photo Buko It takes more than inventory to be a great music store. It takes talent too. And Guitar Center Clackamas has a staff roster that reads like a whoʼs who of Northwest music Stop by today, and ask for one of professionals. our department specialists-
With over 36 years of experience and the power of ����������������������������������������������� the nationʼs first super store behind us, Guitar Center ����������������������������������������������������� Clackamas can assist you with virtually any aspect of �������������������������������������������������������� your musical instrument or gear needs. ����������������������� ���������������������������������� Our store features vaulted ceilings, private acoustic �������������������������������������������� ������� ��������� rooms and innovative product demonstration facilities ����������������������������������������������������������� that beg for a hands-on buying experience.
����������������������� 13029 SE 84th • Clackamas, Oregon • Phone: 503/654-0100 Store Hours: Weekdays 10-9 • Saturdays 10-7 • Sundays 11-6 David Ackerman David photos irvana plays Portland second-billed behind Mudhoney. Kurt Cobain and his left -handed Stratocaster made believers out of the Satyricon regulars including his future wife Courtney Love. (Inset photo right) In 2001, former Rocket publisher Charles Cross wrote the defi nitive biography of Kurt Cobain and Playboy excerpted the Kurt Meets Courtney In Portland segment. Charlie’s book went to number one, N“Unfortunately, it was the week of 9/11 and the market for books with depressing subject matter disappeared”. Cross is now two years into his biography of another Seattle guitarist, Jimi Hendrix. It takes more than inventory to be a great music store. Avalon Ballroom, Fillmore West, Winterland, and Th e will be shown free at the Mission Th eater on Th ursday, It takes talent too. And Guitar Center Clackamas has a Matrix. March 18 as a tribute to Nick. A tribute will be held at In Taos his band Th e Oriental Blue Streaks per- staff roster that reads like a whoʼs who of Northwest music Stop by today, and ask for one of the Crystal Ballroom on March 21, 2004 from 2:00pm formed at various venues including the Old Martinez to 8:00pm, with live music, archive video, and poster professionals. our department specialists- Hall and the Th underbird in Placitas. He played on the showing. Th e tribute is open to friends, fans, family, same bill with numerous national acts, including: the and fellow musicians. For further questions contact Gary With over 36 years of experience and the power of ����������������������������������������������� Doors; the Byrds; Jan & Dean; Lightning Hopkins, as Ewing at 503-238-0733 or gewing@pacifi er.com well as the Jeff erson Airplane in Portland’s Coliseum, the nationʼs first super store behind us, Guitar Center ����������������������������������������������������� Clackamas can assist you with virtually any aspect of PH PHACTOR PASSING and with the Grateful Dead & Quicksilver Messenger SEATTLE HUMBUG �������������������������������������������������������� Service at the Crystal Ballroom. your musical instrument or gear needs. Dear Two Louies Readers, Dear Editor ����������������������� ���������������������������������� Aft er a long battle with cancer, chemo, open heart Nick performed in the 1969 movie, Paint Your Haha, I love that item on the T.L. web site, about surgery, and more cancer, Nick Ogilvie, leader of the Wagon, with Lee Marvin, Jean Seburg and Clint East- the Jerden sale of the ‘Louie Louie’ gold disc. I’ve always �������������������������������������������� ������� ��������� Our store features vaulted ceilings, private acoustic PH Phactor Jug Band, a San Francisco icon and West wood, which included 200 fellow-hippie extras camping had this perception Seattle would claim they outright rooms and innovative product demonstration facilities ����������������������������������������������������������� Coast musical pioneer, died at 11:20pm February 21, in the Eagle Cap Wilderness of Northeastern Oregon. invented rock and roll if they could get away with it. that beg for a hands-on buying experience. 2004. He is survived by his wife of 34 years Tina Ogilvie, Nick was also one of the founding parents who placed Th e place is boring, and that’s why I could only stand son Ian Ogilvie, daughters Melissa Sutphin and Mohee his daughter in the original Free School at Reed College, about three or four months of it, before I had to leave McBride, plus a large and diverse extended family of which was genesis for what later became Th e Metropoli- back during 1980. musicians and friends. tan Learning Center. You know there is one little thing that no one will Nick was born December 9, 1937 in Medford, Nick Ogilvie was recently profi led in the movie Th e ‘cop to’ up there. Th at until recent times, it was not legal Oregon and grew up in Portland. A singer, songwriter, Life & Times of the Red Dog Saloon, a music history fi lm to post fl yers and posters anywhere... guitarist-, saxophonist-, harmonicaand piano-player, by Mary Works about the bands that played at the Red Th at’s something that is very vivid in my mind-- ����������������������� he performed in the 60s in San Francisco and Portland. Dog Saloon in Virginia City, Nevada. Th is was the fi rst during 1980, and obviously during all years prior, there 13029 SE 84th • Clackamas, Oregon • Phone: 503/654-0100 Aft er a 7-year stay in Taos, New Mexico, he made Port- rock n’roll club with live music, lightshows, dancing and was not one speck of music-related artwork to be seen land his permanent home. From jug band music to jazz, hand drawn posters, and was the conception of the San ANYWHERE. Store Hours: Weekdays 10-9 • Saturdays 10-7 • Sundays 11-6 blues and other roots genre, Nick Ogilvie was a giant Francisco Family Dog dance concerts. of the West Coast scene, and played at San Francisco’s Th e movieTh e Life & Times of the Red Dog Saloon Continued on page 23
TWO LOUIES, March 2004 - Page 3 Page 4 - TWO LOUIES, March 2004 THE CURRENT on the artist’s failure to record the remaining two were able to get Paragraph B added to the statute, “SEVEN-YEAR LAW” CONTROVERSY albums. which (as mentioned above) allows record labels – WHAT’S THE DEAL? Paragraph B has been a huge thorn in the to sue recording artists for damages. ne of the major current issues in side for artists since it was originally enacted in Many artists have sued major labels in recent the music industry involves the 1987. Changes in the law have been supported by years to try to escape their recording contracts campaign of the Recording Artists the Recording Artists Coalition, and opposed by aft er seven years. However, artists have generally Coalition,O comprised of many top recording art- all the major labels and by the Recording Industry been willing to renegotiate, rather than force the ists, to have Paragraph B of Section 2855 of the Association of America (the trade association of all issue and try to get out of their contracts by going California Labor Code repealed. Section 2855 of the major labels). all the way to a fi nal court decision, partly because is the so-called “Seven-Year Law,” also sometimes of certain uncertainties about how the “Seven-Year referred to as the “DeHavilland law” (for the rea- sons mentioned below). Before getting into the details of the current controversy, fi rst some background on what the “Seven-Year Law” says. In short, there are two main sections of the “Seven-Year Law”: Paragraph A and Paragraph B. Both of these are relevant to the current con- troversy, but it is only Paragraph B that is being Some Background on the “Seven-Year Law” Law” will be interpreted by the courts, and partly sought to be repealed. Some historical background may help to give a because of concern about liability for damages little perspective about the current controversy. under the provisions of Paragraph B of the “Seven- “Paragraph A” of California’s “Seven-Year Law” Th e “Seven-Year Law” has been in eff ect since Year Law.” “Paragraph A” of the California statute 1872, although originally it made personal service Similarly, record labels have been willing to provides that no contract to render personal ser- agreements binding for only two years. In 1919 the renegotiate their deals with the various artists who vices can be enforced by an employer against an two years was changed to fi ve years, and in 1931, have sued, rather than refuse to negotiate and risk employee beyond seven years from the beginning to seven years. getting a court opinion which might interpret the of the contract. In other words, if an employment Th e “Seven-Year Law” fi rst became a big deal Seven Year Law adversely to the labels. In short, agreement is to last for more that seven years, the in the entertainment industry in 1947, when the the labels have preferred to renegotiate some employee can walk aft er seven years. actress Olivia DeHavilland sued Warner Brothers, individual deals, rather than risking a possible “Paragraph A” applies to all personal service using the “Seven-Year Law” as the legal basis for adverse court decision which could then be used asas casecase precedentprecedent againstagainst thethe labellabel byby allall ofof thethe “For purposes of the ‘Seven-Year Law,’ recording labels’labels’ ootherther aartists.rtists. artists are considered ‘employees’ of record What Contracts Are Aff ected companies, and recording contracts are considered By the “Seven-Year Law”? ‘employment agreements.’” At the present time, due to the lack of adequateadequate ccasease pprecedent,recedent, ttherehere iiss ssomeome qquestionuestion contractscontracts enteredentered intointo betweenbetween “employers”“employers” andand escaping/exitingescaping/exiting herher employmentemployment agreementagreement withwith asas toto howhow manymany artistartist contractscontracts areare affaff ectedected byby thethe “employees,” including actor contracts, athlete Warner Bros. Th e lawsuit was eventually decided “Seven-Year Law.” (California is the only major contracts, and recording contracts, and any other in Olivia DeHavilland’s favor, and played a big role entertainment State which has such a law.) Almost kind of employment agreements. For purposes in the creation of a new “free agency” era for actors, certainly, the contracts of all California-based of the “Seven-Year Law,” recording artists are many of whom had previously seen their careers artists are under the purview of the “Seven-Year considered “employees” of record companies, and shelved by the studios, without having any sig- Law.” Very likely, the contracts of artists who do recording contracts are considered “employment nifi cant practical recourse due to the power of the any signifi cant amount of their work in California agreements.” Again, Paragraph A applies to all studios. As a result of the lawsuit, the “Seven-Year are also under the purview of the “Seven-Year Law”. employer-employee “employment agreements” Law” is still sometimes referred to as the “DeHavil- Other than those situations, the legal situation is for any kind of employees whatsoever, and not just land law,” even though the law had been in eff ect for recording agreements. “Record labels have been willing to renegotiate “Paragraph B” of California’s “Seven-Year Law” their deals with the various artists who have sued, On the other hand, Paragraph B (the subject of the current controversy) applies ONLY to record- rather than refuse to negotiate and risk getting ing agreements and recording artists, and not to a court opinion which might interpret the Seven any other kind of “employees.” Year Law adversely to the labels.” Paragraph B says, in eff ect, that if a recording artist seeks to exit from a recording contract at the manymany yearsyears bbeforeefore tthehe DDeHavillandeHavilland llawsuit.awsuit. somewhatsomewhat murkymurky andand complicated.complicated. SuffiSuffi cece itit toto say,say, end of seven years aft er the contract was entered From the time of the DeHavilland lawsuit, there are many artist situations in which it is dif- into, the record company can sue the artist for dam- until 1987, there were no new major changes in fi cult to predict whether the courts would say that ages based on the failure of the artist to record the the “Seven-Year Law”. Th en, in 1987, the RIAA California’s “Seven-Year Law” would be applicable remaining albums provided for in the contract. For (on behalf of the major labels) sought to amend to that particular artist’s recording agreement. example, if an artist were to seek to exit a contract the statute to, in effect, change the seven-year Some labels, in order to try to avoid the aft er seven years, but had only recorded fi ve of the period to a fourteen-year period under certain problems which are caused labels by California’s seven albums required by the contract, the record circumstances. Although the RIAA was not able to “Seven-Year Law,” insert a provision into their company could sue the artist for damages based accomplish that change in the statute, they instead Continued on page 20
TWO LOUIES, March 2004 - Page 5 Accessory To Th e Crime - Jon Koonce Moon Records on Koonce has come full circle in the business of music. In his thirty-plus years involved in local music, he has gone from being the young turk drummer for the Sleezy Pieces in the early ‘70s club scene, to stepping out from behind his kit to front Hank Rasco’s Wasted Rangers (which soon became the fi rst incarnation of Johnny & Th e Distractions)- rapidly becomJing a local star along the way. By the end of the ‘70s the major labels were calling and Koonce was able to release three albums on major labels before the plug was pulled. A bit bruised, but defi antly undaunted, Jon returned to the Portland music scene, not so much with a sense of defeat, as with a renewed appreciation for the vibrant musical community that continues to exist within the city. For the past twenty years, Jon has been honing his musical focus, while leading a host of diff erent local bands including Mystery Train and the Gas Hogs, to name just a couple. But in the past few years, he has gradually refi ned his stylistic approach down to nearly zen-like simplicity. With this album, as with its predecessor, Train Fare Home, Koonce relies on the simple accompaniment of his solitary acoustic guitar, backing his singular, gritty voice, to tell his tales of common folk, whose weary travails oft en seems unrelentingly desolate. From more personal numbers, such as “Some Th ings I Can’t Let Go” and the Craig Carothers penned “I Guess I Showed Th em,” Continued on page 18
photo Michael Moran
Page 6 - TWO LOUIES, March 2004 y pick of the month is Al green. back is a maze of rippling muscles that gracefully with children and it’s the heart of this odd dance What can I say except I’m in love express a story through dance that’s a gift to the and the reward of youth. To be anti gravity and again? Yes, it’s spring but with Portland stage. Her partner in ‘Adin’ is Artur Sul- completely fl exible and malleable. ‘Firebird’ will the catchyM ‘I can’t stop’ life has begun. It’s not tanov, a tall dancer that handles his size and weight be back. I adore so many of the dancers of OBT the doldrums or any lack of stimulus, it’s just the handily. From backstage you keep thinking that but this time I give a shout out to Katie Gibson and meaning of life grows slim at times. How desper- Artur must be thinking; “I’m a talented Russian Leann Underwood who are beautiful beyond belief ate and frightened one can become without some dancer!” Anyway, the tour de force and dance very well. I wish them the best in their foundation of love. It’s what is ‘Firebird’, which is comparable careers and I hope to see them in many productions I mean. Love and Al green to some of the best theater I’ve in the future. ‘Firebird’ is a delight and we had a are like red beans and seen in years. Th e music by Stravin- great challenge to bring it to the stage. I have the rice, the perfect sky is fantastic and Niel DuPonte kicks great duty of helping to bring the main curtain in b l e n d . and out at the Keller Auditorium. I know it doesn’t sound like much, but I fi nd it extraordinary. I guess it’s good I’m easily amused. I like old-fashioned theater.theater. Th ee ininnerner wworkingsorkings aandnd cchildlikehildlike wwonderonder youyou ffeeleel wwhenhen a fl aashpotshpot ggoesoes ooffff oonn ccueue iiss rreward-eward- ing.ing. I hhopeope ppeopleeople ununderstandderstand hhowow mmagicalagical iitt iiss andand howhow importantimportant itit becomesbecomes toto rememberremember thethe stories,stories, knowknow howhow toto buildbuild bridges,bridges, makemake goldengolden applesapples fallfall andand thethe starsstars glow.glow. Th ee WithWith AlAl Green,Green, I’mI’m inin thethe magicmagic wwordord iiss ‘‘Go!’Go!’ moodmood toto testifytestify thatthat hishis newnew I dididn’tdn’t getget ttoo ggoo DDavidavid CChelsea’shelsea’s record is mighty good. bookbook signingsigning partyparty atat CounterMediaCounterMedia I wworkedorked tthehe wworldwideorldwide (927(927 SWSW Oak),Oak), butbut ReedReed PressPress isis reissu-reissu- WrestlingWrestling andand gotgot toto experi-experi- inging ‘‘DavidDavid CChelseahelsea iinn LLove’ove’ iinn a ggraphicraphic enceence SteveSteve AustinAustin thethe wrestlerwrestler novelnovel form.form. WhenWhen hehe fi rstrst publishedpublished in action.action. ItIt waswas notnot thatthat great.great. it,it, iitt wawass a ccomicomic bbook.ook. I hhaveave eeveryvery Th ee f afansns o off w rwrestlingestling aarere ttheirheir chapterchapter signedsigned andand dateddated andand I’mI’m a fanfan ownown eentityntity andand I shouldshould notnot ofof DDavidavid CChelsea’shelsea’s ffromrom wawayy bback.ack. I judgejudge tthem,hem, bbutut I ccanan ssayay eeasilyasily rememberremember wwhenhen I mmovedoved ttoo NNewew YYorkork thatthat I’veI’ve seenseen moremore interestinginteresting CityCity in1985 thatthat DavidDavid waswas thethe onlyonly thingsthings thanthan SteveSteve AustinAustin pouringpouring personperson wwhoho lletet meme staystay withwith him.him. OfOf fourteenfourteen BBudud LLightsights aallll ooverver hhim-im- coursecourse iitt dididn’tdn’t llastast llong,ong, bbutut I wwillill bbee self.self. I cancan easilyeasily saysay thatthat wrestlingwrestling eternallyeternally gratefulgrateful toto himhim forfor allowingallowing isis ooutut ooff hhandand in AAmerica,merica, bbutut IItt meme a pplacelace ttoo lliveive tthehe fi rrstst ffewew mmonthsonths couldcould bebe worseworse andand soso therethere forefore I I lilivedved in MManhattan.anhattan. WWee hhadad a fi ft h h willwill notnot judgejudge thethe wrestlingwrestling crowdcrowd fl oooror wawalklk uupp oonn tthehe HHarleyarley DDavid-avid- oror SteveSteve Austin,Austin, I willwill justjust saysay sonson bblocklock oonn 22ndnd SStreettreet bbetweenetween nono oneone waswas hurthurt andand nono oneone waswas FirstFirst aandnd SSecondecond AAvenue.venue. AAllll I kknewnew injuredinjured aandnd tthat’shat’s imimportant.portant. waswas tthathat I wawantednted ttoo bbee in NNewew YYorkork I’mI’m workingworking withwith OregonOregon CityCity nono mattermatter what.what. DavidDavid showedshowed BalletBallet Th eeaterater aandnd II’m’m pproudroud ttoo meme thethe lifelife andand hehe sharedshared hishis vastvast saysay thatthat ‘White‘White Nights’Nights’ isis a beauti-beauti- knowledgeknowledge ooff hhowow ttoo ssurvive,urvive, bbee fulful productionproduction andand thethe dancingdancing creative,creative, ooriginalriginal aandnd ffunny.unny. I waswas isis incredible.incredible. ‘Serenade’‘Serenade’ isis heart-heart- goinggoing tthroughhrough a vveryery cconfusingonfusing breakinglybreakingly bbeautifuleautiful aandnd tthehe OOBTBT stagestage ofof mymy lifelife atat thatthat timetime andand hehe dancersdancers wworkork vveryery hhardard ttoo kkeepeep waswas iinn tthehe tthrowshrows ooff wwritingriting ‘‘DavidDavid itit ccleanlean aandnd ttight.ight. CChristopherhristopher ChelseaChelsea in LLove’.ove’. IItt wawass ggreatreat ttoo bbee Stowell’sStowell’s ‘‘‘Adin’,‘Adin’, I fi nndd bbrilliant.rilliant. I a ppartart ooff hhisis pprocessrocess aandnd iitt wawass aann lovelove GavinGavin LarsenLarsen ‘s‘s dancingdancing in thisthis awakeningawakening ttoo hhearear hhisis cconstructiveonstructive criticismcriticism ooff mmyy liflifee aatt tthehe ttime.ime. HHee wawass sstrangelytrangely honesthonest andand I learnedlearned manymany a lessonlesson ffromrom hhisis vveryery “I“I workedworked thethe WorldwideWorldwide starkstark looklook atat thethe realitiesrealities ofof survival,survival, lifelife andand love.love. WrestlingWr e s t l i n g anda n d gotg o t tot o InIn rretrospect,etrospect, I sseeee tthathat wwee aarere aactuallyctually qquiteuite aalikelike inin ssomeome wways.ays. WWee lloveove ppassionately,assionately, hhadad a lloveove experience Steve AuAustinstin tthehe aff air with Manhattan, and have ended up back in Portland. You should go fi nd his book “David wrestler in action. It was not Chelsea in love’ and laugh at it’s absurdity. that great.” Write to me: [email protected] original piece. Gavin is an athlete with a pureness ass as Musical Director! Th e guest choreographer about her work that comes from deep within. Her from SanFrancisco, Yuri Possokhov works well LL
TWO LOUIES, March 2004 - Page 7 he Mt. Tabor Theater will be changing ownership soon as DV8’s Jason Sabala takes hold of one of Oregon’s finest chunks of original music real estate. Jason has been running DV8 and may be the best thing to happen to theT Tabor in years. Just his expertise in booking hot bands and hiring great help alone might be enough to turn around this faltering yet lovable and historic music venue, however, Jason is also one of the brightest and most talented young alternative and independent film makers to develop in the Rose City since Gus Van Sant. His monthly meeting of spiked-haired and bright-eyed reel heads most commonly known as the “Sinister Cinema” group has apparently been crowding those otherwise slow Sunday nights at the 8, just imagine what can be done with a gigantic floor plan that also includes a separate eighty-seat screening room. Don’t get me wrong I’ve had many a great night at the Tabor as my column over the past few years will show, and I mean not to criticize any of my friends who currently do or have ever worked there, they’ve all worked extremely hard, especially recently in light of a faltering entertainment economy, but over the years I’ve noticed that new blood and good leadership in club management are only effective in turning things around when they include that rare gift to delegate well and respect the brainpower that is present when you work with great people. Word is, Julian and Sundown Sound may remain at the Tabor which is great news for anyone who gets to play there, I’ve been on a couple of stages in my day but I can’t think of any room that sounds as good as the Tabor on, or off. the stage and that’s a lot harder than you might think, the stage crews that make it look easy are generally the best. Word to Jason from the staff at Oregon’s music trade mag: Go for it! And feel free to lean on this skinny white shoulder. Kate Power and Steve Einhorn are making some awfully sweet music as their cd “PEARLS” will show. This duo singer/songwriter team records well and also fits into the concert venue as the photo on the back of the cd showing them on stage during their recent “Prairie Home Companion” performance. If you need a great cd to play when you’re having some one special over for a romantic night of dinner and wine, this might be a good choice, I don’t know about you but I generally like something soft and romantic in the background while I’m trying to get my date drunk enough to put out and I’m pretty sure once I find a girl who is hard up enough this cd just might work. Aside from my own selfish needs this is just a great acoustic album with thirteen well recorded songs. Steve and Kate share vocals and guitar credits throughout this selection of tunes and they both play banjo or banjo guitar which is becoming more popular choice these days, Steve also plays drum, bugle and mouth trumpet, Dan Schulte on upright bass, Peter on mandolin, Harley James on pedal steel, the incredible Mark Spangler (Johnny and the D’s) on electric guitar, Phil Baker on bass, Lex Browning on fiddle, Gregg Williams (Sheryl Crow, Quarterflash) on drums and the amazing Craig Carothers on vocals. The album was produced by Kate Power and Steve Einhorn, art direction by Kate Power, cover graphic by Justin Auld, graphic layout and design by Ben Brown, cd replication by Brent Williams and this cd was well mastered by SAE Mastering. Included in the cd graphics is a photo and dedication to a young Marine who was killed in Iraq by a land mine after deciding to stay for extra duty, this is the first time I’ve seen this incorporated into a music package and shows that this nationally recognized Portland talent is not afraid to add a taste of sad reality to an art form that is generally designed to take our minds off it. If you want to learn more about Kate and Steve check out their website at [email protected] or just walk into Artichoke Music at 3130 S.E. Hawthorne Blvd. and tell them you just inherited ten grand and you need to spend it on a musical instrument as long as it isn’t one of those horrible and noisy steel drums. And while I’m on the subject of talent, the next generation has produced The Gypsy Moths, a four piece pop/folk/rock/funk band of fun, led by Raina Rose and Meredith Cushing. Once again the Bitter End at 20th and West Burnside is smart enough to turn an evening over to Juana Camilleri for her now famous “Juana Jam” on Mondays nights, and the Gypsy Moths light the place up like the 4th of July with there high vitality and musically animated set of mostly original tunes. The live Gypsy Moths are Raina Rose on guitar and vocals, Meredith Cushing on acoustic and lead guitar, Justin Burkhart on drums and Trent Hinchman on bass. The Gypsy Moths first album is a twelve song duo CD that well demonstrates this versatile and interesting songwriting team’s focus and direction as they make their accent into the limelight. The CD features both Raina and Meredith on guitars and vocals and. Elton on harmonica and slide guitar. The CD was produced by Raina Rose, Meredith Cushing and Morris McClellan, it was recorded by J. Elton and Morris McClellan, Mastered by Kevin Nettleingham, cover photo by Owen Carey back photo by Caitlan McCollum. This fine CD was marketed by White Rose Media, P.O. pictured: The Slow Rollers at the Box 18105, Portland Oregon 97218. For more info on the Gypsy Moths, follow the infestation to www.gypsymothmusic.com Mt.Tabor Theater. LL
Page 8 - TWO LOUIES, March 2004 were all either into being “angstier-than-thou” or “homies from the hood”, one of my first questions to Geoff was “where does your music fit in”? Before I give the answer let’s give a listen to Geoff’s CD “Candy Shell”. As many of you prob- ably already know, “Candy Shell” is Geoff’s debut release recorded. This 11-song disk of immaculately produced pop music both intrigued me and chal- lenged me simultaneously. The intrigue came in Geoff’s vocals. Immediately Geoff’s comes across as inviting and intimate, yet passionate without having to resort to bombastic over sylibilization (ala every singer you’ll hear on American Idol, even the good ones!). It is a voice that stuck me a very familiar, as if it has always been here, yet I could not put my finger on a derivative influence. This is a good thing! The “X-factor” every AR person is looking for. Geoff told me he grew up listening to black gospel music and singing in the eoff Byrd drifted on to my radar Experience tells me mucking about with someone choir. Motown and Price were influences. The good screen via an email from my esteemed else’s formula is risky business at best and more news is he has great pitch (which compliments the Editor-in-Chief regarding an upcom- often than not only diminishes the end result. harmonic purity of his music) and doesn’t try to ing showcaseG at “World-infamous” Whisky (Au What’s all this got to do with Geoff Byrd you affect a pseudo-soul persona. Go-Go) on Sunset Blvd. in the heart of the Sunset are probably asking? In discovering Geoff’s music In speaking with Geoff, I found he has a very Strip here in sunny Los Angeles. Springing to a and getting to know him through the conversations clear sense of who he is, and more importantly, who state journalistic readiness and shifting into “Who, we had, I did come face to face with some of my he is not. Geoff made an off-the-cuff remark to the What, When, Where and Why Mode” I entered my own prejudices. Specifically, what’s wrong with effect that “the most un-cool thing was trying to usual state of artistic apprehension whenever chal- positive pop music? Have we become so jaded be cool”. I can respect that. Though some might lenged with the introduction to a new and unheard that we only get of on music that’s based in cynical, not get it, because Geoff is not in-yo-face agro, he (to me anyway) artist. Let me qualify by saying I do detached hedonistic desperation? If you listened is definitely keeping it real none the less. Here’s a not see this column as a soapbox to communicate to Los Angeles’s KROQ that’s what you’ll mostly cool story that illustrates what I dig about Geoff.
the arbiter of my own impeccable musical taste, hear. Or, is it only OG “thuggin’, muggin’ and a In a past life as a high-school music teacher, Geoff rather I am interested in further discovering the clubbin’” that passes for credibility? If you listen got the principal to back him in creating a music unique mechanics of the artistic process as well as to LA’s Power 101 or The Beat that’s what you’ll appreciation class. Given the sorry state of music the business of turning creativity into capital gains. get. These powerhouse broadcasters influence the in schools today, he should get an award for that What I’m saying is I’m open-minded about the radio charts of every market in the U.S. and points alone. Geoff being the passionate person he is was music, as long as it doesn’t suck. Like every musi- beyond. When The Unreal Gods were signed to giving one of his “follow your dreams” inspirational cian (especially guitar players, which I of course Arista in the 80’s we were told listen to the radio speeches to his class. Once again, a second award am), I too will always have an opinion of what I or MTV and imagine our music in rotation with would do different than what is being presented. the hits of the day. Does it fit? Given that it appears
TWO LOUIES, March 2004 - Page 9 score three for three. Th e Cobalt Lounge was the fi nalnal destination.destination. Really,Really, itit waswas likelike a breathbreath ofof freshfresh “In this economy it’s hard enough for a air.air. FeetFeet werewere tiredtired fromfrom allall ofof thethe walkingwalking andand itit club band to make a go of it because of the feltfelt likelike itit waswas timetime forfor a beerbeer andand a discussiondiscussion ofof hideous money they’re offered. It adds insult thethe fi ndings.ndings. WhatWhat a perfectperfect environmentenvironment toto dodo thatthat in bbecauseecause tthehe CCobaltobalt LLoungeounge wwasas aann eemptympty to injury to think pre-recorded music could caverncavern eexceptxcept fforor tthehe bbartender,artender, tthehe DDJJ oonn sstagetage aandnd replace their beautiful, raw, sweat and blood, a ssingleingle ffreeree sspiritpirit ttwirlingwirling aaroundround wwithith oopenpen aarmsrms rock and roll energy.” in a tuxtux onon thethe dancedance fl ooroor toto thethe ambientambient worldworld musicmusic mixmix fi llinglling thethe room.room. WeWe hunghung outout forfor a whilewhile to see what would happen, but only a few people t seemed like a good night to open up the A&E and see who all was drift ed in. It was almost like an overfl ow area from playing. A surprise visit to a nearly empty Bitterend “Happy Hour” the other clubs. Perhaps it fi lled up much later as where Lisa Miller and her band were jamming was how Friday we weren’t there all night, but the results seemed pannedI out. Th ough few people were there, the trio of musicians twisted obvious, at least on that evening’s sampling. When and twanged the night away with an alt. country, rockabilly, folk-a-rama given a choice between live music and DJ music in festival of sound. Quite a few people fi ltered in much later in the night. Too clubs adjacent to one another, the overwhelming bad they missed such a good early show. response was for live music. Whew. Th at was good Saturday arrived and so did the rock bands. Th ere was almost a parking to know. Not that DJ music is a bad thing. We spot right in front of Dantes: a miracle as far as this writer was concerned. enjoyed ourselves. It’s just that in this economy Since Camaro Hair was going to be playing, it was incentive enough to force it’s hard enough for a club band to make a go of it because of the hideous money they’re off ered. It adds insult to injury to think pre-recorded music could replace their beautiful, raw, sweat and blood, rock and roll energy. It was getting to close to that time and there was one more surprise that evening waiting back at Dantes. It was the Upsidedown Band. Sadly, until this evening, all previous knowledge of the Upsid- edown Band had escaped our awareness. Th ank- fully that wrong was being corrected. Lead singer Jsun Adams melted over the audience not only with his voice, but also with his roaming stage presence. He was up on the drum platform one minute, then bent precariously over the edge of the stage in the next. His voice, easy, gliding and low had a nearly “Jsun Adams ethereal presence in the psychedelic, dramatically lead singer of the swelling original rock music they performed. Th ey Upsidedown Band had that presence that pulls you in. No tricks…no melted over the hype. Th ey put on a great show with their passion- audience with his ate arrangements and performance. Th e next band up was Camaro Hair. Honestly, roaming stage presence.” it seemed like a possible “off night” for them. Th ey had smoke, they had lights but something was the car to squeeze in just tight enough behind the fi re hydrant as if to very missing and it was hard to say what. Th e music nearly be legal. It was only 9:30 PM and Camaro Hair wasn’t playing till later. sounded fabulous and tight and all of that, but From the street a mish mash of confusing band noise emanated from every people were just a little shell-shocked. Perhaps nearby club instilling a curiosity that led to an early evening review of club it took some emotional adjustment with the two attendance and analysis of the impact of DJ music on live bands in Portland. bands back to back like that. Upsidedown Band A power point presentation will be made available for anyone interested. with their sonically emotional approach to music Th e door was rattling off the hinges across the street at the Paris Th e- and Camaro Hair with their “big all of the time” ater where some hard core thrashing metal band had the room packed as sound was a cool juxtaposition, but it almost felt to exceed any desire to attempt to go in, but there was no need. Th e sought like people were still in Upsidedown mode. It was aft er data had been gathered already, so it was off to the Ash Street Saloon a good show and Camaro Hair played great, but where once again a college rock band had the room packed like sardines in a there was a slight struggle capturing their fans that stinky little can. Once again, why risk a lack of oxygen intake in the crowded night and you could see it in their faces. Th e thing room? Yes, the band was excellent but we were aft er a truth. A hypothesis that wasn’t happening for them may have been in had been formulated and empirical data was being collected. It would take the infrared, not discernable and impossible to months to pour through our notes. So far, two of two clubs presenting live measure without special instruments. Perhaps a rock music that night were packed early in the evening. It was time to close crowd entranced by the Upsidedown Band could in, so down to Berbatis it was. Once again, the club was full and a combina- only stare blindly into the oncoming headlights of tion of frolicking funk fusion was the reason at that moment, making the a thundering Camaro Hair. LL
Page 10 - TWO LOUIES, March 2004 Production Specialities: Regional service center for Denon, Korg, All Service Musical Electronics Repair Marshall, Roland. Most brands (Formerly KMA Electronics) of pro audio, including Alesis, 617 S.E. Morrison Fender, Mackie, Panasonic, Portland, OR 97214 Tascan, Yamaha. Phone/Fax: (503) 231-6552 Clients: Every music store in Toll Free: 1-888-231-6552 Oregon. Musicians from your Contact: Randy Morgan local “basement” to the Rose Email: http://www.teleport.com/ Garden. ~fixitman Services: Quality electronic service for PDX Audio musicians, studios and music dealers. Dave and Nita Grafe Factory authorized for most major P.O. Box 92065, Portland, brands. Oregon 97292-2065 Hours: 9-6 Monday through Friday, 503-284-2727 Saturday 10-5 URL: www.pdxaudio.com Years Experience: 27+, over 20,000 Email: [email protected] repairs Services: Outstanding Specialties: electronic musical equip- sound systems. Total event ment from vintage to state of the art. If management. you can plug it in and make music with Experience: 25 yrs plus Clients: Candelight Room, Cascade it, we probably repair it. Specialties: All genres of musical live Tavern, Terry Robb, Sundown Sound, Clients: We have performed repairs for performance and recording, Headliners: Warren Zevon, Ray Davies, Spectrum Sound, Razorbacks, Ter- Chic Corea, Keb Mo, Paula Cole almost every music store in Portland spiritual, civic and corporate events, raplanes, Duffy Bishop, Lily Wilde, Paul and Vancouver. We have done work fairs, festivals, concerts, De Lay, Soul Vaccination, Gemini Pub Arnada Cafe for acts such as Cheap Trick, The Cars, parties, remote recording, all with a & Trails End Tavern. The Moody Blues, 98 Degrees, Monica, major emphasis on customer 1717 Broadway Everclear and many local artists. service. Vancouver, WA 98665 Stew Dodge Sound 360-750-9596 Equipment: JBL, TAD, QSC, Crown, Office - 503-286-1085 / Aloha Sound Biamp, Klark-Teknik, White, Eventide, Format: rock, blues, jazz, acoustic Cell - 503-860-0145 Booking: Miguel 360-750-0811 Pellegrin, Terry Lexicon, dbx, Midas E-mail:[email protected] (503) 645-5422, (503) 330-3840 Clients: NuShooz; Balafon Marimba Capacity: 200 Services - Sound, lighting, stages & Equipment: Full P.A., mic stands, Web Address: www.alohasound.com Ensemble; Pleasure; Cool’r; Dub stage covers, power Email: [email protected] Suad; Rank and File; Johnny Limbo monitors distro, generators Headliners: Blyss, Mel, Rustvein Services: Sound & Lighting and the Lugnuts; Oregon Symphony Years Experience - 10 Years Experience: 13 Orchestra; Oregon Ballet Theatre; Specialties - Rock, jazz, bluegrass, Music Specialties: Blues, jazz, bluegrass, DO JUMP!; Portland Mayor’s Ball; Ash Street Saloon world, corporate. 225 SW Ash Street country. Estacada Summer Celebration; Reed Equipment - Yorkville TX, QSC Power- Availability: Always. College; University of Portland; Pine Portland, OR 97205 light, Soundcraft, Allen & amp; Heath. 503-226-0430 Specialties: Live demos on location, Street Theatre; Portland Center for the Clients - Cinco de Mayo (Waterfront festivals, fairs, conventions. Performing Arts; Portland Development 503-227-2403 (fax) Park), Portland Rose Festival, City Format: Acoustic, Alt. Rock, Blues, Equipment: JBL & Crown Commission; Port of Portland; Filipine- of Lake Oswego, City of Vancouver, Clients: Curtis Salgado, Linda Horn- American Friendship Club; Kalekendra Funk Portland Trailblazers, Bonneville Power Booking: Ingrid buckle, Paul De Lay, Soul Vaccination Arts Society; Andisheh Cultural Center; Administration. Portland Tango Society; National Alli- Capacity: 80 Equipment: PA, mics, lights I.H.S. Production ance for the Mentally Ill; Saturday in Thomas, Dwayne Gary Miles the Park Vancouver, USA; CBS Sports; B-Complex (503) 281-0203, Msg.: (503) 784-0361 320 SW 2nd (503) 731-0383 Alaska State Fair (Palmer); Artists for Fax: (503) 231-9679 8063 SE 17th Avenue the Arts; Celebration Church Portland, OR 97204 Services: Lighting 503-235-4424 Portland, OR 97202 www.pdxaudio.com Years Experience: 14 Service: Promotion, Sound Recording, 503-284-2727 office Music Specialties: Rock, all others also. Video-post work. 503-807-4595 mobile Bacchus Specialties: Full-time professional 3200 SE 164th Avenue Years Experience: 12 years. lighting design—concerts, clubs, special Speciality: Servicing the Christian Prescription Electronics Vancouver, WA 98683 events, touring, Intellibeam trained, 360-882-9672 community. P.O. Box 42233 substance free. Availability: Anytime. Portland, OR 97242 Format: Fine dining and high entertain- Clients: Quarterflash, Nu Shooz, Jon ment Koonce, Dub Squad, Tales Untold, Booking: Lloyd Inner Sound Electronic Service Pro Sound & Lighting Blubinos, The Killing Field, Cool’r, Cal 1416 SE Morrison 503-232-4889 Capacity: 200 Scott, Caryl Mack, Roseland Theatre, Equipment: We got it all! Sound, lights Portland, Or 97214 www.prosoundonline.com John Bunzow & Cowboy Angels. (503) 238-1955 and stage. (877) 238-1955 Ripplinger, Joseph Headliners: Sandin Wilson,Victoria VENUES Corrigan with Donny Osbourne, Fax: (503) 238-1787 (503) 655-3869 Portland, Metro Email: [email protected] Services: Sound & lighting engineer, Inkspots, Patrick Lamb band, Andy Stokes, 5 Guys named Moe, Al Perez. Website: www.inner-sound.com small PA and Light rental, Psychedelic Aladdin Theater Contact: Jay Moskovitz, Mike Mahoney Liquid Light Show 3017 SE Milwaukie Blvd. Bar of the Gods Services: Service and repair of pro audio Years Experience: Pro since ‘81 Portland, OR 97202 gear, guitar amps, studio equipment, Music Specialties: Blues, rock, jazz, clas- 503-233-1994 info line “home audio gear.” sical, Electric/Acoustic Format: All styles (no punk) Hours: Mon 9-1, Tue 9-7, Wed-Fri 9-5, Availability: Yes! Booking: Mark Adler 503-234-9694 sat 9-1 Specialties: Excellent live mix, stage 503-234-9699 (fax) management and light direction. Pro- Capacity: 588 Continued on page 14 duction efficiency. Equipment: PA, lights
TWO LOUIES, March 2004 - Page 11 Nice to see Clive Davis back on top. Billboard (2/14) “He may be 70 years old, but Clive Davis is reigning supreme once again. BMG has turned over the keys to the bulk of its North American operations to the veteran hitmaker just four years aft er the com- pany ran him off from his post atop Arista Records for being too old.” Ears get better with age. You recognize crap quicker. Clive has a special place in the hearts of Portland’s music industry veterans for his trip to Portland in the summer of 1983 to sign Billy Rancher & Th e Unreal Gods. Th e town was buzzing for days when musi- cians learned Clive himself would be fl ying in. He was already a hero here for making keyboardist Jeff Lorber a major label star. Clive says he got an “extra” return on his investment when he took one of the guys out of Jeff ’s band and created Kenny G. Four months before coming to Portland to see Billy Rancher, Clive had signed a 19 year-old singer named Whitney Houston. The Billy Rancher showcase was at the Starry Night, (now the Roseland). It was a weeknight and the owner-Portland’s Prince of Dark- ness-Larry Hurwitz had the upstairs balcony closed. When Clive and his assistant Neil Portnow (now the President of NARAS) arrived, they asked if they could sit in the balcony by themselves. Hurwitz said sure, then stood there while Clive stared at the velvet rope, waiting for someone to step forward and lower it. Finally Clive looked at Neil, raised his eyebrows and clambered over. When in Portland… NNN
Everclear vets start new band. Bassist Craig Montoya has formed Th ick As Th ieves with Sweaty Nipple veterans Brian Lehfeldt on drums and Scott Heard on guitar. Th e trio is recording at Kung Fu Bakery studios with engineer Lars Fox. Kelly Gray will mix. Th e material is co-written by all three members. “Whenever we have a question about the music, we ask ourselves, ‘What would AC/DC do?” says drummer Brian Lehfeldt. Brian was a member of Everclear in ‘99 and took the rap standing-up for Art Alexakis in Texas when he kicked a cup of water on a fan that reacted badly to Art’s verbally abusive stage banter. “I found out you don’t stand on a stage in Texas and talk about ‘dumb redneck Texans’” says Brian. Sweaty Nipples will re-unite at the Ohm, March 26th NNN
THIS JUST IN…Portland bands venture to Austin, Texas to play South By Southwest Wednesday through Saturday, March 17-20th. Here are your cab directions: Wednesday Feverpitch plays Coyote Ugly Saloon Brian Lehfeldt; taking the rap in Texas. at 10PM, Minmae plays Maggie Mae’s at 10PM and Wadsworth plays Pyramids at 12AM. On Th ursday theDavis Redford Triad is at the Blender Balcony at the Ritz at 9PM. Friday Th e Standard is at Antone’s at 10PM, Th e Triggers are at Beerland at 9PM and Lion Fever is at Maggie Mae’s at 10PM. On Saturday Th e Hunches are at Beerland at 12AM, Dolorean
Page 12 - TWO LOUIES, March 2004 is at Maggie Mae’s at 8PM, Miss Murgatroid & Tommy plans to hire a national publicist and co- Petra Haden are at Buff alo Billiards at 10PM fol- book his tours. “Th is last year has taught me that lowed by the Decemberists at 1AM…Aft er the success is something you fi nd inside, not something keynote address by Little Richard the next best you receive from outside sources, and I think my panel in the Austin Convention Center is Saturday art is more than just something competing for at noon in Room 16B. “Seattle: Th e Next Seattle” airplay and promotion. It’s more of a personal wherein editors and deejays from the Stranger, No statement. I’m going to build my own machinery Depression and KEXP radio tell the Texans why the and plant my own fl ag.”…Dr. Th eopolis at the Club northwest will be the Next Big Th ing. Can North Ohm March 12th…Pharrah Phosphate releasing By Northwest be far behind? …Th e record release their fi rst full-length self-titled album. Th e release party for Curtis Salgado’s new Shanachie Records party takes place at the Ash Street Saloon March release, “Strong Suspicion” takes place at Music 20th…Adrian Guitars in Oregon City is hosting a Millennium Northwest March 16th at 5:30PM –Free monthly series of jam sessions at the store aimed Refreshments-says the promo…March 15th Music at younger players looking for their fi rst band Millennium celebrates 35 years in the retail record experience. Owner Chris Johnson (GIT 1979) sets business, each and every year of which included up the gear (Marshall, Line 6, Kustom, G&L) and groundbreaking support for local recording artists. the refreshments and Brandon Cook (PSU 2001) Th e Millennium family includes the labels Burnside teaches the basics of jamming and playing parts. and Sideburn Records and Burnside Distribut- To participate call: 503-723-7019 Th is month’s ing…Monday March 15th the OLCC takes the fi nal Adrian SchmoozFest takes place Tuesday, March vote on the performers-under-21 restrictions. AFM 30th …Portland Music Company is looking for Local 99 president Bruce Fife says, “A month ago some hot High School age bands to play the Rose we were cautiously optimistic…” Not so, now. Bruce Festival. MusicFest 2004-a band competition for and concerned members of the music community Rose Festival performing slots will take place on are meeting at the OLCC Headquarters; 9079 SE Portland Music’s stage April 24th & 25th. To register McLaughlin Blvd at 10:00AM March 15th to get call Greg Tamblyn 503-227-2681. Deadline for the word. Feel free to join them…Miniature drum applications is Friday, April 2nd…Bob “Crusher” builder Rick Parries dealing with the NAMM Show Metke bailing out on Sumo, formerly Th ose Guys reaction to his tiny kits of the stars. One major out of Th e Wise Guys. Bob replacedEric Donald- drum manufacturer is discussing an order for 100 son who still works with the Wise Guys…nothing kits of their new Superstar Endorsee for retail loca- personal, sez the insider about the Dandy Warhols tions across the country. Th ey also look great on jerking Meredith Brooks’ Odditorium booking out the mantle too…Mark Hanson got his hands on from under her the night before her video shoot the Millionth Martin Guitar when it came through with protégé’ Bec Hollcraft . Seems the Oddito- town. He wasn’t that impressed. Portland’s hippest rium was booked for a wedding party while the guitar educator is doing a solo album at the Kung Dandys were out of town-and got trashed-which Fu Bakery with Bob Stark engineering. Mark says led to the new no sublet policy…Stars Of Track he’s doing “my fi nger style guitar thing. I have a and Field at the Ohm March 13th. Th ey travel to couple of tunes: extra guitars and bass plus George Seattle’s Th e Graceland March 20th…Geoff Byrd, Mitchell on Hammond B-3 and Carlton Jackson Scott Fisher and Justin Hopkins at Dante’s March on drums.” Mark Hanson is known worldwide 19th…KINK featured four songs from Geoff Byrd’s for his Accent On Music transcriptions…Billy album “Candy Shell” on their “Local Spotlight” Oskay, one of Portland’s early major label artists on series. Music Director Kevin Welch is a fan…Th e Windham Hill Records produced Jordan Kolton’s Foghorn Stringband returns to Portland March “When Th e Hammer Drops” which is described 13th for an evening at the Alberta St. Public House. as “James Taylor meets Jack Daniels”. Last month Th ey return to that venue on Saint Patrick’s Day Jordan played the new material at the Folk Alli- March 17th…Dave Fleschner’s quintet has released ance Conference in San Diego… Th e Wanteds his debut record “At Home” Th e popular pianist album arrived in stores March 9th. Former No. channels Keith Jarrett and McCoy Tyner…Jonah photo Buko 3 Breakdown frontman Tommy Harrington’s at the Mt. Tabor Pub March 27th… widely anticipated solo project has a ferocious buzz. LL
TWO LOUIES, March 2004 - Page 13 Micharl Hurley, Scott Huckabay.
Cafe Lena 620 S.E. Hawthorne Blvd. Portland, OR 97214 503-238-7087 Everything from A to D Format: Open Mic, Folk Acoustic New larger quieter playing rooms Booking: LeAnn Capacity: 50 New Hi Rez mastering Continued from page 11 Equipment: none Quality Duplication 4801 SE Hawthorne Headliners: Billy Kennedy, Lew Jones, Lorna Miller 2 New tube Vocal mics 503-232-2037 4 song multitrack recording, Barracuda Candlelight Cafe & Bar 9 NW Second 2032 S.W. 5th Avenue mixdown, mastering, 25 CDs $499. Portland, OR Portland, OR 97201 some conditions apply 503-228-6900 503-222-3378 Format: Blues Berbati’s Pan Booking: Joe Shore 246-4599 231 SW Ankeny Street Capacity: 150 Portland, OR 97213 Equipment: none 503-248-4579 Headliners: Norman Sylvester, Linda 503-417-1107 (fax) Hornbuckle, Jay “Bird” Koder Format: Acoustic, Alternative, Funk, Jazz, Blues, Rock Cobolt Lounge Booking: Anthony: 721-0115 32 NW 3rd ave Capacity: 350 Portland, OR 97209 Equipment: PA, lights 503-222-9066 Headliners: National, Regional and Local acts Conan’s Pub 3862 SE Hawthorne Billy Ray’s Dive Portland, OR 97214 2216 NE MLK 503-234-7474 Portland, OR 97212 503-287-7254 Th e Country Inn 18786 S.W. Boones Ferry Road Bitter End Tualatin, OR 97062 West Burnside 503-692-2765 Guitarists, Bassists, Drummers, Singers Portland, OR 97204 503-691-2675 (fax) 503-517-0179 Format: Blues CANCEL YOUR CLASSIFIED AD Booking: Joey Scruggs Booking: Sunny Capacity: 150 Meet musicians/bands Brasserie Montmarte Equipment: none looking for other players 626 SW Park Headliners: Paulette & Power, Cowboy Portland, OR 97204 Angels, Steve Brodie 503-224-5552 Crystal Ballroom MARCH Beulahland 1332 W. Burnside 118 NE 28th Portland, OR 97205 30TH Portland, OR 97232 503-225-5555 Buff alo Gap Dante’s Inferno 6835 S.W. Macadam Avenue 1 SW 3rd Ave LIVE AUDITIONS Portland, OR 97201 Portland, OR (equipment provided) 503-244-7111 503-226-6630 Refereshments served 503-246-8848 (fax) Format: Soft Jazz, Folk, Rock’n Roll Dublin Pub Booking: Mary 6821 SW Beav. Hill. HWY 6:30-9:00 PM Capacity: 85 Portland, OR Register in our Equipment: sound system 503-297-2889 player’s database Headliners: Craig Carothers, Jon Koonce, Reckless Kelly Duff ’s Garage S.E. 7th & Market Burlingame Acoustic Room Portland, OR 111 SW Ash St. 503-234-2337 Portland, OR 97204 Format: Bluegrass, Blues 222-2215 Format: Acoustic, Jazz, Blues, Swing, DV8 Alt-Country, Jam Band, Folk Format: New bands Booking: Jon Self 503-730-4287 5021 S.E. Powell Capacity: 175 Portland, OR Equipment: sound system/engineer 503-772-2907 Headliners: Pye North, Billy Kennedy, Nicole Campbel, Foghorn Strig Band, Fez Ballroom
Page 14 - TWO LOUIES, March 2004 316 SW 11th Ave 503-232- 1504 Portland, OR Format: Blues, Folk, Acoustic Rock 503-226-4171 Booking: Bill Leeds: 236-2455 ALL SERVICE MUSICAL Format: Any Capacity: 100 Booking: Blaine Peters Equipment: PA Capacity: 300 Headliners: Belmont Street Octet, Jim ELECTRONICS REPAIR Equipment: PA/lights Boyer, Little Sue, Plumb Bob Amps, Keyboards, Pro-Audio, Multi-Tracks, & More Headliners: Dead Pres., Asylum Street Spankers,, Little Sue, Dr. Th eopolis, Zen Biddy McGraw’s AMPEG•CRATE•FENDER Tricksters, System Wide, Motet, 6000 NE Glisan MACKIE•LINE 6•MARSHALL Zony Mash. Portland, OR KORG•PEAVEY•SWR 503-233-1178 TASCAM•ROLAND•YAMAHA AND MANY OTHERS Gemini Pub Format: Irish, Blues, Folk, Country 456 N. State Street • Factory Authorized • Fast, Friendly, Dependable • Lake Oswego, OR 97034 Meow Meow 503-636 9445 527 SE Pine 503-231-6552 503-636-9445 (fax) Portland, OR 617 SE Morrison Format: Blues, Jazz 503-230-2111 www.all-service-musical.com Booking: Randy Lilya 503-556-0405 Capacity: 170 Metropolis Equipment: lights 311 S.W. Washington For all your Printing and Design needs Headliners: Robbie Laws, Curtis Sal- Portland, OR 97205 gado, Leon Russell, Jim Mesi 503-223-7515 Format: 70xs & 80xs Retro Goodfoot Pub & Lounge Booking: Rami 2845 S.E. Stark Capacity: 500 Portland, OR Equipment: PA, lights 503-239-9292 Headliners:
Green Room Th e Mississippi Pizza 503/282-1682 2280 N.W. Th urman Street 3552 N. Mississippi St. Portland, OR 97210 503.288.3231 www.buko.net 503-228-6178 Format: All Styles 503-228-5068 (fax) Booking: Philip Stanton CD COVERS • POSTERS • PROMO PHOTOS Format: Acoustic Folk, Rock, Bluegrass Capacity: 80 Pub 175 Ballroom Booking: Declan O’Connor Headliners: Tom McNalley; Vagabond BROCHURES •LOGOS • BACKDROPS • LIVE PHOTOS Capacity: 100 Opera; Equipment: PA, 8 ch. board, monitors, Cam Newton. 1 mic Equipment: PA Headliners: Buds of May, Sweet Juice, Little Sue, Jim Boyer, Billy Kennedy Mississippi Studios 3939 N. Mississippi Jasmine Tree Portland, OR 401SW Harrison 503-753-4473 Portland, OR Format: Singer-songwriter, Folk, Blues 503-223-7956 Booking: Jim Brumberg Jimmy Mak’s Mt. Tabor Pub intoxicating 300 N.W. 10th 4811 S.E. Hawthorne Blvd. Portland, OR 97209 Portland, OR 97215 503-295-6542 503-238-1646 503-279-4640 Format: all styles Format: Jazz, Blues Capacity: Main Room 339 Booking: Jimmy Acoustic Room 72 Capacity: 95-165 Equipment: PA, Lights TwoLouiesMagazine.com Equipment: none Headliners: Buds of May, Omar Torrez, Headliners: Tony Starlight, Pepe & Fernando, Ezra Holbrook, Steve Smith Bottle Blondes, Ben Fowler, Art Davis Quartet, Th ara Memory Th e New Paris Th eatre SW 3rd & Burnside Kennedy School Portland, Oregon 97204 5736 NE 33rd 503-224-8313 Portland, OR Booking: Senor Frogg (503) 236-7745 503-288-2477 Format: Punk/Gothic/Industrial/Aft er Format: Roots Rock, singer songwriter Hours Dance Booking: Jan Haedinger Headliners: Syx; Spare Lead; J fi ve 9; Capacity: 100-150 Dayton; Defi ance; Voodoo Machine; Equipment: PA provided MRP; 36 Crazyfi st Headliners: Craig Carothers, Gary Ogan Nocturnal 1800 E. Burnside Laurelthirst Portland, OR 2958 N.E. Glisan Street 503-239-5900 Portland, OR 97232
TWO LOUIES, March 2004 - Page 15 Roseland Grill 8 N.W. 6th Avenue Portland, OR 97209 Format: all musical styles Booking: Double Tee/David Leiken 503-221-0288 503-227-4418 (fax) Capacity: 400 Continued from page 15 Equipment: PA, lights Headliners: Local, Regional and Ohm National acts 31 N.W. 1st Avenue Portland, OR 97205 Th e Jazz Bar at Sweetbrier Inn 503-223-9919 7125 SW Nyberg Rd. Format: Blues, Jazz, Acoustic, Pop, Tualatin, OR 97206 Alternative. 503-692-5800 Booking: Dan Reed 503-691-2894 (fax) Capacity: 250 Format: Jazz Equipment: SA PA system, lights, Booking: Denny 425-454-4817 soundman Capacity: 50 Headliners: Slowrush, Imogene, Th e Equipment: Piano, PA Sensualists Headliners: Mary Kadderly, Dana Lutz, Jean-Pier Gareau, Produce Row Café Marilyn Keller, Johnny Martin 204 S.E. Oak Street Portland, OR Tonic Lounge 503-232-8355 3100 NE Sandy Blvd. Portland, Oregon 97232 Th e Rabbit Hole & Mad Hatter Lounge 503-239-5154 203 S.E. Grand Avenue Format: Rock, Alternative, Goth Portland, OR Booking: Devon 503-231-2925 Equipment: Booking: Bill Leeds (503) 236-2455 Headliners: American Girls, Asthma Format: original acoustic Hounds, Feller, Mel Equipment: PA Headliners: Fernando, Luther Russell, Tillicum 44 Long, Kaitlyn ni Donovan 8585 S.W. Beaverton Hillsdale Hwy. Portland, OR 97225 Th e Red & Black Café 503-292-1835 503-231-3899 Format: Blues, Jazz, Rock nx Roll Booking: Morgan Booking: Cindy Capacity: 200 Th e Red Sea Equipment: none 318 S.W. 3rd Avenue Headliners: Lloyd Jones, Norman Syl- Portland, OR 97205 vester, Jim Mesi Band, Midnight Blue 503-241-5450 503-224-6570 Tug Boat Brewery Format: Reggae, World Beat 711 S.W. Ankeny Street Equipment: PA Portland, OR 97205 503-226-2508 Billy Reed’s Format: acoustic rock, jazz 2808 NE MLK Jr. Blvd Booking: Megan Portland, OR 97212 Capacity: 50 503-493-8127 Equipment: mixer, speakers and mic. Format: Jazz, Soul, Reggae, Blues, Latin Headliners: Creative Music Guild, Rob Booking: Fred Stevenson Blakely Capacity: 250 Equipment: sound system Trails End Saloon Headliners: Ron Steen, Norman Sylves- 1320 Main Street ter, Cannonballs Oregon City, OR 97045 503-656-3031 Roseland 503-656-7872 (fax) 8 N.W. 6th Avenue Format: Blues Tuesday-Saturday Portland, OR 97209 Booking: Randy Lilya (503) 556-0405 Website: www.doubletee.com Capacity: 150 Format: all musical styles Equipment: P.A., lighting Booking: Double Tee/David Leiken Headliners: Little Charley, Paul DeLay, 503-221-0288 Duff y Bishop 503-227-4418 (fax) Capacity: 1350 Twilight Café & Bar Equipment: PA, lights 1420 S.E. Powell Headliners: Local, Regional and www.twilightcafebar.com National acts
Page 16 - TWO LOUIES, March 2004 Vic’s Tavern 10901 S.E. McLoughlin VENUES Milwaukie, OR Albany, Oregon 503-653-9156 Booking: Lynn The Venetian Theater Format: Original music-Rock 241 W. 1st Avenue Capacity: 100 Albany, OR 97321 541-928-6733 White Eagle Format: all musical styles 836 N. Russell Booking: Robert Connell Portland, OR 97227 Capacity: 685 503-282-6810 Equipment: PA, lights, soundtech, 503-282-0842 (fax) Headliners: Calobo, Floater, The Format: Various (no punk/techno) Daddies Booking: McMenamins/Jan 503-249- 3983 x 497 Capacity: 110 VENUES Equipment: 12 ch board, 3 monitors, 6 Eugene, Oregon mics, Lighting, Some in-house sound assistance Good Times Headliners: Buds of May, Steve Bradley, 375 East 7th Jerry Joseph & Jackmormons, Eugene, OR 97405 Jeff Trott, John Bunzow 541-484-7181 Format: Blues jam tuesdays & special events only VENUES Booking: Dog House Entertainment, Salem, Oregon Brendon Relaford: 541-342-7743 Capacity: 250 Boones Treasury Equipment: PA, lights, sound tech 888 Liberty NE Headliners: Body & Soul, The Daddies. Salem, OR 503-399-9062 John Henry’s Format: Roots Rock 136 East 11th Booking: Jan Haedinger Eugene, OR 97401 Capacity: 75 541-342-3358 Equipment: PA, 4 mics, 2 monitors, 1 Format: alternative, hip-hop, funk, etc. amp Booking: Bruce 541-343-2528 Capacity: 300 Tommy John’s Equipment: PA, lights 248 Liberty Street Headliners: The Daddies, Floater Custom Miniature Drum Kits Salem, OR 97301 503-540-4069 Wild Duck Music Hall Format: Rock, Alternative, Funk 169 W. 6th Booking: Dennis Ayres Eugene, OR 97405 Capacity: 150 541-485-3825 Equipment: 6 channel PA, no mics, Format: all musical styles lighting Booking: Dog House Entertainment, Headliners: Xing, Jesus Presley, Ameri- Brendon Relaford: 541-342-7743 can Girls Capacity: 500 Equipment: PA, lights Westside Station Headliners: Charlie Musselwhite, 610 Edgewater N.W. Calobo, John Hammond Salem, Or 97304 503-363-8012 The WOW Hall Format: Classic Rock 291 W. 8th Avenue Booking: Donny Eugene, OR 97405 Capacity: 100 541-687-2747 Equipment: PA, lights 541-687-2746 (fax) Format: all styles: music, dance, theater Booking: Allison Carter VENUES Capacity: 400 Corvallis, Oregon Equipment: PA, lights, soudtech, stage manager Classic Kits The Peacock Tavern Headliners: Greg Brown, Vassar Cle- 125 S.W. 2nd Avenue ments, NoMeansNo. of The Stars of Today and Yesterday Corvallis, Or 541-754-8522 Format: R & B, Alternative, Acoustic Booking: Randy: 503-556-0405 Capacity: 350, 275 Equipment: PA, lights Call: 503-516-4891 Headliners: Linda Hornbuckle, Rub- berneck e-mail: [email protected]
TWO LOUIES, March 2004 - Page 17 right opinion. I do this because I was inspired by Continued from page 9 Geoff ’s honesty and I’m sure he would respect, and demand, my honest opinion as well. Here should be added for trying positively motivate the goes (deep breath); as good as Candy Shell is, I kids without resorting to the usual music-is-nice- feel Geoff ’s will need to continue to dig deeper Continued from page 12 but-you’ll-never-make-a-living-at-it BS I was given to fi nd the musical gold that will ultimately put to more universal perspectives such as “Rich Man’s back in my school days. Anyway, on this one day, him over the top. As I stated earlier, the state of War” and the touching baseball ballad “Jim Crow Geoff having worked himself into an emotional today’s airwaves is not necessarily a pretty place Ball,” Jon covers a lot of emotional ground without crescendo was called out by one of his own stu- and, without selling himself short, I think Geoff resorting to the typical conventions of rock and dents. It seems one insightful youth asked Geoff if will ultimately “up the emotional intensity” and roll. Similar in approach to Bruce Springsteen on he wasJonny truly following Hollywood his dream. One quick God- maybe even bring in a little personal introspection his album Nebraska, Koonce foregoes fi ligree and shot later and Geoff ’s answer was “No”! Th ere was and unique quirky-ness to further distinguish his coloration for the subtle contrasts of black and nothing left to do but turn in his resignation at the musical presentation. white settings- stippled by a stark array of gray end of the school year and start a band. Goodbye I’m sure, right now, there is some A&R guy shades. High School. Hello Rock-n-Roll. giving Geoff his opinion about what he should do Th e fi rst track,“ Some Th ings I Can’t Let Go” Some of you may sneer at this little story but next. If I were that A&R guy I would give the fol- is a sauntering shuffl e in E major, over which Jon I fi nd it inspiring. Furthermore, it’s this honest lowing listening assignment lays some tasty guitar licks and fi lls; while, with courage that I feel has drawn others into the sup- She’s Th e One - Tom Petty and the Heart- facile leaps into a falsetto register, he sings: “You port of Geoff ’s dream. Producer Steve Sundholm breakers. Th is CD is a little hard to fi nd, but in my can tell me to forget/all the reasons you can show/ came on board fi rst on the strength of Geoff ’s voice opinion Tom’s best. Great pop songs, a cohesive But now it’s me in the night/And some things I and song writing and second on the results of their theme and cool background vocals by Lindsy can’t let go.” initial work together (check out the fi rst three songs Buckingham and Carl Wilson. Th e harsh reality of “Keep the Home Fires on Candy Shell). Geoff ’s legal representative, Jim Van Hunt - Th is just in, hot off the presses. Burning” is belied by the somewhat cheery chord Kuzmich of Davis Dixon & Kirby did the same as Could Van’s Curtis Mayfi eld-esque modern soul progression and Koonce’s wry, John Prine-like well. I’m sure Geoff ’s talent and unaff ected per- make him the next Lenny Kravitz? delivery of some caustic lyrics. “I used to have a sonal enthusiasm has a lot to do with it. A trip to Phrenology – Th e Roots. Check this out for a career/I used to have a home/Th en came that new Geoff ’s website (www.geoffb yrd.com
Page 18 - TWO LOUIES, March 2004 creating one of the best baseball songs of all time. Boingo), whose style lends a glistening sheen Craig Carothers’ “I Guess I Showed Them,” is to the eleven songs (though two of the songs a somber ballad, in which Jon sounds kind of like are under two-minutes in length), recorded in Leonard Cohen singing a Prine song in a horrific the band’s home studio. The brief opening track tale about an homicidal arsonist bank robber. As if “Waking Up With Eyes Still Closed,“ veers from to serve as a bit of levity, “Edward & Loretta’s Motel” Cheap Trick Meets Spoon territory. Brady’s vocal is a light-hearted delta blues-laced number about is played against a solitary piano in the first verse, the everyday activities at an out-of -the-way motel. before the guitars and drums kick in with gravity, “Different” is more of a confessional, biographical in the second verse. .Just about the time that the type of number, about people who tend to march song seems to be moving in a musical direction, to the beat of different drummer. it ends. Early Dylan, Warren Zevon and John Prine The opening gambit of ‘The Neverwills,” a are recalled in the gospel tinged “Borderline,” crackling guitar figure, snapping against a gambol- wherein Jon adds plaintive harmonica fills, over ing fugal bassline and syncopated drums, recalls a narrative about the destitute lives of migrant XTC from their English Settlement period, while workers. On the hauntingly beautiful title track, a Brady‘s gritty vocals guide the song into darker, weary sounding Jon confides: “In the comfort of murkier, more emotionally raw territory in the your armchair/ You feel safe, you like it there/Too choruses. Birch’s churling riffage in the break, knots aloof to get involved/You are above it all/In the like a fisted stomach of immense tension. The song right costume/At the right pace/Fear can pass for ends abruptly with a guitar cable snatched from grace/Or maybe you just don’t have the time/Acces- an amplifier. sory to the crime.” Later, the true statement Koonce The schizophrenic title track displays a harder wishes to make becomes more readily apparent. edge, with arrangement alternating measures “Democracy is wounded/Down on one knee/ I pray between a drunken interplay between Birch and that’s enough to shake your apathy/The silence will Brady; and a savage onslaught on the other side. not hide/No safety in numbers you’ll find/Acces- Birch provides a cascade of gnarled, Belew-like sory to the crime.” A very rueful declaration. tone clusters on “In The Red,” which play against The prayerful hymn “Walking in the Light” Johnson’s Ringo kick/snare interplay and Brady’s provides cathartic redemption for the sins exposed occasional one-note bass work. A percolating through the course of the preceding ten songs, drone of a number, with an odd, self-referential adding an element of hope to the profound sense of coda. resignation expressed throughout the album. Sounding a bit like Brady’s former band, Pond, Jon Koonce has been through the wars and “California” is a Floyd-like journey into the dark has earned his right to express himself in anyway regions of the psyche, wherein Birch’s muscular gui- he wants. The means he chooses here are the most tars support the chorus like a massive suspension naked possible: just a man and his guitar. But his bridge over troubled waters. The middle section presentation is hones, his subject matter universal further reflects the Floydian aspects that the band and his sentiments, shared by millions, speak to sometimes exhibits. Here, this nicely constructed the heart of true Americana in its most current crescendo is perhaps most reminiscent of the end of aspects. In this way, especially, Koonce’s work of John Lennon’s “I Want You (She’s So Heavy)” here is both cathartic and subversive, but sadly from the Beatles’ Abbey Road album, to which Pink prescient in its estimation of the low state of the Floyd also occasionally referred in their Dark Side human experience, in this nation today. Of the Moon period. “Stereo” is a familiar sounding number in Cope Park - Audio Learning Center 6/8 time, with a signature, descending major Vagrant Records third interval (think Eddie Vedder in Pearl Jam’s udio Learning Center have an authen- “Evenflo,” among several others) driving the vocal tic pedigree, having two members melody. Wrought with sentiment, it’s a love song who graduated with honors from the from the road, with a truly majestic finale. More PortlandA music scene of the ‘90s: guitarist/backing fine guitar/bass interplay decorates “Car,” as Brady vocalist Steven Birch of Sprinkler (who was also a relies (too much?) on his typically ragged vocal key player in the famed Satyricon “riot”), and later delivery to cover the intense emotional turf upon of Everclear and bassist/vocalist Chris Brady, for- which the instrumental arrangement is treading. merly of Pond. Along with drummer Paul Johnson, Birch‘s flittering guitar figures dance atop the band pound out a sound that at various times Johnson‘s loosely tuned kick drum and a hard calls to mind the likes of Hoobastank, Queens of hitting snare in “You Get That From Your Mother,” the Stone Age, Silverchair, Pavement, Grandaddy, before Brady leaps into the fray with a roilingly Fountains Of Wayne, the Shins, Frank Black, the drone-y bass presence. Brady’s vocal approach is Flaming Lips and a host of other slightly off-kilter more laid-back in this instance and truly, much pop/sludge bands. better suited to his rather frail voice than the harder This, the band’s second album in their four- material- where, vocally, he seems unable to get out plus year history, benefits from tasty finishing of second gear. Exotic three-part vocal harmonies photo Buko touches applied by co-producer Joe Chiccarelli (who worked with Beck, Frank Zappa and Oingo Continued on page 20
TWO LOUIES, March 2004 - Page 19 and does not apply to anyone else. For example, it does not allow a television network to sue a televi- sion personality, or a sports team to sue an athlete, for damages for any unfulfilled commitments Continued from page 5 remaining at the end of the seven year period. Continued from page 12 recording contracts which says that the laws of New 3. Paragraph B creates a “one way street” and cascades of guitars steer the ship through a York will apply to that contract, and not the laws of situation in the label’s favor. Under foggy harbor. Nice. California. Yet, it is a very open question, legally Paragraph B, labels can sue artists for damages A dizzying string pattern plays against a speaking, whether such clauses are enforceable in based on yet unrecorded albums, even though the galumphing beat on “Passage,” pushing the synco- the case of artists who do not reside in New York label has not exercised its options for those albums pation to the absolute limits of a 4/4 framework, or have any major connection to New York. (or paid the artist the advances for those albums), beyond XTC’s excursions in similar territory in and even though the artists are not guaranteed that their early ‘80s confi gurations. “Happy Endings Th e Basic Problem With Th e “Seven-Year Law” the label would have ever released or adequately is a fairly straight-ahead ballad, that seems to The typical recording contract requires marketed those future albums if and when they strongly emulate (intentionally, or not) the work of the artist to record a certain number of albums. had been recorded. Elliot Smith- a haunting melody driving the entire 4. Aft er seven years, recording artists should Recording contracts with major labels generally delicate apparatus. be able to be “free agents” and test their market require the artist to record anywhere from six to Audio Learning Center display a very high value by seeking deals that are fully commensurate eight total albums during the term of the recording level of musicianship, which is not always matched with their career status at that time. contract. However, these albums are recorded at by Chris Brady’s somewhat thin vocals and occa- the option of the record company on an album-by- sionally predictable vocal melodies (especially in Th e Major Labels’ Response album basis, so that the label can drop the artist the case of the harder material, in both cases) limit In response, the labels argue as follows: at any time and not continue with the remaining the material to a certain extent. It is not that Brady 1. Th e labels argue that it is fundamen- albums. (I am greatly oversimplifying here, but can’t carry the occasional song in a set, it’s just that tally unfair for artists to be able to exit recording that’s the general idea.) he does not as yet seem to have the dynamics of contracts aft er seven years, aft er the labels have Th e basic problem, as far as the “Seven-Year vocal technique, in all instances, to accommodate Law” is concerned, is that as a general rule, artists invested substantial sums to promote the careers the band’s oft en dense instrumental presentation. are not able to record the contractually required of those artists. Th is is not to say the band isn’t good or any- number of albums within the seven-year period 2. Th e labels argue that if Paragraph B of the thing.thing. Th eeyy aarere ffarar mmoreore mmusicallyusically aadventurousdventurous “For example, if an artist were to seek to exit a thanthan mmost-ost- aandnd theirtheir intricateintricate arrangementsarrangements areare alwaysalways handledhandled fl awlessly.awlessly. ItIt’s just that they have contract after seven years, but had only recorded shortcomings,shortcomings, whichwhich areare holdingholding themthem backback fromfrom fi ve of the seven albums required by the contract, greatness.greatness. HHowow ttheyhey oovercomevercome tthosehose sshortcomingshortcomings the record company could sue the artist for (and(and ttheyhey ccertainlyertainly ccan)an) wwillill bbee tthehe ttruerue mmeasureeasure damages based on the artist’s failure to record ofof tthesehese sstalwarts.talwarts. the remaining two albums.” NeverNever TToooo LLateate - Th e Burrmans Self-ProducedSelf-Produced mentionedmentioned above.above. Th eeoretically,oretically, aann aartistrtist ccould,ould, fforor statutestatute iiss ddeleted,eleted, ttheyhey mmightight mmoveove ttheirheir ooperationsperations ack in the mid-to-late ‘70s, the Bur- example, perform a deal for seven albums within out of the state of California in order to avoid the rmans were Hurrman Burrman: who seven years, if one album is released each year eff ect of the “Seven-Year Law”. Th ey also argue that were among an elite few country rock “like clockwork.” But due to the amount of time they might sign fewer California-based artists if bandsB (Seafood Mama, Wheatfi eld and Triggers that it takes the typical artist to record an album Paragraph B is repealed. Revenge were some of the others) to dominate and then to do all of the necessary touring, video Stay tuned for further developments. the local club scene. Hurrman Burrman were a shoots, promotion, etc. to support that album, the show band in the truest sense of the word, whose vast majority of artists cannot realistically record Note: Bart Day is an entertainment attorney roots went back to junior high school in Grant and release one album a year. Th erefore, at the end in private practice and outside music counsel for Pass, Oregon, where the four founding members, of the seven years, artists as a general rule still owe Vivendi Universal Games, the computer games unit bassist Steve Vincent, drummer Jim Sanders, gui- their label at least one more album, and oft en more of Universal Studios. He is also VP of Business Aff airs tarist Smiley Brion and drummer Al Klassen fi rst than one. for Media Creature Music, a Los Angeles music pub- conceived the band back in 1976. lisher and catalog administration company. At their peak, the Burrmans regularly held Why Artists Want To See Bart is the co-author of a chapter (entitled forth on the weekends at the more infl uential local “Paragraph B” Repealed “Contracts and Relationships between Major Labels clubs, including the Last Hurrah and Euphoria. There are a number of reasons why the and Independent Labels”) in Th e Musician’s Business Moreso than their counterparts, Hurrman Bur- Recording Artists Coalition wants to see Paragraph and Legal Guide, a book compiled by the Beverly rman had a looming presence from one end of B repealed. Some of these reasons are as follows: Hills Bar Association and published by Prentice the state to the other a claim which none of the 1. Th e purpose of the “Seven-Year Law” is Hall Publishing (New York). From 1998 to 2002, he competition could make. Th eir stage shows were to allow “employees” to escape personal service was an elected member of the Board of Governors of legendary: a muscular cast, which included two agreements aft er seven years. Yet, the fact that the the Pacifi c NW Chapter of the Recording Academy drummers (only one kit, Klassen and Sanders labels can sue artists for damages for yet unre- (presenter of the Grammy Awards). alternated behind the kit and adding conga per- corded albums makes it too risky for artists to exit Th e reader is cautioned to seek the advice of the cussion) and a pedal steel guitar player backing recording contracts aft er seven years, and that as reader’s own attorney concerning the applicability of Vincent and Brion, with all four founding members a result, Paragraph B defeats the purpose of the the general principles discussed above to the reader’s providing dense, Dead-inspired vocal harmonies Seven-Year Law. own activities. LL (all four took the lead vocal duties from time to 2. Paragraph B singles out recording artists
Page 20 - TWO LOUIES, March 2004 time, though Brion was more or less the front ballad, reminiscent of Mike Nesmith, where New Myths - Crack City Rockers man). Beyond that, Klassen was quite profi cient Smiley’s voice resonates like that of Roy Rogers Th e Paisley Pop Label on the harmonica, which lent another dimension or Clint Black- while Stephens provides soaring t’s been just over two years since we last of color to their sound. pedal steel interludes and Mercer the high vocal heard from CCR, headed by the devilishly But most spectacular of all was the appearance harmonies. “Waterfalls” is a rocking number with a quixotic Eric S. Gregory whose musical within their stage show of “Johnny Smash and the snakey. low-string guitar line, ala Steve Miller, and infl uencesI span the decades and include Bowie, Marijuana Brass,” whose take on the Johnny Cash with Smiley’s vocal evoking Bob Weir of the Dead T. Rex, Lou Reed, the Stones, Love and Rockets songbook was raucously over the top. Donning and Carl Wilson of the Beach Boys. and Supergrass, to name but a few. The band sombreros and serapes, Vincent, Sanders and Vincent’s “Th e Story” is steel guitar-ladened has remained intact, with Gregory fronting the Klassen would also act as the Marijuana Brass, vehicle for air-tight three-part vocal harmonies. ensemble, backed by guitarist Dennis Mitchell., punctuating Brion’s Smash interpretations with Stephens’ “Fallin’” captures the vocal blend of bassist Sean Flora (who adds keys, guitar and sloppy horn (Sanders played trombone, while the Crosby, Stills and Nash, circa “Suite Judy Blue background vocals to the mix) and drummer Curt other two played trumpets) interjections, while Eyes.” Smiley’s turn with “Jackie,” a Cajun-fl avored Schulz. As before, sax man John “Kid Presley” continuing to play their regular instruments as gumbo, changes the pace- with guest keyboardist Leubner (formerly of Jesus Presley) adds fi ne horn well. Th eir somewhat vulgar, riotous version of Atillio adding concertina-like punctuation, over sections to a couple of tracks. Th e sum of the parts Johnny Preston’s ‘50s hit “Running Bear” was also the syncopated beat. is a potent mixture to be sure, only more polished a crowd-pleasing institution, as well. Vincent’s lovely “Take A Chance” hearkens and precise in the two years which have ensured As the ‘70s came to a close, musical tastes of back to Marty Balin’s “Comin’ Back To Me” from since their last release. Th ey were certainly no the public began to change. Sensing the shift , Hur- Jeff erson Airplane’s Surrealistic Pillow; with rich slouches before, however. rman Burrman retired, fi ring their original pedal vocal harmonies embellishing the sonic landscape. Th e half dozen songs presented here refl ect steel player and replacing him with Ron Stephens- a A real winner. Meanwhile, Smile’s “Cadillac” is a Gregory’ passions, which include a Bukowskian member of Hank Rasco’s Wasted Rangers, when Weir-like shuffl e with Little Feat-like undertones, fascination with sex and the underbelly of exis- Johnny Koonce more or less took over the band, nicely augmented by Mike Walker’s lively Ham- tence, with themes that touch upon black magic calling them the Distractions (for whom Stephens mond B3 interjections. Th e Little Feat-like feel and the occult. Gregory is eloquent and poetic helped to engineer their fi rst, locally produced continues with Smile’s “Relentless Love,” a song in his lyrical excursions, exhibiting either an recordings). With Stephens on board, the band that would seem right at home in the repertoire unusual philosophy of life, or a vivid imagination. briefl y became Sleeper, before embarking upon an of Lyle Lovett. Or both. extendedextended USO tourtour ofof militarymilitary basesbases acrossacross Asia,Asia, Mercer’s take on Vincent’s beautiful “Novem- The X-rated, horn-driven “Glory Of The SunSun” could pass for Ziggy-era Bowie or T Rex in “The Crack City Rockers display a fl air for allall iitsts rreptilianeptilian ccharm.harm. MMitchellitchell ccontributesontributes fi eeryry lickslicks atat thethe turns,turns, whilewhile SchulzSchulz pushespushes thethe beat.beat. high energy rock, with a twisted world view; WellWell eexecuted-xecuted- in ttwowo mminutesinutes fl aatt “Perfect Life” as well as impressive skills at executing their soundssounds lilikeke “Bang A Gong” T Rex, with a touch ofof “I’m Alive” era Love And Rockets( possibly the oddly compelling brand of rock and roll” samesame tthing).hing). Th e winning number of the set is the tran- which,which, wwhilehile llucrative,ucrative, dididd nnothingothing ttoo ffurtherurther tthehe berber RainRain” demonstratesdemonstrates a LindaLinda Ronstadt-likeRonstadt-like feel,feel, scendentscendent “Truth Drug,” which echoes the ‘60s bands’ career. while the song itself reaches back to Patsy Cline’s song (Paul Revere & the Raiders and the Monkees) Upon returning stateside, the band essentially rendition of “Wayward Wind,” written by Herb “Not Your Stepping Stone,” while churning out a broke up, for all intents and purposes, to pursue Newman and Stan Lebowsky. Another gem. A snarling stance of its own, balanced on a rolling (with the exception of Sanders, who has toured as funky Little Feat feel informs Vincent’s “If You bassline and pinioned by jagged, soul-drenched a sound technician with some of the biggest acts in Don’t Love Me,” with longtime band associate guitars. Very cool! “Occult Piss“ sounds like early show business) careers outside of the music busi- Willie Warwick adding sprightly fi ddle in the turns. Supergrass, mixed with latter-day Squeeze-with ness- although they still occasionally got together Vincent’s “Weak In Th e Knees” is most certainly a memorable chorus and some impressive guitar for various events and functions. In 1994, Al Klas- evocative of Steve Miller. work in the turnarounds. sen died suddenly, at the age of forty, leaving a void Warwick returns for Smiley’s “I Hope He’s As “Estrogen Mess” continues the high energy within the band, which is still strongly felt today. Good,” which features all of the elements that make approach, with a hyperactive delivery an d frenetic Here, we fi nd the band (which includes vocal- for a classic Hurrman Burrman number, with great instrumentation. Th e same can be said for“ Already ist Stevie Mercer) and a host of guests, recording solo trade off s between Smiley on acoustic guitar, Dead,” which inspects the state of Gregory’s exis- the album of original material which they had been Warwick on fi ddle and Ron Stephens on electric tence: “I’ve got a way of holding pain in/A method- threatening to record twenty fi ve years ago. For, guitar and pedal steel guitar, and tight three-part ology to closing my heart off /Where a door opens back in those days, the Burrmans were primarily vocal harmonies. Similarly, Brion’s “Th e Bridge” wide/ Th en closes with a cough.” a cover band, playing the songs of notables such captures all of the aforementioned, prototypical Th e Crack City Rockers display a fl air for high as Jackson Browne and New Riders of the Purple elements that are Burrman. energy rock, with a twisted world view; as well as Sage, among many others. Oft en, they dredged up Th e Burrmans have changed surprising little impressive skills at executing their oddly compel- chestnuts, such as Tex Williams’ “Smoke, Smoke, since their heyday twenty fi ve years ago. Th eir ling brand of rock and roll. Gregory’s heady, erudite Smoke Th at Cigarette” (which he co-wrote with sunny optimism and tuneful musicality are still lyrics and the overall high level of musicianship Merle Travis, who also wrote “Sixteen Tons”); everywhere rampantly evident on this project. help to make the Rockers one of the more acces- while peppering their sets with the occasional Despite the loss of the indefatigable Al Klassen, sible bands in town, with a sense of humor and a original composition. Here, all thirteen songs are the Burrman’s toil on into their fourth decade as propensity for wicked fun. band penned. a band, with all their most winning attributes still Th e album kicks off with a couple of songs very obviously in tact. written and sung by Smiley, “Mighty River” and “Waterfalls.” Th e former is a country infl ected LL
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Page 22 - TWO LOUIES, March 2004 Th is all leads to what I was hoping I could use to mid-summer and his addition has solidified Scott’s launch, which is the event in question: Live At Whiskey current sound. Springs/An Intimate Solo Performance with Darrell Having been Jack Johnson’s drummer right up until Scott. We’re hoping this will be the fi rst of many such six months before Johnson was signed, Josh brings his shows. own pedigree and respectability to the ensemble. It’s happening on Easter Sunday, April 11th, at We expect 2004 to be a pivotal year for Scott 7:30 pm and will be held atthe home of Albert and Pam and his band, as we release his next album to national Continued from page 12 Garcia, in the Staff ord area of Wilsonville. Bill St. James, radio and continue to develop his visibility in Southern It was literally a drab, dreary, monochromatic former DJ at KINK and creator of the Lights Out series, California. He tours back to the Northwest one week landscape without any visual trace of youth culture. came up with the idea to record a series of house concerts out of the month, and we invite you to check him out So I almost puke bile every time the Stranger or with Albert Garcia in Albert’s home studio, aka; Whiskey on April 24th with Justin Hopkins at the Bitterend and EMP morgue (oh strike that last word, I mean ‘meeuuu- Springs. I did the pilot show with my trio and it went at a special free dinner show (6-8) at the Buff alo Gap on seem’ [said with acidic sneer]) has some “Northwest smooth enough that we decided to treat the concept as Sunday April 25. music posters” exhibit, with the usual attendant hype. an ongoing way to connect with a certain strata of artist Warmly, I mean in the bigger sense, what did it matter if their that could equally benifi t from our idea. I’m personally Lisa Lepine shabby little posters made it into fi ve record store win- in it so I can maybe bring people like Darrell to the [email protected] dows, versus the vibrant and durable citywide graphics attention of more locals. I met Darrell on my fi rst trip explosions of the California cities’ music scenes? to Nashville, when I was sussing out the job scene in JONES MASSACRED Humbug’ on Seattle! 1994 and auditioning for Asylum artist, Terry Radigan. Dear Two Louies, Th ose latte-spewing Volvo drivers can revel in their I became an immediate fan of Darrell’s playing and I read your Dig article... When I was down in LA grandiose fi ctions, I say “they gotta go now.” southern manners. Th en I saw him at the Bluebird and with Jimmy Angell we ran into Anton of Jonestown... Keith Bolinger around town and became a bigger fan. He eventually that guy is fucking crazy. We hung out and partied with San Francisco got named songwriter of the year by Th e International him and were invited to Tool’s house party... Any form Songwriters Association in 2001. Th e next year ASCAP of moral highgound you state regarding Anton’s purist OGAN BRANDING also gave him songwriter of the year honors. I remember state is misguided, you respectfully are mistaking moral Dear Editor thinking the fi rst time I heard Long Time Gone by the high ground for sociopathic tendencies...that dude is out For the past three years I’ve been studying the Dixie Chicks: “Damn, I gotta fi nd out who wrote that of the loop. Do you know what the name of the band is business of what I’ve spent my entire life doing. Putting song!” It was a solo written song of based upon? Th ere is a reason he is not liked by A&R, those ducks in a row and creating a business plan has Darrell’s, (the way he usually writes). He’s such a and it has little to do with that gig in LA. greatly facilitated my ability to deal more effi ciently with one-in-a-million soulful and immensely talented guy. William Weikart the many musical hats I wear. Aft er putting out my fi rst It’s a groove to be doin’ this show. Portland solo cd, Barcelona/2002, I got two interesting off ers I Gary Ogan LL needed to make a choice about. One was to resign with Portland Leon Russell and his label, 23 years aft er having put out my last solo record with him on his Warner Bros., label QUEEN LIKES HOLLYWOOD ON THE COVER: Bec Hollcraft . Th e Beaverton High Paradise. Th e other was to put myself through the brand- Dear Editor School student is the fi rst artist signed to Meredith Lisa Lepine, Promotion Queen, here. Brooks’ production company in Hollywood. Meredith is ing process with friend, Steve Karakas, and his Portland shopping Bec’s single, “Can’t Take It Back” on the heels of pr business, nonbox. I went with Steve and spent the I am writing to thank you and Jonny DuFresne for her platinum success with Hilary Duff ’s “Metamorphosis.” next several months looking into running a record the laudatory article, (February 2004), in support of Scott (photo Buko) labels and publishing companies. It was a combination Fisher and his music. of noticing how much everything is currently morphing As usual Buko’s layout is superb and Jon’s descrip- in my industry and producing a cd project for Portland tions of Scott’s music are among the most lucid to date!! singer/songwriter, Donna Jose, that caused everything It is very cool to have someone on the scene in LA to to start coming together in my head regarding what the report on the success of local artists in the industry who heck I should do. live and travel there to advance their careers. [A variety • Established 1979 • You may have heard I got to put a 5-piece band of Portland bands have enjoyed showcases there recently TWO LOUIES PUB LISH ING Editor: Buck Munger together and track live, for 5 days, without a click-track, including, Jonah, Tinhorn, Geoff Byrd and Stephanie Schneiderman!] Graphics & Photo Editor: Buko over at Falcon Studios. Th at experience with those play- TwoLouiesMagazine.com Art Director: ers, along with the background singer I used, created my Please note a couple key corrections regarding the Deb McWilliams board of directors. We meet once a week and the team is: article: First, Scott has had a manager since the release Writers: Gary Ogan/CEO-president, drums. Albert Garcia/vice- of his fi rst EP...Me! Scott and I have worked together S.P. Clarke • Bart Day • John Dufresne president, rhythm- guitars. Jeff Leonard/bass vocals. Fred since 2001, with Scott providing a great deal of hard N.L. Fogerty • Den nis Jones Denny Mellor • Robin Rosemond Stickley/keyboards, vocals. Steve James Wright/ lead & work, initiative and tenacity to achieve his current level of success. Illustration: Tim Rutter slide guitars, mandolin, vocals. Chrissy Faith/ vocals, Photographers: Percussion. (So far, for all the keyboards we’ve had Though I mainly work as a music industry David Ackerman • Buko Fred record with, synths have been employed maybe 5% consultant (and that is how I met Scott), I do carry a Gustavo Rapoport • Pat Snyder of the time. We’re all bringing writers and artists to a pool management load of only two acts. Scott is one and that we all vote on adding to. Th is pool includes our own Sidestar the other. Printed by: Oregon Lithoprint Two Louies Magazine material which, I have to say, we already have an amazing And you heard it here fi rst...we recently joined forces with Kevin “Sutterman” Sutter, a well respected 2745 NE 34th • Portland, OR 97212 start with. Th is is what I’m most pleased about. Th ere’s PHONE (503) 284-5931 a level of output coming from just the core group, that industry radio promoter from Seattle that believes in Email addresses: I fi nd startling. So, the basic divisions of the company Scott’s music as fervently as I do! [Kevin’s business is Editorial: [email protected] are publishing and productions/songs and artists, and Tazmoe Music, responsible for breaking acts such as Layout: [email protected] the basic philosophy is to gently advance the recording David Grey, Norah Jones and others to national radio. Web: [email protected] © 2003 by Two Louies Magazine. May not be ways of yesteryear. Th e second fact concerns the identity of Scott’s current drummer. Jeff Anthony drummed on Scott’s re pro duced in any form without the ex pressed Submissions for ideas of names for the new com- writ ten consent of the publisher. pany can be made to: [email protected]. Th e debut “Fleeing Towards Creation,” but Scott’s current Two Louies is avail able by subscription. winner gets something or other. drummer is Josh Yafa. He has been with the Band since Send $35.00 for one year, post paid.
TWO LOUIES, March 2004 - Page 23