MUCHO MACHO FRONT MONEY MUSICARES Nxnw SIX
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OREGON MUSIC / OCTOBER 2000 MUCHO MACHO FRONT MONEY MUSICARES NxNW SIX BRENT WILLIAMS photo Pat Snyder Lodestar 2 - TWO LOUIES, September 2000 December 1979 to 1999 One Long Journey Through The Portland Music Scene Part10: Conclusion by SP Clarke hile Nero’s and Mercury were out doing anything with them. Not surpris- purposeful selection of an orchestra com- negotiating a contract based ingly, nothing much has been heard from prised of disciplined, like-minded players, Won the Tony Lashed produced Krueger since. afforded him the luxury granted to few album Togetherly, the dreaded “corporate Poised at the ready, no band was more bands: of being able to play any gig, any- shakeup” killed the deal. It also killed Nero’s prepared for the Swing revival of 1996 than where— from a night at Berbati’s, to a wed- Rome. After eight years in the local clubs, the Cherry Poppin’ Daddies. Their road to ding reception, to a grand Civic affair. From coming perilously close on several occa- overnight success had been traveled for Portland to Paris. Pink Martini set the stan- sions, but failing, to capture the elusive seven years, slogging all over the region, dard by which all other Cocktail Nation “deal,” the band broke up. “James [vocalist promoting lead singer Steve Perry’s tireless bands were measured. None could near Angell] and I needed a break,” said guitarist vision: to meld Sammy Davis Jr. and Cab compare. Tod Morrisey. “The music goes on, with or Calloway with Jerry Lewis’ Nutty Professor Pink Martini’s self-produced album, without Mercury. We’re still proud of what alter-ego Buddy Love. The Daddies released Sympathetique, is Portland’s all time best- we accomplished. Zoot Suit Riot in 1997 on the selling local recording, logging sales of over At about the same time, Mercury Mojo/Universal label. That album stayed on 50,000 units, worldwide, since it’s release in entered into a distribution agreement with the Billboard charts for over a year, garner- 1997. To this day, the album frequently Tim/Kerr Records. But after only seven ing platinum status along the way. appears on regional Top Ten retail sales months, having drained T/K of most of its Another “Swing” band which found charts, nearly four years later. resources, Mercury pulled out of the deal. great popularity in 1996 in Portland (and Orphaned from Heatmiser, songwriter Though hobbled severely by Mercury’s treachery, Tim/Kerr managed to survive the “While Nero’s Rome and Mercury were negotiating a seige and carry on. Kelly Joe Phelps managed to alienate contract based on the Tony Lash produced album Burnside Records/Music Millenium head Togetherly, the dreaded “corporate shakeup” killed honcho Terry Currier, when he signed a contract with Rick Rubin at American the deal. It also killed Nero’s Rome.” Records. By contract Kelly Joe still owed Burnside an album. But with the help of around the world actually), without the aid Elliott Smith was perfectly capable of being pressure tactics employed by Kelly’s new of any sort of record contract, was Pink his own, one-man band. Even while he was LA-based attorney, Burnside was bought Martini. Headed by the charismatic piano with Heatmiser, Smith had released two out of the deal. “I’ll never manage another protégé Thomas Lauderdale, a Reed College highly-praised solo albums on Olympia’s artist,” said a frustrated Currier. Phelps later graduate, whose well-heeled breeding and Kill Rock Stars label. His third KRS project, released the groundbreaking Roll Away The flair for classy productions made him the Either/Or, released in early 1997, shortly Stone on the Rykodisc label, which had toast of countless strata of local social cir- after the breakup of the band, was, quite absorbed Rubin’s American Records label. cles; Pink Martini was the crême de le crême simply, a masterpiece. Recorded on a 4- Currier never saw a penny, nor received of the area Cocktail nation. And, owing to track in his bedroom, Either/Or placed even a thankyou-note from Phelps. Lauderdale’s extensive social connections, Smith squarely in the league of songwriting In 1998, after four years together, the the band catered to a far more diverse and greats such as Lennon and McCartney, Paul lure of a developmental contract with RCA extensive sub-demographic than that to Simon and Brian Wilson. led On A Llama’s Lea Kreuger to dump which most bands had access. Via extensive alternative press cover- drummer Greg Kirkelie and drummer Known to be something of a musical age, Elliott attracted the attention of sev- Kevin Rankin from the trio. Developmental taskmaster, Lauderdale’s point-perfect eral major labels. Eventually he signed deals, being a-dime-a-dozen in the industry, arrangements of original and traditional with the Dream Works Records label— a are a label’s way of securing an artist with- Swing and Latin numbers, coupled with his new partnership drawn between film pro- 3 – TWO LOUIES, September 2000 Nero’s Rome photo Pat Snyder 4 – TWO LOUIES, September 2000 ducer Steven Spielberg, record label giant trous. Though his name is still quite promi- Kinney cemented their reputation as one of David Geffen and a couple of billionaire nent in the national press, Elliott Smith has the fiercest independent acts in the nation. speculators. yet to fulfill the sales goals of corporate The album debuted at #12 on the Billboard Immediately, Smith was thrust into the number crunchers. As an artist, Elliott “Heatseekers” chart. Brownstein said at the national spotlight, when his song “Miss Smith is a fully realized entity, with few time, “I don’t give much credence to com- Misery” was placed in the 1997 film release peers. He need answer to no one. mercial radio when it comes to interesting Goodwill Hunting. Overwhelming public Kill Rock Stars was also responsible for and fresh music. They basically ignored us response to the film led to several Academy projecting the all-female power trio Sleater- last time [with Dig Me Out] and we did Award nominations, including one for Kinney onto the national radar screen. fine. We’re willing to try to get a program- Elliott, for “Best Original Song.” A reserved, Together since the mid-90s, Sleater-Kinney mer’s attention, but I don’t intend to kiss shy and reclusive individual, Elliott was out of his element at the Academy Awards pres- “Pink Martini’s self-produced album, Sympathetique, entation ceremony. He looked small and displaced, standing alone on the huge stage, is Portland’s all time best-selling local recording, in his white-coat, strumming an acoustic guitar, singing haltingly. Industry rag logging sales of over 50,000 units, worldwide, since Entertainment Magazine observed: “‘Best it’s release in 1997.” Original Song’ nominee Elliott Smith looked like Beck on Quaaludes.” Smith did were spawned in the vibrant Evergreen any ass or do special concerts for listeners not win the Oscar. College scene in Olympia, Washington. in exchange for play. I’d rather reach people But three months later, the same publi- Named after a notorious road in Olympia, in small towns in Indiana by playing [live] cation was hyping Elliott Smith as one of Sleater-Kinney’s first release, Call The for them.” the “100 Most Creative People In Doctor, came in the Summer of 1996 on the Today, Sleater-Kinney are glamorous Entertainment,” described as “The Chainsaw label. An immediate buzz began. posters girls for the remnant “Rckrgrl” Punk Troubador.” A month later, in August of Vocalist/guitarist Corin Tucker, gui- movement of the mid-90s. A recent high- 1998, Smith released his first Dream Works tarist/vocalist Carrie Brownstein and drum- profile article in Pulse magazine presents album, XO, to widespread glowing reviews. mer Janet Weiss drew plaudits for their the band as the last great hope for the DIY Despite extensive tours of Europe, explosive brand of Punk music and intelli- Punk lifestyle ethic. But, looking smart in Australia and the US, as well as an appear- gent, well-crafted lyrics. The 1997 release of their color-coordinated attire, photos of the ance on Saturday Night Live, sales of XO Dig Me Out on Kill Rock Stars sold 56,000 attractive young women would seem to be stalled at around 100,000 units: more than units for the band and increased their visi- layouts for next year’s Gap catalog. Major respectable by Indie standards. But for the bility on the alternative music map. label interest can not be far behind. nascent Dream Works Records major label, With the February 1999 release of Hot And so it goes. The long journey that is the sales figures were considered to be disas- Rock, their second album for KRS, Sleater- the Portland music scene continues on. Cherry Poppin’ Daddies, Satyricon, May 1991 photo Pat Snyder 5 - TWO LOUIES, September 2000 What began over thirty-five years ago, with business of music. Still, where would the beer, sweat and piss. Long live recording stu- the Kingsmen screaming “Louie Louie” into business be without the music? dios and crazy engineers who accidentally a single microphone in a little studio on It is not without a great deal of cyni- erase that magical track. Long live endless Northwest 6th Avenue, has grown into this cism that the typical musician, who has not trips in the van to nowhere, to play for no great tree of musicians, whose tangled roots “made the big time” (which is about 99.9% one. Long live the interminable arguments spread across three generations. The slow, of all musicians), and likely never will, on the prolonged ride home.