TWO LOUIES, March 2002 - Page 3 1989

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OREGON MUSIC / MARCH 2002

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PRODUCTION/VENUE GUIDE TWO LOUIES, March 2002 - Page 3 1989. arely a year old Nero’s Rome already had MCA and Island Records in hot B pursuit. Fronted by the handsomely charismatic singer James Angell and driven by moody guitarist Tod Morrissey, Nero’s Rome created a sensual sound that bore elements of the Doors and Simple Minds-a richly dark milieu, which allowed Angell free rein to express his direct and concise innuendoes in lyric form. The concept became very popular with female specta- tors. In those days MCA and Island Records were interested in the band’s’ten-song cassette release “Labor”, recorded on a cassette 4-track by drummer Tony Lash. “Labor””produced two bona fide radio hits. Over the years Nero’s Rome featured emerging pop star drummers Courtney Taylor of the Dandy Warhols, Greg Eklund of Everclear, Thee Slayer Hippie from Poison Idea and musician turned record producer Tony Lash. The band’s first album in ‘92 stayed at the top of northwest charts for months and tied the band up for a year in negotiations with Capitol, which ended “When Gary Gersh came in as the new president and fired everybody”. Nero’s’second album in ‘94, “Togetherly” generated a developmental deal with Mercury Records. After a Mercury-supported west coast tour and opening slot at Lollapalooza in ’95, the band broke up. Proving it takes at least a decade to become an overnight success, this month James Angell comes out of the woods with “Private Player”(See GBU p. 6) while at the same time Tod Morrissey’s band; Man of the Year, is picked for ASCAP’s new talent sampler. (See Turntables P. 12) LL

was the total jerk who caused the riots that ruined LETTERS Woodstock. Dear Editor Petrillo should get a medal. Wow. I stumbled across your web site (www Kevin McClusky .TwoLouiesMagazine.com) and I was amazed to Vancouver, Wa see Two Louies is still at it. I lived in Portland in THIS-DAY-IN-THE-LEGEND-OF-LOUIE the 80’s and followed the adventures of my starv- ing artist friends through your publication. I was Dear Editor WEB UP- DATE glad to see so many familiar names still making 38 years ago Indiana Governor declares the music there. song “Louie Louie” by the Kingsmen (currently Erin McIan #6 on the Hot 100) pornographic. He asks the Houston, Texas Indiana Broadcasters Association to ban the record. Although stations claim it’s impos- sible to accurately figure out the lyrics from HAIR’S NICE TOO “the unintelligible rendition as performed by the Kingsmen,” Governor Welsh claims his “ears Dear Editor tingle” when he heard the song. (1964) S.P. Clarke’s observation (GBU-February) Eric Predoehl that “Docile’s music isn’t great necessarily but the Santa Clara, California promo material however is excellent.” warmed my graphics artist heart. Let’s hear it for the support KARMA PIE troops! Wendy Longstreet Dear Editor, Lake Oswego Good for Richard Petrillo! That pie in Fred Durst’s face at Guitar Center was classic. (Turn- tables February) As I recall Limp Bizkit got busted for Payola right here in Portland and Fred Durst LL TWO LOUIES, March 2002 - Page 3 Page 4 - TWO LOUIES, March 2002 TWO LOUIES, March 2002 - Page 5 rittany Spears may not be a woman, but would yelp in pain, as four dressers transformed Electric. Oregon Tradeswomen, who I work with she is definitely no longer a girl. Un him into full uniform with sword and pack. Mozart on outreach programs, invited me. Darcy Varney, Bfortunately, a lot of her fans are young can really entertain. Having Eduardo Chama, the the development director at Oregon Tradeswomen pubescent girls that were described in a recent New flamboyant, Argentinean opera singer backstage and I have worked together to organize classes that York Times magazine article as mean. The slant warming up, was also extremely interesting. encourage high school and middle school children of the Times article was that recent studies have He lives in New York City, and to explore the trades. Darcy and I ended up being shown that the was previously in Portland Op- part of a ceremony on stage, before Lily’s perfor- behavior of eras The Love for Three Oranges. mance. Each recipient of a grant from the Equity He told me that he’s looking to buy Foundation stood in a receiving line to shake hands with some important people from Equity. After being briefed and trained on how to enter and exit the stage, and walk to our assigned seats, we got to enjoy the reception and mix with the mayor, Mrs. Kitzhaber (the most beautiful woman there that night), and lot’s of important people of Portland. The moon was almost full, and it was clear, cold a home outside of New York City because he’s and windy. We swept into the Tiger Woods Center been getting his hair cut in the same shop for five early and admired the theater that pays homage to middle school girls toward each other is years, and has never had the same the golfer. The manicured grounds, the art, and ar- more harmful than the playground fistfight. The barber. chitecture of the Nike campus were impressive, but article also suggests, that today’s it was a little chilly whenever PGE spokespersons girls are meaner than referred to Enron. Darcy and I discussed the di- ever. I don’t think so. I chotomy of working with non-profit organizations believe that young girls are for all the right reasons, but still having to ask for, the same as they’ve always and accept money from, sponsors who may not been, but that nobody ever have good labor practices, but have billions, and spent enough time or money give to charitable trusts. We are all connected and to research it. It’s good that sometimes the gift of giving has issues. It ended up researchers are taking an being a very entertaining evening in Beaverton, and interest in the cultural mo- I hope to be invited there again soon. rass of girls in puberty, but I’ve only heard a few things about James I can assure you, girls will be Canfield leaving Oregon Ballet Theater. I heard girls, as boys have always been that he already looks better, and that everyone, boys. My advice is to read the including James, knows it’s time for him to move Red Tent, and know that girls on. I can only say that I will miss him, and that I have always been powerful, not hope to go see OBT in New York, in August. mean. This power will never be Speaking of dance, I worked on the Hub- totally revealed, just like reality bard Street Dance from Chicago at the Arlene can’t be explained, or the mean- Schintzer Concert Hall. What a great perfor- ing of life. I know that girls, just mance! I was honored to be on the same stage like women, work in mysterious as all of the dancers, and I thought most of ways that should not be described the choreography was innovative, fresh, and as mean. Pubescent girls are pas- moving. I especially enjoyed Minus 116 by sionate. They are capable of deep Ohad Naharin. The music for the piece was love and extreme violence. We all celebratory. I want to go out and find a Dean know the story of Romeo and Juliet Martin version of Sway. and how old they were. Those two I’m getting ready to work on NSYNC. star-crossed lovers were casualties Everyone working on the show, which is of the same passion, and that was a the first stop on the tour, has to have photo iden- long time ago. I was invited to an tification above and beyond his or her employee I worked on Cosi fan tutte for evening with Lily Tomlin at the Nike Campus. She passes. They say that the boy band is getting death Portland Opera. It was a good opera, although flew up from San Francisco for one performance. threats. lengthy. Working with the operas core production crew of Bill Anderson, Laura Hassell, Eric Walstad, and Kevin Mynatt is always a pleasure. The con- ductor, Carol Lucas was great and I loved watching her every move on the back stage monitors. During the second performance, James Bobick fell off the back of the raked stage. He got his Indian style slippers caught in his hoop skirt. I was standing stage right when I heard a thud from upstage center. The Equity Foundation made her the headliner for Please write to me: [email protected] I walked up stage to get a view, but by then, two the Foundation’s Investment in Dignity Awards. stagehands were at the singer’s side. When he did The Equity Foundation also honored the winner not get up, I knew he must be hurt. He fractured of the first John Grigsby-Jim Vegher Investments an elbow, but went on to complete the run of the in Dignity Award. It was given to Fred Miller, opera in fine style. During his quick changes, he executive vice president of Portland General LL Page 4 - TWO LOUIES, March 2002 TWO LOUIES, March 2002 - Page 5 lenging approach to his craft. It is clear from the me up?” The song ends with the vaguely disquieting start that Private Player is the work of a true artist, lines: “Then you’re angry/Then you’re bored/Then exploring the intrinsic idiosyncrasies of his soul. you make a drinky-poo/ The album has a distinct, cloistered quality And after awhile and after a few/ You say mew about it, as if the whole project were a painstakingly little kitty kitty mew mew mew.” distilled brandy. Without being told, the average This all serves as an ominous prelude to the listener will know immediately this is indeed a harrowing passion play that is “Ed Blue Bottle.” very private and personal enterprise. It is a fairy Keening against a strong, angular piano/acoustic tale, of sorts, but a darkly adult fairytale. His young bass (Phil Baker again) figure, Daniel Riddle’s sub- daughters, as well as other family members, even dued electric guitar phrasings and the syncopated sing in parts of the album, though it seems that the drum patterns of Steve Hanford (Poison Idea’s finished product would likely frighten any child Thee Slayer Hippie) the song slowly begins to under age eight or nine. melt and drip around the periphery, like a Salva- It all begins innocently enough, with “Ooh dor Dali painting sliding into the horrific chorus. Love,” a majestic ballad, propelled by James’ gor- The overall effect is easily the equivalent of Ray geous open-chords on the piano. His elaborate Milland’s film “Lost Weekend.” vocal layers echo tears for Fears or World Party; The chorus of “Call Of The War” seems to his gentle, creaking falsetto, mirrored in the mix,

Private Player— James Angell Psycheclectic Records he road has been a long and winding one for James Angell. Throughout the T late ‘80s and into the mid-’90s, James set young women’s’ hearts afire across the region as the lead singer for Nero’s Rome, one of Portland’s most popular bands of that era. Nero’s Rome songs were generally about love and sex, and the pursuit thereof— with Angell’s good looks generating a Morrison-like personae, while the band would converge behind him with INXS-ish precision. The band consisted of great musicians, many of whom later went on to greater things, including guitarist Tod Morrisey, drummer Tony Lash, and Lash’s replacement (when he left to join Heat- miser) Courtney Taylor. Obviously, Nero’s Rome was no band of hacks. And it’s a true testament to the friendships that were shared that Morrisey and, especially, Lash play key roles in this, James Angell’s first recording since the band broke up nearly seven years ago. careens against soft synth string pads, with Todd bear some melodic resemblance to Duran Duran’s Angell has returned to the frantic fray of the Chatalas’ faint acoustic guitar accentuating Tony “Ordinary World.” A strikingly organic piece, the Pop music world with a truly prodigious, work that Lash’s subtle drumwork and Phil Baker’s sublimely interplay of Lash’s loops and synth strings, coupled is quite unlike anything ever recorded before. It has elegant fretless basslines. Simply wonderful. with Hanford’s subtle drumming and Riddle’s at- its antecedents, James’ thoughtful songs, near the “Who’s Wakin’ Me Up?” picks up the tempo, mospheric guitar interjections (some apparently end of his run with Nero’s Rome, gave evidence that somewhat. Angell’s piano settings bounce off backwards), recalls some of Kate Bush’s best work the guy was no dummy. That he had some insight of Lash’s Mitch Froom-like drum, loops and for sheer ambience. into the human condition, as well as some compas- clockwork-like percussion. Lyrically, a slightly “Picture Perfect” begins with a Radiohead-like sionate wisdom to impart, was obvious, though not dipsomaniacal edge creeps into the second verse. trip down Variable Speed Lane, before resolving fully explored in that incarnation. “If that’s who I think it is/Tell them it’s you know into a Lennonish (think stark, like his first solo Here, James traverses the very borders of who, sayin’ you know what/And my little friends album) ballad with gospelly piano and organ Pop song structure (similar, in a way, perhaps, to they talk to me and tell me secrets/ That’s when I backing. Though far more tender in sentiment Radiohead; but entirely different), and, in some say hey that’s cool/ It’s like The Birds, the movie The than Lennon was, James seems to be confronting instances, reality itself, with a monumentally chal- Birds/ You hear that now, just now/Who’s waking Continued on page 19

Page 6 - TWO LOUIES, March 2002 TWO LOUIES, March 2002 - Page 7 A NEW KIND OF ARTIST ROYALTY, Congress than have the record companies, largely Copyright Act of 1998 (aka “DMCA”). AND A NEW KIND OF PAYMENT TO RE- because music publishers got a much earlier start The main significance of these new statutes, CORD COMPANIES on trying to collect airplay royalties for radio usage. in terms of the topic of this column, was the cre- By the time the major record companies started ation of a “public performance right” in sound The Skinny on the new trying to get legislation enacted to get paid for ra- recordings, but only in the Internet context. The “Digital Audio Transmission Royalty” dio usage, they were outgunned by the broadcast new statutes did NOT create a “public performance ue to recent changes in the U.S. copy industry. Essentially, all Congressmen had radio right” for sound recordings in any other medium right laws, Internet webcasters must stations in their districts, but very few had major – on the radio, for example. So while labels and D now pay money to artists and record record companies in their districts. artists are now entitled to be paid for the use of companies, as consideration for the webcasters’ It’s important to mention here, though, that their recordings on the Internet, they are still not streaming of sound recordings on the Internet. the traditional rules mentioned above apply only entitled to be paid for the use of their recordings on the radio.

How Are The Public Performance Monies To Be Allocated Between Labels and Artists? The DPRA statute mentioned above provides that the monies to be paid by webcasters are to be distributed as follows: 50 % to record companies, 45 % to the featured recording artists, “Public Performance Rights” to audio-only use of master recordings. If, for 2.5 % to background singers (through a trust In Sound Recordings: The Traditional Rules example, a master recording is used with visuals fund administered by the American Federation In order to understand the significance of (e.g., in a television show), then even under the of Television and Recording Artists (“AFTRA”), these new kinds of payments to record companies traditional copyright rules mentioned above, the union which represents vocalists), and 2.5 % and artists, it is important to first understand that under U.S. copyright laws, the copyright owners of sound recordings (i.e., record companies) and their artists have never before been entitled to any “public performance rights” in their sound recordings. This means, in effect, that record companies and their artists have not been able to prohibit third parties from “publicly performing” those sound other copyright considerations come into play, to background instrumentalists (through a trust recordings (for example, the broadcasting of such and a master recording could not be used in that fund administered by the American Federation of recordings), nor have they been entitled to pay- context without the permission of the owner of the Musicians (“AFofM”), the union which represents ment from broadcasters for the public performance master recording(s) involved. instrumentalists). (broadcast) of their sound recordings. The situation has traditionally been totally Collection and Payment Issues different for the owners of the underlying musical When passing the laws mentioned above, compositions – i.e., music publishers and songwrit- Congress did not specify how the monies from ers. Those parties, unlike record webcasters were to be collected and distributed. com- For example, Congress did not specify which organization was to collect the monies from webcasters, nor did Congress specify whether the artists’ share of such monies was to be paid first to record companies, who (theoretically) would then turn around and pay the artists their share of the webcasting monies. Also, the new copyright laws did not say whether the record companies were entitled to recoup, from an artist’s share of the webcast monies, the sums which are ordinarily recoupable under most recording contracts – for example, the recording costs which labels are or- Recent U.S. Copy- dinarily entitled to recoup from the artist royalties right Law Changes for record sales. In the 1990s, Congress passed Rather than definitively addressing these two important new copyright statutes which various issues in the statutes, Congress instead changed, to a limited extent, the traditional rules decided to let everyone fight it out over these is- panies and artists, relating to the general lack of “public performance sues. A group of arbitrators, called the “Copyright have traditionally been entitled to be paid for rights” for the audio-only use of sound recordings. Arbitration Royalty Panel” (aka “CARP”), was cre- the use of their songs on the radio. Music pub- These two statutes were called the Digital Perfor- ated to decide these things if the various parties lishers have been more successful in the past at mance Rights and Sound Recordings Act of 1995 involved could not come to an agreement. getting more extensive copyright protection from (referred to as “DPRA”) and the Digital Millennium Continued on page 8

Page 6 - TWO LOUIES, March 2002 TWO LOUIES, March 2002 - Page 7 the following arrangements (which is why the orga- their webcasts of music since 1998. nizations advocating for artists were finally willing Sound Exchange will then pay out the mon- to let Sound Exchange collect and distribute the ies collected to the record companies and artists webcast monies): affiliated with Sound Exchange. The amount paid Continued from page 7 1. The payments due to recording artists to any single record company or artist will be based Thereafter, the major record companies took will be paid directly to artists and not through on how much their recordings have been webcast, the position that they were entitled to collect the the record companies. The record companies will as opposed to other parties’ recordings, based on monies from broadcasters, then deduct from the not be entitled to any recoupment from any such data obtained from webcasters and on a Sound artist’s share of those monies (on an artist-by-art- artist payments. Exchange monitoring system. (Incidentally, if a ist basis) any amounts not yet recouped by the 2. Sound Exchange will be controlled by record company does not join Sound Exchange, record company for those artists, and then pay a board of directors, half of whom will be from and its music is used by webcasters, then it (and its the artists the balance. However, once the record record companies, and the other half will be repre- artists) would need to collect its monies either directly from webcasters or through an organization similar to Sound Exchange. However, no such organization yet exist on any significant level.) Incidentally, the webcaster rates currently being arbitrated apply only to non-interactive webcasting, which the labels have to allow because of the provisions of the new copyright laws. However, the labels do not have to allow interactive Internet transmissions (i.e., where listeners can choose what companies started taking that position, various sentatives of artists and artist organizations. they listen to). For interactive webcasting, the labels artist groups and the music unions (AFTRA, 3. All parties signing up with Sound Exchange can demand whatever fees they want to. (I’m over- AfofM, the Recording Artists Coalition, and the would have open access to Sound Exchange’s fi- simplifying here, but that’s the gist of it.) Music Managers Forum), as well as NARAS (the nancial files. “Recording Academy”), began to advocate for the 4. The agreement is non-exclusive, and so How Labels and Artists right of artists to be paid directly by whichever any record label can elect to also affiliate with any Can Get A Piece of the Pie company would be collecting the money from other collectives similar to Sound Exchange that If you own a label and/or are a recording artist webcasters, and for the right of artists to receive might come into existence. However, those other and want to consider joining the Sound Exchange such monies without any money being deducted collectives would not be able to issue licenses to organization, you can go to the RIAA website by the labels for recoupment purposes. webcasters to whom the Sound Exchange had (www.riaa.org) and click on the “licensing & roy- For a couple of years, these parties hag- already issued licenses. Also, a record label can- alties” section, where you can obtain background gled with each other and made their arguments to not join another collective unless the rules of that information on Sound Exchange, as well as the the Copyright Arbitration Royalty Tribunal (aka other collective provide for the direct payment to necessary forms to sign and submit. “CARP”). In the midst of all of that activity, the artists of the artists’ share of webcast monies, and Recording Industry Association of America (the unless artists have equal say in the operation of Stay tuned for further developments. trade association comprised of the major record the collective. Editor’s Note: Bart Day is a Portland-based companies), most often referred to as the “R-I- 5. Any labels’s agreement with Sound Ex- entertainment attorney in private practice. He is Double A,” created a subsidiary organization called “Sound Exchange,” which the RIAA proposed should collect the webcast monies. However, the various artist representatives, the Afof M, AFTRA and others objected, primarily because they felt that Sound Exchange couldn’t be trusted to collect and distribute the webcast monies in a way that would be fair to artists. Eventually, this past November, the various change can be terminated upon thirty days notice; also a partner in ALLMEDIA, Ltd., a company with parties involved were finally able to resolve their however any such termination would not affect or offices in Portland and Los Angeles which administers differences and they entered into a formal agree- terminate any licenses already issued by Sound music licensing for independent film and television ment at that time. This agreement covers all sound Exchange to webcasters. Sound Exchange would production companies, and for various record labels recordings owned by the record companies which continue to collect money for those licenses. and independent music publishers. have signed up with Sound Exchange. This in- Bart is also the co-author of a chapter in cludes all of the major labels, as well as numerous How Much Will Webcasters Have to Pay? The Musician’s Business and Legal Guide, a book independent labels, such as Alligator, Koch, and Even though there is now a system for the compiled by the Beverly Hills Bar Association and Blacktop. collection and distribution of the monies received published by Prentice-Hall Publishing (New York). from webcasters, it has not yet been decided how The reader is cautioned to seek the advice of the The New Agreement much the webcasters will have to pay for their In- reader’s own attorney concerning the applicability of Under the terms of the new agreement, ternet use of music. The “Copyright Arbitration the general principles discussed in this column to the the various parties agreed that Sound Exchange Royalty Panel” (aka “CARP”) is presently con- reader’s own activities. would collect the money from webcasters and ducting arbitration proceedings to determine the distribute that money to record companies and exact rates that webcasters will have to pay to Sound artists. However, the agreement also provides for Exchange. Once those royalty rates are determined, the webcasters will have to pay, retroactively, for LL

Page 8 - TWO LOUIES, March 2002 TWO LOUIES, March 2002 - Page 9 might know most of the great events in the spring and summer are now being booked and you need to develop a confidential list of personal connections and addresses that fit whatever market you’re going after. Check the papers and entertainment rags for upcoming events and see if you can schmooz your way up to the main decision makers. This often gets a little frustrating and it could take literally years to build up a list that will keep you busy all year long if that’s your goal. It never hurts to focus on the second word in “music business”, if you don’t the next band will. I just finished a killer gig up on the mountain! -Now I’m ready for spring. Mt Hood Meadows on a Saturday in February is the place to be, there can’t be very many sights t’s one thing to help celebrate Fat Tues years ago and it is no surprise they raised such a that are more hilarious than white dudes trying day but no one told me I could end up kind and gifted son, their warm hospitality and to dance to surf guitar while wearing ski boots. I with a big fat stinking swollen disabil- intelligence shines brightly in every one of Robert’s There is something about the way they wobble and ity claim-worthy on the job finger wound in the process! Some where between the raucous school wide noontime Mardi-Gras parade, food and Cajun (with steel drum?) music at PCC’s north Portland campus and the three sets of eclectic-style cajilypso meets flannel shirted north westerner city-billy blues in which I had to comp the bass line on my strat all night in addition to my normal gig schlep, I received some type of anthrax like music wound exactly on the tip of my left index finger. Now lets get this straight, I’m an Irish-English American Oregonian Portlander playing Cajun music (with the steel drum??) with no bass player, in a German Restaurant located in a strip mall in Vancouver Washington with a painful pussy swollen index finger, so where are the producers of the Twilight Zone when you really need them? Many thanks to Bill Phillips for help with the sound system again at PCC. Bill manages the north stage at the Waterfront Blues Festival every year and is well known for adding a note of respect and kindness in the type of backstage environment where because of tight scheduling tunes and solos. Robert is the oldest of five brothers, stumble backwards just before they hit the floor and other stressful elements often requires more which might well have helped him as a bandleader with a muffled thump and groan that makes me of a nail spitter..Thanks Bill! for these past twenty-six years, if you know what I feel good about my job and confident that my life Also many-many thanks to premier fiddle mean. So thank you Frank Cray! has true meaning after all. And there is something master Chip Cohen for traveling up from Eugene Guess What! It’s Promo kit time! about being locked outside of the ski lodge in a thin tropical shirt in thirty five mile an hour arctic wind by your trusting and loyal band members (ex- band members?) only to shiver until your nipples are blue and the size of Texas that conjures up not only feelings of hate and dismemberment but also an early intense yearning for those balmy post-rose festival sunny day gigs. My musician quote of the month comes via to help out on both Fat Tuesday events. Chip This time of the year I always like to encourage conga-man Pete Woodburn. plays the heck out of his hand made electric fiddle bands that want to work in casuals and the spring When Eric Clapton once asked Robert Cray through an aged and vintage Music Man amp through summer outdoor festivals, to put together if it was OK to use one of Robert’s tunes, Robert’s from the seventies when the air was dirty and sex whatever version of band hype and explanation smiley response reportedly was” Why not, I’ve been was clean. they deem appropriate together with a decent cd using yours for years!” Last month I received a clipping from the Ta- or tape and zit-retouched photo and send them coma News Tribune telling of the passing of Robert out to as many booking agents, promoters, festival Cray’s father Frank. I met Robert’s mom and dad committees as your postal budget allows. As you LL Page 8 - TWO LOUIES, March 2002 TWO LOUIES, March 2002 - Page 9 Cobra @ Dante’s.

TWO LOUIES, December 2001 - Page 10 TWO LOUIES, March 2002 - Page 11 Production Years Experience: Pro since ‘81 All Service Musical Electronics Repair Music Specialties: Blues, rock, jazz, clas- (Formerly KMA Electronics) sical, Electric/Acoustic 617 S.E. Morrison Availability: Yes! Portland, OR 97214 Specialties: Excellent live mix, stage Phone/Fax: (503) 231-6552 management and light direction. Pro- Toll Free: 1-888-231-6552 duction efficiency. Contact: Randy Morgan Clients: Candelight Room, Cascade Email: http://www.teleport.com/~fixitman Tavern, Terry Robb, Sundown Sound, Services: Quality electronic service for mu- Spectrum Sound, Razorbacks, Terra- sicians, studios and music dealers. Factory planes, Duffy Bishop, Lily Wilde, Paul authorized for most major brands. De Lay, Soul Vaccination, Gemini Pub Hours: 9-6 Monday through Friday, Saturday & Trails End Tavern. 10-5 Years Experience: 27+, over 20,000 repairs Thomas, Dwayne Specialties: electronic musical equipment from (503) 281-0203, Msg.: (503) 784- vintage to state of the art. If you can plug it in and 0361 make music with it, we probably repair it. Fax: (503) 231-9679 Clients: We have performed repairs for almost Services: Lighting every music store in Portland and Vancouver. Years Experience: 14 We have done work for acts such as Cheap Trick, Music Specialties: Rock, all others also. The Cars, The Moody Blues, 98 Degrees, Monica, Specialties: Full-time professional lighting de- Booking: Ingrid Everclear and many local artists. sign—concerts, clubs, special events, touring, Capacity: 80 2216 NE MLK Intellibeam trained, substance free. Equipment: PA, mics, lights 503-287-7254 B-Complex I.H.S. Production Clients: Quarterflash, Nu Shooz, Jon Koonce, nd Gary Miles Dub Squad, Tales Untold, Blubinos, The Killing 320 SW 2 The Blackbird (503) 731-0383 Field, Cool’r, Cal Scott, Caryl Mack, Roseland Portland, OR 97204 3728 NE Sandy 8063 SE 17th Avenue Theatre, John Bunzow & Cowboy Angels. 503-235-4424 Portland, OR Portland, OR 97202 503-282-9949 Service: Promotion, Sound Recording, Video Venues Bacchus post work. Portland 3200 SE 164th Avenue Billy Reed’s Years Experience: 12 years. Vancouver, WA 98683 2808 NE MLK Jr. Blvd Speciality: Servicing the Christian community. Aladdin Theater 360-882-9672 Portland, OR 97212 Availability: Anytime. 3017 S.E. Milwaukie Blvd. Format: Fine dining and high entertainment 503-493-8127 Portland, OR 97202 Booking: Tom Anderson Format: Jazz, Soul, Reggae, Blues, Latin Aloha Sound 503-233-1994 info line Capacity: 200 Booking: Fred Stevenson Pellegrin, Terry Format: All styles (no punk) Equipment: We got it all! Sound, lights and Capacity: 250 (503) 645-5422, (503) 330-3840 Booking: Mark Adler 503-234-9694 stage. Equipment: sound system Web Address: www.alohasound.com 503-234-9699 (fax) Headliners: Victoria Corrigan with Donny Headliners: Ron Steen, Norman Sylvester, Email: [email protected] Capacity: 588 Osbourne, Inkspots, Patrick Lamb band, Andy Cannonballs Services: Sound & Lighting Equipment: PA, lights Stokes. Years Experience: 13 Headliners: Warren Zevon, Ray Davies, Chic Bitter End Music Specialties: Blues, jazz, bluegrass, Corea, Keb Mo, Paula Cole Bar of the Gods West Burnside country. 4801 SE Hawthorne Portland, OR Availability: Always. Arnada Cafe 503-232-2037 503-517-0179 Specialties: Live demos on location, festivals, 1717 Broadway fairs, conventions. Vancouver, WA 98665 Berbati’s Pan Blue Note Lounge Equipment: JBL & Crown 360-750-9596 231 S.W. Ankeny Street 503 W Burnside Clients: Curtis Salgado, Linda Hornbuckle, Paul Format: rock, blues ,jazz, acoustic Portland, OR 97213 503-222-3334 De Lay, Soul Vaccination Booking: Miguel 360-750-0811 503-248-4579 Capacity: 200 503-417-1107 (fax) Beulahland Prescription Electronics Equipment: Full P.A., mic stands, monitors Format: Acoustic, Alternative, Funk, Jazz, 118 NE 28th P.O. Box 42233 Headliners: Blyss, Mel, Rustvein Blues, Rock Portland, OR Portland, OR 97242 Booking: Anthony: 721-0115 503-235-2794 Ash Street Saloon Capacity: 350 Ripplinger, Joseph 225 S.W. Ash Street Equipment: PA, lights Brasserie Montmarte (503) 655-3869 Portland, OR 97205 Headliners: National, Regional and Local acts 626 SW Park Services: Sound & lighting engineer, small 503-226-0430 PA and Light rental, Psychedelic Liquid Light 503-227-2403 (fax) Billy Ray’s Dive Continued on page 20 Show Format: Acoustic, Alt. Rock, Blues, Funk

TWO LOUIES, March 2002 - Page 11 This revolution will be televised. and last money you’ll see in a recording career “That was completely Wade Metzler’s Not since artists took control of their will probably come from a performing- thing,” says Man of The Year’s Tod Morrisey music publishing rights in the late 60’s has rights society like the American Society of the establishment of the music industry been Composers, Authors and Publishers or so under siege. Witness the historic four sold- their prime competitor Broadcast Music out Recording Artists Coalition fundraising Incorporated. concerts in Los Angeles the night before the Over the years ASCAP and BMI have Grammy Show. taken turns “discovering” and promoting RAC protest upstages NARAS awards. the Portland original music scene. At the Billboard (3/9) called it “a historic night start of the ‘80’s former ASCAP recruiter in Los Angeles, with four superstar concerts, Peter Burke got Quarterfl ash the platinum four different venues, and four competing Geffen deal. That brought BMI vice president promoters-all for a common cause.” Marv Mattis to town with George Harrison’s Over at the Forum it was Tom Hanks lawyer (Nu Shooz and Dan Reed) to convince schmoozing with the Eagles, Billy Joel, Sheryl Mayor Bud Clark the proportion of original Crow, Tom Petty, Stevie Nicks and John music talent in Portland was off the scale. The Fogerty. The Wiltern Theater headlined alt- Mayor, a music lover married to a violinist icons Beck, Mike Ness of Social Distortion in the symphony, responded with eight and Pearl Jam’s Eddie Vedder, with an years of nationally promoted original music unbilled appearance by Thom Yorke of showcases. Radiohead. At the Long Beach Arena the ASCAP returned shortly thereafter, teenyboppers got No Doubt, Weezer and organizing music publishers and songwriters Offspring while country fans fl ocked to the from all genres to defeat the source-licensing Universal Amphitheater for Emmylou Harris, bill. TV broadcasters wanted a buyout Dwight Yoakam and the Dixie Chicks. of television music themes rather than “The Concerts for Artist Rights generated “continuous payment for continuous an overall gross of some $2.8 million and are use.” ASCAP brought together Symphony projected to have netted the Recording Artists musicians and streetwise Rockers to lobby Coalition (RAC) $2.5 million.” Senator Packwood and Representative USA Today described the four events Wyden to ultimately defeat the bill. That as “protest” concerts made up of recording organizational victory drew ASCAP’s Ron artists seeking “less demanding contracts and Sobel back to Portland throughout the 90’s. more oversight of accounting practices.” Ron became a familiar figure at Portland The Recording Artists Coalition was born music industry functions and when North By to repeal the labels’ exemption to California Northwest chose Portland for their northwest labor law that restricts all personal-service site he lobbied ASCAP to open offices in contracts to seven years. Portland, hiring Wade Metzler from Tim The Chicago Tribune’s Greg Kot says “If Kerr’s T/K Records. The Portland offi ce never their campaign to create what is essentially an got opened, Metzler was promoted to Director artists’ union is successful, it could spell the of Repertory/Creative Affairs and relocated beginning of the end for business as usual in in Los Angeles. Shortly thereafter Sobel left a $16 billion-a-year industry.” ASCAP for a music download dot com. The Director of Repertory/Creative “Wade is a great guy to hang out with and Affairs will see you now… those are all his favorite Portland bands.” October 20th, ASCAP held a live Which would explain why all four acts Some things never change in the music showcase at Dante’s with My Regrets, Bella made it onto the prestigious ASCAP emerging business. Fayes, A.C. Cotton and Man of the Year. In a artists CD sampler released last month. Every big time record deal is ultimately ceremony at that event Terry Currier of Music The bands on ASCAP’s Ampt Music made on the basis of one song and the fi rst Millennium was honored for his continuing Series sampler, which is mailed to the society’s heroic support of local recording artists. Page 12 - TWO LOUIES, March 2002 TWO LOUIES, March 2002 - Page 13 contacts influential list and distributed “We spent a lot of last year working on New Ground show on Los Angeles’ radio throughout the talent buying music industry, music for television,” says Tod, “We had two powerhouse KCRW. The new talent show were chosen-(say the songs used on Buffy The Vampire Slayer, and is hosted by former DreamWorks A&R guru liner notes)-from “five last September Fox fl ew us to Los Angeles to Chris Duridus. of the nation’s most actually appear on the show playing our song Angell’s new solo album on Psycheclectic vibrant music scenes: in the Halloween episode that aired October Records “Private Player” is listed on Atlanta, Minneapolis, 30th. We fi lmed for a whole day and they gave Crawdaddy magazine’s “Best of 2001” and Portland, New Orleans us a very nice trailer to hang out in.” AllMusicGuide.com calls Private Player “The and Nashville.” Which song slew Buffy? Underground Classic of 2001.” On the 12 cut CD, For the Halloween live-on-tape James played his fi rst solo piano show at Nashville has three acts appearance producers picked “Just As Nice”, the Cobalt March 2nd. represented, Atlanta and the same track on the ASCAP sampler. “In an Minneapolis have two earlier episode they used ‘Silver Dollar’, also each and New Orleans from the year old Future is Not Now”. got one band on the When asked if the ASCAP recognition is Billboard (3/9/02).” reports, “Everclear’s disc. The red-hot center having any positive effect on the band’s career, Art Alexakis kicks off a 16-date solo tour of original music activity Tod says, “Capitol and Epic have jumped all March 21st in Detroit. He will perform solo and ripe commercial over us for more and more and more stuff and material and Everclear songs.” potential, Portland, the web site traffi c has really picked up.” Just not as loud. Oregon, contributed The Solo Art Tour touches down here four tracks to ASCAP’s for an all ages show at the Aladdin, April 9th. national talent search. Tickets $16.50. The Fab Four’s More Nero’s Rome Alumni News. Art also won at the Grammys when tunes include The Bella The Dandy Warhols made another he was photographed backstage with EMI Fayes’ “White Noise”, quick trip to the UK this month for “TV Chairman David Munns and Virgin Records My Regrets’ “Killing appearances, award shows and general merry artist Nikki Costa for a Billboard “Grammy Machine”, A.C. Cotton’s making.” February 25th the band appeared Winners Celebrate” color photo spread. (3/9) “A Lot of Water” and on the New Music Express awards show Man of The Year’s “Just where their single “Bohemian Like You” was as Nice”. nominated as Best Single for the 2001 NME What’s the Portland Carling Awards. The single returned to the As Chuck Berry once said, “I’ll be Sound got going on? UK charts nearly a year after the song’s initial walkin’ down Beale Street honey, wearin’ my Big guitar tone, release after Vodafone used the track in an pajamas…” crushing drums, Brit extensive advertising campaign. Thursday, May 23rd at the Orpheum harmonies, relentless The Dandys lost at NME, but not to Theatre in Memphis, Tennessee, The Blues chord changes and even worry, Courtney Taylor-Taylor was voted Foundation’s 23rd annual W.C. Handy Blues a little feedback. one of fi ve “Best Dressed” gents in the latest Awards and star-studded ceremony. issue of British GQ. Curtis Salgado is nominated for Soul/ The Warhols’ Capitol album “13 Tales Blues Album of The Year for his Shanachie From Urban Bohemia” has been certified release “Soul Activated”, produced by Marlon The year for Man of Gold in Australia, Ireland and England. McClain and featuring special guests Jimmie The Year. Vaughan, Lou Ann Barton and the Memphis “We’re working on Horns. a new album to be out in July,” says MTY guitarist Tod Morrisey. The album is being ASCAP is James’ angel too. produced by Nero’s Rome alumni Tony “I’ll be doing several ASCAP arranged Lash who also produced James Angell’s new shows in Los Angeles in April,” says former solo lp. Nero’s Rome frontman James Angell. Angell is scheduled for an April 20th live interview and performance on the Spinner’s Continued on page 14 Page 12 - TWO LOUIES, March 2002 TWO LOUIES, March 2002 - Page 13 Portland seeking their musical fortunes in “We’re in pre-production now on a TURN TABLES the mid 80’s. Drumattica album. Either an album, or Continued from page 13 Anny says she’s saved a few copies of Her we’re thinking of releasing three EP’s with Who needs tickets? & The Boss, and for $17 she’ll send you a copy the themes Hell, Purgatory and Heaven going Ducats for the Who July 6th in the (all proceeds to SIBL) send to: Ragazza Music from dark and heavy to light and uplifting Columbia gorge are going fast. Online PO Box 411402, Los Angeles, CA 90041. music.” scalpers TicketsNow.com (Premium Seating TV616 plays Dante’s March 16th and and Tickets To Sold Out Events) has a few Satyricon April 19th. seats in the 29th row for $305 each or if you want up front, close to John, Roger, Pete & The beat grows on. the flying guitar pieces, $510 will buy you a The side project of TV616 members, chair in Row 2. drummer Brian Lehfeldt and guitarist Portland is Drum City USA… Same as the old boss… Keith Brown is taking off. Originally just, This city has such monster players in “Something we were doing Sundays, once all bags the working landscape has always a month,” Drumattica’s “edgier”-than- been a musical fusion rather than any one Blue-Man-Group-percussion-experience dominant style of music. Portland may not Speaking of The Boss.. is drawing interest from artists across the have a “sound” but it has the players. The one Rose City Princess Anny Celsi landed musical spectrum. February 23rd Drumattica thing the local music scene has always been a track on a compilation album with Bruce headlined Dante’s and did gangbuster famous for, is drummers. Springsteen, Grace Slick, Aimee Mann, business with a lineup of musical guests as Think about it. Suzanne Vega and Ray Manzarek. The album diverse as hard rockin’ Rob Wynia of Floater Mel Brown, Obo Addy, Ron Steen, is entitled Songs Inspired By Literature and and flower-child mellow Jennifer Folker of Calvin Walker, Carlton Jackson, Bobby is a benefit for the SIBL project for adult Dahlia. Torres, Dean Castronovo, Marty Higgins, literacy. “We’re working with credible musicians Mark Schulman, Gregg Williams, Bruce Anny’s track,“Twas Her Hunger Brought from widely diverse ends of the musical Carter, Brian Foxworth, Israel Annoh, Gary Me Down”, was produced by drummer Kevin spectrum,” says Lehfeldt, “KNRK is into Hobbs, Don Worth Jr., Reinhardt Meltz, Jarvis formerly of Portland bands The Odds the music and really promoted the Dante’s Dennis Carter, Graham Lear, Jeff Cumpston, and Johnny & The Distractions, and older show for us. They interviewed the band and Rusty Cox, Scott Frost, Sam Henry, Jeff brother of Duane Jarvis, homeboy bigtime played our track of ‘Complex’ featuring Rob Frankle, Brian Willis, Andy Gauthier, Kevin Nashville songwriter. As those long-time TL Wynia.” Jarvis, Courtney Taylor, Kip Richardson, readers will remember, Anny and Duane left Continued on page 20

Page 14 - TWO LOUIES, December 2001 TWO LOUIES, March 2002 - Page 15 Purusa’s CD Release May 31st @ Roseland Grill.

TWO LOUIES, March 2002 - Page 15 Booking: Joe Shore 246-4599 503-297-2889 503-222-6077 Capacity: 150 503-224-6631 (fax) Equipment: none Fez Ballroom Format: Jazz Headliners: Norman Sylvester, Linda Horn- 316 SW 11th Ave Booking: Haley buckle, Jay “Bird” Koder Portland, OR Capacity: 50 503-226-4171 Equipment: Piano & speakers Cobolt Lounge Headliners: Mel Brown, Thara Mem o ry, Kelly 32 NW 3rd ave Gemini Pub Broadway. Portland, OR 456 N. State Street Continued from page 20 Portland, OR 503-222-9066 Lake Oswego, OR 97034 Jimmy Mak’s 503-224-5552 503-636 9445 300 N.W. 10th Conan’s Pub 503-636-9445 (fax) Portland, OR 97209 Buffalo Gap 3862 SE Hawthorne Format: Blues, Jazz 503-295-6542 6835 S.W. Macadam Avenue Portland, OR Booking: Randy Lilya 503-556-0405 503-279-4640 Portland, OR 97201 503-234-7474 Capacity: 170 Format: Jazz, Blues 503-244-7111 Equipment: lights Booking: Jimmy 503-246-8848 (fax) The Country Inn Headliners: Robbie Laws, Curtis Salgado, Leon Capacity: 95-165 Format: Soft Jazz, Folk, Rock’n Roll 18786 S.W. Boones Ferry Road Russell, Jim Mesi Equipment: none Booking: Scott Tualatin, OR 97062 Headliners: Tony Starlight, Pepe & Bot tle Capacity: 85 503-692-2765 Green Room Blondes, Ben Fowler, Art Davis Quartet, Thara Equipment: sound system 503-691-2675 (fax) 2280 N.W. Thurman Street Memory Headliners: Craig Carothers, Jon Koonce, Format: Blues Portland, OR 97210 Reck less Kelly Booking: Sunny 503-228-6178 Kennedy School Capacity: 150 503-228-5068 (fax) 5736 NE 33rd Cafe Lena Equipment: none Format: Acoustic Folk, Rock, Blue grass Portland, OR 620 S.E. Hawthorne Blvd. Headliners: Paulette & Power, Cow boy An gels, Booking: Declan O’Connor 503-288-2477 Portland, OR 97214 Steve Brodie Capacity: 100 Format: Roots Rock, singer songwriter 503-238-7087 Equipment: PA, 8 ch. board, mon i tors, 1 mic Booking: Jan Haedinger Format: Open Mic, Folk Acoustic Crystal Ballroom Headliners: Buds of May, Sweet Juice, Lit tle Sue, Capacity: 100-150 Booking: LeAnn 1332 W. Burnside Jim Boyer, Billy Kennedy Equipment: PA provided Capacity: 50 Portland, OR Headliners: Craig Carothers, Gary Ogan Equipment: none Jasmine Tree Headliners: Billy Kennedy, Lew Jones, Lorna Dante’s Inferno 401SW Harrison Laurelthirst Miller 1 SW 3rd Ave Portland, OR 2958 N.E. Glisan Street Portland, OR 503-223-7956 Portland, OR 97232 Candlelight Cafe & Bar 503-226-6630 503-232- 1504 2032 S.W. 5th Avenue Jazz de Opus Format: Blues, Folk, Acoustic Rock Portland, OR 97201 Dublin Pub 33 N.W. 2nd Avenue Booking: Bill Leeds: 236-2455 503-222-3378 6821 SW Beav. Hill. HWY Portland, OR 97205 Capacity: 100 Format: Blues Portland, OR Equipment: PA Headliners: Belmont Street Octet, Jim Boyer,

Page 16 - TWO LOUIES, March 2002 TWO LOUIES, March 2002 - Page 17 Little Sue, Plumb Bob Equipment12 ch board, 2 monitors, 3 mics, stands and cords. Meow Meow 527 SE Pine Roseland Portland, OR 8 N.W. 6th Avenue 503-230-2111 Portland, OR 97209 Website: www.doubletee.com Metropolis Format: all musical styles 311 S.W. Washington Booking: Double Tee/Adam Zacks Portland, OR 97205 503-221-0288 503-223-7515 503-227-4418 (fax) Format: 70xs & 80xs Retro Capacity: 1350 Booking: Rami Equipment: PA, lights Capacity: 500 Headliners: Local, Regional and National acts Equipment: PA, lights Headliners: Roseland Grill 8 N.W. 6th Avenue Mt. Tabor Pub Portland, OR 97209 4811 S.E. Hawthorne Blvd. Format: all musical styles Portland, OR 97215 Booking: Double Tee/Adam Zacks 503-238-1646 503-221-0288 Format: all styles 503-227-4418 (fax) Booking: Peggy 503-232-8813 Capacity: 400 Capacity: Main Room 339 Equipment: PA, lights Acoustic Room 72 Headliners: Local, Regional and National acts Equipment: PA, Lights Headliners: Buds of May, Omar Torrez, Fer- Satyricon nando, Ezra Holbrook, Steve Smith 125 N.W. 6th Avenue Portland, OR 97209 The New Paris Theatre 503-243-2380 SW 3rd & Burnside 503-243-2844 (fax) Portland, Oregon 97204 Format: Alternative Rock/Punk/Various 503-224-8313 Booking: Ingrid Booking: Senor Frogg (503) 236-7745 Capacity: 250 Format: Punk/Gothic/Industrial/After Hours Equipment: PA, lights Dance Headliners: Dead Moon, Poison Idea, Everclear, Headliners: Written in Ashes, Grindstone, Mo- Fernando, Flapjacks bius, Monkey Fur, Soy Futura, Sumerland, Good For Nothing, Honey Rider, Mortal Clay, Faith & Seges Disease, Fuckpriest Fantastic 818 SW 1st ave Portland, OR 503-279-0250 Ohm 31 N.W. 1st Avenue Snake and Weasel Portland, OR 97205 1720 SE 12th 503-223-9919 Portland, OR Format: Blues, Jazz, Acoustic, Pop, Alternative. 503-232-8338 Booking: Dan Reed Capacity: 250 The Jazz Bar at Sweetbrier Inn Equipment: SA PA system, lights, soundman 7125 SW Nyberg Rd. Headliners: Slowrush, Imogene, The Sensu- Tualatin, OR 97206 alists 503-692-5800 503-691-2894 (fax) The Rabbit Hole & Mad Hatter Lounge Format: Jazz 203 S.E. Grand Avenue Booking: Denny 425-454-4817 Portland, OR Capacity: 50 503-231-2925 Equipment: Piano, PA Booking: Bill Leeds (503) 236-2455 Headliners: Mary Kadderly, Dana Lutz, Jean- Format: original acoustic Pier Gareau, Equipment: PA Marilyn Keller, Johnny Martin Headliners: Fernando, Luther Russell, 44 Long, Kaitlyn ni Donovan St. John’s Pub 8203 North Ivanhoe The Red Sea Portland, OR 97203 318 S.W. 3rd Avenue 503-493-4311 Portland, OR 97205 Format: Blue Grass, Soft Rock 503-241-5450 Booking: John Malloy 289-7798 503-224-6570 Capacity: 300 Format: Reggae, World Beat Equipment: PA, lights, two stages Equipment: PA Headliners: Regional, National, Local Bluegrass & Americana Rock Creek Tavern 10000NW Old Cornelius Pass Road Tonic Lounge Hillsboro, OR 3100 NE Sandy Blvd. 503-645-3822 Portland, Oregon 97232 Booking: Jan Haedinger 503-239-5154 Format: Americana, singer songwriter, acoustic Format: Rock, Alternative, Goth and low volume electric Booking: Devon Equipment: Continued on page 22

Page 16 - TWO LOUIES, March 2002 TWO LOUIES, March 2002 - Page 17 503-540-4069 Format: Rock, Alternative, Funk Booking: Dennis Ayres Capacity: 150 Equipment: 6 channel PA, no mics, light ing Headliners: Xing, Jesus Presley, Amer i can Girls

Westside Station 610 Edgewater N.W. Continued from page 21 Salem, Or 97304 Headliners: American Girls, Asthma Hounds, 503-363-8012 Format: Classic Rock Feller, Mel Booking: Donny Capacity: 100 Tillicum Equipment: PA, lights 8585 S.W. Beaverton Hillsdale Hwy. Portland, OR 97225 Corvallis 503-292-1835 Format: Blues, Jazz, Rock nx Roll The Peacock Tavern Booking: Cindy 125 S.W. 2nd Avenue Capacity: 200 Corvallis, Or Equipment: none 541-754-8522 Headliners: Lloyd Jones, Norman Sylvester, Jim Format: R & B, Alternative, Acoustic Mesi Band, Midnight Blue Booking: Randy: 503-556-0405 Capacity: 350, 275 Tug Boat Brewery Equipment: PA, lights 711 S.W. Ankeny Street Headliners: Linda Hornbuckle, Rubberneck Portland, OR 97205 503-226-2508 Albany Format: acoustic rock, jazz Booking: Megan The Venetian Theater Capacity: 50 241 W. 1st Avenue Equipment: mixer, speakers and mic. Albany, OR 97321 Headliners: Creative Music Guild, Rob Blakely 541-928-6733 Format: all musical styles Trails End Saloon Booking: Robert Connell 1320 Main Street Capacity: 685 Oregon City, OR 97045 Equipment: PA, lights, soundtech, 503-656-3031 Headliners: Calobo, Floater, The Dad dies 503-656-7872 (fax) Format: Blues Tuesday-Saturday Eugene Booking: Randy Lilya (503) 556-0405 Capacity: 150 Good Times Equipment: P.A., lighting 375 East 7th Headliners: Little Charley, Paul DeLay, Duffy Eugene, OR 97405 Bish op 541-484-7181 Format: all musical styles Vic’s Tavern Booking: Dog House Entertainment, Brendon 10901 S.E. McLoughlin Relaford: 541-342-7743 Milwaukie, OR Capacity: 250 503-653-9156 Equipment: PA, lights, sound tech Booking: Lynn Headliners: Body & Soul, The Dad dies. Format: Original music-Rock Capacity: 100 John Henry’s 136 East 11th White Eagle Eugene, OR 97401 836 N. Russell 541-342-3358 Portland, OR 97227 Format: alternative, hip-hop, funk, etc. 503-282-6810 Booking: Bruce 541-343-2528 503-282-0842 (fax) Capacity: 300 Format: Various (no punk/techno) Equipment: PA, lights Booking: McMenamins/Jan 503-249-3983 x Headliners: The Daddies, Floater 497 Capacity: 110 Wild Duck Music Hall Equipment: 12 ch board, 3 monitors, 6 mics, 169 W. 6th Light ing, Some in-house sound as sis tance Eugene, OR 97405 Headliners: Buds of May, Steve Bra d ley, Jerry 541-485-3825 Jo seph & Jackmormons, Format: all musical styles Jeff Trott, John Bunzow Booking: Dog House Entertainment, Brendon Relaford: 541-342-7743 Salem Capacity: 500 Equipment: PA, lights Boones Treasury Headliners: Charlie Musselwhite, Calobo, John 888 Liberty N.E. Hammond Salem, OR 503-399-9062 The WOW Hall Format: Roots Rock 291 W. 8th Avenue Booking: Jan Haedinger Eugene, OR 97405 Capacity: 75 541-687-2747 Equipment: PA, 4 mics, 2 monitors, 1 amp 541-687-2746 (fax) Format: all styles: music, dance, the ater Tommy John’s Booking: Allison Carter 248 Liberty Street Salem, OR 97301 LL

Page 18 - TWO LOUIES, March 2002 TWO LOUIES, March 2002 - Page 19 seemed. When many people thought of Jesus soft pornography. Presley as a cock tail na tion swing band, they Still, what is most evident among the ten were, in reality a Soul/R&B revue, with dreamy songs presented here, is that Jesus Presley is en- pedal steel gui tar fl our ish es melding with horn tire ly Hughes’ conception. Personnel may come charts, Lat in per cus sion and female backup vocals, or go within the context of the organization. But Continued from page 7 against a more tra di tional complement of guitar as long as Hughes is at the helm , the band has a per son al issues as well, perhaps, ul timate ly with key boards and bass: hardly the components of an cen tral unchanging identity, regardless of whatever some form of redemption in mind, singing “Pic- easy lis ten ing con tin gent. the band’s current stylistic stance. tures don’t lie/ Pictures don’t lie/Pictures don’t say Having been a member of the band my self, This is the eighth album in the band’s cata log, any thing.” since its inception and for the fi rst fi ve years, I can which includes a wonderful Christmas col lec tion, a Eric Matthews’ muted trumpets mingle personally attest to the spirit of ex per i men ta tion compendium of cover songs and two live records. with jazzy piano stylings and Morrisey’s sweep- that was always a primary motivator within the It is a transitional album, which fea tures two sepa- ing trem o lo guitars to created a relaxed, sleepy band, toward the creation of the material. Now rate sets of guitar duos. The fi rst batch of songs, time children’s lullaby. Brian Wilson’s unrealized with only Hughes and drummer Jason Mockley recorded last year, featured found ing mem ber mag num opus Smile comes to mind as a referential re main ing as founding members of the band John Anderson and Pete Helfand; whereas the context to the odd turns that occur throughout this (from the original twelve apostles), the Jesus Pre- new songs, recorded in February, fea ture Adam peculiarly simple song. sley sound has evolved from its original “Power East and Avi in the guitar roles. The new guitarists Brian Wilson again comes to mind in the Lounge” sound toward a more stripped down rock harder, where as the former seemed more at- loopy noise intro of “Dear Dying Friend,” an Punk/Pop sound, reminiscent at times of Bad tuned to the original Funk/Soul format the band un sympa thet ic and rather visionary inquiry into Re li gion or Social Distortion. em braced, death, or some similar state of sense-dep riva tion. Now only half its original size, Jesus Presley Still, with drummer Mockley and vet er an Out of the mechanical fac to ry con vey or of the sports a two (and sometimes three) guitar attack, bass ist John Huckfeldt (formerly of Gravelpit) vers es a mon strous chorus evolves, as if pur ga to ry with nary a keyboard or horn or conga to be found. holding down the rhythm section through both were about to swallow up the en tire ho ri zon, be fore The new stripped-down sound is held together by incarnations, the differences in sound are not giv ing way to some sort of an gel ic res olu tion in the Hughes, whose trademark half-spo ken baritone, pa tent ly obvious. The lead track, ”Let’s Sin,” rides middle. A dis tressing ly ca thar tic number. is here supplemented by a second archly urgent, a “Peter Gunn” sort of riff into overdrive, with Per haps the weird est song of all is “Sweet ad o les cent voice, which matches some of the new Helfand supplying the pyrotechnics. Bell,” a Nilssonesque piece of in ter stellar space ag i tat ed rhythms the band employs. A revved-up, high octane number, “Cleopatra” trav el that arrives at the acutely bizarre chorus By and large, sex remains the central sub ject is a lesson in history, advising that “ In the Spring “Sweet as a bell/You’re sweet as a bell/My in de - matter for Tony’s songs; good, clean ad o lescent sex, of 40 BC,/ She dumped Marc Antony and got with pen dent operator/Take con trol.” Here the voice with kinky undertones. The occasional social-out- me/We spend our Summers away in Rome?But of young Astrid Angell recites the essen tial rules cast anthem further augments some of the more Alexandria is where we call home.” Adam and Avi of quantum phys ics, in for ma tion for which she puerile aspects of the material. A couple of songs, add crisply executed guitar accents and fi ery fi lls. has no com pre hen sion, as a gal axy of empty space “Show Me Your Sex Face,” veers past the line, into A very cool song. and ever-de part ing stars swirls around her. “Hold Another tough, hard rocking number is on. Hold on,” James’ friendly voice whis pers as he “Mod ern Miracle,” with huge, chunky power pre pares to “dance until the oxygen runs out.” chords driving the guitars. East’s melodic lead fi g- Mention must be made of Todd Chatalas’ ure in the middle section adds welcome texture, magnifi cent photographs, especially the pho to of as Tony wails “I don’t need to be understood/I’ve shaving cream (?) against a deep blue background been to rehab and it’s all good/I’m so bored with that graces the centerfold of the CD in sert. The everything/I don’t give a shit a bout what it means.” photo perfectly captures the icy iso la tion and Both Adam and Avi provide stellar solos to make the smooth, padded perceptual ex ist ence of sub- of this too a highly memorable cut. stance abuse. The perfect visual ac compa ni ment to The band’s cover of David Bowie’s “He roes” is Angell’s spacily artful aural strat a gems. faithfully reverential without being im i ta tive. Hughes James Angell has created an un com pro - adds a certain goofy perspective to his vo cal in ter - mis ing masterpiece, a “concept album” that pre ta tion, while East adds tasty licks through out ri vals the best by Pink Floyd, the Beatles or the song. “Girlfriend” fi nds Hughes in a wound-up any one else, both for its mature subject matter, as well as its in credi bly deep and original vi sion. This, like any recent Radiohead release, is not an al bum that one can simply throw on the play er for an easy listen ing experience. It is dense, so ber ing material that pays huge re wards with its spirit of origi nal ity and unique means for ex pres sion. The fi rst real al bum of this new 21st Cen tu ry. Salvation Vacation- Jesus Presley JPX Records state; a track that could easily pass for some thing ow in the midst of their seventh year Frank Zappa might have cooked up for his “Joe’s in ex istence, Jesus Presley— led by Ga rage” series. N the char is mat ic huck ster, Reverend “I’m In Love” is a strange Funk number with Tony Hughes, have always ex hib ited a chameleon- Tony all jacked up about his new girlfriend. “She like quality, sty lis tical ly nev er quite what they wears chains and ripped up jeans/Leather boots and a Continued on page 23 Page 18 - TWO LOUIES, March 2002 TWO LOUIES, March 2002 - Page 19 contemporary? sounds never heard before in pop music. The TURN TABLES Mark and Portland Music are mulling campers outside had no idea who the artist Continued from page 14 a band contest in which local groups would was on stage but the reaction around the park Jon Koonce, Greg Eklund, Gary Ogan, and re-record Portland’s Greatest Hit in a variety was unanimous. on and on. of genres and with radical arrangements. “We This was not the Troggs. Even Portland’s Greatest Hit, “Louie could do a series of concerts for the finalists That night, well into his set, Jimi Louie” by the Kingsmen. Why did such a and get the winners some radio airplay.” Says started the chords of “Wild Thing” and the simple recording become such a musical Mark. audience who had waited for hours roared milestone? Covers can be cool. in recognition. “It’s the drums,” say ZZ Top guitarist and “Wild Thing” is the song that made Jimi principal songwriter, Billy F. Gibbons, “No Hendrix famous at the Monterey Pop Festival

Billy Gibbons of ZZ Top, who opened for Jimi Hendrix when ZZ was called Moving Sidewalks, loved Jimi’s “Wild Thing” and “always wanted to do the same thing to ‘Louie Louie’”.

ASCAP should be at this one… Monday, March 11th from 7-9PM Music Millennium NW presents the 10th monthly Songwriter’s Circle with “three singer-songwriters performing their original works”. These are three of the best. Craig Carothers, Jon Koonce and Jack McMahon will pitch their tunes March 11th. doubt about it. The fills.” in June of 1967. The picture of the burning The Dean of Portland Songwriters Craig Lynn Easton, who played those fills on Strat made the wire services, but the chords Carothers, who now lives in Nashville, was “Louie Louie” still works every St. Patrick’s of the Troggs’ eleven-month-old #1 hit, were the first artist in Portland to host songwriters Day when he puts on a kilt, picks up a bass what bowled over the music business. in the round. As an added treat Tim Ellis drum and marches up to Jake’s Famous Jimi used “Wild Thing” for his afternoon will be joining the trio as “designated lead Crawfish for the party. sound-check on the Monterey fairgrounds. In guitarist”. the daytime the performance area was closed and surrounded by a tall fence but just outside thousands of campers listened to one sound- The Jimi Challenge. check after another, identifying some acts like Portland Music Company’s Mark Taylor the Mamas & Poppas easily. Others were less asks the musical question, “Can you do for recognizable, each act just doing a piece of a Portland’s Greatest Hit what Jimi Hendrix song. When it came his turn late in the day, did for Wild Thing?” Jimi cranked his stacks to the chords of “Wild In other words, can you take “Louie Thing” and flooded the campgrounds with Louie” and turn it in to something musically LL Photography & Graphic Design

503/282-1682 www.buko.net

Page 20 - TWO LOUIES, March 2002 TWO LOUIES, March 2002 - Page 21 LAST MONTH LAST THIS MONTH 3 1 KING BLACK ACID / Lakeshore Records CD...... Mothman Prophecies 1 2 RICHMOND FONTAINE / Advance CD...... Winnemuca 10 3 M. WARD/Future Farmers CD ...... End of Amnesia 9 3 HOLY SONS/Pamlico Sounds CD...... Staying True to Ascetic Roots 4 4 GARMONBOZIA / Diaphonic CD ...... Omnibus and the Bakers Man 2 5 BLUE SKYS FOR BLACK HEARTS / Demo CD...... This Black Hearts Gonna Break 6 6 SPIGOT / Cameltoad CD ...... Bait and Switch • 6 SONS & LOVERS / Demu CD...... mixes 2/02 11 7 JACKASS WILLIE/Mule Barn CD...... I’ll Smash A Geese EP 6 8 WATSONVILLE PATIO / Tequemo Records CD....Cover the Sun with One Finger 5 9 WIPERS / Zeno CD...... 3 CD Box Set 3 10 VARIOUS / A Bouncing Space CD...... Lunch with a Bouncing Space • 11 BATHTUB FULL OF SHARKS/Room Service Records CD...... Rubber Sharky • 11 THE COUNTRYPOLITANS/Sideburn CD ...... The Countrypolitans 8 12 QUARMIRE EXPEDITION / Demo CD ...... Demo 12 12 DIZZY ELMER / Demo CD ...... 5 song demo • 13 MAJOBOLT// Demo CD ...... Offering

4 1 KING BLACK ACID / Lakeshore Records CD...... Rolling Under 3 2 RICHMOND FONTAINE / Advance CD...... Somewhere Near 1 3 M. WARD/Future Farmers CD ...... Color of Water • 4 HOLY SONS/Pamlico Sounds CD...... Blow to the Head • 5 KING BLACK ACID / Lakeshore Records CD...... Soul Systems Burn

Wednesday, March 6...... New Release Showcase Wednesday, March 13 ...... New Release Showcase Wednesday, March 30...... TBA

Page 20 - TWO LOUIES, March 2002 TWO LOUIES, March 2002 - Page 21 MUSICIANS CLASSIFIEDS STOP IN ANY PORTLAND MUSIC LOCATION & FILL OUT THE FREE FORM •Bassist wanted for hard rock/ •Looking for female singer to ballads 1-2 gigs a month and 503/281-5741 alternative band. Original music, work on recording. Guitarist & weekly practice. Guitar, Vox, •Percussionist Available looking cool people, good equipment. song writer with 24 track digital Harp Pat (503) 636-7449 to join working band. Congas, Call for info: Matt 503/723-3735 studio. Free tapes & cds. Call •Looking for female singer to Timbales, Bongos and a ton •Drummer wanted. Contemporary Peter:503/359-0928. work. Recording guitarist and of hand held percussion items. Country band Hillsboro area. •Guitar player, plus vocals and songwriter with 24-track digital Allman Brothers to East Bay [email protected] blues harp, looking for 50s/60s studio. CD’s, tapes, free for Funk, TOP, Cold Blood, War, •Band seeking front man vocalist band, working or forming. helping. Peter (503) 359-0928 Isley Bros, Sly, Motown, to form an Iron Maiden cover Weekly practice. Monthly gigs. •Guitarist looking for drummer Worldbeat. Call:Keith 503/236- band. Call: Jason 503/771-3322 Experienced and dependable. Pat, to jam. Rock groove Fusion style 2722 •Free Jam Session Wednesdays 503/636-7449. call: (503) 256-7682 •Tribute Blues Show looking for 8PM at the Gresham Inn, 117 N. •High-energy lead vocalist seeks •Classic Ax: Rock cover band Keyboard,Bass and harmonica. Main modern metal act. I've got the doing 70’s-80’s classic rock, funk, Call: Mike 360/696-9183 or e- •Experienced bassist needed for gear, look, and the attitude. R&B. Immediate need for backup mail: [email protected] Hard Funk Jazz. Only serious Influences include Disturbed, vocalist., keys rhythm guitar or •Frontman seeks Gunslingers need call. Own rig a must. Gigs & Godsmack, and Drowning Pool. percussion a plus. (503) 626-6702 for Urban Assault Band. Blues, Traveling. Call Kenny: 503/297- Call Tracy at 503-720-9469. •Seasoned Phunkster vocalist Funk, Everything. Can you hang? 2314 •Local original rock band looking looking for her all star Delicious Drums, bass, vocals. Call Jamie •Creative bass player interested in for a bass player. We have great Band. Need players for gigs all 503/645-5352 either joining or forming a band. material and are getting ready to instruments Call: Sonsirea 503/ •Experienced female lead vocalist Hip-Hop, Funk, Folk, Worldbeat gig. Interested? Call Jay at 503- 239-7865 woth stage presence looking and Hard Rock. 503/241-5943 574-2591. •Drummer wanted for established to join or start working band. •Singer needed. Rehearse once a •Electric violinist and drummer rock band. Show ready. Influences Various musical styles. Lori week. We have 2 guitars bass & seek male tenor lead and bassist/ Judas Priest, AC/DC, Iron 503/234-6202 drums and are in our 40’s. Variety harmony vocalist. All oroginals. Maiden. We have shows pending. of music covers & originals.503/ Influences: Sting; U2; Dave Call: Dan 503/231-0363 or Larry 289-4234 or 503/775-2677. Matthews; Peter Gabriel. Call 360/253-8953. •Guitarist seeking Blues/R&B Brian (503) 293-2390. •Kerosene Dream seeks bass band with steady work. Also harp, •Guitar Guy seeks 50-60’s variety player for recording and live vocals & keys. Pro gear. Gary band. Oldies, R&R, Blues and schedule. Harmony vocal ability (503) 693-9837. a plus. Call Dave 9AM-9PM

“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 Open Daily 7am - 2am SE 18th & McLOUGHLIN we have 232-3799 OREGON LOTTERY GAMES TOO!!

Page 22 - TWO LOUIES, March 2002 TWO LOUIES, March 2002 - Page 23 miles south of the Oregon border in North-Cen tral ON THE COVER: Lael Alderman of the Bella Fayes. On their Nevada, situated near Interstate Highway 80, along new band sampler album ASCAP says, “The Bella Fayes were formed in the Summer of 2000 when Lael Alderman, former the Humboldt River. Ac cord ing to Vlautin, the band Geffen recording artist, joined forces with former members of “have used Winnemucca as a getaway for the past Drive, Architecture andThrillbilly. Equally comfortable at delv ing into son ic layers of heavy psychedelic rock as they are at breezing several years. Most of the songs were writ ten in or around a lap-steel gui tar in a country-tinged tune, the Bella Fayes Continued from page 19 somewhere near Winnemucca.” combine ambitious instrumental land scapes with songs that are melodic and acessible.” pink mohawk/She’ll kick your ass just for fun/Don’t The album seems to refl ect a higher lev el of (Photo: Pat Snyder) you know I’m the lucky one.” The boys wrap up the sophistication for the band, and a general el e va tion tune with a quick punked out version of the Beatles’ of the overall world view purveyed within the ten “I Saw Her Standing There.” songs presented. Brainard’s mournful ped al steel A smoldering “Secret Agent From The Fu ture” wails behind “Winners Casino” (a Winnemucan refers loosely to Johnny Rivers’ “Secret Agent Man.” land mark) “Northline” and“Santiam,” while Willy’s while carving out a deep, wide groove all its own, voice, though still sound ing depressed as a mill town over a slow, sensuous guitar riff. “Got it right here in a clear-cut, no longer seems just at the edge of in my little black book/Got the wiretap to your emotional may hem, but more at peace with the • Established 1979 • phone/Looks like two weeks from this Thurs day/ bleak landscape of humanity that surrounds him. TWO LOUIES PUB LISH ING Editor: Buck Munger 5:15, you’ll return home/ You’ll turn on the ste reo/ His world weary voice, resembling John Prine’s in Graphics & Photo Editor: Buko TwoLouiesMagazine.com Art Director:Deb McWilliams Writers: Marc Baker • S.P. Clarke • Bart Day Den nis Jones • Denny Mellor Robin Rosemond • Stephanie Salvey Photographers: David Ackerman • Buko • Gustavo Rapoport • Pat Snyder Printed by: Oregon Lithoprint Two Louies Magazine 2745 NE 34th • Portland, OR 97212 PHONE (503) 284-5931 • FAX (503) 335-3633 Email addresses: Editorial: [email protected] Layout: [email protected] © 2002 by Two Louies Magazine. May not be re pro - Then pro ceed to undress/You’ll mix yourself a stiff some ways. duced in any form without the ex pressed writ ten cock tail/And wonder why your life is in a mess.” Brainard’s pedal steel is in the spotlight on consent of the publisher. Two Louies is avail able by Great stuff. the surfy instrumental “Twyla.” “Patties Re treat” is subscription. Send $35.00 for one year, post paid. “Do Me” is the sort of song that sticks in the a muscular piece of musique concrete, which seems mind like bong tar— the tale of the Reverend and entirely out of character for the band. But it’s in ter - a “girl from Mozambique.” The loping rhythm of esting. Balalaika-like mandolins fl utter wildly be hind the fi rst few verses— sprints hard for a verse be- Willy’s vocal on “Out Of State.” Block pi ano chords fore lapsing into an orgasmic chorus and mid dle nail the downbeats of the 6/8 “Glisan St,” a woeful section. A hit song. The band’s rendition of June ballad, where Willy’s sorrowful voice seems scarcely Carter Cash’s “Ring Of fi re” seems inspired by the able to muster the energy to tell the tale. Ramones and X. A depressing, desolate scenario colors “De grees 4811 SE Hawthorn 503-238-1646 Tony Hughes and Jesus Presley main tain their Below Zero” in various shades of gray, a dis turb ing MARCH high standards of musicianship and songwriting tale of an apparently suicidal victim of child ne glect. Mondays Reggae Jam craftsmanship with Salvation Va ca tion. The band Not yer average subject-matter for the typ i cal Pop have defi nitely headed out into new sty lis tic ter ri to ry, song. Vlautin’s propensity for 6/8 time sig na tures can 9- Project Object severing many of their former mu si cal ties, while be observed again in “Western Sky line,” a moody, for- w/ Ike Willis making strong new ones, at the same time. This is lorn ballad which vaguely resembles James Tay lor’s 13- Carlos Washington not at all a bad turn of events. It is, indeed, the only “Sweet Baby James” and the Moody Blues’ “Go & Giant People thing a band can do to survive, while ad hering to one Now.” Brainard’s sobbing pedal steel un derscores 14- Tony Furtado, of the most hallowed of all bi o log i cal imperatives: the unrelenting lam en ta tion ex pressed in most of Digg a Bone “adapt, migrate or become ex tinct.” these songs. Winnemuca— Richmond Fontaine Taking in a Richmond Fontaine album is a lot 15- Everton Blender, El Cortez Records like consuming a bottle of Jack Daniels: as dif fi cult Boom Crickets ichmond Fontaines’s fourth album as the process may seem at times, there is certain 20- Evan Hadley, Invisiblink, (since the band fi rst formed as the Im to be a redemptive guerdon within the mechanism Rick Man’s Burdon R palas, in 1995) is a con tin u a tion in of the ultimate assimilation of its con tents. Willy 21- Wapeka, Erosion 69, the lineage of material which lead er Willy Vlautin Vlautin’s unyielding morosity could bring down a Fall of Bastards seems to cull from the darker re gions of the human wedding party. But there is a place in Country mu- 22- Porterhouse, Mission 5, con di tion, tracing his Coun try and Folk roots. With sic for Vlautin’s type of observations, and he seems Going to March the help of bassist Dave Harding, drummer Joe Davis unwilling (or incapable) of looking at life any oth er 23- Meditations, Earthforce and (former Jesus Presley mem ber) Paul Brainard way. It all seems like a perfectly miserable marriage 27- Mojo on pedal steel gui tar and dobro, Vlautin etches his made in Honky Tonk heaven. 28- Noir City sto ries in the barroom dust, with the jagged shard 29- Beth Kelly Ordeal, of a broken beer bot tle. Logos Eye, Ash The small town (population less than 10,000) of Winnemucca lies about one hundred and twen ty LL 30-Melvin Seals

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