2L Sept 2000 Prod/Ven

OREGON MUSIC / SEPTEMBER 2000

HUGE EC 13 TALES EPIC DUMP DR ODYSSEY

COURTNEY TAYLOR photo Buko DANDY WARHOLS OREGON VENUE GUIDE The Raging Woodies at Key Largo. photo Buko

Page 2 - TWO LOUIES, September 2000 December 1979 to 1999 One Long Journey Through The Portland Music Scene Part nine: By SP Clarke

lushed from the success of their own duce their first album, Dandys Rule OK,which Tim/ tainment, so we chose the best label we could find efforts in connection with Everclear Kerr elected to release under their imprint in April to sign with, Capitol Records. They gave us loads F Tim/Kerr Records was eager to find a of 1995. of cash and it was a big party. We all have healthy second band with which to forge a partnership. Soon, Rolling Stone magazine was to name egos anyway, but at this point we thought we could Dharma Bum Jeremy Wilson’s band, Pilot, seemed them one of “Twelve Artists On The Edge,” pro- do no wrong. We had our picture in Rolling Stone. the likely vehicle for such a venture. In the Sum- claiming of the Dandys: “They’re exploding, plas- We toured the world and everyone wrote about us, mer of 1994 (the same time as Skiploader released tic and inevitable. Not long after that, Capitol saying we were the next big thing. Of course we Sprainy) Pilot released a three song EP on Tim/ Records signed the band to a contract in October fucked it up.” Kerr Records. of 1995. Capitol was apprised of the Dandys by The Dandy Warhols set about to squander not In December 1994, based on the strength of graphic artist Mike King, who had done the art- only their advance money, but their industry cred- that EP, Elektra Records (of the Warner/Elektra/ work for Everclear’s World Of Noise release on Tim/ ibility as well. “When it came time to do the big Asylum conglomerate known as WEA) signed the Kerr. King sent a copy of Dandys Rule to Capitol record,” Hedford continued, “it all fell apart. The band to a two-record contract. Humble to a fault, VP of A&R, Perry Watts-Russell, who ended up songs weren’t quite ready. The studio wasn’t quite Jeremy said of the signing: “When I was in the signing the band to a contract with the label. Thus right. Courtney and Peter [guitarist Holstrom] Dharma Bums I had no idea what was going on. I began the year-and-a-half-long roller coaster ride started fighting. And when Capitol heard the tracks, didn’t realize we were a popular band. My reality that became the recording and release of the they said, ‘there’s no songs!’ ‘Songs? Oh, we thought was living in a van for five years, in really bad health, Dandys first Capitol release. you wanted something new. We thought it couldn’t getting cavities in my teeth. I’m glad I had the Drummer Eric Hedford was quoted as de- get any worse, when our high profile accountant gumption and willpower to put another band to- scribing the adventure thusly: “So at the time of told us we were broke and that our personal sav- gether.” Dandys Rule OK’s release there was this big indus- ings had been used up to fund everything. The But, before Pilot were able even to release the try buzz about the Northwest and we got swept up press went crazy with speculation. Our new friends album they had recorded for Elektra, they were dropped from the label, in July 1995, falling victim “The Dandy Warhols first came onto the Portland to one of the periodic corporate shakeups at WEA headquarters. The new boss passed on the album scene late in 1994, making an immediate impact the band had recorded for the old boss. It’s a fa- miliar story. It happens all the time. Though Pilot with their sloppy, irreverent, happy combination continued on, to release another album on Tim/ of T. Rex and the Velvet Underground. Sort of an Kerr a year later, it was obvious the experience stole vital energy and direction from the band’s soul. American version of Oasis.” Undaunted, Tim/Kerr soon found another band to promote. The Dandy Warhols first came by it. The first single, ‘TV Theme Song,’ was added stopped calling. And we felt like dumb asses. It was onto the Portland scene late in 1994, making an on a lot of radio stations and even MTV. We were a wake up call. We moved all our gear back to immediate impact with their sloppy, irreverent, pleasantly surprised, especially when this was done Courtney and Pete’s crappy basement. Courtney happy combination of T. Rex and the Velvet Un- with Tim/Kerr’s one person promotion depart- wrote a bunch of songs and we went back to the derground. Sort of an American version of Oasis. ment. studio with Tony Lash to have another try.” It is, Fronted by Courtney Taylor, who had paid his “After that we had every major label A&R per- perhaps ironic that the Dandy’s ended up firing dues earlier in the decade, drumming with the son and their mom following us around. If you Hedford in March of 1998 before beginning the Beauty Stab, the Dandys attracted large crowds to know us, you know that we can be quite excessive, process of putting together their second Capitol Satyricon and La Luna as their primary strong- and big moochers. So naturally we rode this pony album (as yet unreleased). holds. With a hip, droll sound, a certain alterna- for everything it was worth: free meals, plane rides, When the appropriately titled The Dandy tive glamour, a few good songs and a couple of hotel rooms and much, much more. Eventually we Warhols Come Down was finally unveiled in the late other ideas, the band enlisted Tony Lash to pro- ran out of A&R people willing to fund our enter- Continued on page 4

TWO LOUIES, September 2000 - Page 3 Early Dandy Warhols with Meredith Brooks at Key Largo. photo Buko

received albums on the Frontier Records label— could stem the tide. The band broke up shortly af- Dead Air in 1993 and Cop And Speeder in 1994. ter the album’s release. When Heatmiser signed with Virgin Records in the Coomes was undergoing changes in his own Spring of 1995, to be distributed through their sis- right. Motorgoat, the band he had founded with ter label Caroline, the future seemed clear and his wife, drummer Janet Weiss, fell apart when the Continued from page 3 bright. couple divorced. As if not to lose their musical bond Spring of 1997, it was met with immediate critical But Heatmiser were not the typical “newly- along with the marital, Coomes and Weiss formed zeal, but only moderate sales. Even the placement signed act.” For starters, Elliott Smith, one of the Quasi, yet another configuration for Coomes’ of “Every Day Should Be A Holiday” in the unex- primary songwriters, had already launched a suc- quirky Pop masterpieces. Quasi still perform to this pected hit film There’s Something About Mary failed cessful solo career. And, increasingly, demands were day— although Weiss’ time is now dominated by to generate the anticipated response. Some insid- being made on drummer Tony Lash’s time as well. her duties as drummer for Sleater-Kinney. ers called into question Capitol’s judgment in se- His growing prominence in Portland as a world- 1995 was a pivotal year for the Portland mu- lecting as the debut single the controversially en- titled anti-drug song “Not If You Were The Last “1995 was a pivotal year for the Portland music scene. Junkie On Earth.” Perhaps, in retrospect, the album’s sales failed Bands were being signed to major label contracts at to meet expectations because in 1997, another musical trend was gathering momentum: the an unprecedented rate. By the end of year, Thor Swing revival ushered in by the notoriously ob- Lindsay, the mastermind behind Tim/Kerr Records, scure “Cocktail Nation.” Perhaps, in wasting time, as well as money, in producing their stunning in- crowed, “I think I’ve counted twelve local bands augural effort for Capitol, the Dandy Warhols missed their narrow window of opportunity to signed to major label deals in the last two years.” become the true rock stars they always presumed themselves to be. But the story is getting ahead of class producer created an incremental upsurge in sic scene. Bands were being signed to major label itself. requests for his services. contracts at an unprecedented rate. By the end of Heatmiser, which had been a highly visible By the time of the release of Mic City Sons on year, Thor Lindsay, the mastermind behind Tim/ musical force in Portland and the surrounding vi- Virgin/Caroline, in the Fall of 1996, the band mem- Kerr Records, crowed, “I think I’ve counted twelve cinity since early in the decade, were no strangers bers were already seeming to head in their own local bands signed to major label deals in the last to distribution by a “major” independent label. By separate directions. Not even the addition of Sam two years.” His reckoning was not far off. It seemed, the end of 1994 they had already released two well- Coomes as replacement for bassist Brandt Peterson for a time anyway, in ‘94 and ‘95, that nearly every

Page 4 - TWO LOUIES, September 2000 month some local band was being signed to a ma- become too big for its organizers to handle. It was nation’s best unsigned bands; Steve Lockwood and jor label contract. determined that a second seminar was necessary, Haymaker, who had received similar honors, the Meredith Brooks was the last entry to the list preferably to be held at a location in some other all-woman bands Carmina Piranha, Sleater Kinney in 1995. Her signing with Capitol Records in De- region. and Joy Pop Turbo, the Dead influenced jam bands cember seemed to delay the Dandy Warhols’ re- The logical location for this second event Renegade Saints (who later evolved into Kerosene lease. Or perhaps it was Everclear’s inextinguish- would have seemed to be Seattle. But the fury of Dream) and Calobo (one of the all-time best sell- able flame. Capitol had its hands full, promoting the Grunge movement, which had percolated so ing bands at Locals Only record shop), the Raging Oregon artists. Whatever the case, Brooks’ album, Blurring The Edges made of hers a household name “In the five years since its inauguration in across the nation. On the strength of the Spring 1997 release of her hit single “Bitch,” obviously in- Portland in 1995, NXNW has managed to create fluenced by Alanis Morissette’s success, Brooks fi- nally achieved the stardom she had been earnestly a cleaned up, PC version of the Pub Crawl of the seeking for nearly twenty years. early ‘80s: a great party with nothing much to It was a circuitous route to be sure. After leav- ing Portland, following the 1985 breakup of her show afterwards other than a lot of litter and a band, The Angels Of Mercy, Meredith moved to LA to seek her fame and fortune. It nearly hap- plethora of intense hangovers.” pened for her earlier in the ‘90s when she was re- ceiving accolades for her work in The Graces, an violently earlier in the decade, was ebbing consid- Woodies, Little Sue Weaver, Fernando and his pro- all-female trio that also featured the Go Go’s Char- erably. Portland’s scene seemed to just keep chug- ducer Luther Russell, Tales Untold, the American lotte Caffey. But when that act disintegrated, ging along; a classic example of the tortoise out- Girls, On A Llama and Jesus Presley, among many, Brooks’ story seemed to mirror those of countless distancing the hare. many more. other musicians who almost made it to the big time, Countless second-tier local bands saw NXNW In the five years since its inauguration in Port- but didn’t quite. All that changed with “Bitch.” as an opportunity to showcase their talents to an land in 1995, NXNW has managed to create a The sudden high national visibility in 1994 array of industry hacks, flaks, touts and flouts. cleaned up, PC version of the Pub Crawl of the and ‘95 of so many Oregon acts played an essential Bands such as Hummingfish, Richmond Fontaine, early ‘80s: a great party with nothing much to show role in placing Portland in the position to be the Silkenseed, the teenaged Marigolds from Eugene; afterwards other than a lot of litter and a plethora host of an important new music convention: North the Euro-Gothish Sylvia’s Ghost, Nicole Campbell of intense hangovers. To date, there have been no By Northwest. The annual South By Southwest and Ivan’s Wish, Sattie Clark and 17 Reasons Why, local band/major label hookups directly attribut- convention, held every Spring in Austin, Texas, had heralded by Musician magazine as one of the able to NXNW. LL

Calobo at Belmont’s Inn. photo Buko

TWO LOUIES, September 2000 - Page 5 lthough the heat has been record the microphone. He was just loud enough to get and he doesn’t travel with his teleprompter any- breaking, the summer of 2000 holds everyone’s attention away from his father. more, which is a sign that he must be completely A a Certain promise that I find fasci- When one of the songs chosen was “Roxanne”, focused on his work. It shows, and I was blown nating in the steamy, sticky nights of Sleepless won- Jockobo immediately started singing in an almost away by him and his people. der. My pick of the month for a live show, was Sting mock style, “Roxanne”! The audience roared with I hate KISS! That’s my story and I’m sticking and K.D. Lang at the Rose laughter as we watched this to it. I think they are the most pansy assed, awful, Garden. pintsize boy work the room. Sting loud, stupid, depraved, unsexy, disgusting, over It was a feel good begged us not to encourage him. rated, loser, bull shit, rock star, phony, ass holes I’ve day and I got to One woman, who sang quite well, ever encountered. I can’t begin to tell you how take pictures! told Sting that she was a mother of two, much I hate KISS. Thank God the show wasn’t sold out or I would have just slit my wrists knowing that these guys can still pack an arena. I hate KISS so much that they actually made Ted Nugent, their opening Rosebud act look good. Don Henley was a close second to Sting. When Don thanked the audience for buying I ran into Charlie his new record that entered the charts Bradshaw of The Charlie Bradshaw Trio. I ex- at number 8, he mentioned that it was plained my review of his album in last up there with Britney Spears and months Two Louies. He agreed with my as- NSYNC. The audience booed. Don sessments and said that his new record is said, “Now, let’s be kind. Remem- more up beat. I got a note from Toni Land ber, their children.” The audience thanking me for the positive review of her laughed and Don proceeded to play record, Deep In Diamonds. an incredible set, perfectly mixed It’s magnificent to get feed back from and just the right length of time. readers. Anyway, back to Sting. Ricky Martin came to Port- He arrived in a Town Car with the lead land on the last night of his tour. guitar player. I tried not to look like I was wait- Ricky danced the entire 90- ing for him, but there is a spot at the Rose Gar- minute set. It was choreographed den where VIPs come and go. So there I was, to the nanosecond and was pro- resting on a couple of road boxes, counting the fessionally executed. Ricky Mar- hours till I could go home. tin has been living large with his After working the Don Henley, Kiss and two hits, I hope he can manage Ricky Martin Show, my back was feeling the strain his world and find happiness and lying down felt like complete heaven. So, the Living La Vida Loca. Town Car slips up beside me and the Chauffeur Photo Americas 2000, an hops out and opens the back door. I immediately International Photographic snap too and sit up. I recognized Sting immedi- Experience is coming to Port- ately as he stepped from the car and pulled his gui- land, Oregon October 3 - 28, tar out with him. I stood up and promptly got 2000. During the Photo bowled over by his presence, so I bolted toward America Month of Photog- photo Buko the door. He was polite to the Chauffeur and sort raphy (October), more than of floated into the Rose Garden. Later, there was a 50 Portland museums, gal- radio promotion that had a small audience seated Kiss’farwelltour.intherosegarden. leries, public and alterna- for sound check, Sting invited people up on stage tive spaces, and local col- to sing with him. Sting was sweet and incredibly leges and universities will host special charming, but the highlight was watching Sting’s exhibitions in celebration of Photo Americas 2000. The official opening will coincide with First Thurs- day Art Walk. There will be a special Photo Ameri- “I hate KISS! That’s my story and I’m sticking to it. I cas shuttle and you can find more info on times and places @: www.photoamericas.com, which will think they are the most pansy assed, awful, loud, be continually updating as scheduled. stupid, depraved, unsexy, disgusting, over rated, loser, On October 7 the Portland Art Museum is hosting the Fine Print Auction. The Review Ameri- rock star, phony, ass holes I’ve ever encountered.” cas Portfolio Review will be held October 4 - 7, 2000 at the Benson Hotel. adorable five-year-old son, Jockobo. Sting said, “That’s the most important job there Although I have so much to learn about pho- He got up on stage and stood at a microphone is.” Someone asked him if he ever felt like moving tography, it’s still one of my favorite mediums. I set up for him. He was at ease in front of the audi- to Oregon and he replied, “I always wanted to live continually record and archive my life. Photogra- ence and kept turning to the guitar tech. comment- here because the women are so beautiful.” Well, you phy is one of the most rewarding art forms there ing into the microphone. Then Jockobo began to can imagine how he endeared himself to all the is. If you want to participate log on or call: 1-877- butt into the conversations Sting was having with females in the audience. Sting is cut like a stone 678-5263. the radio winners. If the audience laughed at one and looks like a God at 50. What else? Who knows? Write to me: [email protected]. of Sting’s jokes, Jockobo laughed real loud onto But it was an honor. His music is better than ever LL

Page 6 - TWO LOUIES, September 2000 THE “TERM” OF MCA would not ever receive the total number of of albums, this does not mean that the artist will RECORDING CONTRACTS albums from Olivia Newton-John which the con- actually be doing that number of albums for the ne issue always addressed in record tract had originally provided for. record company, but only that the artist will be ing contract negotiations is the issue Largely as a result of that lawsuit, record com- obligated to record that number of albums if the O of how long the contract will last — panies quickly changed their recording contracts record company so chooses. or in recording contract jargon, the “Term” of the to base them upon the number of albums to be Incidentally, it is essential that if at all pos- contract. recorded, rather than on a certain number of years. sible, the artist obtain the label’s guarantee of a In the somewhat distant past, the typical re- RECORDING CONTRACTS TODAY specified monetary amount of promotional fund- cording contract would be for an initial one-year The typical recording contract today obligates ing for each record. Though obtaining such guar- period (in which the artist would do one to two the band to record a specified number of albums. antees is certainly not a sure-fire solution, it in- albums), followed by four to seven consecutive This is a one-way street, though, because the record creases at least a little the odds of some success with one-year option periods. In each of those option company will customarily have the right to ulti- the label. In the final analysis, however, each deal periods, the artist would be required to do one or mately decide unilaterally the total number of al- with a label (particularly a major label) is almost two albums (with the exact number of albums de- pending on the terms of the particular contract involved). In short, recording contracts in the past were generally structured in terms of how many years the contract would be in effect for. This situation changed, starting in the mid- 1970s. Today the conceptual focus of recording contracts is not on how many years the contract will be in effect for, but instead, how many albums the contract will be for. THE OLIVIA NEWTON-JOHN CASE This change occurred because of problems bums the band will eventually be permitted to ac- always a crap shoot. The deal can often be either which record companies encountered with the old tually record. In the recording contract, it will say vastly successful, or vastly unsuccessful, for a wide type of contract, particularly in situations where that the record company will have a certain num- array of possbile reasons (such as label hirings and an artist failed to record one or more of the re- ber of “options,” each option being for one (or firings) which have nothing to do with the terms quired albums. sometimes two) albums. of the recording contract itself. This problem came to a head in the late 1970’s Typically, the record company will want to “FIRM ALBUMS’ in a lawsuit between MCA Records and Olivia have “options” for as many albums as possible, so I have talked above about the maximum num- Newton-John (your favorite and mine), in which that if the artist’s early albums are very successful, ber of albums a band will be obligated to record. Newton-John asked that her contract with MCA the artist will be obligated to record for the record But, what about the minimum number of albums be terminated. Her contract with MCA had been company for a longer time. the record company will be obligated to finance? for an initial two-year term, with three one-year On the other hand, the artist will typically These are often referred to as “firm records,” as in options following that. In other words, the con- want to negotiate for as few albums under the con- “The deal is for two records firm.” tract was for a total of 5 years. tract as possible, so that if the artist’s early albums For a new band with little or no clout or ne- During the term of the contract, Olivia New- are successful, the artist will be more easily able to gotiating leverage, the recording contract will of- ten obligate the record company to finance the re- cording of only one album. In other words, the “The typical recording contract today obligates the band could be dropped after one album. But in band to record a specified number of albums. This is the case of a band with at least some bargaining leverage, the record company will very often com- a one-way street, though, because the record mit in the recording contract to finance the record- ing of two albums, and sometimes three albums. company will customarily have the right to ultimately There is one particular point which should be made here concerning so-called “firm records.” decide unilaterally the total number of albums the Just because a deal if for, let’s say, two “records firm,” band will eventually be permitted to actually record.” the contract will typically not guarantee that two records will actually be made. Instead, the record- ton-John had failed to record some of the required renegotiate the contract sooner (on terms more ing contract in that situation will more likely say albums. Nonetheless, she argued in her lawsuit that favorable to the artist), or to sign another record that if the label chooses not to make either or both she should be entitled to terminate the contract at deal with another record company. of those two records, the label will be required to the end of the five years, even through she had not It should be mentioned, though, that there is pay the band a sum of money , and the exact yet recorded all of the albums required by the con- some middle ground at which the self-interests of amount of money to be paid will be based on a tract. In response, MCA argued that it should be the record company and the artist do converge. For formula set forth in the contract. Oftentimes, es- allowed by the court to extend the term of the con- example, unless a major label is guaranteed the pecially in the first draft of the contract, the con- tract past the end of the 5-year contract period, right to do a reasonable number of albums with a tract will say that if a “firm record” is not made, for a period of time equal to the recording delays new artist, it will not make sense for the label to the label will be required to pay the band only the caused by Olivia Newton-John during the 5-year spend large sums of money on recording and pro- minimum AFM union scale for that album. More term of her contract. moting the artist’s early albums and developing often, however, the contract will say that the label However, the court decided against MCA, and the artist’s career. will be required to pay the band the cash advance in favor of Olivia Newton-John. The court held, The main point to remember here, though, is which would have been required to have been paid in effect, that even though Olivia Newton-John had that the record company (and not the artist) con- to the band under the terms of the contract for failed to timely record all of the albums required trols how many albums the artist will eventually that “firm album” if that “firm album” had in fact under the contract, the contract expired at the end record for the record company. So if the artist is been made. There are other formulae which are of the five years anyway. The net effect being that committing himself or herself to a large number Continued on page 21

TWO LOUIES, September 2000 - Page 7 Knight’s “Mr. Big Stuff” propels “AM Radio” a sen- parent for mistakes made (such as in “Father Of timental look at the days when radio, and music in Mine”), Alexakis seems to be trying to convince his general, were less commercial and more open to a daughter that he is not making the same errors. An variety of influences. A surprisingly overblown and interesting sociological study could be made of this. flaccid take on Van Morrison’s chestnut “Brown It is difficult to know what to make of this al- Eyed Girl” follows, as if to illustrate the point. bum. Alexakis is definitely trying to extend the in- Symphonic synth strings color “Learning How herent limitations of his idiom. But most of it is To Smile,” a low-rent ditty about a couple that tries window-dressing. The strings and horns and laid- to survive the favorable odds that life will swallow back arrangements only serve to reinforce the no- them. Ecklund’s ukulele dresses up the 3/4 low-key tion that Art does not have a lot of melodic variety hoedown of “The Honeymoon Song,” wherein at his command in his songwriting. In a more Rock (possibly) the couple in the pre- photo Buko vious song finds salvation at the end of the rainbow in Ha- waii. Ecklund’s John Bonham-like drums drive the synth string maelstrom of “Now That It’s Over.” Obvious references to mid- period Zeppelin do little to disguise the fact that the song is another Alexakis creation. Jimmy Page comes to mind on the 12- string twirls of “Thrift Store Chair,” Everclear. though references to John Prine within and with- out the song are apt: a country twang befitting the oriented format, this is not, perhaps, so noticeable. short tune. Here it is especially obvious. “Otis Redding” harkens to earlier days, as It’s hard to believe that Capitol will let the band many of the songs do, when life was apparently less release too much more of this sort of stuff. While Songs From An American Movie...— Everclear complicated, despite poverty and drug dependency. there are a few radio friendly, tried-and-true Capitol Records A nice turn in the choruses, replete with stirring Everclear songs here (“Here We Go Again,” “AM Ra- verclear’s third Capitol release reflects string charts, keeps the song from being too pre- dio”) a lot of the material is too soft and fluffy to a sense of maturity on the part of leader dictable, a crime that Alexakis’ melodic sensibili- muster much energy. By bogging the arrangements E Art Alexakis, as well as an independent ties could easily commit. down with superfluous instrumentation, Alexakis’ attitude that he and the band have earned, through Witness the construction of “Unemployed limitations as a melody writer are only brought into what must be considered veteran status in this era Boyfriend.” Alexakis’ lyric lines scan almost identi- clearer perspective. It’s probably safe to assume that of one-hit obscurity. As always, the lyrics dwell on cally from song to song, all sounding more or less was not his intention. interpersonal relations: in all directions, from all like rewrites of “I Will Buy You A New Life.” But Thirteen Tales From Urban Bohemia— The viewpoints. But perhaps even moreso than usual, the words mean something, all the same: “ You can Dandy Warhols Alexakis seems particularly cognitive, with a wist- be with me, yes I will treat you like a queen/I will Capitol Records ful insinuation of yearning nostalgia. go to all those chick flick movies, that I don’t really t’s hard to believe that it’s already been five The leadoff title track echoes “Santa Monica” want to see/You can be with me, I will never let you years since the Dandy Warhols released melodically, though far mellower. And instead of a down/ I will never make out with your girlfriends, IDandys Rule, Okay on Tim/Kerr records. nihilistic rant about watching the world die, we have when I know you’re not around.” And three since their first Capitol release, The a gentle ode to a father watching his daughter at “Wonderful” is probably one of the better ex- Dandy Warhols Come Down. Leisurely would be the play. Art’s jangling 12-string acoustic and bassist amples of the “new” Everclear sound. R&B flavored best word to describe their career pace. In that time they have the opportunity to become endarlinged of and by the European music scene— who, after “Mort Lindsey, Merv Griffen’s longtime musical all probably get the joke. It’s a joke you know. Oh, not the band mind you. The band is great. director, conducts the strings on Alexakis’ Beatlesque The joke is the name, but it’s more than that. It’s the attitude that comes with the territory of the (think of ‘Goodnight’ from the Double White album) name, Dandy Warhols. It was Andy Warhol who “Annabella’s Song,” another tune about being a father.” started the joke (and not a whole lot of Americans ever got it). And it’s the Dandys who carry the ban- Craig Montoya’s repetitive mandolin arpeggio carry orchestral keyboard touches make for thicker, more ner forward. The band understands the joke and the song. “Here We Go Again” a celebration of a ponderous arrangements. Mort Lindsey, Merv continues to play it. To the hilt. hot love affair, coasts on Greg Ecklund’s snappy, Griffen’s longtime musical director, conducts the Leader Courtney Taylor-Taylor, as he chooses syncopated beat and an additional horn section strings on Alexakis’ Beatlesque (think of to call himself these days, has a gift for creating swelling in the turns, with chunky electric guitars “Goodnight” from the Double White album) understated Pop masterpieces that linger in the providing further motivation. “Annabella’s Song,” another tune about being a fa- mind like a glass of fine wine or a bong hit of some A Hip Hop beat and a canned sample of Jean ther. Whereas, in the past, Art was chiding his own Continued on page 10

Page 8 - TWO LOUIES, September 2000 such as Dirk Sullivan (Nine Volt Mile) played the by Stephanie Salvey other instruments. Now, for Lodestar, Brent is play- ing his acoustic guitar and singing the tunes he has been collecting while taking time off from the stage. Some of the Lodestar music stems from Brent’s songwriting from the last half decade beginning in the years when he and Dirk quit Love on Ice and started writing new songs and playing out as their acoustic duo, Wick. These guys created quite a following at clubs such as Vinnie’s. Now with his full rock band, Lodestar, these older acoustic songs have surfaced as great rocker songs, and his newer pop tunes bring a brilliant mix to a Lodestar set. The newer, poppier photo Stephanie Salvey wo new recording artists and two new songs are, to those familiar with both songwriters, recording studios, it follows that I quite noticeably influenced by Williams’ work with Tshould write a Two Louie’s column to Portlander Jeff Trott. Jeff enjoys a career writing recount it. I had one of those rare opportunities to pop songs for such greats as Sheryl Crow and be in the studio while the musicians put their Stevie Nicks. Jeff’s grasp of the pop sound had songs down on tape. Last month I was at the carried over to Brent through the scores of hours Track Shack in SE Portland with the soulful of their hamming together through the years songstress Reyes and later visited the men of at Jeff’s studio and the studio of Brent’s Lodestar out at Rock Creek Sound. brother Gregg Williams (one of Portland’s fin- Rock Creek Sound is a beautiful new stu- est rock drummers and producers, but that’s dio located in the prairie about 40 minutes out another story). Personally, it’s the changes in 99 W. This full-service recording studio is the Lodestar songs that kill me. Sweet and owned by a familiar character of the live smooth at one point in the song, then the sound scene; Robbie T and his partner Mike change up brings the next moment to full on McKenna. Since the studio space is a converted rocking and the songs continue to ride the house and quite large, several of us were able to wave back and forth-the proverbial emo- hang out during some pre-production record- tional roller coaster ride if you will. Williams ing of Lodestar. Robbie T has earned the trust has created a passionate and emotional group of many through the years as a great live of artists to deliver the sonic entertainment sound engineer. Robbie has toured all over and they each bring strong influences to the the country with Austin act Reckless Kelly. Lo- band from their various backgrounds. Bass cally Robbie T has been working Portland player Davy Hall has been in a few bands in shows for bands such as Big Time Rosie, the Portland scene, most notably Thrillbilly, the Thrillbilly and Pacific Wonderland in all the hard charging americana stars. The rootsiness of cool rooms such as the White Eagle, Buffalo Hall’s Thrillbilly past blends well with Williams’ Gap, Berbati’s and the Cobalt. Robbie T is one tunes of his late 90’s alt. country/folk songwriting. of those great rock and roll soldiers that tends Guitarists Jeffrey Trapp and Dan Hyatt help with to speak of bands in the second person. the hard rock and psychedelic twist. Both Trapp Robbie is also one of the cats we industry and Hyatt played in the powerful indie rock band, people call when in need of an entire stage set the Stamen Pistils. There is an eeriness to the up with sound equipment, when something needs guitar playing of these guys. The pedals and the done professionally at last minute, or there is a very guitar effects so beautifully carried out by the two important show and we just want to pass the baton guitar players move the listener in the LSD direc- to a pro. Robbie T has a reputation of delivering on Lodestar; a super-group formed out of the tion, and the ability of the guitarists to play alterna- all of these kinds of tasks, which makes him a dar- mass of free-floating talent in Portland. tively melodic and hard naturally bring compari- ling of promoters and bands alike. sons to Neil Young. Rounding up the band is the I like to say I met Robbie in Austin during those super-groups forming out of the mass of free- ubiquitous Ezra Holbrook. Ezra is a classically South by Southwest one year while staying at the floating talent in Portland right now. This group’s trained musician who has come up from LA to play Reckless Kelly house. Robbie T is a brilliant example sound is somewhat hard, somewhat psychedelic, a in bands, and to pump out live sets and recordings of the eccentric team members that those north- west boys of Reckless Kelly have a knack of collect- ing. And as we all know, the team around the band “Robbie T has been working Portland shows for bands such as Big can be as important as the members, and this is why Time Rosie, Thrillbilly and Pacific Wonderland in all the cool rooms Robbie flies to Austin...a lot. Robbie likes to say that he and I met earlier at a Haymaker gig in Salem, such as the White Eagle, Buffalo Gap, Berbati’s and the Cobalt.” where I was the whip cracking manager of the rock band that went head to head with the live sound little bit cowboy and very much pop. The band is of his own songs such as his latest album ‘Sympa- engineer over some issue or another. I don’t remem- headed buy the great songwriter Brent Williams. thy for Toys and Puppets’. He is also and accom- ber this incident, but I guess some men that run Brent made his rock and roll bones in the Seattle plished producer and veteran of the studio. Ezra’s sound remember some women that run bands. era band Love on Ice, which toured the world and production credits include two records for Lael Al- One of the first Portland bands to record at recorded two records for Interscope. Brent was pri- derman (Geffen) and a recent one with the Ameri- marily a bass player with Love on Ice while buddies Rock Creek Sound was Lodestar. Lodestar is one of Continued on page 21

TWO LOUIES, September 2000 - Page 9 Jamming off of the Stones’ “Gimme Shelter,” This is an album from a band in complete con- “Bohemian Like You” is steamrolled by DeBoer’s trol of its studio powers. Taylor-Taylor and co-pro- muscular drumbeat and Courtney’s ingenuously ducer Greg Williams carry out a distinct game plan catchy lyric. “You’ve got a great car, yeah what’s with this recording, segueing from track to track. wrong with it today?/I used to have one too, maybe As with all of the Dandy’s other productions this Continued from page 8 I’ll come and have a look/I really love your hairdo one is a joyous and humorous outing, which really great weed. Guitarist Peter yeah/I’m glad you like mine too, see captures the human experience in a unique Holmström continues to grow as a way, combining real sentiment and pro- musician. Likewise, for keyboardist- photo Buko found cynicism into unusual admixtures. bassist Zia McCabe, who could barely Critics, of course, will malign the band play when she started, for heaven sakes. for sounding too much like their influences, Whether by destiny or design, the band as if it were the first time that ever happened sounds more British than American. Maybe that’s in Pop music. Others will scratch their heads, why they’re so beloved in the Euro Theater. unable to fathom the genius that lies behind Longtime drummer Eric Hedford left the band this production. It’s a joke. It’s all a big joke. Why awhile back, is replaced here by Brent DeBoer, who take it so seriously? What a wonderful album! does a find job of guiding the beat through Taylor- Barcelona— Gary Ogan Taylor’s often meandering songwriting style. Men- Self-Produced tion too should be made of the tremendous con- n a right and just world, Gary Ogan tribution of stellar slide guitar accents on several would have been a big star years ago. songs by one Troy Stewart. IDecades ago. Beginning with his stint The Dandys are nothing if not a tribute band with Bill Lamb in the early ‘70s, as Portland to their influences, which include but are not lim- (with their regional hit “Portland Rain”), ited to the Velvet Underground and Lou Reed, and including time on the road with fellow David Bowie, the Pixies and Frank Black, the Cult, Oklahoma native Leon Russell, Ogan has the Beach Boys, the Byrds, Iggy Pop, Pink Floyd and amassed a résumé that should be the envy Oasis, among many others. They pay tribute. They of most other local musicians. As a multi- are not a cover band. instrumental musician and songwriter, At the outset it would seem that Taylor-Tay- Ogan has few peers in the region. Still, he lor was here able to closer realize the more spa- has yet to receive his due. cious aspects of his music that he had to aban- Part of this is attributable to his decid- don during the recording of what eventually be- edly low-key personality. Part to his tendency came Come Down. But there is nothing blasé to wander: from here to Nashville and back or esoteric about the music. Each song has an again. Part of the reason lay in bad timing and instantly memorable, undeniably sharp hook. bad luck. But, all the same, Gary Ogan deserves It’s just that the hooks are not always a place in whatever local pantheon is at last buried in the vocal choruses as Pop decorum erected to our local musical heroes— should would dictate. Instead they are just as likely to that day ever arise. appear as an instrumental figure as with Though the eleven songs (and one re- (Portland’s own) Eric Matthews’ pretty trumpet fig- prised number) presented lack the big hit that ure on “Godless” or Stewart’s affective slide work one might expect, or hope for, from Ogan, they on “Mohammed” and down-home barnyard still exemplify his workman-like approach to his cornpone on “Country Leaver.” music. Here he plays all the instruments, layers all Which is not to say that the big-beat snotty Dandy Warhols. the vocals, while serving as his own engineer and Dandys have disappeared. They come out hard on producer. The album stands as a testament to his “Nietzsche,” a tune bearing a chord progression that we’re lookin’ pretty cool.” Dipping into the Reed skills within all those crafts. could pass for a rewrite of the Troggs’ classic “Wild bag yet again, “Shakin’” massages the mind’s carotid “Cool Is Still Cool” is the lead track, as well as Thing.” And “Solid” finds Courtney dabbling from his Lou Reed bag, his voice low, nasal and sinewy. Over “As with all of the Dandy’s other productions this one is a crunchy rhythm guitar and telegraphic synth chits, Courtney lodges a few personal observations: “Well joyous and humorous outing, which captures the human I must have a door in the back of my head/Where I experience in a unique way, combining real sentiment dump out all that crap so I can just feel solid again/ No more sittin’ around thinkin’ about your hair/ and profound cynicism into unusual admixtures.” Coz I must have a door in the back of my head.” “Horse Pills” rocks even harder with toward glorious unconsciousness. the aforementioned reprise at the end. It’s a bouncy Courtney’s curled-lip vocal rap— so witheringly There’s hardly a misstep among the thirteen tune, with a hint of buoyantly stylish Steely Dan- hip and off-handedly cool. Cutting to the chase, songs presented here. Holmström’s “The Gospel,” ish Jazz phrasings in the keyboard presentations, “Get Off” is a confectious piece of ear candy, sprint- though not a bad song, suffers in comparison to which include an array of piano sounds, as well as ing upon a rhythmic acoustic guitar and a pubby, Taylor-Taylor’s clever manifestos. The first two vibe tones and an analog synth patch. Ogan’s con- singalong vocal quality. It’s a hit! “Cool Scene” songs are slow to develop, thew last two never do. fident vocals are supported by a snappy drum beat. whines and whirs with several brilliant tiny machi- But all are identifiable as the work of the Dandys, A good song. nations. and are good songs in and of themselves. Continued on page 14

Page 10 - TWO LOUIES, September 2000 Steen adding his golden touch to the mix. One of the best photos I clicked at the Bluesfest was of the legendary Pinetop Perkins playing solo. It was amazing seeing ten fingers play for fifty thou- sand ears, what a sight! Joey Barbur was one of Portland’s more suc- cessful musicians when he left for L.A. in the early eighties, but after working his butt off chasing record deals for twelve years he took a shot at the glitzy Las Vegas show band scene and apparently is doing quite well. Joe works at New York-New York and supple- ments his cover band paycheck by adding a critically acclaimed Rod Stewart Tribute to the show. Joey’s voice was always exceptional and he is smart to farm Greetings Music Makers yet successful and greatly entertaining show, what a good paying gig in a town where money flows like I ran into longtime Portland musician Corey more (or less) would we expect from Tres? Also, word water over Multnomah Falls. Wheeler backstage at the Bluesfest. Corey is best is Tres’ old club the X-ray is going to be the subject My Beach-Boy buddy Phil Greek has returned known for his Muddy award winning performances of a movie; should be good. from Hawaii after ten years, adding the ukulele (of with the Mel Soloman Band and the Teraplanes. The annual Caribfest in the north parks blocks course!) to his program of island, pop and rock origi- Corey just returned from a well deserved two year took place on the last weekend in July. The Caribfest nals. The Greek is doing well here in the rose and sun break in St. Petersburg Florida in which he celebrates the food, music and culture from the Is- music city and along with his solo work he also plays worked with the Wendy Rich Band and also produced lands. This year among others, the music featured with Barb Kitchel and the Pan Gypsies. a very, very cool surf album for his band the Hodads. The CD is titled “the HODADS total surf and hotrod” and features twelve instrumentals all containing “Corey Wheeler just returned from a well deserved two year sun break in Corey’s un-canny picking skills, Papa Woody on bass St. Petersburg Florida in which he worked with the Wendy Rich Band and Knee Jerk on skins. Welcome back King Pom- and also produced a very, very cool surf album for his band the Hodads.” pano! The Karaoke Band From Hell is Tres Shannon’s new project, a band with a seventy-song book and several great Portland bands including Chata Addy I tested over thirty recording mikes over the past the same basic idea as normal karaoke except a real with Newell Briggs on guitar, Callaloo featuring Isiah year and I found the Rode NT2 to have the best over band actually backs up the singer when each song is and with special guest Skip Elliot Bowman on steel all sound, so if you’re caught up in this home record- called out at random. The results are a haphazard- drum, and the Pan Gypsies with guest drummer Ron ing craze (like I am) check ‘em out. LL

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NORTH BY NORTHWEST {MUSIC & NEW MEDIA CONFERENCE} SEPTEMBER 20-23 PORTLAND, OREGON

FOUR NIGHTS OF MUSIC HUNDREDS OF COOL BANDS DIGITAL VIDEO SHORTS FESTIVAL

Opening remarks by Talking Heads keyboard player Jerry Harrison… NXNW 2000 offers the best in new music at Portland’s finest venues, holds a conference/trade show addressing the role of the internet in today’s changing music business, and presents a cutting-edge digital video shorts festival. Register online at www.nxnw.com.

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TWO LOUIES, September 2000 - Page 11 THE GRAND OL' SOAP OPRY This is huge. we’ve done that without being heavy-handed or never appeared in the top 100 of the Billboard 200 preachy.” The clip intersperses performance footage chart.” The lp is #182 on the top 200. Everclear’s “Songs From An American Movie of the group with the experiences of several children The second single, “Bohemian Like You” entered Vol One” jumped a hundred and ninety-one chart and how they’re affected by their parents’ breakup. BB’s Modern Rock Tracks at # 34 with a bullet. positions (7/29) to enter Billboard’s Top 200 Albums According the BB story, “The marketing of chart at number 9 with a bullet. “Songs From An American Movie, Vol 1: Learning Even the International music trade publication That same week “Songs From An American How To Smile” has been supplemented by a fairly blows it once in a while… Movie” entered BB’s Internet Album Sales chart at extensive Internet campaign. It’s highlighted by the #1. placement of an icon link to Everclear’s Web site SoundScan reported the lp sold 107,000 units. (everclearonline.com) on what (marketing A Top Ten album in the first week. VP) Conde describes as ‘every possible ra- The album’s debut was the highest position on dio, retail and lifestyle site we can find.’ Since the album chart for Everclear to date. The band’s 1996 June 19th, the icon has become a portal to new debut for Capitol “Sparkle and Fade” peaked at #25, content for the band on a weekly basis. Among and the follow-up “So Much For The Afterglow” the items offered are a timed-out download of opened at #33 a year later. the album track ‘Now That It’s Over’ as well as Album sales were driven by the across the board interview footage with the band and the video success of the first single, “Wonderful”. for ‘Wonderful.’ On July 1st, a streaming version “Wonderful” peaked at #3 on BB’s Modern Rock of the entire album became available.” Tracks, then crossed over to the Adult Top 40 chart, “Fans of Everclear will get a double dose of climbing to #11, then marched up the Top 40 Tracks music within the next six months, as the band is chart to #17, all the while hovering on the Mainstream planning to issue a second album before the close Rock Tracks chart for weeks at #30. of 2000.” Billboard covered the EC phenom with a July “These sets are the first offerings from the band 22nd story by Larry Flick entitled “Everclear’s Capitol since 1997’s “So Much For The Afterglow,” which Release Gets ‘Wonderful’ Response.” In the feature, sold 2.3 million copies in the US according to Capitol execs went on the record praising the band’s SoundScan. The band was given the Billboard Music work ethic. Roy Lott, president/CEO of Capitol says, Award for modern rock artist of the year in 1998, ac- “This is a tireless band. They are ready and willing to cording to figures compiled by Billboard’s Rock Air- do whatever it takes to make this project happen on a play Monitor.” large scale, which is fantastic-particularly since they “Maybe it doesn’t make sense, but you’ve got to are now also in the studio working on a new record. go by your gut. We feel this is the right thing to do,” Capitol’s VP of marketing Stacey Conde added, says Alexakis of the second disc, which will be titled “There’s a lot of goodwill out there for this band. “Songs From An American Movie, Vol2: Good Time There’s a nice demand building for them...” For A Bad Attitude.” ut on BSI. Everclear started promoting the album in early “Ultimately, the band is showing both sides of Systemwide: the EP is o May. The first single, “Wonderful” was released May its personality by doing this,” says Perry Watts-Russell, 22nd and 200 stations added the track in the first senior VP of A&R at the label. “Having heard a bit of week. The band visited stations across the country what they’ve done for the next album so far, what Billboard covered the Dandy Warhols’ Capitol and appeared on television the week the lp was re- impresses me is their ability to continue expanding release in a July 29th feature entitled, “Cult Faves leased, stopping by “The Tonight Show With Jay and exploring creatively, while also remaining coher- Dandy Warhols Tell “Thirteen Tales” On Capitol De- Leno” on July 10th and “The Late Late Show With ent and consistent.” but” Craig Kilborn” on July 21st. Art appeared on “Politi- “We’re not worried at all,” says (Capitol CEO) Debut? cally Incorrect” July 14th. Lott. “When you hear the next album, it’ll all make Oooops. “Thirteen Tales From Urban Bohemia” EC headlined a “huge event” in Los Angeles for sense.” is the second offering from Capitol and not the “ma- powerhouse radio station KROQ, July 11th. jor label debut” as Dave Wilson reports in his other- Both MTV and VH1 added the video for “Won- &&& wise supportive feature. Capitol released “The Dandy derful” to their playlist. Lucky Thirteen… Warhols Come Down” in 1997. Art directed the video, which was shot in Los The Dandy Warhols’ “Thirteen Tales From Ur- Dave also blew the release date in his piece, cit- Angeles, and felt good about the outcome. “It was a ban Bohemia” jumped onto Billboard’s Heatseekers ing August 29th as the street date when the actual day proud moment when I took a look at the final edit. Album Chart at #12 with a bullet (8/19). The was August 1st. BB printed a retraction the next week. We wanted to make a video that supported the song, Heatseekers chart is defined as, “best selling titles by (Dave’s probably back at Music Connection by but one that also made a solid serious point. I think new and developing artists, defined as those who have now…)

Page 12 - TWO LOUIES, September 2000 BY BUCK MUNGER Wilson says defining the band’s fans is a diffi- Anthony had its premiere on MTV’s “120 minutes” goddess Carrie Brownstein, hands down the best ax- cult task. in June, and is currently in regular rotation on M2. grrrl out there.” says RS. “We made this album for the people we play “We’re starting from the ground up,” says Gor- Carrie was pumped for the Big Apple. “Tonight pool with,” says singer Courtney don, adding that the label has begun generating in- was the best show of the tour. One of my insecurities Taylor. terest at mainstream and modern rock formats, with is to stop and the crowd’s not singing along, but they an eye toward triple-A and top 40 in the coming were louder that I was. I haven’t gotten the Freddie weeks.” Mercury thing down yet. Y’know, like ‘Radio Gaga.’” “This is definitely a ‘tell your friends’ type of record.” says Gordon. &&& The Dandy Warhols are making some friends Bit Parts…Epic Records has released Slowrush. in bands they’re fans of themselves. “Two members The label bought out the band’s contract, rather than of Echo & the Bunnymen came down from Liverpool release a second album. Slowrush appears at Satyricon as did Pete Bassman from Spacemen 3, says Dandy August 19th. Former Slowrush bassist Caleb Spiegel guitarist Peter Holstrom. “It’s nice when people has a happening band. Caleb fronts My Regrets and you’ve admired live up to your expectations.” opened for The Dandy Warhols August 10th. Former “Adds Taylor, ‘David Bowie visited us in Slowrush keyboardist Blake Sakamoto has a full plate Glastonbury and wound up inviting us to his stage producing CDs for Portland Taiko, Sue Owens and during one of his sets. It was the most shockingly an un-named “New York singer”. Blake also plays keys flattering thing.’” for Black Barrel, fronted by Bill Wadhams, formerly Capitol veep Gordon believes the secret be- of Animotion who had the huge hit “Obsession” in hind the Dandy Warhols’ success is Courtney 1985. Blake also gigs with Brian Cutler and can be Taylor himself. “Courtney’s sound, Courtney’s seen with Jeff LaBansky’s 28 IF August 30th at Berbati’s vision. Courtney does the artwork for the Pan…The limited 12" version of Systemwide’s video. He is like the artist’s artist. It’s tough. “Osmani Stepper” EP is out on Portland’s BSI Records It’s like he is the sex, drugs and rock’n’roll of in virgin vinyl. Wire Magazine plugged BSI as “an rock’n’roll past. Everything you heard about antidote to all that Pacific Northwest Rock nonsense. these musicians, that’s what Courtney is.” BSI seems to be developing a dub orientated mani- The second single “Bohemian Like festo which makes them a label worth You” was released to radio in mid July and checking.”…Dan Reed’s album for the Thayer broth- was included in the soundtrack of the new ers’ Eon Records has been years in the making. Insid- photo Pat Snyder Keanu Reeves movie, “The Replacements. ers say Dan writes new songs so fast the Dan Reed’s Entertainment Week (7/21) gave “Bohemian Odyssey project is constantly changing, but now fi- “The cats who Like You” a B minus observing, “The most straight- nally nearing completion. Dan’s Odyssey is already go home and listen to Neil Young ahead rocker from the Warhols new CD has a good generating major label sniffage. Eon was the first and Led Zeppelin. This is who this is for because that’s charge, but without a killer chorus or bridge to drive home of the Slowrush lp. This could be the Thayer’s who we are,’ Rob Gordon, VP of marketing for Capi- it home, it’s about as lazy as the would-be bohemians second album dealt to the majors…Ponticello played tol Records, however, has a different take on it. ‘They it pokes gentle fun at.” a packed industry showcase in Los Angeles at the Mint have a Phishesque following.’” Rolling Stone (8/31) gave the album 3 stars com- in July and plans to return in October for a third au- Dave’s story also revealed Courtney Taylor’s cre- menting, “Coming from a band whose greatest hit dition for Vanguard/Sugar Hill Records. The roots/ ative secrets. “Mostly it’s just like channeling.” says was ‘Not If You Were the Last Junkie on Earth’, this rock act has just released their first indie album, “Dark Courtney regarding the writing process. “I don’t feel album suggests that it’s possible to be elegantly wasted Skies” and will appear at Berbati’s Pan August like I write the songs. I’m just in a space, and it comes for fifteen minutes and survive to eloquently tell the 10th…the new wave/ pop band Barbarella featured out.” tale. in an upcoming issue of the Album Network. The “That said, the first U.S. single ‘Godless’ took a band is sponsored by Jagermeister and is one of only different road to completion.” &&& 60 bands the company underwrites “It started out this wailing, angry thing that I Even without Old Slowhand… worldwide…Portland alum Duane Jarvis is a sched- was feeling at the time, but eight months later, it wasn’t After their second sold-out show in New York, uled speaker at this year’s North By Northwest. The invoking that,” Taylor recalls. “It wasn’t until we added Sleater-Kinney was visited by Rolling Stone maga- old time Oddsman leaps off for Europe shortly there- the Bacharach-styled portion of the song with the zine for a backstage photo and sound-bites for Ran- after. Duane has a new album and can be seen during trumpet that I started singing the song differently.” dom Notes (7/20). NxNW at the Ash Street Saloon September 23rd. If “Godless” was shipped to radio July 11th, “has “We don’t need Eric Clapton?” quipped drum- you miss him there you can jet down to Nashville and been drawing praise from college radio program- mer Janet Weiss. mers.” The video, directed by Courtney and Chris “Certainly not when your band contains guitar Continued on page 22

TWO LOUIES, September 2000 - Page 13 former Distraction Ron Stephens who plays a vari- sical form can be reborn, Mad Hattie prove them- ety of lead guitars while producing the album; and selves to be pregnant with new Bluegrass ideas. by Gary Ogan who played drums, adding keyboards The ringleader is a multi-talented young and accordion to some tracks as well. Jeff Wood- woman named Dee Settlemier, who plays solid cock played bass on most tracks, though Rich mandolin and acoustic guitar, and some very mean- Continued from page 10 Gooch and Jason Heald jumped in on occasion. assed banjo— as well as singing the daylights of Closer to Ogan’s folky roots, “Til The Next McMahon’s music, though rooted in acoustic the baker’s dozen of songs presented here. Time I See You” could pass for the work of his buddy Folk music, has a distinctive Country feel as well, She is joined by a roster of fine musicians, in- Craig Carothers (who did the graphics for this more so than his compatriots who made the Nash- cluding fiddler Marilee Hord; guitarist Brett project). Swatches of mandolin fills bubble up over ville move in the ‘90s. Jack’s vocal delivery is as af- Malmquist who played bass for Jesus Presley for five insistent hand drum backing and multiple harmony fable as Jimmy Buffett, as introspective and sincere years; trumpeter/pedal steelguitarist Paul Brainard, vocals. Nice. as Willie Nelson. His songwriting is as reliable as who also is a graduate of the Presleys; as well as “Which Way” combines gentle acoustic and an old Plymouth Valiant. Nothing spectacular or drummer Jim Bott, bassist Matt Voth and har- electric guitars with Rhodes-like keyboard flour- flashy, but of a consistently high caliber. monica cat David Lipkind. ishes to produce a sound not unlike that of Eric Most of the songs are ballads or mid-tempo But the show clearly belongs to Ms. Settlemier. Clapton in his recent “unplugged” forays. Smooth. numbers, although “Whatever” and “Hi-Yo Silver” Except for the brief free-Jazz foray entitled Likewise, “Friends Until The End” creates a com- rock out a bit. Stephens’ classy work on pedal steel “Absynthe,” which was composed by Brainard, she parable atmosphere. guitar is showcased on the latter, as with a few other wrote all the material. And it is clever stuff, obvi- Capturing a similar feel, while echoing the tunes. ously reverently true to the source, but faithful to Beach Boys’ “Don’t Worry Baby” at the same time; Perhaps the best song of the eleven presented her own muse as well. and bearing a faint structural resemblance to Fred here is “The Hero.” Over a laid-back, Country in- Check out the mighty diamond that is the title Neil’s “Everybody’s Talkin’,” “Come To Me” is a flected feel; McMahon sings a song reminiscent of track. Settlemier’s dancing banjo jigs around Hord’s pleasant ballad with an uptempo feel over a mod- Buffett’s “Living And Dying in 3/4 Time.” A well- howl fiddle and Lipkind’s moaning harp. Over this est accompaniment of drums and guitar. hewn lyric brings the song home. “Go through your Dee utters the chilling lyric: “I got me a job fishin’... An R&B flavor permeates “Shame Shame,” an stages/Let time turn your pages/As innocence fades fishin’ for my soul.” uptempo rocker that still manages to maintain a away/You’re reaching for things that are far beyond “Hey Jingo” combines Botts’ bellydancing beat laid-back feel. “Foolsrush Inn” continues in the rock your grasp/Just keep on trying/ Just keep that light with the familiar droning plaint of the banjo. milieu. But Gary isn’t likely to frighten anyone with shining/ And let your heart lead the way/Most any- Settlemier’s husky contralto sails over the top. Nice. his energy level. Everything is totally under con- thing at all that you want why you just have to ask.” “Oh Red” follows a similar pattern, drawing even trol. “Long Way From Runnin’ Out” shares a thoughtful mood with Paul Simon’s “Still Crazy “Mad Hattie and leader Dee Settlemier show After All These Years,” although Ogan’s presenta- tion is confined to just a solitary guitar and vocal. a lot of versatility, with some superlative “I Love You A Lot,” combines a catchy rhythm with musicianship; and canny arrangements that a highly stylized vocal technique to achieve a swampy confection, comprised of slide guitar and utilize the players to the best of their Rhodes keyboard. The pretty ballad “You Are My One” sounds vaguely like an Irish air, Ogan’s soft abilities, without going overboard.” tenor murmuring above a sparse arrangement At this stage in his career, Gary Ogan would “California Driver” tells the story of how more from an Eastern motif, adding a small orches- not be likely to change stylistic courses. One does McMahon ended up in Portland (by way of LA), tra of violins, including Hord, whose gypsy tinged not anticipate a Hip Hop manifesto springing from “Where I’m on my own, 3000 miles from home. solo is buttressed by the dripping lines of the him at this later date. But he is certainly surehanded “When The Rain Came Down,” a song covered by “rhythm fiddles. ”Very Cool.” Settlemier provides at what he does, while ultimately remaining true to Cowboy Angels in 1996, is given McMahon’s own, superb harmony to her dusky lead vocals. An ex- his muse. This journeyman effort speaks to and more personal stamp. The title track, while rich in otic chant of the highest order. maintains a high level of artisanship in the school philosophy is errant in its estimate of astronomy. The band rocks out a tad on White Devil of Pop music. “I know the difference between us/Seems like the Blues” and “Here Comes Goliath,” with satisfactory Toe The Line— Jack McMahon night and the day/Sometimes we’re like Mars and results. And the Miles Davis-tinged Be Bop intro to Jaron Recording Venus/So many light years away.” Mars and Venus “Suburban Living,” neatly disguises a peppy foxtrot, ere’s another songsmith who’s been are quite a distance apart, but hardly light years. wherein Brainard gets to show off his chops on working in and out of Portland for Jack McMahon is not the type of guy to hit trumpet, dobro and pedal steel guitar. Dee is up to Hover twenty years. Like many others, you over the head with his talent. His is a more the challenge, with some high-throttle vocal action he made the Nashville migration, only to return to subtle ability. But his songs are skillfully constructed of her own. “Deep Blue Sky” is closer to pure Coun- P-town when it became apparent that the new and faithfully rendered— maybe not particularly try, at first. Then it kinda turns dangerous, becom- Country music wasn’t the goldmine in the hills that sexy, but true to themselves all the same. Anyone ing a runaway train. Dee’s fine, harmonied vocals it first appeared to be. who is a fan of fine songwriting craftsmanship will riding over the top with Stevie Nicks-like ease. But McMahon’s career goes back even further, like what he does. Mad Hattie and leader Dee Settlemier show a to his younger days as a Folky in Greenwich Village Soul Fishin’— Mad Hattie lot of versatility, with some superlative musician- opening for the likes of Steely Dan and other big Self Produced ship; and canny arrangements that utilize the play- name acts. After that he performed demos for Gerry ere’s a band that breathes new life into ers to the best of their abilities, without going over- Goffin— after his former songwriting partner, the Bluegrass idiom, while remaining board. This is a very nice first effort by a group of Carol King, had gone on to solo success. Hever conscious and respectful of the talented musicians from whom we are sure to hear Here McMahon is joined by another veteran, inherent traditions within the genre. Still, if a mu- much more. LL

Page 14 - TWO LOUIES, September 2000 All Service Musical Electronics canvas stage roof (portable). Repair Music Specialties: Original, (Formerly KMA Electronics) alternative, cover rock, but 617 S.E. Morrison also blues and country. Portland, OR 97214 Clients: Love Load, Edgar Phone/Fax: (503) 231-6552 Winter Group, Norton Toll Free: 1-888-231-6552 Buffalo, Steve Morse as PRODUCTION Contact: Randy Morgan well as books bands for Email: http://www.teleport.com/ the Mill Camp and ~fixitman Swingers Night Club. Services: Quality electronic service for musicians, studios I.H.S. Production and music dealers. Factory Gary Miles authorized for most major (503) 731-0383 brands. 8063 SE 17th Avenue Hours: 9-6 Monday through Portland, OR 97202 Mincks, Dennis Friday, Saturday 10-5 Service: Promotion, Sound (206) 576-9007 Ripplinger, Joseph Years Experience: 27+, over Recording, Video post work. Services: Sound. 20,000 repairs Years Experience: 12 years. (503) 655-3869 Years Experience: 15. Services: Sound & lighting Specialties: electronic musical Speciality: Servicing the Chris- Music Specialties: All. equipment from vintage to state tian community. engineer, small PA and Light Availability: Any hours. rental, Psychedelic Liquid Light of the art. If you can plug it in Availability: Anytime. Specialties: Sound mixing, front and make music with it, we Show of house monitors, production Years Experience: Pro since ‘81 probably repair it. Letcher, Sean services. Clients: We have performed (503) 771-7488; (503) 938-9626 Music Specialties: Blues, rock, repairs for almost every music pager jazz, classical, Electric/Acoustic Pro Sound and Video Availability: Yes! store in Portland and Vancouver. Services: Sound Steve Hills We have done work for acts such Years Experience: 14+ Specialties: Excellent live mix, 1020 Greenacres Road stage management and light as Cheap Trick, The Cars, The Music Specialties: Anything but Eugene, OR Moody Blues, 98 Degrees, Country direction. Production efficiency. (541)4844-4252 Clients: Candelight Room, Monica, Everclear and many Availability: Call for Schedule Years Experience: 7 years local artists. Specialties: Experienced at all Cascade Tavern, Terry Robb, Specialties: live sound record- Sundown Sound, Spectrum levels of record/music industry. ings, do-it-yourself demo tapes. Brown, Ray Tech any and all instruments, Sound, Razorbacks, Terraplanes, Clients: Love, Death & Agricul- Duffy Bishop, Lily Wilde, Paul (503) 286-4687 Msg. (503) 285- good stage management skills, ture, Don Latarski, Eisneblaak. 2473 total of 15 years experience in De Lay, Soul Vaccination, Gemini Pub & Trails End Tavern. Services: Sound Portland music scene. House Pellegrin, Terry Years Experience: 20 Engineer @ Moosehead Café. (503) 645-5422, (503) 330-3840 Music Specialties: Rock, Blues, Clients: Maiden Mine, Nurse Thomas, Dwayne Web Address: (503) 281-0203, Msg.: (503) 784- Country, All Diesel, Norman Sylvester, www.alohasound.com Availability: Any Hours. Hudson Rocket Band. 0361 Email: Fax: (503) 231-9679 Specialties: Excellent live mix, [email protected] monitors, full production. Logic General, Inc. Services: Lighting Services: Sound & Lighting Years Experience: 14 Clients: 7 1/2 years national 6713 SW Bonita Rd #210 Years Experience: 13 tours w/ Rufus, Dr. Hook, Tigard, OR 97224 Music Specialties: Rock, all Music Specialties: Blues, jazz, others also. Grateful Dead, Blue Oyster Cult. Phone: 503-598-7747 bluegrass, country. Fax: 503-603-0141 Specialties: Full-time profes- Availability: Always. sional lighting design—concerts, Duke Sound and Light Produc- Contacts: Specialties: Live demos on tions Tom Dickey 503-598-7747 x301 clubs, special events, touring, location, festivals, fairs, conven- Intellibeam trained, substance Duke Pippitt email: [email protected] tions. 541-747-5660 Paul Gusman 503-598-7747 x303 free. Equipment: JBL & Crown Clients: Quarterflash, Nu Shooz, 525 Main Street email: [email protected] Clients: Curtis Salgado, Linda Springfield, Oregon 97477 Services: CD Duplication Jon Koonce, Dub Squad, Tales Hornbuckle, Paul De Lay, Soul Untold, Blubinos, The Killing Years Experience: 15 Services, Including on-site CD Vaccination Services: Concert production, manufacturing; CDR disk and Field, Cool’r, Cal Scott, Caryl sound reinforcement, stage roofs, tape duplication; graphic design, Mack, Roseland Theatre, John Prescription Electronics Bunzow & Cowboy Angels. small P.A. and instrument rental. retail ready packaging services, P.O. Box 42233 Equipment: 32 input house warehousing & distribution Portland, OR 97242 console, 24 x 8 monitor, 30 x 40 services. LL

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Member,OregonStateBarsince1981 Portland Capacity: 50 Equipment: none RedRed CarpetCarpet RecordingRecording Aladdin Theater Headliners: Billy Kennedy, Lew Jones, Lorna 3017 S.E. Milwaukie Blvd. Miller Ne w ! 503.848.5824 Portland, OR 97202 503-233-1994 info line Candlelight Cafe & Bar Ne w ! Format: All styles (no punk) 2032 S.W. 5th Avenue Booking: Mark Adler 503-234-9694 Portland, OR 97201 Ne w ! 503-234-9699 (fax) 503-222-3378 Ne w ! Capacity: 588 Format: Blues Equipment: PA, lights Booking: Joe Shore 246-4599 Ne w ! Headliners: Warren Zevon, Ray Davies, Chic Capacity: 150 Corea, Keb Mo, Paula Cole Equipment: none Ne w ! Headliners: Norman Sylvester, Linda Hornbuckle, Arnada Cafe Jay “Bird” Koder Ne w ! 1717 Broadway Ne w ! Vancouver, WA 98665 The Country Inn 360-750-9596 18786 S.W. Boones Ferry Road New! Aloha Location w/many Advantages! • MORE racks of tube Format: rock, blues ,jazz, acoustic Tualatin, OR 97062 gear • Silver soldered Patch Bays • Tube Driven JBL/Alnico Mains + Booking: J.T. 503-692-2765 Near Feilds • Vintage Amps • Hammond Leslie &’ Grand • Massive Capacity: 200 503-691-2675 (fax) Analog • Computer Editing • CD Burning • RCT 4x8 Tube Plate Reverb Equipment: Full P.A., mic stands monitors Format: Blues Headliners: Blyss, Mel, Rustvein Booking: Sunny Capacity: 150 Ash Street Saloon Equipment: none 225 S.W. Ash Street Headliners: Paulette & Power, Cowboy Angels, Portland, OR 97205 Steve Brodie 503-226-0430 503-227-2403 (fax) EJ’s Format: Acoustic, Alt. Rock, Blues, Funk 2140 N.E. Sandy Blvd. Booking: Donny Portland, OR 97213 Capacity: 80 503-234-3535 Equipment: PA, mics, lights 503-232-7719 (fax) Headliners: Format: punk/alternative rock I N N E R S O U N D Booking: Joel (503) 817-2060 P r o A u d i o R e p a i r Berbati’s Pan Capacity: 307 s i n c e 1 9 7 8 231 S.W. Ankeny Street Equipment: PA, lights, sound engineer Portland, OR 97213 Headliners: National, Regional and Local acts F a c t o r y A u t h o r i z e d S e r v i c e : 503-248-4579 Alesis Denon Fender Fostex Korg Marshall 503-417-1107 (fax) Gemini Pub Format: Acoustic, Alternative, Funk, Jazz, Blues, 456 N. State Street Peavey Roland Sony Tascam Yamaha Rock Lake Oswego, OR 97034 and most other brands Booking: Tres Shannon: 721-0115 503-636 9445 1818 SE Division Street • Portland • OR 97202 • 503-238-1955 • email:[email protected] Capacity: 350 503-636-9445 (fax) Equipment: PA, lights Format: Blues, Jazz Headliners: National, Regional and Local acts Booking: Randy Lilya 503-556-0405 Capacity: 170 Buffalo Gap Equipment: lights TwoLouiesMagazine.com 6835 S.W. Macadam Avenue Headliners: Robbie Laws, Curtis Salgado, Leon Portland, OR 97201 Russell, Jim Mesi 503-244-7111 503-246-8848 (fax) Green Onion Format: Soft Jazz, Folk, Rock’n Roll 15 S.W. 2nd Booking: Scott Portland, OR 97205 Capacity: 85 503-227-2372 Equipment: sound system Format: Middle Eastern, East Indian, Reggae, Headliners: Craig Carothers, Jon Koonce, World Music Reckless Kelly Booking: Susan Capacity: 180 Cafe Lena Equipment: none 620 S.E. Hawthorne Blvd. Headliners: • Exclusive Advance Copy • Back Issues • Portland, OR 97214 503-238-7087 Format: Open Mic, Folk Acoustic • Free Band Links • On Line Guides • Booking: LeAnn

Page 16 - TWO LOUIES, September 2000 Green Room Format: Blues, Jazz, Acoustic, Pop, Alternative. 2280 N.W. Thurman Street Booking: Dan Reed Portland, OR 97210 Capacity: 250 503-228-6178 Equipment: SA PA system, lights, soundman 503-228-5068 (fax) Headliners: Slowrush, Imogene, The Sensualists Format: Acoustic Folk, Rock, Bluegrass Booking: Declan The Rabbit Hole & Mad Hatter Lounge Capacity: 100 203 S.E. Grand Avenue Equipment: PA, board, monitors, 1 mic Portland, OR Headliners: Buds of May, Sweet Juice, Little Sue, 503-231-2925 Jim Boyer, Billy Kennedy Booking: Bill Leeds (503) 236-2455 Format: original acoustic Jazz de Opus Equipment: PA 33 N.W. 2nd Avenue Headliners: Fernando, Luther Russell, 44 Long, Portland, OR 97205 Kaitlyn ni Donovan 503-222-6077 503-224-6631 (fax) The Red Sea Format: Jazz 318 S.W. 3rd Avenue Booking: Haley Portland, OR 97205 Capacity: 50 503-241-5450 Equipment: Piano & speakers 503-224-6570 Headliners: Mel Brown, Thara Memory, Kelly Format: Reggae, World Beat Broadway. Equipment: PA

Jimmy Mak’s Roseland 300 N.W. 10th 8 N.W. 6th Avenue Portland, OR 97209 Portland, OR 97209 503-295-6542 Website: www.doubletee.com 503-279-4640 Format: all musical styles Format: Jazz, Blues Booking: Double Tee/Adam Zacks Booking: Jimmy 503-221-0288 Capacity: 95-165 503-227-4418 (fax) Equipment: none Capacity: 1350 Headliners: Tony Starlight, Pepe & Bottle Equipment: PA, lights Blondes, Ben Fowler, Art Davis Quartet, Thara Headliners: Local, Regional and National acts Memory Roseland Grill Laurelthirst 8 N.W. 6th Avenue 2958 N.E. Glisan Street Portland, OR 97209 Portland, OR 97232 Format: all musical styles 503-232- 1504 Booking: Double Tee/Adam Zacks Format: Blues, Folk, Acoustic Rock 503-221-0288 Booking: Bill Leeds: 236-2455 503-227-4418 (fax) Capacity: 100 Capacity: 400 Equipment: PA Equipment: PA, lights Headliners: Belmont Street Octet, Jim Boyer, Headliners: Local, Regional and National acts Little Sue, Plumb Bob Satyricon Metropolis 125 N.W. 6th Avenue 311 S.W. Washington Portland, OR 97209 Portland, OR 97205 503-243-2380 503-223-7515 503-243-2844 (fax) Format: 70xs & 80xs Retro Format: Alternative Rock/Punk/Various Booking: Rami Booking: Ingrid Capacity: 500 Capacity: 250 Equipment: PA, lights Equipment: PA, lights Headliners: Headliners: Dead Moon, Poison Idea, Everclear, Fernando, Flapjacks Mt. Tabor Pub 4811 S.E. Hawthorne Blvd. The Jazz Bar at Sweetbrier Inn Portland, OR 97215 7125 SW Nyberg Rd. 503-238-1646 Tualatin, OR 97206 Format: all styles 503-692-5800 Booking: Peggy 503-232-8813 503-691-2894 (fax) Capacity: Main Room 339 Format: Jazz Acoustic Room 72 Booking: Denny 425-454-4817 Equipment: PA, Lights Capacity: 50 Headliners: Buds of May, Omar Torrez, Fernando, Equipment: Piano, PA Ezra Holbrook, Steve Smith Headliners: Mary Kadderly, Dana Lutz, Jean-Pier Gareau, The New Paris Theatre Marilyn Keller, Johnny Martin SW 3rd & Burnside Portland, Oregon 97204 St. John’s Pub 503-224-8313 8203 North Ivanhoe Booking: Senor Frogg (503) 236-7745 Portland, OR 97203 Format: Punk/Gothic/Industrial/After Hours 503-493-4311 15480-B SE 82nd Drive Dance Format: Blue Grass, Soft Rock Headliners: Written in Ashes, Grindstone, Booking: John Malloy 289-7798 Clackamas, OR 97015 Mobius, Monkey Fur, Soy Futura, Sumerland, Capacity: 300 Joe Casimir Good For Nothing, Honey Rider, Mortal Clay, Equipment: PA, lights, two stages Faith & Disease, Fuckpriest Fantastic Headliners: Regional, National, Local Bluegrass & Used Guitars & Amps 557-4668 Americana Electronic Repairs & Custom Modifications Fax 557-4670 Ohm Factory Authorized Service for all major brands 31 N.W. 1st Avenue Portland, OR 97205 Used Equipment including vintage tube amps. 503-223-9919 Continued on page 20 Large Tube Inventory MTS TWO LOUIES, September 2000 - Page 17 by Will Wiles

Purusa lyrical exploration of ‘Ride’, the band’s origi- kicked off by a rocking take on Stevie The Portland Spirit, Portland, 7/14 nal songs were a musical treat that kept the Wonder’s ‘Superstition’ crowd yearning for more. that had the dance floor A shocked and understaffed Portland A spirited packed before the first Spirit staff witnessed a coming of age under cover of ‘Mary lyric was sung. The the stars, as about 100 more people than ex- Had A Little band quickly dove into pected boarded the boat for a late night cruise Lamb’ would ‘Hard To Handle’ play- with the Portland pop/rock quintet Purusa. serve to drop ing it with a funk soul A 2nd place finish in The Beat 107.5 band con- many a jaw as that fell somewhere test earned the band the show back in April. lead singer Kris between the versions However it was the band’s tight two-hour set Kirkman’s howl- by Otis Redding and of mainly original material with some well ing soared above The Black Crowes. chosen covers, that earned the appreciation the crowd with un- The band closed the of everyone on board. common depth. set with the blues The band kicked off the show with a The band’s signa- drenched ‘Shadow’ bang, exploding through live favorite ‘Inside’ ture tune ‘Melt’, Purusa. which despite its with a sharp intensity. What would follow was which they played mild tempo and slow build a well-crafted mix that kept the crowd invigo- for the band contest, was sharp with a tight kept the dance floor hopping with energy. The performance showcased the substan- “A 2nd place finish in The Beat 107.5 band contest tial talent and pop intuition of the group, leav- ing the raucous crowd amply impressed by earned the band the show back in April.” the time they had returned to the dock and stepped off the boat. One suspects that the rated throughout the cruise. From the up- groove that had every foot in sight tapping Portland Spirit would staff up accordingly tempo pop delight ‘Sally’ that got the crowd along. next time around, as Purusa’s star has only on their feet and singing along, to the soulful The night ended with a three-song flurry begun to rise. LL

Page 18 - TWO LOUIES, September 2000 WEDNESDAY 10:30-MID. 92.7 FM Columbia Gorge 100.7 FM Corvallis/Albany artist/label/title LAST MONTH THIS MONTH 4 1 SYSTEMWIDE BSI Records ...... Osmani Stepper EP 3 2 DIZZY ELMER Texas Squid CD ...... This Bad Dog 5 2 WRITTEN IN ASHES Raincloud CD ...... Epiphany 23 KAYO Demo CD ...... Red Light Go! 5 3 CAPTAIN BOGG & SALTY Scabby Disc CD .. Bedtime Stories for Pirates 74 TOO SLIM&THE TAILDRAGGERS Burnside CD King Size Trouble Makers 7 4 THE SOPHIA STARLIGHT Demo CD ...... 3 Song EP • 5 MIKE TOSCHI Global Seep CD ...... Mock Democracy 6 5 CALEB KLAUDER Demo CD ...... Sings Out 8 6 31 KNOTS Banghok CD ...... Climax Anti / Climax 4 7 KIND OF LIKE SPITTING Hush CD .. You Secretely want me Dead 11 8 SPACEBREATH Demo CD ...... Spacebreath • 8 RICHARD M. NIXON Jerdem Records CD ...... The Nixon Tapes •9 VARIOUS Jerden Records CD ...... History of NW Rock Volume 2 12 9 TERRY ROB Burnside CD ...... Heart Made of Steel • 10 SUPER SONIC SOUL PIMPS 3SP CD ...... Live • 10 MAD HATTIE Roseleaf CD ...... Soul Fishin’ • 11 HAD HADMUSIC CD ...... HAD • 11 ERIC SAVAGE BAND Demo CD ...... Bossamba 4811 SE Hawthorne 238-1646 Demo CD ...... Bossamba • 12 BOSSAMBA August 2000 • 12 BUNCO KELLY Demo CD ...... “Love is Strong” August 2000 Acustic Room Theater Demo CD ...... • 13 BRANDON SCHAEFFLER Brandon Schaeffler Friday, August 18 • 13 Mr. ROSEWATER Demo CD ...... Mr. Rosewater Friday, August 18 Chris Margolin/ RainForest Records Rex Sole/ Dot 21 presents top tracks Obscured by Clouds Saturday, August 19 Brain Washers Bottom Rung

3 1 SYSTEMWIDE BSI Records CD ...... Osmani Stepper Saturday, August 19 Wednesday, August 23 Texas Squid CD ...... 16 Tons Left Hand/ Smoke/ Dryer/93 Days 5 2 DIZZY ELMER Swamp Mama Johnson/ • 3 WRITTEN IN ASHES Raincloud CD ...... Terrapin Pepper Thursday, August 24 • 4KAYO Demo CD ...... Gaston Aminous/ Wednesday, August 23 Bill Passalacqa • 5 CAPTAIN BOGG & SALTY Scabby Disc CD ...... Scurvy Songwriters in the Round Friday, August 25 Brandon Carmedy/ live offerings at the church Thursday, August 24 Slot Rocket Smigen/ Fenwick/ August 16th------Steve James Live! Red Dance Clan Saturday, August 26 Wags/ Hank Plank/ August 23rd ------TBA! Friday, August 25 Shed Inc. Poundhouse presents August 30th------The Freak Mountain Ramblers Live! Jesus Presly Wednesday, August 30 September 6th------Written in Ashes Live! Free Show Coloured Havens Blue September 13th ------NxNW Showcase Saturday, August 26 Vagabonds Tree Digga Bone/ September 20th ------NxNW Showcase with The Old Joe Clarks Stephanie Schneiderman/ Thursday, August 31 Cindy Young Micheal Burly/ Color Photos/ Special Friends

TWO LOUIES, September 2000 - Page 19 Equipment: 6 channel PA, no mics, lighting 52nd AVENUE Headliners: Xing, Jesus Presley, American Girls OREGON VENUE Westside Station 610 Edgewater N.W. Salem, Or 97304 503-363-8012 Format: Classic Rock Sports•Bar Booking: Donny 5201 NORTHEAST SANDY BLVD. Continued from page 17 Capacity: 100 Equipment: PA, lights Tonic Lounge 503/288-0313 3100 NE Sandy Blvd. Corvallis Portland, Oregon 97232 503-239-5154 The Peacock Tavern LIVE MUSIC WEEKENDS Format: Rock, Alternative, Goth 125 S.W. 2nd Avenue Booking: Devon Corvallis, Or Equipment: 541-754-8522 Headliners: American Girls, Asthma Hounds, Format: R & B, Alternative, Acoustic Feller, Mel Booking: Randy: 503-556-0405 Capacity: 350, 275 Tillicum Equipment: PA, lights 8585 S.W. Beaverton Hillsdale Hwy. Headliners: Linda Hornbuckle, Rubberneck Portland, OR 97225 503-292-1835 Albany Format: Blues, Jazz, Rock nx Roll Booking: Cindy The Venetian Theater Capacity: 200 241 W. 1st Avenue Equipment: none Albany, OR 97321 Headliners: Lloyd Jones, Norman Sylvester, Jim 541-928-6733 Mesi Band, Midnight Blue Format: all musical styles Booking: Robert Connell Tug Boat Brewery Capacity: 685 711 S.W. Ankeny Street Equipment: PA, lights, soundtech, Portland, OR 97205 Headliners: Calobo, Floater, The Daddies 503-226-2508 Format: acoustic rock, jazz Eugene Booking: Megan Capacity: 50 Good Times Equipment: mixer, speakers and mic. 375 East 7th Headliners: Creative Music Guild, Rob Blakely Eugene, OR 97405 541-484-7181 Trails End Saloon Format: all musical styles 1320 Main Street Booking: Dog House Entertainment, Brendon Oregon City, OR 97045 Relaford: 541-342-7743 503-656-3031 Capacity: 250 503-656-7872 (fax) Equipment: PA, lights, sound tech Format: Blues Tuesday-Saturday Headliners: Body & Soul, The Daddies, Booking: Randy Lilya (503) 556-0405 Capacity: 150 John Henry’s Equipment: P.A., lighting 136 East 11th Headliners: Little Charley, Paul DeLay, Duffy Eugene, OR 97401 Bishop 541-342-3358 Format: alternative, hip-hop, funk, etc. Vic’s Tavern Booking: Bruce 541-343-2528 10901 S.E. McLoughlin Capacity: 300 Milwaukie, OR Equipment: PA, lights 503-653-9156 Headliners: The Daddies, Floater Booking: Lynn Format: Original music-Rock Wild Duck Music Hall Capacity: 100 169 W. 6th Eugene, OR 97405 White Eagle 541-485-3825 836 N. Russell Format: all musical styles Portland, OR 97227 Booking: Dog House Entertainment, Brendon 503-282-6810 Relaford: 541-342-7743 503-282-0842 (fax) Capacity: 500 Format: Various (no punk/techno) Equipment: PA, lights Booking: McMenamins/Jan 503-249-3983 x 497 Headliners: Charlie Musselwhite, Calobo, John Capacity: 110 Hammond Equipment: P.A., mics, Lighting, Some in-house sound assistance The WOW Hall Headliners: Buds of May, Steve Bradley, Jerry 291 W. 8th Avenue Joseph & Jackmormons, Eugene, OR 97405 Jeff Trott, John Bunzow 541-687-2747 541-687-2746 (fax) Salem Format: all styles: music, dance, theater Booking: Allison Carter Tommy John’s Capacity: 400 248 Liberty Street Equipment: PA, lights, soudtech, stage manager Salem, OR 97301 Headliners: Greg Brown, Vassar Clements, 503-540-4069 NoMeansNo. Format: Rock, Alternative, Funk Booking: Dennis Ayres Capacity: 150 LL

Page 20 - TWO LOUIES, September 2000 studio is equipped with a ton of killer mics and ing on projects with a couple of regional artists. Ted handfuls of classic and vintage style guitars and Connelly and Sam Densmore both of Olympia are amps. The studio’s Korg N1 keyboard has been get- using the Track Shack for their latest work. A pet ting a lot of use as bands add the electronic and synth project for the team is Jeremy’s own CD which was sound to their recordings. Pro Tools is the mixing recorded earlier this year. Jeremy has made records and editing program at the Track Shack and they for both Electra and Mercury while in his band Pi- Continued from page 9 prefer to send music out to mastering houses once lot and was on Frontier during his Dharma Bums can Girls (Trauma). When Ezra plays with Lode- the record has a final mix. Track Shack project list days. Now Jeremy will put out his record on star, finesse is the modifier for his drumming. With includes work for Steve Lockwood including many, MasalaMusic which is a label and side project for so many changes in the Lodestar songs, it takes that many Haymaker songs (check out MP3, search- the Track Shack. The Track Shack already has a great skilled hand that can be light and heavy with ace on Haymaker for dozens of examples of John’s earlier word of mouth reputation in the region. With plans timing. Holbrook pulls this off with his troll-like work). Lockwood’s solo record as well as a CD for for film work, publishing, the multimedia market- mischievous personality and artistic magic. his current project, Pacific Wonderland, was re- ing of music and their record label in the future, Ezra Holbrook has also just produced a record corded at the Track Shack. This first Pacific Won- John Cluff and Jeremy Wilson are on their way to for New York based singer and songwriter, Reyes. derland disc, ‘American Made’, was produced by their goal of making good music and having fun. Reyes came to live in Portland for a while to live the music scene and to make a record with Ezra. And record they did. In addition to producing the record, “Ezra is a classically trained musician who has Ezra played guitars and drums for Reyes. Being such come up from LA to play in bands, and to pump out a talented singer, it was easy for Reyes to get players for her tunes. The location for the recording was live sets and recordings of his own songs such as his the Track Shack located on the cosmopolitan bou- levard of SE Foster Road. The comfortable and pro- latest album ‘Sympathy for Toys and Puppets’.” fessional studio was originally conceived by John Cluff, an excellent engineer and producer here in John Cluff and the band is tracking with John at “It is not about making money down here” says town. John went to the same school of rock and the Shack for their second as this article goes to press. Wilson, “It’s about independence and the balance roll as I did, working live gigs in the 90’s-especially Many other home boys have made great records at of yin and yang, the technical and the creative.” Jer- those of Haymaker. This year Jeremy Wilson joined the Track Shack including; Gravelpit, Lew Jones, and emy is feeling his artistic success once again as he John as a partner in the Track Shack...a coupling of Thrillbilly (both CD’s, ‘More Songs about Drink- teams up with soul soldier John Cluff to launch this the great artistic soul and the science officer. The ing and Women’ and ‘Moveable Feast’ were pro- production house along side the release of his new partners will tell you that the studio is a production duced and engineered by JC.) Another cool project independent record. house, rather than a studio for hire. They like pro- that the fellows at the Track Shack have worked on Check Two Louie’s in the coming months for ducing and having input on the quality of music is a Pete Townshend record. It is a recording of a an UP Close interview with Jeremy Wilson regard- that comes out of their studio. It is about making solo concert from the 80’s. ing his life long artistic journey through indie and good music for these guys, and they are able to be The Track Shack produced the restoration and corporate and back to independence with this new selective about clients. “It’s all about tweaking knobs mastering of the album from low quality, consumer- and dynamic adventure. and having fun” says John. The workhorse at this grade tape into a full length CD that will be released studio is the 24 track digital Tascam DA 88. The on Rhino Records. Jeremy and John are also work- LL

delivered. tinues to exercise its options to move from one Recording contracts typically proceed for a Contract Period to the next. series of consecutive “Option Periods” or “Contract Editor’s Note: Bart Day is a Portland-based Periods,” during each of which the artist will be entertainment attorney in private practice. He is also Continued from page 7 required to record a certain number of albums. So, a partner in ALLMEDIA, Ltd., a company with of- instead of requiring that a certain number of al- fices in Portland and Los Angeles. ALLMEDIA spe- also used sometimes, but the two formulae men- bums will be recorded in each year, as used to be cializes in administering the licensing of music for tioned above are the ones most commonly used in the case, most contracts today provide that a cer- film, television, commercials, and websites, and rep- connection with so-called “firm albums.” tain number of albums (usually one or two) will resents various record labels, independent music pub- “CONTRACT PERIODS” be recorded in each “Contract Period.” lishers, and Internet companies. As already mentioned, most recording con- At the end of the “Initial Contract Period,” Bart is also the co-author of a chapter in The tracts today are structured in terms of how many the record company may choose to exercise its Musician’s Business and Legal Guide, a book com- albums the artist will be obligated to record for the label. Even so, for the reasons mentioned be- low, such contracts do not abandon the use of time “In short, recording contracts in the past were frames. generally structured in terms of how many years the Most current recording contracts are based on the concept of so-called “Contract Periods.” contract would be in effect for.” Each “Contract Period” begins a certain number of days or months after the release of the release of option to move on to the next Contract Period, in piled by the Beverly Hills Bar Association and pub- the last record done in the prior Contract Period. which case the artist will then be obligated to record lished by Prentice-Hall Publishing (New York). Once the Contract Period begins, the recording the number of albums specified in the recording The reader is cautioned to seek the advice of process must begin within a certain period of time, contract for that next Contract Period. the reader’s own attorney concerning the applicabil- then the masters must be delivered to the label in This cycle will then repeat itself from one ity of the general principles discussed in this column another specified period of time, and then the Contract Period to the next, for as many Contract to the reader’s own activities. record must be commercially released within a cer- Periods as are allowed by the recording contract, tain period of time from when the masters were assuming of course that the record company con- LL

TWO LOUIES, September 2000 - Page 21 THE GRAND OL' SOAP OPRY BY BUCK MUNGER Continued from page 13 an album of American folk songs by James Low. Low catch him at the Bluebird Café with Joy White, Rosie was born in Eastern Oregon and moved to New York Flores and Phil Lee, the 27th…Grindstone joins where he played rooms like the Knitting Factory and TV:616, Joe Pyewood, King Black Acid, Blyss and the Speakeasy. He returned to Portland in ’95 to pur- Floater in Eugene August 19th for the NW Fest at the sue his solo career. “Mexiquita”, on Secret Sound Re- Cuthbert Amphitheater. The event is presented by cordings, was produced by Nancy Hess and features Established 1979 Publisher Elemental Records and is Floater’s only performance performances by Paul Brainard, Marilee Hord, Matt James E. Crummy Editor between Seattle and Chico, California for the next two Voth, Matt Bouderau, Dave Camp and Little Sue… Buck Munger months…Mickey Music Productions presents the Folk artists Dave Carter and Tracy Grammer just re- Director of Photography Buko “First Annual Festival of Life” at Laurelhurst Park, turned from East Coast dates that included sets at the Writers Marc Baker Labor Day, September 4, 2000, 12PM-7PM. The event Falcon Ridge and Winterhawk folk festivals and a two S.P. Clarke will benefit the American Cancer Society and feature hour interview on WNEW FM in New York City. The Bart Day Robin Rosemond performers including The Porterhouse Quintet, The duo’s song “When I Go” is featured in the latest issue Stephanie Salvey Photographers Alisa Wolfe Project, Dave Carter & Tracy Grammer, of SingOut Magazine and other works are reviewed David Ackerman th Gustavo Rapoport Stephanie Schneiderman, Brenda Dickey, Boka Ma- in the August issue of Dirty Linen. September 12 Pat Snyder rimba, The Rotating Leslies, Turning Eleven and oth- they return to NYC for 2 shows at the Bottom Layout & Graphics Buko ers. If funding is available, a compilation disc will be Line…Johnny Martin’s new swing CD was recorded Chris Palmer Printer cut with single songs from each performer, with all live, oddly enough, at the venerable blues venue; The Oregon Lithoprint proceeds benefiting the ACS. Donations are needed Tillicum. The release, entitled “Oddly enough-Johnny Two Louies Magazine 2745 NE 34th to execute this event. Volunteers are needed on the Martin Swings The Tilly”, was recorded live last De- Portland, OR 97212 (503) 284-5931 day of the festival. Call Alisa Wolfe at 891-4234 or cember at the club by Johnny and his trio. Martin FAX: (503) 335-3633 Email addresses: Mary Bunday at the ACS 295-6422…Marc Baker, produced and arranged the 15 song set of big band Editor: [email protected] Crazy 8’s former manager and KBOO radio person- standards including “Mack The Knife”, “That Old Layout: [email protected] © 1998 by Two Louies Magazine. May not be reproduced in any form ality (see Church of Northwest Music) has formed a Black Magic” and “I’ve got You Under My Skin”… without the expressed written consent of the publisher. Two Louies is available by subscription. Send $35.00 for one year, postpaid to: label and is releasing his first project with “Mexiquita”, 2745 NE 34th LL Portland, OR 97212

The Drum Shop of Portland is moving, Monday, August 21st to 3366 S.E. Powell Blvd • New, Bigger Showroom with Expanded Inventory • Large Hand Drum Department (Congas, Bongos, Djembes) • Enclosed Cymbal Room • New Kids Dept & Kids Classes • Group Classes for Conga, Djembe, Drum Circle & More Main Store Westside 3366 S.E. Powell 13530 NW Cornell Rd Portland, OR 97202 Portland, OR 97229 (503) 771-7789 (503) 626-3786 E-mail: [email protected]

Page 22 - TWO LOUIES, September 2000 MUSICIANS CLASSIFIEDS FREE STOP IN ANY PORTLAND MUSIC LOCATION & FILL OUT THE FREE FORM

FPercussionist. Congas, timbales etc. FBass player seeks other musicians F Bass player looking. Hear and now. FHeavy Rock Band Seeks Singer Looking to jam join/start band into to play jam-oriented rock, reggae, Country, Blues, Rock, Oldies and With Attitude! 774-5249 Santana, War, Blues, R&B, World. acid jazz, etc. 10 years experience. Standards. Gene 245-5116 FBass player wanted for Rock style Call: Keith 236-2722 Scott 794-7272 F Looking for female singer to work band. We need an experienced and FMandolinist/Bassist seeks upright FBass player looking for musicians on studio recording, tape-CD. creative bass player who wants to play bass drums & horns for Jazz, Funk, to make a frantic, aggressive, thrash Guitarist/songwriter with 24 dig live and record. Josh 356-8049 Jamming and rehearsal. Jason 232- type of music. Call Jan at 493-2989 studio. Peter 359-0928 FReal Musician Seeks Same Sort Of 5277 FExperienced singer/songwriter/ F Fiction, Portland’s premier Multi Inst Singer. No amateurs, FMetal singer who can Scream/Sing guitarist seeks bassist, drummer to progressive Jazz/Rock Fusion band is working stiffs, cops or puritans. You needed bad. Experience pref. but not form folk/blues/reggae trio with looking for keyboards, guitar, violin gotta play because I do and sing necessary. Sevendust, Nin, room to grow, record & tour (503) & cello to augment our core group. because I do. Gene 245-5116 Machinehead, Meshugga. Call Andy 774-4984 Complex and challenging original F Live Sound Engineering & 360/513-3973 Must have hair! F Versatile guitarist playing 25 years instrumental music with odd time Production. Reasonable rates. Bill FP.A.W.N. seeking soundman and or looking to join Jazz hobby band- signatures and aggressive Cushman 649-7741 keyboardist. Back vox or lighting exp workshop. I play a wide variety of arrangements. Return To Forever, F82nd USA Band trumpeter seeks a plus. Gigging w/CD. 257-2864 styles also. Neil 292-7592 King Crimson, Weather Report, Yes, band. Age 48. Al Olsen 722-2162 FDeath/Punk band needs insane F Working cover band seeking Mahavishnu. Brian 771-1907 FBeginning vocalist looking for a drummer. Call Sam or Tim at 775- keyboard player for 1 to 2 gigs a F Guitarist and bass player looking band. Open to any style. I can also 8448 month. Beatles to Metallica. Class act for drummer, keyboardist and sax play percussion. 775-9039 FFree form clarinet player open to - no drugs. All with jobs, player. We have jam space, come join FLooking for Country lead player, Beat Poetry sessions. James Marble transportation & pro gear. You need us in a rising white funnel of rhythms keyboard or rhythm player with 255-6355. solid keys and a car. Vocals a plus. and groove. 282-6414 vocals. Joe Archer 6507646 F Heavy R&R band w/CD, Gigs, Steve 293-6301, Mike 356-6565 F Seeking drummer and bassist. F We’re a bassist, guitarist and NxNW seeking drummer with expe- FKeyboard player wanted. Classic Creative with an understanding of drummer, mature, experienced, rience and commitment. Call today rock band. Vocals a plus. You need to rhythm and good at discourse. We’re responsible looking for piano and Jim (503) 977-0976 be in your 40’s or so to fit in with this two vocalist/guitarists with original Hammond-style keyboardist/ FAl Perez Band seeking guitar and bunch, and know your instrument. material. Michael 503/963-8867 organist for hobby band. Practice keyboard player. Pro attitude and gear Bill 503/643-5206 FNew Christian band looking for once a week gig once a month. Very required. Wayne (503) 286-6389. FAzedelirium. Original heavy rock seasoned guitarist with vocals and big on tight arrangements and F Christian rock band seeking with a funk edge seeks a leadman/ some keyboard abilities. Larry 360/ enjoying the musical experience, very guitarist & keyboardist with good vocalist. Must have own gear, be 263-6634 or Josh 360/694-7530 low on ego and ear-splitting amps. vocal skills. Please call Larry 360/600- motivated and drug free. Steve 649- Kevin 238-3884 4025. 6966.

“WE LOVE BACHELOR PARTIES” Featuring the most beautiful dancers in the Northwest NE 122nd & Glisan. Come on by for 255-5039 & CHAR BROILED STEAKS BREAKFAST, LUNCH or DINNER Club Cabos Open Daily 7am - 2am SE 18th & McLOUGHLIN we have 232-3799 OREGON LOTTERY GAMES TOO!!

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