the state to the other a claim which few among the co-vocalist, things deteriorated rapidly. Knight boardist Glenn Reuger and saxman David Nelson. competition could make.

Page 26 - TWO LOUIES, June 2004 Th eir stage shows were legendary: a muscular tion for theater, allowing various troupes to per- of Portland. He wanted me to fl y and see them. cast, which included two drummers (only one kit, form in the basement space at the Long Goodbye, Th ey were called Seafood Mama. I had a choice Klassen and Sanders alternated behind the kit and as well as permiting the madcap machinations of to produce either Pablo Cruise or this new group. adding conga percussion) and a pedal steel guitar antique hippie rebels the Rounders, whose politi- I went to see the group and saw a girl in a granny player backing Vincent and Brion, with all four cal and social commentaries knew no boundaries dress playing a sax, but I heard two hit songs: founding members providing dense, Dead-inspired nor barriers. ‘Find Another Fool’ and ‘Harden My Heart.’ It vocal harmonies (all four took the lead vocal duties One of the most unifying events in those was while staying at Boylan’s house that Marv and from time to time. Beyond that, Klassen was quite primordial days of the Portland music scene, was Rindy discovered the name for their new band. profi cient on the harmonica, which lent another the annual Pub Crawl, which was sponsored by While looking through a book, they came across dimension of color to their sound. the Portland Opera Association and involved an Australian saying, “One quarter fl ash and three But, most spectacular of all, was the appear- dozens of bars— each off ering some form of live parts foolish,” which caught their fancy. And the ance within their stage show of “Johnny Smash and entertainment. Th ousands of people would attend band was named at last. the Marijuana Brass,” whose take on the Johnny these alcohol-fueled free-for-alls, many of them It was also Boylan who proposed that Marv Cash songbook was raucously over the top. Don- ferried from site to site around town by an endless and Rindy drop the rest of the band- whose style ning sombreros and serapes, Vincent, Sanders and procession of school buses, which had been leased was quickly being left behind in the pop music Klassen would also act as the Marijuana Brass, for the occasion. Great fun could be had simply world. Blaine Moody, Morry Woodruff and Bruce punctuating Brion’s Smash interpretations with by standing outside one of the participating bars; Sweetman were summarily dismissed, although sloppy horn (Sanders played trombone, while the observing the revelers who would arrive or depart Sweetman did play on the subsequent eponymously other two played trumpets) interjections, while upon one of the jolly yellow buses that would roll titled debut album for Geff en. Free of the old band, continuing to play their regular instruments as up every fi ft een minutes or so. the Rosses transformed into the new band by raid- well. Th eir somewhat vulgar, riotous version of Early in the evening, riders would observe ing a local band, Pilot, of most of its members. Johnny Preston’s ‘50s hit “Running Bear” was also strict decorum in boarding and leaving the The new members, rocked considerably a crowd-pleasing institution, as well. buses— politely fi ling down the steps to the side- harder than their predecessors. Drummer Brian As the ‘70s came to a close, musical tastes of walk. By night’s end, etiquette and convention were David Willis and bassist Rich Gooch created a the public began to change. Sensing the shift (as abandoned in a wash of beer. People would slosh driving rhythm section, reminiscent of Mick Wheatfi eld and Triggers Revenge were also forced from the buses, careening down the steps; pour Fleetwood and John McVie of Fleetwood Mac, to face), Hurrman Burrman retired; fi ring their drunkenly from passenger windows; fall blindly with more of a “new wave” edge. In addition, original pedal steel player and replacing him with from emergency exits, plummeting to the pave- keyboardist Rick DiGiallonardo and lead guitar- Ron Stephens- a member of Hank Rasco’s Wasted ment with a dull thud, amidst debauched laughter ist Jack Charles lent Marv Ross’ songs previously Rangers, when Johnny Koonce more or less took over the band, calling them the Distractions (for “Wheatfi eld were the kings of bluegrass-fl avored whom Stephens helped to engineer their first, folk/rock. Founded in 1970 by guitarist/vocalist Will locally produced recordings). With Stephens on board, the band briefl y permutated into Sleeper, Hobbs, Wheatfi eld became one of the best known before embarking upon an extended USO tour of local bands of the 70’s.” military bases across Asia, which, while lucrative, did nothing to further the bands’ music career. and screams. The recent North By Northwest unattainable depth and scope. Charles, under his Instrumental in the development of the Port- extravaganzas were a scout jamboree in compari- real name Jack Meussdorff er, along with bassist land music scene in the late ’70s was Tony DeMi- son to the bacchanal that was the Pub Crawl. It was Gooch, had already achieved success in the early coli, whose wild, outlaw bar, Club Long Goodbye NXNW, the Bite and a riot at Pioneer Courthouse ’70s with the band Sand. (located in Old Town at Northwest 10th and Square, all rolled into one. By the Summer of 1982, Quarterfl ash’s fi rst, Everett, where Jimmy Mak’s is now housed) served Th ose were the embryonic days of the Port- self-titled, national release had gone platinum (with as an unbiased proving ground for any band of any land music scene, as we regard it today. Within two the two hits Boylan heard, “Harden My Heart,” and musical persuasion, but most predominantly for years that scene rapidly grew to unprecedented “Find Another Fool,” reaching the Top Twenty; up-and-coming new wavers such as the Cleavers, maturity, reaching unparalleled proportions. In the former, Number 3 on the Billboard charts), the Neo Boys, Sado Nation, the Balloons, Modern that short span of time Seafood Mama signed in commemoration of which the band bestowed Problems, Casey Nova and, most importantly, a lucrative deal with the then-fl edgling Geff en upon Two Louies an honorary Platinum Album for the Miracle Workers, the Rats, the Odds, the Records label. At that point it was determined that Award. And by that time Johnny Koonce and his Untouchables and the Malchicks. the band needed to change their name. Suggestions ever-changing Distractions had signed with A&M Born on the island of Malta, Tony soon included “Rindy,” “Rindy & the Changes” “True Records; releasing an over-produced album that migrated to the U.S. (Brooklyn); with a profound North” and “Chance,” but none were deemed as made it to the neighborhood of number 150 on the appreciation for the rich culture of music that acceptable. Billboard album charts. Quite suddenly, the Port- existed in this country. While living in New York, Geffen brought producer John Boylan on land music scene was on the national radar screen.o Tony even briefl y played congas with Elephant’s board to steer the young band in the studio. the neighborhood of number 150 on the Billboard Memeory, a band whose (only) claim to fame was Boylan, an industry veteran, architect of Rick album charts. Quite suddenly, the Portland music that they backed John Lennon on his Sometime In Nelson’s Stone Canyon Band, was renowned to scene was on the national radar screen. New York City album. Upon arriving in Portland, have hand picked the backup band for Linda Tony quickly became a fi xture in the local music Rondstadt’s groundbreaking 1971 tour- a band scene, at fi rst at the Long Goodbye. Tony launched that later became known as the Eagles. Boylan’s the careers of innumerable local musicians from initial assessment of the Seafood Mama was harsh, Long Goodbye, not the least of whom was Jeff but optimistic. Lorber. “David Geff en called, said he had a new label, Tony also demonstrated an abiding apprecia- and he had just signed an unknown band out LL

TWO LOUIES, June 2004 - Page 27 Continued from page 17 show at the Aladdin Theatre featuring nine songs county, according to Local #47 of the American with musicians Daniel Riddle (King Black Acid), Federation of Musicians. They were in the first “You wouldn’t want to do that,” said Eric Tony Lash (Heatmiser), Sean Tichenor (King wave of high paid club rockers at the Vine Street “Every time we play, the next day, a bunch of people Black Acid), Kevin Kozad (Nero’s Rome) and Hollywood union hall, normally dominated by run out and buy Kiss records.” John Taylor (Duran Duran). Also on the DVD musicians from network television, the movies, Helzer owns Keystone Mortgage and juggles are two radio interviews with Angell, Taylor and session players and big band musicians. his career as a musician, family man and business Riddle as well as a photo slide show. Release Party In the Sixties, Local #47 was starting to rock owner. Aside from the Kiss tribute Eric and the for the DVD takes place at Dante’s July 9th … The Stillwaters were only in the union because same players Dax Hale (B), Jay Haygood (G) Sandin Wilson’s Metro featuring Regina K will their fathers insisted, anyway. Front man and and Brian Hunt (D) have worked up a tribute open for Kenny Loggins July 16th at the Beaverton Fender 12-string player Peter Burke’s, dad was to Van Halen entitled Van Haygood that debuts Summerfest Concert. Sandin’s distributor in Japan the famous Sonny Burke, Vice President of Music in Portland June 25th at the Roseland with Craig gave him a big re-order for his newest CD “Into at Warner Brothers Studios and Frank Sinatra’s Montoya’s new band Tri-Polar. My World”…Stephen Malkmus and the Jicks play record producer. Sonny rose to power and influ- Brian Lehfeldt of Tri-Polar and Helzer play Malaga, Spain July 2nd. They’re in the basement ence as a southern California bandleader and together in the original percussion ensemble studio through June…Talk about your Hall of Fame songwriter. Drumattica. careers: TheCrazy 8’s are coming back to celebrate Lead guitarist Cary Eurist, was the son of Eric Helzer heads the Induction Committee 20 years since the release of their most successful a television documentary director and producer at the Oregon Music Hall of Fame. release “Law and Order”. You remember, with the at David L. Wolper Productions, the bass player’s cartoon of Ronald Reagan on the cover? Manager father, Louie DeWitt Senior was a renown Special NNN Marc Baker says the Anniversary issue will have Effects artist in film. Speak up now. a cover update to include a likeness of George They all wore ties to dinner and still lived at Last summer, the FCC relaxed media owner- W. Bush. The 8’s play Saturday, August th7 at the home in Beverly Hills splendor. ship rules that allow Big Media conglomerates to Roseland, August 15th on the main stage at The Bite And then there was the twenty-four year old grow even bigger. In doing so they unleashed a and September 4th at the Taste of Vancouver with me, ex-Marine on drums. firestorm of angry protests from guys like David Quarterflash…that show also features Pink Mar- I got the gig with the Stillwaters because they Leiken who have to compete with Clear Channel, tini, who are about to release their long-anticipated saw the Buzz Clifford Band. Peter Burke and his the media conglomerate that owns 1,100 radio sta- Sophomore album and will play this New Year’s group was the house band at the Warehouse 9, tions and controls “at least 70%” of the mainstream Eve in the new Walt Disney Concert Hall in Los and Buzz’s band had been brought in temporarily concert business. Angeles…Misty River on the road ‘round Oregon to force the Stillwaters into a wage settlement. The “It’s collusion, “ says David, “Clear Channel promoting the release of their new CD. June 25th Stillwaters prevailed, got their raise and decided to gets a $3.35 rebate on every ticket Ticketmaster they’re in Astoria, June 26th Madras, 27th Bend and upgrade the drummer. Buzz’s band was primarily sells.” back to Portland the 29th for the Tuesdays by Twi- a recording unit and we rarely played live, so I Even bigger challenges lie ahead. Next year light Concert Series in the Chinese Garden NW 3rd jumped at the chance for a six-night-a-week gig at Congress will consider landmark legislation that & Everett…Little Sue band at Imbibe Friday June UCLA’s favorite live-music hangout. will reshape our entire media system and deter- 18th…July 16th Hot Summer Nights with Lover Boy The Warehouse 9 was in competition with the mine who controls access to information on the and Sequel. The promoter says he was surprised USC club, the “RF”, in Westwood, with the cartoon Internet. to find that so far, Sequel has more hits on the web rat-giving-you-the-finger logo. Both clubs had lines June 24th at the Convention Center, Oregon site than Loverboy… around the block all night and students waited Ballroom #204 5:30pm-9: 30pm, The Town Meet- patiently for people to leave so they could get in. ing on the Future of Media. It’s free, so there’s no More Backstory… The RF’s house-band was theMusic Machine who excuse. had a Top 20 hit with “Talk Talk”. Federal Communications Commissioners Whatever Ray Charles says. The Stillwaters lasted 2 more years and the Jonathan Adelstein and Michael Copps will hear I met Ray in ’75 when Moog introduced the Warehouse 9 highlights included a visit from sev- from a panel including David Leiken and other first polyphonic music synthesizer, “The Poly- eral Rolling Stones on their first trip to Hollywood members of the music community. Moog”. Naturally, Bob Moog thought Ray should to play the Whisky, checking out the college scene, It’s your voice. Raise it, or lose it. get one of the first proto-types. I delivered the unit , and later sharing a dressing room (and hair dryer) in an Anvil ATC case in person to Ray’s recording with the Ike & Tina Turner revue who played a studio in Los Angeles. The Poly was a gift for the one-nighter there for about $750. NNN man who brought electronic keyboards to rock- The Ikettes were fine. THIS JUST IN…The film documentary n-roll, forever making the Fender Rhodes famous Peter and I eventually left the band to become “Unknown Passage: The Dead Moon Story” by with the intro to “What’d I Say”. record producers. Fifteen years later, Peter intro- Jason Summers and Kate Fix will screen at the I remember Ray running his long fingers over duced Seafood Mama and their manager to the Los Angeles, Don’t Knock The Rock Film Festival the PolyMoog keyboard, with his head tilted back brand new Geffen Records, and ba-boom, ba-bing, Wednesday, August 18th at the Arclight Theater. smiling, ripping through the pre-sets. Quarterflash goes platinum. Dead Moon will perform…James Angell about Great moments in live music… And now you know, the rest of the story… to release a DVD. Produced and Directed by Tony Lash. “Private Player In Concert” features 50 Back in the day, The Stillwaters were the LL minutes of concert footage from last year’s Angell second highest-paid club band in Los Angeles

Page 28 - TWO LOUIES, June 2004 Q. Are you still doing the same things behind A. Yes I have at times. At other times I’ve the scenes or has somebody else taken over those recorded with the band on tunes I might have jobs? written on a certain KISS album. A. I wouldn’t have the time to do much else. Q. Gene Simmons just released his second We have new people that have taken over the road solo album “Asshole” did you work on this project Continued from page 4 management that are getting the job done well. As in any capacity? Q. Were you a little disappointed on the far as the video production work goes, I’m still very A. No I did not, on purpose. I believe that last tour, that the closest you got to Portland was much involved with that. I put a lot of time into the Gene wanted to use musicians outside of KISS Seattle? KISS Symphony CD and DVD. (even Eric at the time) exclusively so that there A. No, not really. In that case all of our closest Q. What other rolls do you play within the was no confl ict of interest issues, so that his solo friends made the road trip north to Auburn. KISS organization? record was defi ned as being a separate project Q. How have your responsibilities and A. Since I’ve been on the team for so many outside of KISS. interaction with the band changed now that you years,years, in mmanyany ssituationsituations I mmightight hhaveave a ppointoint ooff Q.Q. I waswas readingreading ssomewhereomewhere tthathat a lliveive rrecord-ecord- are a band member? “There was no audition, no long decisions, it was almost like A. Aft er Black ‘N Blue ran its course over 10 nobody told me. KISS was readying to play a concert in Jamaica years ago, I started working for Paul and Gene doing anything that needed to be done. I needed a back in February 2002 and Doc McGhee (KISS manager) called job at the time and I was lucky enough to get one and said to get ready for the trip etc.., Oh and by the way, Ace doing something that interested me. So I’ve come up through the ranks in the KISS organization has decided not to go, so you’re playing guitar.” starting at the bottom and worked my way up. viewview oorr aann oopinionpinion tthathat oothersthers mmightight hheedeed tto.o. OOrr inging isis mademade ofof everyevery showshow andand youyou cancan buybuy a CD It was never a conscious thing though, I always in other situations, I might run with the ball and of this recording aft er the show is over. Will Kiss cared a lot about what I did, so most of the time take care of business. Paul and Gene have said at be doing this at the Portland show? it wasn’t like working. To be honest, the transition times I’m the glue that holds things together so A. Yes, I think it’s called “Instant Live.” It’s a of coming into the band was seamless, I’d done so to speak. new thing that other bands like Th e Who have done much recording, soundchecking and rehearsing Q. You said “I’d done so much recording, successfully, whereas you can take a live-recorded with KISS through the years that it was very natural sound checking and rehearsing with KISS through CD of the show home with you, a great concept! to step up onstage and be in the band. I actually the years that it was very natural to step up onstage Next time Tommy talks about the tour and how came very close to subbing for Ace onstage when and be in the band” Have you fi lled in for Ace in the Portland show went. he almost missed a couple shows on the 2000 tour, the studio? LL butbut that’sthat’s aanothernother sstory!tory! JESUS JUST LEFT GRACELAND dream. Cookie who had never really spent much Dear Editor, time down south let alone did a cross country trip Well considering this was my 12th time to was so excited about the day. She was all that and a the holy land known as Graceland. It struck me bag of skins. (pork rinds for you folks in the land of once again as what the industry was like when fl annel) Michelle was talking about how everyone rock and roll was a fantastic world of new and was so nice and the food was so good. Michelle and uncharted territories. All you have to do is walk I have been together for about 5 years now, she not thought the halls with all Elvis”s awards and gold only sings in the band, but puts up with me and I records hanging there and think what a career, as got to tell ya, there‚s something to be said for that. we pulled out of the parking lot headed to Atlanta Cookie and I have known each other for about 8 I cranked up the cd player and the King kicked out, years, so just imagine road tripping with two girls, “Let’s Play House” as loud as I could get the stereo a belly full of bar-b-que and pie and burning all the to go, off we went. way. It‚s good to be me. Well we all talked about Th e girl”s were both stoked to have visited driving the rest of the way and decided we would Graceland and of course Tupelo was just down get to about an hour or so from Atlanta and that the road. I told them I knew this place that had way we could get a room, take a shower and get a the best Bar-B-Que in Mississippi and also served little rest before we arrived at our destination. SEYMOUR OBIT up the fi nest slabs of homemade peanut butter pie Hot Damn, It‚s Atlanta! Dear Two Louies, on earth. Friday May 14th @ 9:30 am In Memoriam, Jerry Noyes 1948-2004. Let me tell ya, the best thing about the south Well I fi nally pulled off Interstate 20 at the 10th Long-time Portland-area bass player, Jerry besides southern hospitality is the food. street exit in downtown Atlanta (we left Portland Noyes, formerly with The Warloks, and most We pulled in and sure enough there it was. at 4:30 am on Tuesday May 11th, it took 42 hours recently with Seymour passed away Wednesday, Aft er we sat down and stuff ed of face with pork, and nonstop driving to Graceland and another 6 hours June 9th. homemade pie (back toward the freeway was the to Atlanta, of course driving with two hot women Beloved by family and friends, he was known birthplace of Elvis.) We stopped Elvis house, how seemed to make the drive go by like nothing. We for his kindness and generosity, his rock-steady strange does that sound? We all sat on the porch stopped fi nally 1 1/2 hours outside of Atlanta on bass playing and his skillfull mastery of the comedic for a while to let our pie settle and thought how it Th ursday night) two things were clear, fi rst this one-liner. must have been back then. city is beautiful and second this city is big. It took We’ll miss him. Aft er a short time we were back at it. Funny all of 5 days to fi nd a place aft er getting to town, Rest in peace, big guy. but listening to Lynyrd Skynyrd while burning a which is located in Mid-town. Aft er a couple days Paul Stanton fatty and driving through Alabama seemed like a Continued on page 31

TWO LOUIES, June 2004 - Page 29 MUSICIANS CLASSIFIEDS STOP IN ANY PORTLAND MUSIC FREE LOCATION & FILL OUT THE FREE FORM •Vocalist seeks original band. •Keyboard player and songwriter •Singer/songwriter Carly Diggs style band. No Korns or speedmetal. Infl uences Mudvayne, Disturbed, looking for serious, but not too seeks professional band. Six-piece. Semi-pro or better please. 503/656- Drowning Pool. 503-720-9469 serious musicians to form original Sheryl Crow. Must have positive 0582 •Loud Rock-n-Roll drummer rock band Call: Al 1-800-669-4465 attitude, be willing to collaborate & •Guitar students needed. $25 @ needed. Someone who likes sex, (ext 01) practice. Contact Brent (manager) hour. All styles. Terence 503/504- booze and tattoos! “Glammy” if you •Looking for drummer for a Christian 503-641-8855 8644 know what I mean. Call: 503-380- Heavy Metal Band. See www. •Wanted guitar player. All kinds •Drummer wanted R&B, Blues Creative 4544 saintsite.com or contact Richard at of music. Older material. Play for Group. Charles 503/314-2875 •Drum Lessons – Experienced [email protected] or Teressa seniors. We have jobs. Call: Beanie •Bass Player Electric Fretless. Lead teacher and professional musician Wing at 503-657-5260 Clark 503/469-1907 Vocals, Blues, Standards, Covers, available to teach drum set or hand • Singer-songwriter-sensitive •Wanted: Solid Bass Player and A-1 gear. Working Band 503/692- drumming. Learn independence, drummer available. Rock solid Steady Drummer for working Blues- 4676 Leave Message reading, groove. 503-309-9959 grooves at any tempo or volume. Rock & R&B band. Weekend gigs •Vocalist looking for musicians •Clean & Sober Drummer 20 years Rock, Blues, Alt, Pop. However, I am aplenty. 503-287-2597 and DJ for a rock-based funk and experience. Guitar-based Metal, too stupid to put my phone number or •Bass Guitar Player Available for hip hop sound. Need a fresh sound Rock Blues – must jam – arrange contact info in this ad, so you should Demos/recording projects. Pro gear 503/274-9353 originals Matt 503-260-5983 probably hire somebody else. & attitude. Mature, experienced, •Bass guitar player available for •Adult Girl Drummer looking to •Drummer wanted. Modern Country/ fl exible. Call: Bruce 503-628-9120 demos or recording projects. join or form band. Gaylene 503- Classic Rock. Must be willing to •Bass Player wand working group Pro gear, pro attitude, Mature, 292-4743 practice. Wayne 503/632-4806 only. Blues, Standards, Copy. Experienced, stylistically fl exible •Christian Rock/Metal/Pop guitarist- •Lyricist/Drummer/Singer seeks Vocals. Electric fretless. Call: 503- .Fretless, fretted, acoustic or electric drummer seeking other musicians writing/recording/playing situation 692-4676 bass Call Bruce 503/628-9120 to jam and maybe even form a with at least one foot in acoustic folk •Guitarist forming trio/quartet. •Guitar and songwriting lessons band Richard 503-493-1018 or music. Lenny folkbeat2@earthlink. Mostly classical & improv. 503- available. Blues, Folk, Rhythm [email protected] net 503-622-0106 771-2270 Fingerpicking, theory. Learn through •Pro drummer available for working •“Take Over” working band looking •Pro Drummer Available. All styles. the music that inspires you. 15 years band. I love Rock, Funk & The for front man lead vocals. Style like Excellent looks, kit, attitude. Can teaching/performing experience. Blues. Pro looks, kit & attitude. Can Paul Deanno, Bruce Dickenson. Dan travel. Call 503/347-2182 Anne Weiss 503/232-1720 www. travel. Call: 503-347-2182 971-563-1579 •Bass Player looking for Godsmack anneweiss.com

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Page 30 - TWO LOUIES, June 2004 NAPALM STILL BURNS closed its 30 year run of Jazz music and became Dear Two Louies a Topless entertainment night club, (it is packed Dunno if you’ve seen them lately, but they’re every weekend) Guess that is what people, (men) completely on fi re. I have videotaped several shows want. lately, and they just keep getting better, as if that Billy Reeds in northeast Portland stopped were possible! having music 2 months ago and fi lled the room Continued from page 29 With Sam and Chris clean’n’sober they have with pool tables and video poker, nice. Like we of unpacking I was back online emailing players put a staggering amount of nervous energy in need more of that. about the band. With Memorial Day coming up I their bodies into the music, and it shows. By far, I lived thru the unbelievable 80’s and 90’s know I had a good chance of hooking up with folks and above, the best playing out there right now. monstrous music scene, but now, depending on before the long weekend started. New songs, old songs, you name it. It all sounds who you ask, unless you are a singer/songwriter Th ursday May 27th I contacted some folks frickin’ grrrreeeaat and everyone who listens to it (that sings alone or a with trio) that can fi t on a 4’ at Comcast (based out of Norcross, a town just sez so. Otis P Otis dragged some of the local celeb X 6’ stage, the live venues for a 5 piece dance, or a few miles north of Atlanta) looking for music scumbags down Napalm’s show at the Tractor or concert group are becoming a thing that memories for some shows they do, yes placement of tunes the Sunset (forget which) in Seattle, and they all are made of. Yes, we have the Fabulous Aladdin is always a good thing with the ever so popular thanked him profusely for the musical treat. Th eatre, and yes, we have the Paris theatre, the media industry. Not to be missed. Looks like they’re playing Roseland Th eatre, Vancouver’s “Bacchus”, and the Sunday May 30th while watching the Indy quite a bit around now. I lent them my vintage Crystal ballroom, but a lot of these places do not 500 and emailing an agent based out of Charlotte, 50W Marshall half stack and it sounded like a fi ne have a guarantee, and some even charge to play North Carolina about setting up a short tour in there. Tennessee, North Carolina, South Carolina and It is diffi cult to play music and make a living, Georgia, things were starting to pick up. People are just not going out to hear club live So it looks like we start rehearsals on Tuesday bands like they used to. Th e “20-somethings” go to June 8th and our fi rst show should be in August. concerts to hear the big names, but where do most Within 19 days of leaving Portland and having of them go to dance and congregate? zero contacts or really never even spending much DJ music-houses, time here, other than totally blasted while passing Sandin Wilson through on the way to Florida from Detroit for spring break back in my high school days. It all seems to be working out, I found a place, started LL hooking up a tour, amassed a group of musicians including a percussionist, drummer, sax player, 2 ON THE COVER: Tommy Th ayer of KISS plays his female vocalist, guitar and keys. Th is week I have hometown for the fi rst time June 22nd. Longtime Portland fans of Movie Star and Black’n Blue turn out in droves. 4 bass players to meet with, some club owners to Local boy makes good. See Rewind and Buko’s Eye View. talk with and a whole lot of laundry to do. (photo Buko) More on the Adventures of Jesus Presley in Georgia in the next Two Louies. Tony Hughes

MORE BACKSTORY Chris Newman now. Photo Denny Mellor Dear Editor, • Established 1979 • I looked you up & found you on the web. I 16yr. old single malt in the hands of Mr. Newman. TWO LOUIES PUB LISH ING am Allen Erdheim, the guy from Norlin in NYC Editor: Buck Munger Howard (last name?), their longtime friend, played who you used to call. Been a long time. Graphics & Photo Editor: Buko bass at the gig I saw at the Oxford Phoenix house I’m still in NYC, been through the blackout TwoLouiesMagazine.com Art Director: weekend before last, with their “normal” bassist Deb McWilliams & Sep 11. (they’re like Spinal Tap’s exploding drummers) Writers: An old Micromoog of mine was sold to a S.P. Clarke • Bart Day • John Dufresne being out of commission for awhile. Never a dull distant cousin (young guy) who is an engineer for N.L. Fogerty • Den nis Jones moment with them, I guess. Anyhow, Howard Denny Mellor • Robin Rosemond Qualcom in CA. Aft er hours he is with new groups, acquitted himself very well, thank you. Illustration: Tim Rutter trying to make it. Th ing is, they’re so good, everyone else out Photographers: I have a few Gibson’s and Epiphone’s, get- David Ackerman • Buko there playing just looks sillly. ting better with age or so they say. Still partial to Gustavo Rapoport • Pat Snyder Go See ‘em Gibson. Jeff Printed by: Oregon Lithoprint Just saw a guy on 6th Ave wearing a Moog Two Louies Magazine Music t-shirt. He told me they have a web site. I 2745 NE 34th • Portland, OR 97212 DEE JAYS WIN looked them up and sent an e-mail. PHONE (503) 284-5931 Dear Two Louies, Email addresses: Saw you have a magazine named aft er the It is such a long, ugly feeling I have, of what’s Editorial: [email protected] Kingsmen’s hit. I remember when they were pretty Layout: [email protected] happening in Portland in the live music scene Th e big, in the early 60’s. I had no idea they were from Web: [email protected] same thing has already happened in Los Angeles. © 2004 by Two Louies Magazine. May not be Portland. Th e Gemini in Lake Oswego, closed in Janu- re pro duced in any form without the ex pressed Drop me note, writ ten consent of the publisher. ary, no more music,, (Maybe this next month they Allen Erdheim Two Louies is avail able by subscription. will reopen Live Entertainment) Jazz De Opus 00 [email protected] Send $35. for one year, post paid. TWO LOUIES, June 2004 - Page 31 ÇÇÌ Ê>˜˜ˆÛiÀÃ>ÀÞÊ£™ÓLJÓää{
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