Joanna Bolme of the Stephen Malkmus Band

2 – TWO LOUIES, March 2001 John Fahey 1939-2001

ohn Fahey was a giant influence on the cultur- Chants, Breakdowns, and Military Waltzes, I al development of America. He was the first asked, “Who are these two guitar players?” I pic- Jperformer to expand American folk-blues tured a couple of 50-year-old masters whose melodies into a concert style similar to Segovia— vision of music and spatial technique reminded that is, one man, one guitar, and one grand vision me of pianist Glenn Gould. Here was a performer that encompassed the spiritual essence of Delta who carried his genre to a higher level, whose Blues, cosmic folk, and classical music. probes were deeper, whose vision was wider, “Here was a performer who carried his genre to a higher level, whose probes were deeper, whose vision was wider, whose understanding of the universe was more complete and profound than any before him.” Without John Fahey, there may not have whose understanding of the universe was more been a Windham Hill label of acoustic guitar mas- complete and profound than any before him. John ters. There would have been no Takoma label, gave us the same kind of breakthroughs that we which featured John’s first seven albums and got from Debussy and Stravinsky. It may not have more. There may not have been a Music been possible without him. Millennium... certainly not as we know it. It was It’s incredible that so much talent was John Fahey’s music that inspired the Millennium brought out in a guitarist in his twenties from a founders to open their little Portland record shop little town in Maryland. John was very human. He back in 1969. In October of that year, Music had an astonishing humility for someone so gift- Millennium produced the first of many John ed. All of us in the music community will miss Fahey concerts. him... a lot! John Fahey ’97 photo: Tim Knight When I first heard John’s album Death —Dan Lissy LETTERS FINGERED Dion and Paul Barrall, former drummer for So there are plenty of venues and times for That was a pretty heavy story the Jam Age of Rain, Veneer takes on the Portland you to come check out the new and improved Magazine guy told last month in your Letters music scene again. Just fresh from a resound- sound. column. One of his writers getting a broken jaw ing show at the Mt. Tabor Theatre, Veneer For further info about Veneer, visit our for a badrap? (Jam Writer Assaulted). The fin- plays next at Satyricon on Sunday, March 4th. website: www.veneerband.com. To email the gering of Diver Dan was a pretty ballsy Again we will be headlining the show with “ageless one:” [email protected]. Hope to response to demonstrated thugery. I applaud support acts GBHC and the Kilowaves. Who see you there! Chris Gattman for writing it and Two Louies said you can’t go home again? Then on —Arthur Beardsley for printing it. —Dave Stanford “In the beginning, when Audrey VanBuskirk got the whole thing going, there was hope. The first few AGELESS Dear S.P. Clarke, years we all went to Austin and it was actually Your probably remember, (and I’m quot- magical and filled with great fun. But soon after, it ing you here), “the ageless Arthur Beardsley” eh? Well, I’m still alive and kickin’! was clear that planning and inclusion were not on I just got done reading the first three the agenda.” installments of your History of Portland Music. Well done! I’m looking forward to the rest of Wednesday march 7th we return to the Mt. the story. Tabor with Evolver and Switch. The following NORTH WURST Anyway, I’m still at it. The band changed week we will revisit the Ash Street Saloon on Dear Editor, its name from Civilization (a cumbersome, Tuesday march 13th, again with Evolver and It comes as no surprise that NXNW moderately pretentious moniker at best) to Switch. Sorta like a mini Lollapolooza tour Veneer. With ex-45’s/Crow guitarist Michael kinda. continued on next page

3 – TWO LOUIES, March 2001 LETTERS continued from previous page misgivings about the Texans and was com- just a weekly yarn on how to yell at people dur- failed. I’m relieved and have no hard feelings pletely frustrated with the WW for not being ing meetings. Yawn, yawn, and yawn! toward Texas or the WW, but I do like the idea able to get a handle on the festival, or making —Robin Hoffmeister of getting in a few choice words about the good choices that helped the artistic commu- whole ill-fated saga. nity. HEADS UP I believe the main thing wrong with the Texas never made an effort to include Dear Editor, festival was that Texas never cared to under- many Portland people in the planning stages CAUTION: USE PROTECTION IF YOU stand what Portland was about. From the start, and it was obvious that their respect for us was NEED TO WITHDRAW YOUR MEMBER! they had this notion that they were the big boys minimal. In the end, NXNW was hated and This is a letter to inform all new bands and we were something less or smaller than. dismissed by the majority of the music com- out there to be carefull when a member either leaves your band or gets the boot. It is in no “I think the WW and SXSW have a lot in common. way to be intended for trashing a former bandmate and should be a good heads up for They both have superior attitudes, coupled with most of you. non-creative people who don’t have a clue about the A member of the band Barbarella recently left to play in a band called Honey Ryder and music scene in Portland, or take a passionate interest has been nothing but trouble to his old band- mates. First off he left with no notice which in anything more than their own drama.” raised some questions needing to be answered. That’s how all Texans view the rest of the world. munity. The gap between the music scene, the Barbarella reacted by calling everyone affili- Texan’s are raised to believe that they’re better, Willamette Week, and Texas just got wider and ated with helping out the band in the past. The brighter, and the best. They are also taught to wider. I’m not sure about last year, but I knew reason for this was to protect themselves in case celebrate all that’s big. that there were a few big blowouts between the the former bandmate wanted to make up stories I noticed the Willamette Week was kind WW and Texas. The buzz about NXNW had of the band not being together anymore. It was a enough to except some of the blame, but they decreased to a mere whimper. I felt bad for the smart move, a few days after he had left did not except enough. I’m not sure the WW few troupers who invested a lot of energy to Barbarella recieved a threatening call from him will ever cop to the fact that they never got any make it work, but mostly I was gleeful that the for informing Jagermeister of the change, want- part of their commitment out of the gate in a long, tall, Texans and WW were losing money. ing to move the account over to Honey Ryder. timely matter. WW never invested any kind of I think the WW and SXSW have a lot in His next move was deleting Barbarella’s website clear commitment to the festival, or hired any- common. They both have superior attitudes, and blocking off any incoming emails. Barbarella one with brains who was interested in helping. will be getting everything back now that they Everything was done at the last minute and done cheaply. “When someone walks away from the band, they The fact that the music industry has been leave everything behind. Would your job let you in decline and that Texas never understood that Portland’s music scene is completely keep a key to the front door if you were fired or left entwined with the literary and performing without any notice?” arts, was something they refused to acknowl- edge. Portland is an incredibly creative com- coupled with non-creative people who don’t know what really happened with the band. munity. The scene is hard to categorize, have a clue about the music scene in Portland, Overall, my point is to watch out for your- pigeonhole and predict, and although or take a passionate interest in anything more self and make sure to keep only your name on Portland does not have a 6th Street like Austin, than their own drama. Texas and the all of your accounts (sponsors, internet deals, etc.), don’t let someone who joined the band Texas, it does have spirit and massive talent. Willamette Week are guilty of thinking the bot- after it is already established have just as much The Texans never ever took a liking to our fair tom line is hard, cold, cash. responsibility like Barbarella did. When some- city. They just thought we were all weird. I hear that WW is gonna make it up to the one walks away from the band, they leave In the beginning, when Audrey city by heading up a small task force to put on everything behind. Would your job let you VanBuskirk got the whole thing going, there a festival called PDX. Perhaps Mark Zusman keep a key to the front door if you were fired or was hope. The first few years we all went to still hasn’t learned his lesson. I hear he’s again left without any notice? I think not!Again, this Austin and it was actually magical and filled using someone completely uncreative to do a is in no way a personal attack towards the for- with great fun. But soon after, it was clear that job that he probably doesn’t want, and is not mer Barbarella member, we wish all the best to planning and inclusion were not on the agen- capable of doing well. Oh well, maybe Zusman Honey Ryder and hope one day the two bands da. I remember the third year when Audrey will give up another piece of prime real estate in will get along in the near future!! was apologizing daily for delay’s and indeci- WW, like a column. Wow! Isn’t that novel? It —Members of the Band Barbarella sion. Her job seemed to be the general cover- couldn’t possibly be devoted to fat girls, blacks ing of asses. I remember her telling me she had or queers. That’s been done to death! Maybe

4 – TWO LOUIES, March 2001 LETTER FROM NEW YORK by Dennis Jones Everclear: The Palesta, University of Rochester, New York State, February 1, 2001 clear, cold, February evening on a major Eastern Ivy covered campus. A(Huge Kodak & Xerox endowment) This eager Two Louies East Coast rep motors easily through rush hour traffic, $1.75 parking fee paid. I find the mighty fleet of tour busses. Wow, first gig on a major tour. First one in three years. As I round the front of a tour bus there is Art Alexakis, legendary music promoter, busi- nessman, interviewee and singer/ songwriter/ guitarist/ band leader. With him are a few road crew types. I flash the February Two Louies and Art sez:

AA: “Two Louies!” 2L: “That’s me, welcome to Rochester.” (Art takes the issue and looks at it.) “I’m Dennis Jones and I’d like to talk with you. AA: “I’ve been on the cover of this magazine 30 times and they’ve never talked to me.” TL: “That’s why I’m here.” Everclear Strikes Platinum From left, Roy Lott, president/CEO, Capitol; Darren Lewis, Everclear’s (Art gives me back the issue and walks away.) manager; Everclear members Greg Eklund, Art Alexakis, and Craig Montoya; and Perry Watts-Russell, Stage Manager Guy: “Let me see that, where is senior VP at Capitol. photo: Capitol the Everclear story? (I point out Turntables) “That’s it?” How come you Shit, Art jumps into a van with 8-10 open- 2L: “Ouch, I hope it’s not your power hand.” guys put a cover on and no story inside? ing act types, PR types and various back stage/all S guy: “yeah, it is, I hope I don’t bump the faders “Who writes this?” access types. on my cues.” 2L: “Buck” 2L: “Are you from Portland?” SM guy: “Oh.” AA: “Verago” (an upscale Rochester restaurant) S guy: “Yes.” 2L: “Do you do house sound?” “AA: ‘I’ve been on the cover of this magazine 30 S guy: “Yeah, at La Luna.” 2L: “Hey, how did Craig get in the band?” times and they’ve never talked to me.’ S guy: “He answered an ad. 2L: “In Two Louies?” TL: ‘That’s why I’m here.’” S guy: “The Rocket, maybe Willamette Week.” 2L: We have free ads here, put your ad in a box 2L: “Do you think Greg or Craig would like to 2L to Stage Manager guy: “Where you going at Portland Music. Who dig Greg play talk?” next?” with?” SM guy: “No.” SM guy: “To take a shower.” S guy: “Jolly Mon, can I see that issue?” 2L: “No, I mean concert.” 2L: “Sure, you can have it.” I’m not feeling too confident so I back off a SM guy: “I don’t know.” S guy: “Huh” (Hands back the Two Louies.) bit and turn to the power guy and ask him about his truck. Geez, puleese, I’m dying here, my rent is There I am, standing alone, the wind picks due on my 44 long, custom, first edition, Two up. I’m standing in front of a huge hospitality 2L: “How’s it goin’?” Louies letterman’s jacket with real leather room, no one is there, a few more crew guys P guy: “I hope they use more power, they only sleeves. My interview boner is going un-dente. I walk past me with plates of road food, they enter drew 100 amps at sound check.” spy another crew type. the bus. I read the stickers on a trailer with 2L: “Oh?” California plates. It must be Volcanic or P guy: “Yeah, they ordered 600 amps, so I 2L: “Hey, what happened to your thumb?” Nickleback (The other bus had Canadian plates brought 800 just to be safe.” (Turns out he’s the sound guy. I see the on it.) I’m shivering. I head back to my Two 2L: “Oh.” name Andy on his pager.) Louies east coast cabin and file this report. At P guy: “Yeah, they didn’t even sell out.” Sound guy: “Load out last night, I had a main least no one told me to piss off. 2L: “Oh.” jammed into it, I was in the truck.”

5 – TWO LOUIES, March 2001 while drummer Benjamin Weikel adds keyboard before ineffably disappearing back into the sonic flourishes. Together they produce and engineer haze. Very nice. their dense compositions, creating a thick sonic Dithering keyboards dominate “Sassafras,” atmosphere. as waves of guitar and other keyboard noises The lead track, “Stracenska” illustrates their crowd the landscape, rolling over the horizon like technique. Summers’ crusty guitar feedback a driving rainstorm. A truly inspired, ethereal swirls around Weikel’s flutey keyboard washes, track. Vocals singing in rounds create a lilting burying the vocals in the mix. After about 3 min- quality on the brief “Stitches Sewing,”a keyboard utes, things simmer down a bit, recalling U2 in dominated track. But the song ends too soon- their Rattle And Hum period, as the subdued before it comes to a ,proper musical conclusion. “Brandon Summers and Benjamin Weikel, prove themselves to be astute students of the realm of Psychedelia, which maintains the Beatles, Jimi Hendrix and Brian Eno among the sainted in its league of shining knights...”

vocals become more upfront. The psychedelic HS’s take on the Beatles’ “Tomorrow Never romp ‘Just Mary Jane” bubbles like a warm bong, Knows” is reverent (Weikel’s drumbeat is a repli- while proselytizing the merits of the bud. cation of Ringo Starr’s original), but unique. The Dancing organ pads, warbling flute arpeggios group speeds things up a notch, lending the thir- and other synth miscellany skip across the synco- ty-five year old tune new energy, but not neces- pated shuffle rhythm, fleshed out by Summers’ sarily anything new musically: which only goes shimmering guitar musings. to prove how groundbreaking the original 4- “Transistor Radio” begins with the familiar track recording was in back in 1966, when scan of a radio dial, before dissolving upon a key- Summers’ and Weikel’s parents were youngsters. COM PLEX—HELIO SEQUENCE board drone, pulsing bassline and luxuriously Synth sounds and effects set the scene on Cavity Search Records cascading slide guitar, before finally evolving into “Big Jet Sky” before Summer’s guitar charges in, Probably the hottest new band to hit the Beatlesque psychedelia, replete with Ringo-like along with Weikel’s drums, noticeably thickening local scene in the year 2000, was this enterprising drum fills and fresh-squeezed Lennon vocals. A the drone stew. The boys get a lot of mileage out twosome. The duo cites the Beatles melodicism quite affective George Harrison-influenced gui- of a single chord, manipulating that fixed contin- and the ‘wall of noise” approach of bands such as tar breakdown in the middle helps to solidify the uous tone with dexterous imagination. My Bloody Valentine as influences. Judging from whole track. The droning wash of sounds at the An ambiance similar to those created by this, their first full-length outing, those assess- beginning of “My Heart” sets the mood, before Radiohead on Kid A, informs “Demographics.” ments seem pretty much on the money. Guitarist launching into the two-chords of the verse. A Randomly pitched sine waves vie against discor- Brandon Summers handles the vocal duties, gorgeous chorus gently sneaks into the mix, dant organ tones in support of a lilting guitar motif, before it slams into a highly charged, moaning guitar riff; resolving in a dramatically serene verse. Then the heavy riff becomes part of a very pretty, memorable chorus. The pick for the single of this album, without a doubt. Brandon Summers and Benjamin Weikel, prove themselves to be astute students of the realm of Psychedelia, which maintains the Beatles, Jimi Hendrix and Brian Eno among the sainted in its league of shining knights; and adept as innovators- brilliantly crafting for themselves here, a distinct sound of their own. On the basis of the wonderful “Demographics” alone, it is plain to see that Helio Sequence have before them a very fortuitous destiny, indeed. As to how they may evolve is hard to say. One can only wish them well in their musical journey and hope to hear the results of what they create along the way. However, the possibility that the pair might have an album in them that Lily Wilde has the music in her heart photo: Lil Tom Tom Inc. could sustain the emotional magnitude of continued on page 10

6 – TWO LOUIES, March 2001 Licensing Music for Film, Television & Commercials henever a producer of a film, television So, if the producer of a film, television show, or Common “Synchronization Licensing” Issues show, or commercial wants to use commercial wants to use Band A’s version, then There are many issues which may arise Wmusic in a project, there are two differ- the producer must obtain a master use license whenever a synchronization license is being ent kinds of licenses which normally come into from the band (if the band is unsigned), or, if negotiated between a producer of a film, televi- play: (1) A “Synchronization License” and (2) A the band is signed, then from the band’s label. sion show, or commercial, and the publisher “Master Use License.” The Synchronization License. The produc- er of a film, television show, or commercial “...the band’s recording contract may very well must always obtain the written permission of contain provisions requiring the label to obtain the the owner of the underlying song, which as a general rule is the songwriter or the songwriter’s band’s approval before allowing the band’s music to own music publishing company, assuming that the songwriter does not have a publishing deal be used in a film, television show, or commercial...” with an outside music publisher. However, if there is a publishing deal in place covering the (Bear in mind, though, that even when a band is which owns the underlying composition. song at issue, then the owner of the song is nor- signed, the band’s recording contract may very Some of the main issues are: (1) The length mally the music publisher. well contain provisions requiring the label to of “the term” of the license (i.e., how long the This permission which must be obtained obtain the band’s approval before allowing the license will be remain in effect for); (2) The for the underlying song is called a “synchroniza- band’s music to be used in a film, television scope of the territory (i.e., the geographical area tion license.” Here we are not talking about a show, or commercial.) in which the producer can use the song in his or particular recorded version of a song, but The comments above, concerning the pro- her production); and (3) Whether the producer instead, only the underlying song itself. ducer’s obligation to obtain a master use license, will have exclusive rights to use the song, or The terminology here can get confusing. assume that the producer wants to use an instead, whether the publisher can give other But, to make it simpler, let’s take a situation in already existing recorded version of a song. producers the right to use the same song at the which a song has been written by a songwriter However, there are situations in which the pro- same time. named Joe A, and the music publisher for the ducer may want to have a new recording made, song is B Music Company. Let’s also say that i.e., as a newly-recorded “work for hire.” The Term three different bands have each recorded their Sometimes, this happens because the producer 1. Theatrical Films: The term is generally for the “life of the copyright” (in other words, “The producer of a film, television show, or the license will last as long as the song is pro- tected by copyright law). commercial must always obtain the written 2. Television: Sometimes for 2, 3, 5, or 7 years, or, currently much more common, for the permission of the owner of the underlying song, “life of copyright.” (There’s been a rapid trend toward “life of copyright” in recent years.) which as a general rule is the songwriter or the 3. Commercials: Typically an initial term songwriter’s own music publishing company...” of anywhere from 13 weeks to one year, often with the producer’s right to renew for another own separate versions of the song, and let’s call cannot obtain the necessary band and/or label equal term upon payment of an additional those bands X, Y, and Z. In this situation, the approvals, and sometimes it’s because the licensing fee (which might, for example, be synchronization license is obtained from the B already existing recorded versions do not fit the 125% or more of the original fee). Music Company, regardless of which recorded project for one reason or another. version (i.e., X, Y or Z’s) will be used. In any event, whenever the producer is The Territory As for the permission which needs to be having a new version recorded as a “work for 1. Theatrical Films: Typically the territory obtained for the specific recorded version hire,” the producer does not need to obtain a is “worldwide.” which the producer of a film, television show, master use license, since the producer is not 2. Television: It used to be that the territo- or commercial wants to use, that’s called a going to be using a master recording owned by ry was usually limited to certain countries. “master use license.” someone else. But, even then, the producer still Today, most often, “worldwide.” The Master Use License. A master use needs to obtain a synchronization license from 3. Commercials: Local, regional, national, license needs to be obtained by the producer for the music publisher of the underlying song. whichever recorded version is going to be used. continued on page 15

7 – TWO LOUIES, March 2001 on their relationship. Wow! It’s nice to be powerful, but seriously folks, what is that all about? People love to play that blame game. I hope Rossi finds it in her heart to forgive me for something I didn’t do, and I wish her all the luck in Los Angeles where she’s stay- ing with Carl Abramovic and plotting her next move. Thank goodness my cats still love me, or do they just want another pet? I saw the beautiful Karen Donovan from Space Media. She’s expecting a boy! Congratulations! Her six-year old Lena, who looked delightful in her flow- ered black boots, is looking forward to a little brother. Karen has been working on “The Originals Tour” pro- motions. They sent out a respectable package and I think the idea for the pilot is a good one. McKinley as the host is no slouch, and I thing if they ditched the guys and went at it with just the talented women in different cities, they could pitch it to Oxygen. (The ello Two Louies readers! What about those global warming. Poet and actress Marjorie Sharp is network for women). Grammy’s? I thought it was a good produc- visiting her as we speak, and they are going to see Jim I recently spoke with Mark Bosnian. He sound- Htion and Jon Stewart did a good job as host. Cuomo play in a Paris Café on Marjorie’s birthday. ed great and I remember that the last time I saw him That Madonna can still kick it and when she arrived on stage in the limo, we got a good shot of Mirwais spinning the discs down stage. Madonna thinks his stuff is the future of music. He produced three of the songs on Music, and now his own record will be in stores the 27th of February. I called ZigZag to see if Tony and Diana Demicoli’s bundle of joy had arrived. Peter Feher was house sitting for Tony and Diana’s cat’s, and he told me that Savannah Maria; a 6-pound baby girl was welcomed on to this earth! Savannah is a Pisces with Aries rising and an Aquarian moon. Look out Tony, you got a powerful beauty on your hands. Feher added that he was taking a break from the sold out Bon Jovi tour, but would soon be heading out for another leg. Peter’s such a great guy. Last year at Rose Festival he really stood up for me when I was slugging it out at the Waterfront. Producer Nicholas Hill is working as a DJ on New York City’s WFUV (90.7 FM). He’s been filling in and his shows can also be heard on the web. Another celebrity DJ that WFUV has on the roster is Vince Scelsa, who hosts Idiot’s Delight, which airs on Saturdays. Scelsa, a founding DJ at the legendary noncommercial WMFU in East Orange, New Jersey Nicholas Hill, Heidi Snellman and Rosebud @ SxSW made a name for himself with his free-form radio. he was back stage waiting to see none other than “Peter Feher added that he was taking a break from Courtney Love. He was there to help her warm up her voice for the disaster tour of Marilyn Manson and the sold out Bon Jovi tour, but would soon be Hole. Mark is working on a book titled, Don’t Just Sit heading out for another leg. Peter’s such a great guy. there Sing! He’s been a vocal coach for quite a while and has traveled as far as Rio to participate in seminars Last year at Rose Festival he really stood up for me about signing technique. He’s putting together a band with some great talent including Tim Ellis on Guitar, when I was slugging it out at the Waterfront.” Leah Hinchcliff on Bass and Nancy Breaux on Drums. I had dinner with Janeen Rundle from Sony His legendary style of no playlist, lot’s of talk and fea- What a small world! Music, Heidi Snellman and Colleen Siegfried who tured guests, garnered a devoted following. Scelsa I’m in hot water with Melissa Rossi. She’s got it told me a few tidbits about some upcoming nuptials. can also be heard three days a week on Live at Lunch on her head that something I said at a party in The beautiful and talented Paola LaMorticella is tying (liveatlunch.com), an Internet variation of Idiot’s Portland effected her relationship with Vanity Fair the knot with Scott Fox, Zia McCabe is engaged to Delight. writer, Nick Tosches in New York City. The events in Travis Hendricks and Bridgid O’Connor (who’s Penny Allen is back on radar. She’s been living question revolve around the Rolling Stone Christmas name I spelled wrong last month. Shame, shame and in Paris ten years now, and is working hard on her new party, the famous downtown watering hole called The twenty lashes.), is engaged to European hunk Jacques book. She’s organizing an international conference Lakeside Lounge, and the amount of partying Melissa Von Lunen, a sound engineer who’s been on the road (for the third time) on the integration of environ- participated in with Peter Wolf and Tosches. Anyway, with No Doubt. mental considerations into industrial practices. It is I guess Nick was not returning her calls, so she Dec 3, 4, 5, 2001, called ECO 2001, and one major deduced that it must have been something I said to Write to me: [email protected] theme this year is the individual car in a future of Richard Meltzer here in Portland that put the brakes

8 – TWO LOUIES, March 2001 by Paula Hay Digital Rights Management n the past year or two the term “Digital resides on a different hard drive or disk. Or, it So far it appears that all of the Majors are Rights Management” has become a buzz- may collect information about the purchaser’s working with a company called InterTrust to Iword among publishers of every ilk who computer such as processor speed and platform. develop encryption services for online distribu- intend to use the Internet as a means of distri- Encrypting a file with DRM technology tion. It will be some time before this is readily bution. It sounds like a legal or business term, changes the audio file’s format. From what I available however. The first Major Label distribu- but in fact it is a technology poised to come of could find so far, it seems that each company tion may appear at America Online, considering age in the very near future. The purpose of DRM offering DRM protected audio files also AOL’s recent merger with Time-Warner. is to provide a means for publishers, known in requires the user to download their particular Internet jargon as “content owners,” to control software to play the files. There doesn’t appear What’s It To You? the distribution of electronic files once those to be a standard DRM file format as of yet, Of all the people who can’t afford to have files are purchased by a customer, or in Internet although this may come in time. A company their music passed around for free, it is the inde- jargon “the end user.” which offers DRM encryption services may pendent label or musician. Fortunately there are In everyday terms this would be akin to encrypting the songs on a CD such that copying “Of all the people who can’t afford to have their the CD onto a cassette, another CD, or a com- puter hard drive, would be impossible without music passed around for free, it is the independent some sort of “key.” Each time a copy of the orig- inal CD was to be made, the recipient of the copy label or musician. Fortunately there are already would have to purchase a new “key” from the several good internet distributors in place who can publisher. In this way publishers can protect their content from copyright infringement and situa- bring DRM to an independent’s digital efforts.” tions such as the Napster debacle will become impossible. develop its own audio-playing software, which already several good internet distributors in will be able to play its clients’ files, but not the place who can bring DRM to an independent’s How Does It Work? files encrypted by a different DRM company. digital efforts. DRM is a combination of software pro- Imagine having to purchase a Sony CD player to One company who has been doing this for gramming and hardware identification based on listen to Sony’s artists; a Universal player to lis- several years already is Liquid Audio. The com- a programming language called eXtensible ten to Universal artists, etc. pany was founded in 1996 and is currently the Rights Markup Language, or XrML for short. leader in distributing copyright-protected music The language contains the elements necessary to Large Scale Development files on the internet. They don’t list their prices, insure copyright protection and proper pay- DRM technology is still in its infancy, and but their process works like this: ments to those involved in the creation and dis- therefore isn’t in widespread use as of yet. One You download their mastering software, tribution of the electronic files. Besides effective- company, Creative Inc., is using DRM in con- called Liquifier Pro, which you can use to turn ly locking the file to protect it against unautho- junction with a Windows-based portable audio your recordings into Dolby Digital AC-3, AAC, rized distribution, it will be able to track all pay- file player, encoding Windows Media formatted MP3 or Windows Media formatted files. During ments from the initial purchase to royalties to files to protect from sharing among users’ com- this process, Liquifier Pro embeds an inaudible everybody in between. puters. “watermark” into your files, which allows owner- The writing of the DRM encryption code is A French company called Zoomzic.com has ship tracking. Your files are also encrypted so handled by a company dedicated to the task, in partnered with Digital World Services (a mem- that they can only be played by an “authorized the same way a recording studio is dedicated to ber of the Bertelsmann AG conglomerate, whose listener”...i.e., the person who paid up. recording music. The publisher of the electronic music division is BMG, who joined forces with Once your files are properly formatted and files decides what specifications will be included Napster last October) to develop the world’s first encrypted, they are uploaded to Liquid Audio’s in the encryption. These specs can be very com- DRM subscription-based music service. Users server. Liquid Audio claims they currently have plex, such as automatically “capturing” informa- will pay a fee for a set amount of music per over 100,000 individual songs in their database, tion from the end-user’s computer hard drive month. The music they access will be protected all of which are tracked and encrypted to insure and internet provider, to tracking micropay- by DRM technology, so sharing the files they proper payment to the deserving parties. You can ments, to something as simple as keeping the file download will not be possible as it currently is then use their server as a storehouse for your locked until payment has been received. on most sites who offer music downloads. music files, while you set up access to them from In some instances, the encryption will be Another company, Triloka Records, has your own website, or other internet promotion able to work in conjunction with the physical partnered with a DRM provider called J. River, to channel. Potential fans will be able to listen to a pieces of the computer. The “key” to unlock the make its 2000 catalog available as DRM-protect- snippet of your music, which is free and not electronic file may be the name of a particular ed files. They will be selling their tracks at $.99 downloaded to their computer as a file; or, they hard drive, so that the file cannot be accessed if it each. continued on page 16

9 – TWO LOUIES, March 2001 guitar/sax interplay in the verses. Cool. The for- proven that she has the music in her heart. The mer ensemble ensures that “Matter of Time” too daughter of Jazz composer Calvin Jackson, she hits a funkier stride, with Talley’s twin sax sec- has the music of the ’40s and ’50s in her blood as tion livening up the proceedings. A memorable well. Here, along with her sixteen-piece orches- chorus helps the song, as well. The group adds tra, she cuts through a bakers dozen of standards continued from page 6 the Funk to the droll, Cake-like rap of “Drive Me from the golden era of song. Distraction,” as well as the rockier “Dream Day.” It’s a cavalcade of chestnuts: four songs by “Demographics,” hovers like an angel above the The heavier sound displayed on “Tomorrow” Buddy Johnson, probably best known as the band. And that potentiality is certainly enough seems to predict what Copeland and Talley composer of “Since I Fell For You,” the ‘60s hit to compel most to want to watch closely in the explore further with Ollis and Kay. for Lenny Welch (which Lily covers here), as well future the progress of Helio Sequence. Ollis and Kay prove they are capable of the as a couple songs from the pen of one of the masters, Harold Arlen. In addition the band cov- “Pale Green Pants, is the most accessible band in ers songs written by Louis Jordan, Louis Prima and Earl Bostic, among others. which Copeland and Talley have performed. The And their versions are impeccable. The six- recording is sparse, as if recorded on 8-tracks, with teen piece big band, featuring some of Portland’s best brass and reed players, including the sense that the band tried to make every track trumpeter Gavin Bondy, trombonist Monte Skillings and reedmen Chris Mercer and Danny count, without adding so much that they could not Schaufler, cut through drummer Tom Royer’s replicate the sound on the live stage.” smart arrangements with intrepid assurance. Wilde, whose husky alto is down in Cleo Laine’s Funk on “Power Trak,”and layer a more Jazz ori- range, has a clear, clean, precise presentation, PALE GREEN PANTS—PALE GREEN PANTS ented feel to Talley’s “Pray Here.” Ollis, especial- making up with ubiquitous technique for what Self-Produced ly, deserves mention for his deft cymbal work in she might lack in originality. But she’s a very Veteran guitarist/vocalist Mark Copeland the verses. Probably the strongest song of the good singer, to be sure. has spent nearly a decade in the local trenches, dozen is “Between Us,” a melodic piece of ear “Mister Five By Five” is a sparking piece of first with Dashboard Mary and Funknot in the candy. Over a tantalizingly artful rhythm section, early jump stylings, nicely captured by engineer early ‘90s, then with the Furleys in the mid-’90s. Copeland weaves a fine brocade of words and Craig Brock of Poundhouse Studios. “Since I Fell Mark Talley met up with Copeland in the Furleys music. Copeland breaks out the acoustic guitar For You” is treated more as a Blues, like Nina after a tenure as sax man for Funk ‘n’ Judy, some- on the last track, Talley’s “Dinner Party.”Without Simone’s treatment, less the torch song version thing of a sister band to Funknot. Here they are further accompaniment, Copeland carries out Lenny Welch made famous. Buddy Johnson’s joined by the rhythm section of bassist Tom Kay and drummer Ken Ollis, both alumni of PSU’s “Lily Wilde has a portfolio as long as yer arm, with Music program and pianist Darrell Grant. Those Funk roots show up from time to a pedigree to match. Beginning with backup singer time on this project, but much of Copeland’s music is more closely aligned to Rock, perhaps duties for the likes of Stevie Wonder and along the lines of Lenny Kravitz. Slightly retro, Rickie Lee Jones...” but with enough hooks and variety to keep things musically interesting. Part of that is due the number with a sense of restrained urgency. “No More Love” maintains the Blues attitude, to the fact that Copeland and Halley recorded By far, Pale Green Pants, is the most accessi- somewhat similar in style to Ray Charles’ “Hit five of the dozen songs presented here with ble band in which Copeland and Talley have per- The Road Jack.” Bondy’s blistering trumpet solo another band, The previous band, drummer formed. The recording is sparse, as if recorded lights up the middle break. “Tess’s Torch Song” a Gene Ermel, bassist Rob Schreconcost and gui- on 8-tracks, with the sense that the band tried to Harold Arlen show tune is given the full Big tarist Eric Flagel, while having plenty of chops of make every track count, without adding so much Band treatment, embellished by Pete Peterson’s their own, cannot match the subtlety Kay and that they could not replicate the sound on the stand out sax solo. Ollis demonstrate. live stage. The songs are memorable and original Getting a chance to stretch out on the Louis “Turn Around” turns on a fairly Funky without sounding too familiar or shopworn, The Jordan instrumental “Onion” several members beat, a sort of Dave Matthews sort of number, addition of a keyboard player might be nice for take solo breaks. alto sax man Bryan Dickerson. decorated nicely by Copeland’s sharp vocal har- this material. But, overall, this is a very enjoyable gives way to Peterson on tenor sax then Stan monies in the choruses, augmented by Talley’s recording, by a band with a lot of promise. Bock on trombone. The swinging “Rip Van sonorous sax work. Ollis and Kay again set up a Winkle” allows Lily to showcase her chops, stack- smart rhythm on “What Do You Need,” a fairly INSECT BALL—LILY WILDE AND HER ing harmony tracks on top of her lead vocals- straight ahead Rock tune. Again tight vocals in JUMPIN’JUBILEE ORCHESTRA sounding like the Andrews Sisters, lowered half the choruses add to the effect, as does a familiar Lil Tom Tom Inc. an octave. guitar theme in the verses. “Reason” shows Lily Wilde has a portfolio as long as yer Two more Buddy Johnson tunes follow, first potential with a nice blend of the guitar and sax arm, with a pedigree to match. Beginning with the New Orleans tinged Blues of “Til My Baby in the verses. backup singer duties for the likes of Stevie Comes Back,” upon which Lily presents one of The old unit is featured on “Everlasting Wonder and Rickie Lee Jones in the ‘70s, as well her best vocal performances. Johnson’s “Go Embrace” and they funk it up a bit more than as an extended stint in Seattle in the ‘80s, before Ahead And Rock” doesn’t really, but provides a their successors, with more nice, Steely Dan-ish her arrival in Portland in the early ‘90s, Wilde has continued on page 17

10 – TWO LOUIES, March 2001 around the room like a lazer fight between god and satan and the spots were so hot they were beginning to melt my steel drum. So I decided this was a good time to stroll around upstairs in my impressive Two Louies tour jacket and check out the other talent at this party and to chat with my favorite folks to rap with...musicians. As I strolled from room to room and exhib- it hall to exhibit hall, I was continually knocked out by the elaborate preparations that were made for this event. Each room was more impressive than the other. Each room was sup- plied with stage and sound for the bands. even the smaller satellite venues. One came complete with a working volcano! reetings Music Makers, you would not know it from the gig they threw Among others the entertainment included last week. Michael Harrison, Curtis Salgado, Generator, G I picked up a last minute reggae band job Cindy Young and Stephanie Schneiderman. The opening up the festivities in the underground Band I worked with was called Carnaval featuring If you want to make a buck or two playing parking lot at the Hilton last week which had Jay Harris, Fred Garner myself and, my pick music in the Portland area, chances are you’re not going to do it just playing in our taverns or clubs simply because the club owners are con- stantly overwhelmed with offers from bands who want to play so bad they’re willing to play for next to nothing just to get a chance to per- form. One way to support your creative goals and still work as a musician, is to create and market a separate project that appeals to special events (company picnics, street fairs, private holiday parties, weddings, corporate galas and so on). There is no shame in taking corporate money for a hard days work in the music biz, after all, that money would probably just go towards the pur- chase of another Lexus, or trip to the Bahamas for some junior v.p. of special events or whatever! The competition is still a little tuff in this area of the music biz and most agents will draw talent from out of town if the need is there, but chances are Portland will be able to offer sever- al good choices for them to pick from. You can earn $500-$1500. So get those promo kits done Denny Mellor; a blur at Intel now and send them off in a hurry, just check the yellow pages for the appropriate phone num- been converted into an elaborate black light, music hero of the month, Portland reggae mon- bers and addresses and good luck! robotic color spot, surrealistic cave like psyche- ster Newell Briggs. You might know Newell from Since the focus in my column this month delic thunder disco, gaming boards and waiters such bands as Dub Squad and the Instigators is special events, let my tell you about a gig I in black tie and tux serving salmon, prime rib, among many others. Along with working in music Newell has been using his gift of creativity “Intel just threw one of the biggest company parties and his calm, lovable good natured spirit in our overburdened educational system teaching, as seen in this town. If things are going poorly for this well as performing in the Young Audiences pro- gram. But the real good news is that Newell just local mega-chip conglomerate you would not know landed a great job working at the new communi- it from the gig they threw last week.” ty Youth Opportunity Center in the old NIKE outlet store on MLK blvd. just did at the Hilton downtown. Ten bands fine French pastries complemented with “coke From the sound of it Newell’s well deserved and a Rave! in the can?” kharma-reward actually comes with a real Intel just threw one of the biggest company I had to quickly get off the stage after set up decent paycheck and all the extras that most parties seen in this town. If things are going because the blinding robot-disco lights had musicians never see. GOOD JOB NEWELL! poorly for this local mega-chip conglomerate some how gone out of control and were swirling

11 – TWO LOUIES, March 2001 THE GRAND OL' SOAP OPRY

History. had dimmed as Pavement tried to contort itself into a When Two Louies was about a year old John conventional rock band. It must have been frustrating Fahey was the biggest breaking story in the Oregon for Malkmus to tailor his increasingly sophisticated original music community. songs to the somewhat limited talents of his side- By the time Fahey moved to Salem in 1981 he men...reportedly, several of these tunes were written had undergraduate degrees in philosophy and theolo- for Pavement but scrapped when the band couldn’t gy from American University in Washington D.C. and play them.” a master’s in folklore and mythology from UCLA. He “The whole album sounds a whole lot like his old had ruled the Berkeley folkie scene as a guitar soloist. band: loose, tuneful and warm. Classic Malkmus, Quirky and innovative, he was known to be the lead- which really, is all we ever wanted from him in the first ing finger-style guitarist in the country. In Berkeley he place.” promoted the 60’s blues revival with his label Takoma Wanted: More Malkmus Records by re-discovering old artists and finding new The next week’s issue of EW ran a music humor instrumental superheroes like Leo Kotke. Over the feature by Chris Willman titled Easy Ryder, pointing years Fahey’s Takoma catalog was sold to Fantasy out that “In the rock world, there’s one award more Records. coveted than a Grammy or even multi-platinum certi- In the ‘90s Fahey formed Revenant Records to fication: being Winona Ryder’s boyfriend.” reissue recordings of early blues artists.. First came Soul Asylum’s Dave Pirner, Dave During his own career as a recording artist Fahey Grohl, Beck and now Whiskeytown’s Ryan Adams. released over thirty albums. He had just finished EW “handicaps the odds for nine candidates in the recording another with Terry Robb at the time of his Ryder/rocker dating sweepstakes”. i.e. Puff Daddy 2 death. million to 1, Marilyn Manson 5,000 to 1, Billy Bob In 1997 he won a Grammy for writing the liner Thornton 450 to 1 Winner, at EVEN odds; Stephen notes on the Smithsonian’s “Anthology of American Malkmus. Folk Music”. His friends say he was miffed, that after “Like many a naïve girl before her Winona is decades as a recording artist, he was honored for liter- bound to believe she’ll be the one to get the indie rock- Keith Schreiner of Dahlia ary skills. er to write sonnets to her instead of Yul Brynner.” Befitting his scuffling legend, Fahey’s Grammy They love this guy... VanBuskirk, who was the editor at Willamette Week was stolen out of the backseat of his car two weeks during the first three years of North By Northwest.. after the awards. Puddletown bummer... March 17th Ms. VanBuskirk will act as the mod- Terry Robb will deliver Fahey’s eulogy in Salem, Once again, embarrassed to be from the Portland erator of the Austin, SxSW Conference panel Sunday, March 4th at Willamette University 245 music industry, thanks to Willamette Week. This time “Balancing Local Coverage”... Winter Street East, at the Collins Law Center, Paulus for their big time fumble of North By Northwest. Lecture Hall, room 201. Services from 2-5PM organ- The Texans brought the party reputation and the Quippie update. ized by Fahey friends Tim Knight and John Doan. entertainment industry heavyweights. All Willamette Showcase Music owner and drummer of the leg- Week had to do was organize the city to play host. endary Tiki & The Fabulons John Chassaign just back Pay it forward. How hard could this be? from the NAMM (National Association of Music Stephen Malkmus is a hot rocker in the nation- Look at it this way. This very month, March 14th Merchants) Show at the Anaheim Convention Center, al entertainment media – and for a guy that hasn’t through the 18th the music business will travel from where he says most of the real action takes place in the lived around here that long – getting Portland a lot of all over the world to gather again in Austin, Texas for bar, not on the floor. “It gives you a chance to swap good promo. yet another South By Southwest. Music industry information with other dealers from around the coun- Entertainment Week’s half-page feature review leaders like the presidents of Mercury, MCA, Rykodisc, try.” Chassaign says the best new product of the show Crooked Reign (2/23) headlined “Tired of pounding Reprise Rounder, Chrysalis, Virgin, Warner Brothers, was Fender’s new Cyber Twin modeling amp. the Pavement, Stephen Malkmus follows his warped Interscope, Capitol-(well, you get the idea), writers Portland Music’s Mark Taylor agrees with him. muse down the road less graveled.” and editors and lawyers and artists,-will be all over “The demand for the Cyber Twin is sensational.” says To mud-puddle Portland, home of the super- Roland Swenson and Hugh Forrest about what the Mark. “I think the Cyber Twin surprised a lot of peo- pickers... heck happened up there in Portland, with North By ple. You don’t think of Fender as the kind of company In Rob Brunner’s review “Malkmus’ disc is full of Northwest? that keeps digital engineers on staff. You think of them humor and energy. Backed by a Portland twosome Don’t mess with Texas. blending paint to match classic Stratocasters.” Taylor dubbed The Jicks (drummer John Moen and bassist It would serve Portland right if the Texans kept says the big price breakthroughs came in digital Joanna Bolme), Malkmus sounds positively jaunty as the name North By Northwest and jumped in bed with recording “Roland introduced the VS2480 complete 24 he tosses off sublime nonsense. This is silly stuff, obvi- the Seattle Weekly to do the conference there. After track digital recording studio for under 4 thousand ously, but it’s a welcome return to the giddy wit that all, the new editor at the Seattle Weekly is Audrey dollars! Fostex just reduced the price of their 8 track

12 – TWO LOUIES, March 2001 BY BUCK MUNGER

“I See, I Am”.Buzz taught me the music business when wrong.” says Brian. “I was lucky, they let me do my he hired me to play drums for him in the 60’s. In the community service in Oregon at the Humane Society, 80s, Buzz moved his wife and two sons to Portland and and I love dogs. My community service obligation is gigged locally with the Norman Sylvester Band, and just about over and I’m taking a full-time job there.” his own band, the Swells. “I’m not disappointed in the Volcanic situation. As a songwriter, Buzz made about 50 grand from I realized after being a hired-gun for Everclear that I Midnight Vultures. Fifty gees and Album of the year had to have a lot more creative involvement. We have would’ve been sweet. a great record coming out on Elemental with TV 616. Any chance TV could end up on Popularity? He Hate Me. “Everclear has gone completely pop. TV is heavy in a Leave it to Dennis Jones to get the first Art way I don’t think Art understands anymore.” Alexakis interview in Two Louies (See P.5) Dennis was an early graduate of the Guitar Institute of I grew up on Hawthorne. Technology in Hollywood and after school moved to My grandparents lived at 4437 SE Hawthorne. I Portland to join Casey Nova’s band. Dennis’ work used to walk up to the Mt. Tabor Theater every appeared in the first issue of Two Louies in December Saturday morning for a day full of Cowboy movies, of 1979. cartoons and serials. I was about eight at the time. Dennis now lives in New York, contributing peri- Then a wonderful thing came to the Mt. Tabor; odic coverage of touring Oregon acts. Live Entertainment. In DJ’s interview Art says, “I’ve been on the A yo yo contest. Where almost every kid in the cover of this magazine 30 times and they’ve never theater climbed up on the stage with his yo yo and per- talked to me.” formed. Then he refuses to talk to Dennis... Very heady stuff; applause. Especially for an eight year old kid who could stay up there for three full Clearly. rounds; making it “sleep”, “walking the dog” and photo: Snyder Art doesn’t want to talk to us because we’ll ask all “around the world”.Ba-boom, ba-bing, you’re looking those tough insider questions like how come Brian into the audience from behind the drums... digital recorder to $599.” Lehfeldt isn’t playing drums in the LA band Volcanic, It’s great to see that landmark of my performing General Manager Greg Duel is out at Clackamas which is opening for Everclear now on the road, and career is still such an artist friendly, happening place, Guitar Center replaced by Beaverton GC/GM Tony scheduled to be the first band out on Art’s Popularity thanks in large part to Peggy Glickenhaus who books Spagnuolo who left that store to new GM Brian Records. the room and makes good things happen in the neigh- Harrison. Brian immediately hired Apple guitar-tech The Volcanic drumming gig was held out to borhood. February 24th the Tabor collected 5,000 lbs veteran Kent Henry. Harrison is also a veteran of Brian after he left Everclear under a legal cloud, of food for the Abernathy School Oregon Food Bank Kelly Howard’s Apple corps. “We have about five charged with assault in Austin, after an Everclear gig in Drive. Higher Ground, Ashbury Park and the Apple guys here in the Beaverton store.”says Harrison. which Brian allegedly assaulted a fan at the front of the Countrypolitans performed. Peggy says they’ll be col- GC Clackamas just lost Guitar salesman Mike Skill to stage. lecting food all during March. the road for gigs with his band The Romantics after Of his tangle with the Texas authorities Brian Burger King’s use of their hit “That’s What I Like says, “They crucified me. When they say don’t mess The Dot Commies Ball... About You” in a new commercial created “a heightened with Texas, they mean it..” Friday, March 30th at the Melody Ballroom the demand”. GC Clackamas Asst Manager Smokey Brian says it happened quick... Software Association of Oregon’s second annual Wymer’s Monday night battle of the bands at the “It was a hot day and Art was bitching out the Battle of the Bands open to “bands with at least one Copper Penny is coming to a close. Wymer says crowd for throwing things at the stage. He got pretty member working a day-job at a high-tech, software or Everclear is touring with a stage full of Line 6 ampli- angry and started in on the Texas ego thing and the creative services company.” fiers thanks to GC guitar wiz Nathan Anderson of the crowd got angry. I poured some water on a woman at The event will benefit the Oregon Works Teacher Salem band Neutices... Smokey says Art is interested the front of the stage and tossed the plastic bottle at Industry Partnership for Software program, which in Nathan’s band for Popularity. her. This made some people by her mad and they provides free computer and technical training for grabbed my leg, and in trying to pull my leg away it Oregon’s high school teachers. My dog in the fight. was said I was trying to kick her.” For info call Robyn Shanti at: 503/624-8647 While everybody else was talking Eminem and Authorities made Brian return for a trial in Texas Steely Dan for the Album of The Year Grammy, I was for Assault.. Brian says Art hired a lawyer and stood The Three Rules of the Biz. pulling madly for Beck’s nominated lp “Midnight behind him all the way. The woman also sued both Vultures” which contained a Buzz Clifford tune sam- Lehfeldt and Alexakis in civil court. Know who helps your career and who hurts it. pled from a 1969 track on his Dot Records solo album, “In this whole incident Art didn’t do anything Know what to ask for. Know when to pass.

13 – TWO LOUIES, March 2001 4811 SE Hawthorne 238-1646 Main Room, March THURSDAY MARCH 15 Club Foot Sandwich THURSDAY MARCH 1 Dharma Engine Toca (w/Ricardo & Carlos of Rubberneck) FRIDAY MARCH 16 Taos Hum Lion of Judah 7th Seals FRIDAY MARCH 2 Porterhouse SATURDAY MARCH 17 Mr Rosewater Rubberneck Higher Ground SATURDAY MARCH 3 Box Set MONDAY MARCH 19 Kaleb Klouder Project Reggae Jam MARCH MONDAY MARCH 5 TUESDAY MARCH 20 Reggae Jam Distracted Avalauncher TUESDAY MARCH 6 Cage 9 WEDNESDAY MARCH 21 Northwest Royal Spring Equinox Extravaganza artist • label • title Satellite Heroes THURSDAY MARCH 22

LAST MONTH MONTH THIS WEDNESDAY MARCH 7 Vinyle Switch Rosewater 41VARIOUS Last Chance CD ...... In The Cole Mind Evolver FRIDAY MARCH 23 Veneer Omarr Torrez 12VARIOUS Kwali-T CD ...... X Ray Visions THURSDAY MARCH 8 Paula B.N. Mya Jack Straw SATURDAY MARCH 24 63SAUVIE ISLAND MOON ROCKET FACTORY Red 76 CD . . . .“Wy’East Can’t Sleep” Sugar Beat Benefit for Old Towne Clinic FRIDAY MARCH 9 Jellyhead ...... Houseman (lead man of Galactic) Obscured by Clouds 74WOW AND FLUTTER Jealous Butcher CD Same Monkey, Dif Ape Ashbury Park Pacific Wonderland 84DIZZY ELMER Demo CD ...... Crying to the Moon SATURDAY MARCH 10 MONDAY MARCH 26 Giant People Reggae Jam 85IKNOWKUNGFU Drunken Fist CD ...... Songs in the Key of Fu Carlos Washington TUESDAY MARCH 27 OAB Funkband Ten Planet Hero 86FREIGHT TRAIN CASANOVA 6-Pane CD ...... Strange Bird SUNDAY MARCH 11 Omni Mom Hanuman WEDNESDAY MARCH 28 11 6 POSTCARDS FROM SINGAPORE Demo CD ...... My Secret Ocean MONDAY MARCH 12 Tracy Klass Reggae Jam Band w/Eclectic Friends •7LARA MICHELL Advance CD ...... Somniloquy TUESDAY MARCH 13 THURSDAY MARCH 29 Stuck in a Groove Bye Bye Chinook 97GRAVITY AND HENRY Revolve Records CD ...... Pisces Pangea FRIDAY MARCH 30 WEDNESDAY MARCH 14 Atom Sane •8SAUVIE ISLAND MOON ROCKET FACTORY Demo CD ...... Super*Soundtrack Big Orange Splot Satellite Hero St Terresas SATURDAY MARCH 31 Diesel •8THE SHAZAM Not Lame CD ...... Rev 9 Clumsy Lovers 10 9 PACIFIC WONDERLAND Demo CD ...... Written on the Rocks •9CHERRY BOMB Demo CD ...... Live at Berbati’s Pan •10LOWER 48 Wrecking Ball CD ...... Ranchero •10MARK SPANGLER Alice Street CD ...... Don’t Go In The Basement •11BATHTUB FULL OF SHARKS Millennium Records CD ...... Promo Advance EP •11I CAN LICK ANY SON OF A BITCH IN THE HOUSE Cravedog CD . . .Advance LP •12EZRA HOLBROOK Songs for Thomas CD ...... Sympathy for Toys and Puppets •12SAUVIE ISLAND MOON ROCKET FACTORY Demo CD ...... Mudpuddle Park •13SPECTRUM Order House CD ...... Hits

top tracks

•1 MISSION 5 Last Chance CD ...... Fire in the Western World •2 DRUNK AT ABI’S Kwali-T CD ...... Stranger than Time •3 SAUVIE ISLAND MOON ROCKET FACTORY Red 76 CD . . .Buster Crabbe’s Circus •4 WOW AND FLUTTER Jealous Butcher CD ...... Same Monkey, Different Ape •5 DIZZY ELMER Advance CD ...... Crying to the Moon

live offerings at the church

Wednesday March 14 ...... Claire at the Controls Wednesday, March 21 ...... Marc returns w/Lea Krueger Band — Live! Wednesday, March 28 ...... Stan Cautarelli (Rock from NW Italy) — Live! Wednesday, April 4 . . . . .Marc’s B-day Extravaganza w/Freight Train Casanova — Live!

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

14 – TWO LOUIES, March 2001 tical to, the synchronization fee charged by the tions in which public performance income can publisher in that same situation. be quite substantial, and in those situations, In some instances, however, the record the publisher is often willing to accept a syn- company negotiating the terms of a master use chronization license fee significantly lower continued from page 7 license may be more anxious (than the music than it would otherwise be inclined to accept, publisher who is negotiating the synchroniza- rather than potentially losing the deal (thereby certain countries, or worldwide, i.e., depending tion license) to have the music used (in order to losing not only the synchronization license fee on what the parties negotiate. promote an artist who currently has a record paid by the producer, but also the “public per- out), and so the record company may be willing formance” income earned from ASCAP, BMI Exclusivity Versus Non-Exclusivity to agree to a lower fee than the publisher is will- or SESAC by reason of the broadcasts of the 1. For theatrical films and television ing to accept. On the other hand, I have seen television show). shows: Synchronization licenses are almost instances in which the record company has Bear in mind here that we are only talking always non-exclusive in regards to films and tel- required a higher fee than the publisher. about the public performance income payable to the publishers and songwriters of the “How big the synchronization fee will be in any underlying song. The same considerations do not apply to the owner of the master record- given situation will depend on many factors, such as ing of a particular recorded version of the song —i..e., a band or its label. Under U.S. copyright the degree of public recognition of the particular law, the owners of master recordings, unlike the owners of the underlying songs, are not music involved and the term of the license.” entitled to public performance income for the Sometimes, also, there is a large difference broadcast of their recordings in the United evision shows. If there is exclusivity, the pro- in the fees charged by the publisher and record States. (The situation is different in some for- ducer will usually be paying dearly for it. company because of the fact that there is a eign countries.) Assuming there is no exclusivity, the owner of small publisher or record company involved Therefore, the owner of the master record- the song can license it to as many other compa- which is not very experienced in the licensing ing’s only source of U.S. income from the mas- nies as it likes. area, and which as a result has unknowingly ter use license will be the up-front master use 2. For commercials: There may be exclu- (and unnecessarily) quoted too low of a fee to fee which it receives from the producer, since it sivity for a limited period of time. When there the producer. will not be receiving any public performance is exclusivity, it is most often limited exclusivity, income from ASCAP, BMI or SESAC. As a limited either to the territory of the license Additional Income from ASCAP/ BMI/ SESAC result, the owner of the master recording may and/or to particular products or industries. for Publishers and Songwriters feel more of a need (than the publisher) to When music is “publicly performed” — as negotiate to receive the highest possible up- The Amount of the Synchronization in, for example, the case of music which is front fee from the producer. License Fee broadcast as part of a television show— the How big the synchronization fee will be in any given situation will depend on many fac- tors, such as the degree of public recognition of “Under U.S. copyright law, the owners of master the particular music involved (for example, recordings, unlike the owners of the underlying whether it was a hit song in the past, and if so, how recently), the nature of usage (e.g., in a film songs, are not entitled to public performance versus a television show versus a commercial, etc.), and the term of the license. Depending on income for the broadcast of their recordings in the the nature of the production (film versus televi- sion, etc), there will be other considerations as United States. ” well. For example, in the case of a film, there are publisher of the underlying song and the song- Editor’s Note: Bart Day is a Portland-based such considerations as how many times the writer will be earning not only the synchroniza- song will be used in the film (and for how long tion fee which they received from the producer, entertainment attorney in private practice. He is each time), and whether the music will be used but also “public performance” income from the also a partner in ALLMEDIA, Ltd., a company in the foreground (versus the background), or publisher’s and composer’s performance rights with offices in Portland and Los Angeles. ALL- in trailers. society (i.e., ASCAP, BMI, or SESAC). This MEDIA specializes in administering the licens- Even when the up-front synchronization “public performance” income can be very sub- license fee is small, there can still be some very ing of music for film, television, commercials, stantial. and websites, and represents various record substantial public performance monies to be Sometimes, however, the public perform- labels, independent music publishers, and eventually received by the publisher and com- ance income can be very small—for example, poser from their performance rights society when music is used in a cable show. This is Internet companies. (i.e., ASCAP, BMI, or SESAC), as discussed in because of the low rates which have been nego- Bart is also the co-author of a chapter in more detail below. tiated between ASCAP,BMI, and SESAC, on the The Musician’s Business and Legal Guide, a one hand, and cable networks on the other book compiled by the Beverly Hills Bar “Master Use” Licensing Issues hand. The fact that these rates are so low has Many of the issues mentioned above in Association and published by Prentice-Hall become a controversial issue among many Publishing (New York). regards to synchronization licenses are also members of ASCAP, BMI, and SESAC, particu- issues in negotiations over master use licenses. larly given the fact that many of the cable net- The reader is cautioned to seek the advice of As for the amount of the licensing fee to be works have become lucratively profitable for the reader’s own attorney concerning the applica- paid in any given situation, the amount of the their owners. bility of the general principles discussed in this master use fee to be charged by the record com- In any event, there are still many situa- column to the reader’s own activities. pany is often very similar in amount to, or iden-

15 – TWO LOUIES, March 2001 able on their website or among their press releas- es. They do plan on charging a fee to have mate- rial DRM-encoded. This means that if you want- ed to release your material into the CenterSpan continued from page 9 peer-to-peer network a la Napster. The difference network, you would have to pay a fee for the ini- will be, all the files traded on the CenterSpan tial “wrapping.” Once your material is available can purchase your files with a credit card, which network will be DRM encrypted. Users will pay a to users of the network, they will have to pay to they will then be able to download. They will not fee for access to the network, and will trade files access it, meaning you’ll see some revenue from downloads of your music files. “Encrypting a file with DRM technology changes the With the fate of Napster now in serious trouble, pay-for-play file sharing seems to be audio file’s format. From what I could find so far, it the avenue digital music distribution will take. Of course it won’t be free, but it does mean seems that each company offering DRM protected independents will have a chance to protect their audio files also requires the user to download their jealously-guarded copyrights. Sites like Napster will no longer be a threat to anyone, and the particular software to play the files.” artist or label will be able to determine the extent sharing among friends can happen with be able to share these downloads with other peo- directly between individuals. The only files avail- their music files. ple, and even if the files are recorded onto an able on the CenterSpan network are ones which analog medium, your “watermark” will still be have been DRM encrypted by the company. Paula Hay is a graphic designer and internet geek hidden in the music. Since things aren’t quite up and running yet living in Portland. Comments can be emailed to The catch is the usual one: users have to at CenterSpan, no set pricing structures are avail- her at [email protected]. download the Liquid Player, which is free, to lis- ten to music they download from Liquid Audio’s Find More Information About DRM at These URLs: server. This is because the DRM encryption ren- http://209.58.177.220/articles/jan01/TR10_singh.html ders the files unplayable on standard MP3 play- www.press.umich.edu/jep/04-03/gervais.html ers like WinAmp and SoundApp. www.nmpa.org/nmpa/expression.html Here In Stumptown... www.adobe.com/epaper/features/drm/howdrmworks.html A company called CenterSpan, located in www.wired.com/news/politics/0,1283,41183,00.html Hillsboro, is working feverishly to develop a dif- www.liquidaudio.com/ ferent kind of distribution for DRM protected www.centerspan.com/ files. While Liquid Audio stores files on their server, CenterSpan plans to have a decentralized WE LOVE & BACHELOR PARTIES! NE 122nd & Glisan Club Featuring the most beautiful 255.5039 dancers in the Northwest! Cabos Come on in for CHAR BROILED STEAKS SE 18th & McLOUGHLIN BREAKFAST, LUNCH, or DINNER 232.3799 Open Daily 7am–2am we have Oregon Lottery Games too!!

16 – TWO LOUIES, March 2001 of truth to the phrase. WE’RE GLAD YOU CAME—MR.ROSEWATER The call and response of the Soulful fla- Self-Produced vored “Clever Little You” allows Milne to explore We last heard from Mr. Rosewater in a different aspect of his vocal personality. Here October. With the recording reviewed there, they continued from page 10 he sounds more like Rob Thomas of Matchbox displayed a knack for light, funky jazz, but a lack 20, as guitarist Tobe Anderson’s grizzled lead of real direction. Here, they seem a little more smooth showcase for successive solos by Bill lines rasp against the cool groove of the rhythm focused, but a few of the problems remain as Beach on piano, Chris Schell on trumpet and section. Regis Bristol’s spot-on background well. Whichever the case, the band seems intent Lew Chapman, whose trombone work truly vocals helps immeasurably to enhance the soul- on becoming the Booker T and the MGs of the stands out. Closer to early Boogie woogie/Rock is ful mood. new millennium. Louis Prima’s “Oh Babe,” a sprightly uptempo A fiery guitar/keyboard interplay drives the It is difficult to release an instrumental number. chorus of “Me Against The World.” And album without a strong melodic presence in Wilde’s take on the old warhorse “Stormy Anderson’s short guitar solo in the break is espe- the lead. Guitarist Andrew Field is great at set- Weather,” is unique, breaking free of the vocal cially zesty. A solid song. “No Time” cooks fero- ting up the chord progression and getting his structure made famous by Lena Horne and Billie ciously with a funky underpinning and further musical project off the ground. But he is not Holiday and imitated ever since- which is guitar virtuosity from Anderson. yet a lead guitar superstar. Drummer Evan refreshing, to say the least. Lily’s reading is closer “Gone Away” moves closer to a Rock for- Louden (a graduate of Mourning Tuesday) and to that of Etta James. Refreshing too is her lively mat, a song about interpersonal relationships bassist Jason Mellow do their parts with solid delivery of “Work Baby Work,” a hopping finale though from a decidedly oblique angle: “I feel a support, as do guest players: keyboardist Jeff to the set. little sad because the world got torn apart/I Baxter, percussionist Spencer White and sax- Lily Wilde and band are authentic and con- guess it couldn’t take the strain of revolving man _ Fendel (who has since officially joined cise in their presentations, certainly a great show around you and the sun/Feels a little strange the band in the place of Thomas Smith from band, the likes of which are seldom found any- now that the world got torn apart/I guess it the last recording). more. It’s certainty that Britney Spears isn’t going couldn’t understand that you were the center of But Field seems intent on being the driving to break into “Boogie Woogie Bugle Boy” on her the universe.” A strong chorus and further furi- force of the band. And, as with the previous next release, nor would it be the greatest career ous guitar work from Anderson, make of this recording, that doesn’t always work. These guys move if she should. But for Lily Wilde, the music song another winner. can really play. Check out “Fire Marshall” where fits. It’s part of her heritage and she wears it well: Returning to a more aggressive posture, the Field really cuts loose with more than a riff or like a second skin. band again scores with “We Fall.’ Milne’s exten- two. Here, aided by Baxter’s stellar synth contri- sive vocabulary lends the material an intellectual butions, he takes off for the stratosphere. But THE PRIME DIRECTIVE IS THE GROOVE— depth not always found in the rap idiom. even then, one longs for the song to return to a THE FREEMARTINS Another powerful chorus helps to lodge the song vocal of some kind. Some reference point. But Self Produced permanently in the listener’s mind. that never happens. Combining Rock, Funk, R&B and Hip Hop Cool R&B horn samples drive the frantic “ There are a few guitarists out there, such with sometimes strong socio/political ideas in Freedom,” a well-developed diatribe aimed at a as Pat Metheny, Joe Satriani, Eric Johnson and unusual and original ways, the Freemartins decidedly visible portion of American society, Jeff Beck to name a few, who can sustain an evolved from Tilting At Windmills, who had a the money-hungry rich. The acoustic guitar of album by simply going off. But even with their modest run in the local scene in the late ‘90s. “That Is Over” could have been lifted from technical expertise, their appeal attracts a lim- Here, the band puts its influences to great use, Sublime’s “What I Got.” But it pushes the song ited audience, Their musical palette is reduced. producing intelligent, well-executed music with into a direction that is different from the rest of Their choices are limited. Other guitarists, a distinctive message. the material.“Devilicious” attempts to move into Carlos Santana, Jimi Hendrix, Stevie Ray The first four songs, recorded at Sound the heavy Metal arena, with mixed results. Vaughan and Eric Clapton among them, have Impressions, hit the listener with real impact. “Pavement” is far more successful, combin- found that they are most fully complemented The remaining eight tunes, recorded at Bargain ing shredded guitar riffage in the choruses with in the context of a song. Their music is certain- Basement Studios, still pack plenty of punch, but plaintive keyboard twitters in the verses to create ly more accessible. the “in-your-face” quality of their predecessors is a soft aural bed upon the which the vocal rap lies. Accessibility is definitely not the end-all or lacking. “Mr. Anderson” kicks off with a swirls of A little like Living Color playing with Talking be-all of every musician. Many musicians have funky horn samples, before the rhythm section Heads in early Faith No More. Yikes! their own, individual artistic visions to pursue. of drummer Steve Valente and bassist Eric The Freemartins are a tough, tight, cere- With Mr. Rosewater, that vision is not altogeth- Luvaas kick in with an insistent Funk thang, as bral outfit who exhibit a great deal of promise. er clear. There is the sense here that Field is mov- vocalist Skipp Milne precisely delivers his incisive The variety of styles they display, which often- ing toward something, that ultimately may or social observations (similar in some ways to the times can act as a diluting aspect, watering may not work, but that he has yet to arrive at his virulent political stance of Rage Against The down a band’s focus, is instead a strength, for destination. Machine), a whispered rap. the most part, here. Vocalist/lyricist Skipp And so it seems that there is still something “Sentimental guillotine, chopping through Milne has a lot to say and the equipment to say missing here. As if an element were missing in the menacing cool/Watch the head roll down to it. The band presents an array of abilities and the chemical composition; a color missing from the bottom of the hill/It’s a fantasy life, including possibilities. It will be interesting to watch the spectrum, something just doesn’t seem quite all the fantasy rules/Watch the body subjugated where they go from here. The sky would seem to right. Without a doubt we will hear from the to majority will.” Love songs? I don’t think so. be the limit. members of Mr. Rosewater gain. In what config- There’s not a lot of romance in “...subjugated to uration and under what circumstances remain majority will,” though there is certainly a degree yet to be seen.

17 – TWO LOUIES, March 2001 Lael Alderman of the Bella Fayes photo: Snyder

18 – TWO LOUIES, March 2001 All Service Musical Electronics Repair Clients: Love Load, Edgar Winter Group, (Formerly KMA Electronics) Norton Buffalo, Steve Morse as well as 617 S.E. Morrison books bands for the Mill Camp and Portland, OR 97214 Swingers Night Club. Phone/Fax: (503) 231-6552 Toll Free: 1-888-231-6552 I.H.S. Production Contact: Randy Morgan Gary Miles Email: http://www.teleport.com/~fixitman (503) 731-0383 Services: Quality electronic service for 8063 SE 17th Avenue musicians, studios and music dealers. Portland, OR 97202 PRODUCTION Factory authorized for most major Service: Promotion, Sound Recording, brands. Video post work. Hours: 9-6 Monday through Friday, Years Experience: 12 years. Saturday 10-5 Speciality: Servicing the Christian community. Years Experience: 27+, over 20,000 repairs Availability: Anytime. Specialties: electronic musical equipment Letcher, Sean from vintage to state of the art. If you (503) 771-7488; (503) 938-9626 pager can plug it in and make music with it, Services: Sound we probably repair it. Years Experience: 14+ Clients: We have performed repairs for Music Specialties: Anything but Country almost every music store in Portland Availability: Call for Schedule and Vancouver. We have done work for Specialties: Experienced at all levels of Specialties: Sound mixing, front of house Ripplinger, Joseph acts such as Cheap Trick, The Cars, record/music industry. Tech any and monitors, production services. (503) 655-3869 The Moody Blues, 98 Degrees, Monica, all instruments, good stage Services: Sound & lighting engineer, small Everclear and many local artists. management skills, total of 15 years Pro Sound and Video PA and Light rental, Psychedelic Liquid experience in Portland music scene. Steve Hills Light Show Brown, Ray House Engineer @ Moosehead Café. 1020 Greenacres Road Years Experience: Pro since ‘81 (503) 286-4687 Msg. (503) 285-2473 Clients: Maiden Mine, Nurse Diesel, Eugene, OR Music Specialties: Blues, rock, jazz, Services: Sound Norman Sylvester, Hudson Rocket (541)4844-4252 classical, Electric/Acoustic Years Experience: 20 Band. Years Experience: 7 years Availability: Yes! Music Specialties: Rock, Blues, Country, All Specialties: live sound recordings, do-it- Specialties: Excellent live mix, stage Availability: Any Hours. Logic General, Inc. yourself demo tapes. management and light direction. Specialties: Excellent live mix, monitors, 6713 SW Bonita Rd #210 Clients: Love, Death & Agriculture, Don Production efficiency. full production. Tigard, OR 97224 Latarski, Eisneblaak. Clients: Candelight Room, Cascade Tavern, Clients: 7 1/2 years national tours w/ Phone: 503-598-7747 Pellegrin, Terry Terry Robb, Sundown Sound, Rufus, Dr. Hook, Grateful Dead, Blue Fax: 503-603-0141 (503) 645-5422, (503) 330-3840 Spectrum Sound, Razorbacks, Oyster Cult. Contacts: Web Address: www.alohasound.com Terraplanes, Duffy Bishop, Lily Wilde, Duke Sound and Light Productions Tom Dickey 503-598-7747 x301 Email: [email protected] Paul De Lay, Soul Vaccination, Gemini Duke Pippitt email: [email protected] Services: Sound & Lighting Pub & Trails End Tavern. 541-747-5660 Paul Gusman 503-598-7747 x303 Years Experience: 13 525 Main Street email: [email protected] Music Specialties: Blues, jazz, bluegrass, Thomas, Dwayne Springfield, Oregon 97477 Services: CD Duplication Services, country. (503) 281-0203, Msg.: (503) 784-0361 Years Experience: 15 Including on-site CD manufacturing; Availability: Always. Fax: (503) 231-9679 Services: Concert production, sound CDR disk and tape duplication; Specialties: Live demos on location, Services: Lighting reinforcement, stage roofs, small P.A. graphic design, retail ready packaging festivals, fairs, conventions. Years Experience: 14 and instrument rental. services, warehousing & distribution Equipment: JBL & Crown Music Specialties: Rock, all others also. Equipment: 32 input house console, 24 x 8 services. Clients: Curtis Salgado, Linda Hornbuckle, Specialties: Full-time professional lighting monitor, 30 x 40 canvas stage roof Paul De Lay, Soul Vaccination design—concerts, clubs, special events, (portable). Mincks, Dennis touring, Intellibeam trained, substance free. Music Specialties: Original, alternative, (206) 576-9007 Prescription Electronics Clients: Quarterflash, Nu Shooz, Jon cover rock, but also blues and country. Services: Sound. P.O. Box 42233 Koonce, Dub Squad, Tales Untold, Years Experience: 15. Portland, OR 97242 Blubinos, The Killing Field, Cool’r, Cal Music Specialties: All. Scott, Caryl Mack, Roseland Theatre, Availability: Any hours. John Bunzow & Cowboy Angels.

Portland Format: Acoustic, Alternative, Funk, Jazz, Blues, Rock Aladdin Theater Booking: Tres Shannon: 721-0115 3017 S.E. Milwaukie Blvd. Capacity: 350 Portland, OR 97202 Equipment: PA, lights 503-233-1994 info line Headliners: National, Regional and Local Format: All styles (no punk) acts Booking: Mark Adler 503-234-9694 503-234-9699 (fax) Buffalo Gap Capacity: 588 6835 S.W. Macadam Avenue VENUE Equipment: PA, lights Portland, OR 97201 Headliners: Warren Zevon, Ray Davies, 503-244-7111 Chic Corea, Keb Mo, Paula Cole 503-246-8848 (fax) Format: Soft Jazz, Folk, Rock’n Roll Arnada Cafe Booking: Scott 1717 Broadway Capacity: 85 Vancouver, WA 98665 Equipment: sound system 360-750-9596 Headliners: Craig Carothers, Jon Koonce, Format: rock, blues ,jazz, acoustic Reckless Kelly Booking: Miguel 360-750-0811 Capacity: 200 Billy Reed’s Equipment: Full P.A., mic stands, monitors 2808 NE MLK Jr. Blvd Headliners: Blyss, Mel, Rustvein Portland, OR 97212 503-493-8127 Headliners: Billy Kennedy, Lew Jones, The Country Inn Ash Street Saloon Format: Jazz, Soul, Reggae, Blues, Latin Lorna Miller 18786 S.W. Boones Ferry Road 225 S.W. Ash Street Booking: Fred Stevenson Tualatin, OR 97062 Portland, OR 97205 Capacity: 250 Candlelight Cafe & Bar 503-692-2765 503-226-0430 Equipment: sound system 2032 S.W. 5th Avenue 503-691-2675 (fax) 503-227-2403 (fax) Headliners: Ron Steen, Norman Sylvester, Portland, OR 97201 Format: Blues Format: Acoustic, Alt. Rock, Blues, Funk Cannonballs 503-222-3378 Booking: Sunny Booking: Ingrid Format: Blues Capacity: 150 Capacity: 80 Cafe Lena Booking: Joe Shore 246-4599 Equipment: none Equipment: PA, mics, lights 620 S.E. Hawthorne Blvd. Capacity: 150 Headliners: Paulette & Power, Cowboy Portland, OR 97214 Equipment: none Angels, Steve Brodie Berbati’s Pan 503-238-7087 Headliners: Norman Sylvester, Linda 231 S.W. Ankeny Street Format: Open Mic, Folk Acoustic Hornbuckle, Jay “Bird” Koder Portland, OR 97213 Booking: LeAnn 503-248-4579 Capacity: 50 503-417-1107 (fax) Equipment: none

19 – TWO LOUIES, March 2001 VENUE

Gemini Pub 503-223-7515 456 N. State Street Format: 70xs & 80xs Retro Lake Oswego, OR 97034 Booking: Rami 503-636 9445 Capacity: 500 503-636-9445 (fax) Equipment: PA, lights Format: Blues, Jazz Headliners: Booking: Randy Lilya 503-556-0405 Capacity: 170 Mt. Tabor Pub Equipment: lights 4811 S.E. Hawthorne Blvd. Headliners: Robbie Laws, Curtis Salgado, Portland, OR 97215 Leon Russell, Jim Mesi 503-238-1646 Format: all styles Green Onion Booking: Peggy 503-232-8813 15 S.W. 2nd Capacity: Main Room 339 Portland, OR 97205 Acoustic Room 72 503-227-2372 Equipment: PA, Lights Format: Middle Eastern, East Indian, Headliners: Buds of May, Omar Torrez, Reggae, World Music Fernando, Ezra Holbrook, Steve Smith Booking: Susan Capacity: 180 The New Paris Theatre Equipment: none SW 3rd & Burnside Headliners: Portland, Oregon 97204 503-224-8313 Green Room Booking: Senor Frogg (503) 236-7745 2280 N.W. Thurman Street Format: Punk/Gothic/Industrial/After Portland, OR 97210 Hours Dance 503-228-6178 Headliners: Written in Ashes, Grindstone, 503-228-5068 (fax) Mobius, Monkey Fur, Soy Futura, Format: Acoustic Folk, Rock, Bluegrass Sumerland, Good For Nothing, Booking: Declan Honey Rider, Mortal Clay, Faith & Capacity: 100 Disease, Fuckpriest Fantastic Equipment: PA, board, monitors, 1 mic Headliners: Buds of May, Sweet Juice, Ohm Little Sue, Jim Boyer, Billy Kennedy 31 N.W. 1st Avenue Portland, OR 97205 Jazz de Opus 503-223-9919 33 N.W. 2nd Avenue Format: Blues, Jazz, Acoustic, Pop, Portland, OR 97205 Alternative. 503-222-6077 Booking: Dan Reed 503-224-6631 (fax) Capacity: 250 Format: Jazz Equipment: SA PA system, lights, Booking: Haley soundman Capacity: 50 Headliners: Slowrush, Imogene, The Equipment: Piano & speakers Sensualists Headliners: Mel Brown, Thara Memory, Kelly Broadway. The Rabbit Hole & Mad Hatter Lounge 203 S.E. Grand Avenue Jimmy Mak’s Portland, OR 300 N.W. 10th 503-231-2925 Portland, OR 97209 Booking: Bill Leeds (503) 236-2455 503-295-6542 Format: original acoustic 503-279-4640 Equipment: PA Format: Jazz, Blues Headliners: Fernando, Luther Russell, 44 Booking: Jimmy Long, Kaitlyn ni Donovan Capacity: 95-165 Equipment: none The Red Sea Headliners: Tony Starlight, Pepe & Bottle 318 S.W. 3rd Avenue Blondes, Ben Fowler, Art Davis Portland, OR 97205 Quartet, Thara Memory 503-241-5450 503-224-6570 Laurelthirst Format: Reggae, World Beat 2958 N.E. Glisan Street Equipment: PA Portland, OR 97232 503-232- 1504 Roseland Format: Blues, Folk, Acoustic Rock 8 N.W. 6th Avenue Booking: Bill Leeds: 236-2455 Portland, OR 97209 Capacity: 100 Website: www.doubletee.com Equipment: PA Format: all musical styles Headliners: Belmont Street Octet, Jim Booking: Double Tee/Adam Zacks Boyer, Little Sue, Plumb Bob 503-221-0288 503-227-4418 (fax) Metropolis Capacity: 1350 311 S.W. Washington Equipment: PA, lights Portland, OR 97205 Headliners: Local, Regional and National acts

20 – TWO LOUIES, February 2001 VENUE

Roseland Grill Capacity: 50 1416 SE Morrison • 503.238.1955 8 N.W. 6th Avenue Equipment: mixer, speakers and mic. Portland, OR 97209 Headliners: Creative Music Guild, Rob Format: all musical styles Blakely Booking: Double Tee/Adam Zacks 503-221-0288 Trails End Saloon Red Carpet Recording 503-227-4418 (fax) 1320 Main Street Capacity: 400 Oregon City, OR 97045 503.848.5824 Equipment: PA, lights 503-656-3031 Headliners: Local, Regional and National acts 503-656-7872 (fax) New! Format: Blues Tuesday-Saturday Satyricon Booking: Randy Lilya (503) 556-0405 New! 125 N.W. 6th Avenue Capacity: 150 Portland, OR 97209 Equipment: P.A., lighting New! 503-243-2380 Headliners: Little Charley, Paul DeLay, 503-243-2844 (fax) Duffy Bishop New! Format: Alternative Rock/Punk/Various Booking: Ingrid Vic’s Tavern New! Capacity: 250 10901 S.E. McLoughlin Equipment: PA, lights Milwaukie, OR Headliners: Dead Moon, Poison Idea, 503-653-9156 New! Aloha Location w/many Advantages! • MORE racks of tube gear Everclear, Fernando, Flapjacks Booking: Lynn Format: Original music-Rock • Silver soldered Patch Bays • Tube Driven JBL/Alnico Mains + Near The Jazz Bar at Sweetbrier Inn Capacity: 100 Feilds • Vintage Amps • Hammond Leslie &’ Grand • Massive Analog • 7125 SW Nyberg Rd. Tualatin, OR 97206 White Eagle Computer Editing • CD Burning • RCT 4x8 Tube Plate Reverb 503-692-5800 836 N. Russell 503-691-2894 (fax) Portland, OR 97227 Format: Jazz 503-282-6810 Booking: Denny 425-454-4817 503-282-0842 (fax) Capacity: 50 Format: Various (no punk/techno) Equipment: Piano, PA Booking: McMenamins/Jan 503-249-3983 Headliners: Mary Kadderly, Dana Lutz, x 497 KENT HENRY Jean-Pier Gareau, Capacity: 110 Marilyn Keller, Johnny Martin Equipment: P.A., mics, Lighting, Some in- house sound assistance Guitar Wizard St. John’s Pub Headliners: Buds of May, Steve Bradley, 8203 North Ivanhoe Jerry Joseph & Jackmormons, Portland, OR 97203 Jeff Trott, John Bunzow guitarist with Blues Image & Steppenwolf 503-493-4311 Format: Blue Grass, Soft Rock Salem formerly at Apple Music, is now at Booking: John Malloy 289-7798 Capacity: 300 Tommy John’s Equipment: PA, lights, two stages 248 Liberty Street Headliners: Regional, National, Local Salem, OR 97301 GUITAR CENTER/BEAVERTON Bluegrass & Americana 503-540-4069 on Mondays Format: Rock, Alternative, Funk Tonic Lounge Booking: Dennis Ayres 3100 NE Sandy Blvd. Capacity: 150 For Appointment Call 503.644.9500 Portland, Oregon 97232 Equipment: 6 channel PA, no mics, 503-239-5154 lighting Format: Rock, Alternative, Goth Headliners: Xing, Jesus Presley, American Booking: Devon Girls Equipment: Headliners: American Girls, Asthma Westside Station Hounds, Feller, Mel 610 Edgewater N.W. Salem, Or 97304 Tillicum 503-363-8012 8585 S.W. Beaverton Hillsdale Hwy. Format: Classic Rock Portland, OR 97225 Booking: Donny 503-292-1835 Capacity: 100 Format: Blues, Jazz, Rock nx Roll Equipment: PA, lights Booking: Cindy Capacity: 200 Corvallis Equipment: none Headliners: Lloyd Jones, Norman Sylvester, The Peacock Tavern Jim Mesi Band, Midnight Blue 125 S.W. 2nd Avenue Corvallis, Or Tug Boat Brewery 541-754-8522 711 S.W. Ankeny Street Format: R & B, Alternative, Acoustic Portland, OR 97205 Booking: Randy: 503-556-0405 503-226-2508 Capacity: 350, 275 Come and see us in our new location. 18th & Hawthorne on the south side of the street. Format: acoustic rock, jazz Equipment: PA, lights 503/238-4487 • www.guitarcrazy.com Booking: Megan Headliners: Linda Hornbuckle, Rubberneck

21 – TWO LOUIES, March 2001 VENUE

Musicians Technical Services a.k.a. Uncle Joe’s has moved to Morrison Bridge Music 522 SE Belmont Portland, OR 97214 503-234-9500 Albany Capacity: 300 MTS Equipment: PA, lights The Venetian Theater Headliners: The Daddies, Floater 241 W. 1st Avenue Albany, OR 97321 Wild Duck Music Hall 541-928-6733 169 W. 6th Format: all musical styles Eugene, OR 97405 Booking: Robert Connell 541-485-3825 Capacity: 685 Format: all musical styles Equipment: PA, lights, soundtech, Booking: Dog House Entertainment, Headliners: Calobo, Floater, The Daddies Brendon Relaford: 541-342-7743 Capacity: 500 Eugene Equipment: PA, lights Headliners: Charlie Musselwhite, Calobo, Good Times John Hammond 375 East 7th Eugene, OR 97405 The WOW Hall 541-484-7181 291 W. 8th Avenue Format: all musical styles Eugene, OR 97405 Booking: Dog House Entertainment, 541-687-2747 Brendon Relaford: 541-342-7743 541-687-2746 (fax) Capacity: 250 Format: all styles: music, dance, theater Equipment: PA, lights, sound tech Booking: Allison Carter Headliners: Body & Soul, The Daddies, Capacity: 400 Equipment: PA, lights, soudtech, stage John Henry’s manager 136 East 11th Headliners: Greg Brown, Vassar Clements, Eugene, OR 97401 NoMeansNo. 541-342-3358 Format: alternative, hip-hop, funk, etc. Booking: Bruce 541-343-2528

On the cover: Stephen Malkmus makes Portland famous. The Pavement Z o d i a C frontman’s hot solo album for Matador features Portland players John Moen and Joanna Bolme and was recorded in town at jackpot and [ graphic design for print and web ] Supernatural.

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

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

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

23 – TWO LOUIES, March 2001