OREGON MUSIC / DECEMBER 2002

photo Pat Snyder Page 2 - TWO LOUIES, December 2002 TWO LOUIES, December 2002 - Page 3 ecember 2002 marks the 23 year and looked to the east and saw a huge mushroom through a discombobulating roller coaster ride anniversary for Two Louies. Like cloud right where the studio had previously been. I with Geffen Records, the Dthosethose ootherther kkeyey aanniversariesnniversaries 1111 found the CD labellabel wwhichhich drdroppedopped thethemm and 17, this histhistoricoric eeventvent in the midst ofof recordingrecording begs for a “Diary.”“Diary.” LaelLael putput thethe retrospective CDCD ooutut iindependentlyndependently of the last thenthen latlaterer headedheaded outout onon 2.3 decades. tourtour solo ddownown the wwestest Since I’ve coast.coast. AAfterfter hhee ccameame bback,ack, only been he bbeganegan ttoo ggatherather plaplay-y- writing for ersers forfor a newnew band and Two Louies emailedemailed hishis fanfan listlist aboutabout for the last band names…sortnames…sort ofof a 0.27 decades, betabeta test.test. Phase eventu-eventu- however, allyally becamebecame FayesFayes andand I willwill thethe BellaBella FayesFayes waswas havehave toto assumeassume born.born. I thoughtthought thethe thatthat thethe mostmost bandband namename shouldshould historichistoric eventsevents havehave beenbeen “Geffen“Geffen havehave happenedhappened MadeMade a BigBig Mistake”Mistake” duringduring thisthis butbut that’sthat’s justjust me. timetime frame.frame. In the mean- Coincidentally,Coincidentally, time,time, a wonderfulwonderful 0.270.27 isis mymy luckylucky band called Drive number.number. ThisThis Dizzy Fish had arrived. Drive maymay eexplainxplain wwhyhy photo Pat Snyder andand Lael,Lael, alongalong withwith I nevernever winwin thethe TheThe AAmericanmerican GirlsGirls and CameroCamero Hair,Hair, allall shareshare a lottery. “After he came back, he began to gather players Bands That Go Pop for a new band and emailed his fan list about band Did anyone ever wonder what happened to Portland buzz band “Spin Jupiter Spin?” Their names…sort of a beta test. Phase eventually became enchanting Indie Pop sound was conjured from bands including Miss Red Flowers and the Dandy Fayes and the Bella Fayes was born. I thought the band Warhols. So intense were the expectations, maga- name should have been “Geffen Made a Big Mistake” zine editors were requesting an advance release of their new CD; even going as far as to bug the studio but that’s just me.” engineer for a burn. The buzz was so explosive in amidst the rubble. Three years later, it still glows level interconnectedness. They all know each other fact, that the band blew up before the CD was in the dark. and have helped each other out. Drive proceeded released. I heard it. I was standing in my back yard Lael Alderman and the Loved had been Continued on page 17 phone and door. Richard celebrated his 60th Richard as our long and devoted friend. Luckily we birthday Sunday December 1, at the Swiss Club in jammed with Rich and the boys on his birthday. It’s Tacoma, Washington, performing with his Butter been a long run, and always an honor to perform Bean band with members Michael Kinder and with Rich as a fellow fabulous Wailer. We are for- Buck Englund. Several musician friends attended tunate to have so many fond memories of Richard the event to jam with Rich and wish him a happy and his impressive contribution to the world of Richard Dangel Passes birthday. The group was in top form that night, music, whether it was jazz, blues, rock n roll, Dear Two Louies, with Rich playing as amazingly as always, and as funk, Rich knew it, well. He had so much more to It is with profound regret that this message great as we have ever heard him. He will not only offer. Rest in peace now Richard. We all love you. is one of deep sadness. Richard Dangel, our great be sorely missed by his enormous family of musi- Contact: Buck Ormsby, Kent Morrill and wonderful friend, sensational person, and one cian friends, but by the world of music, his fans, The fabulous Wailers of the greatest guitar players in the world passed and so many who have been entertained, inspired, 2315-10 No. Pearl St., #217 away unexpectedly. He was discovered in his and have learned so much from this wonderfully Tacoma, WA 98406 north Seattle home by his close friend Charlotte talented man. 253-396-1024 or 253-396-1055 on Tuesday evening after failing to answer his Kent Morrill and I feel blessed to have had toll free: 1-866-255-2791 or Fax: 253-396-1029LL Page 2 - TWO LOUIES, December 2002 TWO LOUIES, December 2002 - Page 3 master’s degree in jazz guitar from the Manhattan School of Music in New York. By 1989 Helmet was formed, and as they say, the rest is history. Well that was all then, but what is now? I spoke with Page shortly after the formation of his new band Gandhi, his only group venture since Helmet By N.L. Fogerty disbanded in 1998. After pursuing possibilities for some solo work, Page grew impatient at the lack of In the Meantime... Page Hamilton has been a very busy man. opportunities to play live. “It got to the point where And now he has a brand new band to show us. I had spoken with a couple of record companies about making a record and gotten a record deal he average person may not recall Page sense that a lot of rock bands were, and I think it set done. Then Sept 11th happened and everything, Hamilton by name, me off on the right foot and then a lot of stuff fell apart. It slowed me Tbut I assure you down… all that stuff sort this forty-two year old guitar of forced me to say, ‘Hey, maestro has built quite a career you know I can’t wait any and reputation for himself. His longer, I’ve gotta play now!’” wealth of experience ranges And play they did. Page had from playing in Glenn Branca’s found a band in guitarists guitar orchestra during the early Anthony Truglio and John eighties, to more recent excur- Andrews, bassist Christian sions in scoring music for fi lm. Bongers (of Loudspeaker, His career has afforded col- Botanica) and drummer and laborations and performances longtime friend Matt Flynn with the likes of David Bowie, (Botanica). During October, members of Nine Inch Nails, Gandhi completed a round and Limp Bizkit. But Page of shows in the east playing Hamilton will always be their new material alongside most closely associated with some old Helmet faves to masterminding the brilliant small but receptive crowds. sonic extremes of Helmet. They headed into the studio Helmet was a com- early November, laying down pound mass of aggressive, tracks for a release anticipated riff-oriented sound that also sometime early next year. had personality, sustained in It would appear that a capacity for experimenta- in a musical context, Gandhi tion, and the expression of Gandhi from L-R: Christian Bongers, Matt Flynn, John Andrews, represents an expansion on moods and intellect. During Anthony Truglio, and Page Hamilton. the songwriting skills Page had the early nineties Helmet established with Helmet. While was noted for their heavily the new material bears some layered guitar assault and elements of Helmet’s weight, strong rhythmic impulses, photo Kristine Larsen it goes further to incorporate while remaining free of all the excess and ego that a certain song-writing matu- hard rock was usually guilty of. The end result of to maintain a level of music and not be worried rity that reaches beyond anything Helmet their nine-year career was four albums (including about the other rock stardom stuff.” With that in had produced. “Its probably more song-oriented one gold record) of music that was weighty but skilled, and smart but not too calculated. And “His career has afforded collabora- oh yeah, fucking loud. Helmet rightfully owned their title as the chief suppliers of ‘thinking man’s tions and performances with the likes metal’. Musical integrity is something Page picked of David Bowie, members of Nine Inch up early. His initial spark of musical inspiration came in the form of Led Zeppelin’s fi rst album, Nails, and Limp Bizkit. But Page Hamil- which he remembers discovering at a payless drugstore in southern Oregon, where he grew up. ton will always be most closely associated After picking up the guitar however, he soon found himself drawn more strongly by the sentiments of with masterminding the brilliant sonic jazz music, which would become a lifelong object extremes of Helmet.” of enthusiasm for him. “In the jazz world what I discovered at a young age was that those guys didn’t really sell millions of records. Coltrane and Miles mind, Page went on to study classical guitar at the Davis, they did okay, but they weren’t stars in the University of Oregon, and eventually pursued a Continued on page 23

Page 4 - TWO LOUIES, December 2002 TWO LOUIES, December 2002 - Page 5 RESOLVING CO-WRITER end up entering into a collaboration agreement you and your co-writer have already co-written, COPYRIGHT PROBLEMS with the co-writer, you could still fi le your own and all songs which you may write together in copyright applications, in order to claim copyright the future. ver the years, I have received several ownership for the two of you. Then, the respec- As for those songs already written, the agree- letters from Two Louies readers con- tive legal rights of you and your co-writer could ment should specifi cally refer to the titles of the Ocerning problems between co-writers be resolved either by a settlement agreement, or songs. Also, two copies of a tape/CD of the songs of songs. Here is a letter that is typical of those if necessary by the courts if the songs are valu- should be labeled with the titles of the songs on the letters: able enough now or if they later become valuable tape/CD, and each co-writer should initial and date “I am a founding member of a local band. I have contributed heavily to the music and lyrics of the group. However, the co-founder has copyrighted all the songs and refuses to let me see the registra- tions. Should I write any more songs with this person without a written agreement? Do I have any rights to use the material I created if I leave the band, or does this guy just get by and rip me off? If I can get him to sign an agreement, will it be valid? Maybe I should leave this band right now?” In this situation, it clearly does not make enough to justify the legal expense involved. the labels on both of the tapes/CDs. Each co-writer much sense to continue the relationship with Regarding the co-writer’s fi ling of copyright should then retain his/her own copy of the tape/CD the co-writer unless these problems are resolved applications falsely claiming that he is the sole in a place of safekeeping. promptly. Otherwise, it is like having a tire blow writer of the songs, any such copyright applications As for songs not yet written, the agreement out on the freeway, and then to continue driving are, in effect, fraudulent applications. Any person should state that the collaboration agreement will until the other three tires blow out. The best time who knowingly fi les a fraudulent copyright appli- apply to all songs which you and your co-writer to resolve the situation is now, before the co-writer cation can be fi ned $2,500. He can also be fi ned write together in the future. (The two of you can further abuses the situation. $2,500 for attaching a fraudulent copyright notice always agree later to change the specifi c terms of In short, you should have a written collabora- to any tangible copies of the songs -- for example, if your collaboration agreement.) tion agreement with your co-writer in this situa- he attaches a copyright notice to tapes containing 2. Best Faith Efforts. The co-writers will tion, especially before writing any further songs. the song, and the copyright notice falsely suggests agree to cooperate with each other in completing The collaboration agreement should cover those that he was the sole creator of the material. (For the songs, and in maximizing the commercial use songs which you’ve already written together, and all example, ©2002 Joe Schmo). of the songs. The co-writers will also typi- songs which you may write together in the future. Incidentally, even if you cannot work out an cally agree that all artistic and business decisions (The basic parts of a collaboration agreement are agreement with your co-writer, you are still entitled regarding the songs will be made by the co-writers discussed below.) under copyright law to use any songs that you and jointly, and that neither co-writer can make any Even if your co-writer is refusing to let you he created together, and/or to grant non-exclusive artistic changes or agree to any commercial use of see the copyright registrations supposedly fi led, licenses to third parties to use the material (for the songs without the other writer’s consent. there are various ways to fi nd out what copyright example, to record the material). But, if you do so, 3. Copyright Ownership. Under the rules of registrations have been fi led for the song. The you must do so on commercially reasonable terms U.S. copyright law, the legal presumption is that the easiest way to do this searching is to search the and also account to your co-writer for his share of co-writers of a song are considered equal owners Copyright Offi ce’s database online, by going to any income from the song. of a song unless they agree otherwise. http://www.loc.gov/copyright/search and then In any event, the best solution would be to fi rst On a practical level, many professional song- doing an online search. If you want some general try to resolve your problems with your co-writer writers take the point of view that all songs they information about copyright searching proce- by entering into a written collaboration agreement co-write will be owned equally by the co-writers dures, go to the Copyright Offi ces’s website (http: with him. of the song, on the theory that it all balances out //www.lcweb.loc.gov/copyright), then click on in the end. “Circulars” and look at Circular R6 (entitled THE COLLABORATION AGREEMENT However, sometime one or more of the co- “Obtaining Copies of Copyright Offi ce Records Formal collaboration agreements are not writers of a song decide that they don’t want a commoncommon in the musicmusic business,business, whereaswhereas theythey areare certaincertain sosongng ttoo bebe consideredconsidered equallyequally co-written,co-written, becausebecause ofof thethe factfact thatthat oneone ofof thethe writerswriters maymay havehave “Regarding the co-writer’s fi ling of contributedcontributed muchmuch moremore toto a songsong than the otherother co-writer.co-writer. IInn tthathat ssituation,ituation, tthehe cco-writerso-writers wwillill nneedeed toto agreeagree onon howhow the ownershipownership willwill bebe divideddivided up copyright applications falsely claiming betweenbetween the co-writers,co-writers, percentage-wise.percentage-wise. IfIf theythey can’tcan’t agree,agree, thenthen the songsong willwill bebe consideredconsidered byby the that he is the sole writer of the songs, lawlaw toto havehave beenbeen equallyequally co-writtenco-written (and equallyequally co-owned).co-owned). any such copyright applications are, in 4. Expenses. All expenses involved in com- merciallymercially ppromotingromoting the sosongsngs wwillill bbee split bbyy the effect, fraudulent applications.” co-writers,co-writers, withwith neitherneither writerwriter obligatedobligated toto paypay anyany suchsuch expensesexpenses unlessunless hehe agreesagrees inin advanceadvance and DDeposits”)eposits”) and CCircularircular R22 (e(entitledntitled “H“Howow veryvery commoncommon inin thethe bookbook publishingpublishing industryindustry andand toto dodo so.so. to Investigate the Copyright Status of a Work”). in the Broadway theater business. 5. Non-Completion of Songs. In collabora- In any event, the main point here is that you can Typically, in the music business, there typi- tion agreements, the co-writers normally agree on obtain copyright registration information with or cally is no written agreement until the collaborators who will own the material if the material is not without your co-writer’s cooperation. get a record deal or publishing deal, and often not completed or published. Sometimes, for example, By the way, it is not unusual in such situa- even then. Often the assumption is that the co- the co-writers will agree that any material which tions such as yours to discover that no copyright writers will share equally any rights in the songs they have jointly developed will be jointly owned applications were actually ever fi led. However, if it on which they have collaborated. by them, and that no use may be made of the turns out that your co-writer has in fact obtained However, if there is to be a formal collabo- material without the prior written consent of copyright registrations for the songs in question, ration agreement, here are some of the issues it both co-writers. any such copyright registrations have a very limited should cover: Where there is a lyricist and composer, they legal effect, and do not keep you from asserting 1. Identifi cation of Songs. The collaboration your legal rights in those songs. Even if you don’t agreement can (and should) cover all songs which Continued on page 18

Page 4 - TWO LOUIES, December 2002 TWO LOUIES, December 2002 - Page 5 Two Weeks In Texas- Lisa And Her Kin Mizzletown’s own Rachel Browning lends her Kinship Records pipes to some of the back-up vocal chores on a he Miller family has been an institution couple of tunes. in the Portland music community for This all boils down to a great album! The Tover twenty years now. A musician and Austin hometown ringers provide so much authen- musical promoter herself, mother Lorna Miller’s tic Texas country flavor, the tracks fairly drip with brood of talented children include her eldest son, barbecue sauce. The first cut, “River Of Regret, is a guitarist Chris Miller, who was a longtime local perfect example. Over guest Ricky Davis’ whining favorite (primarily with the Razorbacks through- pedal steel guitar and Micah Hulscher’s rollicking out the ‘80s), before migrating to Austin, Texas over piano fills, Lisa sings, her husky alto caressing the a decade ago. Second in line was son Ian Miller, who vocals like eighteen wheels rolling on hot Texas initially gravitated to Portland’s underground Punk asphalt. scene when he was still but a mere prat, turning in With a hint of melody reminiscent of Gordon book reports at Multnomah Learning Center. His Lightfoot’s “Rainy Day People,” Lisa’s “Lucky Star” longstanding gig with his band, Apartment 3-G, is a honky-tonk number worthy of Patsy Cline her- lasted well into the ‘90s. self. Chris Miller’s slippery steel guitar phrasings Sister Lisa Miller was more of a late arrival, slide effortlessly behind his sister’s dusky vocals. honing her chops in the local open-mic folk scene Eamon McLoughlin’s yearningly earnest fiddle solo for many years, eventually playing in a number of adds more real country spice to the musical fricas- groups, most recently, with Trailer Park Honey. see. Dorn’s “Walk Don’t Run,” surf-style drum intro With that band, Lisa perfected a “trailer trash” decorates “Only Mama That’ll Walk The Line,” a country personae, which serves her well in this rockin’ little number, lent mucho zest by Chris incarnation of the band. This recording, made in Miller’s stinging lead guitar solo. a couple of weeks while visiting brother Chris in Ricky Davis’ mournful pedal steel guitar Austin, features all three Miller siblings in integral and Earle Poole Ball’s Floyd Cramer-style piano roles, performing (mostly) Lisa’s compositions. flourishes furnish “Fools Gold” with stylistic Along for the dusty ride down a country road authenticity, as Lisa wrings tears and beer from a are former Honey bassist LW McGrath and Texan memorable chorus. A classic. The gospel-tinged, John Dorn on drums; as well as a whole passel of hoedown two-step of “Preachin’ To The Choir” Austin ringers sittin’ in on the fun. In addition, Continued on page 8

Page 6 - TWO LOUIES, December 2002 TWO LOUIES, December 2002 - Page 7 appy 23rd Two Louies! Portland is was not a love a t fi rst sight thing. In fact, I was beautiful wife and partner Adair will reprise her a great city with an amazing music very disappointed in the show, but I learned to love role as the flying Peter. I hear Jon Newton is Hand art scene to cover, so of course Cathy. I just love to see her fl y. She’s a profes- doing the musical arrangements and Jay Randall Two Louies survives. I remember back in the day sional and it’s amazing that musicals like this exist Hornstein is Hook. when I met Buck at LaBamba’s. We used to see all at all. Speaking of fl ying, Rigby is producing this I have been immersed in the Singing Christ- the music and hang at the clubs. Maybe we have traveling production and she also owns the sets mas Tree. It’s the ultimate extravaganza of lights, slowed down on our clubbing days, but music is and costumes from Peter Pan, her music, trees and people singing. I just resign myself still a huge part of our lives. most successful Broadway run. to the masses of merry mirth makers and I smile. That’s what Two Louies Portland’s own Greg Tamblyn is The director calls the Singing Tree’s outreach to is to me. Remind- renting Cathy’s Peter Pan set for his special needs children, Operation Smile. Well ers that we still new production company, Pixie Produc- Jim, the operation was successful and I’m smiling. exist and I’m not quite sure if it’s really joy or just delirium from so much love in the house. I’m numb to the hundreds of people who I cross paths with every- day while listening to the story of the baby Jesus over and over again. I retrieve the baby Jesus in a rustic crib with hay in it as my last cue of the evening; I cover him up with a purple cloth and show him the reverence and respect I give all my dolls. While we were getting the Tree up and the story of Portland’s running, we went through a lot of the old props music scene continues in from Singing Trees of the past. We found the a legendary fashion. The Merry Christmas signs, the Joy signs and the cultural and sexual revo- Operation Smile signs, which we saved. But lution may have been lost, when we found the Peace signs, we pitched but with nostalgic remind- them into the Dumpster. It fi gures that my ers like Two Louies, I can favorite number from the show is Soldiers say with conviction, that on Parade. There’s around twenty children there is music after forty dressed as toy soldiers who get wound up and of course we lost the with big keys, by some adorable elves. Then revolution, we were giving the soldiers all do a great marching dance Peace a chance. 2002 comes with their rifl es and the Captain. Peace is to a close and I’m making not the popular topic this season, even with stock, not buying into the a whole lot of Christians. war. I give the hunt for evil It ‘s magical back stage in the dark. I a moments study then move feel like I’m in a huge cathedral and that on with my day I’m a part of some historical light that My pick of the month has been shinning for thousands of years. is Bach and the Compania Entertaining people is very strange and dif- Nacional De Danza. This fi cult. Show business is a right of passage ballet company under the for all that dares. I love putting on shows Artistic Direction of Nacho and I love making art. That’s what I want Duato was great. It just hap- to do. I work like mad on other people’s pened to be a full moon and art, then I try and take time to do my own. a lunar eclipse that night so it I know I may only write one good poem, was extra intense. The chore- or make one delicious recipe, or paint ography and costumes were one amazing painting in a year, but I’m beautiful and it was a great happyhappy and am in no rush.rush. It’sIt’s allall fl oowingwing experience. I loved meeting the dancers and road crew that were “Pixie Productions, will start their international and exotic. We had interpreters to help get the set and lights completed season with Peter Pan at the Newmark and it was very amusing to try and communicate Theater in the spring. Greg’s beautiful with the Spaniards. We had some laughs and we had some embarrassments, but the show must go wife and partner Adair will reprise her on. Tisha Barratta was in town and she came for role as the fl ying Peter. I hear Jon Newton the afternoon ballet rehearsal. She’s now stage manager for San Francisco Ballet and she looked is doing the musical arrangements and marvelous. We went to the Veritable Quandary for dinner and talked about ballet, travel, love, theatre Jay Randall Hornstein is Hook.” and our days in old New York City. tions. They will start their season with Peter Pan and that’s something to relish. I loved seeing Cathy Rigby in Seausical. It’s at the Newmark Theater in the spring. Greg’s Write to me: [email protected] LL

Page 6 - TWO LOUIES, December 2002 TWO LOUIES, December 2002 - Page 7 as the genre gets. are eloquently anguished songs, with supple melodies that fi t the lyrics like fi ne leather gloves. Looking For Lori- The Illustrations This album , these songs, are the obvious work of Self-Produced seasoned professionals. evin “Casey Nova” Nortness has been The album begins with “5:55,” a song deco- Continued from page 6 rocking in the Portland music com- rated by acoustic and electric 12-string guitars, as allows Lisa to explore different aspects in her Kmunity since Two Louies began its run Casey’s warbling boyish tenor, reminiscent slightly vocal presentation, including a yodeling wail that twenty-three years ago. First, with his preeminent of early Paul McCartney, presents the lyric, “It’s 5: nicely compliments the wholly unholy proceedings. New Wave rock band, Casey Nova, Casey gigged 55 now, so you ought to hate me/There is no reason, McLoughlin uncorks a soulful fi ddle solo, while regularly at clubs such as Long Goodbye and La but maybe I’ll think of one,” over a pretty melody. Rachel Browning, along with John Twist, provides Bamba, on bills with bands such as the Malchicks, With Brickley’s heartbeat kickdrum and Nova and the response to Lisa’s calls. the Odds and the Untouchables. Later, with the Flier’s sludgy guitars, “Chocolate Heart” sounds like “Sleeping His Way To The Middle” is a good- Cool Rays (in which TL’s own Dennis Jones played its subject matter. humored ditty, as familiar as an old pair of shit bass), Casey toured the North America and Japan The title track, rife with Flier’s moody guitar kickers- that is abetted by Poole’s roiling piano extensively, becoming something of a sensation in accompaniment, is an elegant paean to a dying love affair.affair. Nova’sNova’s tremulouslytremulously brittlebrittle voicevoice breaks,breaks, likelike “There aren’t a lot of bands in these parts, antiqueantique gglass,lass, iintonto brokenbroken shards.shards. “Fling”“Fling” isis a piquant,piquant, uptempouptempo ballad,ballad, withwith tight,tight, two-parttwo-part performing good old-time country music. vocalvocal harmonies,harmonies, callingcalling toto mind the workwork ofof the Rembrandts.Rembrandts. NNice.ice. ““TheThe PPalacealace ((Maria)”Maria)” ccombinesombines This city is lucky to have the likes of Lisa NeilNeil Finn-ish songsong structurestructure withwith BrianBrian Wilson-Wilson- Miller and Her Kin to present the genre in a likelike harmoniesharmonies inin thethe chorus.chorus. Flier’sFlier’s chortlingchortling electricelectric ppianoiano aarpeggiosrpeggios ggiveive thethe songsong a bouncybouncy genuine manner, with talent and aplomb.” momentum.momentum. Brickley’s “The Queen” calls to mind Ray and Davis’ stellar pedal steel phrasings. Eeee-haw! the orient. DaviesDavies oorr KKarlarl WWallingerallinger ooff WWorldorld PParty,arty, wwhilehile A gentler number is the waltzing “Mending Mat- After that, it was the fi rst incarnation of the embellishing a tale of a man’s self-deprecating ters.” Colored by McLoughlin’s fi ligree mandolin Illustrations, the Shivers, the Paramours, before supplication to the whims of a beautiful woman. threads and winsome fi ddle interludes, Lisa gives the re-formed Illustrations (with original member, Lovely guitar phrases and delicate touches of piano, the song a plain, Loretta Lynn sort of vocal treat- drummer Brian Bickley and ex-Paramours lead organ and even a cello part, color “Hattie, Maggie ment. In a similar sentiment, “Rodeo Jewel” is a guitarist Matthew Flier) in 1997. Says,” a gracefully exquisite number, about fl eeting pretty, uptempo ballad. Ian Miller contributes a Besides his talents as a musician and per- encounters. “I won’t stop to mention that by the short, sweet and twangy guitar solo in the middle former, Casey’s forte has always been his unerring way Hattie, Maggie says you’ve got a pretty name/I section, to add immeasurably to the true country ability to construct consistently good, occasionally know if I did you would have guessed that you are grit of the song. brilliant, pop songs. It is distinctly possible that my obsession/But Hattie, Maggie says that’s OK/ A bit of a rocker, “Sugar Pop” allows Lisa to Casey may have squandered opportunities that Since you don’t even notice me.” If nothing else, toughen things up some, while Chris Miller adds his abilities might have afforded him stateside, the song is direct. fi ery guitar solos to the mix. Hot! “Ladies Nite” by concentrating so much time and energy on “Bad Film” recalls Dwight Twilley from the is something of a country tear-jerker, certainly his exploits ceaseless touring. Whatever the case, ‘70s and the Fixx from the ‘80s. Toby Johnson’s in line with the Tammy Wynette sentiments so CaseyCasey NNovaova has nevernever gottengotten the recognitionrecognition he sprightly bassline, coupled with Nova and Flier’s closely associated with the genre: “She sits down at her vanity/searchin’ for some sanity/Hopin’ for “Kevin ‘Casey Nova’ Nortness has been a miracle to occur/Eyeliner and some rouge/red lipstick and a shot of booze/Now she’s ready for rocking in the Portland music community another night on the town” well if that don’t turn yer brown eyes blue, nuthin’ will. since Two Louies began its run twenty- “Jane’s Place” is a sprightly downhome tune. three years ago.” “Oh at Jane’s place, you never have to worry/Oh at Jane’ s place, it feels like home, without the hurry.” has alwaysalways deserved-deserved- onon a locallocal level,level, if not onon a chunkychunky guitar rriffs,iffs, drdriveive the songsong wwithith a bbouyantouyant Piano and mandolin accompaniment, along with much larger scale. undercurrent. Descending to a darker instrumental the other band members’ musical interjections Because it’s a cinch that Casey and the Illustra- region, “Down The Beam” recalls some of the Cars’ create a celebratory atmosphere. Chris Miller’s tions are a “national” act. The band members sound more vibrant work, with Casey’s lead vocal echoing short, sweet, steel guitar solo is a thing of beauty. as if they have been playing together a long time (in that of Benjamin Orr. Intricate lead and backup The “secret track” at the end is a molten piece of a good way). Their songs sound familiar, but not vocals elevate this song above the ordinary. swamp boogie, with Lisa exposing a bit of a snarl imitative. It’s just solid, well-written, well-played Strains of accordion ripple through “Green in her vocal delivery. pop music of a very high order. Leather,” a simple song with familiar Novan There aren’t a lot of bands in these parts, The subject matter and tenor of the ten songs themes: “I wrote you whatever thoughts crossed my performing good old-time country music. This (and one extra “secret track”) presented on this mind/You called me neurotic/Guess you read the city is lucky to have the likes of Lisa Miller and outing are similar in context and presentation truth between the lines/When I told you about the Her Kin to present the genre in a genuine manner, to the work of Neil Finn and Crowded House. weather/And how I love your green leather/Maybe with talent and aplomb. This album, with its bevy These are mostly songs of love: lost and other- four letters failed to arrive/But you got the fi fth of illustrious guest performers, is just about as good wise- unattained, unfulfi lled, unrequited. These Continued on page 21

Page 8 - TWO LOUIES, December 2002 TWO LOUIES, December 2002 - Page 9 ’m not in a slow mood tonight” proclaims world class lead bass “Iplayer Stanley Clarke after bump- ing into the mike in a rushed attempt to address the crowd early on at his packed house Aladdin Theater show on November 24th. All eyes and ears held tight as this master musician lived up to high expectations and then some by displaying his phenomenal style and technique in a two hour low register rif-a-thon. Skip Elliot Bowman, Brian Healy and Suzy from the Pan Gypsies and Bolt Upright were just few of the Portland area bass players that fi lled the seats with fi xed and respectful attention as they watched the musician that single handily raised the bar of expectation for an instrument that prior to his career was not thought of as a highly respected and performers much written about career will be this club into a great eastside success. I believe they solo or lead worthy contributor. showcased on one of the best stages in town, we all now have live bands Wednesday through sat night, The Aladdin Theater is a great place to usurp love playing the Tabor and with Wydra graciously including the ever popular Karaoke From Hell on technical style and skills because of the close in accepting you money at the door, nice Tom behind Thursday night at which I soon hope to be present- ing my one song Robert Palmer show live as I sing “Addicted to Love” complete with a back line of wiggling cute chicks in black mini skirts with no facial expressions. Marty Vincelli sound man from the Satyricon invited me to what he called a Tuesday night net- working party . Now this is impressive, how much longer are we going to gripe about the economics of the club scene before we get ticked of enough to organize, put our various hairstyles together to try to focus on our ability to better control the chal- lenging ebb and fl ow of the Portland performance venues. Jett Black from Nocturnal Movements and Gothic Beauty Magazine shared in this cozy rap- in-the-round brain storming session which was primarily put together to collectively develop new show formats and improve band organizational skills. Tuesdays Taken gets top billing! Singer songwriter Juana Camilleri may be picked to host a mid week showcase at the Satyricon which will feature invited guests and bands picked the bar and with one of the best sound systems and seating and a great stage height for viewing fi nger- as the cream of the crop from our bountiful and live sound engineering in the northwest helping ing technique and fretboard gymnastics, if I ever continually evolving Rose City musi-culture. out, this promises to be a show worthy of mild play there I think I’ll turn my back to the crowd As many of you may remember Juana hosted hearing loss and a least a medium hangover. so none of you can rip off my legendary (unto the Juana Jam at the Bitter End last summer on Tunes from Theater of Sheep, Negative Trend, myself) style. Tuesday nights in which dozens of singer song- Tuesdays Taken played the Paris Theater on The Rozz Band as well as cuts from several unre- Friday November 22nd along with several other Rozz’s Holiday party at the Mt. Tabor The- acts. This new Portland band pulled of a great ten song set as the opening act with Adrianne and ater on December 21st is going to be a blast, Michael fronting the band as most song writing the Portland pop-celeb never lets you down teams should. As most of you know many of the clubs don’t pay you to play these days however if once the show starts and this years bash you’re smart you will look for rewards other than will be no exception.” money, in this case Tuesdays Taken got the top bill- ing on one of the most seen marquee’s in Portland, leased CD’s and solo acoustic formats are slated to writers and band were given great latitude and and I think that in itself is worth a lot if you know be in the show, and, if I’m not mistaken I believe opportunity to perform in front of a critical yet how to play it to your advantage. there may be yet new shocking controversy and positive audience of their peers. I went to many of Rozz’s Holiday party at the Mt. Tabor The- rumor-worthy antics and celebrations generated these jams and felt honored to mention a number ater on December 21st is going to be a blast, the at this unique yearly event, at least I hope so! of the performers CD’s in my column. Portland pop-celeb never lets you down once the Echo Canyon sound man Greg Shadoan has Take care and have a nice holiday season! show starts and this years bash will be no excep- put in a system at club DV8 on SE 52nd and Powell. tion. Songs from all fazes of this prolifi c songwriter DV8 management has done a killer job of turning LL Page 8 - TWO LOUIES, December 2002 TWO LOUIES, December 2002 - Page 9 ��������� ��������������������� ���������� �������������������� ��� ������������������������� ����������������������������������������� �������������������������������������� ��������������������������������������������� �������������������������������������� �������������������������������������������� ��������������������������������������������� ��������������������������������������

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Page 10���������������������� - TWO LOUIES, December 2002 TWO LOUIES, December 2002 - Page 11 ���������������������������

���������� Production covers, power distro, generators All Service Musical Electronics Repair Years Experience - 10 (Formerly KMA Electronics) Specialties - Rock, jazz, bluegrass, world, 617 S.E. Morrison corporate. Portland, OR 97214 Equipment - Yorkville TX, QSC Power- Phone/Fax: (503) 231-6552 light, Soundcraft, Allen Toll Free: 1-888-231-6552 & Heath. Contact: Randy Morgan Clients - Cinco de Mayo (Waterfront Email: http://www.teleport.com/~fixitman Park), Portland Rose Festival, Services: Quality electronic service for musicians, City of Lake Oswego, City of Vancou- studios and music dealers. Factory authorized for ver, Portland Trailblazers, Bonneville most major brands. Power Administration. Hours: 9-6 Monday through Friday, Saturday 10-5 Years Experience: 27+, over 20,000 repairs Thomas, Dwayne Specialties: electronic musical equipment from (503) 281-0203, Msg.: (503) vintage to state of the art. If you can plug it in and 784-0361 make music with it, we probably repair it. Fax: (503) 231-9679 Clients: We have performed repairs for almost every Services: Lighting music store in Portland and Vancouver. We have done Years Experience: 14 work for acts such as Cheap Trick, The Cars, The Music Specialties: Rock, all oth- Moody Blues, 98 Degrees, Monica, Everclear and ers also. many local artists. Specialties: Full-time professional lighting design—concerts, clubs, special events, Equipment: PA, lights Aloha Sound touring, Intellibeam trained, substance free. Headliners: National, Regional and Local acts Capacity: 150 Pellegrin, Terry Clients: Quarterflash, Nu Shooz, Jon Koonce, Dub Equipment: none (503) 645-5422, (503) 330-3840 Squad, Tales Untold, Blubinos, The Killing Field, Billy Ray’s Dive Headliners: Norman Sylvester, Linda Hornbuckle, Web Address: www.alohasound.com Cool’r, Cal Scott, Caryl Mack, Roseland Theatre, 2216 NE MLK Jay “Bird” Koder Email: [email protected] John Bunzow & Cowboy Angels. 503-287-7254 Services: Sound & Lighting Cobolt Lounge Years Experience: 13 Venues The Blackbird 32 NW 3rd ave Music Specialties: Blues, jazz, bluegrass, country. Portland 3728 NE Sandy Portland, OR Availability: Always. Portland, OR 503-222-9066 Specialties: Live demos on location, festivals, fairs, Aladdin Theater 503-282-9949 conventions. 3017 S.E. Milwaukie Blvd. Conan’s Pub Equipment: JBL & Crown Portland, OR 97202 Billy Reed’s 3862 SE Hawthorne Clients: Curtis Salgado, Linda Hornbuckle, Paul De 503-233-1994 info line 2808 NE MLK Jr. Blvd Portland, OR Lay, Soul Vaccination Format: All styles (no punk) Portland, OR 97212 503-234-7474 Booking: Mark Adler 503-234-9694 503-493-8127 I.H.S. Production 503-234-9699 (fax) Format: Jazz, Soul, Reggae, Blues, Latin The Country Inn Gary Miles Capacity: 588 Booking: Fred Stevenson 18786 S.W. Boones Ferry Road (503) 731-0383 Equipment: PA, lights Capacity: 250 Tualatin, OR 97062 8063 SE 17th Avenue Headliners: Warren Zevon, Ray Davies, Chic Corea, Equipment: sound system 503-692-2765 Portland, OR 97202 Keb Mo, Paula Cole Headliners: Ron Steen, Norman Sylvester, Can- 503-691-2675 (fax) Service: Promotion, Sound Recording, Video post nonballs Format: Blues work. Arnada Cafe Booking: Sunny Years Experience: 12 years. 1717 Broadway Bitter End Capacity: 150 Speciality: Servicing the Christian community. Vancouver, WA 98665 West Burnside Equipment: none Availability: Anytime. 360-750-9596 Portland, OR Headliners: Paulette & Power, Cowboy Angels, Format: rock, blues ,jazz, acoustic 503-517-0179 Steve Brodie Inner Sound Electronic Service Booking: Miguel 360-750-0811 1416 SE Morrison Capacity: 200 Blue Note Lounge Crystal Ballroom Portland, Or 97214 Equipment: Full P.A., mic stands, monitors 503 W Burnside 1332 W. Burnside (503) 238-1955 Headliners: Blyss, Mel, Rustvein 503-222-3334 Portland, OR (877) 238-1955 Fax: (503) 238-1787 Ash Street Saloon Beulahland Dante’s Inferno Email: [email protected] 225 S.W. Ash Street 118 NE 28th 1 SW 3rd Ave Website: www.inner-sound.com Portland, OR 97205 Portland, OR Portland, OR Contact: Jay Moskovitz, Mike Mahoney 503-226-0430 503-235-2794 503-226-6630 Services: Service and repair of pro audio gear, guitar 503-227-2403 (fax) amps, studio equipment, “home audio gear.” Format: Acoustic, Alt. Rock, Blues, Funk Brasserie Montmarte Dublin Pub Hours: Mon 9-1, Tue 9-7, Wed-Fri 9-5, sat 9-1 Booking: Ingrid 626 SW Park 6821 SW Beav. Hill. HWY Specialities: Regional service center for Denon, Capacity: 80 Portland, OR Portland, OR Korg, Marshall, Roland. Most brands of pro audio, Equipment: PA, mics, lights 503-224-5552 503-297-2889 including Alesis, Fender, Mackie, Panasonic, Tascan, B-Complex nd Yamaha. 320 SW 2 Buffalo Gap Fez Ballroom Clients: Every music store in Oregon. Musicians from Portland, OR 97204 6835 S.W. Macadam Avenue 316 SW 11th Ave your local “basement” to the Rose Garden. 503-235-4424 Portland, OR 97201 Portland, OR 503-244-7111 503-226-4171 Prescription Electronics Bacchus 503-246-8848 (fax) P.O. Box 42233 3200 SE 164th Avenue Format: Soft Jazz, Folk, Rock’n Roll Gemini Pub Portland, OR 97242 Vancouver, WA 98683 Booking: Scott 456 N. State Street 360-882-9672 Capacity: 85 Lake Oswego, OR 97034 Ripplinger, Joseph Format: Fine dining and high entertainment Equipment: sound system 503-636 9445 (503) 655-3869 Booking: Tom Anderson Headliners: Craig Carothers, Jon Koonce, Reck- 503-636-9445 (fax) Services: Sound & lighting engineer, small PA and Capacity: 200 less Kelly Format: Blues, Jazz Light rental, Psychedelic Liquid Light Show Equipment: We got it all! Sound, lights and stage. Booking: Randy Lilya 503-556-0405 Years Experience: Pro since ‘81 Headliners: Victoria Corrigan with Donny Osbourne, Cafe Lena Capacity: 170 Music Specialties: Blues, rock, jazz, classical, Inkspots, Patrick Lamb band, Andy Stokes. 620 S.E. Hawthorne Blvd. Equipment: lights Electric/Acoustic Portland, OR 97214 Headliners: Robbie Laws, Curtis Salgado, Leon Availability: Yes! Bar of the Gods 503-238-7087 Russell, Jim Mesi Specialties: Excellent live mix, stage management and 4801 SE Hawthorne Format: Open Mic, Folk Acoustic light direction. Production efficiency. 503-232-2037 Booking: LeAnn Green Room Clients: Candelight Room, Cascade Tavern, Terry Capacity: 50 2280 N.W. Thurman Street Robb, Sundown Sound, Spectrum Sound, Razor- Berbati’s Pan Equipment: none Portland, OR 97210 backs, Terraplanes, Duffy Bishop, Lily Wilde, Paul 231 S.W. Ankeny Street Headliners: Billy Kennedy, Lew Jones, Lorna Miller 503-228-6178 De Lay, Soul Vaccination, Gemini Pub & Trails Portland, OR 97213 503-228-5068 (fax) End Tavern. 503-248-4579 Candlelight Cafe & Bar Format: Acoustic Folk, Rock, Bluegrass 503-417-1107 (fax) 2032 S.W. 5th Avenue Booking: Declan O’Connor Stew Dodge Sound Format: Acoustic, Alternative, Funk, Jazz, Blues, Portland, OR 97201 Capacity: 100 Office - 503-286-1085 / cell - 503-860-0145 Rock 503-222-3378 E-mail:[email protected] Booking: Anthony: 721-0115 Format: Blues Services - Sound, lighting, stages & stage Capacity: 350 Booking: Joe Shore 246-4599 Continued on page 14 Page 10 - TWO LOUIES, December 2002 TWO LOUIES, December 2002 - Page 11 Art stiffs his label... Capitol Records wanted the new Everclear album “Slowmotion Daydream” to come out in October but Portland’s resident rock star Art Alexakis said no way. “It didn’t seem fi nished to me.” “I was still writing songs so I went back in the studio to record these new songs, and they came out great.” The fi rst single from the new album, “Volvo Driving Soccer Mom” is due to arrive January 14th at radio outlets. The album is now scheduled to be in stores March 11th. According a story in Billboard magazine the Everclear front man has “issues” with Capitol Records. “This is a totally different label than the one we signed to eight plus years ago. There is no one at the label that was there when we were signed.” “We have tried to get off the label, and they won’t consider it. They know they can make money off us.” 78% This month Two Louies turns 23 years old and begins a 24-month countdown to the Big Party. Year twenty-fi ve. A Quarter Century of Blah-Blah, Woof- Thinman returns to the Roseland Grill December 28th. photo Gustavo Rappaport Woof… Things have changed dramatically for coverage, Sequel and their legion of fans In one of our few forays into “journalism” Oregon’s original music community since that dominated the live music club scene. Two Louies charged Ancheta with a confl ict of fi rst issue in December, 1979. In those days there That same legendary Sequel reunites for one interest in managing Sequel and promoting them was no competition from videocassette players, show only at the Roseland Grill. December 28th. through the station. The FCC received offi cial DVD machines, satellite dishes, cable television, In the glory days Sequel band members letters of complaint and northwest media carried video games or the Internet. had the MTV hair, scores of female fans and the the story for weeks but after months of review, People were either into movies or music. advantage of being booked by Pacifi c Talent agent nothing happened. Those were good times for the original music Andy Gilbert and managed by KGON disc jockey For Sequel, either. community in Oregon. Many bands had large Bob Ancheta. Their debut album was produced The indie release generated some label followings and made a living wage performing by Marlon McClain and released on David interest but the band broke up during the their own material. Portland offered bands a Leiken’s Lucky Records label. recording of the second album and only bass scene not available in more than a handful of Sequel was in the hands of the player Todd Jensen went on to a career in the Big other American cities. heavyweights. Time. Todd joined Hardline on MCA with Salem In those days the home of the Kingsmen’s Capitalizing on the explosion of local drummer Deen Castronovo, did a Paul Rogers “Louie Louie” had a suburban circuit of original recording acts, KGON pressed and distributed album and tour and spent half a year recording music venues and a dozen downtown clubs that two “homegrown” compilation albums. demos with Ozzy Osbourne eventually leaving to billed the A-list local acts. Top bands worked Competition for the slots among local bands was tour worldwide for years behind David Lee Roth every night and were routinely sold out on the fi erce. There was a chorus of grumbling on the and Alice Cooper. weekends. street when Sequel was the only act selected to Sequel’s lineup for December 28th will In that fi rst half-decade of Two Louies appear on both albums. include founder/guitarist Gregg Georgeson who

Page 12 - TWO LOUIES, December 2002 TWO LOUIES, December 2002 - Page 13 now does dates with Tommy Tutone and original have been a “total gas”. with Pat taking most of the pictures. Scene did members Dave Wall on guitar and Grant Roholt “A lot of the songs we just counted off and the fi rst in-depth story on theDan Reed Network on drums. played like we had never stopped,” says Rod and in January of 1985, Oregonian music critic Langdahl, “Some we couldn’t even remember Marty Hughley made his music writing debut 78% what key they were in.” in the pages of Scene with a story on Napoleon’s Sequel’s opening act will reunite another “I even talked the guys into working on 5 Mistress. headliner from that era… new songs that I wrote and performed when I Pat knows the local talent. Thinman. lived in L.A.” These days Pat is a principal photographer “For the fi rst time in 18 years.” for TL (see cover) and handles corporate In the old days Thinman didn’t have a 78% promotions for Boyd Coffee. Sometimes her day manager, a booking agent or an indie label Doing Two Louies is like playing for a long job allows her to play music promoter. November but they did have the skinny pickin’ Langdahl time in a band with a bunch of great players. 8th at the Seaside Convention Center Pat presented brothers Rod and Rick, a fi stful of good tunes Everybody has a track-record. TL’s editorial staff Mary Kadderly and the Bobby Torres Ensemble and an athletic presentation. Thinman worked has been together for decades and everybody at the 8th Annual Seaside Cook Off . “I was quite awed that Mary brought Dan Balmer and Bobby brought Margaret Linn. Very cool. The kids were dancing on the tables.” Mary Kadderly has a new buzz- bin Christmas album, “Christmas Memories” featuring Dan Balmer and Tim Ellis on guitars, George Mitchell and Bill Beach on keyboards and Anthony Jones on drums. “Christmas Memories” is also the title track written by Kadderly. 78% SOUND BYTES…Drummatica opening for Floater New Years Eve at the Crystal Ballroom with King Black Acid…Computer Music magazine is profi ling SugarBang in their December issue. SugarBang’s single “Kiss Me” is being used during Blazer game time-outs. …Mark Spangler is making another assault on the music biz with “Pawnshop Aria”. All nine new songs were performed “on authentic pawnshop, garage sale and fl ea market instruments.” The material ranges from “savage fury” to “pure pathos”. Sparky can be seen with the Mary Kadderly; new “Christmas Memories.” photo Pat Snyder Jack McMahon Band December 28th at the Buffalo Gap…John Henry’s will th their way up opening for other acts and peaked brings a unique perspective of the working music open December 6 in Eugene with TV: in national popularity when the music video for business. 616 headlining. TV:616 plays the Cadillac Ranch th their tune “Miss America” was programmed on Pat Snyder came to Two Louies 17 years in Longview December 13 and the Wow Hall in th MTV’s Basement tapes. ago after folding her local music tabloid Scene Eugene January 17 …Stephanie Schneiderman Rehearsals for the December 28th reunion magazine. Scene was highly photo-journalistic Continued on page 23

Page 12 - TWO LOUIES, December 2002 TWO LOUIES, December 2002 - Page 13 The New Paris Theatre SW 3rd & Burnside Portland, Oregon 97204 503-224-8313 Booking: Senor Frogg (503) 236-7745 Format: Punk/Gothic/Industrial/Af ter Hours Dance Headliners: Written in Ashes, Grind stone, Mo bius, Monkey Fur, Soy Futura, Sumerland, Good For Noth ing, Honey Rider, Mortal Clay, Faith & Dis ease, Continued from page 11 Fuckpriest Fantastic Equipment: PA, 8 ch. board, mon i tors, 1 mic Ohm Headliners: Buds of May, Sweet Juice, Lit tle Sue, Jim 31 N.W. 1st Avenue Boyer, Billy Kennedy Portland, OR 97205 503-223-9919 Jasmine Tree Format: Blues, Jazz, Acoustic, Pop, Al ter na tive. 401SW Harrison Booking: Dan Reed Portland, OR Capacity: 250 503-223-7956 Equipment: SA PA system, lights, soundman Headliners: Slowrush, Imogene, The Sen su al ists Jazz de Opus 33 N.W. 2nd Avenue The Rabbit Hole & Mad Hatter Lounge Portland, OR 97205 203 S.E. Grand Avenue 503-222-6077 Portland, OR 503-224-6631 (fax) 503-231-2925 Format: Jazz Booking: Bill Leeds (503) 236-2455 Booking: Haley Format: original acoustic Capacity: 50 Equipment: PA Equipment: Piano & speakers Headliners: Fernando, Luther Russell, 44 Long, Headliners: Mel Brown, Thara Mem o ry, Kelly Kaitlyn ni Donovan Broadway. The Red Sea Jimmy Mak’s 318 S.W. 3rd Avenue 300 N.W. 10th Portland, OR 97205 Portland, OR 97209 503-241-5450 503-295-6542 503-224-6570 503-279-4640 Format: Reggae, World Beat Format: Jazz, Blues Equipment: PA Booking: Jimmy Capacity: 95-165 Rock Creek Tavern Equipment: none 10000NW Old Cornelius Pass Road Headliners: Tony Starlight, Pepe & Bot tle Blondes, Hillsboro, OR Ben Fowler, Art Davis Quartet, Thara Memory 503-645-3822 Booking: Jan Haedinger Kennedy School Format: Americana, singer songwriter, acous tic and 5736 NE 33rd low volume electric Portland, OR Equipment12 ch board, 2 monitors, 3 mics, stands 503-288-2477 and cords. Format: Roots Rock, singer songwriter Booking: Jan Haedinger Roseland Capacity: 100-150 8 N.W. 6th Avenue Equipment: PA provided Portland, OR 97209 Headliners: Craig Carothers, Gary Ogan Website: www.doubletee.com Format: all musical styles Laurelthirst Booking: Double Tee/Adam Zacks 2958 N.E. Glisan Street 503-221-0288 Portland, OR 97232 503-227-4418 (fax) OREGON 503-232- 1504 Capacity: 1350 Format: Blues, Folk, Acoustic Rock Equipment: PA, lights Booking: Bill Leeds: 236-2455 Headliners: Local, Regional and Na tion al acts Capacity: 100 Equipment: PA Roseland Grill Headliners: Belmont Street Octet, Jim Boyer, Little 8 N.W. 6th Avenue Sue, Plumb Bob Portland, OR 97209 LITHO Format: all musical styles Meow Meow Booking: Double Tee/Adam Zacks 527 SE Pine 503-221-0288 Portland, OR 503-227-4418 (fax) 503-230-2111 Capacity: 400 Equipment: PA, lights Metropolis Headliners: Local, Regional and Na tion al acts 311 S.W. Washington Portland, OR 97205 Satyricon 503-223-7515 125 N.W. 6th Avenue Format: 70xs & 80xs Retro Portland, OR 97209 Booking: Rami 503-243-2380 Capacity: 500 503-243-2844 (fax) Equipment: PA, lights Format: Alternative Rock/Punk/Var i ous Headliners: Booking: Ingrid Capacity: 250 Mt. Tabor Pub Equipment: PA, lights 4811 S.E. Hawthorne Blvd. Headliners: Dead Moon, Poison Idea, Everclear, Portland, OR 97215 Fernando, Flapjacks 503-238-1646 Format: all styles Seges Booking: Peggy 503-232-8813 818 SW 1st ave Capacity: Main Room 339 Portland, OR 503-279-0250 Acoustic Room 72 Equipment: PA, Lights Snake and Weasel Headliners: Buds of May, Omar Torrez, Fernando, 1720 SE 12th Ezra Holbrook, Steve Smith Portland, OR 503-232-8338

Page 14 - TWO LOUIES, December 2002 TWO LOUIES, December 2002 - Page 15 503-540-4069 The Jazz Bar at Sweetbrier Inn Format: Rock, Alternative, Funk 7125 SW Nyberg Rd. Booking: Dennis Ayres Tualatin, OR 97206 Capacity: 150 503-692-5800 Equipment: 6 channel PA, no mics, lighting 503-691-2894 (fax) Headliners: Xing, Jesus Presley, American Girls Format: Jazz Booking: Denny 425-454-4817 Westside Station Capacity: 50 610 Edgewater N.W. Equipment: Piano, PA Salem, Or 97304 visit Headliners: Mary Kadderly, Dana Lutz, Jean-Pier 503-363-8012 Gareau, Format: Classic Rock us at our Marilyn Keller, Johnny Martin Booking: Donny new eastside Capacity: 100 location Tonic Lounge Equipment: PA, lights 3100 NE Sandy Blvd. Portland, Oregon 97232 Corvallis 503-239-5154 Format: Rock, Alternative, Goth The Peacock Tavern Booking: Devon 125 S.W. 2nd Avenue Equipment: Corvallis, Or Headliners: American Girls, Asthma Hounds, 541-754-8522 Feller, Mel Format: R & B, Alternative, Acoustic Booking: Randy: 503-556-0405 Tillicum Capacity: 350, 275 8585 S.W. Beaverton Hillsdale Hwy. Equipment: PA, lights Portland, OR 97225 Headliners: Linda Hornbuckle, Rubberneck 503-292-1835 Format: Blues, Jazz, Rock nx Roll Albany Booking: Cindy Capacity: 200 The Venetian Theater Equipment: none 241 W. 1st Avenue Headliners: Lloyd Jones, Norman Sylvester, Jim Mesi Albany, OR 97321 Band, Midnight Blue 541-928-6733 Format: all musical styles Tug Boat Brewery Booking: Robert Connell 711 S.W. Ankeny Street Capacity: 685 Portland, OR 97205 Equipment: PA, lights, soundtech, 503-226-2508 Headliners: Calobo, Floater, The Daddies Format: acoustic rock, jazz Booking: Megan Eugene 503-777-3900 Capacity: 50 Equipment: mixer, speakers and mic. Good Times 5924 S.E. 47TH Ave, Portland Oregon 97206 Headliners: Creative Music Guild, Rob Blakely 375 East 7th [email protected] Eugene, OR 97405 Trails End Saloon 541-484-7181 WWW.FWIWIMPORTS.COM 1320 Main Street Format: all musical styles Oregon City, OR 97045 Booking: Dog House Entertainment, Brendon 503-656-3031 Relaford: 541-342-7743 503-656-7872 (fax) Capacity: 250 Format: Blues Tuesday-Saturday Equipment: PA, lights, sound tech Booking: Randy Lilya (503) 556-0405 Headliners: Body & Soul, The Daddies. Capacity: 150 Equipment: P.A., lighting John Henry’s Headliners: Little Charley, Paul DeLay, Duffy 136 East 11th Bishop Eugene, OR 97401 541-342-3358 Vic’s Tavern Format: alternative, hip-hop, funk, etc. 10901 S.E. McLoughlin Booking: Bruce 541-343-2528 Milwaukie, OR Capacity: 300 503-653-9156 Equipment: PA, lights Booking: Lynn Headliners: The Daddies, Floater Format: Original music-Rock Capacity: 100 Wild Duck Music Hall 169 W. 6th White Eagle Eugene, OR 97405 836 N. Russell 541-485-3825 Portland, OR 97227 Format: all musical styles 503-282-6810 Booking: Dog House Entertainment, Brendon 503-282-0842 (fax) Relaford: 541-342-7743 Format: Various (no punk/techno) Capacity: 500 Booking: McMenamins/Jan 503-249-3983 x 497 Equipment: PA, lights Capacity: 110 Headliners: Charlie Musselwhite, Calobo, John Equipment: 12 ch board, 3 monitors, 6 mics, Light- Hammond ing, Some in-house sound assistance Headliners: Buds of May, Steve Bradley, Jerry Joseph The WOW Hall & Jackmormons, 291 W. 8th Avenue Jeff Trott, John Bunzow Eugene, OR 97405 541-687-2747 Salem 541-687-2746 (fax) Format: all styles: music, dance, theater Boones Treasury Booking: Allison Carter 888 Liberty N.E. Capacity: 400 Salem, OR Equipment: PA, lights, soudtech, stage manager 503-399-9062 Headliners: Greg Brown, Vassar Clements, Format: Roots Rock NoMeansNo. Booking: Jan Haedinger Capacity: 75 Equipment: PA, 4 mics, 2 monitors, 1 amp Tommy John’s 248 Liberty Street Salem, OR 97301

Page 14 - TWO LOUIES, December 2002 TWO LOUIES, December 2002 - Page 15 The Cowtrippers Tony: Drums Drew: Guitar and Vocals Allegra Mastercraft Series Drums A. 60’s Guild Starfire 16x24 kick 8 ply B. Carvin 100 Tube Amp. 13x15 floor tom 6ply C. Marshall 4x12 Stereo cabinet 11x13 floor tom 6ply 1. Arion Chromatic Tuner 8x10 rack tom 6ply 2. Maxon Analog Delay 7x13 snare drum with maple hoops 8ply 3. Nobles Tremelo Cymbals: Zildjian 4. Turbo Rat A. 22” K ride 5. Thomas Organ Co. Vintage Wah B. 18” K thin dark crash 6. Vintage Military issue ironing board C. 18” classic oriental china Drew Norman also uses Dunlop picks D. 17” K custom dark crash and D’Addario Strings E. 14” K custom mastersound hats Tony Esperanza also uses Tama pedals and Vic Firth Chad: Bass xtreme 5b sticks A. Vintage 70’s Fender Jazz Bass B. Ampeg SVT 3 Pro Rack Benny: Saxophone ( various brands ) C. Ampeg 8x10 Classic 3. Audix D4 and Audix ADX90 microphones D. Back up Bass is an 80’s Musicman (thanks Lea!) Benny Morrison also his lungs!! Chad Youngman also uses GHS Boomers Heavy Gauge and his fingers!!! Billy: Vocals 1. Audix OM7 microphone Billy McPhee also plays himself!!! stage front 3. 1. 2. Benny Billy 6. 1. 2. 3. 4. 5.

Drew Chad D. B/C

B/C 24” A. 10” B.

E. C. 13” 13”

Tony 15”

Page 16 - TWO LOUIES, December 2002 TWO LOUIES, December 2002 - Page 17 Some CD Review Excerpts lilt and sway through the presence of a variety of From the Last 0.27 Decades guitar sounds; everything from fast and dirty to oscillating tremolo echoes. In one moment its Dizzyfish-The Flower CD atmospheric quality could blow away with the CD-Independent next mass of wind and clouds, in the next thrash- Continued from page 3 ing electric guitars pull you back to Earth. Pamela to put out a fantastic indie pop CD called “Music his four song project is CD Haiku, the Rooney’s sweeping, airy voice is a magnet to pull For Interplanetary Travel.” Sadly though, as a band, music is liquid with a trace of U2/ you into this carefully crafted, beautifully arranged Drive’s members headed down different roads. TUp from the musical ocean’s abyss and and played music. Music for Interplanetary Travel Guitarist AdamWayne and drummer Shane Fisher onto an EP called Dizzyfish/ is a crown jewel. shifted over to the Bella Fayes. Drive’s exquisite The lingering current that flows from this singer and bass player Pamela Rooney continued to music is more than words can exress/ Lael and the Loved- Diary write with Adam Wayne. Wayne eventually left the The lyrics go deeper than the sea itself, I ask CD-It’s Been Done Before Music Fayes. These two formed the band Charmparticles you what fish could do this?/ who can be seen all over Portland today. Shane It’s a Portland pop-rock band worthy of men- t’s a delicious platter of savory guitars, Fisher continues to drum with the Bella Fayes. tion. I write in Haiku to get your attention/ uncommonly well done background From out of nowhere, The State Flowers Ivocals, and tender side dishes featuring bloomed with their CD the “Third of July.” The Jonah- Save the Swimmer trumpet and sax sautéed in B3 organ and keys. band was a conglomeration of players that had CD-Jonah Music All of this is served over the impressive body of done studio work together for years and included ave the Swimmer is a courtly collection meaningful lyrics and non-recycled melodies that Corrina Repp and Peter Ficht. Their music had a of majestic melodic pop. Having fared got this artist signed to begin with. definite Brit Pop direction with a wonderful west Sthe turbulent seas of band-name tran- As well produced as Diary is, the choicest coast indie pop flare. It’s unclear as to whether or sition, emerging from Dizzy Fish as Jonah, lead cuts are the solo tracks that feature Alderman and not they declared their independence from each singer Henry Curl now sings with an ocean of heart his guitar. It’s on these tracks that the depth of his other or whether the State Flowers just wilted and power giving the sense that this band is stand- music and performance are most apparent. His away. ing on higher ground. Exquisitely written songs singing, songwriting and playing are enough to Jonah formed from the band Dizzyfish whih flow from one to the next like waves passing on hold this entire project together without a single had recorded an EP that was produced by Steve their energy to a new set of ideas. Jonah maintains embellishment. His voice all by itself expresses Sundholm who also, incidentally, produced its characteristically celestial electric guitar reverbs those feelings that can’t be said with words. The Spin Jupiter Spin. Who is Steve Sundholm? He’s and delays and trickling tremolo mandolin notes, simple strumming of his guitar traces a scenic the grandson of Norm Sundholm….you know but in some cases they’ve added electronically journey that can only be walked alone. Louie Louie don’t you? Okay…So Dizzyfish’s CD, orchestrated string sections, elevating these songs known as “the flower CD” because of a gigantic to symphonic splendor. Phamous Phaces- Suite 420 hand-drawn flower on the front, was praised by Sometimes with liquid elegance, other times CD-Independent release Portland music critics. I recall that this was the with scalding intensity, Jonah delivers emotionally summer I took up writing Haiku CD reviews. I churning songs. Save the Swimmer is refined with heir music is like a Harley; dangerous bagged Haiku that summer as well. Anyway, though grace, fueled by ambition, and ignited with a spark yet refined. There’s a powerful rhyth- Dizzyfish had been on the verge of calling it quits, of brilliance. Tmic motor pulsing beneath the shiny they instead put it all together with a full length chrome exterior of this Eugene Band. Cool and CD called “Save the Swimmer” and changed the Drive- Music For Interplanetary Travel refreshing as a mountain of raspberry Slurpies, band name to Jonah. In the Fall of 2002, a track CD -Secret Decoder Records here are some songs that your music neurons will from this CD was featured on the television show keep firing for. The “Phaces” music is Beatlesque Dawson’s Creek. roduced by Ezra Holbrook, Drive’s with a hint of Magical Mystery Tour infiltrating music is a dreamy, experimental musi- this beefy machine. Their songs are sleek, well Pcal landscape. Violin counter-melodies Continued on page 20

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Page 16 - TWO LOUIES, December 2002 TWO LOUIES, December 2002 - Page 17 agreement) constitutes the entire agreement of the collaborative relationship. co-writers, and that it cancels out any earlier agree- ments or understandings between the co-writers Editor’s Note: Bart Day is a Portland-based regarding the songs covered by the collaboration entertainment attorney in private practice and is Continued from page 5 agreement. also music counsel for Vivendi Universal Games, the computer game division of Universal Studios. will often agree that if a song is not completely CONCLUSION Bart is also the co-author of a chapter (entitled developed, the lyricist will retain all rights to the There are numerous issues which need to be “Contracts and Relationships between Major Labels lyrics, and the composer will retain all rights to covered by a collaboration agreement. At the very and Independent Labels”) in The Musician’s Business the music. least, you should consider having a collaboration and Legal Guide, a book compiled by the Beverly 6. Warranties. Collaboration agreements agreement prepared for at least those songs that Hills Bar Association and published by Prentice-Hall usually provide that each writer promises that the have already been written. Publishing (New York). material which he contributes is original material, and does not violate anyone else’s copyrights, rights of privacy, etc. “Typically, in the music business, 7. Nature of Relationship. In order to mini- mize their liability to third parties, the co-writers there typically is no written agreement usually agree that the collaboration agreement will not make them partners, joint venturers, agents until the collaborators get a record of each other, or create any kind of employer- employee relationship between them. deal or publishing deal, and often not 8. Ownership of Material. The Collabora- tion Agreement will usually provide that any mate- even then. Often the assumption is rials created during the songwriting process -- such as recordings, lead sheets, etc. -- will be jointly and equally owned by the co-writers. that the co-writers will share equally 9. Duration of Agreement. It is usually agreed that the provisions of the collaboration any rights in the songs on which they agreement relating to copyright ownership and sharing of income will remain in effect for the full have collaborated.” length of the copyright term of the music covered AsAs forfor whetherwhether youyou shouldshould continuecontinue yyourour rela-rela- TheThe readerreader isis cautionedcautioned toto seekseek thethe adviceadvice ofof thethe by the collaboration agreement, or – using copy- tionship with your co-writer in the circumstances reader’s own attorney concerning the applicability of right law lingo -- for the “life of copyright.” described in the letter above, this would depend on the general principles discussed in this column to the 10. Entire Agreement. The collaboration whether you can again have the trust in him that reader’s own activities. agreement should provide that it (the collaboration is so essential, both musically and legally, to any LL

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Page 18 - TWO LOUIES, December 2002 TWO LOUIES, December 2002 - Page 19 Suite 420 is a CD full of intrigue and mystery. This its own engineer, Lizzy Tanzer. It’s a good sounding is a disk that you can’t go wrong with. disc. It’s warm and screaming like that time when I was a kid and I touched the stove, or like a pride of lions chowing down on a live, struggling zebra. Favorite Punk Reviews This is good, wholesome, vulgar, insulting punk. Continued from page 17 arranged, and come bearing attitude. Track one, Stink And Linger- Punk “Letting Go,” with electric guitar, bass, and drums Independent 4 song demo. My All Time Favorite Punk Review is pop that packs a mean punch. And just to make sure you know that they are proud to sport their As sensitive as a sledge hammer and as deli- Spuds- Punk Demo Beatles influences, they have a sitar on one song cate as a chainsaw, you know the drill...wall to wall CD-Very Independent as well as a hidden track called...... well I shouldn’t thundering guitars...light speed drums...huge dose tell you...it is after all a hidden track. Let’s just say of hard-core, “ugly underwear” type lyrics makes I’m seriously glad this disc was short. that it’s a Beatles song and its initials are, “I Am The you want to pierce a lobe...the occipital for instance. Walrus.” Even with its Beatlesque pop direction, This all girl punk band sports technical genius with LL

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Page 20 - TWO LOUIES, December 2002 TWO LOUIES, December 2002 - Page 21 with strong musicianship and clever arrangements feathery acoustic bass generates subtle momentum that concentrate the focus on each member’s indi- against Pancerev’s syncopated rim work and frothy vidual strength. And the members of this band have cymbals. A nice interaction Cleveland and the saxes a lot of individual musical strengths, widely dis- ensues, preceding an extended sax solo. played over the course of the pieces presented here. Volume pedal guitar whales swim in the Continued from page 8 Among the nine pieces, four are original pieces, one murky depths of Don Cherry’s “Guinea,” before one/That message of surrender and goodbye.” a traditional Malian folk song, and four others are Pancerev propels the rhythm section, setting the The hidden fi nal track “Faster Police” (?) is compositions from some of the jazz masters scene for intertwining sax/guitar fi gures. After practically two songs in one, with metal-tinged The opening cut, “To B”, written by drum- extended sax solos, Wayne launches into an edges poking through the first portion while mer Steve Pancerev is a fi ne example. Under Don expansive spacewalk with the digital delay. Next, soft, acoustic guitar backing supports the latter Corey’s sauntering bass lines, Pancerev and percus- the entire line-up launches into a lengthy cruise section. sionists Eugene Flores and Nojeem Lassisi gently down a funky musical highwayon Davis’ “IFE,” with There is an element of self-pity in the lyrics array a bed of tones and textures. Here a plaintive sax and electric piano jousting for the forefront, to many of these songs, which tend to mitigate sax softly moans a middle-eastern fl avored melody. before guitar intercedes with a rambling, Robbie there impact somewhat. bathos and pathos are At the bridge, guitarist Matt Wayne joins in a brief Kreiger (guitarist of the Doors) like solo. The constantly at play , here. But Casey Nova is still duet, before the sax resumes its solo. Then Steve percussionpercussion ssectionection tthenhen ttakesakes ooverver ttoo ccreatereate aann better than most at coupling words with music. His songs refl ect a level of compositional skill that “Through all of their manifestations, is superior to his competition. Longtime fans of Casey Nova will recognize with this submission, his Flatland have elicited high critical praise gift as being entirely intact. Those unfamiliar with his work (or the work of his sterling bandmates) for their instrumental jazz musings, which just might be in for a pleasant surprise. draw heavily upon the rock idiom.” To B- Flatland ClevelandCleveland eentersnters wwithith a ddistortedistorted ssoloolo oonn tthehe ambianceambiance similar toto that ofof DDeodato’seodato’s ““AlsoAlso SpSpokeoke Self-Produced Wurlitzer electric piano, in a style reminiscent of Zarathustra.” latland have been in operation for over Jan Hammer or Joe Zawinul; intertwining with the Corey’s exciting Spanish-guitar styled entry fi ve years now, originally as a trio; grad- guitar. Sublime stuff. solo on bass, creates a smoldering atmosphere, Fually adding players to the fold as was Corey kicks off the next track, Miles Davis’ on his composition “New Guinea, “from which deemed necessary. They are now a septet, though “Jack Johnson,” with a percussive wah wah attack the song slowly combusts, with an arresting vocal they will add additional side players on occasion- on bass, playing against expressive hand drumming emerging from the fi ery coals. Lastly, the fi nal such as recent gigs where percussionist Chata Addy from Flores and Lassisi. Pancerev joins in as Wayne number, Wayne’s “Urchin,” is a free jazz excur- played with the band. Guest Saul Cline is aboard, injects subtle articulations. Sax enters in for a little sion with squawking saxes fi ghting against fl ailing on this project, adding his expertise on saxophone trip on the outside. Corey inaugurates the next guitar, before a sax rises from the ashes with a with that of regular member Mary-Sue Tobin. track, “Yer Mali Gakoyoyo,” the afotementioned tawdry theme. Through all of their manifestations, Flatland Mailian folk song with a slow, luxurious stand- Flatland have grown into an excitingly pro- have elicited high critical praise for their (mainly) up bass excursion, before launching into a more fi cient ensemble, more than capable of creating a instrumental jazz musings, which draw heavily spirited interlude, with sax duets playing against wide variety of Jazz moods. The high caliber of upon the rock idiom, ala Frank Zappa, Herbie muted guitar contemplations. musicianship throughout this project affords the Hancock, Return To Forever, Weather Report Corey lends Herbie Hancock’s “Mama” a simi- band the uncommon luxury of being able to tackle and, ultimately, Miles Davis- circa In A Silent Way lar treatment, with a resonant introduction. The an extensive array of styles; apprehending them and Bitches Brew. saxes create a warm waft through which Cleveland and amplifying them- far beyond mere mimicry. This makes for an intoxicating concoction, wends melodic gospel-infl ected Wurlie threads. These musicians are more than equal to the high especially when the band manages to incorporate tasty. A bluesy context informs the Pancerev’s standards set by the pioneers of jazz fusion, carving Latin and African infl uences into the mix, as well. “Ursula,” with a riff shared by guitar and saxes a clear path of their own, upon which to advance. The band neatly fuses all these separate elements, buffeted by bouncy Wurlitzer passages. Corey’s LL Give Photography for X-mas band promo photos

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Page 20 - TWO LOUIES, December 2002 TWO LOUIES, December 2002 - Page 21 MUSICIANS CLASSIFIEDS STOP IN ANY PORTLAND MUSIC FREE LOCATION & FILL OUT THE FREE FORM •Lyricist & Poet seeks band . I sing harmony ability for R&B, 60’s-70’s •Looking for musicians with vocals. Saturdays in Beaverton. and play guitar. Call Lex Talions rock-n-roll band. Pat 503/636-7449 Steel and fi ddle a plus for road work John 503/645-2297 (Chris L.F.) @ pgr. 503-204-0935 or •Bass player needed! New band and videos. Call TNT Productions •Adult girl drummer interested eve only 503 348-8318 forming. Ooking for bass and 503/372-8685 in joining or forming band. My •2 cent Solution seeks new vocalist. vocals. Call Jason 503/304-8438 •Country trio seeks drummer who practice room is open for rehearsals. Pro only. Call Stacy @ 503-614-9338 •Guitarist/Vocalist w/bass seeks sings. Michael 503/254-8972 Gaylene 503/292-4743. or go to www.2centsolution.com band. Can do most classic rock •Craig George Jazz guitarist moved •Bettie Mayhem & The Disasters •WANTED: Bass, Rythm guitar and tunes. Into Original, Blues and up from San Francisco. Interested needs a permanent guitarist. keyboards for Brit pop infl uenced Rock. Call: Reedy 503/869-9335 in teaching reading, fi ngerboard, Psychobilly, rockabilly, punk. band. Walking bass lines preferred •Drummer wanted for old time harmony, theory and performing. Costumes & theatrics with Go Go James 503-7302774 CW/R&R band. Brushes a must, 503/258-0496 or cell: 503/318-7988 dancers. Bettie 503/286-3601 •Drummer available for studio vocals a plus. Be relaxed. Michael •Ex-bass player and drummer from •Lead Vocalist wanted for work. 20 plus years, solid, tasteful 503/254-8972 Joe Denny, Notorious and The established band with lead electric and in-the-pocket. All styles. Bryan •Female R&B singer/songwriter Bangers looking for a guitar player violin, bass and drums. Infl uences: Anderson 503/781-DRUM seeks musicians and producers to or players with vocals to join/form U2, Sting, Dave Matthews, Peter •Drum lessons. All styles, children, work original material. Pam or Tracy Rock Band Frenchy 503/591-1739 Gabriel. 503/293-2390 teens & adults, beginning to 503/644-1641 •Seasoned band looking for •Guitarist seeking band or guys to advanced, over 20 years experience. •Male vocalist seeks aggressive Keyboards, drummer and front jam with. I like Blues, 50’s, 60’s 503/781-DRUM modern metal band. I’m serious vocalist . Must be dependable, & 70’s Rock. I have pro gear. Todd •Guitarist looking to jam with level about joining a professional ambitious clean. Pro gear a must. 503/913-4333 headed people. Blues, Classic Rock, completed band. Infl uences: Euro/Latin rock call: 503/526-8781 •Rock & Roll Trio seeks keyboardist/ alt. Rock, some punk. Call Bill 503/ Disturbed, Drowning Pool, God •Band seeks serious drummer. vocalist w/2 set repertoire. 50’s- 307-4208 Smack. Tracy 503/720-9469 Infl uences: Cure Smiths, Jane’s 60’s- 70’s rock, blues, ballads •Accordian player wanted for •Bass player can sing & travel. Also Addiction, Trans Am. Patrick 503/636-7449 clarinet-tuba trio playing Klezmer, play guitar & drums. (but too dumb Call Jason Inihhi 503/236-7941. •Creative bass player w/chops Balkan jazz repertoire. Guitar also to write down a number) •Bass player wanted for Classic looking for people with similar considered. Kevin 503/239-4164 •Sunset Red cover band needs lead Rock Band, Age range 30-50. tastes. Yes, Grand Funk, Kid •Seeking keyboardist or guitarist guitarist. Booked weekends through We gig and are looking for more. Rock, G&R, Parliament, with 2 set vocal repetoire and 2002. Vocals a plus. Bob or Jeff: Know your instrument and practice Beasties, Tribute Band or mix-it- 503/244-5319 up. Collyman 503/658-2113

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Page 22 - TWO LOUIES, December 2002 TWO LOUIES, December 2002 - Page 23 ON THE COVER- Charmparticles, John J. Adams. Charmparticles released “The Scenic EP” last month TURNTABLES with a celebratory party at the Jasmine Tree. The Continued from page 13 four-song disc was recorded at Are You Listening? In returns to Jimmy Mak’s December 21st with Continued from page 4 Portland with Ezra Holbrook and Simon Widdowson. Willy Vlautin opening. Her last gig there was and more melodic, not as riff-oriented as Helmet The band is fronted by two former members of Eugene’s Drive, Adam Wayne (vocals, guitar, sold out…Going To March has changed their was. [With] Helmet I sort of prided myself on being keyboards) and Pamela Rooney (bass, vocals), and name to Stars Of Track and Field…Point anti-songwriter, cause I thought songwriters were also includes Sarah FitzGerald on guitar. Catch them Defi ance has recorded two new songs with all pompous jerks… but I realized, you know, you in December on the 12th at Ash Street Saloon and the producer Brent Derocher at Spectre Studios in can write a song and it doesn’t have to be just walls 20th at the Fez Ballroom. (photo Pat Snyder) Tacoma…The Center for Hip-Hop Education of sound… big giant dumb riffs.” presents the Hip-Hop Film Festival at the Guild What strikes me about Page is that the very Theater December 13th thru 15th. The lineup process of creating music stimulates him. Possibili- of fi lms includes Kevin Fitzgerald’s Award ties motivate him. He wants to better understand winning documentary fi lm Freestyle: The Art Of “Musical integrity is Rhyme…Nicole Campbell opens for Marianne • Established 1979 • th TWO LOUIES PUB LISH ING Faithfull at the Aladdin December 5 . Nicole’s something Page picked up Editor: Buck Munger Cable Access show with Brian Cutler airs on Graphics & Photo Editor: Buko channel 23 Wednesday, December 11th and again early. His initial spark of TwoLouiesMagazine.com Art Director:Deb McWilliams th Writers: at 8PM on Friday, December 13 on channel musical inspiration came Marc Baker • Buko • S.P. Clarke • Bart Day 22…The 8th Annual Acoustic Guitar Summit N.L. Fogerty • Den nis Jones • Denny Mellor takes place at Lewis & Clark College December in the form of Led Zeppe- Robin Rosemond • Stephanie Salvey th Photographers: 14 in the Agnes Flanagan Chapel. The summit lin’s fi rst album, which he David Ackerman • Buko • Gustavo Rapoport • Pat Snyder brings together four of the top guitarists from Printed by: Oregon Lithoprint remembers discovering at Two Louies Magazine the northwest; Terry Robb, Mark Hanson, 2745 NE 34th • Portland, OR 97212 Doug Smith and Paul Chasman. Tickets a payless drugstore in PHONE (503) 284-5931 available at Fastixx (503/244-8499)…Anger Email addresses: southern Oregon, where Editorial: [email protected] Management headlines a show at the Paris Layout: [email protected] Theater December 21st with Psychosis, Flatline he grew up.” Web: [email protected] and Chrysalis…Shed recording their new album © 2002 by Two Louies Magazine. May not be re pro - duced in any form without the ex pressed writ ten “Piss Test” live at Sound Impressions December and appropriate music, in a manner that will defy consent of the publisher. Two Louies is avail able by 10th. Guests are invited and refreshments will be convention and speak most directly to spontaneity subscription. Send $35.00 for one year, post paid. served. “We’re going to smash a television set, so and feeling. Needless to say, he is quick to condemn sign the guest register,” says the band…The new the generic, lackluster feel of today’s popular music. that everything becomes so geared towards selling OLCC regulations barring entertainers under 21 “To me there’s a lot of music right now that’s not a product. The quality of music is not as impor- will put a crimp in the new band scene. “One of really musically that great, and bands that sell lots tant…I mean, there’s a lot of bad music out there, our best new bands, Public Groovement, has two and lots of records that don’t have much to say.” there’s no question about it… the music has taken members under 21, so we won’t be able to use This may be common knowledge to most of us, a back seat.” them anymore, “ says Mt. Tabor booker Peggy but Page primarily holds the industry responsible If Page’s talent and integrity as a musician are Glickenhaus. Former Little Women guitarist for the disappointing banality in popular music. anything to go by, Gandhi should be excellent stuff. Steve James is the father of a member of Public Because of the industry’s reluctance to perpetu- Like everyone else, I can’t wait. Groovement… ate anything new, the wider audience fi nds itself Wanna hear some Gandhi now? Visit confronted by a very limited range of listening www.gandhimusic.com for samples of what’s to options governed by seemingly low standards. “The come. LL problem unfortunately with the music industry is LL

Page 22 - TWO LOUIES, December 2002 TWO LOUIES, December 2002 - Page 23 ���� ����������� ������������

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