OREGON MUSIC / FEBRUARY 2001

LABEL GUIDE 2 – TWO LOUIES, February 2001 Mark Spangler Joins Johnny & The Distractions

Photographer Michael Moran shoots Jon Koonce and his new guitarist Mark Spangler for the cover of TL. photo: Erik Huget

n the spring of 1980 Johnny & The Smith album. tory, except Mark, who co-wrote two songs Distractions were a mega popular orig- For months Johnny & The Distractions and played the guitar parts. 60’s icon Al Iinal music Oregon bar band on the played with two guitarists till A&M signed the Kooper produced and arranged, and after the cusp of regional success. Leader Jon Koonce and band, but by the release of “Let It Rock” in project was finished took Spangler on tour the band were in the process of recording their January of 1982, founding guitarist Bill with his band. first Distractions album at Kaye-Smith studios Feldmann had disappeared completely. Fast-forward twenty years. in Seattle when Koonce hired a second guitarist; Sparky emerged as the undisputed lead gui- In the summer of 2000 Mark Spangler Mark Spangler. tarist and new prime collaborator and co- recorded his first solo album, “Don’t Go In Spangler’s band Shinola had been a fixture writer of the album’s title track, “Let It Rock”. The Basement” with Distractions drummer on the campus bar/fraternity-party circuit in He also co-wrote the album’s biggest hit Kip Richardson and Odds bassist Jim Wallace. Eugene where Mark played frequently with “Complicated Now”. In the liner notes is a quote from Jon Koonce. Robert Cray and Curtis Salgado. “Sparky” By “Got My Eye On You”, the second Jon “Give a primate a Telecaster and before you moved to Portland and joined the Distractions Koonce A&M album, the Distractions name know it he’s making $150 bucks a week.” in time to play on” Broken Heart” on the Kaye- was gone and all the band-members were his- LETTERS SADO SEZ show at Satyricon with the members that record- Don’t you remember why I fired your ass? Dear Editor, ed the “We’re Not Equal” LP All of us have been —David Corboy About that John Shirley thing, I have no in town for the last sixteen years playing in vari- plans to release anything John Shirley sang on, ous bands. I simply called Mish Bondage, Steve HONEY RESPONDS nor do I have plans to release any other Sado- Casmano, and Robert Parker and asked them if Dear Editor, Nation product. There is a re-issue of Sado- they wanted to do the show. Shirley’s name never In response to Matt Tracy’s letter regarding Nation’s LP “We’re Not Equal” due out on came up. the similarities between Milli Vanilli and Honey Destroy All Music soon. Chuck Arjavac is the owner of the label and is releasing the CD of his “JAM Magazine will continue to publish, and we will own accord. (He was the drummer for Sado- Nation). John is aware of this. I co-wrote not succumb to threats, violence, terrorism or any “Johnny Paranoid,” and “Industrial Revolution” with Shirley, and they will be on the CD, sung other form of coercion that attempts to stifle our by me. He knows this too. None of the songs ability to legally exercise our freedom of speech.” that John Shirley sang and recorded with me are worth releasing. A good writer, maybe, a good So, John, who the hell remembers you any- Ryder... Matt is correct on a lot of points. Honey singer never. John left Sado-Nation during a way? Let alone Sado-Nation? Relax down there in Ryder apologizes that proper musician credit was recording session because of an argument of his sunny California and write another book. (You’re not listed in your review of Honey Ryder’s demo bad singing. a great sci-fi writer, so be happy and shut up!) CD. Who knew after years of playing around, Sado-Nation was asked to regroup for a Quit buggin’ me with your whiny phone calls. continued on next page

3 – TWO LOUIES, February 2001 LETTERS continued from previous page This prompted several phone calls from lence, terrorism or any other form of coercion Dan to our publisher, threatening to unleash his that attempts to stifle our ability to legally exer- sending press kit after kit, and being ignored, team of lawyers along with those of the sponsors cise our freedom of speech. Honey Ryder would suddenly have a veritable from Seattle; calling the magazine unprofession- I will absolutely enjoy making examples, at basket of press clippings to show the grandpar- al, repeating his pledge to sue, reminding us that their expense of anybody who challenges that. ents! Unfortunately for all of us, Honey Ryder we’re supposed to write positive things... Again. Observe... “Oh by the way Matt, we got trashed in the Mercury... As ever, sure didn’t hear you clamoring for credit then!” —Chris Gattman THANKS FOR THE MEMORIES was firing a lot of bitter, angry, dead-wood from ...okay... Gatt-rant #4160(x) here... I’m the Dear Editor, our band around the same time we made a mass editor-in-chief of this magazine. Other than I found your site after having a lark and press mailing... so ships passing and all that. Kyle, the publisher, who owns it and pays for it, looking for Billy Rancher. I lived in Portland Blame it on the rain. absolutely nobody tells me what I’m “supposed” between 1976-1987 and recognized and saw Again, we apologize Portland. Matt Tracy, to print. Try it and see what happens. End rant. many of the bands you were talking about. we’re sorry. Please stop bugging us. That said, we So, anyway, on Friday, Diver Dan showed up I was a big Wipers fan along with the thank Two Louies for the encouraging review! at Delvis’s gig, tried to start a confrontation with Miracle Workers and other alternative bands of We hope this clears up the Millli Vanilli confu- several friends reportedly “covering his back” to that day. I can’t believe Rozz is still around! I have sion to the legions of Vanilli fans that have which Delvis responded that he had a show to do one of the Theatre of Sheep cassettes signed by besieged us recently for their next family and this wasn’t the time to be discussing this. As the band members. Thanks again, man I need to reunions. Oh by the way, Matt, we got trashed in he turned to re-enter the club, he was hit in the move back to Portland, Denver is pretty boring. the mercury... sure didn’t hear you clamoring for head and neck from behind, and hit in the side of —Eric credit then! Don’t worry, I’ve contacted them the head as he fell. and said we had Milli Vanilli play as our rhythm This final blow broke his jaw. NET PROCEEDS section, and to forgive us. The friends of Diver Dan who were “cover- Dear Editor, —Vanchai (karaoke/guitars,) ing his back” apparently failed to notice the The real and essential aspect of using or not Honey Ryder bouncer or the police officers chatting outside using MP3.com is firstly, you must decide how their car right next to the club. It turns out that you want to approach music. If you want to give JAM WRITER ASSAULTED the arresting officer actually witnessed the your music away free, that is a beautiful Dear Editor, attack. Needless to say, Diver Dan was arrested, thing...and of course that is exactly what Well, it looks like at least one of JAM’s writ- charged with assault and battery, and word is MP3.com wants. The quality format you must ers gets to log some combat journalism time. that charges will be pressed to the maximum upload to MP3.com is 44 bits, and this sample Delvis, our senior copyeditor, found himself extend of the law. rate is practically CD quality. Though we use coldcocked from behind outside of a local venue on Friday night as he was preparing to perform. Last month, Delvis detailed the misadven- “None of the songs that John Shirley sang and tures of a fraudulent and grossly mishandled recorded with me are worth releasing. A good “tour” arranged by local promoter Diver Dan. In the story, Delvis chose to protect Diver Dan’s writer, maybe, a good singer, never.” name and didn’t mention it, but he wanted to warn other bands of various pitfalls of going on JAM is an all-volunteer magazine staffed only 16-bit mono MP3s, MP3.com will not allow tour; like being given $100 or so for gas money mainly by musicians, most of whom lack person- you to put a sample of anything less than that CD for a three-state tour; like showing up at the al insurance or any means of protecting them- sample rate. Your path diverges right there, as office of the promised sponsor (free soda and selves this sort of thing. One of the hazards jour- you have now decided that your creative release pizza for the bands on the tour) and having them nalists face while legally and appropriately exer- may or may not support your future. So once you go “What are you talking about? What sponsor- cising their freedom of speech has made itself have let go of the highest quality copy of your ship? What tour?”; of playing about two of six apparent. Critical writing comes with risks; it music, you have to tour to sustain your vision. scheduled shows after getting the same response comes with the turf. It’s a good thing that Dan There are plenty of great bands that love this from the venues they were scheduled to play; of, didn’t have a weapon. lifestyle, but it is a complete commitment if you at those shows, playing to the venue staff because Don’t turn your back on Diver Dan. must live out of your car. This touring stuff no promotion whatsoever had been done by the Musicians and other people in the local requires capital, unless you want to live out of promoter; of five people driving hundreds of music industry need to heed this warning to your van. Mind you, plenty of vastly creative and miles in a Jeep Wrangler from non-show to non- avoid junkie tweakers and sleazebag rock pro- accomplished musicians have emerged from that show. moters that are nothing more than parasitic very method perfectly. That is a very small per- That was the tour that Diver Dan arranged trash dragging down what might otherwise be centage however. I feel like typing that last sen- for head of Lies and some other bands, and called an artistic endeavor. tence again,‘a very small percentage.’ My guess is Delvis - without mentioning Dan by name - sim- Meanwhile, JAM Magazine will continue to 2% of all bands per year make it work that way, ply recounted the hellish details of the tour. publish, and we will not succumb to threats, vio- continued on page 9

4 – TWO LOUIES, February 2001 5 – TWO LOUIES, February 2001 but at other times attains a certain bittersweet anguish unleashed here. One would hope that in piquancy. the future, Shipe could occasionally loose himself The lead track, “Junkies On Film” fits into from his angst to focus on some optimistic fea- both categories, neatly referencing Sam Cooke’s ture of the universe. Even with George W. Bush “Wonderful World” along the way: “I don’t know in office, there are still a few things in the world much about reality/I don’t dwell in the spiritual in which to find a modicum of bliss. It should be realm/I’m just glad my life’s a whole lot better Shipe’s job to find them. He is a very talented than the junkies on film.” “Imitation Man” chugs guy. It is a shame that his talents should be along on Babcock’s sonorous cello lines in the squandered on incessant grief and misery. verses, stretches out in the choruses. “Better Off Without You” displays certain Don’t Go In The Basement – Mark Spangler megalomaniacal tendencies, as well as Shipe’s Alice Street Productions propensity for using “doot doot doo” when he Mark “Sparky” Spangler has been in the backs himself into lyrical corners. [Resolution local scene for over 20 years, though usually as a for 2001: I will use “doot doot doo” only once per sideman guitarist, often for Jon Koonce- from album]. Other times, such as on “Spontaneous Johnny and the Distractions to several other Combustion” the imagery becomes nearly Dali- projects down the line. Here, joined by a veteran esque: “The woman was in heat, burning like a rhythm section of drummer (and former furnace at a thousand degrees/With psychologi- Distraction himself) Kip Richardson and bassist cal herpes/They couldn’t put her out with a Jim Wallace, Spangler steps out front with eleven bucket of Slurpees.” songs, ten of which are original compositions. “Joshua’s Birthday,” a sad, somber number The basement reference is real. Pictures within is one of the most astute in this collection, dra- the packaging show Wallace playing bass next to matically imbued with solemn majesty over the a washing machine, a basket of laundry nearby. premature death of a lost friend. Very moving. Spangler’s songs are barebones affairs, often Babcock’s cello is especially compelling here. sounding as if they’re held together with spit and “Justice” finds Shipe vocally resembling folky bailing wire. His voice is nothing to shout about Marc Cohn, whose “Walkin’ In Memphis” is a either. But, despite what might seem to be lack- staple on KINK. Babcock’s cello is put to fine use luster components, he manages to connect on a A Stealthy Portion-–John Shipe Trio on “Breakfast Chaos,”where a sterling riff is nice- visceral level. His songs maintain a sense of Kondooit Records ly buttressed by her classical technique. humor and a philosophy that is obviously borne When Renegade Saints, the Eugene-based “Minotaur” features another fine use of the of thoughtful retrospection. tie-dye jam band, broke up a few years back, the cello, whose sonorous high end is wonderfully The first song “Heavy Memories” and the two primary songwriters, guitarist Dave Coey captured in the elegant opening motif. Ebbage’s last, “Babylon Saturday Night” feature Mark by and guitarist John Shipe, went their separate subtle vocal harmonies and sparse lead guitar himself with no other accompaniment other ways. Coey resurfaced first with the popular figures help to flesh out “Waiting On You.”“Road than his solitary acoustic guitar. The remaining acoustipop outfit Kerosene Dream. Shipe Story” takes a page out of Neil Young’s “Last Trip songs are sparse as well, featuring the rhythm rebounded with an album release in the Spring To Tulsa,” but here the fireworks take place in section and Spangler, with possibly an over- of 1999, Sudden And Merciless Joy, which still scenic Barstow, California. dubbed vocal or lead guitar in the monophonic shows up in Top Ten lists throughout the There is very little merciless joy in this mix. Some of the songs have a Stonesy raunch, Northwest region. album, sudden or otherwise. It is more like utter others have the droll simplicity of Tom Petty. Spangler’s guitar style is somewhat akin to that of “Spangler’s guitar style is somewhat akin to that of Mark Knopfler, with occasional flashes of Neil Young thrown in. Mark Knopfler, with occasional flashes of Neil The familiar chords of “Be Here Now” are Young thrown in.” augmented by Richardson’s big beat. It’s a simple song that speaks to the workaday worries of the Shipe’s songs are introspective, to say the relentless pensiveness and dark depression. common man. No huge message, but meaningful least. Here they deal with emotional loss and Shipe’s unyielding misery, while highly literate all the same. Richardson’s tom-heavy drums redemption (where applicable). A smart, capable and literary, makes for a miserable night on the drive “Natalie,” a solid song that could easily be writer, his lyrics are often like naked light bulbs town, as the audience on this live effort can seem from the Gin Blossoms catalog. “New Workin’ baldly glaring upon the subject matter, which is to attest. While the addition of a cello to the pro- Man Blues,” though mostly a vehicle for usually lost love. ceedings more or less guarantees an accent on Spangler’s fretwork, speaks to the plight of all This live album, comprised of 15 songs, sev- solemnity (when was the last time you heard a wage workers in the world. “Bossman scares me eral of which appeared on SAMJ , serves as a cello rockin’ out?), the songs are well suited to the half to death/With his Type A ways/For every- vehicle for his new band, the John Shipe Trio. In classical accents. thing that he’s denied/You can bet somebody their current configuration, Shipe and his guitar The John Shipe Trio play very well together, pays.” A familiar scenario to be sure. sidekick Erhen Ebbage are joined by young cellist with Ebbage and Babcock trading and sharing Though on the surface, it’s not readily Elisabeth Babcock. Their’s is an interesting riffs with grace and aplomb. But listening to the apparent, “Legend In His Time” is the Kurt sound that sometimes sounds like Jackson whole album is an emotionally taxing experi- Cobain story, spelled out very specifically. “He lit Browne fronting early Electric Light Orchestra, ence. There is no relief from the inexorable out of Aberdeen/At a very tender age/Lookin’ for

6 – TWO LOUIES, February 2001 a little hope/To counteract the rage/Seeking the alternative/To life inside a cage.” The familiar story ends all too predictably: “Then one day he had to run again/Just like he did before/Discovered by the handyman/Face up on the bedroom floor/And with his song upon their lips/The crowd called out for more.” Another song that speaks directly to Spangler’s life and lifestyle is “Teaching Lawyers To Play The Blues.” “Got a job behind the counter at the local music store/Giving lessons in the back/When he’s not on the floor/’Cause there’s everything to gain and nothing left to lose/Teaching lawyers to play the blues.” The rocker “Caffeine, Nicotine, Alcohol (& Me)” furthers the autobiographical theme with rous- ing vigor. Another uptempo winner is “New Soul Sensation.” Though there is hardly any Soul music to be found on the track, a strong chorus and some interesting second guitar additions The Acoustic Guitar Summit; Terry Robb, Mark Hanson, Paul Chasman, Doug Smith. photo: Accent make this one of the more memorable cuts on altogether different and unusual. and fine hornwork accent the proceedings with the album.“Trouble Today” features subtly flashy “When We Ride” is a fast-talking spin real zest appeal. lead-guitar work over a riff reminiscent of Blue through a Five Finger world, full of booze, weed With Narafimham turning psychedelic, Oyster Cult’s “Don’t Fear The Reaper.” and temptuous females, purring like kittens, “Chaos Theory” head’s into space jam territo- Mark Spangler isn’t going to set the world where the party never stops. A solid rhythm sec- ry. The title track moves on some spectacular on fire with this outing. His vocals are too sub- tion supports Narafimham’s lush guitar phras- slide guitar dripping down a trancy groove. dued, his songwriting too undistinguished. Still, ings, while a hauntingly familiar synth theme “The Five” states its manifesto right at the top- there is something quite engaging going on here. twirls in the background; as Neek unleashes a “I’m buck stankin’ naked at the Motel 6/Wit a Spangler’s unassuming demeanor plays into the slippery rap. coupla bisexual bitches talkin’ about how they pretext. But it’s a solid album, if barebones, On “Hatin’,” Redd and Gutherie lay down a usually don’t like dick/But I’m a seasoned achieving a modest splendor. reliably forceful beat (with a slight reggae feel), vet/So ya know the way I turned ‘em out, man they never forget.” “‘When We Ride’ is a fast-talking spin through a Five The Five Fingers Of Funk have forged a new sound, while maintaining the best parts of what Finger world, full of booze, weed and temptuous females, made the band a success in the first place. Great purring like kittens, where the party never stops.” execution and superlative musicianship make of this a very fine recording, displaying the aggres- while guest keyboardist Joey Porter (late of sive chops necessary to guarantee that the band Twisted & Lifted – Five Fingers Of Funk Rubberneck) lays down a few Rhodes chords, off will remain at the top of its game. E Platinum Entertainment which Narafimham plays against on the guitar. It’s been several years since rapper Pete Ho, “Relax Your Mind” spins on some cool Funk Amerimaniacs – Betty Already the Pete Miser, left the Five Fingers of Funk. But grooves laid down by Porter and Narafimham Fly Lyla Records the band managed to stay intact despite the over Redd and Gutherie, as the horns add some Somewhat anachronistic, but still a lot of departure of their mentor. The core of the band, sharp brass stabs to the mix, while the subject fun, Betty Already are an energetic four-pieces bassist Allan Redd, drummer Talbott Guthrie matter stays fixed on weed. “Trippin’” rides on (plus one) guitar band, that combines boy/girl and percussionist Todd Smith, as well as (occa- solid drums and bass, slathered with DJ Chills vocals álà X (or Jefferson Airplane, Timbuk 3 or sionally) the horn section of saxman Ted Hille, samples and scratchwork. the B52s for that matter) with tight, crunchy trumpeter Josh Prewitt, trombonist Curt Beiker, The chunky organ pads and gritty guitar ubertempo arrangements that turn on a dime. and rapper/turntablist DJ Chill, kept the band lines propel “Rahlos Groove,” Hille stepping for- Leader Scott Young has assembled a cast of like- together, uniting a new attitude and different ideas with some of the basic F3 formulae. “The Five Fingers Of Funk have forged a new sound, The addition of rappers Rabel and U. G. Neek widens the palette of ideas for the vocal while maintaining the best parts of what made the presentations; while the augmentation of the band a success in the first place.” band with guitarist Uday Narafimham expands the musical spectrum. While Ho’s direct and ward for a smooth sax solo, as bass, drums and minded souls dedicated to making the Pop New witty social commentary will always be associat- the rhythm of the scratches steer the course of Wave rise again in the despondent seas of ed with the Five Fingers, and while he will always the beat. “Bounce Bounce, smoke about an Brittany Spears wannabes. be missed, the remaining members and the new ounce” is the theme for “Who’s That?” another While the songs are always clever and abun- additions have proven that the band has evolved hard-driving number. The MCs move to the dantly well-performed, they are practically beyond it’s original incarnation, into something forefront on “What’s Your Name?” Great samples continued on page 9

7 – TWO LOUIES, February 2001 Management Agreements “You wonder about people who made [and lost] a manager’s background. pared, before the artist and manager actually sign fortune, and you always think they drank it up or After the artist and the prospective manag- the agreement. stuck it up their nose. That’s not usually what er have decided that they want to have an artist- Although it is not possible within the space brings on the decline. It’s usually the battle to keep manager relationship, they (or their attorneys) constraints of an article like this to discuss all of your creative child alive while keeping your busi- should then discuss and negotiate the specific the important aspects of management contracts, ness shark alive. You have to develop cunning and terms of their future relationship, such as how there are several aspects which are particularly shrewdness, and other things that are not well-suit- ed to the arts.” “Managers usually receive in the range of fifteen to — Joni Mitchell twenty percent of the artist’s gross income. This “I think I’m lucky I didn’t get paid enough to drown in the syrup of success.” manager’s commission is separate from, and in addi- — Iggy Pop tion to, the commissions paid to booking agencies eeping one’s “creative child” side and for booking shows.” “business shark” side alive at the Ksame time is a hard job for anyone, long their relationship is to last, what the manag- important: (1) The future duration of the artist- but especially so for successful artists who must er’s compensation will be, and what the manag- manager relationship; (2) The manager’s com- regularly function in a pressure cooker type of er’s specific responsibilities will be. pensation; and (3) If the “artist” is a band, then environment. The outcome of these negotiations will be the possibility of personnel changes in the band. A solid manager can greatly help an artist greatly affected by the relative bargaining power 1. Future Duration of the Artist-Manager to balance, in a healthy way, the artist’s creative of the artist and the manager. If, for example, an Relationship. Management contracts generally needs with the artist’s business needs, not to experienced and well-connected manager is have an initial term of one to two years, and often mention the many other valuable services a negotiating a management contract with an give the manager the option to renew the con- good manager performs. Yet, the artist-manag- unknown artist, the manager will obviously have tract once a year for several more years after the initial one or two year term expires. “Yet, the artist-manager relationship is fraught with Before an artist and manager enter into a management contract, they should carefully eval- many potential problems for an artist, since there uate and discuss their expectations of each other. Their management contract should take into are many ways in which an incompetent or dishon- consideration their expectations, and should con- est manager can sabotage an artist’s career, tain provisions allowing an early termination of the management contract if the parties’ respective intentionally or unintentionally.” expectations are not met. Often, for example, management agreements provide that if a record er relationship is fraught with many potential much more leverage than the artist. In fact, deal is not obtained within a certain period of problems for an artist, since there are many ways sometimes the artist is facing essentially a “take it time, or if the artist does not earn a certain in which an incompetent or dishonest manager or leave it” situation. amount of income each year, the artist will have can sabotage an artist’s career, intentionally or Once the most basic terms of the manage- the right to terminate the management contract. unintentionally. ment deal are agreed upon, a detailed written A manager’s compensation is typically When choosing a manager, an artist should management agreement will then be prepared by based on a percentage commission of the artist’s evaluate the prospective manager’s knowledge one of the parties’ attorneys. At that point, there earnings. Therefore a prospective manager will of (and connections in) the music business, the will often then be some further negotiations often push for a long-term management con- manager’s personal compatibility with the between the parties concerning some of the tract, so that the manager can participate in the artist, and the amount of time the prospective detailed sections of the written management artist’s income for as long as possible. The artist, manager will be able to devote to the artist. It is agreement. If so, then a revised version of the on the other hand, may not want to get locked also important to check out the prospective written management agreement will be pre- continued on page 10

8 – TWO LOUIES, February 2001 that is what’s called for. The unselfishness and recognize as Country Joe and The Fish’s “Feel cohesiveness that was displayed last year is only Like I’m Fixin’ To Die Rag,”is a sterling example heightened here. of the delicate interplay the group achieves. From Django Reinhardt’s “Nuages” to the Impeccable technique, coupled with wide-rang- continued from page 7 standard “Mr. Sandman,” From Robb singing ing influences makes each piece an enriching Elvis’ “Mystery Train” to Dougs version Pat musical experience. interchangeable. the tempos are generally the Donohue’s version of the old Bing Crosby It is not often, among the lofty realm of gui- same, over which hard charging guitars work chestnut “Swing On A Star” entitled “Would tar “stylists,” where one will find four musicians four (or so) chords with feverish intensity. You Like To Play The Guitar,” from a rousing willing to put aside their musical tastes and per- Vocally. Scott and his partner Kitty are as seam- version of Mark Knopfler’s “Sultans of Swing” sonal pursuits to unite in a venture such as less as a wetsuit. Scott especially has the chip- to Jorma Kaukonen’s “Embryonic Journey,” this Acoustic Guitar Summit. Each player’s individual munk on helium sound of Johnny “Rotten” fearsome foursome is razor sharp in its intricate contribution to the total sonic presentation Lydon in his days with the Sex Pistols. exactitude. enhances the complete sound, polishing each Other bands come readily to mind when lis- Chasman and Smith are exquisite in their tune to a highly refined state. The local music tening to Betty Already: the Ramones, the implementation of Tchaikovsky’s “Dance Of community is fortunate to have these guys Stooges, Missing Persons, the Buzzcocks and The Sugar Plum Fairy,” with Chasman etching around- pushing the envelope of musical expres- Cheap Trick to name a just few. “Amerimaniacs” out a gorgeous solo comprised entirely of gui- sion upon the acoustic guitar and the boundaries is a biting social commentary. “Fire Drill” is just tar harmonics. The ensemble’s rendition of of what can be accomplished by a group of tal- biting, with the key line, “She’s like a “Muskrat Ramble,” which many people would ented, like-minded individuals. firedrill/Bells are ringing /But nothing’s burn- ing.” is describing young Amy, who’s “beauti- ful/Sixteen and crazy.” “Must Be” smolders, LETTERS while describing the life of a rich girl. “Vampire In The Sun” bites in quite another way, but continued from page 4 advertising revenue. (Not too great a commit- makes it’s point with a memorable chorus. ment to their shareholders selling them out, eh?) Betty Already certainly have the chops to by all that is holy they should be honored. The And that is it. These corporations are not giving make the grade as some sort of a retro unit. Scott crux here is the argument that people will hear away music for free, the musicians are. How and Kitty create an image that is unique, yet the MP3s and then go buy the CD of the same about we listen to that for free for a second? familiar- though somewhat dated. Young’s songs quality? Let me just say here that I saw Elvis So the three ways to fund music today demonstrate an acerbic sense of humor with a Presley yesterday. And the people I was with did beyond the Zen approach are to 1) tour, 2) sell powerful undercurrent of sarcastic cynicism. But not even go and buy his CD afterward. Why CDs, etc. 3) sell the use of your music to adver- they tend to become predictable after a while, should we take the music away from the musi- tising/media/internet. And of course it is a hell of which tends to lessen their impact, over time. cians and leave nothing behind? Shouldn’t we a great time. Money just keeps you fed and gas in The band shows obvious care and mainte- support the music we care about? Shouldn’t we the car for the next gig. For god sakes make the nance, with muscular musical precision. But be thinking of ways to charge MP3.com and right decisions. But once you have ruled out CD there are times when they seem almost robotic, Napster for the circulation of the music? Why do sales you must tour, assuming the approach is like Devo in the later years. Mechanical. This is unfortunate, for the Bettys seem capable of being “These corporations are not giving away music for more than that. Otherwise, they seem like a theme band ready to break into Human League’s free, the musicians are. How about we listen to that “Don’t You Want Me” at any moment. This for free for a second?” would not seem to be the band’s intention. Time will tell with Betty Already, as to the direction they get to circulate it for afree and collect all that more than just a project. The great Nick Drake into which the band eventually takes its sound. advertising revenue? The MP3.com cash back was dead for twenty years before he was truly plan is a joke. It is like Iwon.com’s cash back for recognized. Musicians really can’t cut off their Summit Meeting – Acoustic Guitar Summit logging on, they get the hits and you get pennies. ears like painters. Bayview Music It was the least MP3.com could do for musicians, In regard to our approach, we sell our CDs With the rousing success of their previous and as it was the least MP3.com could do...they currently at cost. We hope to improve our pro- album, released about this time last year, it did the least. duction technology to lower our costs before we seemed assured that the quartet would eventual- I have friends who have toured most of raise our prices. We have decided only to put a ly release a followup. And here it is. But, if possi- planet earth several times, and they are barely one minute sample of our music up on ble, this time around the group is even tighter eking out a living. MP3.com and Napster have MP3.com, then you can go to the website and and better integrated than in their eponymously hurt CD sales. The people that used to buy their download everything for free, all our humble entitled first foray. Terry Robb, Paul Chasman, CD’s have dwindled. And if they were lucky and beginnings...and our four new originals, coming Doug Smith and Mark Hanson are each a clini- smart enough not to sell their publishing/copy- soon. (Two entirely improvisational pieces.) cian in his own right. rights, they may some daybreak even. (Note: this Please note - the entire point here is that the Each comes from a slightly different musical is the most important point of all.) Remember, MP3s we use on our site are in a reduced format perspective that is played out succinctly among music is not about money, surviving is about only (16-bit mono not 44 bit stereo). We will give the baker’s dozen tracks offered here. Each musi- money. The people at MP3.com, Listen.com, our growing global collective our bootlegs for cian gets to be the lead man, each plays a sup- Napster, Mynapster.com are making money from free in a bootleg format of MP3 16 bit. (Better portive role, laying out altogether on a tune if selling off their stock into cash and from their continued on next page

9 – TWO LOUIES, February 2001 departing members after they leave the band? And will the addition of new members to the band require the approval of the manager, as some management contracts provide? These types of potential problems need to be covered thoroughly by the management contract.

CONCLUSION continued from page 8 receive income from deals which had been Management contracts can be exceedingly entered into during the term of the manage- complex, due in large part to the complexity of into a long-term relationship with a manager, ment contract. If, for example, the artist and the music business itself. Yet a carefully drafted particularly if the artist does not know how com- the manager have signed a three-year manage- contract will substantially reduce the likelihood patible the artist will be with the manager, or if ment contract, and then sometime during that of future misunderstandings and disputes the artist is not sure how much the manager will three years the artist signs a five-year recording between the artist and manager. be able to contribute to the artist’s career. contract with a record company, the manager Editor’s Note: Bart Day is a Portland-based 2. Manager’s Compensation. Managers usu- will normally be entitled to receive a certain entertainment attorney in private practice. He is ally receive in the range of fifteen to twenty per- specified share of the future record royalties also a partner in ALLMEDIA, Ltd., a company cent of the artist’s gross income. This manager’s even after the three-year management contract with offices in Portland and Los Angeles. ALL- MEDIA specializes in administering the licensing of music for film, television, commercials, and “...the artist’s financial obligations to the manager websites, and represents various record labels, don’t necessarily end when the management independent music publishers, and Internet companies. contract expires. ” Bart is also the co-author of a chapter in The Musician’s Business and Legal Guide, a commission is separate from, and in addition to, has ended. (These are commonly referred to as book compiled by the Beverly Hills Bar the commissions paid to booking agencies for “tail-out” commissions.) Association and published by Prentice-Hall booking shows. By the same token, most management con- Publishing (New York). Management contracts usually contain very tracts also provide that the manager’s percentage The reader is cautioned to seek the advice of complicated clauses pertaining to commissions. share of such income will be reduced after the the reader’s own attorney concerning the appli- Some management contracts, for example, pro- management contract ends, and/or that there cability of the general principles discussed in this vide for one particular commission percentage will be an outside time limit after which the column to the reader’s own activities. for income from record sales, and a different per- manager is no longer entitled to share in the centage for other types of income. In addition, artist’s income. For example, the artist and man- management contracts will sometimes provide ager might agree, among other things, that the for changes in the manager’s commission rate as manager will receive a share of the artist’s income LETTERS the artist’s income increases. and royalties for only one or two years after the Incidentally, there is one aspect of man- expiration of the management contract, even continued from previous page agement contracts which comes as a surprise to though the artist’s recording contract may be many artists, which is that the artist’s financial generating royalties for years after that. than many Dead tapes I’ve heard.) So no, we’re obligations to the manager don’t necessarily 3. Personnel Changes. If the “artist” is a not heavy bread heads here. But we cannot sur- end when the management contract expires. band, the management contract should antici- vive without our supporters. One of the best This is because many (if not most) manage- pate the likelihood of personnel changes in the methods is to sell CD’s. We want some of our ment contracts provide than even after the con- band. For example, will the contract give the audiences Sym for our Biosis, some Doe for our tract expires, the manager will continue to manager the right to manage the careers of any Ray, some La for our Tea.The scary thing is - this will only encourage us... The CD-ROM ‘Obscurity’ is an ongoing QUARTERLY bootleg release of the beginning of our latest work and live performances. (We are planning LISTINGS FOCUS on putting some filmed footage on this CD- ROM.) The plan is to catalog it by date as the Recording Studio Guide content changes. It’s like the Dead, but we are January • April • July • October the free source of our own music. You do not need to pay for any bootlegs. The quality CD stuff (when purchased) just puts more lyrics in Oregon Label Guide our heads. We are unwilling to disconnect our- February • May • August • November selves from our audience’s collective interest. We always want to be their source. Production/Venue Guide Okay, I’m done. Thanks for the mega- phone. March • June • September • December —William, Obscured by Clouds

10 – TWO LOUIES, February 2001 this year. Our show is entitled “The World Beat Rhythm Tour” and features Dr. Jay Harris, Fred Garner and myself. We basically focus on good listening skills, recognizing cultural diversity through music and teaching ethnic rhythms and beats. We play all over the state and get the rare opportunity to interact with young Oregonians and teachers in a fifty minute trip around the world in music. The last school I played last year was my old grade school Fernwood on 33rd near the famous two louies mansion. I’ve placed a few steel drums in stores around Portland in hopes of spreading the fever a little bit more. So if you see one, give it a tap,

an Gypsy Barb Kitchel is now basking in the tropical sun and shaking vigor- “I’m still in possession of that really cool Pously to the steel band rhythms after Puff Daddy tour jacket that I won at the Music shucking all her worldly possessions including her beautiful west hills home. Barb is now on her Millennium Christmas bash.” third and longest visit to Trinidad (the birthplace of the steel drum) and hopes this year to rehearse I’ve been working on the young audiences work a deal and lets put a steel band together for for, and perform in, the Bachannal steel band grade school music assembly tour circuit again that sunny season.....OK MON? competitions at Mardi Gras time. Barb’s dedication to her music is second to none and she promises to e-mail Two Louies photographic proof as the event nears in March. I ran into Muddy award winning guitar great Robbie Laws at showcase last week, as he was “shuffling” back and forth between gigs and teaching. Robbie hosts a well respected jam at Hoppers on division and 112th on Wednesday night, at which I’ve been meaning to stop in and amaze everyone with my best flaming blues chops so that Robbie has something to work on in his sleep. I’m still in possession of that really cool Puff Daddy tour jacket that I won at the Music Millennium Christmas bash. I’m willing to take any reasonable offer or trade or? Word is Rozz will be hosting a cool and mellow Sunday jam at Fusion on 42nd and divi- sion. With good food, CDs for sale, an open mike and several other Rozz style surprises. It should be a whopping good time for all. The Pan Gypsies with guest soloist Ray Holman. photo: Mellor WE LOVE BACHELOR PARTIES! Featuring the most beautiful NE 122nd & Glisan & dancers in the Northwest! 255.5039 Club Cabos Come on in for CHAR BROILED STEAKS BREAKFAST, LUNCH, or DINNER SE 18th & McLOUGHLIN Open Daily 7am–2am 232.3799 we have Oregon Lottery Games too!!

11 – TWO LOUIES, February 2001 THE GRAND OL' SOAP OPRY Up from the pavement. band, Curtis moved east to front Boston’s Roomful What do you do when your band breaks up of Blues and eventually formed his own band, the after ten years and you need to regroup? Find your- Stilettos, to tour opening for Steve Miller and the self a small town with good musicians and put Doobie Brothers. In 1995 Curtis toured as the something together. “often verbally abused” vocalist of the Santana Frontman Stephen Malkmus slid into band. (Carlos wanted Curtis to become a tam- Portland last April after his critically acclaimed bourine player as well.) band Pavement broke up. He had a handful of Enough dues, already. songs and started “low-key” rehearsal sessions with Billboard is raving about Curtis’ new former Dharma Bums’ drummer John Moen and Shanachie release “Soul Activated”. In a Spotlight Minders’ bassist Joanna Bolme. Then, according to Album review (1/13) by Michael Paoletta, both a story in Billboard (1/13), they “entered a variety artist and producer get major strokes. of area studios to record the material with engineer Michael says “Salgado and producer Marlon Rick Saltzman.” McClain were hip enough in their choice of mate- Pavement released five full-length albums on rial, studio players, and guest musicians to give this Matador, all still college radio staples. The last, project the chance to be exceptional. Plug in “Terror Twilight” peaked at #95 on BB’s Top 200 Salgado’s vocals and harmonica chops, and we’re and sold over 75,000 copies. talking a major artistic statement.” “At first, Malkmus considered self-releasing Major. the music. But when Matador staffers heard a “This aptly titled 11-song CD is a tour de rough mix, they jumped at the chance to extend force that showcases Salgado’s range and power as a Sado Nation 2001 their relationship with the artist.”The Matador solo vocalist. Whether it’s the Stax inspired cover of album will be released February 13th, the single Jimmy Cliff’s ‘The Harder They Come,’the hard- “Discretion Groove” hit retail January 16th. nosed blues of ‘Old Enough To Know Better,’ the Delmark Goldfarb, of the traditional blues duo, January 23rd Stephen and the band played a beautifully measured R&B of Salgado’s original Linda & Del. tune-up at the Medicine Hat in north Portland tune ‘Summertime Life,’or the phat sound of ‘More In the current issue of Downbeat maga- before leaving the next day for New York and a Love Less Attitude’-punctuated by the fiery work of zine, reviewer Frank-John Hadley gives “special performance” January 25th at the Bowery the Memphis Horns and guitarist Jimmie “Something Special”,the new album by Linda & Ballroom. In February, the band leaves for dates in Vaughan- Salgado throws down weighty, soulful Dell, three stars. Europe followed by a 30 date North American vocals that are as much a product of his mature “Not bad, for less than ten grand.” says Mark. Tour. Then back to Europe, a stop for dates in interpretive gift as they are a tribute to the muscu- Japan, and back to the states for “secondary mar- lar quality of his voice.” What can you do for a quarter-million? kets” in late summer. At press time Salgado hadn’t read the review Entertainment Week’s “Flashes” lead (1/19) Aaaahh, the life of the popstar. Pretty soon the and wasn’t all that excited about it.“I’ve had a lot of headlines the behind the scenes story of the making tabloid press will be reporting bassist Joanna records released. For me, it’s all about the songs.” of Everclear’s music video for “AM Radio”. Bolme is dating Elliott Smith, or something. Curtis is impressed with his new label’s Directed by Art Alexakis. enthusiasm, “Shanachie is really workin’ it. It’s only “No, you didn’t mix Pop Rocks with your Speaking of the musical press... two weeks old...” Coke. That really is the face of Everclear’s Art Melody Maker, flagship of the British music Several other veteran Portland players have a Alexakis on Mr. Potato Head in the video for ‘AM scene is gone after almost 75 years. First published stake in the success of “Soul Activated”.“More Love Radio.’ In the clip Alexakis, bassist Craig as a monthly in January of 1926, the final issue & Less Attitude” was written by Chris Miller Montoya, and drummer Greg Eklund morph appeared December 20th. (Razorbacks). “We put that in because so many into 70’s idols like the Bradys, Kojak, members of Staid head of production at KEX; Todd people ask about that recording of the Stilettos Kiss, and the bow-tied spud himself. How did Tolces, was a regular “American” contributor to that’s out of print.” Another tune, “Portable Man” Everclear get permission to use-and alter-the Melody Maker during his wilder youthful days as a was written by Delmark Goldfarb. footage? We spent almost $250,000 for all those popular FM “underground” disc-jockey in San clearances,’ says Alexakis, who also directed the Francisco. Delmark Goldfarb was Mark Goldfarb when video, currently in heavy rotation. ‘The concept he founded the Rose City Blues Festival in 1987. was simple, but the special effects and clearances In his wilder youthful days Curtis Salgado That event evolved into the annual Waterfront really drove the price up.” was the inspiration for John Belushi’s character Blues Festival. In the 90’s Mark moved to The final cut packs in twenty classic clips but “Jake” in the Blues Brothers. After the Robert Cray Memphis to create a blues museum and returned others had to remain on the cutting room floor.

12 – TWO LOUIES, February 2001 BY BUCK MUNGER A milepost in any picker’s track record, but And a bunch of other projects... unfortunately “Secret Agent Man” hit the charts in Lehfeldt has an album coming out in the March of ‘66, which would make Mesi about 15 spring on Elemental Records with TV:616 and is years old when he chimed the unforgettable. In gigging with Drumattica, a 2 man band featuring actual fact, John Ramistella, AKA Johnny Rivers, Keith Brown and Brian both on drums “pounding played the guitar part on “Secret Agent Man” and out tribal rhythms on top of synth driven techno (sounding like a snotty editor, here), as on most beats”. Brian calls it “A cross between Hitting Birth other Johnny Rivers records, Joe Osborne played and the Chemical Brothers”. bass, Hal Blaine played drums and Larry Knechtel TV:616 and Drumattica appear at the Cobalt played keys. Lounge Friday, February 23rd. When asked about the Oregonian plug Mesi When things quiet down for Art he’ll have (sounding surprised) said, “The ‘Secret Agent Man’ more time to concentrate on his label, Popularity I played on was a cover of the television series Records. Brian is scheduled to play drums for the theme song. We recorded it over at Rex Recording first act out on Popularity. in southeast.” Not the hit? Elemental Records’ Cassandra Thorpe is Writer Hall might have been confused by raising money to promote the label’s acts by travel- the Jim Mesi background page at the band’s web ling door to door collecting monies for “Catholic site that opens with “Secret Agent Man” music in Charities”...not actually, but she did show up at the the background and reads, “Yes that IS Jim Mesi Two Louies front door with that deadpan request playing the original version of the song “Secret just to mess with our minds.. Photo: Ackerman Agent Man”. Cassandra’s a little goofy because The “original”,cover-version, of the television Elemental’s latest release by Floater continues to “MGM wanted $30,000 per three-second clips of theme-song. generate healthy sales. Elemental recorded a the Mod Squad”... Mr. Mesi- an actual musical legend without selection of songs from both sets at the Floater the webmaster’s confusion- is about to release a New Year’s Eve Show and will press 1,000 copies Two albums in the Top 200... new album entitled “Blues, Cars and Electric to be available through Elemental and the Floater Everclear’s Volume One and Volume Two of Guitars”. Jim describes it as “lively R&B with three merchandise booth. “Songs From An American Movie” continue to and four part harmonies. Mesi also throws in some February 10th Floater will do an in-store at produce hit tracks and maintain strong chart trademark instrumentals including “Rampage In Music Millennium, where Elemental will give away positions. C-Major” and “Surfing On The Autobahn”. a signed Fender Stratocaster. Volume Two peaked at #66 on BB’s Top 200 The Jim Mesi Band plays the Tillicum, just months after Volume One leaped on at #9. Wednesdays in February and the weekend of the Overbites... Dizzyfish is now Jonah and will Volume One produced one of the biggest 16-17th. release the group’s third album within months... Everclear hits to date, “Wonderful”, which contin- Ezra Holbrook is moving his TBA Allstars to ues on the Adult Top 40 at #14 after 29 weeks. At one time Lily Wilde fronted the legendary Thursdays at the White Eagle. Guests include Little “Wonderful” is also on the Hot 100 Recurrent Jim Mesi band. Sue (2/8), Pacific Wonderland (2/15), Jeremy Airplay chart at #19. “AM Radio” from Volume Now, the Oregon Symphony is billing her as Wilson (2/22)... The Clumsy Lovers hold a two One is #18 on the Adult Top 40. one of Portland’s “top jazz divas”.Lily will headline day CD release party for “Still Clumsy After All Volume Two’s first hit, “When It All Goes the Arlene Schnitzer Concert Hall February 24- These Years” at the Mt. Tabor Pub February 16th & Wrong Again” is # 14 on the Mainstream Rock 26th with Shirley Nanette and Shira in “Sing, 17th... 4th Plane Jaiant wins big in the Tracks and # 17 on the Modern Rock Tracks chart. Sing, Sing” with Resident Conductor Norman Independent Music Awards taking the Reggae/Ska Leyden’s 18 piece Big Band. award for “Longer Way To Run”. The 12 IMA cate- The legend groans. Featuring the swing music of Benny gories were judged by a panel including Aimee Newbie Oregonian music writer Stan Hall Goodman, Glenn Miller and Tommy Dorsey. Mann, Ben Folds, Chris Whitley, Jimmy Cliff, was promoting the Tuesdays’“Guitarslingers” night Rosanne Cash, Lisa Loeb and others... Former at Hoppers (1/5), and while profiling headliner Jim If Art Alexakis had released his solo album, Tree Frog John Henry Bourke takes up happy hour Mesi declared, “This is the man who played the Brian Lehfeldt would be playing the Sundance residency at the Rabbit Hole Restaurant and Mad unforgettable chiming guitar riff on Johnny Film Festival. Unfortunately, Art bagged the tracks Hatter Lounge. John Henry performs from 6-8PM Rivers’ ‘60s hit “Secret Agent Man”... he cut with Brian on drums and now Brian is left to every Wednesday night... Huh? contemplate what might have been.

13 – TWO LOUIES, February 2001 4811 SE Hawthorne 238-1646 Main Room, February TUESDAY FEB 13 THURSDAY FEB 1 From Jamaica: Shoulda-Coulda-Woulda Culture Earth Force Emex WEDNESDAY FEB 14 Diverse Sources Petal FRIDAY FEB 2 THURSDAY FEB 15 Nine Volt Mile Color Phobos Head of Lies Coyote Brandon Carmedy FRIDAY FEB 16 SATURDAY FEB 3 Clumsy Lovers CD Release Shout It Out Loud Sugar Beats artist • label • title Crushed Velvet LAST MONTH MONTH THIS SATURDAY FEB 17 MONDAY FEB 5 Clumsy Lovers 51VARIOUS Kwali-T CD ...... X Ray Visions Reggae Jam Sugar Beats TUESDAY FEB 6 MONDAY FEB 19 12RICK BAIN & THE GENIUS POSITION Official CD ...... Crooked Autumn Sun Hiatus Distracted Reggae Jam TUESDAY FEB 20 13KING BLACK ACID Cavity Search CD ...... Loves a Long Song WEDNESDAY FEB 7 Liquid Amber Carbonhead 33THE PINKOS Empty 45 ...... “To My Valentine 7" EP” John January Band Trip Called Malice Frontier 2-Cent Solution 54VARIOUS Last Chance CD ...... In The Cole Mind THURSDAY FEB 8 FRIDAY FEB 23 Tamaras John Brown’s Body 24THE HELIO SEQUENCE Cavity Search CD ...... Com Plex Echo One SATURDAY FEB 21 Bye Bye Chinook Higher Ground 75JESUS PRESLEY JPX Records CD ...... Redemption FRIDAY FEB 9 Ashbury Park 65THE COUNTRYPOLITANS Demo CD ...... “Killing Shoes” Orange Collection Countrypolitans Satellite Heroes MONDAY FEB 26 •6SAUVIE ISLAND MOON ROCKET FACTORY Red 76 CD . . . .“Wy’East Can’t Sleep” SATURDAY FEB 10 Reggae Jam BENEFIT FOR OLD TOWN TUESDAY FEB 27 ...... 26JOE DAVIS Demo CD Hope Chest CLINIC Dervish Logos Eye Hiatus ...... •7WOW AND FLUTTER Jealous Butcher CD Strange Bird Third Estate Zulu Vision Triple Swift ...... WEDNESDAY FEB 28 86LYNN CANOVER Tailfeathers CD Strange Bird Ida’s Heavy Truck Stop Pan Tourismos •8DIZZY ELMER Demo CD ...... Crying to the Moon MONDAY FEB 12 Starbugs Reggae Jam •8FREIGHT TRAIN CASANOVA 6-Pane CD ...... Strange Bird 99GRAVITY AND HENRY Revolve Records CD ...... Pisces 10 9 CALEB KLAUDER Padré CD ...... Sings Out •10THE COWTRIPPERS BEW CD ...... Homogenized •10PACIFIC WONDERLAND Demo CD ...... 2 Song EP •11EZRA HOLBROOK Songs for Thomas CD ...... Sympathy for Toys & Puppets •11POSTCARDS FROM SINGAPORE Demo CD ...... My Secret Ocean •11MARK SPANGLER Alice Street CD ...... Don’t Go In The Basement •12LOWER 48 Wrecking Ball CD ...... Ranchero 12 13 MAHAYANA Hippy Lawyer CD ...... Awakening •13SPECTRUM Order House CD ...... Spectrum Hits

top tracks

•1 FIVE FINGERS OF FUNK Kwali-T CD ...... Posters •2 RICK BAIN & THE GENIUS POSITION Official CD ...... Orlando •3 THE PINKOS Empty 45 ...... Gonna Get ‘Em •4 MISSION 5 Last Chance CD ...... Fire in the Western World •5 JESUS PRESLEY JPX Records CD ...... I Just Can’t Wait

live offerings at the church

Wednesday, January 31 ...... Sauvie Island Moon Rocket Factory — Live! Wednesday February 7 ...... Captain Boggs & Salty — Live! Wednesday February 14 ...... Valentine’s Day Special w/Dizzy Elmer — Live!

Please send submissions to... Church of NW Music • PO Box 9121 • Portland, Oregon 97207

14 – TWO LOUIES, February 2001 by Paula Hay The Internet Label Experience here is no denying that last year’s artists with space to create a web page, the abil- out any form online except that it is a bit more high-profile litigation surrounding ity to sell CDs online, gig listings, ways to earn extensive. Macintosh users take note, it won’t Tinternet copyright-infringement money directly from MP3.com, an “opportuni- work with any browser other than Netscape. issues has brought the availability of music on ties page” listing everything from competitions Windows users have more flexibility. You will the internet to everybody’s attention, regardless to submission calls for film & TV, an absolutely need a 270-pixel wide by 180-pixel tall band of one’s feelings about Metallica, the RIAA, and gargantuan usership and, perhaps most impor- photo and at least one mp3 recorded at Napster.com. While a few executives and high- tantly, nonexclusivity - meaning, the artists MP3.com’s specifications which are listed on the profile artists were struggling against the disin- retain all rights to their music and web-page signup page. It is also a good idea to have a 70- tegration of the formula that made them rich content. pixel square “song pic” which displays next to and/or famous, everyday music fans, independ- The site also tracks their artists’ success, the downloadable mp3 on the completed page. ent labels, freelance promoters and unsigned keeps charts of its own, and provides the ability It isn’t necessary to know how to create a acts were figuring out how to use the internet to to create “stations” which function as internet web page to get one set up at MP3.com although their advantage. Because of the internet, artists and would-be fans now have a means of finding each other that was simply not available before. “The number of ‘plays’ and ‘downloads’ an artist’s mp3 gains from being listed with a station count Ground Zero: MP3.com MP3.com is a contemporary site of towards payment and chart listings.” Napster.com and although it works in a different way, has given birth to similar innovations and radio stations. The number of “plays” and the option is available if you do know HTML. controversies. While the company fights its own “downloads” an artist’s mp3 gains from being Once you have filled out the form, MP3.com’s legal wars with music industry giants, it has also listed with a station count towards payment and software takes that information and plugs it into provided what is arguably the most comprehen- chart listings. a template which creates the page for you. It also sive means for independents acts and labels to automatically resamples the mp3 you provide to get the word and the music out. Anyone seeking Make It Go a lower-quality smaller file so people with slow- to use the internet to promote music would ben- I walked through the new artist signup er connections can access your music. efit by starting here. process at MP3.com and found it to be relative- After the signup process is completed you For no sign-up cost, MP3.com provides ly straightforward. It is no different than filling have a chance to preview your web page. Your submission is then reviewed by MP3.com’s staff. When your page is ready it goes live with its own internet address (i.e., www.mp3.com/PaulaHay), and you have administrator access to change it as you wish, to upload new songs, change artwork or body text.

Cha-Ching MP3.com offers a “Payback for Playback” promotion which allows artists to earn money from users who listen to their songs. Each month the company sets aside a pool of money to be distributed to artists according to the number of downloads and listens their mp3 files garner. For example, the January 2001 pot was set at $1,000,000. To qualify you must first have at least 15 different users play your song, then you must sign up to participate in the promo- tion. Once you’re a qualified participant MP3.com tracks the number of unique users who listen to your songs daily and calculates the amount of money you earned based on this. You can track for yourself how much money your mp3 is earning from an “earning The Rotating Leslies’ page at MP3.com. All MP3.com sites are created from the same template. www.mp3.com/therotatingleslies continued on next page

15 – TWO LOUIES, February 2001 On the Down Side While MP3.com does indeed provide a wide range of resources for independent musi- cians, it is not perfect and still has a few bugs to continued from previous page spot, packages it, and sends it out in the mail work out. within 24 hours. They are explicit about not William, vocalist, guitarist & lyricist of stats” link on the Artist Admin Master page. being able to ship pre-recorded CDs however, Obscured by Clouds, a Portland-based pro- There is also a link to track your web page stats so if you have a box of unsold CDs sitting in gressive band with roots in 70’s progressive which includes such information as the number your living room, they won’t be able to dis- rock, says his band has been achieving expo- of visitors you’ve had, number of plays, number tribute them for you. sure without the help of MP3.com. “Right now of times your MP3.com address has been we have uploaded some music etc. to MP3.com emailed to someone else, etc. Payments are made A Portland MP3.com Success Story and they have not responded to any emails for quarterly to artists who’ve earned $50 or more The Rotating Leslies1 are a local act who three weeks,” he says. “I have tried three times during that quarter. If you’ve earned less, pay- have been using MP3.com for some time. They to get help, with no answer. Also we were listed ment carries over to the next quarter. were one of the first Portland bands to upload as Obscured By Clouds, and then suddenly our You can also earn money by using their music to the site and since then have account was deleted and another band called MP3.com’s “Digital Publishing Channel” fea- become the highest-charting Portland band on Obscured By Clouds was added. So I asked ture. This works by allowing MP3.com users to MP3.com’s tally, including the track Saudade, them about a month ago, and they just kept create what is essentially a private internet radio which charted at #2. Their MP3s are featured on saying the name was already taken. So I station. The artist sets a “subscription” price and no less than forty stations there, including uploaded under the name Obscured By receives 50% of the earnings. For example, if you Digital Heroin2 and their own station KTRL3. Clouds.com. And they have not responded make your mp3s available to Digital Publishing Their artist page reveals that they have earned since. I do not have faith in MP3.com.” Instead Channels and set the fee at $8, each time a user $1,407.18 from MP3.com... not bad. of using MP3.com, Obscured By Clouds creat- ed their own website, available at “...if you make your mp3s available to Digital www.obscuredbyclouds.com. Jeff Dood had this criticism about Publishing Channels and set the fee at $8, each time MP3.com: “It’s completely unfiltered - there’s no quality control. To find the good stuff you a user subscribes to your mp3s you earn $4. ” sometimes have to sift through a lot of not-so- great stuff.” subscribes to your mp3s you earn $4. “Overall it’s been pretty positive for us,” So as you can see, MP3.com still has some Subscriptions are monthly, so if a user wants to groovemeister Jeff Dood, bassist and front man issues to overcome but can certainly be useful. keep his subscription to your mp3s, he has to for the band said. “We’ve received alot of great Besides the features listed in this article, it pro- renew his subscription at the beginning of the fan mail directly from people who heard us vides many others which may or may not be next month and fork over another $8. MP3.com there. It’s been a great way to get unbiased expo- useful to your band, depending on what you’re touts this feature as being “the future” of the sure for our music outside the confines of the looking for. It is a good starting point for music business. While it is indeed a nifty func- Portland scene. At MP3.com you are just one of musicians seeking to use the internet to pro- tion, it is my opinion that “the future” MP3.com 800,000 bands and artists - so you’re pretty mote their music. MP3.com can also be a sees is a long way off and won’t gain a wide user- much unknown. On one hand that’s not great, springboard into other internet uses for distri- ship until the internet is firmly established as a but on the other hand, when you recieve positive bution and promotion, which I will be cover- wireless technology. It may well go the way of feedback from people outside of Portland who ing in future articles. the “cable radio” experiment of the 1980’s: use- happen upon your stuff and your song starts ful for a few, but not the masses. moving up in the charts, it’s nice. You realize Related Links people are actually finding you.” The following is a list of links and credits used in CDs On Demand I asked him about the level of exposure The researching this article. You can use MP3.com to burn and ship CDs Rotating Leslies have received at MP3.com in of your music. The CDs are playable on regular comparison to gaining exposure via tradition (1) www.mp3.com/therotatingleslies CD players as well as on computer CD-ROMs. means. He told me, “Well, in terms of being a (2) www.mp3.com/digital_heroin There are limitations to this feature however. band in Portland, ‘traditional means of expo- (3) www.mp3.com/stations/8/revolving_and_evolving_-_k.html Again the split of the money you earn from sure’ basically means playing live in the clubs. www.obscuredbyclouds.com CD sales is 50% with MP3.com and again, the That’s about the only option you have to get www.mp3.com artist sets the sale price. MP3.com uses their your music in front of people. So you get that www.napster.com www.time.com 50% cut for production costs. You have to pay burst of exposure while you are playing the gig, www.rotatingleslies.com extra for custom inserts, otherwise your CD will but then it ends. With the net, and MP3.com in My research page at MP3.com come shipped in one of MP3.com’s default particular, you are getting lots of peoples’ ears designs which are hip enough but generic. The happening upon your music 24/7.” He added, time limitation for your CD is 60 minutes. “We also like to use our site there as a place to Paula Hay is a graphic designer and internet geek MP3.com can do this because they post live songs from recent shows, as well as a living in Portland.. Comments can be emailed to already have your digital recordings on file place to debut a new material. It’s a good promo her at [email protected]. for use on your web page. When a user pur- tool. But you shouldn’t expect it to get you chases your CD, the company burns it on the signed, if that’s what you’re after.”

16 – TWO LOUIES, February 2001 ello Two Louies readers and wel- and performance power in a complete and come to the Inauguration Blues engaging way. The mature and beautiful Harriet HHeadquarters. I felt a great funk Fasenfest followed Melody by reading a poem fall over me while watching George Dubya. He about her journey as mother, wife, friend and ended his inauguration speech by saying, “ This woman. In closing, Iris read a love poem in work continues. The story goes on. And an angel hushed tones that the audience greeted warmly. still rides in the whirlwind and directs this Jim Redden made the scene along with Chris storm”. I though about it and still don’t know Monlux, Annie and Greg McMickle and local what that means, but I hope George has been lis- recording artist Philmore Fleming. tening to Sade’s Lovers Rock. Although I’m tired I saw Zia from the Dandy Warhol’s at of pomp and circumstance, a split screen and at Bridged O’Connor’s 30th Birthday party. least fifty mentions in three minutes by Chris Bridged had a wide assortment of Portland’s Matthews’s that Bill Clinton was finally leaving finest folks assembled at The Drum. The Drum Washington. I’m not tired of “You think I’d is located way out in East County and everyone leave your side baby? You know me better than was told to strap on their spurs and come on out that”.Yes, I know that the beat is repetitive on all for some line dancing and a good ole time. It the cuts, but gee whiz what a groove! I think was great fun and I sat in awe of Zia as she told Dino, the hip-hop groove prince of Portland Sade’s is inspirational, relaxing and creative us “We’re leaving for Chicago to perform one Photo: Rosemond music. I think George Dubya could stand a bit of night and then we head to Sundance Film Sade in his life. Festival to play for some directors”. She looked Speaking of Chinatown, I went to the What’s been happening? Tons! The town is smashing in a buckskin bikini top and matching new Classical Chinese Garden. Wow! I highly abuzz with changes and very interesting devel- tan leather pants. She said she asked the coun- recommend strolling through the Garden of opments in music, arts and entertainment. I’m try band who were playing at the Drum that Awakening Orchids and smelling the flowers. bowled over by the young adults I’ve been run- night to play a George Strait song. She said they I felt like I was in a foreign country. The ning into. I went to Iris Richmond’s 25th birth- just ignored her. How they could ignore that Tower of Cosmic Reflection where the day gathering at 333 Studios. Iris invited some beauty in a buckskin string bikini is beyond me? Tearoom is was enchanting. The Moon- talented performers and family to toast her with Champagne Cocktails and an impromptu poet- “I saw Zia from the Dandy Warhol’s at Bridged ry reading. Dino, the hip-hop groove prince of Portland did a magnificent spoken word, long O’Connor’s 30th Birthday party. Bridged had a wide poem. He was all in our faces with his assortment of Portland’s finest folks assembled at unabashed and lyric delivery. He had the room on its toes and evoked images in our heads The Drum.” about what’s happening to this incredible young man. I was taken aback. Melody Bates followed Johnny Sole and partner Mike Quinn go Locking Pavilion sits in the middle of a small him. She’s a knock out in every sense of the before the board with their high priced lawyer pond that’s the center of the garden. It was my word. This stately blond delivered a riveting in February. Up against some neighborhood favorite spot. The garden is tucked into a performance about being a Goddess. She looked opposition, there yet to be opened bar East small area with a towering view, but it’s the like one to me. The transition between Melody located on 323 NW Everett is in dire need of a largest urban classical Chinese garden in the and Dino was transfixing. Melody strutted gal- liquor license. They’re planning on an Asian United States. It’s just a great place to go and lantly toward the impromptu stage with arms menu and are looking for a commercial kitchen take stock of what is important in our lives. raised. She then exploded into charming com- that will bring in food to serve. Johnny and Located on the corner of NW 3rd & Everett. mand. It takes confidence to follow someone as Quinn are looking at other locations in case the talented as Dino. Melody wielded her beauty Chinatown location fizzles.

17 – TWO LOUIES, February 2001 Battle of the Bands 2001 • Drop Off Your Entry at Clackamas Guitar Center

TheThe DrumDrum ShopShop of of Portland Portland has is moving,moved to Monday, 3366 SE August Powell 21Blvdst • New, Biggerto Showrom3366 S.E. with ExpandedPowell InventoryBlvd • New,• Lare Bigger hand DrumShowroom Department with Expanded (Congas, InventoryBongos, Djembes) • Large• Enclosed Hand Cymbal Drum Department Room (Congas, Bongos, Djembes) • Enclosed• New Kids Cymbal Dept &Room Kids Classes • New• Group Kids Classes Dept & for Kids Conga, Classes Djembe, Drum Circle & More • Group Classes for Conga, Djembe, Drum Circle & More MainMain Store Store WestsideWestside 33663366 S.E. SE Powell 1353013530 NW NW Cornell Cornell Rd Rd Portland,Portland, OR OR 97202 Portland,Portland, OR OR 97229 97229 (503)(503) 771-7789 771-7789 (503)(503) 626-3786 626-3786 email: [email protected]: [email protected] • www.drumshopofportland.com

18 – TWO LOUIES, February 2001 LABEL

Belinae Records Cavity Search Records 7716 SE Clay Street P.O. Box 42246 Portland, Or 97215 Portland, OR 97242 503-775-2191 Email: [email protected] Email: through www.belinae.com Web: Web: www.belinae.com Northwest Academy Owners: Blake Wood, Big Wicker http://www.cavitysearchrecords.c Ventriloquist; Mike Mason, om STUDIOS Resident Tullster Owners: Denny Swofford, Types of music released: Various, Christopher Cooper original NW music & related Types of Music Released:Music we projects like by bands/artists we like. Specializing in: Types of deals offered: Varies; artists’ Artist Roster: Pete Krebs, Pete Krebs supporting artists regarding & Gossamer Wings, King Black Digital/Analog recording • Mixing & Mastering publishing, copyright, legal, ASCAP. Acid, Richmond Fontaine, •Tape/CD Duplication Artist Roster: The Weevils, Monicas Golden Delicious, Wayne Dress, Billy hagen, Fabulous Horvitz, Steve Lacy, Elliott Sharp, 503.223.3367 disasters, Chris Berne, Elliott Smith www.nwacademy.org BlakeWood. Distribution: Referred out. Cloud 99 Productions, Ltd. Preferred submission format: P.O. Box 3939 Call/email first. DAT, CD, cass. Salem, OR 97302 (503) 370-8116 Burnside Records 3158 E. Burnside Fax: (503) 370-8116 Portland, OR 97214 Owners: Nathan & Nettie Steinbock (503) 231-0876 Personal Manager: Seymour Heller. Fax: (503) 238-0420 Executive Producer: Danny Kessler. Email: [email protected] Producer: Dick Monda. Web: Type of music released: Jazz, http://www.burnsiderecords.com Country, pops Contemporary, Owners: Terry Currier & Jim Brandt M.O.R. and children’s albums. Producers: Various Types of music released: Blues Artist roster: Lisa Haley, Li’l Elmo Artist roster: Mason Ruffner, Henry and the Cosmos, Dick Monda Cooper, Paul Brasch,Johnny & and Daddy Dewdrop. the Distractions, John Fahey, M.Doeherty, Mick Clarke, David Cravedog Records Friesen, Obo Addy, Lloyd Jones, 122 SE 27th Avenue Too Slim & the Taildraggers, Kelly Portland, OR 97214 Joe Phelps, Terry Robb, Duffy (503) 233-7284 Bishop Band, McKinley, Gary Email: [email protected] Myrick, Sheila Wilcoxson Bill Rhoades & Alan Hager, Bugs Web: www.Cravedog.com Henderson. Owner: Todd Crosby. Distribution: Burnside sub- Producers: Luther Russell, Johnny distributes two Portland based Beluzzi, Larry Crane, Various labels: The Magic Wing and Types of music released: Various. Eurock. National distribution Types of deals offered: Varies. through Distribution North Artist roster: Little Sue, Fernando, America & Rock Bottom. Warren Pash, Luther Russell Affiliated Label: Sideburn Records: Distribution: Valley, Burnside, Types of music released: Roots Rock Redeye, Miles of Music, CD Artist Roster: 44 Long, Rudy Tutti NOW, Amazon.com, Music Grayzell, Tommy Womack Boulevard.

19 – TWO LOUIES, February 2001 Preferred submission: We’re not Horky, Erik Wollo, Green Isac, looking for new artists. Tim Story. Kinds of deals usually offered: CD, Distribution: DNA North America, cassette. Burnside Records. Artist roster: Claire Bruce, Paul DeLay Band, J.C. Rico, Linda Flying Heart Records Hornbuckle, Lloyd Jones 4026 N.E. 12th Ave. LABEL Struggle, Dave Stewart, Jim Mesi Portland, OR 97212 Band, Joe Dobro, Too Slim & the (503) 287-8045 Taildraggers, Paul Jones, Shade. Email: [email protected] Web: Diamond Z Records http://www.teleport.com/~flyheart/ 16016 Lower Boones Ferry Road, Owner: Jan Celt Suite 5 Producer: Jan Celt Lake Oswego, Oregon 97035 Types of music released: Original (503) 675-1670 NW artists and related projects. (503) 635-7355 Preferred submission formats: Demo Crazy Bastard Records Jimmies, Drain Bramaged, E-mail: [email protected] cassettes. PMB-831 Vaginal Discharge, Genocide Contact: Steve Landsberg Kinds of deals usually offered: 16420 SE McGillivray, 103 Rapers, Fist Material, The Producers: Album projects, Publishing of Vancouver, WA. 98683 Dwarves, Drain Bramaged, Types of Music Released related materials. 503-293-5409 Bomf!, WitchThrottlegush, REO Preferred Submission Format: Other services offered: producer Email: [email protected] Speeddealer, GBH, Fang, John Kinds of Deals Offered: services and bands wishing to Web: www.buko.net/crazybastardrecords Cougar Concentration Camp, Owner: Andrew Bentley Blag Dahlia, Stagger, Monkey Fur, Artist Roster: make their own releases. Types of deals offered: Tribute Odorus Urungus, Dr. Know Distribution: Artist roster: Janice Scroggins, Tom Compilations (featuring Brandon Cruz), Corey McFarland, Obo Addy, The Artist Roster Featuring: Village Idiot, Feldman, Agent Orange, Elemental Records Esquires, Napalm Beach, SnoBud Witch Throttlegush, Plaid Pantry Nerfherder, The Daylights. PO Box 603 & the Flower People, Snobud Project, The Procrastinators, McMinnville, OR 97128 Comics by Chris Newman, Iommi Stubbs, Little Mission Criminal Records 503-474-1704 Phillip’s Dream World coloring Heroes, Threscher, Bastard P.O. Box 25542 [email protected] book for children, written and Children of the Roman Empire, Portland, OR 97225 President: Cassandra Thorpe illustrated by Chris Newman, N?Jas, The Secludes, Thy Infernal, (503) 244-5827 Vice President: Robert Wynia Eddie Harris, Thara Memory. Hyperthermia, 90 Proof, The Contact: Paul Jones Executive Producer: Diogenes Distribution: Burnside. Delinquents, Evil Genius, Fall Types of music released: Northwest Alexander Xenos From Grace, Naked Violence, The Blues, R&B. Roster Management: Aaron Thorpe IMP Records Active Roster: Floater, TV:616, Blyss P.O. Box 34 Available: Jollymon, Sweaty Nipples, Portland, OR 97207 Henry’s Child, NW Owner: John Flaming Compilations Types of music released: Punk rock. Distribution: Direct, Burnside, Valley Kind of deals usually offered: Singles. Records Artist roster: Spinanes, The Shaven, Studios: Gung-Ho Studios (Eugene), Jackknife, Oswald Five-O, Freq (Portland) Mudwimmin, Crackerbash, Submission format: CD or high Calamity Jane, Barbara Lien, A quality video Dick Did. Offering: Unusual agreements for the SATYRICON right bands Jus Family Records SATURDAY FEBRUARY 4TH (800) 757-1851 EON Records Owners: Terrance Scott, Bosco Kawte 10PM TO 11PM PO Box 5665 Types of music released: Hip-Hop, 125 NW 5th & Couch Portland, OR 97228 R&B and any other form of good Email: [email protected] music. Web: http://www.eonrecords.com Preferred submission Formats: CONAN'S PUB Owners: Tommy/John Thayer cassettes SATURDAY, FEBRUARY 24TH Producers: Various Artist Roster: Cool Nutz, Kenny Types of music released: new Mack, G-Ism, Monkey Mike 11:30PM TO 12:30PM Artist roster: 28 IF, Dan Reed WITH VALHERE AND Distribution: Nail Lazy Bones Records MAKE BELIEVE Distribution/Portland, OR 9594 First Ave. N.E. Suite 230 Seattle, WA 98115-2012 39th and Hawthorne Eurock Records (206) 820-6632 P.O. Box 13718 Fax: (206) 821-5720 Portland, OR 97213 Owner: Scott Shorr (503) 281-0247 Producers: negotiable Fax: 281-0247 Types of music released: Everything Email: [email protected] but Country. Owner: Archie Patterson Preferred Submissions: CD’s & Types of music released: License cassettes. recordings by European & Kind of Deals usually offered: Full American artists. length CD. Preferred submission formats: CD’s. Artist roster: Headland, Neros Rome, Kinds of deals usually offered: CDs. Turntable Bay, Blackhead www.reptilesbiteme.com Artist Roster: Dweller at the Distribution: ILS (Mercury), Threshold, Gandalf, Robert J. Burnside Distribution.

20 – TWO LOUIES, February 2001 LABEL

Lucky Records/Macman Music, Inc. Cheralee Dillon, Land of the 1416 SE Morrison • 503.238.1955 10 N.W. 6th Avenue Blind, Tree Frogs, Gravelpit, Portland, OR 97209 H.E.A.D., Naked Violence, Savior, (503) 248-1988 Roger Nusic, New Bad Things, FAX: (503) 227-4418 Shine, Pleasure Center, W.O.R.M. Red Carpet Recording Contacts: David Leiken, Marlon (Wammo), Affirmative Action, 503.848.5824 McClain, Medicine Sunday, DickFinger, Producers: project by project. The Shaven, The Refreshments, New! Types of Music: Rock, R & B, Funk, Caustic Soda, Billy Snow, Live at Fusion, Blues Laurelthirst Compilation (15 New! Artist Roster: Dazz Band, Vail bands). New! Johnson, Curtis Salgado & Terry Distribution: N.A.I.L., Burnside Robb, Dennis Springer, U-Krew, Distribution Corp., various New! Sequel, Dan Reed Network, others. Shock. New! Distribution: Independent, City Hall Space Age Bachelor Pad P.O. Box 10494 New! Aloha Location w/many Advantages! • MORE racks of tube gear National Dust Records Eugene, OR 97440 • Silver soldered Patch Bays • Tube Driven JBL/Alnico Mains + Near P.O.Box 2454 (541) 343-5962 Feilds • Vintage Amps • Hammond Leslie &’ Grand • Massive Analog • Portland, OR 97208 Fax: (541) 683-3524 Computer Editing • CD Burning • RCT 4x8 Tube Plate Reverb (503) 903-0625 Email: [email protected] Contact: Shan Owner: Stephen Perry. Producer: the bands choice. Producers: Stephen Perry. Types of music released: Punk rock, Contact: Spirit Cole rock’n roll. Types of music released: Swing, Ska, Preferred submission formats: Rock, Punk, Acid-Rock. tapes/records. Kind of Deals usually offered: Kind of deals usually offered: % of Depends on artist. product pressed. Preferred Submissions format: CD or Artist roster: Apt. 3G, Nixon Flat, Cassette Nervous Christians, Jimmies, Artist roster: Cherry Poppin’ Low Rent Souls, Lazy Boy. Daddies, Buckhorn, Billy Jack. Distribution: Profane Existence, Distribution: N.A.I.L., DNA N.A.I.L., EFA (Europe). Schizophonic Records Rainforest Records 1620 SE Hawthorne Blvd. PO Box 14627 Portland, Oregon 97214 Portland, Oregon 97293 (503) 736-3261 (503) 238-9667 Fax: (503) 736-3264 Email: [email protected] Email: [email protected] Web: RainforestRecords.com Owner: Mike Jones Owner: Ray Woods. Producers: Drew Canulette, Tony Producers: Ray Woods, Michael Lash and Brian Berg. The band Cubbon, and the bands. decides. Types of music released: All types of Types of music released: Many. music (no limits). Preferred submission formats: Preferred submission formats: We no Cassette, DAT. longer respond to unsolicited Kinds of deals usually offered: demos. Depends on artist/project/deal. Kind of deals usually offered: Varies; Artist roster: (current) Vehicle, Singles, albums, recording, Jackson Pollack 5ive, Svelt, Dave production and national/int’l Allen, The Elastic Purejoy, The distribution. Violets, Torpedo, The Jimmies, Artist roster: Gone Orchestra, Shove, Gravelpit, I-5 Killers Silkenseed, The Brainwashers, A compilation series features: Nat Hema, Obscured By Clouds, Sprinkler, Dose, Hazel, Spinanes, Julie Jones, The Redondos, Saliva Tree, Roger Nusic, Marble LoveNancySugar, Sylvias Ghost, Orchard, M99, Hitting Birth, Jesus Presley, Doris Daze, Sugar Boom, Drunk at Abi’s,

21 – TWO LOUIES, February 2001 LABEL

Musicians Technical Services a.k.a. Uncle Joe’s has moved to Morrison Bridge Music 522 SE Belmont Portland, OR 97214 503-234-9500 Flapjacks, Dead Moon, Diggs, Tombstone Records MTS V.O.I.D., The Daddies, Killing P.O. Box 1463 Field, Dharma Bums, Red Vines, Clackamas, OR 97015 U.S.A. Rawhead Rex, Wicked Ones, Carl (503) 657-0929 Hanni, Confidentials, Fax: (503) 631-2797 Crackerbash, Blu-binos, Owners: Fred & Toody Cole Hellcows, Oily Bloodmen, Gift, K Producer: Fred Cole Pants, Everclear, Thirty Ought Types of music released: MONO Six, Kaia, The Wipers, Plunger, ONLY!! Oblivion Seekers, Anal Solvent, Mostly original garage and New Bad Things, Caveman psychedelic, raw rock ‘n roll. Shoestore, Oswald 5-0, Preferred submission formats: Tapes Supersuckers. The Violets, mixed down to 1/4" reel to reel. Gravelpit, Skiploader, Time DATcassette or high-quality Killing Isabel, Buttermilk. cassette. Distribution: N.A.I.L. Kind of deals usually offered: We press mostly 45s, but can do LPs Ten Ton Records and CDs.Artist roster: Dead 625 SW 10th Suite 231-C Moon, Flapjacks, Spider Babies, Portland, OR 97205 Jr. Samples, 8 Ft.Tender, (503) 287-5502 Hardship, Asthma Hounds, Producer: Keld Bangsberg or bands Deadbeat Hearts. choice. Distribution: Get Hip, Revolver, Types of music released: alternative; Mordam, NAIL, Subterranean, all kinds. Burnside Distribution (CD’s Submission format: cassette. only). Artist roster: Sweet Baby Onion, The Willies, Trip 21. Z o d i a C On the cover: Craving Theo – “Stomp” is a hit. KUFO has the track in heavy rotation and February 3rd reps from Columbia, Atlantic and [ graphic : design ] Reprise will show up at the Roseland to check the band out. www.pacifier.com/~zodiac [email protected]

503.384.9656 | 503.891.0041 • ESTABLISHED 1979 • PUBLISHER: James E. Crummy EDITOR: Buck Munger www.twolouiesmagazine.com LAYOUT & GRAPHICS: Paula Hay WRITERS Marc Baker • S.P. Clarke • Bart Day • Paula Hay • Dennis Jones • Denny Mellor Robin Rosemond • Stephanie Salvey PHOTOGRAPHERS David Ackerman • Buko • Erik Huget • Gustavo Rapoport • Pat Snyder PRINTED BY: Oregon Lithoprint TWO LOUIES MAGAZINE 2745 NE 34TH • PORTLAND, OR 97212 PHONE (503) 284-5931 • FAX (503) 335-3633 EMAIL ADDRESSES: Editorial: [email protected] • Layout: [email protected] • Exclusive Advance Copy • Back Issues • © 2001 BY TWO LOUIES MAGAZINE. May not be reproduced in any form without the expressed written consent of the publisher. Two Louies is available by subscription. • Free Band Links • On Line Guides • Send $35.00 for one year, postpaid to: 2745 NE 34th, Portland, OR 97212

22 – TWO LOUIES, February 2001 MUSICIANS CLASSIFIEDS STOP IN ANY PORTLAND MUSIC FREE LOCATION & FILL OUT THE FREE FORM

Percussionist. Congas, timbales etc. Keyboard player wanted. Classic rock Vocalist looking for all original hard Bands! Get a live DAT recording of Looking to jam join/start band into band. Vocals a plus. You need to be in rock band. Influences Godsmack, your show on CD for only $50. You Santana, War, Blues, R&B, World. your 40’s or so to fit in with this bunch, Powerman 5000, Filter, AC/DC etc. play—I do the rest. Jeff, 503/239- Call: Keith 236-2722 and know your instrument. Bill Call Rick 360/883-3780 0332. Mandolinist/Bassist seeks upright 503/643-5206 Guitarist looking for a band or people Musician (blues, country, R&B, swing) bass drums & horns for Jazz, Funk, Azedelirium. Original heavy rock with a to start a band. Influences Van Halen, seeks others for local gigs. I play gui- Jamming and rehearsal. Jason 232- funk edge seeks a leadman/vocalist. Queensryche, various others. I have tar, bass, lap steel & sing. Greg, 771- 5277 Must have own gear, be motivated and my own gear. Clayton 503/356-0400 4285. Metal singer who can Scream/Sing drug free. Steve 649-6966. Wanted: Experienced Bass player. The Local band seeks musicians of all needed bad. Experience pref. but not Bass player looking. Hear and now. band plays Country, Classic Rock and kinds! MCs, DJs, multi instrumental- necessary. Sevendust, Nin, Country, Blues, Rock, Oldies and more. We have gigs. 503/266-1818. ists, etc. Into hip hop/jazz/groove gigs, Machinehead, Meshugga. Call Andy Standards. Gene 245-5116 Looking to form or join 3 or 4 piece etc. Hi mom! 503/286-7744. 360/513-3973 Must have hair! Looking for female singer to work on acoustic band. I play bass & acoustic Bassist for aggressive band. Must P.A.W.N. seeking soundman and or studio recording, tape-CD. guitar. I also write and sing lead and have own gear, good sense of humor, keyboardist. Back vox or lighting exp a Guitarist/songwriter with 24 dig stu- harmony vox. David 503/648-3474 and drive. We are not looking for a plus. Gigging w/CD. 257-2864 dio. Peter 359-0928 Keyboardist, we need you ASAP. Call: flake or a guitarist. be ready to play \Death/Punk band needs insane drum- Guitarist and bass player looking for 503/698-5580. songs like: Master of Puppets, L.A. Woman, or Dirty Deeds Done Dirt mer. Call Sam or Tim at 775-8448 drummer, keyboardist and sax player. Fiction, Portland’s premier progressive We have jam space, come join us in a Cheap. Gender unimportant Tom, Free form clarinet player open to Beat Jazz/Rock Fusion band is looking for 503/685-9783. Leave a message! Poetry sessions. James Marble 255- rising white funnel of rhythms and keyboards, guitar, violin & cello to aug- groove. 282-6414 (Please no swearing on the answering 6355. ment our core group. Complex and machine!) Seeking drummer and bassist. challenging original instrumental music Heavy R&R band w/CD, Gigs, NxNW Wanted: Lead vocalist, lead guitarist. seeking drummer with experience and Creative with an understanding of with odd time signatures and aggres- rhythm and good at discourse. We’re sive arrangements. Return To Forever, Established working group. Pop, R&B, commitment. Call today Jim (503) 977- funk, dance music. quality original 0976 two vocalist/guitarists with original King Crimson, Weather Report, Yes, material. Michael 503/963-8867 Mahavishnu. Brian 771-1907 music also. 503/321-5185. Al Perez Band seeking guitar and key- www.xprt.net/~11. New Christian band looking for sea- Original project in need of a big, bad, board player. Pro attitude and gear Capture the moment! Musicians, required. Wayne (503) 286-6389. soned guitarist with vocals and some bottom end. Innovative drummer and keyboard abilities. Larry 360/263- bass person needed. Think of Little poets, speakers. Sound Is A Vision Christian rock band seeking guitarist & 6634 or Josh 360/694-7530 Feat conceiving with The Dead only productions does on-sight live record- keyboardist with good vocal skills. Zappa could just be the real papa. Call ings. Recording + 1 CD, $50. Fast Please call Larry 360/600-4025. Bass player wanted for Rock style turn over. 503/790-0726. band. We need an experienced and Stu at 284-9672 Bass player seeks other musicians to creative bass player who wants to play Sound & lights for hire. DJ sound & Seeking acoustic rhythm guitar/harmo- play jam-oriented rock, reggae, acid live and record. Josh 356-8049 look like you should. Live recording ny singer. Original roots rock and folk jazz, etc. 10 years experience. Scott available- CD or tape. Call Kevin at blues. Many songs. Recording, tour- 794-7272 Real Musician Seeks Same Sort Of ing. 503/774-4984, lv msg. Multi Inst Singer. No amateurs, work- 503/762-4883. Bass player looking for musicians to ing stiffs, cops or puritans. You gotta Good bass player likes funk. Call Rob Youth drummers needed. Join make a frantic, aggressive, thrash type play because I do and sing because I at 657-4302. Oregon’s only youth bagpipe band. of music. Call Jan at 493-2989 do. Gene 245-5116 Instruction available for boys & girls 8- Very established NW act seeks sax & 18. 503/774-5970. Heavy Rock Band Seeks Singer With Live Sound Engineering & Production. trumpet. Must be able to write & read Attitude! 774-5249 Reasonable rates. Bill Cushman 649- charts. Call John at 288-1218. Drummer needed for working band. Experienced singer/ songwriter/ gui- 7741 Funk, originals, R&B, world beat Guitarist with studio looking for good grooves. John, 503/341-0460. tarist seeks bassist, drummer to form 82nd USA Band trumpeter seeks singer to write and record with. Talent folk/ blues/ reggae trio with room to band. Age 48. Al Olsen 722-2162 more important than experience. Call Brother Heathen seeks easygoing but grow, record & tour (503) 774-4984 dedicated rock drummer. Have demo, Looking for Country lead player, key- Jack at 503/753-5151. Versatile guitarist playing 25 years gigs, good stage show. Jon, 503/256- board or rhythm player with vocals. Joe We’re a bassist, guitarist and drum- 5619. looking to join Jazz hobby band-work- Archer 650-7646 mer, mature, experienced, responsible shop. I play a wide variety of styles Metal singer who can Scream/Sing Slipsand searching for versatile musi- looking for piano and Hammond-style also. Neil 292-7592 keyboardist/ organist for hobby band. needed bad. Experience pref. but not cian with multi-instrumental talent for necessary. Sevendust, Nin, Working cover band seeking keyboard already moving and active rock Practice once a week gig once a player for 1 to 2 gigs a month. Beatles month. Very big on tight arrangements Machinehead, Meshugga. Call Andy (Jazzish, Funkish, etc) band. Joe 360/513-3973 Must have hair! to Metallica. Class act - no drugs. All 503/228-7088 and enjoying the musical experience, with jobs, transportation & pro gear. very low on ego and ear-splitting You need solid keys and a car. Vocals a amps. Kevin 238-3884 plus. Steve 293-6301, Mike 356-6565

23 – TWO LOUIES, February 2001