photo Buko Page 2 - TWO LOUIES, February 2004 Sludge before Grunge at the Leaky Roof. Pierre Ouellette (facing with Stratocaster) and his band the Sludge Brothers appeared only infrequently due to his high profi le day gig as creative director of KVO the USA’s hippest high technology ad agency. Th e RIAA was a client. Pierre was already famous as the guitarist for northwest icons Don & Th e Goodtimes and Paul Revere & Th e Raiders. In the 70’s Ouellette pioneered the jazz-rock fusion genre in a long collaboration with famed Native American saxophonist, Jim Pepper. He also worked with internationally acclaimed jazz bassist David Friesen. In 1993 Pierre wrote the high tech novel Th e Deus Machine and optioned it to New Line Cinema. He followed with Th e Th ird Pandemic, a high-tech plague novel in which the germs themselves become participating characters in the plot. Pierre drew on his roots in the world of professional music to develop and produce Th e Losers Club, a fi lm about the careers of guitarists Jim Mesi and Steve Bradley. Th e fi lm premiered last month as part of the NW Film Center’s Reel Music Series and played to a sold-out house and critical acclaim. Th e pictured Sludge Brothers drummer is Bob “Crusher” Metke of Wrinkle and Th e Hudson Brothers. Bob now plays with Sumo, formerly the Other Guys, who were made up of members of the Wise Guys.

a limited time. Please contact alicia@allegro- fox and Universal to the next show at the music.com for wholesale inquiries, and Whiskey 2/20. William Morris was also in contact me for info on stores in your area the house and requested 15 copies of the CD that may have stock left if you’re looking for to hand out on our behalf, just to be cool. a particular title. Th ey gave it to the Hollywood reporter who Forward ever! loved the CD and will be at the show to do Th e BSI crew: Ezra, Jason, Josh, Ryan, Tracy a write up as well. Universal, Sony and Epic LABEL FOLDS have since let us know that they are coming Greetings Two Louies, DOT COM COUP to the show. Our legal reps decided to throw We are sad to announce that BSI Records Dear Two Louies, a pre-show party in their law offi ces on Sunset and One Drop Recordings are closing up shop I Just wanted to share this with you: For and off er drinks, food and rides to the show at the fi ve year mark. Our primary European indieindie aartists,rtists, oonlinenline ppresenceresence mmakesakes a diff eer-r- forfor industry.industry. I havehave beenbeen featuredfeatured onon thethe frontfront distributor went out of business with a massive “We are sad to announce that BSI Records debt to us; due primarily to this situation we can no longer continue operations. It’s been and One Drop Recordings are closing up a great run, with a total of 35 releases behind us, and we feel privileged and blessed to have shop at the fi ve year mark. Our primary been in the game for this long, especially during the rough economic times of the last European distributor went out of business few years. We worked with amazing artists, with a massive debt to us.” were blessed with a small but loyal following worldwide, and built a catalog that we can all ence because I just found out that I’m doing page of Starpolish.com, CDBaby.com and be proud of. We want to thank all of you sin- a showcase in L.A. due to online exposure: I Garageband.com and it seems to be paying cerely for supporting BSI and One Drop, and traded shows with an L.A. artist via CDBaby off of late. I have sold over 200 copies of my we look forward to whatever the future holds. and then played the ROXY with them. Benny CD just online and sales are coming in every Only Th e Force knows what lies ahead... Mardones was at the show (hit song, “Into the day. Th ings like that actually make a diff erence NAIL Distribution will be selling off its Night”...6 million copies sold) and loved the and surely did in this case. It goes to show that remaining stock of BSI and One Drop titles for set. He is bringing the head of 20th century Continued on page 23

TWO LOUIES, February 2004 - Page 3 ments) I found Anglo-esque, keyboard-driven compositions showcasing a melodic, passionate, yet slightly brooding voice and lyricism which expresses a kind of overcast contemplation of the emotional challenges felt by any of us with a pulse and penitent for introspection. Not one to lapse into navel gazing, Scott pumps up the vibe with his 70’s cool jazz harmonic sensibilities as well as the gurgling electronica of some cool sound- ing synths. All this topped off with some “in- the-pocket” bass and drum grooves and you’ve got a groovy little “soundtrack-to-life” musical companion perfect for walkman-enhanced walks down rain-soaked streets in the winter brisk or late night snuggle fests, safe by the fi reside while the rain outside pours down. In other words it Th e Scott Fisher Story his website www.scottfishermusic.com. You’ll grew on me, drawing me in without needing to fi nd a great introduction to the man, the music win my attention. Greetings from L.A. With the New Year and his accomplishments, thus far. Also, a trip As I roll into the gig, fashionably late as still waking from the slumber of the holiday to the web will allow me to skip the obligatory usual, I’m greeted by Scott’s cover of an Elliot season, I’m sure I fi nd you, as am I, strategizing “who-does-he-sound-like” references that seem Smith tune, something off of “XO” I believe, Scott new visions for world domination, fortune and preoccupy the journalistic output of those of us puts it across as if it were his own, no small feat fi ft een plus minutes of media stardom. January who write about all things musically new. Okay, considering the melodic complexity and emo- is the time of the year to get busy, tionaltional rresonanceesonance nnecessaryecessary but I’m not feeling quite up to “Not one to lapse into navel gazing, toto dodo justicejustice toto Smith’sSmith’s uniqueunique speed just yet. So with the wheels brandbrand ooff ppoeticoetic jjustice.ustice. IInn of momentum still turning slowly, Scott pumps up the vibe with his 70’s ElliottElliott Smith’sSmith’s passing,passing, wewe I make my way down Caheunga lostlost tthehe uuntappedntapped mmusicalusical Blvd., just left of Hollywood, feeling cool jazz harmonic sensibilities as geniusgenius ofof a generation.generation. OnlyOnly the chill of an early January Th urs- well as the gurgling electronica of timetime wwillill ttell,ell, bbutut I ppredictredict in day night (wind factor 55 degrees, twentytwenty yyearsears EElliottlliott SSmithmith wwillill brrrrrrr). I’m off to catch Portland’s some cool sounding synths.” bebe rememberedremembered asas moremore thanthan Scott Fisher and band play an early justjust MMr.r. MMisery.isery. evening set at one Hollywood’s Scott Fisher live is Scott new intimate showcase venues; up front, center stage, sur- Th e Hotel Café. rounded by keyboards and Passing the riff raff , hustlers other assorted electronic and sexual deviants that have paraphernalia masterfully taken up permanent residence commanding audience on this corner of the world; street attention, working the quiet- life drawn, no doubt to the Mecca storm dynamics, projecting of all things skeezy; the neigh- an effortless, natural stage boring Spotlight bar, a drinking presence that compliments establishment equivalent, in my the music and as I found from imagination, to the Black Hole of our later meeting, not too far Calcutta. A dive so low, I have off from Scott’s off -stage per- always been afraid to enter, even sonality. Th e secret weapon of back in my “Rock-star-in-ruins” Scott Fisher live is the band. days. In the late 80’s where any The band, meaning Matt given night meant running the Voth on Bass, Bob Dunham streets of Hollyweird from Raji’s on Guitar and Drummer to Boardners, to Th e Gaslight to Jeff Anthony, expertly main- Zatar’s and back to Raji’s for last photo Jeff Bizzell tains the space required by call, as if in some sort of drinking the delicate nature of the man’s grand prix. Excuse me while I digress into here’s the low down from my perspective; To ballads and churns up a slow-simmering, con- cheap nostalgia……... categorize Scott Fisher as “eltonjohncoldplayben- trolled–burn when the groove needs to kick in. From the amount of mainstream press Scott foldsfi vecrowdedhousebrucehornsby” says more Th e band member’s musical personalities add Fisher has received from the Oregonian, Willa- about the quality of composition and performance subtle counterpoint to Scott’s spotlight, spicing the mette Week and (gasp!) Two Louies, I doubt I’m that Scott aspires to (and yes, achieves) than the sauce and successfully broadening the humanity introducing any of you scenesters-in-the-know to derivative nature of such comparisons. Upon of the presentation beyond the singularity that a someone new. I’m sure many you were there, way repeated listenings of “Fleeing Towards Creation”, singer-songwriter dominated performance can back then, when Scott was all up-and-coming. Scott’s latest CD (available from www.CDBaby. But, if like me, you don’t know Scott, check out com among other fi ne web and retail establish- Continued on page 21

Page 4 - TWO LOUIES, February 2004 RESOLVING CO-WRITER COPYRIGHT By the way, it is not unusual in such situa- an agreement with your co-writer, you are still PROBLEMS tions such as yours to discover that no copyright entitled under copyright law to use any songs ver the years, I have received sev- applications were actually ever fi led. However, that you and he created together, and/or to eral letters from Two Louies read- if it turns out that your co-writer has in fact grant non-exclusive licenses to third parties to ers concerning problems between obtained copyright registrations for the songs use the material (for example, to record the co-writersO of songs. Here is a typical letter: in question, any such copyright registrations material). But, if you do so, you must do so on “I am a founding member of a local band. I have a very limited legal eff ect, and do not keep commercially reasonable terms and also account have contributed heavily to the music and lyrics of the group. However, the co-founder has copy- righted all the songs and refuses to let me see the registrations. Should I write any more songs with this person without a written agreement? Do I have any rights to use the material I created if I leave the band, or does this guy just get by and rip me off ? If I can get him to sign an agreement, will it be valid? Maybe I should leave this band you from asserting your legal rights in those to your co-writer for his share of any income right now?” songs. Even if you don’t end up entering into a from the song. In this situation, it clearly does not make collaboration agreement with the co-writer, you In any event, the best solution would be to much sense to continue the relationship with could still fi le your own copyright applications, fi rst try to resolve your problems with your co- the co-writer unless these problems are resolved in order to claim copyright ownership for the writer by entering into a written collaboration promptly. Otherwise, it is like having a tire blow two of you. Th en, the respective legal rights of agreement with him. out on the freeway, and then to continue driv- you and your co-writer could be resolved either inging untiluntil thethe otherother threethree tirestires blowblow out.out. Th ee bbestest THE COLLABORATION AGREEMENT “Regarding the co-writer’s fi ling of copyright Formal collaboration agreements are not commoncommon inin thethe musicmusic business,business, whereaswhereas theythey areare applications falsely claiming that he is the sole veryvery ccommonommon in tthehe bbookook ppublishingublishing inindustrydustry writer of the songs, any such copyright applications andand in thethe BBroadwayroadway ttheaterheater bbusiness.usiness. Typically, in the music business, there typi- are, in effect, fraudulent applications. Any person callycally iiss nnoo wwrittenritten agreementagreement untiluntil thethe collabo-collabo- ratorsrators getget a recordrecord dealdeal oror publishingpublishing deal,deal, andand who knowingly fi les a fraudulent copyright oftoft eenn nnotot eevenven tthen.hen. OOftft e nen t hthee a sassumptionsumption i sis t hthatat thethe cco-writerso-writers wwillill ssharehare eequallyqually aanyny rrightsights iinn tthehe application can be fi ned $2,500.” songssongs oonn wwhichhich ttheyhey hhaveave ccollaborated.ollaborated. However, if there is to be a formal collabo- time to resolve the situation is now, before the by a settlement agreement, or if necessary by the ration agreement, and ideally there should be, co-writer further abuses the situation. courts if the songs are valuable enough now or here are some of the issues it should cover: In short, you should have a written col- if they later become valuable enough to justify 1. Identifi cation of Songs. Th e collabora- laboration agreement with your co-writer in this the legal expense involved. tion agreement can (and should) cover all songs situation, especially before writing any further Regarding the co-writer’s fi ling of copyright which you and your co-writer have already songs. The collaboration agreement should applications falsely claiming that he is the sole co-written, and all songs which you may write cover those songs which you’ve already written writer of the songs, any such copyright applica- together in the future. together, and all songs which you may write tions are, in eff ect, fraudulent applications. Any As for those songs already written, the together in the future. (Th e basic parts of a col- person who knowingly fi les a fraudulent copy- agreement should specifi cally refer to the titles of laboration agreement are discussed below.) right application can be fi ned $2,500. He can the songs. Also, two copies of a CD of the songs Even if your co-writer is refusing to let you also be fi ned $2,500 for attaching a fraudulent should be labeled with the titles of the songs see the copyright registrations supposedly fi led, there are various ways to fi nd out what copyright If it turns out that your co-writer has in fact registrations have been fi led for the song. Th e easiest way to do this searching is to search the obtained copyright registrations for the songs in Copyright Offi ce’s database online, by going to http://www.loc.gov/copyright/search and question, any such copyright registrations have then doing an online search. If you want some general information about copyright searching a very limited legal effect, and do not keep you procedures, go to the Copyright Offi ces’s website from asserting your legal rights in those songs. (http://www.lcweb.loc.gov/copyright), then click on “Circulars” and look at Circular R6 (entitled copyrightcopyright noticenotice toto anyany tangibletangible copiescopies ofof thethe onon thethe CD,CD, andand eacheach co-writerco-writer shouldshould initialinitial “Obtaining Copies of Copyright Offi ce Records songs -- for example, if he attaches a copyright and date the labels on both of the CDs. Each and Deposits”) and Circular R22 (entitled “How notice to CDs containing the song, and the co-writer should then retain his/her own copy to Investigate the Copyright Status of a Work”). copyright notice falsely suggests that he was of the CD in a place of safekeeping. In any event, the main point here is that you can the sole creator of the material. (For example, As for songs not yet written, the agreement obtain copyright registration information with ©2004 Joe Schmo). should state that the collaboration agreement or without your co-writer’s cooperation. Incidentally, even if you cannot work out Continued on page 17

TWO LOUIES, February 2004 - Page 5 by sumptuous string arrangements contributed by Dave Mills and deftly executed, with panache, by the Third Angle String Ensemble. Other great local musicians, such as drummer/producer Gregg Williams, bassist Phil Baker (the rhythm section throughout this project) and guest stars: McKinley, Lara Michell, Linda Hornbuckle, Tony Furtado and Paul Brainard, add their talents to the scintillating production. The album kicks off with “Baffled Queen,” which begins with a gentle string introduction, before breaking into a forlorn ballad. Augmented by Jean Pierre Garau’s moody electric piano and her acoustic guitar, Stephanie sings in a child- like manner, reminiscent of the Sundays’ Harriet Wheeler or Edie Brickell, a song about the unsure steps one sometimes takes in interpersonal rela- tionships. A familiarly memorable chorus locks this song into one’s consciousness. Stephanie follows that with an up tempo, folk/ country-tinged number, “Shadow.” Over acoustic guitar, mandolin and organ accompaniment, along with subtle electric guitar phrasings (and that rock solid rhythm section), Stephanie provides a quivering lead vocal, backed with ghostly harmony vocals, that reaches into her upper register in the choruses. Pretty. Pizzicato string arpeggios, a plaintive pedal- steel guitar and the looming suspensions of Baker’s upright bass underpin “You’re The One,” while Stephanie adds understated acoustic guitar to a introspective, minor-key number. “Professor Touch Down - Stephanie Schneiderman Sunshine” heads toward a Fiona Apple sort of Papa J Records arrangement with drum loopy sounding drums, fixture on the local scene for the past roiling piano and Beatles-esque flourishes, which five years, Stephanie Schneiderman are perhaps not best suited to Stephanie’s musical has made great strides since the strengths, though the song does call for just such releaseA of her sophomore album, Unbelievably production touches and they are executed rather Unbroken, in the Summer of 2001. While that well. album contained a number of real song gems, it also Better is the title track, which veers closer to found Stephanie struggling, somewhat, to find her a Tori Amos sort of approach, with elegant strings own true voice- at times sounding like a prisoner of balanced against a delicate piano progression of the arrangements. Here, with impeccable produc- Bflat-F-Aflat-Eflat (somewhat similar to that of tion from Tim Ellis, and stately engineering from Paul McCartney’s “Maybe I’m Amazed”). The Bob Stark and Dave Friedlander at Kung Fu Bakery, melody to “Kid Domino” is borrowed directly here it sounds as if the arrangements are a result of from the “She’s well acquainted with the touch Stephanie’s songs, and not the other way around. of a velvet hand like a lizard on window pane” Schneiderman has an excellent background to section of John Lennon’s “Happiness Is A Warm be a professional singer. Having sung in musicals Gun,” with approximately the same instrumental in high school and in the Top 40 band Hi-Fashion mood to accompany the poetic sentiment. Again, after, she honed her stage craft as a vocalist in Body Fiona Apple comes to mind, as far as the arrange- and Soul, before embarking upon her solo career in ment is concerned, but the smoky ambiance of this 1999. With a girlishly reedy voice, Stephanie has the take is much better suited to Stephanie’s recorded ability to sound a bit like Sheryl Crow, Dolly Parton, character. Stevie Nicks, Emmylou Harris, Shawn Colvin and “Pendulum” is a dry, arid number, sparsely Aimee Mann, among many more. But here, with appointed- another Tori Amos-like setting- which the aid of diverse, yet cohesive arrangements, she neatly captures the sublime ambivalence of Stepha- seems far more in control of the recording process; nie’s love/hate lyrics. The laid-back down home feel singing with a voice much more her own- far less of “All Gone” is accentuated by the nearly cliché derivative, than in the past. I-vi-IV-V chord progression (a true relic from the The twelve songs (and one short instrumental ‘50s). Oddly enough, “Happiness Is A Warm Gun” reprise) offered here display a unity of presentation, without being repetitious. Several songs are aided photo Pat Snyder Continued on page 18

Page 6 - TWO LOUIES, February 2004 n Portland, sometimes there’s too much and sunglasses. All was fi ne until she walked from by a delicious brass section and three ‘girls’—big, going on. Th is is why I missed the opening center stage toward the drums, which were behind round and so full of talent and sex appeal the eve- of “Girls Gone Wild,” a hot new exhibit her, and spotted my friend and I on the road box ning was thick. Bette still holds her own—hard at theI Basil Hayward Gallery (Powell’s Books where we were perched. She looked at us once and as steel, petite like fi ne china. She chatted up the on Burnside) showcasing the work of Natascha then walked straight over to the stage manager. We audience with an honesty and humor that endeared Snellman, Kristan Kennedy, Cynthia Star, Marne high-tailed it outta there. her to all. She said she’d recently reconnected with Lucas, Krista Wheeler and Liz Haley. Guests are Later during Bette’s show, we Barry Manilow, her old piano player, aft er years of asked to come help tame the sat on that same road box and distance. Aft er the show, I spotted Mayor Vera Katz wildness, though there was watched her make an impressive and other Portland all-stars backstage one small caveat: cit- entrance on a white carousel pony. I noticed that Midler does the same thing izen’s arrests not She did some incredible singing, backed Robin Williams does with his routines: these a l l o w e d . performers study up on each town they visit by taking the local headlines, writing a few jokes that are intimate to locals, and then throwing them back in our faces with verve and innuendo. It’s ingenious and it works! I didn’t see the whole show, but I saw enough to know that I would love to see her again. During a two- Oh my… Th e show runs through Feb- day sojourn in Seat- ruary don’t miss it! tle, I spent time with Instead of attending what must world famous painter have been a “tame” opening, I worked Anne Grgich, who’s at on Portland Opera’s preview of Doni- work on the interna- zetti’s “Lucia DI Lammermoor,” an tional exhibit/happen- opera about a woman who stabs her ing “Internal Guidance husband seventeen times, kills herself Systems.” Throughout soon aft er, and whose lover falls on the ages, artists have his blade aft er her death. But even shown us how to bring with all the high drama, it was a meaning to life in the happy story backstage, where us world. Th is exhibit will be stagehands listened to the delightful sponsored by Raw Vision singers and waited for our cues to Magazine and curated by make theater magic. Collin Rhodes and Grgich Another perk of being a who can change the world. stagehand is that I get to see per- Grigich is making the case formers up close and personal. for broader understanding Last night it was the Divine and sharing of information Miss M at the Rose Garden. on what she calls the process Bette Midler is every bit the of the artist. Th e exhibition performer she always was except will travel for two years and better! She’s funny, beautiful and opens right here in Portland unique. Her presence is so big at the Mark Woolley Gallery you instantly, and magically, feel in the fall. a part of her world. I got word from Kobe But before the perfor- MacIonnrachtaigh about mance, I found my way into Sundance Film Festival. He sound check to listen to her works Sundance every year rehearsing “Tenderly.” She and says “Motor Cycle Dia- was working out parts of the ries,” “A Silent Love” and “Ever- song and wore a baseball cap green” are fantastic movies and “Another perk of being a stagehand is worth seeing. He also couldn’t resist saying that Isabella Rosselini is even classier that I get to see performers up close and in person than on screen. personal. Last night it was the Divine I recently had a sweet dinner party with Lauren Mantecon and Peter ‘Spud’ Siegel, Port- Miss M at the Rose Garden. She’s funny, land’s hot new couple who I dub my Valentine beautiful and unique. Her presence is duo of 2004. We had quiche, soup and Manhat- tans. Th e food was delicious and it was sweet to so big you instantly, and magically, feel see new love. a part of her world.” Write to me: [email protected] LL

TWO LOUIES, February 2004 - Page 7 Portland area singer/songwriter/band leader Adam Mackintosh has announced that “Adam has well timed the European release date for “Gracious Living” the eleven song album released last year by these release dates to his band “Gruesome Galore” will be February support their upcoming 16th and handled by Alone Records in Spain. Th ey are affi liated with another label in the tour to Spain and Netherlands called Th e Stone Circle who will handle all of the distribution in that region. the Netherlands with Th e record will be distributed all over Eastern tentative dates in Europe fi rst, and then to Asia sometime this summer. Adam has well timed these release Germany and Italy. This dates to support their upcoming tour to Spain and the Netherlands with tentative dates in will be the third tour Germany and Italy. Th is will be the third tour of this type for Adam and the band and each of this type for Adam time they appear to be expanding their fan and the band and each base and record sales. Th e other companies helping distribute this album are Cargo in time they appear to be Germany (GAS), Shellshock in the UK, Dock and Alone Records, Brainstorm in Italy, Sub- expanding their fan urban in Benelux and Border in Scandinavia. “Gracious Living” features Adam Mackintosh base and record sales.” on guitar and vocals, Addison Elliot on bass Th ee VVagabondsagabonds jjustust rreleasedeleased aann aalbumlbum and David Graham on keyboards. Th e album called “Get on the Train” that has fifteen was produced by Rob Bartleson and Grue- excellent cuts including at least one with a some Galore, the executive producer was Judy “fi ring squad gunshot” Th ere are several other Gailbraith. Mastering by Kevin Nettlingham, surprises on this cd and a lot of great, great artwork by Andrea Graham. All the songs instrumental and vocal performances done were written by Adam Mackintosh. For more in a very unique and entertaining style, this info. Contact Gruesome Galore at www.grue- cd is defi nitely worth buying and if you get a somegalore.com chance to see the Vagabond Opera live, do it! One of the most fun and original band Th e credits on “GET ON THE TRAIN” include concepts of the past year for me is the Vaga- Eric Stern: Lead Vocals, Accordion, Piano, and bond Opera, lead singer and accordionist Eric RIQ. Erin Pasco: Oboe, vocals. Robin Jackson: Stern is well supported on stage by Erin Pasco Saxophone, vocals. Jay Harris: Percussion, on oboe, Robin Jackson on sax, Brian Healy on vocals and kazoo. Brian Healy: Acoustic Bass acoustic bass and Jay Harris on percussion and and Jason Wells on vocals. Th e Album Design kazoo. Th ere sound, well?, there sound is a little and photos are so well done that I must tell bit like a European tango gone slightly awry you that Alex Pasco did the album design and or like something you might hear off of an old Arthur Tucker shot those great photos down dusty “78” that you found in your grandparents at the Union Train Station. Th is album was attic, I guess this name really fi ts the band well. produced by Eric Stern and Vagabond Opera; Any way the Vagabonds have been selling out it was recorded, mixed and mastered by Jason the house pretty much every where they play, Wells in November at Starfi sh Studio here in th for example last week at Nocturnal on 19 and Portland. For more info. Contact the Vaga- east Burnside, one of Portland’s nicer venues, Adam Mackintosh from Gruesome Galore bonds at WWW.VAGABONDOPERA.COM well maintained, a great sound system and a cool downstairs booze lounge. LL

Page 8 - TWO LOUIES, February 2004 speakers. Cool design, wild NAMMfest. I, on the other hand had other plans. I looking. met up with my buddy and executive producer of I started playing fret- my CD “Into My World” Jimmy Haslip, bassist and less because I don’t play cofounder of the legendary and 16 time Grammy the way these guys do, I nominated jazz group “Yellowjackets”. He had told played some melodies me he was guest artist with the Jaco Pastorious Big and some snappy lines, band at the Marriot Hotel and asked me to come, they were blown at this, good thing I went. and then Gary Came I had my pass and we went backstage, and all over and did his funky these cats were hanging around. I went to the sound thang and we were all stage and stood off to the side and in the crowd was buddys in that instant. Quincy Jones, sting bassist, Daryl Jones, and a host We all had something that of other guys I didn’t recognize. Th e band started we could learn from each other. Th at was and there was Jeff Carswell laying down the low by Sandin Wilson the whole nut of the NAMM...... “shredhead super end for the fi rst couple tunes, he sounded great. I “Adam has well timed funk jocks extravaganza”. walked backstage again and Jimmy started intro- was asked to go to the NAMM show in I guess everybody plays bass now, mostly funk ducing me to all these players, “Tonight shows”; these release dates to Anaheim California by Joeygmusic.com, “machinegun” like approach. Remember the song Will Lee(and his beautiful wife), Eric Marianthal; to showcase and play handmade basses “Where is the Love?” Well Gary, Jay and Dave and Bassics Magazine’s, Ron Garrant, Peter Erskine, support their upcoming from IEurope. Joe asked me if I could bring a couple I kept asking Alphonso Johnson ... “Holy crap Batman, the Holy other cats to perform also, so I asked guitarist Jay “Where is the groove ????” Grail has come !!!” tour to Spain and Koder, and multitalented bassist Gary Fountaine to Aft er that day we were baked mentally and I was able to introduce myself and hang with the Netherlands with come with me. Good combination I found out . Physically. That night we had a couple drinks Will Lee, one of my heros, while Jimmy played his We arrived at the Orange county airport and headed for the rooms.....blown away at the heart out with the band. We talked for about a half tentative dates in and the Portland boys were let loose., near Dis- immense vastness of the whole convention. hour just talking about everything, it was a dream. neyland...... Th e next day Jay and I were able to get a way I also left with leaving my CD with each one in Germany and Italy. This We went to the Aneheim convention center to for a couple hours and saw Buzz Feiten , Peter hopes they would listen and email me with there meet Joe and his techs for the fi rst time. Portland Erskine, Eric Merianthal, and Jimmy haslip per- thoughts...... nice idea....Duhhh. will be the third tour Bassist and worldclass luthier Dave Minnieweather form at the D’adarrio booth. Band in a box. Th e Aft er Jimmy played, we went across the street was there also, since his basses were being show- NAMM show has strict volume levels that have to the Hilton where he was to perform with Brazil- of this type for Adam cased also. Dave is a quiet, and wonderful cat to be followed all the time. Enclosed in glass and ian guitarist Sandro Albert, wickidly cool guy with and the band and each that not only builds worldclass basses but plays in a very tight area, these masters jammed on 4 or an accent and played similar to Pat Methaney. Th ey equally well. 5 tunes and could be seen jammin hard but we were amazing also, odd time signatures were the time they appear to be To get an idea of how emmence this NAMM could barely hear them, they still sounded amazing norm for this band, but it felt so Natural.... show is, just try to imagine 3 football fi elds side by though. It was like they were in a recording session Th e next day, Saturday, Jay and I had to take expanding their fan side with booths of all kinds littered everywhere. and we were behind the glass in the control booth, a plane early back to Portland to play. I performed SWR, Dean Markley, Conklin basses, Fender, light- veryvery hhappening!!appening!! with METRO, at Vancouver’s Bacchus. Drummer base and record sales.” wave bass sytems, Ampeg, you name it, everybody who’s anybody in the music industry has a new “I started playing fretless because I don’t play product and wants to show off what they have to the way these guys do, I played some melodies off er in 2004. We went to the JoeyG booth and were blown and some snappy lines, they were blown at this, away at the amount of basses we were to learn how to use and showcase in about 3 hours. 50 basses, 4, and then Gary Came over and did his funky thang 5, 6, and 7 string beautys brought in from France, Germany, Belgium and Croatia. WE were amazed and we were all buddies in that instant.” at the crushing consistancy and beautiful tone WeWe wwalkedalked aaroundround aandnd wwee ssawaw tthehe mmanyany JeffJeff FrankleFrankle andand I havehave putput togethertogether a smokingsmoking littlelittle each bass had to off er. My favorites were the Ledux time award winning bassist Carol Kaye ie: “Feelin unit! Every Tuesday at the Candlelight a musicians basses and the Marleaux 5 and 6 string. Exotic Alright”, “The Way We Were”, “Mash” theme, delight band, very hip solo sections. We were jet woods and state of the art electronics were the focal “Mission Impossible”, “Hogans Heroes”, “Brady lagged and I was a wild man at the gig, tired and point of these designs. Bunch.” You name it, if it was in the 60’s, or the 70’s wired, a wacky combination for me, we rocked all Th e fi rst day of NAMM a couple young cats Carol played most of those sessions and themes. night, it was a dream week!!! heard us playing, and came over to our booth. Very cool and gracious lady. She has recorded Yeah the NAMM show was totally cool, and Th eir names were Dave Warn and Butch Ramsey over 10,000 sessions and she taught many famous the combination of chops, chicks, charts , and cheap of St. Louis. pros how to do sessions. We later met Bassist Jeff thrills were all for the taking. Th e Portland boys, Th ese guys pretty much set the stage for what carswell of the Jaco Pastorious Big band, he came to Jay Koder, Dave Minnieweather, Gary Fountaine, we were in for, “super Nambo chop jocks” we called check out the basses, he stayed an hour, (long time). and myself made quite an impression on a lot them. Th ese guys had there $h*# ready and were Danny Carey drummer with the band “TOOL” is a of people in LA. We were happy to be a part of totally pumped to pop there way into everyones good friend of mine from the middle 80’s, he came it. Please, bass guys, no bickity, bickity, bickity, memory banks. Bickity, Bickity, Bickity BIC. More by and hung out , fi lling us in on whats happening BIC, bass players beware, play the melodies and chops in 2 minutes than a nightfull of Marcus Mill- with TOOL and his other side projects, great cat, killer grooves and leave the “NAMMchops to the ers, Or Victor Wootenson crack...... a monster drummer. He now owns a large home NAMMbos”, coolness. I was a little worried. Jay informed me that in Hollywood, too bad eh? It don’t mean a thing, if it ain’t got that these guys were brought in to show off Phil Jones Th e next night Gary, Jay and dave were beat groove...... LL unique bass amps and cabinets filled with 5 “ and decided to go back to the room aft er the 9 to 6

TWO LOUIES, February 2004 - Page 9 Featured artist in “Bassics Magazine”, avail @ (Tower records, Barnes and Noble) Sandin is featured with Jimmy Haslip, Victor Wooten, and Scott Spray on the compilation disc. “Worldclass” musicianship at local venues, two bands you have got to hear.. METRO and The “Sandin Wilson Group” “Contemporary Music for Sophisticated Ears”

METRO Dates... Every Tuesday - the Candlelight room Friday and Sat, Feb 20th and 21st - the Candlelight Mar 5th and 6th - Inn @ the Quay (Red Lion- Vanc) Mar 20th - Billy Reeds Mar 26th - Candlelight Mar 27th - Bacchus (Vanc) April 23rd - Bacchus Apr 24th - Bookies

SANDIN WILSON GROUP Dates... April 9th - The Blue Monk (32nd and Belmont) May 28th - Jimmy Macs 2 Shows 9 & 11pm July 21st - Rohr Park Concert series (Lake Oswego) Aug 17th - Britt festival (Jacksonville, Or)

Sandin Wilson CD “Into My World”World” available at CDbaby,CDbaby, TTowerower records, Music Millennium and OEbaOEbase.comse.com

contact [email protected] for bookings or info REPLICATION GUIDE Cravedog Records Allied Vaughn PO 1841, Portland, OR, 97201 1434 NW 17th Avenue 503-233-7284 Portland, OR, 97209 [email protected] 503-224-3835 www.cravedog.com [email protected] Todd Crosby www.alliedvaughn.com Rates posted at website: YES Mary Jo Hurley 1000 CD Package Cost: Rates posted at website: NO $1,170.00 500 CD Package Cost: $1,895.00 4 color on-disc printing. 4/1 3 color on-disc printing. 4/1 4-panel 4-panel insert + tray card, in insert + tray card, in jewell case with jewell case with shrinkwrap. shrinkwrap 1000 CD Package Cost: $1,795.00 Dungeon Replication 3 color on-disc printing. 4/1 4-panel 877-777-7276 insert + tray card, in jewell case with [email protected] shrinkwrap cation.com www.dungeon-replication. Audio Duplication Plus com 5319 SW Westgate Drive Rates posted on website: YES From Portland, OR, 97221 1000 CD Package Cost: $1,235.00 client supplied films and 3 color on-disc printing. 4/1 503-203-8101 Includes glass master, 3 color on-disc proofs. [email protected] printing, 4/1 four panel folder, 4/0 tray 4-panel insert + tray card, in jewell case www.avduplication.com card, jewell case, assembly and shrink- Northwestern with shrinkwrap. Bruce Hemingway wrap. You supply the films. 3732 SW Moody Super Digital Rates posted at website: NO Portland, OR, 97201 1150 N.W. 17th Ave 500 CD Package Cost: $1,050 ExpressCD.com 503-223-5010 Portland, OR, 97209 Retail Ready package. Descriptions 2211 NE Oregon Street [email protected] 503-228-2222 unavailable. Portland, OR, 97232 www.nwmedia.com [email protected] 1000 CD Package Cost: $1,300.00 503-235-2211 Tom Keenan www.superdigital.com Retail Ready package. Descriptions www.expresscd.com Rates posted on website: YES Rick McMillen unavailable. Brad Danielson 500 CD Package Cost: $1,175.00 Rates posted on website: YES Rates posted at website: NO 3 color print on disc 500 CD Package Cost: $950.00 CD Forge 500 CD Package Cost: $1,000.00 1000 CD Package Cost: $1,350.00 1620 SE Hawthorne, 3 color on-disc printing. 4/1 4-panel 3 Color Printing on disc- from supplied Portland, OR, 97214 insert + tray card, in jewell case with Phylco Audio Duplication film1100 4 page Full Color(4/1) Book- lets & Tray cards from supplied color 888-624-5462 shrinkwrap. 10431 Blackwell Rd. film. Includes FREE UPC BarCode, [email protected] 1000 CD Package Cost: $1,890.00 Central Point, OR, 97502 glass master, jewell case and wrap. www.cdforge.com 3 color on-disc printing. 4/1 4-panel 541-855-7484 1000 CD Package Cost: $1,165.00 Rates posted at website: YES insert + tray card, in jewell case with [email protected] 3 Color Printing on disc- from supplied 1000 CD package Cost: $1,185.00 shrinkwrap. www.phylcoaudio.com film1100 4 page Full Color(4/1) Book- 3 color on-disc printing. 4/1 4-panel Gail Husa lets & Tray cards from supplied color insert + tray card, in jewell case with Logic General Rates posted on website: YES film. Includes FREE UPC BarCode, shrinkwrap. Soundscan registration and 6713 SW Bonita Rd. #210 500 CD Package Cost: $936.00 glass master, jewell case and wrap. upc barcode included. Portland, OR, 97224 2-panel full color insert and tray card 503-598-7747 (4/1, full color outside, black and white CD-ROM Works www.logicgen.com LABEL GUIDE inside) , 2 color on CD, insertion of Belinae Records 139 NW Second Tom Williams printing into jewel case, shrink wrap, 7716 SE Clay Street Portland, OR, 97209 Rates posted on website: NO and barcode.” Portland, Or 97215 503-219-9331 Data unavailable. 1000 CD Package Cost: $1,224.00 503-775-2191 [email protected] 2-panel full color insert and tray card Email: through www.belinae.com www.CD-RomWorks.com Nettleingham Audio (4/1, full color outside, black and white Web: www.belinae.com Rates available at website: YES 108 E 35th inside) , 2 color on CD, insertion of Owners: Blake Wood, Big Wicker They charge the same rate for 500 CDs Vancouver, WA, 98663 printing into jewel case, shrink wrap, Ventriloquist; Mike Mason, Resident as they do 1,000. Go figure. 360-696-5999 and barcode. 1000 & 500 CD Pkg Cost: $1,460.00 [email protected] Tullster 3 color on-disc printing. 4/1 4-panel www.nettleinghamaudio.com Sensor Blast Types of music released: Various, origi- nal NW music & related projects insert + 4/0 tray card, in jewell case with Kevin Nettleingham 1040 Shipping St. NE Types of deals offered: Varies; artists’ shrinkwrap. Rates posted on website: YES Salem, OR, 97303 supporting artists regarding publishing, 500 CD Package Cost: $945.00 503-585-1741 copyright, legal, ASCAP. Co-Operations, Inc. 5 color on disc print, 4 page 4/1 insert E-mail address not on file. Artist Roster: The Weevils, Monicas 16698 SW 72nd Avenue and traycard, (black or clear tray) www.sensor-blast.com Dress, Billy hagen, Fabulous disasters, Portland, OR, 97224 Jewel Cases and Overwrap, shipping to Eric Schechter Chris Berne, BlakeWood. 503-646-2286 the Portland/Vancouver area. Rates posted on website: NO Distribution: Referred out. [email protected] From client supplied films and proofs. 500 CD Package Cost: $995.00 Preferred submission format: Call/email www.co-operations.com 1000 CD Package Cost: $1,180.00 3 color on-disc printing. 4/1 4-panel first. DAT, CD, cass. Rates posted at website: NO 5 color on disc print, 4 page 4/1 insert insert + tray card, in jewell case with Rates & information unavailable. and traycard, (black or clear tray) shrinkwrap. Burnside Records Jewel Cases and Overwrap, shipping to 1000 CD Package Cost: $1,295.00 the Portland/Vancouver area. Continued on page 14

TWO LOUIES, February 2004 - Page 11 Forget the Grammies… Though Newcombe is hardly the only drunk bandmember there, he is defi nitely the one who Th e Dandy Warhols’ win at the Sundance punches and kicks bassist Matt Hollywood until Film Festival will do more to promote the image a full scale, instrument-swinging brawl erupts of the music business in Portland than a six-pak right there onstage- to the delight of the audience, of gilded gramophones. naturally.” Th is is the big-time, this is Th e Movies… Naturally, Newcombe is not too happy with DIG!, the Winner of the Grand Jury Prize his image in the fi lm and posted a rebuttal on his in the Documentary Competition of the 2004 web site, “I was shocked and let down when I saw Sundance Film Festival, is a feature-length docu- the end result. Several years of our hard work was mentary shot over seven years about musicians reduced at best to a series of punch-ups and mis- Courtney Taylor, leader of the Dandy Warhols haps taken out of context, and at worst bold faced and Anton Newcombe, head of the Brian Jon- lies and misrepresentation of fact.” estown Massacre, “Star crossed friends and bitter “A perfect example is the footage shown of rivals,” says the propaganda. me getting arrested in Georgia. Th e narration and “The Dandy Warhols and the Brian Jon- editing suggest that I am being arrested for drug estown Massacre quickly bonded over a desire to possession. It was actually Ondi who was arrested not conform to the tastes of the recording industry. for possession, and rightly so, as the drugs were Yet, the bands’ choices over how to express their hers. I happened to have and expired license.” creativity and originality in a profi t-driven indus- Shawn Levy interviewed Timoner for the try eventually put them at irreconcilable odds.” Oregonian: Film critic Tim Merrill at fi lmthreat.com says “Director Ondi Timoner agrees that the “”Th e Dandy Warhols, from Portland Oregon and Dandy Warhols have thrived, at least in part, the Brian Jonestown Massacre, from San Francisco because of the relative calm in which they live in both loved booze and blow, playing tambourine their hometown.” ‘Portland is cozy and rainy and and sitar, dressing up like the Beatles and/or the you sleep in and everyone knows one another,’ Byrds, and talking about the rock revolution they she says. ‘And the Dandys have that as a home to were getting going.” go back to. It’s an intrinsic part of their identity.’ “Ondi Timoner’s in-depth chronicle- She points to the Odditorium, the recording recorded over seven years, resulting in 1,500 hours studio/soundstage/arts center the band has built of footage-shows the results of their struggle in in Portland as proof of its sense of community brain-rattling detail: for the Warhols, modest suc- and home.” cess in the U.S. including some MTV and radio airplay and decent record sales, plus superstardom NNN in the U.K. and much of Europe. For the Brian No High School assemblies at the Oddito- Jonestown Massacre it’s a cult of diehard fans and rium… critics, a dozen albums released on several diff erent Meredith Brooks fl ew home to Portland to indie record labels, tours of varying coherence and work in the studio with Beaverton High student a revolving door through which nearly 50 band Bec Hollcraft ,-fi rst artist signed to Brooks’ pro- members have come and gone.” duction company, Kissing Booth Music. Meredith “Taylor looks up to Newcombe as some kind discovered Bec from demo sessions produced by of demented, unheralded genius in the mold of Rob Daiker at Falcon Studios. Brooks came home Syd Barrett or Arthur Lee, while Newcombe to tweak the tracks in Daiker’s basement studio. looks down on Taylor as a schmoozy music biz As part of Hollcraft ’s label demo package sellout.” Brooks scheduled an all day video shoot in the “Perhaps the high point of the documentary new Dandy Warhols’ soundstage/arts center: the is the Brian Jonestown Massacre’s disastrous Odditorium. Th e Dandys and Meredith go way showcase gig at West Hollywood’s infamous Viper back, both signed to Capitol by A&R guru Perry Room, packed with A&R reps and other music Watts Russell with their fi rst albums for that label industry snakes: obviously a perfect occasion for released the same year. a little public self-sabotage on Newcombe’s part. But that was before DIG!… and Sun- Bec Hollcraft and Meredith Brooks

Page 12 - TWO LOUIES, February 2004 dance… with the idea of a documentary,” says bassist Meredith says the homey-thing doesn’t fl y Toody Cole. “Th ey wanted to follow us around anymore. “Courtney apparently got pissed at his overseas.” business managers for doing the deal with me and Dead Moon first toured Europe in 1990. took away the venue at 5:00 the night before the Th ey’ve been on the same label there, ever since. shoot. Luckily the people from the Crystal Ball- “Jason and Kate were with us for two or three room gave us the whole place all day for nothing! weeks on the road across Europe, and then joined Awesome people. Steve Duarte my old lighting us again for a couple of weeks in the states doing guy called Immy and Travis from the Ballroom the east coast. Th ey had like, three or four hundred and they totally came through for us.” hours of footage.” Kissing Booth is big news in Hollywood. Th e crew followed Fred & Toody home to Meredith got big props in the (1/31/04) Bill- Portland and shot Dead Moon’s New Year’s Eve, board Platinum Stars series focus on Hilary Duff ’s ‘02 gig. triple-platinum album , “Metamorphosis” on Unknown Passage: Th e Dead Moon Story Buena Vista/Hollywood records. Meredith wrote will be screened at the New York Independent Film and produced tracks for the monster release and Festival, April 22nd through May 2nd. Dead Moon is mentioned several times in the credits. leaves for another euro-tour March 23rd. “Th is A year ago, Music Connection, the street will be our fi rst trip to Poland,” says Toody. Th e level Hollywood music trade magazine, said, tour will support the new album, “Dead Ahead” “Meredith Brooks is one of the few-with Sheryl on Tombstone Records in the USA and Music Crow and Linda Perry-female producers making Maniac in Europe. an impact.” “In an era where hit albums are made by NNN committee and multiple production teams are the More Reel Music… norm, Brooks harkened back to the old days by Th en there’s the new movie about the two producing every track of Jennifer Love-Hewitt’s Portland musicians who can’t say enough nice breakthrough project.” things about each other; Steve Bradley and Jim Th is year, MB breaks through in Beaverton. Mesi. Th e two venerable guitarists are the focus of Th e Losers Club, a documentary by Pierre Ouel- NNN lette about two brilliant musical careers spent at Th e Beatles made it fi rst in Germany… the “…far edge of the national spotlight.” Another strong entry in the 2004 Portland Where the limo never shows. Happens In Th e Movies Sweepstakes is a documen- Steve Bradley takes Pierre on a pickers tour of tary by New York fi lmmakers Jason Summers and Portland, pointing out the tile covered walls where Kate Fix entitled, “Unknown Passage: Th e Dead he fi rst heard reverb and visiting his favorite hang: Moon Story”. Elmer’s Starting Gate Lounge, where he introduces “Keeping one gig ahead of a day job.” the waitress (Kelly) and speculates on Area 51 World premier held in Portland at the Guild with the regulars. Bradley off ers a concise career Th eater, January 17th as part of the Reel Music outlook that explains his longevity. “I’m not inter- Film Festival.. ested in the music business at all,” he says. “I just “Unknown Passage is the rock & roll docu- like listening to the guitar. Th at’s all I care about. mentary that the genre was made to tell. Beginning If I can get away with that, fi ne, plugging in and in 1964 with 15 year-old Fred Cole’s early career hearing that ‘wonk’ sound.” on the Las Vegas strip, the fi lm mirrors the history Wonksters unite… of west coast rock & roll. Fred’s musical journey Jim Mesi remembers his fi rst major label travels through Garage Rock, Psych Rock, Country record deal with Wrinkle, and his 31 hour ride Rock, Punk Rock and back again.” down I-5 to Hollywood on the back of a Vespa Summers and Fix started the project aft er with lead singer Jim Dunlap. Straight to the reading a story in the New York Times about Dead recording studio. Moon’s popularity in Europe. And how the Viet Nam war killed Wrinkle photo Buko “They came to us about three years ago Bec Hollcraft and Meredith Brooks Continued on page 20

TWO LOUIES, February 2004 - Page 13 Crazy Bastard Records PMB-831 16420 SE McGillivray, 103 Vancouver, WA. 98683 360.936.3679 Email: [email protected] Web: www.crazybastardrecords.com New larger quieter playing rooms Owner: Andrew Bentley New Hi Rez mastering Continued from page 11 Types of deals off ered: Tribute Compila- Quality Duplication tions 3158 E. Burnside Artist Roster Featuring: Village Idiot, 2 New tube Vocal mics Portland, OR 97214 Witch Th rottlegush, Plaid Pantry Proj- 4 song multitrack recording, (503) 231-0876 ect, Th e Procrastinators, Iommi Stubbs, Fax: (503) 238-0420 Little Mission Heroes, Th rescher, mixdown, mastering, 25 CDs $499. Email: [email protected] Bastard Children of the Roman Empire, Web: http://www.burnsiderecords.com some conditions apply N?Jas, Th e Secludes, Th y Infernal, Owners: Terry Currier & Jim Brandt Hyperthermia, 90 Proof, Th e Delin- Producers: Various quents, Evil Genius, Fall From Grace, Types of music released: Blues Naked Violence, Th e Jimmies, Drain Artist roster: Mason Ruff ner, Henry Bramaged, Vaginal Discharge, Genocide Cooper, Paul Brasch,Johnny & the Rapers, Fist Material, Th e Dwarves, Distractions, John Fahey, M.Doeherty, Drain Bramaged, Bomf!, WitchTh rottle- Mick Clarke, David Friesen, Obo Addy, gush, REO Speeddealer, GBH, Fang, Lloyd Jones, Too Slim & the Taildrag- John Cougar Concentration Camp, Blag gers, Kelly Joe Phelps, Terry Robb, Dahlia, Stagger, Monkey Fur, Odorus Duff y Bishop Band, McKinley, Gary Urungus, Dr. Know (featuring Brandon Myrick, Sheila Wilcoxson Bill Rhoades Cruz), Corey Feldman, Agent Orange, & Alan Hager, Bugs Henderson. Nerfh erder, Th e Daylights. Distribution: Burnside sub-distributes two Portland based labels: Th e Magic Criminal Records Wing and Eurock. National distribution P.O. Box 25542 through Distribution North America & Portland, OR 97225 Rock Bottom. (503) 244-5827 Affi liated Label: Sideburn Records. Contact: Peter Dammann Types of music released: Roots Rock Types of music released: Northwest Artist Roster: 44 Long, Rudy Tutti Blues, R&B. Grayzell, Tommy Womack Preferred submission: We’re not looking for new artists. Cavity Search Records Kinds of deals usually off ered: CD, P.O. Box 42246 cassette. Portland, OR 97242 Artist roster: Claire Bruce, Paul DeLay Email: [email protected] Band, J.C. Rico, Linda Hornbuckle, Web: http://www.cavitysearchrecords. Lloyd Jones Struggle, Dave Stewart, Jim com Mesi Band, Joe Dobro, Too Slim & the Owners: Denny Swoff ord, Christopher Taildraggers, Paul Jones, Shade. Cooper Types of Music Released:Music we like Diamond Z Records by bands/artists we like. 16016 Lower Boones Ferry Road, Suite Artist Roster: Pete Krebs, Pete Krebs 5 & Gossamer Wings, King Black Acid, Lake Oswego, Oregon 97035 Richmond Fontaine, Golden Delicious, (503) 675-1670 Wayne Horvitz, Steve Lacy, Elliott (503) 635-7355 Sharp, Elliott Smith E-mail: [email protected] Contact: Steve Landsberg Cravedog Records 122 SE 27th Avenue Elemental Records Portland, OR 97214 PO Box 603 (503) 233-7284 McMinnville, OR 97128 Email: [email protected] 503-474-1704 Web: www.Cravedog.com [email protected] Owner: Todd Crosby. President: Cassandra Th orpe Producers: Luther Russell, Johnny Vice President: Robert Wynia Beluzzi, Larry Crane, Various Executive Producer: Diogenes Alexan- Types of music released: Various. der Xenos Types of deals off ered: Varies. Roster Management: Aaron Th orpe Artist roster: Little Sue, Fernando, Active Roster: Floater, TV:616, Blyss Warren Pash, Luther Russell Available: Jollymon, Sweaty Nipples, Distribution: Valley, Burnside, Redeye, Henry’s Child, NW Compilations Miles of Music, CD NOW, Amazon. com, Music Boulevard.

Page 14 - TWO LOUIES, February 2004 Distribution: Direct, Burnside, Valley Fax: (503)249-7842 Records Submission format: We are not accept- Studios: Gung-Ho Studios (Eugene), ing submissions right now. Freq (Portland) Pink Martini / 3 Leg Torso / Le Happy Submission format: CD or high quality www.pinkmartini.com video www.3legtorso.com Offering: Unusual agreements for the www.lehappy.com right bands. IMP Records EON Records P.O. Box 34 PO Box 5665 Portland, OR 97207 Portland, OR 97228 Owner: John Flaming Email: [email protected] Types of music released: Punk rock. Web: http://www.eonrecords.com Kind of deals usually offered: Singles. Owners: Tommy/John Thayer Artist roster: Spinanes, The Shaven, Producers: Various Jackknife, Oswald Five-O, Mudwimmin, Types of music released: new Crackerbash, Calamity Jane, Barbara Artist roster: 28 IF, Dan Reed Lien, A Dick Did. Distribution: Nail Distribution/Port- land, OR Jus Family Records For all your Printing and Design needs (800) 757-1851 Eurock Records Owners: Terrance Scott, Bosco Kawte P.O. Box 13718 Types of music released: Hip-Hop, R&B Portland, OR 97213 and any other form of good music. 503.281.0247 Preferred submission Formats: cassettes Fax: 503.281.0247 Artist Roster: Cool Nutz, Kenny Mack, Email: [email protected] G-Ism, Monkey Mike Owner: Archie Patterson 503/282-1682 Types of music released: License record- Last Chance Records ings by European & American artists. Portland, OR www.buko.net Preferred submission formats: CD’s. (503) 231-2845 Kinds of deals usually offered: CDs. Owner: Mark Surratt Artist Roster: Dweller at the Threshold, CD COVERS • POSTERS • PROMO PHOTOS Gandalf, Robert J. Horky, Erik Wollo, Lazy Bones Records BROCHURES •LOGOS • BACKDROPS • LIVE PHOTOS Green Isac, Tim Story. 9594 First Ave. N.E. Suite 230 Distribution: DNA North America, Seattle, WA 98115-2012 Burnside Records. (206) 820-6632 Fax: (206) 821-5720 Flying Heart Records Owner: Scott Shorr 4015 N.E. 12th Ave. Producers: negotiable Portland, OR 97212 Types of music released: Everything but (503) 287-8045 Country. Email: fl[email protected] Preferred Submissions: CD’s & cassettes. Web: http://www.teleport.com/ Kind of Deals usually offered: Full ~flyheart/ length CD. Owner: Jan Celt Artist roster: Headland, Neros Rome, Producer: Jan Celt Turntable Bay, Blackhead Types of music released: Original NW Distribution: ILS (Mercury), Burnside artists and related projects. Distribution. Preferred submission formats: Demo Lucky Records/Macman Music, Inc. cassettes. 10 N.W. 6th Avenue Kinds of deals usually offered: Album Portland, OR 97209 projects, Publishing of related materials. (503) 248-1988 Other services offered: producer ser- FAX: (503) 227-4418 vices and bands wishing to make their Contacts: David Leiken, Marlon own releases. McClain, Artist roster: Janice Scroggins, Tom Producers: project by project. McFarland, Obo Addy, The Esquires, Types of Music: Rock, R & B, Funk, Napalm Beach, SnoBud & the Flower Fusion, Blues People, Snobud Comics by Chris Artist Roster: Dazz Band, Vail Johnson, Newman, Phillip’s Dream World Curtis Salgado & Terry Robb, Dennis coloring book for children, written and Springer, U-Krew, Sequel, Dan Reed illustrated by Chris Newman, Eddie Network, Shock. Harris, Thara Memory. Distribution: Independent, City Hall Distribution: Burnside. National Dust Records Heinz Records P.O.Box 2454 P.O. Box 4628 Portland, OR 97208 Portland, OR 97208 USA (503) 903-0625 Phone: (503)249-0808 Continued on page 14

TWO LOUIES, February 2004 - Page 15 Portland, Oregon 97214 (503) 736-3261 Fax: (503) 736-3264 Email: [email protected] Owner: Mike Jones Producers: Drew Canulette, Tony Lash and Brian Berg. Th e band decides. Types of music released: Many. Continued from page 16 Preferred submission formats: Cassette, DAT. Kinds of deals usually off ered: Depends Contact: Shan on artist/project/deal. Producer: the bands choice. Artist roster: (current) Vehicle, Jackson Types of music released: Punk rock, Pollack 5ive, Svelt, Dave Allen, Th e rock’n roll. Elastic Purejoy, Th e Violets, Tor- Preferred submission formats: tapes/ pedo, Th e Jimmies, Shove, Gravelpit, records. I-5 Killers compilation series features: Kind of deals usually off ered: % of Sprinkler, Dose, Hazel, Spinanes, Saliva product pressed. Tree, Roger Nusic, Marble Orchard, Artist roster: Apt. 3G, Nixon Flat, M99, Hitting Birth, Sugar Boom, Drunk Nervous Christians, Jimmies, Low Rent at Abi’s, Flapjacks, Dead Moon, Diggs, Souls, Lazy Boy. V.O.I.D., Th e Daddies, Killing Field, Distribution: Profane Existence, Dharma Bums, Red Vines, Rawhead N.A.I.L., EFA (Europe). Rex, Wicked Ones, Carl Hanni, Paisley Pop label Confi dentials, Crackerbash, Blu-binos, Hellcows, Oily Bloodmen, Gift , K Pants, PO Box 8963 Everclear, Th irty Ought Six, Kaia, Th e Portland, OR 97207 Wipers, Plunger, Oblivion Seekers, Anal website: http://www.paisleypop.com Solvent, New Bad Th ings, Caveman email: [email protected] Shoestore, Oswald 5-0, Supersuckers. who to contact: Jim Huie Th e Violets, Gravelpit, Skiploader, Time phone: no Killing Isabel, Buttermilk. Releases include Girls Say Yes, Th e Distribution: N.A.I.L. Quags, Crack City Rockers, Foolkillers, Th e Windbreakers, Th e Ten Ton Records Broken Hearts, and TIm Lee. 625 SW 10th Suite 231-C We release about 6 CDs a year in the Portland, OR 97205 Guitarists, Bassists, Drummers, Singers indie and power pop, alt-country vein. (503) 287-5502 Website also sells CDs from other labels. CANCEL YOUR CLASSIFIED AD Producer: Keld Bangsberg or bands Psycheclectic Records choice. Meet musicians/bands Types of music released: alternative; all P.O. Box 8133 kinds. looking for other players Portland. OR 97207 Submission format: cassette. 503-295-2776 Artist roster: Sweet Baby Onion, Th e www.psycheclectic.com Willies, Trip 21. FEBRUARY [email protected] William Weikart Tombstone Records Artist roster:Garmonbozia, James P.O. Box 1463 Angell and Obscured by Clouds 23th Clackamas, OR 97015 U.S.A. Space Age Bachelor Pad (503) 657-0929 Fax: (503) 631-2797 LIVE AUDITIONS P.O. Box 10494 Owners: Fred & Toody Cole (equipment provided) Eugene, OR 97440 Producer: Fred Cole (541) 343-5962 Refereshments served Types of music released: MONO Fax: (541) 683-3524 ONLY!! Email: [email protected] Mostly original garage and psychedelic, 6:30-9:00 PM Owner: Stephen Perry. raw rock ‘n roll. Register in our Producers: Stephen Perry. Preferred submission formats: Tapes Contact: Spirit Cole player’s database mixed down to 1/4” reel to reel. DAT- Types of music released: Swing, Ska, cassette or high-quality cassette. Rock, Punk, Acid-Rock. Kind of deals usually off ered: We press Kind of Deals usually off ered: Depends mostly 45s, but can do LPs and CDs. on artist. Artist roster: Dead Moon, Flapjacks, Preferred Submissions format: CD or Spider Babies, Jr. Samples, 8 Ft.Tender, Cassette Hardship, Asthma Hounds, Deadbeat Artist roster: Cherry Poppin’ Daddies, Hearts. Buckhorn, Billy Jack. Distribution: Get Hip, Revolver, Distribution: N.A.I.L., DNA Mordam, NAIL, Subterranean, Burnside Schizophonic Records Distribution (CD’s only). 1620 SE Hawthorne Blvd. LL

Page 16 - TWO LOUIES, February 2004 on w ho w i l l own t he mate r i a l i f t he mate r i a l CO N CLUS I O N is n o t c o m p le t e d o r p u b l is h e d. So metimes, f o r Th e r e a r e n um e r o u s i s s u e s wh i c h n eed to e x a mp l e , t h e c o - w r i t e r s w i l l a g r e e t h at a ny m at e - be co v e r ed b y a co lla bo ra ti o n a gr ee m e n t. At th e Co n t i n u e d fr o m p a g e 5 rial wh i c h th ey h a v e jo in tl y d ev e l o ped will be v ery least, y o u sho uld co n sider ha vin g a co l- jo in tl y o wn ed b y th e m, a n d th a t n o u se m a y be la bo r a ti o n a gr ee m e n t p r e pa r ed f o r a t l ea s t th o se will a p p l y t o all so n g s wh i c h y o u a n d y o ur co- m a d e o f th e m a t e rial wi th o u t th e p ri o r wri t t e n so n g s th a t h a v e a l r e a d y bee n wri t t e n. wri t e r wri t e t o g eth e r in th e fu t ur e . (Th e tw o o f co n se n t o f bo th co-wri t e r s. A s f o r wh eth e r y o u s h o ul d c o n t i n u e y o ur y o u ca n al wa y s a gr ee la t e r t oc h a n g e th e s pecifi c W h e r e t h e r e i s a l y r i c i s t a n d c o mpo se r, t h ey r e la ti o n s h i p wi th y o ur co-wri t e r in th e cir cum- t e rm s o f y o ur co lla bo ra ti o n a gr ee m e n t.) will o ft e n a gr ee th a t if a so n g i s n o t co m p l etey s ta n ce s d e scri bed in th e l et t e r a bo v e , th i s w o ul d 2. Be s t F a i th Eff o rts. Th e co-wri t e r s will d ev e l o ped , th e l yri c i s t will r e ta i n all ri gh t s t o th e d e pe n d o n wh e th e r y o u ca n a g a i n h a v e th e tru s t a gr ee t o coo pe ra t e wi th ea c h o th e r in co m p l et- l yri cs, a n d th e co m po se r will r eta in all righ ts t o in h im th a t i s so e s se n tial , bo th m u s i call y a n d in g th e so n g s, a n d in m axim izin g th e co m m e r - th e m u s i c. l eg all y, t o a n y co lla bo ra ti v e r e la ti o n s h i p. cial u se o f th e so n g s. Th e c o - w ri t e r s w i l 6. Wa rra n t ie s. Co lla bo ra ti o n a gr ee m e n ts al so typ i call y a gr ee th a t all a rti s ti c a n d b u s in e s s u s uall y p r o vi d e th a t ea c h wri t e r p r o m i se s th a t No t e : B a rt Day is a n e nt e rt a i n m e nt at t o rn ey d eci s i o n s r eg a r din g th e so n g s will be m a d e b y t he mate r i a l w h i ch he c ontr ibute s is or i g i na l i n p ri v a t e p r a ct i c e a n d o u ts i d e m us i c c o u n se l f o r th e c o - wri t e r s jo i n tl y, a n d th a t n e i th e r c o - wri t e r material, and does not violate an yone else’s Vi v e n d i Un i v e r sa l Ga m e s , t h e c o m p u t e r g a m e s ca n m ak e a n y a rti s ti c c h a n g e s o r a gr ee t o a n y co p yrigh ts, righ ts o f p ri va cy, et c. u n i t o f Un i v e r sa l S t u d i o s . He is a lso VP o f B us i- co m m e r cial u se o f th e so n g s wi th o u t th e o th e r 7 . Natu re of R e lat ion s h i p. In order to ness A ff airs for M edia Cr ea tur e M usic, a Los wri t e r ’s co n se n t. mi n i m i z e thethe ii rr l ili abiabi l itlit yy to to th t ih rdir dp artpa ir et sie , sthe, th e AnAng e l e s mu ussi c pu b l i issh e r aan nd d cca at ta al lo og g aad dm mi in ni isst tr ra- a- ti o n co m p a n ny.y. Incidentally, even if you cannot work out an Ba rt is t h e c o-a u t h o r o f a c h a p t e r (e n t i t l e d agreement with your co-writer, you are still “Contracts“Contracts andand RelationshipsRelationships between between M M ajorajo r L ababe ells aannd d I Innd de ep pe en nd de en ntt L La abbel els” s”) i )n in Th The M eu siMucia s in c’s i an’s entitled under copyright law to use any songs B usus i n e s s an d LLe eg ga al l GGu ui id de e,, a a b bo oo ok k c co om mp pil ie l ed d b by yt ht he e BevBeve r l y HiHi l lsls BaBa rr AA ss soso cici aa tt ii oo nn a a nn dd p p uu bb l isli hsh e ded b yb y that you and he created together, and/or to grant Pr e n t i c e HaHal l P u b l i issh i n g (N (Newew Y Yoor rk k).). F Fr ro om m 1998 1998 non-exclusive licenses to third parties to use the to 2002, h e w a s a n e l e ctct e d m e m b e r o f t h e BoBo a r d of GoGo vv ee rnrn oo rr ss oo ff tt hh ee P P aa cici fifi cc NWNW C C hh aa pp t ete rr o o f ft ht eh e material. But, if you do so, you must do so on ReRec o r d i n g AcAc a demdem y (p(p rr ee sensen tt erer oo f ft hth e eG G r ar mam mm y y AwAwa r d ds).s). commercially reasonable terms and also account Th e r e a d e r is c a u t i o n e d t o se e k t h e a d vi ceof th e re a d e r ’ ’ss oow wnn a at t to or rnne eyy c co on nc ce er rnnin i ng g t ht he ea ap p pli lc ia c a- - to your co-writer for his share of any income from bi l i tyty o f t h e g e n e r a l p r riin ci p l e s d i iscusscuss seed a b o LLv e t o the song. th e re a d e r ’ ’ss oow wnn ac ctti iv viit ti ie es s. . 3. CoCo p yrighyright O Ownewner rsshi p . UnUnd e r t thhe r rulule s co-writersco-writers usuallyusually agree agre e that tha thet th collabora-e collabora- of U. S . c opy r i g ht l aw, t he l e g a l pre su mpt i on tio n a gr eem en t will n o t mak e th em pa rtn er s, i s th a t th e co-wri t e r s o f a so n g a r e co n s i d e r ed jo in t v e n t ur e r s, a g e n ts o f ea c h o th e r, o r cr ea t e e q u a l 50-50 o wn e r s o f a so n g u n l e s s th ey a gr ee any k i n d of e mpl oye r- e mpl oye e re l at i ons h ip o th e rwi se . betw ee n th e m. O n a pr a cti c al l eve l , m any profe s s i on al 8. Owne rs hi p o f M a t e rial . Th e Co lla bo ra- so n gwri t e r s tak e th e po in t o f vi ew th a t all so n g s tio n A gr eemen t will usuall y p r o vide tha t a n y they co-write will be owned equally by the m at e r i a l s c r e at e d d u r i n g t h e s o n gw r i t i n g p r o c e s s co-wri t e r s o f th e so n g, o n th e th eo ry th a t i t all -- s u c h a s r eco r din g s, l ea d s h eets, et c. -- will be bala n ce s o u t in th e e n d . jo in tl y a n d eq uall y o wn ed b y th e co-wri t e r s. Ho w ev e r, so m etim e o n e o r m o r e o f th e co- wri t e r s o f a so n g d eci d e th a t th ey d o n’t wa n t a 9. Dura tio n o f A gr eemen t. It is usually c e rt a i n s o n g t o be c o n s i d e r e d e q u a l l y c o - w r i t t e n , a gr eed th a t th e p r o vi s i o n s o f th e co lla bo ra ti o n beca u se o f th e fa ct th a t o n e o f th e wri t e r s m a y a gr ee m e n t r e la tin g t o co p yrigh t o wn e r s h i p a n d h a v e co n tri b u t ed m u c h m o r e t o a so n g th a n th e s h a rin g o f in co m e will r e m a in in e ff ect f o r th e o th e r co-wri t e r. I n th a t s i t ua ti o n, th e co-wri t e r s full l e n g th o f th e co p yrigh t t e rm o f th e m u s i c will n eed t o a gr ee o n h o w th e o wn e r s h i p will covered by the collaboration agreement, or be di vi d ed u p betw ee n th e co-wri t e r s, pe r ce n t- – u sin g co p yrigh t la w lin g o -- f o r th e “lif e o f a g e-wi se . I f th ey ca n’t a gr ee , th e n th e so n g will co p yrigh t.” be co n s i d e r ed b y th e la w t o h a v e bee n eq uall y 10. En t ir e A gr ee me n t. Th e co lla bo ra ti o n co-wri t t e n (a n d eq uall y co-o wn ed). a gr ee m e n t s h o ul d p r o vi d e th a t i t ( th e c o lla bo r a - 4. Expenses. All expenses involved in t i o n a g r e e m e nt ) c o n s t i t u t e s t h e e nt i r e a g r e e m e nt co m m e r ciall y p r o m o tin g th e so n g s will be s p li t o f the co-wri ters, a nd tha t i t ca ncels o u t a n y b y th e co-wri t e r s, wi th n e i th e r wri t e r o b lig a t ed ea r li e r a gr ee m e n ts o r un d e r s ta n din g s betw ee n t o pa y a n y s uc h expen ses unles s h e a gr ees in th e co-wri t e r s r eg a r din g th e so n g s co v e r ed b y intoxicating a d va n ce t o d o so. th e co lla bo ra ti o n a gr ee m e n t. 5 . No n - Co m p l e t i o n o f So n g s. In c o l l a b o r a - TwoLouiesMagazine.com ti o n a gr ee m e n ts, th e co-wri t e r s n o rm all y a gr ee

TWO LOUIES, February 2004 - Page 17 For this was a project very well done, indeed. songs deal primarily with interpersonal relation- ships. Free of cloying sentimentality, instead, From Grey To Blue - Jasmine Ash Jasmine’s songs traverse similar territory found in Self-Produced works by Sarah McLachlan and Tori Amos. Continued from page 12 erhaps the brightest female singer/ Jasmine, who plays acoustic guitar for this is again evoked, as the chorus of that song contains songwriter prospect to appear on the outing, is joined by a backing band comprised exactly the same progression. Stephanie’s take is local scene in the past decade, twenty- of Holbrook on drums, Aaron Masonek on bass shone in more of a gospel-tinted light. A great slide threeP year old Jasmine Ash has all the tools neces- and Jason Henry on guitar. Holbrook and Norton guitar solo (Brainard? Furtado?) adds a nice touch sary for a long and successful career in the business add occasional keyboards, as well as various loops toward the end of the song. of music. She has a voice and style all her own. She and electronic frills. Th e accompaniment is suc- Th e gospel fl avor continues, with even more is already a vital songwriter, despite the fact that cinct, not fl ashy, but eff ective- adding understated of an emphasis, on “Salty Blues.” Garau adds she only began learning to play guitar a little over detail and nuance, without cluttering up the sonic tasty piano and organ layers, while a full-fl edged two years ago, writing her fi rst song six months scenery. vocal chorus backs Stephanie across diffi cult and later. She did not even sing before that- having Th e album begins with “Th e Ride,” a winsome foreign vocal terrain. She holds her own, giving been tossed out of middle school choir, for lack of number, which fi nds Jasmine singing soft ly, remi- itit herher all,all, whilewhile pushingpushing herselfherself toto thethe extremesextremes vocalvocal chops.chops. Yet,Yet, sheshe hashas recordedrecorded twotwo albumsalbums inin niscentniscent ooff BBjorkjork (o(orr mmaybeaybe LLisaisa LLoeboeb a lilittlettle bbit)it) a prettypretty mmelody-elody- wwhichhich ddancesances iitsts wawayy ddirectlyirectly iintonto “Several of Stephanie’s songs are aided by thethe bbrain.rain. WWhilehile aann iinsistentnsistent ddrumrum bbeateat ppropelsropels sumptuous string arrangements contributed by thethe rhythmrhythm section,section, HenryHenry deftdeft llyy llayersayers vvariousarious guitarguitar ppassages.assages. A ggreatreat inintroductiontroduction ttoo JJasmineasmine Dave Mills and deftly executed, with panache, Ash’sAsh’s music.music. A whirring beat loop, and vague guitar, wash by the Third Angle String Ensemble.” beneathbeneath Jasmine’sJasmine’s fragilefragile sopranosoprano vocalvocal onon “No“No OneOne Came,”Came,” asas sheshe harmonizesharmonizes withwith herselfherself inin thethe ofof hherer ssomewhatomewhat limlimitedited pprojectiverojective vvocalocal ppower.ower. thethe ppastast ttwowo yyearsears (t(thishis iiss hherer ssophomoreophomore eeffff oort)rt) pretty chorus. When the band fi nally kicks in for “Debutainted” returns to more familiar territory, and has her sights set on a third. the second verse, it is with a great deal force, dra- with a more relaxed vocal delivery over a hip-hop- But beyond all that, Jasmine has the smarts matically upping the emotional ante of the song. pish beat and solitary electric piano punctuations and the heart to make it in the music world- and Here’s another memorable winner! ala Dido. Nicely done. those are things that can neither be learned, nor “Fall” hinges upon Masonek’s elegant bass The string section returns on the restless, taught. Her determination wouldn’t mean much if fulcrum, Jasmine’s chirping acoustic guitar, and a quietly turbulent “How Happy.” Over fragile piano Jasmine weren’t talented, but she’s got that covered haunting electric piano phrase. Th e drums fi nally ornamentation, which recalls the backing to Patti too. Her voice has the demure quality of early enter in the lovely chorus, powering the tune home Smith’s “Because Th e Night,” Stephanie lyrically Jewel, the youthful intimacy of early Kate Bush on an engramatic level. Another hit song. “By Acci- bares her soul for perhaps the fi rst time on this (Hounds Of Love-period); and the sweetness and dent” is a cheerful sounding ditty about breakup album, as she inspects her feelings toward an ex- purity of Bjork. Here, she is aided in her eff orts by and betrayal, with an abrupt ending. lover whose life seems to be going co-producers Dean Norton and the peripatetic Returning to more familiar turf, “Somehow” well. Harriet Weaver again comes Ezra Holbrook. is a gentle ballad, forlorn electric piano chords to mind on the ethereal “Gypsy Subtly utilizing elements of elec- and a worried organ tone, along with Jasmine‘s Soul.” Another intimate song, tronica in the production of each acoustic guitar, anchored by a mechanical drum that again speaks more deeply number, the co-producers color loop. Another piquant chorus follows, so sweet to Stephanie’s true heart, a vitally each song carefully, allow- could it could charm stone. Another strong held sentiment that easily could ing natural colors and chorus drives “Dissatisfi ed,” an uptempo rockish be a big hit at weddings. Gaurau’s contours to rise tune, worthy of Dido or Sarah McLachlan. Radio hypnotic electric piano embellish- to the fore. Jas- friendly, to be sure, this song too could easily be a ments add to the haunting mine’s thoughtful hit at college radio, memorable and quality of this lovely song. meaningful. Stephanie Sch- Th e intense waltz “Replac- neiderman along with ing,” a song about cathartic growth her fellow musicians, and self-empowerment, melodically echoes the engineers and old English folk ballads and singers such as the producer have Sandy Denny of Fairport Convention and created a lovely Maddy Prior of Steeleye Span. But Jasmine’s album, full of stel- erudite introspection is like no one else’s: “Today lar musicianship and superb taste. As a songwriter and vocalist, it is true that she is still fi nding her way. But the cohesiveness and dedica- tion displayed here can only serve to guide Stephanie in precisely the right direction.

Page 18 - TWO LOUIES, February 2004 I felt sun in the shadows/Th ose shadows used to his own with an assortment of bands. ery of the apocalyptic “Machines And Streets.” eat at me/And I’ve surrendered to everything I Just as important, has been Lenny’s activism. “Scarecrow” stylistically falls somewhere between want to be/I’m everything I want to be/You may Involved with environmental issues for the past the two. be gone/but I’m still hanging on/I will lay my head decade, especially the fate of our forests (Eagle Another bluesy rocker, “F.B.I. Blues” speaks to rest/I’m standing strong/I know it won’t be too Creek), he has been at the vanguard of the protest to the state of live one acquires when one chooses long/I don’t know myself in this mess.” She follows movement. Lenny (as is a family trait), walks the to make waves in society.. “Pistol To My Face,” that with an even more telling verse: “Everything walk and talks the talk. Th is ambitious, 2-disc, though more subdued, speaks to the same para- works out/Everything falls right into place/Th e twenty-eight song canon contains many insights noia. Tasty guitar work and nice piano phrasings moment I found the world/is the moment you into Lenny’s political views and experiences- as frame “Waterfall” subtly espouses a political view- were replaced.” well as giving a fi ne aural portrait of his psyche. point that is well in the minority in our culture- as “My Th ick Skin,” another waltz, seems like Th is is a very personal album, while being politi- pertinent as it may be. an appropriate coda to the preceding piece. Th e cally aware at the same time. Very few artists are “Freddy Fired At Me,” is a searing slide guitar peculiar flute-like keyboard tone found in Kate as skilled at balancing between those two poles. rocker with a similar anti-establishment political Bush’s “Mother” on her Hounds Of Love album, is Th e most successful would be Bruce Springsteen. stance. Lenny’s guitar playing is simply superla- perfectly reproduced on ”No Cause For Regret.” Lenny is no slouch either. tive though out the track. Th e true reggae number Over a rattling closed hi-hat and smoky hand Besides writing and singing all the songs, “Belly Of Th e Beast” speaks directly to the problem: drum loops, occasional waves of guitar sweep by, as Lenny plays all the guitars, as well as some bass “I drove through the belly, the belly of the beast/ Jasmine outlines the domain of her exile and pain, and keyboards. He is occasionally joined by former Once was forest, but now there were no trees.” A determined to forge a new and better life. bandmates, bassist Franklin Stewart and drum- very heavy song. Th e title cut is a vibrant piece of Another up tempo number, “Dear Christo- mer Pete Jorguson. In addition, the ubiquitous modal magic. pher,” is a dizzy dance in three, with a familiarly Mel Kubik on keys and sax and vocalist Emily Disc Two, a soft er more stripped down acous- unforgettable chorus, again worthy of radio airplay- Dahmen make several appearances- as well as tic set, opens with the pretty little country fl avored in a just universe. Jason Henry’s smoldering guitars other contributions from several other musicians. ballad “For The Dreams Of John And Mary.” and an array of swirling keyboard loops add to the Greg Paul engineered the project at his Herbert Lenny adds very nice acoustic slide guitar to the sense of a maelstrom in the process of reaching sub- House Studios. mix. “Sunburnt” is a tribute to those oddly heroic sidence. Jasmine’s mature world view and grounded A downhome, slightly sloppy, Stonesy groove characters who choose to climb up old growth trees emotional center (hard won, it would seem, to be informs “Rebirth,” with Lenny’s Keith-like guitar in order to prevent them from being cut down. sure) is contradicted by her ingenuously youthful voice- a paradox which greatly adds to her allure “This ambitious, 2-disc, twenty-eight song as an artist and a musician. It is her profound inner wisdom, in the face canon contains many insights into Lenny’s of personal upheaval, which is most evident in Jas- political views and experiences- as well as mine Ash. Her unique voice and solid songwriting skills are beyond reproach and beyond the need to giving a fi ne aural portrait of his psyche.” appraise or criticize. With the help of Holbrook and Norton and the other musicians who contributed interjections, playing off jangling acoustic guitar “Sacred Place” is a solemn prayer of a song with a to this album, she has sculpted a tribute to her and comfortable vocals. “I’m Alright” combines a Mark Knopfl er feel to Lenny’s well-executed solo. heartfelt pain, erecting a true testament to her inner John Lennon-like sensibility with a Doobie Broth- “Th is Town Alone” is a somber paean to the loss strength and sense personal vision. ers sort of drive. of the American Dream. “I’m A Lover” is a simple It is rumored that Howard Rosen, the man Lennon again comes to mind with the pretty declaration of peace. who discovered Blondie, has taken an interest in ballad “Flowers In Th e Meadow,” and in spirit Dahmen’s evocative close harmony vocals Jasmine. He is not the fi rst, nor will he be the last anyway, on the very cool “3:30.” Over a restlessly bring out the pathos in “Forest Canyon.” Her vocal music industry magnate to hear promise in her sad and slightly woozy chord progression, Lenny blend with Lenny on “Freedom” is seamless and work. She fairly exudes raw talent. With her pen- delivers a wry perspective: “She sees me, and she sublime, creating an unique sound for an exquisite sively brilliant refl ections and a vibrantly intuitive wants a piece for free//A piece for free/I’ll let her little gem of a tune. Finally, “How Come You’re knowledge of her craft , Jasmine Ash is a true star run the roughshod over me/Over me.” A fi ery solo In My Dreams” is a simple song with a Zen-like in the making- someone who very soon is going at the end of the song locks it in as one of the best philosophy playing within the lyric. to make a real impact in the music world. of the fi rst disc. Now working in his fourth decade in the local A faint reggae feel invests the insightful “True music scene, John “Lenny” Rancher proves himself Emotional Stew - John “Lenny” Rancher American,” a song which (unfortunately) really to be a consummate musician and a talented song- JLR Records has the basic American lifestyle pegged. And it writer. With nearly three albums worth of material enny Rancher has been an integral part ain’t very pretty. Sax backing from Kubik and fi ne here, it is hard to do justice to the breadth and scope of the Portland music community for drum work from guest Danny Knudsen, not to of Lenny’s material. He cares about people and twenty fi ve years. His fi rst band was the mention Lenny’s own sure-handed contributions he cares about the land we live upon and he has Malchicks,L formed with his brother Billy, a rowdy, on bass and guitar. Another strong song. “Emma acquired the means to express his opinions with raucous quintet who were known as much for their Goldman” is a slinky rave-up rocker whose subject forthrightness and intelligence. snotty behavior as they were for their music. Billy surely would have loved the suitably unusual treat- went on to forge the Unreal Gods, garnering mas- ment. A rabble rouser! sive critical attention, before he died of lymphoma Guest Aaron Lowe’s fluid harmonica fills in December of 1986. Somewhat overshadowed by decorate the lonely , country infl ected song, Tom his brother’s success, Lenny went a diff erent, less Pettyish “She’s Not Coming Back.” Dylan is the visible route, quietly amassing a musical legacy of obvious infl uence in the conception and deliv- LL

TWO LOUIES, February 2004 - Page 19 Continued from page 20 nium: NNN “This album originally came out in 1988 and The nabob of sob.… when two members were drafted… contains the worldwide hits “Ritual” and “Tatina” Johnnie Ray came after Frank Sinatra and The interview segments of theLosers Club are and was produced by the now late great legendary just before Elvis Presley. With young people, this connected with live performances by the Stratocaster producer Bruce Fairbarn (Aerosmith). This is the guy was huge. He was the first pop vocalist to take duo, masterfully recorded by John Dalrymple and first reissue in ten years for “The Dan Reed Network” the microphone off the stand and roam around Paul Stanton (Seymour). and contains three rare bonuses remixes. the stage. Many historians credit him with the first While happy for the Dandy Warhols success “Dan Reed Network were one of the first multi- rock-n-roll moves. at the Sundance Film Festival, Pierre says it doesn’t racial rock bands to make the Billboard to 30 album Like Elvis, Johnnie came from poor rural bode well for the Losers Club there next year. “You charts, touring at the time with Bon Jovi and The stock. know those films are selected by a jury,” he says, Rolling Stones.” Salem, Oregon rural. “I can’t exactly see them saying ‘Hey great!, Here’s another film about Portland musicians.” TheLosers Club has been submitted to the IFP Los Angeles Film Festival, the Seattle International Film Festival and the AFI/ Discovery Channel Documentary Festival. Seventh Arts Releasing and Solid Entertainment have expressed interest in distribution. NNN Documentary footage wanted… Elemental records artist Floater is in produc- tion on a digital video documentary and looking for fan footage. Floater followers can interview themselves regarding the influence the band’s music on their lives. Favorite song, the first live show you attended, how far you traveled to see the band, where you got your Floater tattoo, all of it…Producer Keith Brown will make the selections. Submissions should be (in order of preference) DV Mini Cassettes, DVD, VHS. Copies will not be returned. Mail to Elemental Records Attn: Documentary, PO Box 603, McMin- nville, OR 97128 or deliver in person March 27th when Floater plays the Crystal Ballroom. Floater is in pre-production on an acoustic album due out by summer and return to the Ohm Saturday, February 21st. NNN So much for the afterglow… Terry Currier and Alex Sierra, photo Bill Phillips A muggy night in Columbia, South Carolina in the John Edwards For President campaign. CBS Here’s the paragraph that got the Millennium In 1951 Johnnie Ray got a deal with Rhythm & Network News was there. Edwards’ Democratic phones buzzing: Blues label Okeh Records and released “Cry” which Primary win was the lead story. From headquarters “The now legendary Dan Reed Network are overheated the juke boxes, and thanks to the new the correspondent droned on, while there in the back and will be playing selected dates on the “Mon- phenomenon of television, gave every standup comic background, loud enough to be heard, “I will Buy sters Of Rock” sell out tour alongside Whitesnake.” in the country a routine. Parent label Columbia You A New Life” by some guy in a black tee shirt, promptly picked him up and released “Just Walking glasses and an acoustic guitar. No way, say the players… In The Rain”, which zoomed straight to #2. Art Alexakis hooks up with the veep to be… “That release was originally issued last summer,” In April of 1953 he landed on the cover of says Network keyboadist Blake Sakamoto “Dan was Confidential magazine and it was all downhill NNN trying to put together a band, Some of the old band from there…Now this is an Oregon musician How rumors get started… members, and some new, but it all fell apart. I think worth making a movie about. Think Billy Bob Lemon Recordings in London has reissued the he got a new financial backer for the Ohm and Thornton... Dan Reed Network from 1988. The press release decided to do that.” Stay tuned. arrived last week in the offices of Music Millen-

Page 20 - TWO LOUIES, February 2004 NNN company at 239 S.E. 6th Ave. The first hit product; American Idle. coffee tables in the shape of Fender peg heads. According to the Associated Press, con- Approved and advertised in the Fender propa- Continued from page 4 testants on American Idol are required to sign ganda. Both Stratocaster and Telecaster models “aggressive image manipulation” agreements, available, $689.orders 503/235-6143 or on the web sometime become. The band is definitely com- which, as the contract states, “may reveal/and or at www.overkilldesign.com …Sequel members mitted to Scott’s vision. Not that Scott’s hogging relate information about me of a personal, private, surprised to find their new album of old tracks the show. Jeff and Matt instinctively shine in their intimate, surprising, defamatory, disparaging, on Lucky Records burning up the AOR airwaves roles. In fact, Scott tells me he’s gently pushing embarrassing or unfavorable nature, that may be and making waves in Europe. The Sequel release guitarist Bob to step out more. Judging from the factual and/or fictional.” “Daylight Fright” is a pick at AOR Heaven CD jazz-blues phrasing and pure, unaffected tone of File under Dumb and Desperate Artists… Mail-order in Altheim, Germany. See www.aor- Bob’s Jonny show closing Hollywood guitar solo, I would encourage heaven.com/ …Lucky Records, owned by Double this behavior. As one guitar player to another, I NNN Tee’s CEO David Leiken is also getting action on would suggest Bob’s guitar voice be developed Scuze Me, While I Sue This Guy… long time Portland recording artist Roger Sause’s as a melodic foil and musical counterpoint to The Experience Music Project in Seattle new release “Freestyle Funk”. Roger recorded early Scott’s lead. I know Scott values the band’s musical fired 129 people in January. Not a big surprise on with his band Shock, then joined another local contribution and loyalty. It’s refreshing to see a after announcing the new exhibits and programs musician; Kenny Gorlick. They shortened the musical unit that pulls it off in such interpersonal planned for this year include “retrospectives on name of the act to Kenny G and by 1987’s fourth harmony and musical cohesion. Bob Dylan and Bruce Springsteen and the open- album Duotones, were superstars. The first single So what’s secret behind building the Scott ing of Experience Science Fiction ” on Sause’s new album is a Gorelick-Jefff Lorber Fisher success story? In my follow-up telephone Like Dylan and Springsteen need the expo- tune “Tierra Verde,” that first appeared on Lorber’s conversation with Scott I was curious to find out sure. 1981 album “It’s a Fact”…an all star lineup turned if there were hidden “Industry” puppet-masters Too bad it couldn’t be the Jimi Hendrix out at the Bitter End for a medical benefit for pulling behind-the-scenes strings or show-biz Experience museum like Paul Allen wanted. stage manager stroke victim Alex Sierra. Sierra family nepotism opening the doors and greasing Hendrix is hot. is best known for running the South Stage at the palms. Minutes into the call, those myths were A national tour celebrating the legacy of Jimi Waterfront Blues Festival. Acts appearing for dispelled. Catching Scott hot off a series of long- Hendrix is getting a test flight. Experience Hen- Alex included The Paladins, Too Slim & The distance calls to club bookers illustrated to me drix, run by Jimi’s adopted sister Janie, who was Taildraggers and the Strangetones plus special the “Scott Fisher” method. Musical talent and an 9 when he died, has scheduled shows for Seattle, guests Curtis Salgado, Paul delay, Lloyd Jones, appealing product coupled with a professional Portland and San Francisco. For the Portland show Norman Sylvester, Bill Rhoades and Peter Dam- presentation and backed by Scott’s humble, yet February 24th at the Roseland original Experience mann…Lorna Miller at the Mississippi Pizza confident business sense and hard work ethic. drummer Mitch Mitchell and bass player Billy February 28th…Whole Note Entertainment signs With more than a year and half invested in record- Cox will join guitar icon Buddy Guy to channel singer/songwriter Myrrh Larsen. Whole Note is ing Fleeing Towards Creation and another year the right-handed strat-played left-handed... owned by veteran producer Steve Diamond…The and half of promoting to college radio and count- When I met Jimi and the Experience at the Decemberists are the highest profile Portland less gigs from Portland to Seattle, throughout peak of their popularity, I was especially interested act booked so far for South By Southwest March California, and as far away as Arizona it’s apparent in the drummer, since that was my instrument too. 17-21in Austin. In the SxSW propaganda the that this momentum is being built through good Mitch Mitchell was a hyper-jazz, fill-monster and I Decemberists are listed as being from Portland, ole hard work and determination. It takes a lot of was really surprised, when he gave me a set of his Washington…Stars of Track and Field at Conan’s guts to weather the challenges of promoting ones sticks, to find they were Ringo Starr models. Pub Saturday, Feb 21st and at Club Ohm March self without a big-time manager or booking agent 13th…Gina Noell at the Ohm February 20th… to shield the rejections. I’ve worked with artists NNN Smoochknob on KNRK (94.7) February 20th, 6AM who adopt an alter manager-persona, complete THIS JUST IN…Geoff Byrd heads south till 10AM live in the studio on the Marconi Show. with fake “phone name” just to be able to do to the Sunset Strip for a showcase gig at Whisky, They play the Tonic Lounge that night celebrating business without compromising their artistic Friday, Feb, 20th. The Whisky pre-show party Pauly Smoochknob’s birthday…tv616 recording integrity. Somehow, I’m sure the integrity Scott starts at 7:00PM and the cream of music industry their new full-length album as we speak…The projects allows him to negotiate the business tastemakers are scheduled to appear. Geoff got a Wanteds new CD coming March 1st…Cdbaby. better than most musicians with out having to call from Ced Moore in Atlanta offering personal com is running an incentive program for their resort to shucking and jiving. management. Moore produced Usher and works artists in February: the top selling artists will be So we’ve heard this story before and it’s closely with Jimmy Jam and Terry Lewis… included on a compilation CD that will be sent to always worth hearing again; the proverbial Wednesday, February 25th Jonah showcases in 5,000 customers…Dr Theopolis at the Club Ohm overnight success, years in the making scenario Hollywood at The Gig…Odds Against Tomorrow Friday, March 12th…Camaro Hair on the verge of (hopefully without the cliché rise-fall-rise-again hooked up with L.A. producer Rogers Masson to signing with a label. They play Dante’s February “Behind the Music” voice over). With the added record “Nights. Not End” a 17 song album due for 20th…Brian Copeland Band at Imbibe February energies of other industry professionals such as release in April. Tracking was done in Portland 21st…Lea Krueger is one of three Grand Prize publicist Lisa Lepine, Scott is building his dream at Dead Aunt Thelma’s and mixing took place at Winners in the CSN 2003 Songwriters Producer team, beginning to focus on a new release, AAA Westlake Audio. Masson mixed Marilyn Manson’s Project Contest. In February Lea flies to L.A. to radio exposure, expanding the band’s live-per- last DVD and produced the album on the Crick- record with Grammy Award winning producer Ed formance geographic. It’s all in a day in the life’s ets Reunion organized by Sheryl Crow…former Cherney at The Village recording studio work for Scott Fisher. Stay true to course, young members of the Baseboard Heaters Jason Krz- brother. Somehow, I know you will. marzick and Matt Souther have opened Overkill Design, an industrial-strength custom furniture Peace! LL LL

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Page 22 - TWO LOUIES, February 2004 SEQUEL FAN SQUEELS, In closing, Sequel to what? Sequel to the Dear S.P., great 80’s decade, a blast at nearly every live I had occasion to pick up your magazine show, and thanks for the memories, guys. recently. I was drawn to the Sequel 2 heading Sincerely, on the cover. Aft er reading your article, I felt Roger Staich motivated to write a response. I’m not sure [email protected] Continued from page 3 where you got your information, or what your reasoning is for hating 80’s music so much. BROOKS BREAK the other artists can be powerful allies as well. Every time I hear someone slam the 80’s Dear Two Louies, People seem to forget that they have a huge for fashion, music, or mind-set it amazes I read a letter from Meredith Brooks stat- resource there. me. I’m guessing while the rest of us were ing that she is looking for hot young girls who Our dress reahearsal show will be at out getting laid, partying our brains out, and can really sing. I don’t know how old that letter Conan’s on Feb. 13th 9:00pm and then we having what would be fondly remembered is but I would like to write to her regarding a are off to L.A. to play the showcase gig at the as the time of our lives, you sat in your cold fi ft een year-old artist who also is starring on Whiskey. Just touching base and letting you basement playing pong, listening to Helen a hit sitcom on the WB network. know my friends. Reddy, and probably masturbating to Erik Her name is Scarlett Pomers and she has I am also co-producing an EP with artist Estrada on Chips. a website with some vocal clips. She also plays Justin Hopkins (who opened for John Mayer Lets face facts S.P., only a loser fag like guitar and writes with others. She is currrently and Jason Miraz and worked with Count- you would be such a sour-puss towards such working on new material and has strong inter- ing Crows in the studio). Steve Sundholm is a great time in history. I’ve known Greg for est from some major labels. co-producingco-producing ((Jonah,Jonah, RRickick BBain,ain, SSundholmundholm overover 20 yyears,ears, aandnd hhee aandnd tthehe rrestest ooff tthehe bbandand Her web address is: scarlettpomers. “Only assholes refer to 80’s music as comcom Could you pass this info on to Ms. Brooks Hairbands, or Buttrock. In the case of oror possiblypossibly givegive meme somesome typetype ofof contactcontact info?info? Sequel, the title ‘Power Pop’ is much more Th anks for your time, accurate...Maybe high & mighty dweebs like Rebecca Woodruff you & that kook Bono should take a lesson on how to entertain & have fun from bands ON THE COVER: Stephanie Schneiderman releases like Sequel.” “Touch Down” on Papa J Records produced by Tim Ellsis and engineered by Dave Friedlander at Kung Fu Bakery. S.P Clarke says “Touch Down” is a “lovely album, full of acoustics,acoustics, formerlyformerly SunnSunn AmplifiAmplifi ers).ers). HeHe areare notnot onlyonly talented,talented, butbut withwith a minorminor breakbreak stellar musicianship and superb taste.” (photo Buko) is a very promising artist and I have made here or there would’ve been all over MTV, and a new years resolution with 5 bands/artists touring the world. For your information, they early this year: were unique & talented enough that Geff en Portland is known for great talent but Records off ered them a deal in 1982 or 83. ambition and motivation is always tradition- Unfortunately, Todd Jensen left the band ally lacking. So 5 of us have banded together, around then, and the deal fell through. • Established 1979 • no pun intended to make a dent this year. I was at their most recent release show, TWO LOUIES PUB LISH ING We have decided that sticking together will as well as the benefi t they contributed in last Editor: Buck Munger Graphics & Photo Editor: Buko be much more benifi cial than infi ghting or June. Th is is a band that is timeless, tight, and TwoLouiesMagazine.com Art Director: competition. very talented. Friends of mine who don’t even Deb McWilliams Here are the bands: Scott Fisher, Geoff like their style of music marvel at how profes- Writers: Byrd, The Superficials, Red Sector, Justin sional they look, sound, and act. S.P. Clarke • Bart Day • John Dufresne N.L. Fogerty • Den nis Jones Hopkins. Really, only assholes refer to 80’s music Denny Mellor • Robin Rosemond We are all banding together as friends as Hairbands, or Buttrock. In the case of Illustration: Tim Rutter and artists who have a great deal of mutual Sequel, the title “Power Pop” is much more Photographers: David Ackerman • Buko respect for each other in getting some degree accurate. Why in the name of rock & roll do Gustavo Rapoport • Pat Snyder of regional success in music. We all love critics always want to read more into what a making music and simply want to make a band stands for than there is? You stated that Printed by: Oregon Lithoprint Two Louies Magazine living doing it and creating a vibrant local Sequel (their music) is even less pertinent now 2745 NE 34th • Portland, OR 97212 music scene for good independent artists. Th is than it was then. Guess what? most people just PHONE (503) 284-5931 is the goal for 2004. Th anks again for the great want to have a good time when they go to a Email addresses: write up in December and I hope to meet you show, or listen to music. Maybe high & mighty Editorial: [email protected] Layout: [email protected] sometime. Cheers! dwwebs like you & that kook Bono should Web: [email protected] G take a lesson on how to entertain & have fun © 2003 by Two Louies Magazine. May not be from bands like Sequel. Live Rock shouldn’t re pro duced in any form without the ex pressed writ ten consent of the publisher. be so preachy, and arts-y that it loses it’s true Two Louies is avail able by subscription. meaning.....having fun!!!! Send $35.00 for one year, post paid.

TWO LOUIES, February 2004 - Page 23 77TH ANNIVERSARY 1927-2004 CA$H FOR MUSICAL INSTRUMENTS!

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